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    October 2, 2008
  • Last review
    November 16, 2008
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Veggiechiliqueen's Reviews
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Expand the soundscape of your computer's sound system with this multimedia speaker system that features TruSpace® surround digital processing circuitry for an immersive listening experience from just 2 speakers.
 
Customer Rating
5 out of 5
5
Knocked my socks off for the price
on November 3, 2008
Posted by: Veggiechiliqueen
I purchased the Bose Companion II Computer Speakers to make up for the shortcomings of a flat-panel monitor with integrated rear-facing speakers. Out of the box, my new monitor sounded like a tin can...I turned the volume up all the way on the computer only to find that the "integrated" speakers couldn't cope, so I was off to buy replacements.
I purchased some Bose MediaMate speakers for an older computer several years ago, and was unhappy with the experience. I bought the speakers at a Bose outlet for about $130, and they never did function properly due to a faulty cable connection.
However, after listening to the Companion II speakers in-store and reading generally positive reviews, I decided on these instead of the Companion III system, which featured a blocky subwoofer and mountable cube speakers (I didn't want to risk alienating the neighbors with a cranked-up bass). Setup was a breeze; I simply popped them out of the box, plugged them in, and away I went.
The difference was instant (and amazing). Instead of the tinny computer speakers, with Bose Shrek III now sounded like it was in a theater, with a becoming richness and resonance and a powerful bass to underscore the onscreen action. The speakers sound equally good when applied to jazz, classical, or anything else you can throw at them.
The Bose Companion speakers provide rich, full sound with a good range of highs and lows; one downside is the inability to physically adjust levels (the speakers do so automatically), although you can go in through your control panel and do so. Also, a remote would have been nice, but for the price, these provide excellent sound for the money. There are dual audio inputs, so you can use these with your computer as well as portable audio devices such as MP3 players or CD players.
What's great about it: Rich, full sound, the price
What's not so great: A remote would have been nice, no knobs for bass/treble
I would recommend this to a friend!
Sound Quality
5 out of 5
5
+1point
1of 1voted this as helpful.
 
Customer Rating
4 out of 5
4
A haunting romance across time
on November 2, 2008
Posted by: Veggiechiliqueen
Jennifer Jones (The Song of Bernadette) and Joseph Cotten star in Portrait of Jennie, a 1948 film that revolved around a painter's obsession with a beautiful, mysterious girl who seems to live more in the past than the present. Eben Adams (Cotten) is a washed-up painter on hard times and lacks inspiration until he meets Jennie (Jones) in a New York park. Jennie has an unusual way of speaking about past events as though they are current (referring to Germany's kaiser, and to theaters that had been demolished). Her fresh-faced beauty appeals to Adams, and Jennie makes the wish that he wait for her to grow up so that they can be together.
Jennie's sporadic appearances allow time for Eben to work on other commissions, and to research Jennie more carefully by interviewing people who had worked with her parents (famous high-wire circus performers). Inevitably, dark truths are uncovered that disturb Eben's "painting-perfect" romance with the soft-spoken, beautiful Jennie. His portrait of her is a testament to his love and brings him artistic fame. Eben is also introduced to Miss Spinney (Ethel Barrymore), a headstrong old maid who deals in paintings and who wants to see Eben produce something more spiritual. Other notable names include Lillian Gish as Mother Mary of Mercy, Cecil Kellaway as Matthews, and a young Nancy Davis Reagan in the art gallery.
Joseph Cotten is an engaging narrator, and his growing dependence on Jennie and his depression over Jennie's long absences is utterly believable (if a bit melodramatic). Jennifer Jones has more to work with here than in her first Oscar-winning role as Bernadette, although seeing a well-proportioned twentysomething trying to portray prepubescent innocence was a little bit creepy (see: Judy Garland in The Wizard of Oz). Her character ages rapidly both physically and psychologically, so Jones was able to display a range of emotions, from a childhood crush to deeper musings on the nature of love and faith. Some of the secondary characters suffer from disappearing Irish accents; others shamelessly (sometimes woodenly) overact.
The film follows several conventions of its time, and appears dated. The "special effects" are pretty standard; several scale models are used and a green tint is used for the final scenes. There are some beautifully dreamy shots of New York City, and the fabulous effect of having shots appear as though they were painted on canvas. The DVD transfer features some artifacts and print flaws. There are no extras to speak of. However, fans of time-travel romances The Ghost and Mrs. Muir and Somewhere in Time will enjoy Portrait of Jennie, although the strongest film of this genre is undoubtedly The Ghost and Mrs. Muir. Despite its shortcomings, Portrait of Jennie is a pretty decent love story.
