DVD and HD DVD reviews

Derailed simon Marks the American debut for Swedish film producer Mikael Hafstrom, whose photographic film will doubtless profit from a bite of fortunate timing, as it features Jennifer Aniston in her first post-Pitt appearance. Derailed revolves round a successful advertising executive, played by an uncharacteristically meek Baron Clive Owen wHO meets a woman, played by Jennifer Aniston, on a commuter train. Robert Owen, a married man with a child, has disregarded his fare and the two meet when Aniston volunteers to pay for his ride. Her lineament is also a successful business executive, and as their casual commute puts them in each others path, a relationship eventually ensues.

Before long they reach the motel stage of their dalliance, simply just as the deuce are about to gross their human relationship, they ar unexpectedly mugged. The fulsome Vincent Cassel plays the assailant world Health Organization also rapes Aniston in the work on. This strange turn of events leads us into a lot of bungling dramatics. In order to protect their families and hide their tryst, they decide non to report card anything to the police force. As a consequence Owens’ character falls victim to an extortion scheme authored by Cassel. In order to come up with the money he is forced to use up the nest egg set apart for his daughter’s grave diabetic experimental condition. Again, the film suffers from way too much heavy handed melodrama. And to top that he seeks help from a young pitch-dark mailroom worker, played well by hip hop auteur the RZA, whom he has helped in the past.

Pardon the pun, but at this point the pic becomes derailed by it’s own game twists and a retaliation scheme that ultimately undermines the wholeness of the characters. And the whole film seems to fake it’s own tone from dark drama to action mechanism revenge motion-picture show.

The trailer for the movie was an effective tease that held out the assure of a steamy and taut suspense thriller, wrapped around an intimate graphic symbol study. Alas such was not the case, as Hafstrom’s is no Alfred Hitchcock and his debut is mostly second-rate and poorly conceived. Likewise bad because there is a fine Clive Owen performance to be found in it.

The Other Side of Heaven is a faithful and alas a mostly uninspired account of L.D.S general self-confidence John H. Groberg’s missioner experiences in Tonga in the 1950s. Taken pretty much chapter and poetry form his book, "In the Eye of the Ramp," The Other Side of Shangri-la is far from the worst LDS themed films I’ve seen, and though rarely compelling, I launch it notwithstanding mildly enjoyable. Still apt the potential for this film with it’s meaty true news report and respectable budget, it was somewhat disappointing in it’s performance. Culpable in equal measures are writer/director Mitch Miles Dewey Davis Jr. and St. Christopher Gorham’s operation as the young Groberg. The handwriting never raises to anything other than a disjointed collection of events, and his direction does null to use these episodes as building blocks toward some kind of emotional pay-off, or even a cohesive storyline.

As for Gorham, he is a natural and affable screen-presence, but during the line of his many trials and triumphs on this remote Polynesian island (hurricanes, harrowing storms at sea, temptation, miraculous healings and the constant fear of losing his girlfriend (a totally wasted Anne Hathaway whose part is 95 per cent voice-over), his character fails to develop even somewhat. Yes, he struggles with everything from the language to the island customs duty, he cries, he heals, but there’s no obtrusive change, he doesn’t become a humankind, or mount spiritually. I don’t know how very much of this to charge on the script, just Gorham could have manipulation this film as a springboard, withal barely manages to keep your interest.

I estimate the script is largely at break, it is literally a collection of mostly unrelated events that did not lend itself to whatsoever plot evolution, let alone spiritual impulse. His adversities were normally resolved without much of a clamber, in fact in the aftermath of a hurricane he closely dies for lack of food, but he truly didn’t appear to care one way or the other. And I had long since stopped lovingness about his fate. It became more than than obvious that Hathaway was expiration to await his hark back and that they would be matrimonial, on other than matchless other quarrel with an officious military mission president wHO shows up for a surprise review and becomes hot-under-the-collar over Groberg’s want of paperwork and organization. Still 2 minutes by and by this was all single-minded with a happy carry on Elder and that was that. In fact "that was that" pretty much sums up this film. The film begins with his military mission call and ends at his Homecoming and tabernacle marriage and at the end of it all, I didn’t feel like I’d learned anything about Groberg that wasn’t observable in the first few scenes.

