Cheap Music Cd

Reviews

you wanna talk about coolness?. u gotta be talking about sinatra pure attittude! this is a must have for the lovers of the golden era in entertainment not just movies.

never received item - called several times to report that I had not received item - I was told that new poster would be sent out and it was never received either. gave up trying to get the merchandise!!!!!

I love Sinatra and Dean Martin especially out of the Rat Pack. I bought several posters from Amazon to redecorate my room and this really does complete it.

Reviews

A full color two-foot by three-foot version of the famous 1960 photograph showing the entire Rat Pack (Frank Sinatra, Dean Martin, Sammy Davis, Jr., Joey Bishop, and Peter Lawford) standing in front of, and being featured on, the Sands Hotel marquee on a bright morning in Las Vegas during the filming of the original OCEAN'S ELEVEN. It's a classic, pallie!

Reviews

Ok...I am 17 years old and a football player who thinks "Dino" has it goin on! He is a classic and the songs are of old, but cool

I was happy with my purchase, there was a slight crack in the case but besides that it was fine. Shipping was fast and on time.

I wish I was around when Dino was still a younger man!! For all Italians / Sicilians this is the album to buy, Dino at his best!!

Dean in my eyes has always been the better performer out of the rat pack. I still don't understand why they let Peter Lawford in, it had to of been the Kennedy lure. This is a great CD and has all the best songs by Dean Martin, it is one on my favorites. I highly recommend this CD.

Bought this CD for my wife, however we bith are Dino fans. Recording is very good. Dino fans will LOVE.

Reviews

After seeing "Billy" on Broadway May, 09, I was so inspired with the story, the drive of the music, the sets, the exquisite music, and the performance of Billy, I HAD to buy the CD of the original broadway cast, (Amazon.com had it!) AND the piano music, (medium ability)which by the way, was written in tune with the CD so I could play along with the songs. I even ended up buying another CD for a friend. The whole experience was over the top---and while some said they would never return because the dialogue was difficult to understand - I would see it everyday if I could. I watched the Tony Awards and was so puffed up when I saw all 3 Billys approach the stage. It was FABULOUS...Elton John really showed his genius. Loved it, loved it, loved it!

Great show! Great Music! Great price Amazon! Why didn't make an original BROADWAY Cast album?

A great new album from a great new show. This will be a classic!

the music is the best. I was disappointed that the movie did not include the music. I saw the play on Broadway and the music...along with the story...is BEAUTIFUL

This reminds me of the Phantom of the Opera - it released two versions on CD. One a short version of all the songs from the Broadway show; and a second two-disc version which had dialogue, quiet segue ways, and more. The latter is this CD. I absolutely loved Billy Elliot on Broadway, but find myself getting bored during some of the long drawn out songs (Solidarity... great song, but on CD we're not looking at anything so it really needs to be shortened here. Expressing Yourself - you can even hear them tap dancing (nice actually)) This CD should be considered the long version. I wish there were a shorter version. Skip through the extended songs, quiet talking, and thinking scenes to get to the great songs and you'll love this CD.

Reviews

I love anything by Sarah Brightman. She is talented, sophisticated, classy but still shows her vixen side. Definitely has her own style.

Great soundtrack. Does Sarah Brightman realize that the track, "Journey Home" sounds just like the Jeopardy theme song? Listen at a minute and a half in... when she starts to hum a tune. Yeah, that's Jeopardy. :)

i bought this cd the on june 10 2003 and listened to it for a year straight i lstened to it everyday before work after work and sometimes during work at a convenience store i worked overnights i got lots of compliments from cutomer swho had never heard of Sarah Brightman before it is still one of my favorites of hers.

I bought this four years ago when it was first released and didn't like it. I only listened to it once back then - I think I was expecting another Eden or La Luna. I put this cd in my player last month and fell in love with it. This is my favorite Sarah Brightman cd. I actually love it more than Eden and La Luna (both were extremely good). I own all of her cds, but this one is her best. My favorite tracks are 2, 4, 5, 8, 9, 10, 13 and 14. Sarah's voice is so beautiful - she's extremely talented. I'm going to add the DVD to my wish list.

