The Ballad of Narayama (Criterion Collection) (1958)

Quite a few Asian films Korean, Japanese, Chinese explore the meaning of old age and specifically the cycle of life. This is one of the great themes of this film. The essential fact of this movie is that, through custom (and religion), the parents who reach age 70 are to leave the society and meet their end on the top of the Mountain Narayama. In a sense, it is both frightening and sacred. The cycle of life continues with the younger generation.

Everyone who sees this provocative movie will talk about its striking visual beauty. But more importantly, it strikes a nerve how should society allocate its scarce resources. Ironically, the fact that the old are left to die by exposure is not necessarily a statement that the elders are not valued by the society. The old are valued...but they need to recognize their function in letting the young take their place. The act of death, therefore, becomes a sacred rite. This is very vividly presented in the last frames.

I am glad that this visually arresting film is now available in Blu-Ray. While the movie was remade by Imamura Shohei, I actually prefer the striking sets of this film over the more naturalistic settings of the other.

This is a thinking person's film. It also depicts in visual form a very primitive society, letting us have a picture of what the world must have looked like 10,000 years ago.

This is the more beautiful of two adaptations of the same story. Director Keisuke Kinoshita used traditional Japanese Kabuki theater as visual inspiration for a stunning story of generational tension in a small village (the other adaptation of this story is the far more realistic and brutal The Ballad of Narayama ).

The plot involves three generations of a household: the aged Orin who is the matriarch of the household, her son Tatsuhei, and his son--a completely self-absorbed teenager--Kesakichi. The village tradition dictates that elderly parents are carried into the mountains and left there to die, so that the younger generations have a better chance to survive.

However this family problematizes tradition because Orin is in great health, as evidenced by her full set of teeth. Orin is eager to carry out the tradition, counting down the days until her trip to Narayama. But her son, Tatsuhei, is deeply attached to his mother and does not want her to die. Her Grandson, Kesakichi, is wretched and taunts Orin, regularly demanding that she make the trip to her grave. Kesakichi's comically bovine wife, Matsu, is excited for Orin's death because there will be more food for them once Granny's out of the way.

The story and color is beautiful and tragic. The highly stylized sets contribute to the sense of watching a stage production. Even with these layers to remove the viewer from the tragic events unfolding, this viewer was completely caught in the story.

As usual, the Criterion Collection edition comes with nice extras:

---New 4K digital master from the 2011 restoration, with uncompressed monaural soundtrack on the Blu-ray edition

---Trailer and teaser

---New English subtitle translation

---PLUS: A booklet featuring an essay by critic Philip Kemp

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Very good film with every scene (interior and exterior) done on a sound stage which gives it a make-believe kind of look, which works well with the extremely stylized nature of the film--it is done as if it were a kabuki stage play, although the story is from a novel.... This technique leads to very interesting scene transitions and unique lighting effects.... The story involves a tradition whereby people, upon reaching the age of 70, go to Narayama mountain to die-someone carries them up to the mountain and leaves them there in the presence of some mysterious god.... very, very sad overall.... It is interesting how different people think of the tradition: some think well of it, others joke about it, and one man is carried to the mountain kicking and screaming.... The mountain top is littered with senior citizen skeletons.... As far as the video quality, it is very, very good....the colors are terrific, most notably in the Autumn harvest scenes--very colorful.... The mono sound does the job well--the Japanese instrumentaion is very sparse, and the dialogue is clearly rendered.... highly recommended for fans of Japanese cinema....

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A long time ago in Japan, there was a custom practiced in poor and mountainous regions during a time of drought or famine. That practice is known as "Ubasute", in which a relative carries an elderly family member to the mountain or a remote, desolate area to be left there to die.

Because of the tough times and families were struggling to feed everyone, it was a custom that was mandated by feudal officials.

And the custom has been featured in Japanese folklore passed down from generation after generation. Songs about a relative carrying an elderly on their back, while the elderly would snap twigs, so the relative will no how to get back home.

The practice of Ubasute would be explored in the 1958 film "The Ballad of Narayama" (Narayama bushiko), written and directed by Keisuke Kinoshita ("Twenty-Four Eyes", "Morning for the Osone Family", "The River Fuefuki", to name a few).

The film was remade in 1983 by director Shohei Imamura, who showed a brutal depiction of how villagers were at the time, the Imamura is a film best known in the West especially for winning the Palme d'Or at the 1983 Cannes Film Festival.

But while the 1983 film receives a lot of attention, the 1958 Kinoshita film is remarkable on its own, as it is a kabuki-inflected version of a Japanese folk legend. Featuring beautifully designed sets and wonderful cinematic work from that golden age, it's one of the highlights in the oeuvre of Keisuke Kinoshita's cinematic career.

VIDEO:

"The Ballad of Narayama" is a 1958 film that looks gorgeous thanks to the restoration done in 2011. Colors look amazing, no flickering, there were light artifacts but I was amazed because the picture quality looked nearly pristine for its age. This is the best looking version of the film (released in the US) to date!

Presented in 1080p High Definition (2:35:1 aspect ratio), according to the Criterion Collection, this new digital master was produced from the 2011 restoration done by Shochiku studios and Imagica. For the restoration, a scan was created in 4K resolution on an Imagica IMAGER scanner from a new 35 mm interpositive wetgate printed from the original camera negative; the original negative could not be scanned directly due to excessive damage. The restoration work was then performed in 2K resolution.

AUDIO & SUBTITLES:

"The Ballad of Narayama" is presened in LPCM 1.0 monaural. The dialogue was clear through the center channel and I heard no pops, clicks or any problems during my viewing.

According to the Criterion Collection, the original monaural soundtrack was remastered at 24-bit from a sound positive. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.

SPECIAL FEATURES:

"The Ballad of Narayama The Criterion Collection #645" comes with the following special features:

Trailer(3:26) The original Shochiku Japanese theatrical trailer for "The Ballad of Narayama".

Teaser (2:23) A teaser for "The Ballad of Narayama".

EXTRAS:

"The Ballad of Narayama The Criterion Collection #645" comes with an 24-page booklet with the following essay, "Abandonment" by Philip Kemp.

JUDGMENT CALL:

Family.

Filmmakers such Akira Kurosawa, Yasujiro Ozu, Mikio Naruse and Shohei Imamura are filmmakers who are well-known internationally for their films based on family and social dramas. From the parental responsibility of making sure that life is arranged for their children to the disconnect between children and their parents as they get older.

While filmmaker Keisuke Kinoshita was not as well-known internationally as the filmmakers I have mentioned, he was one of the busiest filmmakers in Japan directing over 40 films in 23 years and one of the more popular directors during the '40s through the '60s.

While Americans may know of Kinoshita's work through his film "Twenty-Four Eyes" (available on DVD from the Criterion Collection), his 1958 film "The Ballad of Narayama" is a film known for incorporating kabuki but also introducing many to the concept of "ubasute". But also the predecessor that inspired the 1983 Shohei Imamura version that would go on to win awards including the Palme d'Or at the 1983 Cannes Film Festival.

But while the 1983 is the version that most people know, the 1958 version is still a fantastic film and a classic that managed to incorporate Japanese culture such as kabuki (a classical Japanese dance-drama, but in this case, the music is what is utilized as a form of narration) in a film, but yet be appreciated by an international audience.

