Although Jackson is the first director ever to be nominated for the Outstanding Directorial Achievement in Feature Film prize three years in a row, his work on final chapter The Return Of The King marks the first time he has won the prestigious award.

Jackson has already collected Best Director at the Golden Globes and the movie won Best Drama there - and Return Of The King goes into this month’s Academy Awards with a staggering 11 nominations.

Mike Nichols was a double winner at the DGAs - he won the Best TV Movie Direction for Angels In America and was honored with the 2004 Lifetime Achievement Award.

This latest album Ancient and Modern is actually a follow-up of her first critically acclaimed solo album, which was also entitled Ancient and Modern, released by Echo Records. Although I haven’t heard the first album, I suspect that this release benefits from the years of experience in between. It certainly resounds with delicate maturity and sophistication.

At first glance, this album sounds like an orchestrally embellished version of Gregorian chants and English church music. There is definitely a distinctive ecclesiastical mood to this music, filled with reverent chorales and hymns. Upon a closer listen however, there are only a few tracks with prominent “monkish” singing: “Veni Sancte Spiritus,” “Tallis’ Canon,” “The Testimony of John,” and “Coventry Carol.” These tracks are intriguing, but have a dreary, droning tonality that medieval church songs often have. They are not particularly engaging, unless of course, you like music like Chants: The Benedictine Monks of Santo Domingo de Silos. If the album had just these vocals, it would probably only earn two stars, if even that.

The beauty of these songs comes from the orchestral phrases Dudley weaves into these tracks. “Tallis’ Canon” has a short but exceptional interlude that is comparable to the grand elegy in American History X. “The Testimony of John” likewise has instrumental tidbits that glow with poetry. “Coventry Carol” has a more enmeshed relationship between the orchestral and the choral elements, which ranges anywhere from boring to gloriously inspired. Somewhere in between is Dudley’s arrangement of Bach’s “Prelude,” performed with strings, woodwinds, and organ. Bach fans notwithstanding, I find Bach’s leisurely baroque just a tad on the meditative and dreary side as well, but the arrangement was proficient and confident.

Anne Dudley’s passion begins to surface when she writes music with rhythm and drive. It is these tracks that embody the spirit in Ancient and Modern, a creative and immaculate marriage between the past and the present. Although “Veni Emmanuel” clip has traditional choirs singing the ageless carol (”O Come, O Come Emmanuel”), Dudley outfits it with contemporary rhythmic chords on piano and keyboards that add a sharp edge and fresh glitter to the classic.

The first track, “Canticles of the Sun and the Moon,” has a similar keyboard/vibraphone accompaniment to traditional choirs, which is quite enjoyable, but not as striking as “Veni Emmanuel.” The pulsing beat reappears in “The Holly and the Ivy,” which features a fantastic song that uses both electronic keyboards and acoustical instruments. This is a determined, propulsive piece that flies in the fast lane of modern life, in perfect melody. I would love to see this cue used in a film one day.

As enjoyable as these cues are, Dudley shines at her best when she goes all out with the orchestra in a way that seems magical. “From Darkness to Light,” “Canzonetta,” and “Three Strings” are all sublime and enchanting in a eloquent, orchestral canvas. “Eight Woodwind” and “Sixteen Voices” are absolutely masterful and magnificent. “Eight Woodwind” melts with Dudley’s signature rhythmic drive expressed with a penetrating string section. “Sixteen Voices” is commanding with sheer passion, soaring with heartfelt voices, and mesmerizing with a stunning orchestra.

The piece has a symphonic continuity that has to be appreciated in its full context (not easily captured by an audio clip clip), and luckily it is the longest track on the album. Let me put it this way–if I had to name the “best track of the year” right now, it would genuinely be a tough choice between Williams’ “Duel of the Fates” and “Sixteen Voices.”

This album is hard to rate because many of the tracks would earn about two stars, whereas others get four easily, and still others deserve the compelling five stars. The best pieces are simply tremendous, and lends the CD a higher rating. Even if you don’t care for medieval church tunes, you might want to get this album for the last two tracks and the ingenious novelty Dudley brings to an ancient sound. Besides that is what the fast forward button is for. The liner notes come with lyrics and a biography of Anne Dudley.

