0ur opinion: :Jack Arnold's horror classic The Creature from the Black Lagoon spawned not one but two iconic images: the web-footed humanoid gill-man with a hankering for women and the leggy, luscious Julia Adams, the object of his desire, swimming the lagoon in a luminous white bathing suit. Not since King Kong has the 'beauty and the beast' theme been portrayed in such sexually charged (though chaste) terms. Arnold turns an effectively B-movie plot--a small expedition up a remote ...
0ur opinion: :Jack Arnold's horror classic The Creature from the Black Lagoon spawned not one but two iconic images: the web-footed humanoid gill-man with a hankering for women and the leggy, luscious Julia Adams, the object of his desire, swimming the lagoon in a luminous white bathing suit. Not since King Kong has the 'beauty and the beast' theme been portrayed in such sexually charged (though chaste) terms. Arnold turns an effectively B-movie plot--a small expedition up a remote ...
0ur opinion: :Jack Arnold's horror classic The Creature from the Black Lagoon spawned not one but two iconic images: the web-footed humanoid gill-man with a hankering for women and the leggy, luscious Julia Adams, the object of his desire, swimming the lagoon in a luminous white bathing suit. Not since King Kong has the 'beauty and the beast' theme been portrayed in such sexually charged (though chaste) terms. Arnold turns an effectively B-movie plot--a small expedition up a remote ...
0ur opinion: :Jack Arnold's horror classic The Creature from the Black Lagoon spawned not one but two iconic images: the web-footed humanoid gill-man with a hankering for women and the leggy, luscious Julia Adams, the object of his desire, swimming the lagoon in a luminous white bathing suit. Not since King Kong has the 'beauty and the beast' theme been portrayed in such sexually charged (though chaste) terms. Arnold turns an effectively B-movie plot--a small expedition up a remote ...
0ur opinion: :The Dead Zone is based on a novel by Stephen King, directed by David Cronenberg (Scanners, The Fly) and produced by Debra Hill (Halloween, The Fog). Such a trio of horror vets would be expected to come up with an evening of shocks and gore, but The Dead Zone is a surprise. While it has great atmospheric eeriness and undeniably scary moments, The Dead Zone is at heart a sensitive and thoughtful portrayal of main character Johnny ...
0ur opinion: :The Dead Zone is based on a novel by Stephen King, directed by David Cronenberg (Scanners, The Fly) and produced by Debra Hill (Halloween, The Fog). Such a trio of horror vets would be expected to come up with an evening of shocks and gore, but The Dead Zone is a surprise. While it has great atmospheric eeriness and undeniably scary moments, The Dead Zone is at heart a sensitive and thoughtful portrayal of main character Johnny ...
0ur opinion:Description:Julie Andrews returns to host the second installment of the 'My Favorite Broadway' series. 'My Favorite Broadway: The Love Songs' is a magical one-night-only concert extravaganza featuring Broadway's brightest stars. Celebrated performances from many of the most beloved musicals ever including 'Guys and Dolls,' 'Drat, the Cat,' 'Camelot,' 'Sweet Charity,' 'My Fair Lady' and more. Songs: Love ls Sweeping the Country/ Till There Was You/ Lover/ So in Love (Adam Pascal, Brent Spiner, Rebecca Luker, Peter Gallagher ...
0ur opinion:Description:Julie Andrews returns to host the second installment of the 'My Favorite Broadway' series. 'My Favorite Broadway: The Love Songs' is a magical one-night-only concert extravaganza featuring Broadway's brightest stars. Celebrated performances from many of the most beloved musicals ever including 'Guys and Dolls,' 'Drat, the Cat,' 'Camelot,' 'Sweet Charity,' 'My Fair Lady' and more. Songs: Love ls Sweeping the Country/ Till There Was You/ Lover/ So in Love (Adam Pascal, Brent Spiner, Rebecca Luker, Peter Gallagher ...
We've covered in too much detail how it's some sort of "open season" on Vonage when it comes to VoIP patents. After dealing with ridiculous and expensive patent lawsuits from companies who failed to actually innovate in the same way Vonage did, the company was pressured by Wall Street to quickly settle the various patent lawsuits filed against the company. Of course, rather than settle matters, that simply opened the door for other companies to go searching through their patent portfolios to see if there was anything they could sue Vonage over. Indeed, following those settlements it didn't take long for AT&T to dig up a patent and sue -- which was quickly settled as well. Thought things were over? No such luck. Nortel just showed up last month to sue and it took all of about a week and a half for Vonage to settle that case as well.