I enjoyed "The Ballad of Narayama" thanks to the wonderful performance by Kinuyo Tanaka as Orin, the 69-year-old matriarch who knows she will be turning 70 and that she will be taken to Mount Narayama to die. But for Orin, she doesn't see this as a death sentence. It's how others have died in the village when they turned 70 and the fact that they can join the Narayama God, it's something that she looks forward too. So, through this final year, she just wants to make sure that all is set for her son Tatsuhei (in getting remarried) and her new daughter-in-law Tamayan.

Meanwhile, we see the anguish of her son Tatsuhei. A man that very much loves his mother but knows that due to the custom of the village, even though his mother is healthy, he must take her up to Mount Narayama to die.

And its how Orin would convince him to forget about her. From giving a positive attitude that she is ready to die, to even going as far as to bash her teeth in, so he won't worry about her.

But the film is able to capture other situations that take place in the village. From what happens to a man who tried to steal and how his family is punished. To how another elderly man tries to fight with his son, as he does not want to go to Narayama.

The incorporation of Kabuki gives "The Ballad of Narayama" its unique feel but also seeing how beautiful and how vast the studio sets were. There are three moments that stick out in my mind. One features Orin trying to comfort her son and everything goes black and only a single light shines on them. Another scene is with Tatsuhei bringing his mother up to Mount Narayama and its amazing just to see how elaborate and how long these sets are. I was very impressed! But the third scene was quite scary to see how skeletons were laying on the mountain, as crows just sit and wait for one to die. I don't know if this is what people saw back then but I can imagine with many elderly taken up to the mountain to die, the sight of skeletons or one's belongings must have been heartbreaking.

As for the Blu-ray release, the restoration of this film by Shochiku Co., Ltd. was amazing. The film looks nearly pristine for its age and the colors that come out in the Blu-ray release is amazing. While there are light artifacts, with the 2K restoration and uncompressed monaural track, this is the best version of the film (released in the U.S.) to date. I wish there was audio commentary included or even a feature on Keisuke Kinoshita but you do get a trailer and a teaser plus a booklet.

While the Criterion Collection release was impressive and the best to come out in America thus far, I have to admit that I was hoping the Blu-ray release was similar to what was released in Japan back in October 2012. The Japanese Blu-ray release had a 4K digital restoration and it came with 38 minutes of special features, including a 100th anniversary of Keisuke Kinoshita half-hour feature for "The Ballad of Narayama".

Nevertheless, for its price (releases from the Criterion Collection with less special features are typically priced lower than those with more special features) and its quality, I was quite impressed by the overall Blu-ray release.

While most people are familiar with films such as Akira Kurosawa's "Ikiru" or Yasujiro Ozu's "Tokyo Story" (1953) which still resonates strongly even today among Japanese, "The Ballad of Narayama" may feature a custom that is no longer practiced but the situation in Japan among the elderly who feel they are inconveniencing their children still and committing suicide is still a problem in Japanese society.

"The Ballad of Narayama" is a beautiful, well-acted and also a heartbreaking film from filmmaker Keisuke Kinoshita about a custom practiced in Japan long ago. Bringing together kabuki and innovative and beautiful sets created in the golden age of Japanese cinema, "The Ballad of Narayama" is highly recommended!

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The other reviewers covered this masterpiece of film art. In context of film as art and that art preceeds society, I believe it is poignant to write that in January 2013 the new Japanese Finance Minister Taro Aso said the elderly should be allowed to "hurry up and die" to save money on health care. Being generous of context, it was probably meant not to keep them alive against their will. Remember the end of Solyent Green with Edgar G Robinson and that beautiful music Peer Gynt Suite No.1? What was your feeling when you saw this portion of the film? Our current society and culture values practical and utilitarian constructs. How soon before we catchup to our future?

One last thought from the film is duty. Duty, the web of interconnectedness and karma, to ourselves, to family, to our society. Does the protagonist reveal her one inperfection being driven by what other people think rather than accepting duty for its own sake?

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Cliffhanger (1993)

In 1993, Renny Harlin (director of "Die Hard 2') returned with a new action film starring Sylvester Stallone ("Rocky" and "Rambo" films), John Lithgow ("Dexter", "3rd Rock from the Sun"), Michael Rooker ("The Marine 2', "Jumper") and Janine Turner ("Friday Night Lights", "Strong Women", "Northern Exposure").

The film would feature cinematography by Alex Thomason ("The Scarlet Letter", "Demolition Man", "Hamlet") and music by composer Trevor Jones ("The League of Extraordinary Gentleman", "Around the World in 80 Days", "Dinotopia").

The film which cost around $65 million to make did well in the box office as it made over $255 million worldwide and received fairly positive reviews despite many rock climbers felt the depiction of rock climbing was too Hollywood, unrealistic and had quite a bit of inaccuracies.

VIDEO & AUDIO:

"Cliffhanger" is presented in 1080p High Definition (2:40:1 Widescreen) and Sony Pictures Home Entertainment did a great job in bringing this film to HD. The Italian alps look absolutely beautiful and there is great detail for the rocks, surrounding scenery. The film is not too vibrant as there is overcast and there are not many vibrant colors seen in the film. But there is extreme detail captured on the rocks and the ice/snow.

The scenery is just breathtaking and despite the cold and challenging conditions, director Renny Harlin and cinematographer Alex Thomson did a wonderful job in filming the location and various aerial views of people on the mountains.

There is a fine layer of grain on the film, skin tones are natural, blacks are nice and deep and for a 1993 film, no sign of muggy DNR (Digital Noise Reduction) that I can see in this film, nor did I see any major compression artifacts.

But what fans of the film will enjoy is the lossless audio track for "Cliffhanger". If you thought "Air Force One" sounded good on Blu-ray, Sony repeats the aggressive audio track for this film as helicopters, explosions and various sound effects are heard all around you. The surround channel is utilized heavily during the action sequences of the film as well as a good amount of LFE coming from the subwoofer. The film just sounds incredible! Dialogue is clear through the center channel and music and effects sounds great coming from the front channels.

Overall, impressive PQ and AQ with subtitles in English, English SDH and French.

SPECIAL FEATURES:

"Cliffhanger" comes with the following special features in standard definition, English stereo:

* movieIQ and BD-Live connects you to access real-time information on the cast, music, trivia and more while watching the movie! Note: You need a BD-Live (Profile 2.0) Blu-ray player that can connect to the Internet to access movieIQ.

* Commentary with Director Renny Harlin and Sylvester Stallone Director Renny Harlin sets up the scenes and shows us what is real and what he wanted to accomplish with certain shots. Stallone talks about his scenes and how it was hard for him to film because he was scared of heights.

* Technical Crew Commentary Commentary on the technical crew of how they accomplished the rock climbing and various action-based sequences of the film and challenges they experienced.

* A Personal Introduction from Renny Harlin (4:53) Director Renny Harlin talks about how he got involved with "Cliffhanger" and working with Sylvester Stallone. Both men wanted to do something than your usual action film. Something with more depth and more serious in tone.

* Deleted Scenes (8:18) Featuring two deleted scenes (Kings Leap, Ice Climb) plus an optional introduction by Director Renny Harlin (3:01) who discusses why the scenes were cut from the movie.

* Stallone on the Edge: The Making of Cliffhanger (20:03) Featuring interviews with director Renny Harlan and the talents of the film. Featuring a behind-the-scenes making of the film, shooting on location in the Italian alps, the challenges that the filmmaker and talents had to endure and a tour through the set from Sylvester Stallone.

* Special Effects Featurettes (7:24) Special effects featurettes for "Sarah's Fall" and "Helicopter Explosion" and commentary and video on how those two sequences were created.

