Midland LXT330VP3 22-Channel 16-Mile GMRS 2-Way Radio (Pair)
from: Midland
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Electronics : Midland LXT330VP3 22-Channel 16-Mile GMRS 2-Way Radio (Pair) |
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Rating:  - * Got the job done ... My family used these for my several hundred-mile move -- one in the car, one in the moving truck. We were rarely out of sight of each other, so I can't say much about the range of the radios, but the signal was usually clear. We saved quite a bit on cell phone charges, and the radios were certainly more effective than hand signals. Rating: - * Perfect for my family. ... I got these for Christmas for my 4-year-old to play with, but kept them for myself! HA! They're so great! We use them in all those situations when cell phones don't work or are just impractical. They're just so handy! I admit that we've probably never gotten 16 miles apart with them, so I can't attest to the distance reaching quite that far. But we've never lost our signal between radios -- ever. The controls are easy. The sound is very clear. And the charge lasts a very long time. I forgot about mine and left it on for a week, once, and it was fine. I even used it for a few more days before I put it back on the charger. I'm very satisfied with this. I'm even putting another set on my wish list so we can have more than two radios! Rating: - * Great product ... I bought two sets of these and setting them up was simple. They work well and are easy to use. So far they have put up with abuse and are convenient to carry. The batteries last for more than a full day of use. The sound is clear and the call feature is very useful. Rating: - * Works Great ... These radios were purchased for a large church facility used to communicate with the custodian. They replaced existing battery sucking ones and have been a joy to use. Rating: - * Very Satisfied ... Great product at a good price. They work very well around the farm and woods, even in hilly areas. They are light and easy to use. Batteries hold charge for a long time. Charger stand is convenient and nice. |
It's three movies in one, beginning when punctuality-obsessed Federal Express systems engineer Chuck Noland (Tom Hanks) departs on Christmas Eve to escort an ill-fated flight of FedEx packages. Following a mid-Pacific plane crash, movie number two chronicles Chuck's four-year survival on a remote island, totally alone save for a Wilson volleyball (aptly named "Wilson") that becomes Chuck's closest "friend." Movie number three leads up to Chuck's rescue and an awkward encounter with his ex-girlfriend Kelly (Helen Hunt, in a thankless role), for whom Chuck has seemingly risen from the grave.
It's fascinating to witness Chuck's emerging survival skills, and Hanks's remarkable physical transformation is matched by his finely tuned performance. With slow, rhythmic camera moves and brilliant use of sound, Zemeckis wisely avoids the postcard prettiness of The Black Stallion and The Blue Lagoon to emphasize the harshness of Chuck's ascetic solitude, and this stylistic restraint allows Cast Away to resonate more than one might expect. Even the final scene--which feels like a crowd-pleasing compromise--offers hope without shoving it down our throats. You may not feel the emotional rush that you're meant to feel, but Cast Away remains a respectable effort. --Jeff Shannon
It's three movies in one, beginning when punctuality-obsessed Federal Express systems engineer Chuck Noland (Tom Hanks) departs on Christmas Eve to escort an ill-fated flight of FedEx packages. Following a mid-Pacific plane crash, movie number two chronicles Chuck's four-year survival on a remote island, totally alone save for a Wilson volleyball (aptly named "Wilson") that becomes Chuck's closest "friend." Movie number three leads up to Chuck's rescue and an awkward encounter with his ex-girlfriend Kelly (Helen Hunt, in a thankless role), for whom Chuck has seemingly risen from the grave.
It's fascinating to witness Chuck's emerging survival skills, and Hanks's remarkable physical transformation is matched by his finely tuned performance. With slow, rhythmic camera moves and brilliant use of sound, Zemeckis wisely avoids the postcard prettiness of The Black Stallion and The Blue Lagoon to emphasize the harshness of Chuck's ascetic solitude, and this stylistic restraint allows Cast Away to resonate more than one might expect. Even the final scene--which feels like a crowd-pleasing compromise--offers hope without shoving it down our throats. You may not feel the emotional rush that you're meant to feel, but Cast Away remains a respectable effort. --Jeff Shannon