A voice so pure, effortless and flawless. What a gift - this voice. Brightman turns every song into a seductive love song. She could gargle mouthwash and seduce me. Definitely a CD for cosmopolitan lovers.

Reviews

If the disaster film genre of the 1970s had an actual starting point, it would arguably have to be with the 1970 film AIRPORT. Based on Arthur Hailey's best-selling 1968 novel of the same name, and adapted to the screen by director George Seaton, who also did the 1947 Christmas classic MIRACLE ON 34TH STREET, it not only spawned three sequels of its own, but it also led to the massive box office successes (and critical ulcers) of films like THE POSEIDON ADVENTURE, EARTHQUAKE, and THE TOWERING INFERNO. The setting for AIRPORT is Lincoln International Airport in Chicago on a snowbound winter night. Burt Lancaster portrays the airport's general manager who, on this night, is beset by any number of minor crises: a brother-in-law (Dean Martin) who needles him about the way he runs the place; a jet stuck in the snow out on the tarmac because its pilot cut the taxiway short; an elderly stowaway (Helen Hayes) causing havoc for security; and problems at home with a wife (Dana Wynter) who gets into an argument over his being far more obsessed with his job than with his home life. He somehow manages to keep it together, however, thanks to the help of a very reliable staff, including tough-as-nail mechanic Joe Patroni (George Kennedy), who helps to get that stuck 747 out of the snow so that a vital runway isn't clogged for too long (with that runway being closed, jets are forced to take off on a runway right in the path of homes whose owners have fiercely complained about the noise). This night, however, he is facing another, far more serious crisis. A mentally unstable and very depressed man (Van Heflin) has managed to get on a flight from Chicago to Rome being piloted by Martin and Nelson; and in his suitcase, the only one he brings onboard (and keeps very close to him), is a bomb. Alerted to this as the flight is passing through the airspace monitored from Cleveland, they try to turn the plane around and head back to Chicago while at the same time trying to find a way to disarm Heflin without frightening any of the passengers. That, however, doesn't go quite as planned; and the end result is a harrowing drive towards a highly dramatic climax. AIRPORT was clearly never meant to be anything other than old-fashioned Hollywood entertainment (and it was indeed old-fashioned by Hollywood standards of 1970), thanks in no small part to Hayes' dotty performance as the elderly stowaway (which won her a Best Supporting Actress Oscar); and it indeed works that way, like it or not. The performances by Lancaster, Martin, Kennedy, and Hayes are all what you'd expect from professionals like them; and the cast includes Jacqueline Bisset (as Martin's love interest), Larry Gates, Maureen Stapleton, Jean Seberg, Lloyd Nolan, Barbara Hale, and Whit Bissell. Newman's score (his last; he passed away only a few weeks before the film's release) is also quite good and appropriate, and got nominated for both an Oscar and Grammy, posthumously. While a lot of the clichés introduced in this film and its three subsequent sequels would nauseate critics and eventually lead to all of them being sent up in the 1980 comedy blockbuster AIRPLANE!, AIRPORT nevertheless moves at a fairly good clip, given that it's close to 140 minutes in length and its special effects work is painfully dated in the 21st century age of CGI. It also helps that some of the concerns raised in this movie, which came true in light of 9/11, have somehow managed to keep this film relatively relevant, which is saying something, given how many Hollywood films come and go every year.