* Storyboard Comparisons (12:01) Storyboard comparisons for "Sarah's Fall", "Air-to-Zip Line" and "Helicopter Explosion". Featuring the storyboard sequences on the top and video on the bottom.

* Original Theatrical Trailer (3:26) Includes an optional introduction by Renny Harlin.

JUDGMENT CALL:

"Cliffhanger" was definitely one of the enjoyable films that Sylvester Stallone did in the 1990's (along with "Judge Dredd"). After the disastrous "Rocky V" in 1990, Stallone started to do more international films throughout the 1990's and in this case, both he and director Renny Harlin wanted to do something different in their careers and that was to have an action film that was more serious in nature.

Personally, I enjoyed "Cliffhanger" when it came out in theaters but there were certain situations that bugged me at the time and that was mainly Sylvester Stallone in the very cold weather without a jacket, high up in altitude and climbing the mountain with a t-shirt (it's further explained by Sylvester Stallone in the commentary) but it was one of the scenes that I had a hard time believing especially in freezing temperatures.

But it was definitely an enjoyable Stallone film. Michael Rooker did a wonderful job in this film and the same with Janine Turner (and I'm glad that director Renny Harlin did not emphasize or use a major romantic sequence between Gabe and Jessie).

But I'm sure the question for fans of the film is if "Cliffhanger" is worth purchasing again? Especially if you owned the two previous DVD's that were released in 2000 and the Superbit version in 2004.

If you enjoyed this film, my answer is yes. The reason being is that Sony Pictures Home Entertainment has improved with the picture quality and audio quality of their films. Especially this 1993 film because in previous years, there was some DNR that made the film look to cloudy/waxy in appearance due to the DNR but with this film, you really can't tell it's 1993 when it comes to picture quality. Video looks absolutely great compared to the original DVD.

You see the details of the rocks quite well but the location of where the film is shot, looks great! The Italian Alps absolutely looks beautiful in this film and definitely an improvement from the DVD.

But the biggest improvement is the lossless audio. For those who have a modern receiver that can take advantage of the lossless 5.1 DTS-HD MA soundtrack and have a good speaker setup are going to love how this film sounds. Since "Sony Pictures Home Entertainmen" released "Air Force Once" on Blu-ray, they have really found a way to take advantage of these older action films and "Cliffhanger" sounds remarkable on Blu-ray. The soundtrack is quite immersive and you hear the audio all around you.

The Blu-ray features the same special features from the original DVD with the exception of the photo gallery but all-in-all, for those who own the previous DVD's will just love how this film looks and sounds on Blu-ray.

As for those who have never seen the film, "Cliffhanger" is not the best Sylvester Stallone action film but its one, if not the best action film he released in the 1990's. Looking for an action film, definitely give "Cliffhanger" a try!

Can't help it, I'm a Stallone fan (though I didn't care for the dingy movie with Dolly), but this one is great for the collection. I started following this actor with all the Rocky movies, then Rambo, etc. This movie has the unforgettable death scene that hooks you in the beginning, and the stunts with the 'plane' that follow are excellent. When you mix mountain climbing with lots of snow and ice, and toss in some bad guys, there's bound to be a lot of action. The movie hasn't edged out the Rocky and Rambo movies as my favorites, but it's a good Stallone flick.

Chrissy K. McVay Author

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"Cliffhanger" is one of those movies where the suspense sequences and action stunts outweigh everything else by a landslide (pardon the pun). There's really not much to the development of characters or plot, except that the movie uses the script as an excuse to put its characters in extremely dangerous situations one after another. On this ground, it works splendidly, and while the story and characterization are weak, there are still some good performances turned in by the cast.

The movie sets itself up with the promised white-knuckle action in a sequence that brings on the tension but fails to move us emotionally. On his way to retrieve his best friend, Hal Tucker (Michael Rooker) and his girlfriend, Sarah, from a 4,000 peak, Gabe Walker (Sylvester Stallone) makes an attempt to rescue Sarah after she begins falling, without success. Hal blames it on Gabe, and Gabe's own self-torment keeps him from town and from his own love, Jessie (Janine Turner). This move, while meant to establish emotion and character depth, doesn't do a whole lot for the script.

The movie then transfers us to a U.S. treasury plane, where three cases of money, in bills unusable except by a select group of people in the world, are being flown across the country. The plane is soon hijacked by a group of terrorists, led by Eric Qualen (John Lithgow). However, his plans are ruined once they lose the cases at high altitude and crash in the Rocky Mountains, where they call for help under the guise of being in danger.

Sparing the rest of the movie's twists and turns, once Gabe and Hal arrive on the scene, they are taken hostage and forced to climb mountains and hike through forests to find the three cases of money, soon bringing more people into the situation than the movie calls for.

The movie chooses to focus more on the action than on the story itself, which really isn't that bad a move. From the high-altitude stunts to the white-knuckle suspense generated by the scenes charged with high-octane suspense, the movie doesn't lose its ability to get our attention with actors hanging on the edges of cliffs and mountains, holding on for dear life.

The tension generated by the terrorists is, at best, mediocre. Even under the shadow of leader Lithgow, whose flair for turning a colorful phrase at every moment is funny yet unsettling, the movie never really gives us any reason to fear the henchmen along for the climb. There are certain moments, such as that in which the only black terrorist hunts Gabe and Jessie in a cavern, or when Gabe is trapped beneath an ice-covered lake. However, the only people the terrorists knock off we aren't given too much time to know, so what reason do we have to care?

Stallone is back in fine form, the action hero we've always admired from his earlier "Rocky" days. He's required to carry a lot of the heroism on his shoulders, and big as those shoulders are, that is no easy task. Yet, he is able to pull it off, with the help of Rooker and Turner, who give jobs well done in their roles.

While not the best action film ever made, "Cliffhanger" is a commendable piece of suspense that works due to its breathtaking action sequences and the altitude of its settings. It tends to drag in places, but really, with a movie that's so focused on getting us into a sweat, what does it matter?

Read Best Reviews of Cliffhanger (1993) Here

This is a typical Stallone-vs-bad guy movie, but I bought it in blu-ray for the scenery and the action and I wasn't disappointed. The Rockies in HD are magnificent and the surround sound is excellent, which adds a lot to an otherwise mundane bad guys vs good guys storyline.

John Lithgow is a hoot as the head bad guy; he can play comedy and evil geniuses with equal panache and he is up to form here. Stallone is his rugged action-hero self and his performance is typical Stallone. If you love Sly, you'll enjoy this movie.

If you love beautiful scenery along with some fun action, you may also enjoy this movie and if you have a blu-ray surround sound home theater system, it should increase your enjoyment of the movie even more.

In short, this is not great movie but it's not awful either, so if this type of story is your cup of tea or if you are a Stallone fan, I think you'll enjoy it.

While this isn't exactly a 'movie-of-the-year' level film, it's a good trip for those who enjoy action adventure stories and I recommend it for a fun of it.

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Forget about discussion of the plot and acting abilities. You folk already know the story line, so let's discuss the most important part of buying a blu ray disc....the quality of the video and audio transfer. Wish more people would review these aspects than telling me the story lines and their interpretations of such.

Many times older movies receive poor transfers to blu ray and often the excuse it is that "They are older movies" Cliffhanger on Blu ray proves that that excuse is bunk.

The transfer of the video on blu ray is exceptionally good. The colors pop and are vivid with no grain, noise or any other video distraction. It shows to me that some real effort went into transferring the original master to blu ray markedly improving it over the Standard DVD release which I also have.

