Movie Title: ER: The Complete Twelfth Season
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ER had some ups and downs it’s last five seasons, and this was the lowest point. Why? I can sum 90% of it up in one word: Africa.

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After leaving the show in the season 11 finale, it was announced that Noah Wyle would return for several episodes in season 12. That sounded great…at first.

Then the episodes aired, and it was more of Dr. Carter in Africa. The writer’s already made their points with this storyline in season 10. The Africa episodes in season 12 simply don’t add anything to the story, and are just more of the same.

Granted, none of these Africa episodes are as bad as “Makemba” from season ten, but

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they still consume too much of season 12.

And now for the other 10% of the problems.

There is an episode in the first half of the season callled “dream House”, and it is probobly the worst non-Africa episode of the series. It focuses on Abby and Neela treating a baby Monkey. There were other occasions where animals were treated in the ER, but this case takes up too much time and lacks effective exectution.

Also, the season premiere was weak.

Now, for what I did like:

Kristen Johnston (I’m not sure if I got her name right) and John Leguizamo all have good recurring roles, and James Woods is excellent in an episode where he plays

a former teacher of Abby’s, who has ALS. Woods received a well deserved emmy nomination for this role.

There is an excellent storyline where Kovac treats a woman who emerges from a coma after several years, and on a personal note he and Abby’s relationship was rekindled.

There are some other good patient storylines (an Islamic girl is the victim of an honor killing, a child used as a human shield by her abductor, etc) and Scott Grimes becomes a regular cast member, which I wasn’t happy about at first, but starting with the season finale and continuing through the remainder of the series, Dr. Archie Morris became (in my opinion) one of the best charachters of the series.

One last thing I want to discuss is the season finale, 21 Guns. This is a polarizing episode among ER fans. It caused many to tune out for good, while causing others to wait at the edge of their seat for the season 13 premiere. I was somewhere in the middle. After twelve seasons, the show had already done so much gunplay in the hospital that this finale pushed believeability. However, it was an intense way of pushing some tired old storylines out of the way (Sam’s ex-boyfriend) while paving the way for a strong start to season 13 (and some fresh storylines) I personally believe in it’s fifteen years on the airway, ER did stretch believeability when it came to gunfights in the hospital, but compared to some other popular shows, I don’t think this was even close to the worse

case of stretching reality (24’s Jack Bauer couldn’t possibly survive everything the writer’s have thrown at him, and Meredith on Grey’s Anatomy would’ve died in the Ferry accident episode (and no, I don’t watch Grey’s Anatomy).

I will definately be adding season 12 to my collection, but I see much of it as merely a bridge to better seasons.

Not as good as some of the earlier ones – but still a good ER run.

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Dr. Mabuse–criminal genius, psychologist, hypnotist, counterfeiter, card shark, master of disguise, thief of state secrets and ruler of a sinister empire founded on selfishness, chicanery and murder–gained his first screen incarnation in this monumental film by Fritz Lang, one of cinema’s greatest directors. Made in 1922 and subtitled “A Picture of Our Time,” “Dr. Mabuse, The Gambler” is indeed a snapshot of a historical moment when Germany was likened to Sodom and Gomorrah. Now, both parts of Fritz Lang’s memorable silent film–”Dr. Mabuse: The Gambler” and “Dr. Mabuse, King of Crime”–are now available on one package.

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Trade, a controversial drama that aims to enlighten viewers to the horrors of the international sex slave trade, functions in a somewhat documentary mode du to its purposefully repellent nature. Written by Jose Rivera, who also adapted to screen the Motorcycle Diaries, Trade opens in Mexico City where a tourist, Weronika (Alicja Bachleda-Curus), is kidnapped right before a thirteen year-old Mexican girl, Adriana (Paulina Gaitan) is yanked off her bike and pushed into a black Mercedes. Quickly, the two young women meet in various squalid conditions, alternating turns of abuse and rape with sleazy men who prepare them for international sale over the Internet. A vengeful plot kicks in once Adriana’s brother, Jorge (Cesar Ramos) and Texas policeman, Ray Sheridan (Kevin Kline), fatefully unite to rescu Adriana in hopes of eliminating this repugnant operation. Trade is nothing short of a melodrama; the script is overwrought, and many scenes are morbid and graphic. When Adriana has been captured by U.S. border patrol, sits in prison, and a Texas high school student offers her, in Spanish, friendship and an issu of Glamour magazine, one feels the soap opera line being crossed. However, the political message in Trade is strong and preaching aside, viewers may realize that any exposure of women’s rights violations is for the greater good. Trinie Dalton

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Movie Title: Stargate SG-1 Season 7
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Stargate SG-1 Season 7 is available for streaming or downloading.