I will say that what The Former Side of Heaven lacked in plot and theatrical role development, it more than makes up for in terms of cinematography. There are many breathtaking locales, to-die-for Peaceable sunsets and even some effective storm at sea footage. Inactive I’m left wing with the awkward job of having to make this pic the mildest of recommendations for anyone other than Mormons and Polynesians. I was actually hoping for much more than given the money and some of the talent on board, but alas, I cannot bear fictitious witness. The other side of Heaven is very not a memorable photographic film experience.

Alright - I know wHO you ar, you ar the Boneman, and I think you seriously need to take down this Eric Snider clown. Compared to your stuff reading his pieces is like reading the minutes from a Rest period Society meeting - you need to call this guy out. He just thinks he’s too cool, plus now he charges you 3 bucks to read his articles and you’re lucky if you get one or two. I’m tellin’ ya dude, I’ve been a fan of yours for tierce or four-spot years and you’re 10 times as funny - plus you’re a cool guy and you’re free! Somehow you guys ought to induce a contest, because when it comes to rummy you’ve got this guy beat men down. Ericdsnider.com see for yourself he’s not that suspicious and I’d like to see you bring him down a notch. If I healthy a tad bitter it’s because I know the guy and he’s so full of himself it’s nauseating. He makes you want to babtize him again for about 5 minutes. Just a cerebration.

Peter Wilkins of the fine state of UT.

I’m certain fans of The Other Side of Heaven enjoyed your insightful remarks as much as I did. As a matter of fact at one point I exchanged a few E-mails with Eric in which we agreed to add links to each others situation (though his promise was predicated upon whether or not he ever base anything famous about zboneman.com to recommend. So far this has non taken place, but this is likely due to the fact that he is a busy adult male. He writes more picture reviews than I and also publishes humor pieces more ofttimes (which makes it more difficult to be consitently hilarious). As far as calling him out, I’m not altogether sure how such things work. Would it be like a duel - where we’re both granted the same topic and 3 hours to make with the funny? And ultimately world Health Organization would determine who was truly the funnier man. If it were up to me, the jury would be comprised of you and several of your closest friends - and the prize would be a free glide by into the Celestial Kingdom for me and 25 members of my friends and family.

Yes I have read Eric’s stuff and patch I much find him to be quite amusing (more so than Dave Barry, in my view) I call back I could take him. So following time you bump into him let him know I’m plot, I’m ready to flip down . . . allow the struggle of the Latter Daylight Laugh-off begin.

Thanks for the kind words man, God Hallow!

Just finished watching The Other Side of Heaven. I loved it so much I decided to get on line and buy a copy for myself. I’m not a theologian. I’m not tied sure I spelled it right! Only I do know I loved the movie. I laughed, cried, and was held in suspense at times. It was rattling. I watched it with my children (elementary & middle shoal) and my mother. This movie held the attention of each of us until the end. I’m looking forwards to visual perception it once more.

I Idea ‘THE Other SIDE OF HEAVEN’ WAS AN Awe-inspiring MOVIE. Wise THE Verity OF Supreme Being AS I DO, THIS MOVIE SHOWS GOD’S Power. AND ON A Flyspeck ISLAND NO LESS, IN THE South PACIFIC, IN THE Middle OF Nowhere. THE Moving-picture show SHOWS THAT ONE Man, WITH A STRONG Faith, CAN DO ANYTHING. AND MAKE A DIFFIRENCE IN THE World, NO Matter WHERE HE IS, OR WHAT THE OBSTACLES Ar. ABSOLUTELY Tremendous. EVERYONE SHOULD SEE IT. THANKS,

This new independent film from writer-director Ken Lonergan is one of the best reviewed movies of the year. It first burst on to the scene as the vainglorious winner at the utmost Sundance Cinema Festival, and since has gone on to pull together much extolment, particularly for it’s writing. After very much hoopla, I’ve got to tell you, that I think this is a good flick, but scarcely the chef-d’oeuvre I’d been led to expect

In You Can Count on Me, Laura Linney plays a single mum in a small townsfolk. Although blemished, she wishes nothing more then to make a good life for her son. She finds it increasingly difficult to keep things together, especially when the bank she whole kit and boodle at is taken over by a new honcho (Matthew Broderick). Linney hopes for a big dose of avail when her brother (played winningly by Mark Ruffalo) comes to visit. Naturally, Ruffalo has a set of his own problems, but agrees to stay a patch to help his sister out. Spell there, he builds a bond with Linney’s preferably sheltered son (played by Rory Culkin).