The DTS HD audio is also a welcome addition and this is one disc where re editing for discreet channels, front and rears, is nicely used through out. The sub is there when needed and if you have a hi end theater system, the Blu ray version makes it well worth your while.

The extras contain the regular documentary discussions and a couple of deleted scenes with excellent explanations by the director why they were not used.

If you are going to upgrade from a standard DVD or are just thinking about buying this on Blu Ray, this disc will not disappoint.

All my movie reviews are of this nature and focus only on the quality of the transfer to BluRay so check them and see if they are of help as well.

Hopefully, this review has been of some help to you in determining your purchase, hope I am on the correct path with a review of the transfer quality as opposed to providing plot summaries.

Thanks

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Scooby-Doo 1 & 2 Collection (Family Double Feature) (2010)

Just a warning to consumers:

This set is full screen, not the 1.85:1 widescreen that is listed. This is exactly the same as the previously released double feature, just with a different cover.

And I don't get it--the majority of folks who watch DVDs have wide screen TVs these days--"standard" tvs are getting hard to even find in stores! It's almost 2010 for crying out loud--why, do manufacturers even produce "standard" versions of films that were originally wide? Now THAT's a mystery!

ps--I should point out that EVERY online store, including the online Warner DVD store itself, lists the incorrect aspect ratio info on this item. I tried to get this corrected on Amazon, but since I couldn't find a url to attach, they wouldn't change their listing. (Even though I have a copy of the actual dvd in my hand right now and it says very clearly "Full Screen Version"). That's progress for you).

This is a review of the Scooby Doo 1&2 Collection on Blu-ray. They are both widescreen movies and look great. I was in middle school when Scooby Doo was first released in theaters, so I'm heavily biased when I say that the 1st movie is awesome. If you like these two movies even a little and own a blu-ray player, you definitely MUST buy this collection. The picture quality is great and this movie is shot very well with colors that pop. It looks really great on my flat screen. Sound is also great. I think this is a well done blu-ray of these two classic movies. And CGI Scooby looks very nice in HD. Yes, its all in high definition.

The only con I can think of is that the bonus features of the 1st movie was obviously shot in full screen but stretched to widescreen for the blu-ray, and I have yet to figure out how to squeeze it back to the normal aspect ratio.

Overall, I highly recommend this product. These movies are very well made (well at least the 1st one was) and a joy to watch. The 1st movie also comes with cast and filmmaker commentaries, which are delightful to listen to as well.

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I was seriously dreading the first Scooby-Doo movie. What was conceivably a very, very bad idea turned out to be a surprisingly good film with a fair amount of comedy. Originally a Mike Myers vehicle (thank God THAT didn't work out), but then recast with I Know What You Did Last Summer and Scream actors, the realization of Scooby-Doo as a CGI character interacting with live action actually works. I'd say it was a one in a million chance but Raja Gosnell managed to pull it off.

The most impressive transformation tho is not cartoon Scooby to CGI Scooby but Matthew Lillard's performance as Shaggy. No way would I have believed he could possibly take on the role of one of my most fave characters ever but he just seems to completely disappear and the spirit of Shaggy takes him over. He brings some real integrity to what is widely regarded as an artless family movie. Even Freddy Prinze Jr. seems to nail the voice and narcissism of Fred, and Sarah Michelle Gellar is quite good as Daphne. Though I was always more attracted to Velma as I really dig nerdy chicks. Linda Cardellini brings some true sex appeal to the role. I wish the never-seen lesbian kiss between her and Daphne never got cut out.

Of course the plot is the usual baloney but there is constant action and invention to keep even the most impatient viewer stuck on till the end. The gang go to a theme park resort called Spooky Island (actually an Australian resort) to solve the mystery of why the wild spring break kids are turning into well-mannered nerds. But not only are there guys in masks but there are some REAL spooks too. I would have liked Rowan Atkinson to have a bigger role as Emile Mondavarious but considering the twist (which comes as an amusing surprise) at the end, the plot doesn't really have room for it. It's good to have him in there though instead of a cast full of 20-somethings. But 99% of the comic genius comes Matthew Lillard.

The CGI has dated somewhat since its release. Scooby and the various demons don't look very photo-realistic anymore and it's a little bit distracting. I doubt the target audience will care.

An unfairly trashed and fun movie, but the sequel is better.

As a Scooby fan I may be a bit biased but how anybody can deny that Scooby-Doo 2 is just great entertainment is beyond my understanding. It ain't high are but it's loads of fun, and there are plenty of in-jokes for the wiser viewers. The movie is fairly mindless, otherwise it would lose its kid audience. but that doesn't mean there's no good humor or plot to it.

Granted, the plot is dumb (the gang go up against all the monsters from the first season of the TV show, only this time they're real). The manic set-pieces just bombard us, one after the other. Once again, there's not a moment of boredom, but there are enough quieter scenes with the Mystery Inc. gang. The main stars are, as usual, Shaggy and Scooby. Matthew Lillard is dead-on as Shaggy, so much so that he actually replaced Casey Kasem as his animated voice.

One moment that requires major suspension of disbelief is not any scene featuring sludge monsters or a cotton candy ghosts but a scene in which Velma utters 'I'm not hot'.

NOT HOT!!!???? WHAT??? She's a total babe, more so than Daphne. Every frame of her is a work of art as far as I am concerned.

The CGI effects this time round are thankfully superior to the trashy effects of the first film. It's a much better movie all round and will not fail to amuse anyone of any age.

The Blu Rays in this 2-disc set present each movie in 1.78:1 1080p with non-HD Dolby 5.1 sound and a decent amount of extras. The first film looks good, but the sequel looks much better. Both have bright, colorful cinematography though the low-res CGI of the first let it down overall.

Read Best Reviews of Scooby-Doo 1 & 2 Collection (Family Double Feature) (2010) Here

I was looking for a replacement video and found this two for one video. No preview adds on the CD was a plus. This is a single DVD with a two sided disk. I would recommend purchasing it if you don't mind not having the original issue.

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Very funny movies. Smoe crude humor but still appropriate for 5 & 7 yr olds

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The Others (2001)

This movie has a number of levels, many of which are not immediately apparent because of the excellent acting, near perfect casting and exquisite cinematography. On the artistic level the movie will appeal more to artists and writers, and to those who enjoy a well crafted plot and a surprise ending.

On another level, though, this movie will inspire a self examination of how one perceives realities. It does this by exposing the filters and assumptions that we all use when observing and mentally correlating those observations with our knowledge of fact into our realities. It also has an obvious message about coexistence and acceptance.

Regardless of whether or not one believes in the supernatural, the story and the ending will be completely unexpected for most who watch this movie. The many clues wrapped in foreshadowing and other plot devices will not make sense until the end, but if you carefully examine them a day or so after watching this movie you'll have some keen insights into your own unique set of filters and assumptions that you use daily.

There are other levels and messages within this movie that will surface days or weeks after watching it, such as the way the female characters are portrayed as more proactive, central figures than the male characters. The movie also challenges religious beliefs in subtle and not-so-subtle ways. I am not sure if this is yet another subtle layer of the plot or if it reflects the views and biases of the writers and director but these elements are there.

If you enjoy great dialog and a masterful story with an interesting plot that is presented with beautiful visuals then you'll love this movie on an artistic level. If you enjoy mental challenges and subtlety that is presented with social and cogitative challenges you'll love this movie on a deeper level.

