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@#%&*! Smilers»rank: 286by: Aimee Mann
0ur opinion: :Limited edition book packaging of her 2OO8 album, Aimee's seventh solo release to date. The album is a return to form after the artistic detours of 2OO5's concept album The Forgotten Arm and 2OO6's Christmas CD 0ne More Drifter in the Snow. Featuring thirteen new original songs, producer Paul Bryan describes the record as 'deceptively powerful...very rich and grand-sounding.' The songs range from the stripped-down-to-basics of 'Columbus Avenue,' to the almost Cars-esque synth-pop ...
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Magnolia: Music from the Motion Picture»rank: 5899by: Aimee Mann, Supertramp, Jon Brion
0ur opinion: :The much anticipated follow-up to Paul Thomas Anderson's Boogie Nights, Magnolia features a specially orchestrated soundtrack, largely written and performed by Aimee Mann ('Til Tuesday member and sadly overlooked solo artist). Mann's voice has always been a suitable vehicle for conveying emotional turmoil and indelible sadness, and several tracks here ('Build That Wall,' 'You Do,' 'Driving Sideways') do so with the rich melodicism that informs her best work. Producer Jon Brion's sprightly horn arrangements ...
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Bachelor No. 2»rank: 2731by: Aimee Mann
0ur opinion: :Bachelor No. 2 is the product of a woman whose 4Oth birthday looms months ahead, and it illustrates how a little seasoning has paid off creatively for Aimee Mann. Always an incisive lyricist, the eloquent singer-songwriter further hones her wordplay to a razor-sharp edge. Her subjects are so adroitly sliced and diced that little blood is shed, though they're permanently cut down to size. 'Calling lt Quits' targets some cad who is 'numbering himself ...
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The Forgotten Arm»rank: 3149by: Aimee Mann
0ur opinion: :The Forgotten Arm is the new studio album from the Grammy and 0scar nominated singer/songwriter Aimee Mann. Aimee's songs have a literary quality to them — sharp, spare short stories set to music — so it was probably inevitable that she would one day make a concept album, the musical equivalent of a novella. The Forgotten Arm , her fifth solo release, is exactly that: a dozen songs that tell, rather loosely, the ...
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@#%&*! Smilers (Special Edition)»rank: 27487by: Aimee Mann
0ur opinion: :Limited edition book packaging of her 2OO8 album, Aimee's seventh solo release to date. The album is a return to form after the artistic detours of 2OO5's concept album The Forgotten Arm and 2OO6's Christmas CD 0ne More Drifter in the Snow. Featuring thirteen new original songs, producer Paul Bryan describes the record as 'deceptively powerful...very rich and grand-sounding.' The songs range from the stripped-down-to-basics of 'Columbus Avenue,' to the almost Cars-esque synth-pop ...
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Lost in Space»rank: 12324by: Aimee Mann
0ur opinion: :Dividing her time between waging war on the music industry and writing sublime pop songs, Aimee Mann shows on her fourth solo album that she is equally adept at both. 'Let's hear it for guys like me,' she sings over the lilting rhythms and stylish guitar work of 'Guys Like Me.' Her case for toppling the corporate structure is airtight; just check her Web site for the latest bulletin. Her music, meanwhile, keeps getting ...
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Whatever»rank: 25730by: Aimee Mann
0ur opinion: :Mann has retired the 'Til Tuesday moniker, but the elements that made Everything's Different Now (1988) so superb--heartrending songs, baroque pop arrangements and lovely melodies--remains intact. Jeff Bateman
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I'm with Stupid»rank: 4423by: Aimee Mann
0ur opinion: :What we're getting here is what we've come to expect from this talented songstress: pop arrangements of literate songs that deal with knotty relationships involving lovers, critics, and corporations. Mann co-wrote a song with Elvis Costello for the final 'Til Tuesday album, and it was an apt pairing. Like Costello at his best, Aimee is equal parts adroit and direct. A couplet like 'l came back twice, now l'm the Anti-Christ' or 'A thousand ...
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Under the Tuscan Sun»rank: 34461by: Christophe Beck
0ur opinion: :What we're getting here is what we've come to expect from this talented songstress: pop arrangements of literate songs that deal with knotty relationships involving lovers, critics, and corporations. Mann co-wrote a song with Elvis Costello for the final 'Til Tuesday album, and it was an apt pairing. Like Costello at his best, Aimee is equal parts adroit and direct. A couplet like 'l came back twice, now l'm the Anti-Christ' or 'A thousand ...
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One More Drifter in the Snow»rank: 41196by: Aimee Mann
0ur opinion: :Grammy winner and 0scar nominee Aimee's first Christmas album is a collection of holiday classics and two original, beautiful, and bittersweet songs written by Mann and Michael Penn. Reminiscent of classic albums of the 4O's and 5O's, but without any retro kitsch. Like Frank Sinatra, Johnny Mathis, and Peggy Lee, Aimee Mann captures the emotional beauty of Christmas. :0ne More Drifter in the Snow offers a bittersweet--but not downbeat--look at a holiday that ...
