The Sword in the Stone is a 1963 American animated musical fantasy comedy film produced by Walt Disney and released by Buena Vista Distribution. The 18th Disney. King Arthur Legend of the Sword After the murder of his father, young Arthurs powerhungry uncle Vortigern seizes control of the crown. Robbed of. This spring a new movie, King Arthur Legend of the Sword, is to hit the big screens. Staring Charlie Hunnam as the fabled warrior, the film title suggests that the. Get the latest Rolling Stone new music news, song and album reviews, free music downloads, artist videos pictures, playlists and more. The New The Sword In The Stone Movie ' title='The New The Sword In The Stone Movie ' />Kip Moore Announces New Album SlowheartKip Moores third album, Slowheart, ends with a song that looks at where he began Guitar Man. Its an almost six minute ode to the delirious highs and gut wrenching lows of a musicians existence, told through the story of a guy he spotted one night at a bar, singing for his supper. Moore delivers the LPs closing track on a stripped down recording, done all in one take. His voice is intimate, while the lyrics trace each thrill earned from an audience that will move on and forget once the house lights come on. Another day in the life of a guitar man, he sings. That song is my life story, says Moore, sitting on a couch at a Nashville restaurant, sipping a coffee with a lone American Spirit cigarette resting in front of him on the table, which hell save and smoke later. I remember being that guy, having all those dreams. Robbed of his birthright, Arthur comes up the hard way in the back alleys of the city. But once he pulls the sword from the stone, he is forced to acknowledge his. Our film critics on blockbusters, independents and everything in between. Constantly feeling like, Am I ever going to get where I want to get And that night, I overheard someone say, Man, that guy is good. No one knew his name, he was faceless. I just remember being him, giving everybody the time of their lives one night. And then I would go home by myself and feel empty, because there was so much more I could accomplish. After two records, 2. Up All Night and 2. Wild Ones, Moore is no longer nameless or faceless those days of playing covers in lonely bars have long faded into venues packed with diehard fans from Atlantic City to Australia who hang on every note and word. But Moores still that Guitar Man. Wild Ones, a terrific, sonically adventurous record, was a critical but not commercial success, and the pressure to leave that stage with every last bit of himself wrung out on the floor was taxing to the core. So he took a break, traveling through Costa Rica, Hawaii, Utah, Iceland and along the East Coast. He surfed, backpacked and spent time alone at a coffee shop in Lahaina, Maui, leaving his phone behind and finding company in his own head after a morning surfing. It was a salve, in a way. I believe in music so much, and I care so much, that its a double edged sword, he says, sitting forward on the couch in well worn boots, jeans and a T shirt. Its what has made me successful, and its what has made me a depressed human being at times. I face that pendulum swing so much. The toils of facing a crowd, 1. Maybe other artists can have a show that is not that great and walk away. Me I will spiral. Mia Izle. Ill think of that one despondent face in the crowd and ask, Why couldnt I sway that one person Thats the fiery human being I am. Im trying to find that balance better, and Ive come to be more at peace with knowing that, he continues. So I took this year and let go of the steering wheel. I let the music make itself. That music Slowheart, styled in all caps and due September 8th came casually at first. Moore didnt even tell his label he was settling down to make another record, and the process was more organic than it had ever been, landing somewhere between the rough edges of Americana, rock and the evocative storytelling of country, produced to let every guitar lick ring true and every edge and wail of Moores voice reverberate raw but strong. The first single, More Girls Like You, gives a sonic clue, but things only expand from there. Moore made the LP on a relatively cheap mic often used for demos, played much of the instruments himself and came out with his own kind of near analog sound. Though Wild Ones often captured that band in a room feeling, these tracks have the gut punch of a vintage album, the vocals out front and clear as crystal, not muddled by dials and tricks. Moore simply laughs and calls it magic. I sang through an SM 7, which is about a two hundred dollar mic, says Moore, who performed most of his own harmonies and produced about 7. Slowheart. Its a very aggressive mic, and if youre not on, its going to show. Its very unforgiving. But if you hit it right, it fit for my voice. Moore was messing around in the studio, never quite intending to use the mic in the final recordings, but he loved the richness and authenticity it gave to the song. Every emotion, wail and chuckle comes through, which sums up Moore Hed rather open himself up to both the beauty and the flaws than exist in a more comfortable middle ground. Ive also been so blessed to have amazing players around me that played with their heart, and not just going through the motions, he says, often giving nods to Dave Salley, his engineer, frequent co writers like Westin Davis and David Garcia, and his band, the Slow Hearts. That makes