Highly atmospheric and foreboding, "The Others" is unlike any ghost story I've seen since Robert Wise's "The Haunting" in 1963. Director Alejandro Amenabar brings to the screen a uniquely chilling tale that slowly makes its way under our skin until it's almost unbearable. I don't know which aspect of the film I liked better: the ominous setting where the eerie story takes place, or the magnificent performance from Nicole Kidman.

Kidman plays Grace, a mother of two children living in an expansive New England mansion surrounded by a ceaseless fog and dry vegetation. When three house servants show up at her door, they are bewildered by the manner in which Grace runs the household, closing each door before opening another, and closing any and all curtains to prevent all sunlight from invading the rooms.

We learn the sunlight is harmful to her young children, Anne (Alakina Mann) and Nicholas (James Bentley). From the beginning, Anne speaks of a past event that occurred between her and her mother, and of apparitions throughout the house. Grace dismisses her comments as rubbish, but becomes increasingly uneasy once she begins hearing voices in the upstairs rooms, and finds that doors in the house open and close by themselves without a key.

As the movie progresses, Amenabar creates a distinctly uneasy atmosphere in which even the audience knows better than to look at this house as little more than an expensive home. From a continuous fog to the whisperings of voices and things that go bump in the night, the scares come not from what we see, but what we don't see, which is even scarier than you may think. Amenabar proves that one needn't be subjected to a special effect in order to be frightened.

What helps the movie is the fact that it has a solid story to back its scares. What starts out as a slow-moving introduction to the characters and settings evolves into a first-class mystery on par with such mysteries as "The Sixth Sense," though this film's clues are much more apparent. You may have found the pieces to the puzzle involving the three housekeepers, but that doesn't mean you've solved the film's resolution, which is an unexpected gem.

The real delight comes from the involving performance from Nicole Kidman, who evokes much of the fear throughout the film. There are times when she slowly makes her way into rooms to investigate suspicious noises, her eyes growing wider with psychological fear, and times when she becomes frantic, such as when she searches desperately for the curtains taken from the windows.

"The Others" may very well be one of the best scare films we've ever seen. Amenabar gives his unique story a sense of fear that comes from the mind. In a decade of born-again slasher pics and gory bloodshed and mayhem, it's nice to be able to embrace something entirely different from the rest.

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The Others isn't your typical ghost story; there isn't the quantity of jump-out-of-your-seat thrills you'd expect to find in a film like this. In fact, The Others is virtually chill-free for the first hour. But what The Others lacks in quantity, it makes up in quality. Instead of a roller coaster of cheap chills and thrills, The Others takes a much denser and darker approach to the ghost story.

The Others takes a considerable amount of time to set everything up almost too much. Halfway through the movie I wondered if there was going to be a pay off. Ultimately there is quite a pay off, but it takes so long to get there you might not feel it's 'worth it'. Despite the fact that I found The Others to be quite slow, I did enjoy it. Nicole Kidman does a great job as the neurotic and tortured lead, and she's backed up by a strong supporting cast. Spanish director Alejandro Amenabar lights almost the entire movie by candle light, something I haven't seen since Barry Lyndon. This gives The Others a soft and warm look that is uncommon to the genre. Amenabar also makes light a character in the film, where daylight becomes much scarier than the warmth and comfort of the dark. If you're planning on seeing The Others, I'd advise you to avoid reading any reviews which talk about the plot. The film takes a number of twists and turns which can easily be spoiled. This might be a good film to wait for DVD, except for the risk of the plot getting spoiled before you get a chance to see it. [Geoffrey Kleinman ...

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To a certain extent, one's enjoyment of THE OTHERS will depend on how quickly you recognize the major plot device on which the entire film turns. Once recognition sets in, how much you are able to further enjoy the film will then depend on how much you have become engaged by the characters--and it is here, really, that the film stumbles a bit, not so much through the way it is done but rather through the way the characters must be played in order for their behavior to make sense at the film's conclusion.

The premise, which seems deeply influenced by both Henry James' THE TURN OF THE SCREW and the 1960s film version known as THE INNOCENTS, concerns a woman who resides with her two children in an isloated mansion following World War II. Her situation is dire: her husband is missing in action and presumed dead; her children suffer from a rare genetic disease that makes sunlight dangerous to them; her servants have departed in the night without a word of warning. The latter problem seems remedied by the arrival of new servants--but no sooner are they installed than odd happenings begin to occur. Is the woman going mad? Are the servants involved? Have intruders secretly entered the house? Or could it be--something unearthly?

The cast is exceptionally good here, with Fionnula Flanagan as the newly arrived servant Mrs. Mills and children Alakina Mann and James Bentley giving remarkable performances. But the focus is on Nicole Kiddman as Grace, a role that Kiddman plays with a white-knuckled grip and considerable ferocity--so much so that it becomes extremely difficult to like, much less sympathize, with the character. In some respects, however, this is ultimately necessary for this extremely plot-driven film to have any significant impact, and in hindsight it is hard to imagine that the role could be played in any other way; still, hindsight does not allow you to engage fully with the character when you are in the midst of the film. It is a flaw, but it is an unavoidable one--and the film is so remarkably stylish that it largely overcomes both the anticipated plot-twist and Kiddman's necessarily ferocious performance.

The production values are first rate all the way down the line. Everything looks right, sounds right, feels right. But two items deserve special mention: the exceptional soundtrack, which was composed by director Alejandro Amenabar himself, and the stunning cinematography, which has tremendous visual texture and which neatly blends a fluidity of movement with a remarkably claustrophobic feel. If your tastes run to special effects and blood-spatter horror films, you are likely to disappointed, for there are none in THE OTHERS; Amenabar craftily creates tension more via what is suggested rather than shown, and doors left ajar and half-heard sounds are his devices of choice; it is all very subtle and yet remarkably chilling.

The DVD package is a double-disk set, with the film on one disk and bonuses on the other. Although the bonuses are often quite interesting--particularly a documentary on individuals who actually suffer from hyper-sensitively to sunlight--they actually contribute little to the film itself, and it is a bit surprising that such a small bonus package would require a second disk. The sound for the feature is also problematic re home viewing, and I recommend that viewers play it at top volume, for there is no middle ground--everything is very quiet or very loud, and the contrast adds tremendously to the film's effect.

It is extremely difficult to know how to rate this film, for as I've noted the very nature of the story has two embedded flaws: the almost inevitable recognition of the major plot device and the necessity of Kiddman's over-the-top performance. But even though I recognized the nature of the plot device very early in the film, and even though I found "Grace" an unlikeable woman, this did not actually prevent me from feeling the icy breath with which director Amenabar endows THE OTHERS. Torn between giving the film four stars and five, I err on the side of generosity; it is a classic-style ghost story, and I think most viewers will enjoy it. Reccommended.

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The Others is one of the most brilliantly paced horror films I've ever seen. It has a delightful eerieness the entire way through and the casting is amazing. The character of Bertha really creates fear and distrust in your heart along with Mr. Tuttle and Lydia. The children were magnificently chosen and Nicole Kidman hasn't been this good since Dead Calm, if not better. Turns out she is a very talented actress. The dialogue in this is also cunning and brilliant. One of the most interesting and amusing lines to me was when Kidman is looking through the "dead photos" and says to Ms. Mills..."group portraits?". The ending is so very clever, very eerie and it really does surprise you. Not to mention, all throughout the movie, there are little heart in your throat moments. Everyone keeps comparing it, but this is so much better than Sixth Sense. I think the mood and tone are much more like Village of the Damned with those spooky children. Definitely recommend checking it out for yourself. Don't take the kids.

