Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie...... more

Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie Davis was a star athlete at Syracuse University and the first African American to win the Heisman Trophy. Unlike other winners of that era, he wasn't allowed to attend his banquet dinner because the venue didn't serve blacks. He died of leukemia at the age of 23 in 1963. That element of his story is well known to football fans. What the filmmakers concentrate on in The Express isn't just Davis' athletic prowess, but the relationship he had with his coach Ben Schwartzwalder (Dennis Quaid). Rob Brown (Stop-Loss, Coach Carter) lends both gravity and charm to the role of Davis. He plays Davis as a strong willed and moral young man who refuses to let racism and discrimination dominate his life. He joins a Jewish fraternity, gets along with his predominantly white teammates and shows respect for his family and coach. The film is wise not to present Schwartzwalder as wholly colour blind. Though not overtly racist, he makes a few references that would not be acceptable in modern-day society. Overall though, the coach doesn't care what colour his players are, as long as they share the common goal of winning. Quaid is well cast in the role, adding just the right amount of gruff mannerisms without becoming a caricature. Brown has the difficult task of adding suspense to a character where most of the audience already knows his fate. Still, he manages to keep moviegoers on their toes--hoping for a miracle that we know will never come. --Jae-Ha Kim

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France released, PAL/Region 2 DVD: LANGUAGES: English ( Mono ), French ( Subtitles ), SPECIAL FEATURES: Black & White, Interactive Menu, Scene Access,...... more

France released, PAL/Region 2 DVD: LANGUAGES: English ( Mono ), French ( Subtitles ), SPECIAL FEATURES: Black & White, Interactive Menu, Scene Access, SYNOPSIS: On a trip from France to Allied-occupied Berlin, a group of travelers -- a mysterious and very secretive European woman (Merle Oberon), an American agricultural expert (Robert Ryan), a British educator (Robert Coote), a Soviet Army officer (Roman Toporow), and a French official (Charles Korvin) -- all cross paths in the cramped quarters of a military train. They discover that the notion of the "Allied forces" is breaking down amid their victory in the war; they neither like nor trust each other, nor each other's countries, except where the Germans are concerned, where they share a distrust. And then they cross paths with a German VIP who makes them wonder if they've got all of the Germans pegged right. A bomb goes off, killing their newfound acquaintance, and the suspicions start anew. The mystery surrounding the victim only deepens when they discover that he wasn't who he claimed to be -- and that the army isn't saying who he was. Ryan, Oberon, et al. soon find themselves up to their necks in unrepentant Nazis and militant German nationalists who have banded together against the occupiers to destroy any chance of success for a peace plan being put forward by a visionary German (Paul Lukas). They find Frankfurt a hotbed of sabotage and armed underground resistance, with the occupying armies seemingly caught flat-footed by the plotting in their midst, which includes murder and blackmail. Berlin Express is a spellbinding mix of action, suspense, and topical political intrigue, laced with idealism and a surprising degree of sophistication, a level a wit almost worthy of Graham Greene, and an eye for suspense worthy of Hitchcock. Indeed, the film could almost be considered director Jacques Tourneur's postwar equival...Berlin Express

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Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie...... more

Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie Davis was a star athlete at Syracuse University and the first African American to win the Heisman Trophy. Unlike other winners of that era, he wasn't allowed to attend his banquet dinner because the venue didn't serve blacks. He died of leukemia at the age of 23 in 1963. That element of his story is well known to football fans. What the filmmakers concentrate on in The Express isn't just Davis' athletic prowess, but the relationship he had with his coach Ben Schwartzwalder (Dennis Quaid). Rob Brown (Stop-Loss, Coach Carter) lends both gravity and charm to the role of Davis. He plays Davis as a strong willed and moral young man who refuses to let racism and discrimination dominate his life. He joins a Jewish fraternity, gets along with his predominantly white teammates and shows respect for his family and coach. The film is wise not to present Schwartzwalder as wholly colour blind. Though not overtly racist, he makes a few references that would not be acceptable in modern-day society. Overall though, the coach doesn't care what colour his players are, as long as they share the common goal of winning. Quaid is well cast in the role, adding just the right amount of gruff mannerisms without becoming a caricature. Brown has the difficult task of adding suspense to a character where most of the audience already knows his fate. Still, he manages to keep moviegoers on their toes--hoping for a miracle that we know will never come. --Jae-Ha Kim