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Looking relieve on the seventh season of “Stargate SG-1″ it seems certain that the prove was caught between the view that this was the final season and an impulse to retool the series to preserve in going into an eighth season. In short, I deem if they knew then what they know now they would have done things differently, especially with the inquire of Richard Dean Anderson’s location for season nine. When the unusual president made Dr. Elizabeth Weir (Jessica Steen) the novel civilian head of the Stargate project that had a lot of racy possibilities, both because of her gender and because she had an extensive background in diplomatic negotiations. But the two-part “Lost City” that ends this season becomes more about stopping Anubis from destroying the Earth than retooling the present and Weir is going to kill up on “Stargate: Atlantis” (to be played by Torri Higginson) . There is a lot that happens in those last three episodes, when President Hayes (William Devane) takes office and Anubis attacks, with the potential for more all sorts of appealing ramifications, more so than with what happens when the season starts.

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That is when Daniel Jackson (Michael Shanks) returns from being an ascended being, albeit on an alien world without his memory (”Fallen”) . This required getting rid of Jonas Quinn (Corin Nemec) to pick up the archaic gang relieve together again, which happens when Anubis download Jonas’ memory and the Goa’uld attack Kelowna (”Homecoming”) . Wisely, this is not the last appearance of Jonas for the season (”Fallout”) as he becomes another one of recurring guest characters that are a major strength of the series. There are several Daniel Jackson stories that originate a point of giving the actor captivating things to do, such as “Lifeboat,” where his mind becomes a resting station for a bunch of alien minds, “Enemy Mine,” which requires Jackson to demonstrate diplomatic skills, and immense time flashbacks in “Chimera,” to before Daniel first saw the Stargate. Overall, Jackson comes running to the rescue more often than any other character during this season (e.g., “Resurrection”) .

I understand now that Anderson had a reduced workload for Season 7 of “Stargate SG-1,” and there are some animated attempts to fabricate the best of that position, as when O’Neill is transformed into a teenage boy (”Fragile Balance”) . For the most section the main tactic is to develop O’Neill a supporting character and let the other characters do the heavy lifting. But when I ogle over the 21 episodes for the season it becomes determined that Teal’c (Christopher Mediate) is primarily a supporting player for the year as well, with “Orpheus” and “Birthright” being the only episodes to really focus on Teal’c. You do have to admit, that nobody on the point to milks a seek better than the mammoth fella.

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Overall, Season 7 is really Samantha Carter’s season and Amanda Tapping has several episodes where she dazzling distinguished goes it alone. “Dwelling Run” has her joining an alien pilot for a petite intergalactic competition, while “Death Knell” finds Carter being hunted by the supers soldiers of Anubis after an attack on Earth’s secret off-world evil. In “Grace” Carter literally ends up alone when the Prometheus is attacked and she wakes up to regain herself the only one on a ship drifting in deep site. The other characters exhibit up as the angels of her better nature, which is the only design that Sam and Jack are ever going to have an unprejudiced conversation. She even has an loyal boyfriend for an episode “Chimera,” in a concerted exertion to net rid of the “gloomy widow” ticket that has plagued Carter. The unrequited treasure between Carter and O’Neill is pitch perfect, so unprejudiced let them preserve their unspoken thoughts and give this woman a social life. Of course we have to seize this to an uncouth and that would be the fantasies of Jay Felger (”Avenger 2.0″) .

The whole Anubis/Lost City bit ends up being equal parts time to beat another bigger and badder system lord and pick up a fitting destroy point for the series that can also work as a transition to the spinoff. In your free time you can speculate as to what they would have done differently colorful that there was going to be an eighth season of “Stargate SG-1,” but I have to judge there would have been some necessary changes that would not have wrapped up things so snappy and conveniently. Besides, having read my Dante I have been patiently waiting for Robert Kinsey (Ronny Cox) to receive his comeuppance, and with everything that was happening in those final episodes that was a vital anticlimax.

The two main tensions in Season 7 are between the need to support coming up with a bigger threat for SG-1 to face and the desire to hold the characters trusty. The old-fashioned is represented by the well-organized soldiers engineered by Anubis (”Evolution, Share 1″) and Kinsey becoming Vice President (”Inauguration”), while the latter is at the heart of the two-part “Heroes,” when reporter Emmett Bregman (Saul Rubinke) shows up at Cheyenne Mountain to document the Stargate project for some future posterity. The episode underscores the dangers inherent in what Stargate does, an thought which is revitalized by having the off-world focus being on SG-13, led by Colonel Dave Dixon (Adam Baldwin) . The subtext for the episode is honoring the unsung heroes of the American military in the right world, and it certainly accomplished that goal and the performances are particularly memorable. Of course, the cast is given gigantic motivation given the script and the episode’s emotional payoff.

