Before sunset waltz Peaceful, but fearful in the English

Before sunset waltz Peaceful, but fearful in the English countryside, we know the peace is doomed and as things are slowly implied to be worse than they ever were in the first film, we know something is about to happen. From there, the films constructs a very credible story with plenty of credible scenarios of what happens next when a crisis the government will turn out to know about and not know how to handle kicks in. I was very surprised and impressed throughout at the humor, consistency and intelligence of Weeks, the best film of its kind in many years. I also find it a bit ironic that it arrives only months before the latest official film version three if not counting Romeros ultimate knockoff, the first Night Of The Living Dead in 1968 of Richard Mathesons I Am Legend, very much a basis for the first film. Of coursed, the novel dealt with vampires and all the versions since have added new twists to the monsters en masse, but the reason why 28 Weeks Later will hold up to other films in its genre is simply because it does so much so well. The makers truly scary films and know that suspense, not just gore and fancy effects, must be included for the film to work and hold up. Like the recent remake of The Hills Have Eyes, serious Horror fans and especially filmmakers need to take note. Both films are in 1080p, 85 X 1 AVC digital High Definition presentations on their respective Blu-rays 38 MBPS for the first, 37 MBPS for the sequel and both mix various film and video formats throughout. This holds back Days more than it should, but it still looks better here than it did on its DVD from a few years ago. Weeks looks decent in its anamorphically enhanced DVD-Video version, but the Blu-ray is the best of the lot of two films in two formats, coming across sharper, clearer and richer than the other three, making for a solid picture performance despite purposeful distortion and stylization. Anthony Doo Mantel, , may have set the style for the first film, but Enrique Chediak really knows how to run with it with tighter editing and more prominent use of film. The first film used low def video, 8mm and 35mm film, while the sequel used more low def, some HD, 16mm and 35mm. As for sound, the first film was Dolby Digital al the way from the theater to DVD, but the Blu-ray adds and in English, only offers a DTS HD Master Audio 1 mix that is most welcome and despite showing the limits of the audio, performs nicely. The sequel was before sunset waltz in DTS, Dolby SDDS in theaters, but the DVD only has Dolby 1 and though it is not bad, the encoding limits a great soundmaster whose greatness is obvious in the DTS HD MA version. Better than the original, we could not play the full MA lossless signal as of this posting, but if it is even better than what we could hear, the sound may rate higher. The extras are the same on the first film Blu-ray as they were on the old DVD, while the sequel DVD and Blu-ray share the same extras though the Blu-ray better interactivity. Extras include the original theatrical trailer, audio commentary by the director with co-producer Enrique Lopez-Lavigne, deleted scenes of note with optional commentary by the same, animated chapters from 28 Days Later: The Aftermath, a making of featurette, The Infected featurette and Getting Into The Action featurette. What a pleasure to have so many great extras to go with such a good film. At my 35mm premiere screening of Weeks, every seat in the house was full, people were turned away and there were an unusual number of older people there. I found this puzzling and so did my friends, plus some other we knew who were not happy others they knew did not make it. Then we started watching the film and started to realize that the unusual number of elderly did not realize it was a Horror film. As a matter of fact, some of them seem to have thought they were there for a Sandra Bullock film despite the passes have not picture of her, her name did not appear on the passes and the toxic motif did not give them a clue about the film. As a result, when the first bloody, gruesome, massive attack kicked in, a bunch of them suddenly got up and left, much to the amusement of the audience. The punk rock fans even applauded and laughed. I before sunset waltz bad, but it was a mistake. Fortunately, the film is not and whether you have seen 28 Days Later or not, I cannot recommend 28 Weeks Later enough. It might even be a minor classic. A sinister cabal of superior writers. The Day After Tomorrow is supposed to scare you into thinking the world could plunge into a massive, deadly winter sometime around, well, the day after tomorrow. It doesn t. Instead, audiences are given a ridiculous, hilarious, campy tale of a father looking for his son amidst the worst storm mankind has ever experienced. Wisely spacing out the key moments of destruction, Day After does a fine job of keeping audiences in their seats for at least 60 minutes. The CGI here is generally unforgettable, producing sights that most of the 70s disaster films tried so hard to produce with their limited resources. Never has worldwide devastation been shown in such a form. Sadly, once everything calms down and Dennis Quaid begins his before sunset waltz from Pennsylvania to New York on foot to rescue his child, the movie becomes absurd. Swallowing some of the slapped together science is expected, but when this intrepid group comes across body after body frozen to death and they seem to have little trouble surviving, it s flat out stupid. Worse, there is little reason for him to even make the journey. He really has to figure his extremely intelligent kid is smart enough to start a fire.