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- 9***4 (18)- Feedback left by buyer.Past 6 monthsVerified purchaseGood communication, very well packaged item. Would recommend!
- s**** (35)- Feedback left by buyer.Past 6 monthsVerified purchaseA beautiful Poole Pottery lamp base, very well packed and a very quick delivery.
- o***t (1038)- Feedback left by buyer.Past yearVerified purchaseDespatch slow. Advertised as 2-3 days. Took 13 days. Communication non existent. Will not buy from this seller againReply from: ilumin8- Feedback replied to by seller ilumin8.- Feedback replied to by seller ilumin8.We had two bereavements in our family within a week. I apologised to you twice. Once via eBay message and once in the refund which was successfully processed for you on October 24th by way of an appology. I'm sorry this wasn't acceptable to you on this occassion. Regards, Ashley
- t***6 (2828)- Feedback left by buyer.Past yearVerified purchaseFull refund given on item lost by Royal Mail (NOT the seller's fault, obviously). Thank you.
- o***o (377)- Feedback left by buyer.More than a year agoVerified purchaseVery promptly dispatched, well packed and accepted a good price.
- s***k (2156)- Feedback left by buyer.Past monthVerified purchaseSeller with drew my winning bid as it was not as much money as they wondered and then blame ME
Reviews (4)
05 Jun, 2009
Brilliant
In this fun, lighthearted comedy, a group of aliens led by Brian Dennehy arrive from the planet Antarea and take on human form so they can go about their work without detection. They land near the heart of geriatric country, St. Petersburg, Florida, and rent a tour boat from Steve Guttenberg. They also rent a nearby home that had been left unattended, thereby enabling some elderly residents at a rest home--Don Ameche, Wilford Brimley, and Hume Cronyn--to sneak in and use its indoor pool. Guttenberg takes the boat to a specified spot in the ocean where Dennehy and his crew pull boulder-like cocoons from the ocean floor, which they store in the swimming pool. Later when Ameche, Brimley, and Cronyn take their usual swim, they notice the curious cocoons and then begin to sense a change in themselves--they are suddenly more youthful and vital.
A gentle and effective heart-tugger, COCOON tries to make its audience feel good, but you can't help but feel uneasy about the vision of old age that director Ron Howard depicts--one in which the young cannot accept the notion of getting old. The derivative special effects feel like leftovers from the infinitely superior CLOSE ENCOUNTERS OF THE THIRD KIND. A number of the performances are superb, including Ameche's, for which he won a Best Supporting Actor Oscar. The film also won an Academy Award for Best Visual Effects.
13 May, 2009
Good Film
Good film, Saw it on sky one afternoon and enjoyed it enough to look to see whether it was for sale!
05 Jun, 2009
Viva la brilliant!
it takes courage to bow out at the peak of one's career. It takes a strange kind of foolhardiness to step straight back in again as a rank beginner in a range of unfamiliar genres. But such is Darcey Bussell's addiction for the stage that barely six months after taking her final leave of the Covent Garden stage she's on a month-long tour; hoofing, strutting and, wait for it - singing.
And if that were not strange enough, Bussell has teamed up with Katherine Jenkins - the world's biggest selling mezzo soprano and official Welsh rugby team cheerleader, who has spent the past few months learning to tap dance.
During one of a number of rather stilted on-stage chats, Bussell produces a top hat which her father bought on the Portobello Road and reminisces about "the fab Hollywood routines I used to do in my bedroom"; yet while most girls manage to leave them there, she and Jenkins have opted to re-enact their fantasies in the nation's arenas.
Directed and choreographed by Kim Gavin, whose credits include producing Take That's reunion extravaganzas, the show begins with the girls bursting out of a giant television set and develops into a camp tribute to anyone who ever wore more diamonds and fur than strictly necessary, alighting in no particular order on the careers of Judy Garland, Audrey Hepburn, Cyd Charisse and Madonna.
As grand theatrical charades go, it's hardly on a par with Rufus Wainwright's even more preposterous wish-fulfilment exercise, in which he booked out the London Palladium for a note-for-note reconstruction of Judy Garland's legendary Carnegie Hall programme. Yet Bussell always seems to have understood it to be part of her job description as Britain's most popular ballerina never to take herself too seriously.
Yet it's this same approachability which seems to preclude her entering the mindset of the Hollywood monsters she admires. It's the absolute lack of diva-ish attributes which makes her seem benign to the point of blandness. And though her every gesture is pure poetry, slinkiness is the one quality which evades her.
Yet she portrays Moira Shearer in The Red Shoes with infinitely more conviction than Jenkins does Maria Callas in the Barber of Seville. It has to be said that hers is a voice better suited to belting out Land of My Fathers at the Millennium Stadium than skipping through the perilous coloratura of Rosina's skittish cavatina.