I would recommend this to a friend!
+2points
2of 2voted this as helpful.
 
Customer Rating
4 out of 5
4
A much-needed breath of fresh air
on November 1, 2008
Posted by: Veggiechiliqueen
Several of my friends from Turkey gave me "Come Closer" as a gift after I proclaimed my love for Tarkan. I've been following Tarkan's career since 2002, after "Simarik" (Kiss Kiss) made international waves and his CD "Tarkan" was widely available in the US. Having cut my teeth on Tarkan's earlier works, I honestly wasn't expecting such a polished English-language debut.
The beauty of "Come Closer" is in the blend of East meets West. At first glance, songs that appear to be clones of Justin Timberlake or Darren Hayes slip in moments of Turkish exoticness: bellydance beats, traditional Turkish instruments and melodies, and traditional Turkish singing (Tarkan was classically trained in Istanbul in traditional Turkish song). One of the highlights is an English version of the earlier Sikidim, complete with Turkish chorus and addictive Middle Eastern beats.
As with many albums, "Come Closer" follows the tried-and-true formula of roughly half ballads, half up-tempo dance tracks. The album kicks off with R&B jam "Just Like That," which features a killer bhangra hook on some sort of traditional Turkish strings. "In Your Eyes" continues the melding of Turkish traditional with strong R&B. "Why Don't We" features Wyclef Jean, traditional Turkish modulation, and reggae rhythms. The album continues its reinvention of R&B / dance with each track featuring some Turkish touch to remind you that this is Tarkan and not Justin Timberlake. One or two of the songs seemed more like Timberlake clones, but one listen to Sikidim brings you back to Tarkan's Turkish heritage. Tarkan has taken an American style and uniquely melded it with Turkish classical influences to reinvent an ailing genre.
I would recommend this to a friend!
0points
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Customer Rating
3 out of 5
3
Good idea, but bland execution
on October 30, 2008
Posted by: Veggiechiliqueen
Music Within is a biopic revolving around Richard Pimentel, a wounded Vietnam vet whose efforts at finding jobs for fellow wounded vets along with his friendship with Art Honeyman, a writer with severe cerebral palsy, led to Richard's widespread workplace disability training and the eventual creation and adoption of the Americans with Disabilities Act in 1990.
However, despite solid performances by Ron Livingston as Richard, Melissa George as his love interest Christine, and Michael Sheen as Art, the film falls into predictable pitfalls. First, as a Vietnam-era biopic, with the vintage soundtrack and generic battlefield sequences, Music Within feels like it could have been pulled from Forrest Gump, Born on the Fourth of July or any number of films revolving around Vietnam vets' painful readjustments to civilian life. Livingston is simply too old to pull off a convincing teenage Richard, and the scenes of Richard's early childhood are awkward and strike a sour note. The role of Christine, Richard's love interest, was one-dimensional and instantly forgettable (she appears when the script requires it, other than that she's off practicing "free love" with her other boyfriends).
As a "disabled" film, there are moments that reminded me strongly of Rory O'Shea Was Here, an Irish indie film starring James McAvoy and Steven Robertson as wheelchair-bound rebels, one with muscular dystrophy and the other with severe cerebral palsy. Art's CP also brought to mind Daniel Day-Lewis's performance in My Left Foot (Special Edition), which also leads me to my next observation: despite comments from directors, surely there must be professional actors with actual cerebral palsy. Despite well-meaning portrayals, having able-bodied actors attempt to recreate the symptoms of CP, even if done well, always feels like a cheap shot to me, and at times Michael Sheen's performance borders on caricature. Also, despite a split-second scene of Richard's speech therapy class, the onscreen portrayal of lipreading is highly inaccurate.
The sloppy script lacks any real drama, and I agree with a reviewer who stated that the film would have been much more powerful if Art had been the narrator instead of Richard. The '70s is merely set dressing, and there is no sense of any real passage of time other than hairstyles. Despite the blink-and-you'll-miss-it cameos from Rebecca De Mornay, Hector Elizondo, and Leslie Nielsen, the film came off feeling unpopulated, focusing on Richard's quest with little real depth or insight, despite the backstory of his seeking acceptance from his mentally ill mother. There are numerous continuity goofs in respect to period details, but the sound editing, distorted at times to reflect Richard's tinnitus, is effective.