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Miller's Crossing (1990)

Yes, FARGO won lots of awards, and sure, RAISING ARIZONA isuproariously funny, but make no mistake: MILLER'S CROSSING is thequintessential Coen brothers film. In point of fact, it's flawless, a jewel you can turn over and around in your hands again and again, seeing a new facet every time, each one striking and smooth and perfect.

The script is awash with Prohibition-era jargon both historically grounded and whimsically invented, a symphony of phrases and exchanges that linger and echo long after being heard. (It isn't unusual after a viewing to walk around asking friends, "What's the rumpus?", or to complain about being given "the high hat" upon being snubbed.)

The performances, as well, are individually and collectively irresistable. I defy you, in fact, to find a single film in which _any_ of the major players has ever been better. There's not a false or miscast note in the whole of the dramatis personae. There's Gabriel Byrne as the inscrutable, Machiavellian Tom Reagan, a trusted advisor to the city's Irish mob lord who falls out of favor and "defects" to the Italian camp to save his own skin...or does he? Albert Finney plays Leo, the aforementioned Irish power broker whose fists of iron, vicious survival instinct, and all-too-vulnerable heart congeal into a simply remarkable, unforgettable character. John Turturro is equal parts pathetic outcast and conniving opportunist as Bernie Birnbaum, the unscrupulous, vampirically pale bookmaker whose shady maneuvers set the whole plot into motion. Marcia Gay Harden exudes fierce intelligence and buckets of carefully-aimed sex appeal as Bernie's sister Verna, whose unflagging drive to protect her brother -even from himself -almost excuse her twisted machinations. J.E. Freeman drips evil and impending violence all over the screen as smarter-than-you-want-him-to-be enforcer Eddie Dane. Jon Polito, as hot-tempered Italian ringleader Johnny Caspar, may be the only character at hand to actually feel sorry for, as his oddly consistent ethical code makes it a sure bet he doesn't stand a chance in his environment.

There's more to say about the acting, of course, but I'll stop there rather than pour accolades onto the entire cast. And when I say "entire," I'm not exaggerating: every person who comes into frame, from the leads to the smaller parts to the people with one line or none at all, fit together and play off of each other as though they'd been born to do nothing else in their entire lives. The whole of it actually makes it difficult not to notice acting and casting problems in other films.

I'm running out of room here, so I can only nod to some of the other perfect elements of production. Barry Sonnenfeld's dead-on photography is measured and seamless where appropriate, frenetic where necessary. Set design and costuming make for such an astonishing illusion that were this not a color film, you might actually forget that it was released 9, not 69 years ago. And even the sound -from the music (diegetic and otherwise) to the crystal-clear sound effects that pierce the visual and draw you in by the ears, like they're supposed to -is a _presence_ in its own right throughout the film. I mean, when was the last time ice cubes dropping into an old-fashioned glass or the wringing out of an alcohol-soaked rag into a tinny dish felt truly woven into the designed effect of a scene in a movie?

What continues to amaze me about MILLER'S CROSSING is that no matter how many times I see it, regardless of how hard I look, I _can't find anything wrong with it_. That's an extremely rare situation in my experience. It's what we all want out of a movie, and almost never get. MILLER'S CROSSING delivers exactly that feeling, and when Tom Reagan leans against that tree and adjusts that hat in the haunting final shot, he knows it just as surely as we do. He doesn't seem to feel especially happy about it, but that's okay. _You_ will.

Most people will let the titles "GOODFELLAS", "THE GODFATHER (I & II)", "ONCE UPON A TIME IN AMERICA" and "THE UNTOUCHABLES" roll off their tongues when asked what their favorite movie is in the "mob" genre. Although seldom mentioned, "MILLER'S CROSSING" must take its rightful place alongside the above as one of the definitive treatments of gangster dynamics in American Cinema. I like to call it "The Thinking Man's Mob Movie" because it's a film that requires one to really focus on the action and dialog and not merely sit back in a lounger without attention span and wait for kill. These characters are multi-faceted, the plot is complex and the payoff for the viewer is delivered through outstanding cinematography (perhaps the Coen's best!) and skillful pacing. Coupling their usual stable of actors (Turturro, Buscemi, Polito) with veteran thespo Albert Finney, the exquisitely laconic Gabriel Byrne, and femme-semi-fatale Marcia Gay Harden, the Coen Brothers have assembled a truly great ensemble cast that transcends the brutality and authenticity of the era. Sure, there's great kill! In the good gangster pictures, violence is actually a character unto itself, always lurking in the background until called upon to make a point. In "MILLER'S CROSSING", the Coen Brothers seem to downplay the actual mechanical violence by isolating the factors and sequences that are responsible for it. Betrayal and revenge are important themes in this film. The crisp writing makes the conversation between characters appear effortless and uncontrived. There's a certain casuality in the dialog that belies the Coen's alarmingly accurate renderings of gangland execution. Finally, the enjoyment one derives from viewing "MILLER'S CROSSING" is not related to how much he/she understands the action or knows about the mob lifestyle, but to the appreciation of the filmmaker's art in communicating the brutality and fraternity of these individuals with astonishing beauty and precision.

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As it's chilly performances and aloof style put the audience at a distance, it's hard to see the first time through what a brilliant film this picture is; but repeated veiwings have only cemented my opinion--Miller's Crossing is the finest American film since Raging Bull.

I think the key to my love for Miller's, though, is realizing what what I believe the dream-hat meant (I'm sure this will be obvious to some, especially those that have watched a number of times, but I just want to throw this out there for folks that have seen it, but don't know what all the hubbub is about--because certainly, that's how I felt when I first saw it).

Whether people wear hats or not in the film seems to represent whether they are acting out of passion-from the heart, that is, or out of mind--thinking logically, or unemotionally.

Tom's conflict in the film is entirely between his head and his heart(Verna). He loses his hat to Verna in a poker game, and he goes back to her apartment to get it--and it is left on the sill while they fool around. And Tom says about his dream: "There's nothing more foolish than a man chasing his hat." Ultimately, Tom chooses mind over heart in the end--or does he? The final shot shows him methodically putting his hat on so low that we can't even see his eyes, so he seems to make the cold choice of pure logic--but then, as he looks after Leo leaving (Leo, who has been hatless throughout, pure emotion, has now learned something--and he is wearing a yarmulke), the camera sneaks in under the brim of Tom's hat to see his eyes. It is rare for a movie to understand its character's so well. Wonderful filmmaking

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After being very disappointed with "Once Upon A Time in America" this weekend, I decided to watch another gangster movie that I had never seen before. This one gave me hope as it was done by the very brilliant Coen Brothers. And I'm happy to say that this time I wasn't disappointed. In fact, I had to watch it again the next day! "Miller's Crossing" is a hauntingly beautiful masterpiece for all the right reasons.

The story gets pretty complex, as this is from the Coen Brothers. It focuses Tom, a cold and smart-aleck lieutenant who works under an Irish Mob Boss, Leo. Things get ugly when Leo gets into a disagreement with an Italian underboss who feels that he is getting a raw deal. Things also get more complicated when Tom falls in love with Leo's woman. Sooner or later Tom's going to have to decide who's side he's on and who his enemies really are. All of this leads to an uncontrollable scenario with the signature Coen twists and surprises.