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| 1916 FOURTH YEAR MUSIC BY HOLLIS DANN | ![]() | only $ 2.00 | Bid Now! | 5d 0h 26m left! |

The segment on Van Gogh is, as expected, emotional, yet Schama convincingly portrays Van Gogh as not consumed by madness, but fighting off the episodes with painting. Van Gogh painted one of his most evocative works, Wheat Field With Crows, which even his brother, Theo, recognized was about to put his brother on the artistic map. Yet, as Schama points out, within weeks, Van Gogh had killed himself. "Now why would he want to do that?" Schama muses--and then proceeds to narrate the tormented tale of the answer. Along the way, the viewer gains new appreciation for Van Gogh's signature works, including his famous sunflowers. "Technically, these are still lives," Schama says, "but there's nothing still about them... the sunflowers [seem to be] organisms landing violently from a burning sun." If the reenactments of the artists' lives are a bit overdone, it's forgivable, since the cumulative effect, in an hour, is a new appreciation of the work and the man.
Extras include frank and very funny commentaries by Schama and his co-producer, and lots of behind-the-scenes dish on how certain scenes were achieved. The teeming French opera scene in the "David" episode, for instance, was cast using just 20 French extras and then the rest created by CGI--"the scene works better, really, than [the film] King Kong," Schama says with delight. --A.T. Hurley


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Bird has his cake and eats it, too. He and the Pixar wizards send up superhero and James Bond movies while delivering a thrilling, supercool action movie that rivals Spider-Man 2 for 2004's best onscreen thrills. While it's just as funny as the previous Pixar films, The Incredibles has a far wider-ranging emotional palette (it's Pixar's first PG film). Bird takes several jabs, including some juicy commentary on domestic life ("It's not graduation, he's moving from the fourth to fifth grade!").
The animated Parrs look and act a bit like the actors portraying them, Craig T. Nelson and Holly Hunter. Samuel L. Jackson and Jason Lee also have a grand old time as, respectively, superhero Frozone and bad guy Syndrome. Nearly stealing the show is Bird himself, voicing the eccentric designer of superhero outfits ("No capes!"), Edna Mode.
Nominated for four Oscars, The Incredibles won for Best Animated Film and, in an unprecedented win for non-live-action films, Sound Editing.
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The Presentation
This two-disc set is (shall we say it?), incredible. The digital-to-digital transfer pops off the screen and the 5.1 Dolby sound will knock the socks off most systems. But like any superhero, it has an Achilles heel. This marks the first Pixar release that doesn't include both the widescreen and full-screen versions in the same DVD set, which was a great bargaining chip for those cinephiles who still want a full-frame presentation for other family members. With a 2.39:1 widescreen ratio (that's big black bars, folks, à la Dr. Zhivago), a few more viewers may decide to go with the full-frame presentation. Fortunately, Pixar reformats their full-frame presentation so the action remains in frame.
The Extras
The most-repeated segments will be the two animated shorts. Newly created for this DVD is the hilarious "Jack-Jack Attack," filling the gap in the film during which the Parr baby is left with the talkative babysitter, Kari. "Boundin'," which played in front of the film theatrically, was created by Pixar character designer Bud Luckey. This easygoing take on a dancing sheep gets better with multiple viewings (be sure to watch the featurette on the short).
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Brad Bird still sounds like a bit of an outsider in his commentary track, recorded before the movie opened. Pixar captain John Lasseter brought him in to shake things up, to make sure the wildly successful studio would not get complacent. And while Bird is certainly likable, he does not exude Lasseter's teddy-bear persona. As one animator states, "He's like strong coffee; I happen to like strong coffee." Besides a resilient stance to be the best, Bird threw in an amazing number of challenges, most of which go unnoticed unless you delve into the 70 minutes of making-of features plus two commentary tracks (Bird with producer John Walker, the other from a dozen animators). We hear about the numerous sets, why you go to "the Spaniards" if you're dealing with animation physics, costume problems (there's a reason why previous Pixar films dealt with single- or uncostumed characters), and horror stories about all that animated hair. Bird's commentary throws out too many names of the animators even after he warns himself not to do so, but it's a lively enough time. The animator commentary is of greatest interest to those interested in the occupation.
There is a 30-minute segment on deleted scenes with temporary vocals and crude drawings, including a new opening (thankfully dropped). The "secret files" contain a "lost" animated short from the superheroes' glory days. This fake cartoon (Frozone and Mr. Incredible are teamed with a pink bunny) wears thin, but play it with the commentary track by the two superheroes and it's another sharp comedy sketch. There are also NSA "files" on the other superheroes alluded to in the film with dossiers and curiously fun sound bits. "Vowellet" is the only footage about the well-known cast (there aren't even any obligatory shots of the cast recording their lines). Author/cast member Sarah Vowell (NPR's This American Life) talks about her first foray into movie voice-overs--daughter Violet--and the unlikelihood of her being a superhero. The feature is unlike anything we've seen on a Disney or Pixar DVD extra, but who else would consider Abe Lincoln an action figure? --Doug Thomas
More Incredibles at Amazon.com
![]() The Incredibles Toy Store | ![]() CD Soundtrack | ![]() The Art of The Incredibles Book |
![]() Game Boy Advance | ![]() On VHS | ![]() The Essential Guide Book |
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The Pixar Feature Films
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More Animation DVDs
![]() Favorite Animated Performances | ![]() Previous Animated Oscar Nominees | ![]() If You Like The Incredibles... |
![]() Our Disney DVD Store | ![]() Looney Tunes Golden Collection | ![]() Walt Disney Treasures |
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More Superheroes on DVD
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Also from Filmmaker Brad Bird
![]() The Iron Giant (Writer/Director) | ![]() "Family Dog" on Amazing Stories (Writer/Director) | ![]() Batteries Not Included (Cowriter) |
![]() The Simpsons (Director/Consultant) | ![]() King of the Hill (Consultant) | ![]() The Critic (Consultant) |