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Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that...... more

Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation. The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. --Jeff Shannon, Amazon.com

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Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie...... more

Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie Davis was a star athlete at Syracuse University and the first African American to win the Heisman Trophy. Unlike other winners of that era, he wasn't allowed to attend his banquet dinner because the venue didn't serve blacks. He died of leukemia at the age of 23 in 1963. That element of his story is well known to football fans. What the filmmakers concentrate on in The Express isn't just Davis' athletic prowess, but the relationship he had with his coach Ben Schwartzwalder (Dennis Quaid). Rob Brown (Stop-Loss, Coach Carter) lends both gravity and charm to the role of Davis. He plays Davis as a strong willed and moral young man who refuses to let racism and discrimination dominate his life. He joins a Jewish fraternity, gets along with his predominantly white teammates and shows respect for his family and coach. The film is wise not to present Schwartzwalder as wholly colour blind. Though not overtly racist, he makes a few references that would not be acceptable in modern-day society. Overall though, the coach doesn't care what colour his players are, as long as they share the common goal of winning. Quaid is well cast in the role, adding just the right amount of gruff mannerisms without becoming a caricature. Brown has the difficult task of adding suspense to a character where most of the audience already knows his fate. Still, he manages to keep moviegoers on their toes--hoping for a miracle that we know will never come. --Jae-Ha Kim

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France released, PAL/Region 2 DVD: LANGUAGES: English ( Mono ), French ( Subtitles ), SPECIAL FEATURES: Black & White, Interactive Menu, Scene Access,...... more

France released, PAL/Region 2 DVD: LANGUAGES: English ( Mono ), French ( Subtitles ), SPECIAL FEATURES: Black & White, Interactive Menu, Scene Access, SYNOPSIS: On a trip from France to Allied-occupied Berlin, a group of travelers -- a mysterious and very secretive European woman (Merle Oberon), an American agricultural expert (Robert Ryan), a British educator (Robert Coote), a Soviet Army officer (Roman Toporow), and a French official (Charles Korvin) -- all cross paths in the cramped quarters of a military train. They discover that the notion of the "Allied forces" is breaking down amid their victory in the war; they neither like nor trust each other, nor each other's countries, except where the Germans are concerned, where they share a distrust. And then they cross paths with a German VIP who makes them wonder if they've got all of the Germans pegged right. A bomb goes off, killing their newfound acquaintance, and the suspicions start anew. The mystery surrounding the victim only deepens when they discover that he wasn't who he claimed to be -- and that the army isn't saying who he was. Ryan, Oberon, et al. soon find themselves up to their necks in unrepentant Nazis and militant German nationalists who have banded together against the occupiers to destroy any chance of success for a peace plan being put forward by a visionary German (Paul Lukas). They find Frankfurt a hotbed of sabotage and armed underground resistance, with the occupying armies seemingly caught flat-footed by the plotting in their midst, which includes murder and blackmail. Berlin Express is a spellbinding mix of action, suspense, and topical political intrigue, laced with idealism and a surprising degree of sophistication, a level a wit almost worthy of Graham Greene, and an eye for suspense worthy of Hitchcock. Indeed, the film could almost be considered director Jacques Tourneur's postwar equival...Berlin Express

... less

France released, PAL/Region 2 DVD: LANGUAGES: English ( Mono ), French ( Subtitles ), SPECIAL FEATURES: Black & White, Interactive Menu, Scene Access,...... more