A large portion of this score is a singular 70’s jazz/funk/R&B blend. There is a lot of rhythm in most of the album. The score’s secondary theme fits into this artistic jazz mode, presenting a penetrating contrast between string flairs, electronic loops, and 70’s funk. The use of those piercing strings cues brings out the best in these cues. I am usually not a fan of funky jazz, but Powell’s jazz is deliberately quirky, and shines with aesthetic appeal. Moreover there is a carefree lightness, a sense of deliberate fun, that draws the listener into its world.

The main theme, heard in “The Road Ahead 2,” “Weather Montage Re-Mix” and “The Question,” is a hypo tonic, elegant tune played by piano/keyboard, accented by string flourishes. The theme is wonderfully romantic and delicately moving. However, in Powell tradition, the best themes make their simple statements, and are not revisited often. Case in point, the best cue on the album is “Perky String,” which has fabulous strings soaring with elegant passion and glowing chords. It is a terrific melody that instantly captures your heart, but makes only one solitary appearance.

There is a third theme, a pensive, dramatic, orchestral piece heard in “Slushy” and a couple of other tracks. There are still other interesting moments. Ben and Sarah’s themes are moody, introspective melodies which echoes of electronic or vocal embellishments. They have more emotional depth and a tinge of sadness, adding yet another facet on this diverse and kaleidoscopic work. If the score had revolved around the best melodies, as many other scores do, it no doubt would become a fan favorite very quickly. However, you have to respect Powell for not being that predictable, and delivering a unique work of art instead.

The score is strong for the irresistible main theme and sheer creativity the resounds from it. Powell’s use of strings is tremendously eloquent and largely responsible for the magnetic-ism of this score. Whether you like this score or not would depend largely on how you feel about the unusual jazz cues. For me, they were curiously inviting, and this stands as one of Powell’s strongest scores to date.

“I want to go to London to study photography. I have heard that there are very good schools of art and I love taking pictures and making art. I’ve worked with Leibovitz, who is amazing and very talented, “said Miley. “That’s what I do in my life, being a photographer and work with Leibovitz again”

Miley is very clear about what you want to make your life and the truth it is going very well, actress, singer and now a photographer, we support you Miley, you can be professional in what you love.

Britney looked very happy, he must have been a great honor for her. I leave the pictures of the ceremony.

” Although neither the FOX, the producers of ‘reality’ of competition or the management of the Lopez confirmed something about it, rumors indicated that it was safe.

Now, the balance turns the other hand, since the portal of People in the TV section indicates that the ‘deal’ has collapsed and Jennifer’s services will no longer be required.

Why? Apparently, the wife of Marc Anthony was asking too much to accept the position and the chain had had enough, opting not to accept it. Would it have been a good idea to enter J. Lo ‘Idol’ or glad you did not remember anything?

Although not officially announced anything, one is left wondering if these rumors are true. If Jennifer was perhaps asking too much, what they were talking about? Would it have anything to do with their outlandish claims alleged to request quarts completely white, with walls, furniture, rugs and candles that color? Or perhaps asking too much for their appearance?

Either way and while not official statements, we can only speculate. Although in my opinion, was a perfect job for the artist of 41 years, it has not been having the success he hoped for a couple of years, or with music or movies. A show like ‘American Idol’, spent more than it may seem, remains the most watched program in the United States and give him the exposure needed to go on everyone’s lips, out of gossip or paparazzi photos. Because, for example, who would remember Paula Abdul if not for ‘Idol’?

Meanwhile, the gossip of the show continue to circulate, no official confirmation about the dismissal of Kara Dio Guardi or who will fill the seat vacated by Ellen DeGeneres judges and Simon Cowell. So far we have only Randy Jackson and rumors of talks with Steven Tyler of Aero smith.

Would you like some Latin jury out ‘American Idol’? Who? How about someone like Ricky Martin, or maybe Gloria Estefan, who has already appeared earlier in the show?