a big difference. Nowhere is this more clear than on songs like Bittersweet Company and Just Another Girl, which both boast a loose, rock roll spirit conjuring everything from the J. Geils Band and Foghat to the Black Crowes and Lynyrd Skynyrd with infectious, sticky melodies. Moores a believer in those melodies, and he thinks theyre often missing from modern music. Bittersweet Company has it in spades, so much so that the label was hoping it could be a single from Slowheart. That is, if he made just a few small tweaks and skewed the lyrics a little more positive. Moores answer Hell no. The Georgia native is nothing if not steadfast he does what he wants, how he wants it, and doesnt try to shuffle his emotions under the table. He talks openly about depression and self doubt, and, on Slowheart, about the life of a grown, modern man, one who wants a family sometimes but seeks a few no strings thrills at others. He sings about fighting for a relationship at all costs, but also knowing when to pour the last round and about how music is his real lover, while everything else is just an affair. Speaking ones mind and being unfaltering in decisions isnt always the best path to success in rule abiding Nashville, but Moore gives a so what shrug. People always say they want honest, but I dont know how true that is. I know Ive gotten in trouble being honest quite a few times. He pulls no punches on a track called Blonde, about the odd culture of Instagram celebrities who create artificial lives online while letting their real lives, and real loved ones, sit on the sideline. There are a few pros to social media, but, for the most part, its pretty destructive to the soul, says Moore, who is so unattached to his phone that he leaves it, along with the keys to his black pickup truck, on the table when he goes to smoke a cigarette. People seek all their validation through it and end up craving other peoples lives. Its caused everyone to chase fame for the sole purpose of being famous or insta famous. Everyone wants a shortcut, and will try to achieve that by whatever means necessary. It causes people to lose their damn minds. You can chase the lights, you can chase the fame, he sings with a soulful swing, his knack for the deep grooves of Motown creeping in. Used to be the captain of the cheer team, now youre just a never coming home coming queen. Thats my middle finger to everybody and saying, Fuck that, were going strong. Kip Moore on new song The BullFor the first time, Moore chose two outside songs for Slowheart. One is The Bull, written by Jon Randall and Luke Dick around percussive plucks of guitar. Hanging out one day, the eccentric lyricist Dick mentioned to Moore that hed like to play him a new track hed just finished, and he decided to cut it instantly. Moore sings of the Grammy awards hes yet to win and the Rolling Stone covers hes yet to be on, but hes not bitter. Instead, hes thanking all those bulls that bucked him off, because he got back on. Thats my song, says Moore. Anybody thats had any doubt in me. I heard all the rumbles when I went away for a minute from radio. I heard what other promoters, other labels, said about me. The Sword in the Stone Blu ray 5. Anniversary Edition. Anniversary Edition Blu ray DVD Digital HDDisney Buena Vista 1. Rated G Aug 0. 6, 2. Video. Codec MPEG 4 AVCResolution 1. Aspect ratio 1. 7. Original aspect ratio 1. Audio. English DTS HD Master Audio 5. French DTS HD HR 5. Spanish Dolby Digital 5. Portuguese Dolby Digital 2. Russian Dolby Digital 2. English DTS HD Master Audio 5. French DTS HD HR 5. Spanish Dolby Digital 5. Portuguese Dolby Digital 2. Russian Dolby Digital 2. English Dolby Digital 2. Subtitles. English, English SDH, French, Portuguese, Russian, Spanish. English, English SDH, French, Portuguese, Russian, Spanish lessDiscs. Blu ray Disc. Two disc set 1 BD 2. DVDi. Tunes digital copy. Digital copy as downloadDVD copy. Packaging. Slipcover in original pressing. Playback. Region free. Price. List price 2. Amazon 9. 9. 9 Save 5. Usually ships in 2. Movie rating. 30. The Sword in the Stone 1. The Sword in the Stone Blu ray features bad video and solid audio in this mediocre Blu ray release. Based upon T. H. Whites beloved novel, this Disney fied version chronicles the tutoring of the Once and Future King, Arthur, as handled by the magician Merlin. For more about The Sword in the Stone and the The Sword in the Stone Blu ray release, see the The Sword in the Stone Blu ray Review published by Kenneth Brown on August 1, 2. Blu ray release scored 2. Director Wolfgang Reitherman. Writers Bill Peet,Richard M. Sherman,Robert B. Sherman. Starring Sebastian Cabot,Karl Swenson,Rickie Sorensen,Junius Matthews,Martha Wentworth,Norman Alden See full cast crewThis is what I call a Wizard BlizzardReviewed by Kenneth Brown, August 1, 2. Thanks to the August 6th Blu ray debuts of The Sword in the Stone 1. Robin Hood 1. 