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I have always really liked this movie since it came out in 1973. I have watched it countless times through the years on TV, but haven’t seen it for a while on TV so I picked it up on DVD. Although the DVD doesn’t offer a lot of features, the characterize quality is profitable and it’s presented in it’s new cinemascope format. This was one of the higher budget “blaxploitation” flicks from the ’70s. Seeing it as a kid I view it was the coolest movie. Now that I am a lot older, it’s calm chilly, but in a campy/fun diagram. The space consists of a government agent named Cleopatra Jones (Tamara Dobson) who is hired to rid the US of drugs. She goes after one of the “Queenpins” of the drug trade called Mommy, played by Shelley Winters. The one thing I never forgot about this movie was Cleopatra’s kickin’ Corvette complete with a cassette deck, which was really high-end at the time! (Most cars had 8-track players) Along with this was her funky fashions! If you like the ’70s action genre, this is a broad addition to your library.

Tamara Dobson was fabulously stylish, sexy, and colorful in her role as Cleopatra Jones, the Karate/Kung Fu kicking United States Special Government Agent (”jurisdiction from Turkey to Watts Tower baby”) who battles Drug Lord Mommy (Shelly Winters) . Cleo ruffles Mommy’s feathers by burning her Turkish poppy field that has a street value of $30 million. Mommy retaliates by getting her awful cop friends to bust the B&S House which is rush by Cleo’s boyfriend Rueben (Bernie Casey) . The B&S House helps local drug addicts kick the habit. The B&S House staff have a Sunless Panther Party mentality.

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To add action and humor to the movie is Mommy’s unfamiliar crew of tickled beauties that cater to her every whim; clutsy henchmen; Pusher Doodlebug (Antonio Fargas, best known from “Starsky & Hutch”) . Doodlebug has his fill exclusive crew that includes his high maintenance girlfriend Tiffany (Brenda Sykes, also played in “Gloomy Gunn”), Predicament (Teddy Wilson who went on to star on tv shows like “Fine Times”, “That’s My Mama”, and “Sanford & Son”), white chauffer/butler Mattingly (dependable surname) . Don Corneilus (Soul Stammer) has a cameo as himself. Ester Rolle (”Great Times”) has a cameo as the mother of Cleo’s two Karate kicking friends, The Johnson Brothers. This movie has a plethora of actors, both shadowy and white, who went on to have extensive acting careers.

The well written memoir and screenplay is by Max Julien, who is best known for his role as “The Mack” and “Thomasine & Bushrod”. The soundtrack yielded two hits, one by Joe Simon and the other by Millie Jackson.

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Dobson portrayed a strong dark woman with a definite character. Outside of driving the James Bond type Corvette complete with phone, personalized plates, government issued weapons concealed in the door and a top that automatically raised (awesome in 1973) to accomodate Dobson’s 6 foot, 2 journey height… she displayed motor bike riding skills and a slight bi-lingual capabilities that must have been needed for her traveling abroad.

The ending scene, the Bon Voyage party for Cleo ends with her white friend Police Captain Lou Crawford (Dan Frazer who has a very extensive acting portfolio with the likes of “Kojak”, “Law & Order”, and “As The World Turns”) saying “Apt On” while holding up a clinched fist (dark power designate) as Cleo drives off into the sunset for her next titanic assignment. His actions amaze the other party people and is a priceless ending that should leave a smile on your face to go with this gratified ending.

The disconsolate news of Tamara Dobson’s death in October 2006 smothered the flames of my nostalgic dreams of her reprising the Cleo role for a third time (second time circa 1975, “Cleopatra Jones and the Casino of Gold”) . All biographical accounts document Tamara Dobson as having studied fashion at the Maryland Institute College of Arts before her professional modeling career. Her acting career included film appearances in “Norman… Is That You? “, “Chained Heat”, “Reach Abet, Charleston Blue”, “Cancel at the World Series”, “Jason of Star Teach”, and “Buck Rogers in the 25th Century”. Beyonce appears to have paid homage to “Cleopatra Jones” when she played Foxxy Cleopatra in the Austin Powers movie.