I wouldn’t call You Can Count on Me another American Beauty or Ice Storm. It’s not nearly as dreary. I would, still, put it in within the ilk of those pictures in the sense that this is a film around dysfunctional people and how they live their everyday lives.

Linney has received much praise for her portrayal of a woman trying to make the right choices for herself and her son. And although I thought she did a good job, this is hardly awarding worthy work out. In a year full of calling altering female performances (Julia Roberts in Erin Brockovich, Ellen Burstyn in Requiem for a Dream, Bjork in Terpsichorean in the Dark etc.), Linney doesn’t quite measure up. This isn’t to say she gives a bad performance. She does a serviceable job, and has full-blown as an actress–making me all merely forget about her absorbing turn in Congo.

The real hoarded wealth to be found in You Can Count on Me is newcomer Mark Ruffalo. At once kinky and harmonic, Ruffalo has a unique rhythm and makes the dialogue his own, qualification for one of the year’s to the highest degree interesting characters.

Lonergan is fantastic with dialogue. His characters speak in a natural fashion. It is the situations in this picture that don’t e’er work. The stuff that develops betwixt Linney and Broderick was obvious and it didn’t work for me. What I institute most interesting was the rapport built between Ruffalo and Culkin. He doesn’t merely spill to Culkin as if he were a child. He negotiation to him as an equal. I don’t think I’ve ever seen moments like this in a movie.

You Can Calculate On Me is a good film but non a great one. It has powerful scenes that excell on an emotional level, only as a whole, it left me a small unfulfilled. Noneffervescent, Ruffalo delivers one of the best and most original performances of the year. It’s worth visual perception just to acquaint yourself with this very promising newcomer.

I sawing machine some very good documentaries at this year’s festival, but My Flesh and Blood hit the nighest to abode.

In this stirring, emotional piece, managing director Jonathan Karsh examines Susan Tom, a woman wHO would eventually adopt baker’s dozen special necessarily children. The children’s disabilities all depart. Some are missing limbs while others are chronically ill. Piece the motion-picture show does analyze the children themselves, it’s also a fascinating quality profile of Ms. Tomcat, a hard yet insecure woman wHO obviously has a hole in her heart that is finally filled by these grand kids.

My wife and I had a baby girl born at .22 weeks. Every possible thing that could go incorrect in McKenzie’s life did, but our tough little daughter persevered. She survived. McKenzie is almost v now, and while she does make medical problems, she remains one of the virtually important things in our lives and we love her. We wouldn’t patronage in this experience for the world. The point I’m trying to make is that I could really identify with this movie, and as a result, I got quite choked up throughout it.

Karsh has put this film together in strong fashion, simply it is Tom and her children that make the picture show what it is. This isn’t fiction, this is real life and this documentary offers up a shocking twist that I didn’t get word coming. For sure, this makes for more intense drama then many dramas I’ve seen.

There were many great documentaries at this year’s festival, but none of them moved me the way My Shape and Blood did. This is an incredibly personal film that, with all it’s hardships, shows that there is goodness in the existence. Ms. Tom is a hero in my book.

Hi everyone. I just wanted you all to know that My Chassis and Blood is ventilation on HBO this month (May). Check it extinct. It’s an outstanding celluloid.

Editor's Note: Columnist Wayne Santos is a dedicated gamer from the infancy of the medium. He is a contributor at IGN and associate editor of Southeast Asian gaming publication GameAxis. In this new,...

The old saying goes, "It is better to have loved andbl lost, than never to have loved at all." Try telling that to anyone who has suffered the premature death of a spouse, however, and you may get a different...

I can buoy remember waiting in personal line of credit for pic premieres back in the day. Principal Wars, Indiana Jones etc. It seems there was never a shortage of event films worth waiting for. However, most of the 90’s seemed to produce event movies that never lived up to the hoopla. This holiday season, we have two films that have tremendous buzz and will plausibly cause massive line ups across the nation. One is the highly awaited Lord of the Rings (opening December 19). The other is Harry Muck around and the Sorcerer’s Rock based on the beloved J.K. Rowling volume.