France released, PAL/Region 2 DVD: LANGUAGES: English ( Mono ), French ( Subtitles ), SPECIAL FEATURES: Black & White, Interactive Menu, Scene Access, SYNOPSIS: On a trip from France to Allied-occupied Berlin, a group of travelers -- a mysterious and very secretive European woman (Merle Oberon), an American agricultural expert (Robert Ryan), a British educator (Robert Coote), a Soviet Army officer (Roman Toporow), and a French official (Charles Korvin) -- all cross paths in the cramped quarters of a military train. They discover that the notion of the "Allied forces" is breaking down amid their victory in the war; they neither like nor trust each other, nor each other's countries, except where the Germans are concerned, where they share a distrust. And then they cross paths with a German VIP who makes them wonder if they've got all of the Germans pegged right. A bomb goes off, killing their newfound acquaintance, and the suspicions start anew. The mystery surrounding the victim only deepens when they discover that he wasn't who he claimed to be -- and that the army isn't saying who he was. Ryan, Oberon, et al. soon find themselves up to their necks in unrepentant Nazis and militant German nationalists who have banded together against the occupiers to destroy any chance of success for a peace plan being put forward by a visionary German (Paul Lukas). They find Frankfurt a hotbed of sabotage and armed underground resistance, with the occupying armies seemingly caught flat-footed by the plotting in their midst, which includes murder and blackmail. Berlin Express is a spellbinding mix of action, suspense, and topical political intrigue, laced with idealism and a surprising degree of sophistication, a level a wit almost worthy of Graham Greene, and an eye for suspense worthy of Hitchcock. Indeed, the film could almost be considered director Jacques Tourneur's postwar equival...Berlin Express

... less

Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie...... more

Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie Davis was a star athlete at Syracuse University and the first African American to win the Heisman Trophy. Unlike other winners of that era, he wasn't allowed to attend his banquet dinner because the venue didn't serve blacks. He died of leukemia at the age of 23 in 1963. That element of his story is well known to football fans. What the filmmakers concentrate on in The Express isn't just Davis' athletic prowess, but the relationship he had with his coach Ben Schwartzwalder (Dennis Quaid). Rob Brown (Stop-Loss, Coach Carter) lends both gravity and charm to the role of Davis. He plays Davis as a strong willed and moral young man who refuses to let racism and discrimination dominate his life. He joins a Jewish fraternity, gets along with his predominantly white teammates and shows respect for his family and coach. The film is wise not to present Schwartzwalder as wholly colour blind. Though not overtly racist, he makes a few references that would not be acceptable in modern-day society. Overall though, the coach doesn't care what colour his players are, as long as they share the common goal of winning. Quaid is well cast in the role, adding just the right amount of gruff mannerisms without becoming a caricature. Brown has the difficult task of adding suspense to a character where most of the audience already knows his fate. Still, he manages to keep moviegoers on their toes--hoping for a miracle that we know will never come. --Jae-Ha Kim

... less

Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie...... more

Based on the real-life story of college football hero Ernie Davis, The Express will remind some moviegoers of the heart-tugging Brian's Song. Ernie Davis was a star athlete at Syracuse University and the first African American to win the Heisman Trophy. Unlike other winners of that era, he wasn't allowed to attend his banquet dinner because the venue didn't serve blacks. He died of leukemia at the age of 23 in 1963. That element of his story is well known to football fans. What the filmmakers concentrate on in The Express isn't just Davis' athletic prowess, but the relationship he had with his coach Ben Schwartzwalder (Dennis Quaid). Rob Brown (Stop-Loss, Coach Carter) lends both gravity and charm to the role of Davis. He plays Davis as a strong willed and moral young man who refuses to let racism and discrimination dominate his life. He joins a Jewish fraternity, gets along with his predominantly white teammates and shows respect for his family and coach. The film is wise not to present Schwartzwalder as wholly colour blind. Though not overtly racist, he makes a few references that would not be acceptable in modern-day society. Overall though, the coach doesn't care what colour his players are, as long as they share the common goal of winning. Quaid is well cast in the role, adding just the right amount of gruff mannerisms without becoming a caricature. Brown has the difficult task of adding suspense to a character where most of the audience already knows his fate. Still, he manages to keep moviegoers on their toes--hoping for a miracle that we know will never come. --Jae-Ha Kim

... less

Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that...... more

Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation. The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. --Jeff Shannon, Amazon.com