Tamara Dobson’s role as Cleo was a hit and this movie is a classic that would add value to any so-called blaxploitation (Soul Cinema) era movie collection.

by:

Pamela Jarmon
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Watch The Blue Angel Movie Online. Movie Title: The Blue Angel Average customer review: The Blue Angel is available for streaming or downloading. Click Here to Stream or Download The Blue Angel

Relative newcomer Marlene Dietrich’s electrifying performance in the 1930 sound film THE BLUE ANGEL overshadows the perhaps even greater performance by Emil Jannings as a sexually-repressed professor. Her mask presence also more than overcomes Josef von Sternberg’s rather static direction that was typical of early sound films, elevating this romantic melodrama into its classic location.

Kino’s region-free DVD contains both the German and the English versions of the film, each on a separate disc. Both versions peek very spruce for a 71-year-old film, although impartial a tad less titillating than I would have liked. The English version looks a bit cleaner quiet. The supplements include a side-by-side comparison of the two versions (with the German version shown on the left), and the English version indeed looks better. The German version is supported by optional, white-on-black-bar English subtitles. The dismal bars, of course, hide up section of the relate. I would suggest Kino spend white, black-bordered lettering for subtitles in the future instead.

The German version runs 102 minutes, and has a few scenes that are not shown in the English version due to censorship (such as the moment when Lola rotates her body to roar her bare aid side to her nightclub audience) . The English version runs 100 minutes. Although it was supposedly made for English audiences, only Dietrich’s role is all English-speaking, while the other actors say a combination of both languages — English for distinguished dialogs, German for less necessary ones.

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The included audio commentary on the German disc is a collected disappointment. Although historian Werner Sedendorf’s analytical comments are good, he honest does not insist often enough. Long stretches of silence are frequent. Kino should have understanding of filling the vacancies with additional comments (either by Sedendorf or someone else), especially when a lot of relevant topics are not adequately covered, such as the legendary collaborations between Dietrich and von Sternberg, the details about the censorship practiced on the English version, the period of German Expressionism that inspired directors like von Sternberg, etc.

The DVD does include a apt amount of extra material. There is a amazing biography share that includes photos and credits of about 30 cast and crew members. There are about 150 photos, some of which are then-and-now comparisons of some of the props and costumes in the movie. There are text screens of the film’s production history. The best extras, unquestionnably, are the 4 film clips of Dietrich’s cloak test and concert performances. There is a memorable clip of the 1930 mask test of Dietrich singing “You are the Cream in my Coffee.” There are 2 clips of televised concerts from the 60s and 70s showing Dietrich performing two of the songs in the movie (English renditions of “Falling in Appreciate Again” and “Lola Lola”) . There is another TV footage of her singing “You are the Cream in my Coffee” after reminiscing about her 1930 cloak test.

The film that turned the head of Adolf Hitler and sky-rocketed Marlena Dietrich to international stardom is as unique and orginal today as it was when it first hit theaters in Germany 70 years ago.

With the assist of english subtitles, we are introduced to Dr. Immanuel Rath, an esteemed professor of an upper-class German prep school. A stern and authoritative man, his feathers are ruffled severely when he learns some of his students have been neglecting their studies in favor of visiting a night club, the Blue Angel, on the more sordid side of town to hear a magnificent singer named Lola Lola.

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When Rath confronts Lola, he becomes smitten with her. An infatuation which will eventually lead to his occupy professional and personal downfall.

Emil Jannings (the first person ever to regain a Best Actor Oscar) is agreeable as the stuffy and destructive Rath, and his ham-handed pirouette into complete emotional and physical breakdown is mesmerizing. Dietrich is equally fundamental in her role as Lola, slowly seducing, not objective her fellow characters, but the audience too, with her entralling presence.

Is it any wonder this film lives on?
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Stream Sleeping Beauty Online. Product: Sleeping Beauty Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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I vividly remember the release of Sleeping Beauty. I was stale enough to go spy it myself - fair barely. There I was sitting blueprint up front eating my popcorn and all of a sudden this spectacular dragon materialized fair before my eyes. Popcorn forgotten, I was bent. Cartoons never looked the same to me, and I spent the rest of my life inhaling fantasy and science fiction on a quest for the same thrill.

Animation has changed quite a bit in the ensuing years, but even today Sleeping Beauty is a towering achievement. Now I’m more sensitive to the tricks of the art and can eye the masterful utilize of perspective that made the scenes leap out at you. When I first picked up this DVD I half expected to be disappointed, to come by it really wasn’t so magnificent in retrospect. This is hardly the case - this film is unbiased as vibrant and alive as it was in 1959.