First off, I must confess that I have never register the books despite the fact that I have friends world Health Organization tell me they’re a must read. Secondly, I haven’t felt that incredible desire to see the film in the way so many others have which is fine because going into a motion picture with let down expectations is always a good thing. It ordinarily keeps me from being disappointed. For those not familiar, Hassle Potter is a phantasy about a young orphan who’s life is plunged into a world of wonder when he is sent to Hogwarts, a school for wizardry. Piece there, he’s introduced to a creation that he never knew existed. Putter is much happier in his modern home. Afterward all, he’s making all kinds of friends (and enemies), and in Hogwarts, he feels his life sentence has a purpose. Of course, what would this picture be without some thrills. In front long, Chevvy and his new pals are force into unexpected adventures.

Harry Potter is a vast cocktail made up of elements from other charming fantasy tales. For example we have obvious dark glasses of Genius of Oz and Willy Wonka, piece the adventure aspects of the motion picture are reminiscent of Hoosier State Jones and director Chris Columbus’ have Goonies and Young PI Holmes (both of which he wrote the screenplays for). I was even slightly reminded of Top Gun (Hogwarts features teams of students competing for points in various competitions). Despite the fact I was reminded of other films, I never felt that Chivvy Potter was ripping these pictures sour. These moments were pernicious enough that they felt more like a blink or a homage to the stories that divine it. Columbus is more than than competent with the scope of the material. This moving picture is big, but sometimes that isn’t enough.

Perhaps Harry Potter’s strongest percentage point is the brilliant molding. Having discussed the book with many colleagues, Daniel Radcliffe is the stark Harry bringing a sweet sense of wonder to his pivotal role. As well terrific ar Emma James Watson (as peremptory Hermione Ganger) and Ron Weasley (as the rummy Rupert Grint). Harry Potter also benefits form a supporting dream cast of veterans including Alan Rickman, John Offend, Richard Benjamin Harris, John Cleese, Maggie Joseph Smith, Julie Walters and Kingmaker Davis (wHO you may remember as Willow). My favorite turn comes from Robbie Coltrane as a lovable whale who befriends Harry.

As expected, the special effects are a big role of this picture. Near impressive is the fast-flying broom card-playing event, an exciting sequence that stands well on it’s possess but doesn’t really do anything to move the story along. And while most of the other effects ar impressive, some didn’t geld it (the troll looked like a left over effect from The Mommy Returns.)

Much has been made about Chris Capital of Ohio and his attempt to be faithful to the material. That’s something I can’t in truth comment on. I’ve been told that the picture show is very close to the book. Therefore, Hassle Potter has much more to live up to when organism viewed by someone wHO is familiar with the novels. The screenplay was written by the gifted Steve Kloves (Wonder Boys). What I really want to input on is the pacing and tonus of the movie. Chevvy Potter has a running time of two and a half hours which seems a bit long for a family moving-picture show. Younger kids in the audience will, no doubt, get a bit antsy. Lengthy movies don’t bother me unless they are unable to hold my interest. Sadly, Harry Potter does have tedious stretches that well could have been cut. I must also fink that I never completely bought into the thaumaturgy of this picture which is all important if your going to enjoy the experience. Although much of it enchanted me, I was never completely won over care I was in The Wizard of Oz.

It should likewise be renowned that some of this movie will probably scare younger audiences. This isn’t a squawk, it’s just a warning. After all, Snow White and the Seven Dwarves scared many youngsters as well.

Is Harry Potter a unsound movie? Absolutely not. Is is the work of brilliance so many claim it to be? I don’t think so. One thing is for sure. I am interested in what the next taradiddle has in store for us. Nowadays that the characters make been accomplished, they can leave the confines of Hogwarts and engage in some existent adventure. With the money this picture is sledding to take in, I’m sure the next installment is just a couple of years away.

Jesus says Harry is the

download videos

Many music video directors have gradational to the elite earth of high tech film making. There was Michael Bay (Armageddon), and Spike Jonze as well as multitudinous others. At present, Tarsem Singh (he directed the video for R.E.M.’s ‘Losing My Religion’) tries his hand at the swelled screen with the visually sumptuous The Cell. Apropos, the set for ‘Losing My Religion’ makes a brief cameo in the film, so watch tight.

In The Cell, Jennifer Lopez plays a therapist who enters the mind of a serial killer (Vincent D’Onofrio) via a virtual reality type convenience, in an attempt to find the location of one of his victims. Vince Vaughn (Swingers) shows up as a police force detective to help Lopez with her quest.