I think the knock on Disaster Films, besides the fact they are action-oriented plots with minimal character development, is that most of them were churned out during the early 1970s, a Golden Era of Hollywood history (Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'N' Roll Generation Saved Hollywood). When some of the industry's greatest directors were achieving all-time artistic highs with "The Godfather," "The Taxi Driver" and "Jaws," next door the older generation (over 30) was going through the motions with films like "Airport" and its sequels (Airport Terminal Pack (Airport/Airport '75/Airport '77/Airport '79 - The Concord). "Airport" made a staggering amount of money, the No. 1 box office success the year it was released, sparking a wave of equally profitable Disaster epics for several years (including "The Towering Inferno (Special Edition)," the box office king of Disaster Films). Watching "Airport" today, with its seasoned stars bouncing to the old-time movie score of Alfred Newman (Airport: Original Motion Picture Soundtrack) on creaky sets probably left over from "From the Terrace," is akin to stepping back into the 1950s. The year 1970 was a time of incredible social upheaval, and fans could buy a movie ticket and remember a more innocent era (the film was rated G). "Airport" is an artistic tribute to bygone decades, with recognizable faces such as Van Heflin, Helen Hayes, Lloyd Nolan, Dana Wynter and, to a lessor extent, Burt Lancaster and Dean Martin, going through the machinations of the plot (based on the Arthur Hailey bestseller Airport, perfect for a pool-side read), relying on their historical reps to fill in the gaps. It's an enormous tribute to an antique age. The special effects, tame by today's standards, are still quite good. And the concluding moments, with Heflin hugging a suitcase bomb and co-pilot Gary Collins staring at a growing crack at the rear of the airplane, are terrifying. But the tension-filled screams and terror of the closing dramatics are not really what remains in memory after viewing "Airport." What you remember is George Kennedy as Joe Patroni. Kennedy, an underrated actor at the peak of popularity in 1970 following his Oscar win for "Cool Hand Luke (Deluxe Edition)," steals the show. His performance as Patroni, a cigar-chomping bad-ass who probably totes a lunch pail to work everyday, is electric. He would star as Joe throughout the "Airport" series, the lone connecting thread during the sequels. I have always loved the famous scene where he angrily guns the airliner through the snow to clear the runway, a moment likely producing audience applause during it's initial run. And the final scene, when Kennedy lumbers past the suits and slaps the side of the airplane with a clipboard, mumbling proud praise to the damaged craft, ends "Airport" on a perfect note. I've seen actors attempt the tough-guy-blue-collar persona before, usually failing miserably. None did it better than Kennedy in the 1970s. Look no further than his terrific performance when trying to decipher why "Airport" made such an incredible fortune. He's a working class stud, with little time for meetings, brass or pleasantries. His character, comforting to 1970's audiences, harkens back to the era of WW II when working class men symbolically rolled up their sleeves to get the job done in Europe, a very different war from what was going on in Vietnam at the time. Kennedy's Patroni symbolized a venerable American ideal which exists to this day. During the great frustrations of the Nixon/Vietnam age (Nixon Agonistes: The Crisis of the Self-Made Man), it was inspiring. At times of personal and professional crisis, we would all like to face our fears in Patroni fashion, spitting into its eye and throwing the rule book into the nearest wastebasket. One could argue that independents like Patroni, crucial to any working team, have slowly and inexorably been eroded into extinction by the growing culture of corporate America, symbolized (even at this time) by the educated suits standing zombie-like in the hangar as Patroni strolls past them to get back to work. Today, "Airport" indeed reminds audiences of a bygone era, but not for the reasons you would think. In a hysterical world, Kennedy's Patroni is a touchstone.

This 1970 movie really captures the early 70's, in fashion, hair styles, and travel in a pre-hightened airport security world. This is a star-studded cast of movie veterans, many of whom are no longer with us. It is fun to look back at the styles and I found the plot surprisingly tense and action packed.