The Nortel case is slightly different because Vonage actually already had a patent infringement lawsuit going against Nortel, but it wasn't really initiated by Vonage. Instead, it had been initiated by a patent holding firm that Vonage bought in 2006. The end result of the settlement doesn't involve money changing hands, but just a cross licensing agreement for the patents. So what's the big lesson that Vonage and others have learned from this? It's certainly got nothing to do with innovating. It's to hoard as many patents as possible so that you have your own nuclear stockpile for when someone else sues you. Want to know why the USPTO is overwhelmed? It's not because there aren't enough examiners (as some will claim) or that there aren't enough funds. It's because the way the system now works is that you are supposed to file patents on every tiny little advancement so you can use it to protect yourself against lawsuits from everyone else. That's not about innovation. It's about waste. In the meantime, since it's still open season at Vonage, who's going to be next? There are a ton of other patents in the VoIP space that can surely be used in a lawsuit, right?
Small and light enough for a shirt pocket, Samsung's Helix YX-M1 is a one-stop audio entertainment center with an XM radio, a digital music player, and room for 50 hours of tunes, but it comes up short on battery life.
This raw work-flow application isn't the Holy Grail many hoped it would be, but Apple Aperture 1.5 could make life easier for photographers who need to cull, retouch, and output large numbers of photographs quickly and efficiently.
It's a measure of the ongoing popularity of Karen and Richard Carpenter that the 2002 release of this video collection in DVD format comes nearly 20 years after Karen's death. The duo's heyday mostly preceded the MTV age, so this 15-song, 55-minute anthology is a bit of a visual hodgepodge, composed of still photos, footage from TV shows and concerts, promo clips, fleeting attempts at conceptual videos, and other weirdness (film of Carpenters albums being pressed on the assembly line? Hey, whatever). You'll see an array of bad haircuts and outfits and a whole lot of lip-syncing, but in the end, it's the music that counts. And the Carpenters' signature sound, with its brilliant arrangements, its lush harmonies, and Karen's exquisite alto voice, was easy-listening pop at its finest. If nothing else, Carpenters: Gold offers another chance to hear that music in all its glory. --Sam Graham
With a gentle tug at the heartstrings, Evelyn tells the true story of an imperfect father whose devotion brought much-needed change to rigid Irish law. It's a labor of love for star and coproducer Pierce Brosnan, who brings just the right touch of Everyman charm to his role as Desmond Doyle, a struggling Dublin tradesman, father of three, and chronic pub-crawler whose wife abandons their family the day after Christmas, 1953. Desmond's a loving father who's boyishly irresponsible; Irish law dictates the removal of his children to stern Catholic orphanages, and his battle for custody is aided by two lawyers (Stephen Rea, Aidan Quinn) who seize this opportunity to revolutionize the courts. With straightforward, unobtrusive style, director Bruce Beresford draws fine performances from Brosnan, Julianna Margulies (as a barmaid who inspires Desmond's sobriety), and especially young Sophie Vavasseur in the title role as Desmond's bright, determined daughter. Sentimental without being saccharine, Evelyn is simple, well made, and bursting with genuine Irish spirit. --Jeff Shannon
Few would accuse Fantasia of a reluctance to abide by the wisdom that what you've got, you should flaunt, and the vocal gusto she slathers over her full-length debut gets partial credit for earning--and keeping--your attention. To a greater extent, though, the high-wattage help heaped over the Idol 3 champ and Patti LaBelle-sound-alike makes the disc dazzle. In addition to pitch-ins from Missy Elliott, who produced and co-wrote three tracks and busts out a two-snaps-up rhyme on "Selfish (I Want U 2 Myself)," Jazze Pha duets on the ultra-mod "Don't Act Right" and Jermaine Dupri wrote and produced the smolderer "Got Me Waiting." Surprisingly, though, it's not those tracks or even the Idol-propelled cover of the Gershwins' "Summertime" that will stick with listeners most. Instead, first single "Truth Is," a sweet, old-school R&B lament directed toward a lost love, and "Baby Mama," a spirited shout-out to hard-working single mothers, snare standout status with their from-the-gut authenticity. Keeping it real is what won Fantasia the hearts of millions on TV, and despite Free Yourself's likable slickness, it convinces that--hot commodity or no--she's not about to forget it. -Tammy La Gorce