While “Stargate SG-1, Season 7″ is one of the weaker seasons for the series, it is aloof a dazzling obedient science fiction display on a par with “Star Trek: The Next Generation” and “Farscape.” The popular denominator, of course, is that the best stories are character driven and not unprejudiced dressed up by computer-generated special effects. Fragment of the dilemma at this point is that the characters are so comfortable with each other that pushing them to current levels becomes extremely difficult. But at least with “Heroes,” they proved that SG-1 can collected gain the distress and meet the challenge.

Stargate fans weak and recent hail Season 7 as the most anticipated season yet. The return of Dr. Daniel Jackson (Michael Shanks) allows for a favorite nostalgic feeling among the shows viewers. Leaving after Season 5, his replacement Jonas Quinn (Corin Nemec, Season 6) added to the adventure, but left many SG-1 fans calling Season 6 “wearisome” and “tame”. Diehard SG-1 fans reply Season 6 adventures, but recognize to Season 7 as a original beginning.

On the list of favorites, Season 7 saw the greatest changes and challenges ever to be seen in the SG-1 universe. Seasons 1 and 2 offered adventures leading up to the defeat of Apophis, one of the greatest threats SG-1 ever faced. Season 7 offers a unusual, long awaited nemesis, Anubis, a dismal and very diabolical Gou’ald, whom for his past transgressions, was cast out of the “High Council of System Lords” and into exile. Mid-Season, SG-1 has been given hints toward the evils Anubis has been cooking up while in his exile. These evils are confirmed at the slay of the season, which allow for SG-1 fans feeble and current to savor some well deserved butt kicking, which hasn’t been seen for several seasons, but also allow for the writers to spot a platform for Season 8 and original franchise, SG-Atlantis. Also, season 7 sees the promotion of General Hammond (Don S. Davis) and then raze of Dr. Janet Frasier (Teryl Rothery) .

Overall, Season 7 is plentiful in record, and if you missed an episode on Sci-Fi, you missed too mighty. Attention to detail on-screen and in narrative is phenomenal, and I would recommend to any current SG-1 fans to capture this season and bask in! And of course to former SG-1 Fans, if you skipped Season 6, don’t worry; you can pick up upright relieve on track with Season 7 and the return Michael Shanks.

Thanks for reading. Hope this helps in your decision to recall!
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Nominated for a Best Foreign Language Film Oscar, this is a first-rate thriller that, like Bertolucci’s The Conformist and Coppola’s The Conversation, opts for character development over car chases. The place is East Berlin, the year is 1984, and it all begins with a simple surveillance assignment: Capt. Gerd Wiesler (Ulrich Muhe in a restrained, yet deeply felt performance), a Stasi officer and a specialist in this kind of thing, has been assigned to keep an eye on Georg Dreyman (Sebastian Koch, Black Book), a respected playwright, and his actress girlfriend, Christa-Maria Sieland (Martina Gedeck, Mostly Martha). Though Dreyman is known to associate with the occasional dissident, like blacklisted director Albert Jerska (Volkmar Kleinert), his record is spotless. Everything changes when Wiesler discovers that Minister Hempf (Thomas Thieme) has an ulterior motive in spying on this seemingly upright citizen. In other words, it’s personal, and Wiesler’s sympathies shift from the government to its people–or at least to this one particular person. That would be risky enough, but then Wiesler uses his privileged position to affect a change in Dreyman’s life. The God-like move he makes may be minor and untraceable, but it will have major consequnces for all concerned, including Wiesler himself. Writer/director Florian Henckel von Donnersmarck starts with a simple premise that becomes more complicated and emotionally involving as his assured debut unfolds. Though three epilogus is, arguably, two too many, The Lives of Others is always elegant, never confusing. It’s class with feeling. –Kathleen C. Fennessy

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Set against the stifling conformity of pre-World War I English society, E.M. Forster’s Maurice is a story of coming to terms with one’s sexuality and identity in the face of disapproval and misunderstanding. Maurice Hall (James Wilby) and Clive Durham (Hugh Grant) find themselves in love at Cambridge. In a time when homosexuality was punishable by imprisonment, the two must keep their feelings for one another a complete secret, even though Clive refuses to allow their relationship to move beyond the boundaries of “platonic” love. After a friend is arrested and disgraced for “the unspeakable crime of the Greeks,” Clive abandons his forbidden love, marries, and enters into the political arena. Maurice, however, struggles with qustions of his identity and self-confidence, even seeking the help of a hypnotist to rid himself of his undeniable urges. But while staying with Clive and his shallow wife, Anne, Maurice is seduced by the affectionate and yearning servant Alec Scudder, (Rupert Graves), an event that brings about profound changes in Maurice’s life and outlook. Sparking direction by James Ivory, a distinguished performance from the ensemble cast, and a charged score by Richard Robbins all combine to create a film of undeniable power, one that is both romantic and moving, and a story of love and self-discovery for all audiences.

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