The added dimension now is that I can stare how Disney’s work was a formative influence on animation even today. Artist/Directors like Miyazaki owe powerful to this film and its predecessor Snow White. And they freely admit it. As a production, Sleeping Beauty created a sense of legitimacy for animation that proved that high quality animation was something well beyond the Saturday morning funnies.

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Disney took a mammoth risk when creating this film, pouring a stout amount of resources in making it something as perfect as was possible for his time. While the studio reaped the financial benefits, the audience was the steady winner, as a whole genre exploded before our eyes. Even now, with anime speedily becoming a force to be reckoned with, this film stands out for anecdote, art, and music.

The additional features, especially those that retell the making of the film, are reliable as well. All captures in gorgeous detail on this DVD. This is a must peruse for anyone who unexcited loves a fairy fable.

This movie is one of the sizable classics of animation, especially for Disney. The DVD version is significantly improved compared to the previous VHS tape. The relate and sound were both greatly enhanced for this release. Furthermore, both widescreen and chunky cloak versions are available in this package.

As with Disney’s other classics, some liberties were taken with the unusual chronicle of Sleeping Beauty. Disney took the classic epic and made it fresh and special. In some ways the memoir is less violent and dusky than the novel fairy record. In other ways, such as the portrayal of Maleficent, the movie is shadowy and forbidding. While the movie is generally a children’s movie, Maleficent’s dragon and her general demeanor can be somewhat gruesome for some in the pre-school and younger status.

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Aurora was the first care for for many a young boy, and was also the model for the aspirations of millions of girls. The romantic care for record of Princess Aurora and Prince Phillip enchanted would-be princesses everywhere, and in some cases became the measure by which future spouses were measured (and many of us struggled to meet the ideal) .

Of course, the romantic narrative and the rotten of Maleficent were balanced by the comedy of the animal characters and the three bumbling, good-hearted fairy godmothers. While their goodness may appear a bit too vanilla and sweet for some, it is perfect for those longing for the innocence of their youth.

While the movie is the most significant fragment of the DVD, this two CD plot contains a phenomenal number of extras. I found the audio commentary by various key individuals to be absolutely keen. I planned to listen to portions of the commentary in preparation for my review, and instead found myself listening to the entire thing because it was so incredibly racy. Mary Costa (Princess Aurora) and others provide their perspective on the creation of the movie, as well as personal memories of Walt Disney and his influence on the film. The audio commentary by itself is worth replacing your VHS tape, particularly for aficionados of Disney movies.

In addition to the audio commentary are numerous, emphasize numerous, other bonus features. Some I felt were less than worthwhile, others, such as the shorts “Titanic Canyon” and “The Peter Tchaikovsky Narrative,” were good bonuses. The number of bonuses on this two disc state was so broad that there is a navigational overview included in the DVD that categorizes 38 features found on the second disc.

With the movie and the wealth of bonuses, this movie is a must-buy for those who have yet to have “Sleeping Beauty.” For those who have the VHS, the bonus material is nearly worth the cost of the DVD. Certainly those who are collectors of Disney memorabilia and historians of Disney will accept the DVD to be a concise compendium of some of the best information available regarding this film. I highly recommend this DVD!
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Stream Artur Rubinstein in Concert Movie Online. Movie Title: Artur Rubinstein in Concert Average customer review: Artur Rubinstein in Concert is available for streaming or downloading. Click Here to Stream or Download Artur Rubinstein in Concert

Following their release of Artur Rubinstein’s Grieg, Chopin and Saint-Saëns concertos, Deutsche Grammophon issues another interesting programme about the mammoth pianist, recorded two years earlier, in August 1973, at the Concertgebouw in Amsterdam. Rubinstein can be heard and seen in Beethoven’s 3rd and Brahms’s 1st, both accompanied by the Concertgebouw Orchestra under Bernard Haitink.

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Produced by the same team, with Hugo Käch directing, the astronomical Max Wilcox who had been recording Rubinstein since 1959 as audio producer, and Robert Hofer responsible for the photography, this DVD provides further insight in the artistry of one of the most principal pianists of the previous century in the indian summer (”autumn” would be too strong a word for the 86-year ragged Rubinstein) of his career. Rubinstein at this point approached both concertos with an unforced, patrician distance, avoiding all excesses in sound and tempi, as if he wants to let the music relate for itself, at times almost turning it into chamber music. It’s an musty master returning once more to these works he has played, loved and explored for decades. Yet there’s no designate of fatigue or errancy. Very few have been able to manufacture this music teach with such freshness, clarity of line and naturalness of declamation as Rubinstein did. The Largo and the Adagio sections boast a mesmerizing serenity and almost nocturnal quality. Eventually, the simplicity of his music-making, the humanity reflecting Rubinstein’s absorb rich vision of life, have something profoundly touching.