Had to be pulled by the ear and dragged into Radio City Music Hall in NYC by my mother to see this one in 1970. And I am so thankful that she did as AIRPORT proved to be a thoroughly engaging and entertaining production with an all-star cast. Among the stars were five Oscar winners---Burt Lancaster [ELMER GANTRY, 1960], Van Heflin [JOHNNY EAGER, 1942], Helen Hayes [THE SIN OF MADELON CLAUDET, 1931], George Kennedy [COOL HAND LUKE, 1967] and Maureen Stapleton [REDS, 1981]. The plot centers around a despondent, mentally unstable Joe who can't keep a job and provide for his family and decides to board a plane with a bomb to do the unthinkable so that his beloved but unwitting wife can collect the insurance money. In the meantime Burt Lancaster is the General Manager of the snowbound "AIRPORT" whose only safe and useable runway is blocked by a Jet stuck in the snow. He is being bombarded from all sides---by his neglected wife who doesn't get to see her interminably busy husband enough, by local politicians who want his airport closed due to complaints of noise pollution and even by colleague pilots and co-workers who question his decisions and probably sit in wait for him to make the gaffe that will send him to the gallows. The beautiful Jean Seberg plays his co-worker girlfriend who is always by his side. The passengers on the plane are fun characterizations and include the annoyingly intrusive loudmouth who stirs the pot, the perturbingly know-it-all teen, the 'Doc', the Priest, the nuns---many spoofed in the wonderfully delicious comedy classic, AIRPLANE [1980]. Dean Martin at first appeared miscast as the doomed jet's Captain but, being the fine actor that he is, was able to pull it off. He is also Lancaster's brother-in-law in the movie but is having a relationship with one of his stewardesses played by the ethereal British actress Jacqueline Bisset. There is some frank talk about abortion, its consequences and alternatives after she discovers that she is carrying his child. The terse and melancholic Heflin is terrific as the bomber aka "Guerrero, D.O.". His disappointed but always supportive spouse is played by Maureen Stapleton who should have won the best female supporting actress Oscar over Hayes for her short but wonderfully sensitive and poignant portrayal. Their talk in the Diner before his departure was evocative. Hayes was cute and endearing as the septuagenarian flimflam artist and stowaway. George Kennedy is a gas as Joe Patroni the ultra-experienced blue-collar 707 expert who is called upon to get the stuck-in-the-snow Jet out of the way so that the last runway, and the Airport, can remain open. This becomes an exigency when, after the bomber succeeds, that runway is the only hope for the disabled jet. Kennedy's riotous exchange with the pilots not willing to press the pedal to the metal and thrust the stuck jet out of the snow in fear that they will damage the structure is memorable and his last-chance personal 'let-it-all-hang-out' try is a blast. Hey, Joe Patroni is always welcomed in my house. Too bad that recollections of this excellent film have been blurred by the subsequent awful Airport sequeals and a slew of superficial disaster flicks over the years. This, the original AIRPORT, had it all: drama, romance, comedy, suspense...etc...truly great entertainment. Thanks to THE HIGH AND THE MIGHTY [1954] for the inspiration. Congrats to Goodtimes Video for an excellent transfer [I purchased the full screen edition].

This movie is a classic and I am happy to add it to my collection of aviation movies. I definitely recommend it for aviation buffs.

Reviews

For over fifteen years the brothers Sid have been exposed to some of the best..and the worst B that the world has to offer from every genre available. However we may have met the ultimate strange low budget experience in the 1991 smash hit Cool as Ice starring the original white gangsta Vanilla Ice, and his baggy spray paint pants. When we saw it was going to be on last night there was no way possible it could be passed on as the amount of promise was so very large. When you have the chance to expand your B review empire with an entry from a guy that got hung by his ankles over a balcony by Suge Knight you just have to hop on it. Our high top, triple cuts in the eyebrow sporting star plays a straight up gangsta named Johnny that's got the hots for a goody goody named Kathy. It's the typical bad boy liking good girl while parents fume story that has plagued the film world for so many years. You can pretty much predict everything that's going to happen except for the unreal dialogue thanks to Ice Ice baby. Van Winkle does eventually earn the parents respect once he rescues Kathy's kidnapped little brother, who idolizes the 90's rap sensation, from a very pathetic mafia syndicate. Wow is the one term to sum up what was witnessed in Cool As Ice. What's quite perplexing is why this one got some 1 star ratings. Obviously the movie sucks, but you should be so well aware of that from the sheer fact it stars VANILLA ICE! How could you possible expect anything but a hilariously terrible movie? Really it's something that should be watched by people suffering from extreme depression who would snap out of it within minutes of the movie rolling. They would say "oh man at least I'm not Vanilla Ice" and be so happy by that thought they could resume fun and productive lives. If you're down for an evening of WTF moments and disbelief from Ice's one liners then this baby is a must for you.