I loved everything about this film. From the very first minute I was hooked. Sure, it starts out kind of slow, but this is almost necessary in all of the Coen movies. There needs to be a heavy build-up so it can all come together. And once things start spinning, it doesn't stop until the ending credits. I loved how well-written the film was too. It relies heavily on dialogue, but we love hearing the conversations these characters get into. There's a lot of dark and subtle humor in it too, although it is a more serious film for the Coen Brothers.

The acting is also superb. Gabriel Byrne is fantastic as the cold and heartless Tom, who always has something smart or sarcastic to say. There is no way I could see anybody else playing the role. It suits him that well. John Turturro is also wonderful in his role and really gets to show off his acting ability. One of his better roles, I think. Everybody else in it is also terrific.

There's really not much to the DVD, which is a shame. I'm glad that it has finally come out on DVD and all, but it would've been nice to see a few more extras added to it. The special features included are cast interviews, trailers, a still gallery, and an interview with Barry Sonnenfeld. The Barry Sonnenfeld interview I found very interesting as he explains the look and feel of this movie as opposed to the other Coen movies he has worked on. The picture and sound quality is really good and brings out the tone of the movie.

"Miller's Crossing" is a definite winner in my mind. It is now quickly becoming a new favorite of mine. If you're looking for a great crime film with a story, interesting characters, and an overwhelming plot, this is the one to see. As with some of the other Coen movies, this one tends to get graphically violent at times, but it is never gratuitous and is always appropriate to the story. An excellent Coen film that is bound to give you a new look into the Mafia world.

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Yes, FARGO won lots of awards; and sure, RAISING ARIZONA is funny; but make no mistake: MILLER'S CROSSING is the quintessential Coen brothers film. In point of fact, it's flawless, a jewel you can turn over and around in your hands again and again, seeing a new facet every time, each one striking and smooth and perfect.

Joel Coen and Ethan Coen's script is awash with Prohibition-era jargon both historically grounded and whimsically invented, a symphony of phrases and exchanges that linger and echo long after being heard. It isn't unusual after a viewing to walk around asking friends, "What's the rumpus?", or to complain about being given "the high hat" upon being snubbed. (Good dialogue always has a way of worming its way into common parlance, but only _excellent_ dialogue can do so in defiance of instant recognizability.)

The performances, as well, are individually and collectively irresistable. I defy you, in fact, to find a single film in which _any_ of the major players has ever been better. There's not a false or miscast note in the whole of the dramatis personae. There's Gabriel Byrne as the inscrutable, Machiavellian Tom Regan, a trusted Irish mob advisor who falls out of favor with the boss and defects to the rival Italian camp to save his own skin...or does he? Albert Finney plays Leo, the aforementioned Irish power broker whose fists of iron, vicious survival instinct, and all-too-vulnerable heart congeal into a simply remarkable, unforgettable character. John Turturro is equal parts pathetic outcast and conniving opportunist as Bernie Birnbaum, the unscrupulous, vampirically pale bookmaker whose shady maneuvers set the whole plot into motion. Marcia Gay Harden exudes fierce intelligence and buckets of carefully-aimed sex appeal as Bernie's sister Verna, whose unflagging drive to protect her brother -even from himself -almost excuse her twisted machinations. Jon Polito, as hot-tempered Italian ringleader Johnny Caspar, may be the only character at hand to actually feel sorry for, as his oddly consistent ethical code makes it a sure bet he doesn't stand a chance in this environment.

There's more to say about the acting, of course, but I'll stop there rather than pour accolades onto the entire cast. And when I say "entire," I'm not exaggerating: _every_ person who comes into frame, each and every one, from the leads to the smaller parts to the people with one line or none at all, fit together and play off of each other as though they'd been born to do nothing else in their entire lives. The resultant effect actually makes it difficult to subsequently keep from noticing acting and casting problems in other films.

A few brief words about some of the other eleements of production. Barry Sonnenfeld's sure-footed photography, as always, is smooth and steady where appropriate, and frenetic where necessary. The set design and costuming make for such an astonishing illusion that were this not a color film, you might actually forget that it was released 9 and not 69 years ago. And even the sound - from the music (diegetic and otherwise) to the crystal-clear sound effects that pierce the visual and draw you in by the ears, like they're supposed to -is a _presence_ in its own right throughout the film. I mean, when was the last time ice cubes dropping into an old-fashioned glass or the wringing out of an alcohol-soaked rag into a tinny dish felt truly _woven_ into the designed effect of a scene in a movie?

What continues to amaze me about MILLER'S CROSSING is that no matter how many times I see it, regardless of how hard I look, I _can't find anything wrong with it_. That's an extremely rare situation in my experience. It's what we all want out of a movie, and almost never get. MILLER'S CROSSING delivers exactly that feeling, and when Tom Regan leans against that tree and adjusts that hat in the haunting final shot, he knows it just as surely as we do. He doesn't seem to feel especially happy about it, but that's okay. _You_ will.

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Fresh (1994)

Michael, a.k.a. "Fresh", is a 12-year-old drug dealer who lives in a run-down house with his aunt and other orphaned children in a dangerous Brooklyn neighborhood. Having grown up in a harsh culture, he is a boy who shows little emotion despite witnessing the revulsion of street life on a regular basis. His mother is long gone, his sister has resorted to prostitution, and his father is completely estranged-although every now and then he meets with his father to play speed chess, through which he is taught street knowledge. At first Fresh aspires to live the life of a powerful drug dealer, but one day a heartrending incident causes him to rethink his dreams and consider a better possible future.

Directed by Boaz Yakin (who also directed "Remember the Titans"--a *completely* different film), "Fresh" is an astonishingly well-done film that left me stunned long after it ended. By depicting a brutal life through the eyes of a young boy, the film tells a bleak story by taking its viewers on a roller-coaster ride of gut-wrenching scenes, and yet in the process it still manages to engage the audience and finally arrive at a surprising conclusion.

Although the first third of the film is basically used to give the viewer a tour of Fresh's neighborhood, the plot soon becomes very complex after one particular scene. Fresh's life literally becomes a game of chess, represented by the moves the pieces make and the strategy used to stay alive. Despite the film's quiet atmosphere, it moves at a rapid pace and forces the audience to listen closely in order to keep on track with the plot. The plot moves unpredictably throughout, but every one of its elements makes perfect sense after a bit of thinking. And although the script is heavy on profanity, it is totally realistic in depicting the everyday life of the characters, and the dialogue between Fresh and his father during their chess matches is especially good.

The picture is shot on low-budget film, making the Brooklyn neighborhood feel all the more dark and unwelcoming. But there are no prolonged fight scenes, nor is there a lot of on-screen brutality. There are, however, a lot of tragic scenes that really hit home, and they are shot with rapid film editing and camera work that didn't require any computer enhancements. Simply put, no unnecessary visual techniques are used.

The acting is superb all around. Sean Nelson, in his debut role, is stunning as Fresh; he is so compelling in the way he conveys his emotions without having to say anything, and he feels so natural that it seems as if he doesn't even know the camera's on him for more than 90% of the film. For this to come out of a debut performance is impressive enough; but for it to come out of such a young actor is truly astonishing. Supporting roles include Samuel L. Jackson, who expresses a great sense of authority as Fresh's father, and Giancarlo Esposito, who is absolutely chilling as the "black king" of the film.

And the ending is unforgettable. In fact, it is not the unpredictable denouement that the viewer remembers best; it is the very last image. In one final shot, all the emotion that had built up to that point bursts out in a brief, silent moment. It is a deeply moving way to end the film, and it gave me a faint sense of hope despite all the sorrow and horror that had already happened.