Schubert’s Impromptu in A flat major (D. 899/4), Brahms’s Capriccio in B flat minor, op. 76/2 and his Intermezzo in B flat minor, op. 117/2, Chopin’s Scherzo in B flat minor, op. 31 are concluding the programme and are noteworthy in the same vein.

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Soundwise the “Artur Rubinstein in concert” DVD is preferable to the earlier release because of the warmer acoustics of the Concertgebouw hall which seem to suit Rubinstein’s lyrical and gigantic arrive better. The playing of the Concertgebouw Orchestra under Bernard Haitink also boasts more character than the London Symphony under a neutral and often bland André Prévin. The rich and determined sonorities of the Dutch orchestra are a joy from begin to demolish.

Curiously, this DVD gives us the real same bonus as the earlier release with the “Rubinstein at 90″ film, showing the pianist in conversation with Robert MacNeil at his Parisian home in 1977. Favorable as it is, there are plenty of other insightful documentaries of Rubinstein around which could have been offered as an extra.

Highly recommended.

When I first played this dvd, I was so disappointed with the muddy sound, I unprejudiced threw it in a drawer for a couple of weeks. It was hard to imagine that Max Wilcox, who engineered many unbelievable CDs had anything to do with it! I have a feeling that the substantial acoustics of the Concertgebouw might be a small too mammoth when there is no audience indicate. But after some further tweaking (such as turning the bass down almost all the plot, and boosting highs) the sound is glorious generous. And BTW, I’m not novel to this - most other 70’s dvds on DG (like Karajan, Bernstein, Pollini) have noteworthy better sound.) But this dvd has such fabulous artists, who have few dvds available, it really is a apt acquisition (unprejudiced remember to adjust the sound!)
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Stream Natural Born Killers. Product: Natural Born Killers Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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“Natural Born Killers” is not about glorifying violence; it’s a chilling parody of the American fascination with violence. The snappily changes from color to dusky and white and aid again, interspersed with arresting sequences, point up the satiric nature of the movie. Mickey and Mallory, very well played by Woody Harrelson and Juliette Lewis, are two killing machines without heart or soul or conscience; their only redeeming virtues are their fancy for each other. They aren’t meant to be sympathetic characters and they’re not, but Oliver Stone’s direction makes them pale in depravity besides some of the other characters — the sadistic warden, the contemptible detective and his morbid fascination with Mallory, Mallory’s nauseating, sexually abusive father, and above all, Robert Downey’s superior characterization of the media pimp who feeds off blood and gore. The last scene in the movie, of Mickey and Mallory on the road with their two children, and Mallory about to express a third at any cramped, underscores the whole message of the film; violence feeds on itself and begets yet more violence. Those viewers who were most upset by the movie missed its message. “Natural Born Killers” is a lustrous, disturbing depiction of the shallowness of American culture at the raze of the 20th century.

Oliver Stone’s Natural Born Killers is one of the most modern artistic visions in the last ten years. Some call it short-sighted, narrow, sensory overload, a bomabstic explosion of useless gas, or a pathetic exuse of a movie. Those who picture Natural Born Killers as such are missing the point or are perfect examples of it. The film is the most suitable film record of the 90’s American culture. Mickey ( Woody Harrelson ) and Malory’s ( Julliete Lewis ) dis-allusionment with the media, conservatism, morality, and life and death are all a primal revolution from the material enslavement of society. Gape the opening sequence with the dramatic and purposesly hallow transitions between color and murky -and-white and violence and romance to leer Stone’s observations on 90’s culture and the 80’s influence upon it. The Rodney Dangerfield Sitcom share ( Roseanne anyone! ), sexually graphic animation, sexual abuse of children, Rodney King style beatings, Mickey and Mallory’s sexual revolution, and the media’s romanticism of crime (Heraldo, Montel, Jerry Springer) are all magnificentally satrized on this film. The 90’s as a decade was in a nutshell short-sighted, narrow, sensory overloaded, a bomabstic explosion of useless gas, and a pathetic decade. The ample films assume the decades from which they were made and Natural Born Killers is no exception. In the fantastically edited last 30 minutes of NBK, this film will either totally repulse you or change your view of novel society. That is the power of this hyper-kinetic minagerie of the 90’s. Oliver Stone’s director’s slash adds only about three minutes of extra footage which includes Tommy Lee Jone’s decapitated head and some other disturbing material. This addition unprejudiced adds more ferocity to Stone’s vision. Also available on the DVD version are about 45 minutes of deleted scenes that Stone beleived would have hampered or slowed down NBK’s story. The footage is also very spirited in its have good. A must-see.
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Notting Hill Streaming. Movie Title: Notting Hill Average customer review: Notting Hill is available for streaming or downloading. Click Here to Stream or Download Notting Hill