The Cell is another in a long list of films this summer in which the visual aspects of the movie take over because the account just can’t hold it’s own. The film has an interesting premise only it’s just original, borrowing from films like Dreamscape, Brainstorm, and A Incubus on Elm tree Street. The plot tries to blend the in series killer mentality of Seven and Silence of the Lambs with the visual splendor of Dark City and What Dreams May Come.

It succeeds visually but fails elsewhere, and never actually manages to scare. Practically of the imagery in the picture comes across as creepy in itself, but a lot of it doesn’t seem to pertain to the plot line. It as well doesn’t avail that the climax of the plastic film never actually evokes whatever tension. Not once did I ever feel that any of these characters’ lives were in danger.

Lopez and Vaughn don’t fare very well in their one dimensional roles. In fact, some of their duologue is out-and-out laughable. In their doD, however, they’re not working with the best of screenplays. D’Onofrio is the film’s saving grace in terms of acting. He gives us a on-key portrait of a sympathetic, yet monstrous human being.

Singh is a director to watch over. He keeps this convoluted mess moving at a brisk footstep, and brings to the screen images never seen before. I also applaud him for staying out from the excessive CGI technology that has flooded cinema as of late. And although The Cell is atrociously derivitive, Singh could receive a huge career forward of himself. I barely hope he picks a more developed screenplay following time.

In the end, I had the same reaction to The Cell that I had to Hollow Man. The plastic film started off promising, just then became less interesting as the plot settled in. All the effects and coolheaded imagery in the populace can’t disguise a mediocre script.

With stunning graphics and fresh ideas The Cell captures their audience by giving a new twist at looking through the mind of a serial killer.

Directed by music picture editor, Tarsem Singh, this bizarre film shows how the inner workings of a sick serial killer named Carl Stargher (Vincent D’Onofrio) behave. It is the job of Federal Bureau of Investigation agent Saint Peter the Apostle Novak (Vince Vaughn) to track down Carl victimisation the evidence left on his female victims. After being caught in a coma Carl is induced with drugs and placed in a machine where psychologist Catherine II Dean (Jennifer Lopez) is literally sent into his mind in hopes of saving his latest dupe.

While The Cell is another serial killer pic it contumaciously is dissimilar any others. It retires the old classic tarradiddle of a murderer chasing a gorgeous girl and installs and new melodic theme of a gorgeous girl chasing the murderer patch at the same time trying to understand him. The Cubicle shows viewers how the minds of serial killers are created by their horrible experiences in the past. It creates sympathy for not only the victims just for the murderer as well.

I enjoyed this movie because of the creative special effects and the groundbreaking ideas they used. Singh use of computer graphics adds to the audience’s fascination patch also a giving the characters clues to the case. The Cell’s haunting images of demented fantasies will fasten to the minds of viewers long after they leave the theater.

i have a question. thither was a scene penny-pinching the beginning where J-Lo was smoke weed and watching some sort of imagery/trip-out snap on her TV. What was that trip flick she was watching?

download videos

I must admit that I take never been one for soap operas. There ar people in my living, however, that do enjoy watching them. My mother is a religious All My Children freak, spell my married woman Tonja watches Days of Our Lives when of all time she can buoy. The soap opera is a enchanting phenomenon. Why so many people are engrossed by them, I don’t fully understand. Maybe it’s because they’re such an exaggerated and excessively glamorous scene of how we ourselves live our daily lives. At least that’s what the modern film Nurse Betty sort of implies.

Nurse Betty was directed by BYU graduate Neil LaBute, and while his early films (In the Company of Men and Your Friends and Neighbors) are splendid, many regard them scratchy, misogynistic, and mean spirited. They ar interesting persona studies that delve into the minds of some of the most dysfunctional and brutal people you will ever see in a film. Nurse Betty also offers a look at some characters that have alike traits, merely takes a much gentler road acquiring to it’s point.

I’ve always had a hard time completely understanding Renee Zellweger’s appeal (although I did like her in Jerry Maguire) but here she soars in a career-defining operation. It’s not that this is a deep stock-still role, just she manages to oozing likability, and brings a kind of warmth and openness that few actresses could make matched.