Overall, Music Within still had its moments, particularly from the razor-sharp wit of Art's painfully delivered lines (which, per other films with CP characters, are mostly unintelligible). Much like the device used in Rory O'Shea, Richard serves as Art's mouthpiece when dealing with other people since he is the only (!) person who can understand him. There is a lot of heavy profanity, drinking, and drug use by the Vietnam vets and several scenes involving death, so if you're sensitive to any of these, consider yourself forewarned. The DVD also features deleted scenes (nothing special), a commentary, several trailers for other films, and a keynote speech from the real Richard Pimentel.
What's great about it: Based on a true story
What's not so great: Bland, cliches, it drifts at times
No, I would not recommend this to a friend.
0points
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Customer Rating
5 out of 5
5
A pairing made in heaven
on October 28, 2008
Posted by: Veggiechiliqueen
Long before she became known as a sultry bombshell with 1958's smash hit Fever, Peggy Lee had practiced her sexier side with Benny Goodman on hits such as Why Don't You Do Right. Lee received her big break in 1941 when Benny Goodman heard her sing; his vocalist Helen Forrest was about to leave his band, and he was looking for a replacement. A few days later, Lee recorded Elmer's Tune, the first track on The Complete Recordings 1941-1947. That same year, several more of Lee/Goodman's arrangements went on to be hits, including I Got It Bad and Winter Weather. The Complete Recordings gathers 38 tracks by Lee and Goodman, despite the fact that Lee married Goodman's guitarist Dave Barbour and took a year off, returning to work on her solo career with Barbour (in 1945, she signed a solo contract with Capitol). 32 of the tracks were recorded between 1941 and 1942 and displayed Peggy Lee's widening range to perfection, from blues (Blues in the Night), ballads (How Deep is the Ocean?, How Long Has This Been Going On?, When the Roses Bloom Again, Where or When, The Way You Look Tonight), holiday tunes (Winter Weather), uptempo numbers (Let's Do It, The Freedom Train), and everything in between. It's amazing to hear how she matures from that first jittery performance on Elmer's Tune to the confident vocalist she'd become. The remastering has produced a crisp, clear sound, and the discs are printed to look like the old vinyl labels that Columbia's used with Frank Sinatra reissues. The excellent liner notes are by the incomparable Will Friedwald, who writes for all the Sinatra Columbia / Capitol reissues and releases, and include rare photos and a complete list of original catalog numbers, recording dates, and studio personnel. This is a fabulous investment for fans of Big Band (Goodman in particular) and Peggy Lee, but any fan of the Great American Songbook and music of the 1940s will find much to enjoy here.
What's great about it: Great look at a very young Peggy Lee just finding her (vocal) feet, strong tracks by Goodman and band
What's not so great: None
I would recommend this to a friend!
0points
0of 0voted this as helpful.
 
Few films are more ideally suited to DVD format than Pleasantville, Gary Ross' fantastical tale of two modern-day teenagers literally bringing color to a tame, black-and-white '50s TV series. Thankfully, this disc should satisfy even the most demanding of Pleasantville's many admirers. The film is visually just as gorgeous as it appeared on the big screen, the mixture of monochrome and color photography looking utterly seamless. Pleasantville's more inventive moments benefit greatly from an anamorphic widescreen transfer, an example being the falling cherry blossom sequence, which is dazzling. The Dolby Digital 5.1 Audio track is also exceptional; Randy Newman's score sounds lush but clear. The audio-visual excellence of the film is almost matched by the special features on the disc. The original theatrical trailer is provided, as are some unusually thorough biographies of Ross and the main cast. "The Art of Pleasantville" is a half-hour featurette in which key crew members reveal some production background, concentrating on the film's enormous number of visual effects; though it will certainly interest the technically minded, its somewhat academic air is a bit inconsistent with the whimsical tone of the film. The promo video for Fiona Apple's version of the Beatles song "Across the Universe" is also intriguing in its use of one of Pleasantville's key scenes. Ross' commentary track is modest and enjoyable, although weighted firmly in favor of analysis rather than production. For a film so unique in theme and appearance, perhaps even more additional features would have been justified, but the content of New Line's DVD is so exquisitely delivered -- even the scene selection menu is marvelous -- that few will be disappointed.