"Cool as Ice" is the wonderfully bad cinematic masterpiece--of Vanilla Ice,the white rapper who preceded Marky Mark AND Eminem. It's got Naomi Campbell (briefly) and a delightfully cheesy plotline. Vanilla Ice stars as a rapper--of course--who has an amazing flying motorcycle and falls for a suburban teen whose father disapproves. The plot has more holes than Swiss cheese--but this movie was made for the music,wasn't it? "Cool as Ice" is so bad,it's classic.

Cool as Ice was a good movie. There is not much to the show. The only thing that would be interesting is if you liked Vanilla Ice the rapper when he was popular. It's fun for the different things that made that time popular. Vanilla Ice does some rap in the movie so if you like that I definitely recommend.

Seriously though... Vanilla Ice has the acting skills of a piece of driftwood. Oh man, this movie is terrible. It's so terrible that I found myself cracking up the majority of the time. It's so mind-numbingly bad that I actually kinda liked watching it. But I just couldn't bring myself to give this crapfest a four or five star rating, no matter how many times I laughed at it. It's basically Vanilla Ice trying to be a neon-clad James Dean with fantastic pickup lines such as, "Drop that zero and get with a hero." Do I really need to say anything about that one? Didn't think so. My favorite scene of the movie would probably be the one where he magically jumps his motorcycle over a fence without a ramp. Who needs physics? Not Ice. So if you're bored (and preferably drunk and/or high), pop this cheesefest in your old VCR.

With a script from the dream team of Akira Kourisawia and Stanley Kubrick, the pressure was all on the shoulders of director David Kellog. Coming through like a bull in a china shop, Kellog delivers a modern answer to Bergman's "Seventh Seal" that not only uppes the ante, but says, "I'm all in." Let us not forget the jacket. With it's leather stiched cries of passion it is reminicent of a classically trained Adler student, it delivers a tour de force in it's delivery of lines like "Sex me up!" ""Down by law" "and "Faith is a torment. It is like loving someone who is out there in the darkness but never appears, no matter how loudly you call." "Cool As Ice" also employs a number from Pulp Fiction, using the book of Leviticus 3:14 to drop wisdom on us with the quote "Drop that zero and get with the hero." Method to the end, Ice still resides in the Southern California community that this harrowing documentary was shot in, battling injustice and intolerance with his mighty yellow motorcycle.

Reviews

I was reasonably satisfied. The video arrived quickly and was as I ordered regarding packaging etc. My only issue is that there is background noise in places and I am concerned that it won't last long. I assume it's an ex-rental, but as it's a musical I would have preferred it not to have background noise.

I've just seen the stage play again............ yet feel that the film is deeper and more descriptive. As I said on the UK site, I know that Richard Harris was unhappy with the re-write of his play for the film, but I think it really works. So did every one else in the audience. This film is excellent. I don't care whether the "artistic" critics liked it or not. The audience loved it, I did and still do. The acting is superb and the overall feel is of ordinary people coming to terms with the everyday struggles of life. All of the cast are worth mention, but particular credit must go to Julie Walters as Vera, Shelley Winters as Mrs Frasier and Bill Irwin as Gregory; I'll never forget those windmills!! Liza Minelli's shining talent is so reminiscent of her mother that it is spooky. Fluffs a couple of lines, but that just adds to the charm. Sequences in this film made me laugh so much it hurt - and other scenes disturbed me too; especially the Andy and Mr Pennington characters. Nasty undertones. This film has been grossly under-rated and unfairly panned in my view. I think it will be regarded, in due course, as a rare gem.