Let me just say that I’m not particularly a Julia Roberts fan. So when my wife asked to go see Notting Hill in the theater, I politely declined… but I figured that I’d give her a suprise and buy the DVD for her. Well, I sat and watched it with her, and was pleasantly suprised, myself!

Set in the real-life Notting Hill section of London, this VERY fairy-tale story is filled with moments of true belly-aching laughter, painful heartbreak, and one delightful “car chase.”

Julia Roberts portrays Anna Scott, a fifteen-million-dollar per picture movie actress who gets tangled in the trappings of love with William Thacker, a bumbling, but likeable book-shop owner convincingly played by Hugh Grant. Notting Hill wastes no time in setting up this premise and rockets off from there. The film moves along at a good pace and only has one noticible slow spot. The music chosen to accompany the film is beyond perfect. Watch the screen closely when you hear “Ain’t No Sunshine” by Bill Withers.

I would be remiss if I did not mention “Spike”. Rhys Ifans plays Spike, William’s very odd, very Welsh flat mate. You can’t help but laugh every time he’s on the screen. Luckily, the director and editor didn’t over-do Spike’s antics, so we can truly enjoy the moments when he’s on.

The Collector’s Edition goodies make the DVD a true gem and a great bargain. The musical highlights let you quickly jump into the middle of the movie to enjoy a song while watching the movie roll. (After you’ve watched the movie, go find “Ain’t No Sunshine”!) The deleted scenes give a glimpse of what could have happened in the film. After watching, I’d say that I agree with the director’s choice of endings.

This movie proves that romantic comedies can still be done well… and you don’t have to have Tom Hanks and Meg Ryan to do it.

Hugh Grant’s role as Travel Book Shop employee William Thacker reprises the same shy, humble, lovable, but lonely character with a small group of friends that made him a star in Four Weddings And A Funeral. That may be because Notting Hill, like FW&AF, was written by Richard Curtis. “And so it was another hopeless Wednesday when I walked a thousand yards to work, not suspecting that this was going to be the day my life would be changed forever.” In two words, that catalyst is Anna Scott, currently one of Hollywood’s biggest stars, who is promoting her latest film Helix, a sci-fi film whose costume design and one interior setting owes a nod to Kubrick’s 2001. She happens in his bookshop, but that first meeting sets off a series of meetings where they spend time with each other.

Eccentric barely describes Spike, his Welsh roommate with a shock of wild blond hair. Never have I seen a more comical opposites since Felix and Oscar of the Odd Couple. Spike is clearly the Oscar of the pair, but then again, I doubt if Oscar would have worn a T-shirt saying, “Get It Here”, with an arrow pointing downwards, or unwittingly mistake mayonnaise for yogurt.

In the course of meeting Anna, he in turn introduces her to his small group, including a married couple, Max and Belle, the latter in a wheelchair, a stockbroker named Bernie, and William’s wild-looking sister Honey, whose bulging eyes and feathery hair makes her nevertheless lovable in a different sort of way.

However, they live in two different worlds. As William puts it, “I live in Notting Hill, you live in Beverly Hills.” Both have different schedules, lifestyles, and perspectives on things. Yet his inner smile lights up whenever she pops in and spends some time with him. And applying a metaphor used, Anna is a goddess. “You know what happens to mortals who get involved with the gods?” That’s terrible for William, who confides in Spike that it’s like “taking love heroin and I couldn’t have it again. I’ve opened Pandora’s Box and there’s trouble inside.”

Anna is a typical box-office draw who has to put up with the tail side of the fame coin. The many boyfriends, the laying out of her private life in the tabloids, but also how she’s unable to live an ordinary life and how she has to put up with unkind words, as when she overhears a group of businessmen saying how actresses are equal to prostitutes and that she is the definitive actress. Ouch! But despite the fame, in the end, she’s “just a girl asking a boy to love her.”