Lake placid stars a decent looking thirty-foot crocodile that is causing problems at a tranquil lake in Maine. At first no one thinks it’s actually a crocodile because they’re usually not that big and because it’s so unlikely it would show up at a Lake in Maine. 

Bill Pullman is a Fish and Game warden called in to take care of the situation. He picks up several sidekicks along the way including Bridget Fonda as a paleontologist who is called in to check out a tooth imbedded in a victim and stays for more when she finds the work exciting. A grumpy local sheriff played by (Brendan Gleeson) and Oliver Platt tag along for no good reason, Oliver Platt plays a rich mythology professor who is fascinated by alligators.

Although the characters seem interesting at first, they are all too blandly written and soon become a backdrop for the alligator. Oliver Platt and and Brendan Gleeson are fun to watch as they trade barbs but they never get to do much else and the rest of the cast is wasted. The biggest waste is Fonda who is cute but isn’t given much to do but complain about the bugs and  Bill Pullman, who is still using the gruff voice from Independence Day.

The movie spends far too much time on a lame back story about Bridget Fonda’s character and how she ended up at the lake in search of the alligator. The story is ridiculous and the final solution to the alligator problem is absolutely unbelievable but I found myself chuckling through most of the movie without ever getting bored.

Lake Placid is actually pretty tame as far as violence or language is concerned. An alligator does bite off a few limbs but no one but the youngest children will be scared by the phony looking corpses. There is also some foul language, mostly from a very funny Betty White, as a mysterious old lady with a secret. The movie is entertaining enough not to become a bore when we  finally see the alligator in action and a clever twist towards the end makes it a great way to get out of the summer heat. No it doesn’t compare to Jaws, nothing has yet but I’ve seen too many monster movies to call this one a truly bad one.

-Ray Tallaan

Here is your chance to let everyone know you mean it when you say you want better movies from Hollywood. The Iron Giant is based on a classic children’s book, The Iron Man by British poet Ted Hughes. It takes place in 1957 during the middle of Cold War paranoia.

A fireball splashes down in the ocean near the coast of Maine in the opening. The fireball is The Iron Giant, a huge robot that hides in the woods and chomps on any metal he can find as food. A young boy named Hogarth Hughes (Eli Marienthal) finds the giant and saves him from electrocution when the giant tries to eat the local power plant. The confused robot follows the boy home like a lost puppy and they end up bonding as the boy teaches him first how to talk and about life in general. Soon Hogarth has the biggest and best toy any boy could hope for.

The half eaten power plant and several chewed-on trucks attract government agent Kent Mansley (Christopher McDonald), who is called to make a report on the the situation. The agents initial doubts about something strange in the town are soon laid to rest when he return to his car and finds it bitten in half.

The boy figures out that the giant will scare people so to keep him safe he takes him to a local junk dealer and artist named Dean (Harry Connick Jr). Dean reluctantly keeps the giant  in his junkyard, where he has an unlimited supply of metal to eat. The relationship between the boy and Dean is well written and their personalities make it fun to watch as they have to deal with the childlike giant and the problems he brings. Dean is upset about having to keep the giant and Hogarth has to evade Mansley, who suspects the boy knows something.

To the credit of the artists, the animation is amazing. The perspectives are well done, colors are bright and the shots are well chosen. Even though it’s animated, in a theatre children and adults will be amazed at how real the giant looks. The animation has an original look with a familiar 50’s comic book feel. After so many years of being fed Disney animation, it’s great to finally see Director Brad Bird make a movie with good animation that isn’t jerky or cheap looking. You can also be thankful someone had the courage to make a movie without annoying sidekicks, cute animals or musical numbers. This movie does it the hard way and just tells the story.

The movie deals with a serious subjects (death and guns), but it’s never condescending and things are always well explained even for the younger viewers. A scene where a deer is shot may upset very small children, but because the giant is like a child, Hogarth explains death to the giant (and children) in a way that is understandable.

Although boys will find the movie amazing, I suspect girls may feel left out by the action comic book feel, and the idea of a boy with his own giant robot as fun. References to super heroes and sci-fi, including a neat tribute to Superman may just not keep their interest for the span of a movie.

