Product Description
Compact Digital Camera FS10 – 28mm Wide-angle 5x Optical Zoom LUMIX DC Lens and iA (Intelligent Auto) Mode with Advanced Scene Detection. The DMC-FS10’s large 2.7-inch LCD features high 230,000-dot resolution Intelligent LCD. It automatically adjusts the brightness in 11 steps according to shooting conditions. This LCD provides sharp, clear images in virtually all shooting situations, ranging from nighttime to bright daylight scenes. In addition, the High-angle Mode makes the display extremely easy to view from a low angle, for example, when taking photos by raising your hand upward to capture the subject over the crowd.

• 12.1 Megapixels
• HD Movie Recording
• 5x Optical Zoom Lens
• iA Mode with Scene Detection
• Megapixels: 12.1

Panasonic Lumix FS10 Digital Camera – Black 2.7 inch LCD

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Product Description
The Canon original LP-E6 Battery is an rechargeable lithium-ion battery allows up to 850 shots in normal usage, 200 shots using the Live-View facility or up to 2 hours of HD Movie (based on Canon tests).

• Canon Part Number: LP-E6
• Chemistry: Rechargeable Lithium Ion with no ‘memory-effect’
• Voltage: 7.2V
• Capacity: 1800mAh
• Warranty: 1 Year

Canon Battery Pack Lp-e6 For The Eos 5d Mk Ii

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Slaughtered

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The Movie Book of Film Noir

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Amazon.co.uk Review
In Transformers: The Movie it’s the year 2005, and the universe is going right down the toilet. Not only have the heroic Autobots lost their homeworld of Cybertron to the evil Decepticons, a giant metallic planet named Unicron is on the prowl, treating solar systems like a gigantic buffet and gunning for the Autobots’ matrix of leadership. Fortunately, struggling against the odds is what heroes do best, and it is indeed hard to keep a good robot down. As the battle rages from space to earth and back into space again, characters die, others are reborn and, ultimately, good must face evil in a climactic battle for the fate of the universe. When this animated film arrived in American cinemas in the mid-1980s, the Transformers–both the robot toys and the television show–were at the height of their popularity. Transformers The Movie took these battling ‘bots and, er, transformed them into film stars, albeit of the cult variety. The animation is a bit touch-and-go: at its best, it’s up there with classic Japanese manga; at it’s worst, it reeks of horrible 80s assembly-line productions. And the plot is little more than an advert for the (then) new toys, many of which show up as main characters in the film (Hot Rod, Kup, Ultra Magnus, Galvatron, etc). However, some of the action sequences are indeed spectacular–especially the battle for Autobot City–and the violence is a bit intense for what is, basically, a kid’s film (they may just be robots, but they still die, apparently). What really makes this film more than meets the eye, though, is the names who show up as voices in the credits: Leonard Nimoy, Judd Nelson, Robert Stack, Eric Idle and even Orson Welles, in one of his last roles, as Unicron.

On the DVD: In order to please the growing numbers of hardcore Transformers fans out there, the DVD version of Transformers: The Movie has been beefed up with loads of extra features: the original theatrical trailer, introductory footage taken from the BBC’s I Love 1984 and a picture gallery with music are all excellent additions, but best of all is Takara’s “The Four Soldiers from the Sky”. Though the dubbing and translation are a bit poor, it’s still a rare opportunity to see a Transformers episode that never aired outside of Japan.–Robert Burrow

The Transformers: The Movie

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Amazon.com
Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin’s Movie & Video Guide, it’s “recommended for fans only,” but we say hogwash to that–you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It’s basically a series of sketches woven together as King Arthur’s quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you’ve seen Arthur’s outrageously bloody encounter with the ominous Black Knight (John Cleese), you’ll know that nothing’s sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say “Ni–!,” this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It’s all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there’s a bit of subtle business or grand-scale insanity that’s utterly inspired. The sum of this madness is a movie that’s beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn’t make you laugh, you’re almost certainly dead. –Jeff Shannon

Monty Python and the Holy Grail

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Urusei Yatsura Movie 6: Always My Darling

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Amazon.co.uk Review
The “lost” sleeper hit of 1980 has since become one of the most revered cult movies of all time, largely due to its bawdy, irreverent story about the art and artifice of filmmaking and an outrageously clever performance by Peter O’Toole. As megalomaniacal film director Eli Cross, O’Toole plays a larger-than-life figure whose ability to manipulate reality is like a power-trip narcotic. The focus of his latest mind game is a fugitive (Steve Railsback) recruited to replace a stuntman killed during a recent on-set accident. In return for protective sanctuary, the fugitive takes a crash course in stunt work but soon discovers that he’s the paranoid player in a game he can’t control, with the dictatorial director making up the rules. Or is he? The Stunt Man is a game of its own, played through the fantasy of filmmaking, and half the fun of watching the movie comes from sharing the stuntman’s paranoid confusion. Barbara Hershey has a smart, sexy supporting role as a lead actress who won’t submit to her director’s seemingly devious behaviour; but it’s clearly O’Toole who steals the show. Director Richard Rush adds to the movie’s maverick appeal–in a career plagued by struggles against the mainstream studio system, Rush hasn’t made a better movie before or since. The Stunt Man clearly represents the potential of his neglected talent. –Jeff Shannon

Stunt Man

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