This film has a poignant meaning to my life. I was born with spina-bifida and use a wheelchair to walk. I was miraculously blessed with my beautiful daughter almost 18 years ago, and when she was a toddler, this movie came on TV. She was transfixed, stood with a melting fruit-sicle in her hands and couldn't look away. Suddenly, out of the blue, she hollars "5, 6, 7, 8!" and stomps across the room grinning from ear to ear! Now she is a professional tap dancer who is nationally ranked and has worked with renowned choreographers like Brill Barrett and Greg Russell. She also beamed with tears when she introduced me to my childhood idol Arthur Duncan (tap dancer from Lawrence Welk show). Watching my daughter dance is like I can dance myself, and to think it all started with this crazy little film! Liza gives a warm engaging performance not only as a hard working, down-on-her-luck tap teacher, but a vocalist, and a friend. There is an stunning "improv" jazz dance scene where she reprises a broadway level performance of Stepping Out. (makes me cry to watch it) Jane Krakowski now of 30 Rock fame, who is equal to any dance challenge, plays a tender young nurse coming to terms with life's disappointments. Stepping Out features an ensemble of characters including Julie Walters (Calender Girls, Harry Potter), the incredible credible Shelley Winters who is facing an unfair past-her-prime crisis, (and more) who compliment one another at every single p-k turn. Contrary to popular and mainstream belief, life isn't about perfection, it's about spirit, and dancing is about the passion you possess inside of your heart and soul.. if the body follows, it's a good day! I highly recommend Stepping Out to put in your collection and view as often as you need a good laugh, cry, revelation, or just to watch unforgettable performances. I wish I had three thumbs right now! ;)

I have always loved this movie, it has a little of everything in it and it is the perfect role for Liza.

Liza Minelli is such a brilliantly expressive actor and dancer, that she can overcome any tired cliche that's thrown at her (starting with the title of this film), and this one has cliches that weren't even cliches in 1991. She's so great in every scene that the viewer forgets that the talents of Andrea Martin, for example, are wasted. Wasted. Shelley Winters gets a slightly better chance to show her skills, as the wizened, retired theatre exponent who nonetheless plays piano part-time for the troupe, almost *defiantly* lousy. (But at the big show, there she is in the orchestra pit!). Yes, men are beasts throughout this early-era militant feminist flick. The only non-beast is the solitary xy-entity in the class, a sissified straight guy, badly acted and terrifically danced by Bill Irwin. Liza plays a very talented but luckless dancer, good enough to be a successful understudy for a Broadway musical, but with a seven year period of rejection. She moves on to teaching dance during the day and singing in boyfriends' sorta jazz-rock group at night. Talkin' 'bout "beasts", this dude is a real sullen one; he's splittin' for the coast despite his lady's committment to a charity and the discovery that he's gonna be a daddy. As much as Irwin overacts, this guy is like some Kris Kristofferson wannabe, without the cigarettes and major chords. Amazing how the progressive, independent, intellectual Mavis (LM) has hooked up with this downbeat, self-absorbed bar band legend. She looks him straight in the eye and says, most demonstratively, she may or may not let the child be born, anyway. She'll telephone him when she works that part out. Her charity seems to extend to raising money for groups of people but not extending the gift of life to one. That's her Constitutional right...but it's a depressing turn in the character development for this plotline. Another bad guy is the violent husband of another dancer, a meek, peaceful soul who works her heart out for the homeless, but somewhere along the way married a class-A humiliator, and over-rated Corporate climber. He shows up at the benefit to rip his wife away from the proceedings - but her meek male counterpart, Irwin, throws a punch at this guy...and he ducks away. Earlier, she established that the answer to a horrible marriage is to filander with the dancing partner. Interesting. The movie spends alot of time with the back-stories of the dancers - a la "A Chorus Line" - and not enough with the actual footwork. How in the heck could they get that great with Shelley playing "chopsticks" in three tempos all day. And why wasn't she relegated to part-time receptionist [no sexism intended] when Irwin demonstrates a boogie woogie piano style that would turn Jerry Lee Lewis' head? No, no - we'll stick with Shelley and the play-by-numbers. Okay, if we're gonna keep our shaky keyboardist, how can we polish our act? She's not exactly resourceful on the 88s. The film should have spent some kind of time on how these amateurs delt with *that* challenge. In the end, we have the kind of Hollywood Musical that Liza Minelli's Mother and friend/co-worker Mickey Rooney excelled at. And the finale does have that "feel good" feeling - but coming from the dancing, from teamwork, not from assertions of independence. And we have an added element to the big finale - Mavis gave birth! She didn't abort the child because she was too busy being a humanitarian!!