The characters are all well written, including Annie Hughes (Jennifer Aniston) as Hogart’s mom. Even Kent Manley is a great bad guy, unlike most villains he actually has a reason for what he does, it’s his job and he truly believes he’s doing the best thing for his country.

I can’t say more to praise this movie except that you and your kids should see it in theatres. When movies like this get the attention and box office they deserve we’ll finally see some great kids movies from Hollywood.

-Ray Tallaan

Mathew Broderick is John Brown, a security guard with dreams of becoming a police officer so he can be a hero. In a plot twist not worth explaining, he becomes a gadget filled bionic man and is inducted to the Police force. Joely Fisher plays the scientist who makes him into the bionic Inspector Gadget.

This kids movie has all the problems that TV adaptations with a flimsy premise suffer from. Its spends the first half hour boring us with how John became Inspector Gadget. No one cares and its boring and unfunny. The movie looks patched together, like there was more of a movie but it was cut out to make room for the sight gags and special effects.

Joely Fisher is good as the love interest, but the best part of the movie is Rupert Everett playing an over the top billionaire villain Claw. Mathew Broderick suffers from the same problem he’s had for a while, he’s just too bland to be of any interest and he’s just not funny to watch.

The special effects are neat, but they wear thin quickly for adults because there’s absolutely nothing of interest follow. There is one big problems I had with the movie. A scene where an evil henchman holds a gun to Gadgets niece Penny (an under used Michelle Trachtenburg). The director may have realized this because the gun is at a low angle and blurred. Since we all know this is not a good idea for a kids movie, why is it there?

The other supporting characters are incredibly annoying, if they had been in much more of the movie it would have been unbearable. Cheri Oteri, playing the exact same clueless character she does every week on Saturday Night Live, is the city’s mayor. Also along is an unwatchable Dabney Coleman, still playing the boss from 9 to 5 and with the irritating habit of always chewing gum onscreen for no reason. Another problem was the Gadget Mobile. An obnoxious talking car that serves no purpose but to set up lame gags. The car’s talking computer looked like it was an after-thought added on for comic effect.

Besides the gun scene there’s nothing horrible or objectionable and younger kids will probably be entertained by the neat special effects. Nothing to hate or love in this mindless movie but it seemed like a lot to sit through just to entertain kids for an hour.

If you need a movie to take your kids, go try The Iron Giant instead of this insignificant bore.

-Ray Tallaan

As expected there really isn’t much of a plot, just a very flimsy excuse to trap a group of people in a house (again). A group of strangers are invited to an abandoned insane asylum to spend the night by an eccentric amusement park builder, Steven Price (Geoffry Rush). The reason for the gathering is Price’s wife Evelyn (Famke Janssen) wants her birthday party held at the insane asylum. Whoever survives the night wins a million dollars for the privilege of amusing Price.

The original guest list is is mysteriously rewritten by someone, and four strangers show up. Who really invited them and what the couple’s real intentions are is supposed to be the mystery but it’s inconsequential.

The guests are Peter Gallagher, Bridgett Wilson, Tye Diggs, Ali Larter and  Chris Kattan.

Geoffrey Rush is amusing as Steven Price, but his character is as menacing as Mr. Burns from The Simpsons. His equally cartoonish wife is played by the annoying Famke Janssen. The only other character worth a mention is Chris Kattan who manages a couple of funny lines as the paranoid owner of the asylum. The rest of the characters don’t do much but look confused at why they’re being picked off by the presence in the asylum.

Production values could have been better. The house is supposed to be a huge maze but all the action takes place in one hallway and several overused rooms. Lights that are supposed to be flickering are just flashing and the moaning sounds from the house become annoying and overused.

Fans of gory horror movies may enjoy some of the images, especially interesting was a dream sequence and flashbacks that tells us the horrors that took place at the asylum. All this doesn’t begin to make up for how bad and unnecessarily confusing this movie really is.

The evil presence in the house turns out to be a exceptionally bad special effect that the movie could have easily have done without.

If you’re desperate for a horror movie fix, House on Haunted Hill will do but there are much better horror movies at the rental stores and you won’t have to pay full price to see them.

-Ray Tallaan