The one pullback aerial shot that has the couple approaching the bench dedicated to a loved one, while Ronan Keating sings Keith Whitley’s “When You Say Nothing At All” was a perfect combination of great camera work enhanced by a haunting love song.

Hugh Grant has another winning role and seems to have the knack of starring opposite great female leads and being compatible. Be it Andie McDowell (Four Weddings) or Emma Thompson (Sense And Sensibility), he does himself and Julia Roberts great credit. After seeing this at the theatre when it first came out, I sighed with relief that I finally found the most charming movie with Julia Roberts since Pretty Woman. All the actors portraying Williams’ small circle also lend great support, but Rhys Ifan steals the show as the outlandish Spike. Those who liked Four Weddings will definitely go for Notting Hill, which has a tad more sweetness, like apricot and honey.
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Stream Star Trek III - The Search for Spock Online. Product: Star Trek III - The Search for Spock Average customer review: Amazon Price: Sale Price Too Low To Display Click Below To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Don’t be fooled by some of the negative reviews here. Star Trot III: The Search for Spock is a thoughtful meditation on the nature of friendship. I savor its careful attention to developing a classical memoir arc in which Kirk is driven by inconvenience for his friends (Spock and McCoy) and by outer events (a feckless Federation bureaucracy) to rob the Enterprise and outwit and outrun enemies on all sides. Indeed, the film’s first act is a gem: a model of balanced writing in its build-up to Kirk’s inexorable conclusion that he must prefer the Enterprise to establish his friends. Among the priceless scenes in that first half-hour: A visit by Spock’s father to Kirk’s San Francisco pad in which, during a “mind meld” between them, successive shots waste with a unruffled, touching close-up of Kirk’s observe as he relives Spock’s “death” in the previous film; Scottie’s hilarious asides toward a pompous captain played deftly by character actor James Sikking; and Kirk being told by a safe officer that under no conditions can he undertake a mission to build his friends as the camera tracks in on him, staring off in the middle distance, his inevitable insubordination written on his face. Favorable stuff. Even better is the focus (singularly among the Star Scoot movies, which usually pain the Enterprise crew saving the Earth or the universe) on Kirk’s mission to attach his friends and the sacrifices he makes in the process. I can order you (if you haven’t seen the film) that these sacrifices are famous, in once case touchingly shaded and in another spectacular. Other reasons to examine Star Lumber III: It contains a terrific, droll, self-consciously strapping but composed tough villain played by Christopher Lloyd; a really trustworthy, early James Horner (of Great fame) score; radiant special effects (including the real-time destruction of a planet tearing itself apart that holds up well) ; William Shatner’s best performance ever (be unprejudiced — he does a nice, even subtle job in this film as a soulful, resourceful, and self-sacrificing Kirk — indeed, the Kirk character has never been more absorbing) ; an apropos climax that, current to the science fiction genre, is understated and gentle and moving; a swift pace; deft direction from Leonard Nimoy; superb surprises that, when I first saw the film, I could not enjoy were happening (including a clever and mighty one enthralling the Enterprise itself) ; and a mythic elementalism in which the battle-scarred Enterprise crew seems straight out of Homer and Kirk makes a forceful stand-in for Odysseus. This film deserves a reappraisal from Trekkers, but more importantly, from the general public. Nicely done.

Star streak III is widely considered to be an infinitely depraved sequel to The Wrath of Khan, yet is in fact a more complex film and has a powerful more difficult task area in front of it. Although not perfect, it is an though-provoking chronicle filled with a number of profitable reversals and has some of Shatner’s best acting.

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Montalban is the absolute driving force in Star Run II and mighty of that film relies on this fact. Christopher Lloyd does a exquisite job as a merciless Klingon, yet it is up to Shatner to carry this film. And he does an gigantic job. His stealing of the Enterprise gives Kirk support the initiative in the entire series, and is one of the all-time tremendous moments for the modern cast. Why this sequence, and so many others, is not given more credit is beyond me. One gripe: As usual, Kirk gets a LOT of shroud time, cut-aways shots etc. at the expense of the other cast members.

Mired in some indispensable exposition, The Search for Spock effectively navigates its plot through Klingons, Vulcans, the tragic genesis project, Starfleet regulations… no easy task. The finale is lovingly presented, and tests the depths of not only the crews’s emotions but that of the audience and fans. Nimoy did a splendid job with this film, and it led the contrivance to the unprecedented Star Lope IV.
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