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Award-winning travel writer Paul Theroux invites you aboard "The Old Patagonian Express by Train through the Americas"; packed with powerful...... more

Award-winning travel writer Paul Theroux invites you aboard "The Old Patagonian Express by Train through the Americas"; packed with powerful descriptions and portraits of the many colours of humanity, "The Old Patagonian Express" is an unforgettable read. A witty sharply observed journey down the length of North and South America. Beginning his journey in Boston, where he boarded the subway commuter train, and catching trains of all kinds on the way, Paul Theroux tells of his voyage from ice-bound Massachusetts and Illinois to the arid plateau of Argentina's most southerly tip. Sweating and shivering by turns as the temperature and altitude shoot up and down, thrown in with the appalling Mr Thornberry in Limon and reading nightly to the blind writer, Borges, in Buenos Aires, Theroux vividly evokes the contrasts of a journey 'to the end of the line'. "Fascinating, beautifully written ...a vivid travelogue described with the sensitive, richly observant pen of a born writer". ("Sunday Express"). "This is travel writing at its most accomplished ...even the bored are funny and human, and the description of homeless children is painfully unforgettable". ("Sunday Telegraph"). American travel writer Paul Theroux is known for the rich descriptions of people and places that is often streaked with his distinctive sense of irony; his other non-fiction titles, "Riding the Iron Rooster", "The Happy Isles of Oceania", "Sunrise with Seamonsters", "The Kingdom by the Sea", "The Tao of Travel", "Ghost Train to the Eastern Star", "The Great Railway Bazaar", "Dark Star Safari", "Fresh-air Fiend", "Sir Vidia's Shadow", "The Pillars of Hercules", and his novels and collections of short stories, including the James Tait Black Memorial Prize winner "The Mosquito Coast" are available from Penguin.

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Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that...... more

Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation. The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. --Jeff Shannon, Amazon.com

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Behind most accounts of American Painting there lies concealed another story. Unlike music, where the contribution of the black community is...... more

Behind most accounts of American Painting there lies concealed another story. Unlike music, where the contribution of the black community is well documented, black painting has been largely neglected. This film - made entirely on location in the United States - traces the work of black American artists from the American Revolution to the Second World War. A theme which emerges is that of a conflict between painting as an expression of purely artistic concerns and painting as a means of identifying and celebrating a specifically black experience. Much of the work has been lost, the artists all but forgotten. Professor David Driskell, who leads the film's search for the roots of black American painting, has played a major part in making this story known. David Driskell is himself a painter and lecturer in the history of black American fine art at the university of Maryland. Raised in the deep South, the grandson of a freed artisan slave, the son of a minister, his journey back to his birthplace mirrors this journey through 150 years of history. Driskell places artists' individual achievements in the context of social change; the abolition of slavery; Jim Crow Laws; racial violence and segregation. During this time some black artists studied the European classical tradition and a few achieved an international reputation. But it was not until the 1930's and the black consciousness represented by the Harlem Renaissance, that the first full expression of black painting occurred.

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The American house of Express launched 2012 a new fragrance for confident women, ideal for evening going out called Express...... more

The American house of Express launched 2012 a new fragrance for confident women, ideal for evening going out called Express Glam.Express Glam is a chic, oriental floral fragrance that opens with black currant and mandarin vodka. The sensual heart is built around jasmine and lily of the valley notes, while the base closes with praline, creamy musk and white woods. The fragrance is designed and bottled exclusively by Express.

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The American house of Express launched 2012 a new fragrance for confident women, ideal for evening going out called Express...... more

The American house of Express launched 2012 a new fragrance for confident women, ideal for evening going out called Express Glam.Express Glam is a chic, oriental floral fragrance that opens with black currant and mandarin vodka. The sensual heart is built around jasmine and lily of the valley notes, while the base closes with praline, creamy musk and white woods. The fragrance is designed and bottled exclusively by Express.

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Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that...... more

Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation. The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. --Jeff Shannon, Amazon.com

... less

Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that...... more

Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation. The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. --Jeff Shannon, Amazon.com

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