 
Customer Rating
4 out of 5
4
A trip down nostalgia lane...
on October 27, 2008
Posted by: Veggiechiliqueen
1998's Pleasantville is a charmingly executed parable about introducing change to a closed society, and the ripple effect that even the smallest changes can produce. Siblings David (Tobey Maguire) and Jennifer (Reese Witherspoon) are polar opposites; nerdy David is obsessed with the ficticious 1950s sitcom Pleasantville (an homage to Leave It To Beaver and other picture-perfect small-screen families), while Jennifer hangs out with the fast crowd, smoking and snaring potential dates.
After a mysterious TV repairman (Don Knotts) gives the two a remote, they're transported into the black-and-white, picture-perfect town of Pleasantville, where the basketball team makes perfect baskets every shot and a nutritious dinner is always on the table (thanks, mom!). Horrified, the two at first try to desperately find a way back. David has the advantage of being intimately familiar with the Pleasantville universe, and tries to steer Jennifer away from any seismic outbursts that would be out of place in placid Pleasantville, such as swearing, smoking, and heaven forbid, s-e-x. Jennifer has her own agenda, though, and Lovers Lane soon becomes more than just a place to stargaze and hold hands. With each change comes the slow but sure colorization: first bubblegum turns pink, then the more "adventurous" teens end up in color.
David and Jennifer's "parents," George (William H. Macy) and Betty (Joan Allen) Parker, are stamped straight out of 1950s legend; George begins every evening by announcing "honey, I'm home!" and Betty's always on call to whip up massive breakfasts or hors d'oeuvres. David, now "Bud," works in the burger joint owned by Bill (Jeff Daniels), who's paralyzed by indecision and any break in routine. But a funny thing happens; the once-wild Jennifer slowly becomes more scholarly and more and more like her TV counterpart than her former "bad girl" self, while once-timid David learns to stand up for himself and to fight for what he believes in.
In Pleasantville, the old guard is threatened by all of the changes: the once-empty books in the library are filled, Bill realizes his life's dream of becoming a painter, using every shade under the sun, rockabilly and rock and roll are heard...resulting in violence and trials that parallel McCarthyism. Betty and other wives begin to yearn for a fulfilling life outside of the home, leaving their husbands hungry and confused.
Although the visual metaphors are heavy-handed at times, Pleasantville does an admirable job at capturing the balance between modern uncertainties (at school, the teens are given sobering statistics about AIDS, global warming, and underemployment) and our rose-tinted nostalgia for the past. The visual design deserves special mention, and the classic soundtrack is loaded with gems by Pat Boone, Miles Davis, Etta James, Elvis and Buddy Holly. Pleasantville was nominated for two dozen awards, and it's easy to see why. A delightful film for the entire family.
What's great about it: Great concept, gorgeous cinamatography and effects, strong cast
What's not so great: None
I would recommend this to a friend!
-1point
0of 1voted this as helpful.
 
Customer Rating
4 out of 5
4
D'elles: here's one for the girls
on October 26, 2008
Posted by: Veggiechiliqueen
D'elles is Celine's follow up to 1995's bestselling D'Eux and as such, is a shout-out to grrrl power (the clinical-sounding official line is "a concept project that celebrates womanhood"). The lyrics for the thirteen songs were written by well-known female authors from Belgium, France, and Canada, including Francoise Dorin, Christine Orban, Nina Bouraoui, Marie Laberge, Lise Payette, Denise Bombardier, Nathalie Nechtschein, Jovette Alice Bernier, Janette Bertrand and George Sand (Baroness Dudevant).
The studio wizards include the four collaborators on Celine's last French album 1 Fille & 4 Types: Jean-Jacques Goldman (music supervisor), Jacques Veneruso, Erick Benzi, and Gildas Arzel (the "four guys" referred to in the title of her earlier work). My favorite Acadien singer-songwriter Jean-Francois Breau (Expose) also contributes his songwriting expertise.