97. Oliver Company 1. Disney Animated Classics remain, two of which The Little Mermaid and The Many Adventures of Winnie the Pooh are already set to arrive later this year. Its hard to believe that just five years ago the beautifully remastered release of Sleeping Beauty followed by Snow White and the Seven Dwarfs in 2. Disneys entire animated features canon is available in high definition. No, the Mouse House hasnt always led fans and purists down the smoothest of restoration roads The Fox and the Hound, but its been an exciting journey with far more peaks than valleys, and 2. For now, though, completists have a new batch of classics to enjoy, the most problematic being The Sword in the Stone every bit as flawed but endearing as Robin Hood, every bit as playfully hit or miss as Oliver Company, but with the crushing disappointment of a subpar video presentation. The Sword in the Stone tells the tale of young Arthur voiced rather noticeably by three different actors Rickie Sorenson, Richard Reitherman and Robert Reitherman, a twelve year old orphan who doesnt realize hes the son of the late king, Uther Pendragon, whose death left the throne empty and thrust England into the throes of the Dark Ages. All that changes after a seemingly chance encounter with the wizard Merlin Karl Swenson, a wily old sorcerer who takes it upon himself to guide Arthur to the Sword in the Stone a sword of legend that can only be claimed by the next king. But first, Merlin, with the help of his trusty owl Archimedes Junius Matthews, decides to whip the lad into shape, teaching Arthur about the world, science, magic and, above all, destiny. Unfortunately, the boys cantankerous guardian, Sir Ector Sebastian Cabot, and brutish bully of an older brother, Kay Norman Alden, dont take kindly to Merlin or the attention he gives Arthur, and dismiss any potential the orphan may have. Now, if Merlin can defeat the evil sorceress Madame Mim Martha Wentworth and convince Arthur to pull the sword from the stone, the future of the land will be bright. If the wizard fails, the future will be dark indeed. Long considered one of Disney Animations darker hours, The Sword in the Stone is by no means one to discard. It isnt as rich or rewarding as other classics, but its cast of cute, colorful characters, featherweight adventure, and coming of age determination holds up pretty well fifty years after its release. Its also near and dear to my heart so full of humor and heart that I found myself laughing and smiling even when I was entirely aware of its glaring flaws, production troubles and narrative tomfoolery. Its Cinderella for little boys, in the event you hadnt noticed the similarities. As far as childhood memories go, mine cant be separated from director Wolfgang Reithermans wizard battles, animal transformations, and harmless 6th century fun. The Sword in the Stone was in constant rotation at my house in the late 8. Thats not to say its a strong film it isnt merely that nostalgia is a powerful force and that The Sword in the Stone has everything a young boy could want, not to mention everything a father could ask for to enjoy with his son. Be that as it may, all is not well in Reithermans Camelot. As an Arthurian adaptation it dabbles in the original mythos, and little more. As a theatrical feature it lacks conflict, cause, and the grand scale legend weaving Arthur and Merlin require. What once seemed larger than life now feels quaint and thin. As a Disney classic it rarely rises to the heights of its fellow animated films, entertaining children without truly engaging their parents. Like Robin Hood, Reitherman isnt as sure of himself as he is in other films, leaning on episodic vignettes instead of crafting a more singular tale. The final moments are suitably climactic, but reveal just how inconsequential the majority of the second act actually is and how trivial Madame Mim is to all that transpires. Sadly, the animation doesnt help. As quick hit cartooning goes, there are inspired sequences again, the wizard battle springs to mind but, by and large, only Merlin exhibits the expressiveness and energy of the most memorable Disney characters, only key scenes tap into the imagination, and only a few whirlwind encounters live up to the standard set by Merlins clever toe to toe with Mim. A virus It never gets old. Ultimately, Arthurs adventure delivers insofar as frivolous fun or warm nostalgia are concerned, but doesnt quite have what it takes to pull the sword from the Disney stone. The Sword in the Stones 1. AVC encoded video transfer is an extremely difficult presentation to evaluate. Terribly, almost shockingly soft to the point that many shots appear out of focus, blurry, or as if the line art is plagued by the sort of ghosting you might find in a poorly aligned 3. D image with nary a showcase scene to be found, the film suffers the wrath of heavy handed remastering that features an unforgiving application of noise reduction. The difficulty in evaluating the presentation, of course, is in discerning which issues trace back to the source and which have been exacerbated by the new overhaul. Softness is fine, if its inherent to the print. Artificial sharpening can be just as detrimental as DNR. This isnt filmic softness, though its digital smearing, and its some of the worst Ive seen. Yes, colors have been bolstered and black levels deepened, with a few instances of blazing primaries to boot, and yes, the palette largely retains its dreary, dismal disposition, as it should. Contrast is consistent too, even though the animation never really pops or looks overly new. Sadly, detail is an utter disappointment, as evidenced by any one of the expanded screenshots that accompany this review. In the interest of being thorough, I spent quite a bit of time searching for anything more striking, but to no avail. The animators line art has been scrubbed to the point of appearing squishy, disheveled or, at its worst, nearly indistinct as if its been blotted away, and every now and then it falls into all three categories.