In the film, Zellweger plays the title role, a sweet young woman with a nasty husband wHO gets a chance at a new life when an unexpected tragedy takes place. Following the traumatic event, Betty becomes treed in a psychological fancy, and believes that her favorite grievous bodily harm, Reason to Live (it takes place in a hospital), isn’t a soap at all, but a real place with real people. And since her favorite doer of all time (played to perfection by Greg Kinnear) is in the show, Betty believes that they were once an item, so she packs it up and heads out on a road trip to win plunk for the supposed love of her life-time.

Many former things ar going on in the well rounded and completely absorbing Wet-nurse Betty. Thither are deuce hitmen played with dynamic flair by Morgan Freewoman, and Chris Rock wHO believe Betty is some kind of genius femme fatale, and are hot on her trail to recover stolen merchandise. They embark on their possess road slip in which they hire in some nifty dialog that Quentin Tarantino probably cut from Pulp Fable. Thankfully, it never becomes annoying as it did in Way of the Gun because these characters are so engaging.

Perhaps the strong point in the glorious Nurse Betty is it’s winning screenplay. John C. Richards and James Flamberg have devised clever ways to juggle all of there plotlines into a funny, whimsical, often touching take on The Ace of Oz. I too enjoyed how everything going on in the existent life scenario is just as absurd, if not more so, than the crazy antics going on within A Reason To Live. This is certainly one of the topper screenplays of the year. Nurse Betty tips it’s hat to films like Pulp Fiction, Soap Dish, Fisher Mogul, and multitudinous others, patch remaining sassy, exciting, and wildly unpredictable.

Director LaBute shows that he is a very capable and versatile film maker wHO will be around for quite some time. This is an expertly directed piece of entertainment in which LaBute demonstrates truthful skill with great timing and a wonderful sensation of liquid body substance. He fifty-fifty pays court to early film makers including the Coen Brothers, the previously mentioned Tarantino, and Robert Altman.

I’d also like to acknowledgment Zellweger once more, because she really adds a caboodle of mightiness to this film, as a cleaning lady who seems to jinx people everyplace she goes. This film could have been called There’s Something About Betty. It should also be noted that the pivitol scene between Freeman and Zellweger, features some of the virtually memorable playacting of the year.

In an super mediocre class for movies, things are looking up. The fantastic Nurse Betty takes us out of a very disheartening slump. LaBute and company have made an endearing beguiler.

I’ve read your reassessment of this film and I as well realize that you’re not exactly in the minority opionion, only in parliamentary law to enjoy this film you have to be able to play on with style to much improbable circumstance. To buy the premise of this film is almost as absurd as believing that someone could survive a firing team without being hit, with ten marksmen all shot live rounds from point blank reach. Maybe I just wasn’t in the mood gor such a logistical stretch out, but I couldn’t enjoy the film because of it.

Comedian Andy Kaufman was probably c. H. Best known as Latka on TV’s Taxi. Outside of that he was by and large known as an eccentric jokester, notorious for keeping audiences guessing what was real and what was an act. In this new bio-pic from Milos Foreman (One Flew Over the Cuckoos Nest, Amadeus, and People Vs. Larry Flynt), Jim Carrey gives the performance of his career as Kaufman. Carrey seems to undergo a complete transformation as not only the sweet and unpredictable George S. Kaufman but as Kaufman’s crazy alter egos as well.

Foreman and screenwriters George C. Scott Alexander and Larry Karazewski do a good job keeping the pace lively and keeping the audience testing the bounds of reality. Is this a joke or is this real? That is the constant question the film-makers ask. At the same time, this film manages to humanise Kaufman and show that maybe he wasn’t always crazy–there in truth was a human being behind all that crazy energy. Carrey perfectly embodies Kaufman’s personae and you will, no doubt, forget you ar watching the same man that played Ace Ventura (thankfully).

Danny DeVito plays Kaufman’s manager although many remember that he too played Louie on Taxi. He does a very good caper, as does Paul Giamatti as Kaufman’s partner Bob Zmuda.

In his metre, Kaufman was not rattling regarded as a master of his craft. Yet, through the years and with Man on the Moon, many will see Kaufman for what he really was–a comic genius. Man on the Sun Myung Moon is a zany travesty about a true visionary. It’s a film that perfectly captures his fantastic spirit. In fact, if Andy were still alive today, he probably would have made this motion-picture show the same way.