Some of the thirteen songs have uptempo flirtations with dance music (Et s'il n'en restait qu'une, A cause), while others are gentle slow ballads (On s'est aime a cause, Je ne suis pas celle). We even see Celine "duetting" with the late Maria Callas through studio wizardry on La diva, although Celine sings along so softly with Callas that it's difficult to hear how her operatic aspirations measure up. Another of the more experimental tracks is Lettre a George Sand, in which Celine recites the text of a letter from George Sand and dissolves into a melody that somehow reminded me of my grandfather's favorite religious song "Prayer of St. Francis." My least-favorite track was the grating lullaby Berceuse, in which Celine merely whispers the words and infinitely repeats the "Mama t'aime" ("Mommy loves you") chorus ad nauseum.
Overall, it's a pleasant, if sometimes bland, listening experience that makes for pleasant background music, but for the most part, the songs blended together and weren't instantly memorable on first listen. Also beware if you buy the deluxe edition from France: the bonus DVD is Region 2 PAL only; that fact wasn't specified when I ordered mine, and I ended up returning my copy since it was pointless paying $26 for a disc I couldn't play (I had erroneously assumed that the deluxe edition was the Canadian, not European import, and it was not labeled as such).
What's great about it: Songs that celebrate womanhood by famous (female) Francophone authors
What's not so great: The lullaby was grating, and Celine's "duet" with Callas was practically whispered, but it's a nice return to her roots
I would recommend this to a friend!
0points
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Customer Rating
4 out of 5
4
Includes some beautiful Spanish duets
on October 22, 2008
Posted by: Veggiechiliqueen
Like many Italian recording artists, Andrea Bocelli's led a dual life in recording Spanish and Italian albums simultaneously. Lo Mejor De Andrea Bocelli collects thirteen of his Spanish (and two Italian and one English) versions featured on albums Sueno (Canto De La Tierra, The Prayer, O Mare e Tu with Portuguese fadista Dulce Pontes), Romanza (Por Ti Volare, a new recording of Vivere, Romanza, Vivo Por Ella with Marta Sanchez, El Silencio de la Espera), Amor (Besame Mucho), Cieli Di Toscana (Un Dulce Melodrama, Mil Lunas, Mil Olas, better known as the "Barilla pasta song," and featured as a bonus track on the deluxe English edition of Best of Andrea Bocelli). There are several brand-new tracks, including Io Ce Saro, A Ti, La Voz Del Silencio and Hermosas Estrellas that hold up well next to his established classics. One song that's noticeably absent is Bocelli's breakout duet with Sarah Brightman, Time To Say Goodbye. Brightman discovered Andrea through his Italian-language debut CD in 1996 and chose him as a duet partner, so she should receive credit for introducing him to an international audience. It's a shame that it's been omitted, since it is one of his most beautiful duets (however, the solo version Por Ti Volare is featured). Celine Dion's The Prayer has been retained, as have several Spanish-language duets with Laura Pausini on Vive Ya, a haunting Portuguese duet with Dulce Pontes on O Mare E Tu, and a powerhouse duet with Marta Sanchez on Vivo Por Ella. On to Bocelli's voice: either you'll love it, or as a classical purist, you'll hate it. Critics have long complained that Bocelli suffers from poor phrasing, uneven tone, and lack of technique (to be fair, Bocelli studied for a law degree, not a music degree, although he took a master class with tenor Franco Corelli). As a casual classical and opera fan, I feel he is amply capable of taking lyrical songs and imbuing them with emotion and passion without coming off as amateurish. Have I heard better tenors? Absolutely. But Bocelli is a captivating presence, and his choice of songs (and instrumental backings) come together magically to create enduring romantic classics. I frequently make use of Signor Bocelli's best-of CD as background music for dinner parties, and it's a lovely accompaniment to quiet evenings. There are several good songs not included on the English best-of such as O Mare E Tu that are well worth the price, and this is a good overview of Bocelli's work from 1996 to present.
What's great about it: The duet with Dulce Pontes! It's also great to have his best songs together at last on one disc
What's not so great: The absence of his breakout song Con Te Partiro with Sarah Brightman (the Bocelli solo version is substituted instead)
I would recommend this to a friend!
+4points
4of 4voted this as helpful.
 
Customer Rating
5 out of 5
5
Sassy, jiving jump blues from the master
on October 21, 2008
Posted by: Veggiechiliqueen
I grew up listening to the blues, soul, and Motown, but I wasn't familiar with Louis Jordan until several months ago, when I purchased this Bear Family box set as a retirement gift for a family member. Jordan was a gifted saxophonist and one of the leading architects of R&B; his prototypes paved the way for Chuck Berry and mainstream rock and roll. Jordan scored 57 R&B chart hits with Decca between 1942-51, and his influence was enormous on blues artists such as Ray Charles and B.B. King, who recorded an album of Jordan covers, including such standards as Let The Good Times Roll, Choo Choo Ch'Boogie, Buzz Me and Saturday Night Fish Fry on Let the Good Times Roll: The Music of Louis Jordan. Jordan's street-smart sense of humor permeated songs such as Open the Door, Richard, What's the Use of Getting Sober and Beware, Brother, Beware and double-entendre gems such as That Chick's Too Young To Fry. There are also a few tunes devoted to large women on You're My Meat and I Like 'Em Fat Like That (tempered, on the other hand, by You're Much Too Fat (and That's That)). Jordan's earliest recordings lack his later polish, and the brass tends to lean more towards Dixieland jazz than tight swing. Early gems include jitterbugs (Doug the Jitterbug), swing (After School Swing Session, At the Swing Cat's Ball), laid-back blues ('Fore Day Blues, Hard Lovin' Blues), and even Bing Crosby-style crooning on Away From You. The subsequent discs include alternate versions for several tracks including Yip, Yip de Hootie with Bing Crosby and Petootie Pie with Ella Fitzgerald, and a tamer version of Open the Door, Richard. Disc 9 is a partial disc at best; it features seven tracks with Ella Fitzgerald, including a spirited version of Baby, It's Cold Outside that puts most other renditions to shame. Bear Family has more than done Louis Jordan justice, with nine CDs and extensive liner notes. The remastering sounds as fresh and clear as if the songs had just been recorded. There are plenty of undiscovered gems buried among Jordan's earlier years on Decca, and enough solid hits to keep you listening for weeks.
What's great about it: Full of treasures, great remastering and liner notes
What's not so great: Probably overkill for more casual Jordan fans, price
I would recommend this to a friend!
0points
0of 0voted this as helpful.
 
Customer Rating
5 out of 5
5
A gustatory journey through Paris
on October 19, 2008
Posted by: Veggiechiliqueen
Ratatouille, from Pixar and Brad Bird (The Incredibles and The Iron Giant), is a rat's-eye view of the gastronomic delights of fine cuisine (the name itself is a pun on the classic French roast vegetable dish ratatouille). Remy is a young rat who discovers that he has a heightened sense of taste and smell, and becomes inspired by the late television chef Auguste Gusteau (Brad Garrett), whose motto "anyone can cook" now extends to rats, too. Remy begins to experiment with combining classic combinations of flavor and texture, herbs, and other ingredients, until his clan is forced to flee their country safehouse. During the traumatic escape, Remy is separated from his family. The ghost of Chef Gusteau appears to Remy when he is discouraged, inspiring him to cook at Gusteau's formerly-five star restaurant. The acid restaurant critic Anton Ego (Peter O'Toole) made it his personal mission to write a scathing review of Gusteau's that stripped it of one of its Michelin stars, consigning it to the tourist trade. Now, the restaurant is under the iron fist of the shady, domineering Head Chef Skinner (Ian Holm). Remy befriends the bumbling, couldn't-boil-water-if-his-life-depended-on-it Alfredo Linguini, whom Skinner grudgingly adopted as the new garbage boy, and Remy and Linguini team up to create culinary delights that astound the normally staid French restaurant critics. Remy controls Linguini by hiding under his chef's toque and tugging on two strands of hair (the scenes of Remy perfecting his technique with a blindfolded Linguini wielding dangerous tools and messy ingredients are priceless). Toss in a handful of intrigue, kitchen highjinks, father-son bonding, a dash of romance with the formidable chef Colette, and plenty of culinary delights, and you have Ratatouille. The 3D animation is photorealistic, and 360 shots of nighttime Paris entrance. Small touches really capture the Bohemian feel of the Montmartre district, and the soundtrack features (brief) snippets of La Marseillaise, light and airy French themes, and French-language vocals by Camille (the standalone soundtrack Ratatouille is available for purchase). As with The Incredibles, there's lots to keep kids engaged (although the scene with the window full of dead rats might be traumatic for very young kids), and a whole other layer of adult humor bubbling under the surface, so mom and dad will be able to enjoy Ratatouille with gusto.
What's great about it: Great animation, engaging characters
What's not so great: None
I would recommend this to a friend!
0points
0of 0voted this as helpful.
 
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