"Fresh" is a tiny film that manages to be riveting, frightening, disturbing, contemplative, poignant, and faintly uplifting all at once, and that alone makes it one of the most memorable films I have ever seen. But with acting, filming, and screenplay all being top-notch without any other frills, "Fresh" is also a brilliant work that uses only the most basic aspects of film to their fullest extent. It features many upsetting scenes and is definitely not for all viewers, and due to the plot and script it can be a very challenging film to watch at times, but it is an unconventional example of a director and cast at the top of their form. I easily recommend "Fresh" to film lovers everywhere.

With the exception of a audio track that sometimes gives the impression that students were hired to record the sound, this is quite possibly a perfect movie. Given two thumbs WAY up by Siskel and Ebert, this film is a tightly written and well acted. The initial opening, which confused me at first, on later viewings revealed itself to be the setting of the chessboard upon which the title character plays his most important game - Namely, his life. If you are a lover of suspense, intelligence, or chess (Fresh uses chess tactics to checkmate his opponents and save the "queen") than This is the film for you. Because, at first glance, this film is about African Americans and drugs -but with relatively little violence, the distributors had no idea what to do with it and it received lousy distribution and little advirtising. It is NOT however so much a film about drugs and violence, as it is about an incredibly intelligent, hard working kid who uses all the resources available to him to get himself and his sister a better life. I have seen this film multiple times, and to my amazement found NOT ONE line of wasted dialogue in the whole thing... which makes the lousy soundtrack all the more annoying. Additionally, it has the complex construction of a Dickens' tale - seemingly unrelated details all coming together to a tighly knit resolution. If you are a serious student or lover of film, this is one to be savored.

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This is a very recent film that I watched at the suggestion of one of my co-workers (Hey Harlan!). I was captivated by this film from beginning to end. Its raw power is undescribable, and the performances by the lead actor in particular (Sean Nelson) was brilliant. The story deals with a young boy who has become a pint size drug runner. He, however, is extremely intelligent and knows that there is no future in this type of life. He sets out to become a man, and in the process many lives are changed, most importantly his own. It is a film of astonishing and unrelenting power which should be seen by everyone. I was very impressed with screenwriter/director Boaz Yakim's decision not to put the usual soundtrack that befuddles urban films, instead, the instrumental score brings yet another dimension to this already multi-layered motion picture. Kudos to Giancarlo Esposito in the role of Esteban.

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Fresh is a 12 year old African-American kid with an abundance of street smarts and a stash of several thousand dollars squirrelled away in an old tin can under the floorboards of a condemned tenement. He's a consummate wheeler-dealer, a drug runner who lives his life on the gritty streets of ghetto Brooklyn. He lives fast and hard and at the rate he's going, he'll be lucky to see his thirteenth birthday.

Fresh's real name is Michael, and he lives with his Aunt Frances, a self-abnegating caretaker of eleven of Fresh's cousins, who have found with Aunt Frances the first stable home of their lives and don't appreciate Fresh's activities risking their stability. They're scared to be seen on the streets with him. "I'm not going back to no group home because of you," one of his cousins hisses. "If you mess this up, I'm gonna kill you."

Fresh lives in a world of violence, depravity and despair that no child should ever have to witness. He sits by the bank of the East River and dreams of better things. He looks across the river at the towers of midtown Manhattan, a short subway ride away and as distant and inaccessible to him as the far side of the moon. His world is drugs, which keep him in funds and destroying the life of his teenaged sister, a hard-core junkie prostitute with the face of a black Madonna. His only parent is his dad, a veteran speed-chess player who has taught Fresh everything he knows about the game. "Your queen is nothing but a pawn with fancy moves," he advises Fresh. "Play your opponent, not the game -if your opponent plays a defensive game, be aggressive." And vice-versa. Chess is, after all, a metaphor for life, and the name of the game is survival.

Fresh is surviving as best he can. He's a drug runner for two different groups; he runs heroin for Esteban's Latino crew, and crack for Corky's African-American gang. He's smart, savvy, and above all, he knows how to keep his mouth shut. Something his best friend, Chuckie, has never learned and which will eventually end up costing him, big time.

Survival in Fresh's world is a dicey prospect, and when one of Corky's lieutenants, a thug named Jake, shoots up the playground after being humiliated in a game of pickup basketball by a much younger player, killing not only his opponent but a little girl Fresh has a crush on, something in Fresh snaps. He's had it with all the drugs and the mayhem that makes up his world. Dad's lessons in speed chess stand him in good stead. Fresh sets up a chessboard in his room, each piece representing a player in his world, and with cold, analytical calculation and breath-taking audacity, he plays both ends against the middle, setting the drug gangs against each other and sitting back to watch them wipe each other out.

Boaz Yakin's first feature film is a tour de force which showcases not only himself as a gifted director, but a dazzlingly talented actor in Sean Nelson. Nelson doesn't so much play Fresh as he becomes Fresh. He's such a natural that he doesn't seem to be acting at all. Samuel L. Jackson is excellent as Fresh's dad, a failed person and parent who has managed to give Fresh the one gift he has, a talent for speed chess that helps him transform his life. Giancarlo Esposito is suitably reassuring and menacing by turns as the heroin dealer Esteban, and Ron Brice is chilling as the paranoid crack dealer Corky. Yakin's direction brings out all the grit, the despair and hopelessness of the environment these people are trapped in, either by choice (Corky and Esteban) or involuntarily (Fresh and his sister). We can only wonder what it must be like to live in such a place, with no way out.

"Fresh" suffered from abominable distribution when it was first released in 1994, which prevented it from being much better known. I hadn't even heard of this film until I caught it on cable TV one night a few months ago. Since then I've seen it four times, and each time I come away awed at how Yakin has caught to perfection the lives of his characters and the mean streets they live in. And the final scene, Fresh staring at his dad over one more game of speed chess with tears running down his face, is like a visceral kick. Consummate wheeler-dealer or not, this kid is, after all, only twelve years old.

Judy Lind

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Fresh is a stark, somewhat sensational metaphor-movie about street life. The main character, Fresh, is a 12-year-old kid with a job running drugs for various thugs. He learns tact and tactic through weekly chess matches with his alcoholic, supposed-to-be absent father. He takes what he learns and applies it toward getting a better life for himself and his wayward sister. Played by Sean Nelson, Fresh is a kid so precocious as to make Haley Joel Osment look childish, and then some. There really is no comparison for this movie, a film as mature as its young star.

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The Brass Teapot (2012)

My wife and I are a pair of aging boomers, but we loved The Brass Teapot. Full disclosure: It is probably aimed at 20 and 30 somethings, but we were taken by the charm of the story and the authentic renderings by Juno Temple and Michael Angarro -guess we are young at heart after all. That said, the film deals with some pretty deep philosophical material, yet never seemed to take itself too seriously. Saw it over a week ago, and it is still a rich source of conversation around our house. Lots of fascinating back story to analyze -can't wait for the sequel! This movie will become a cult classic for a generation. Wonderful film!

Judging by the trailers of The Brass Teapot, I didn't expect much from the movie, and it seemed like another cliché and Hollywood version of funny; however after watching it today, I have to admit it has its moments, and it can satisfy different audiences. If you just want to watch something fun and easy-to-digest and you enjoy simple jokes and humors, this movie delivers that with adequate acting and appealing story. If you need something deeper from the movies you watch, you still are going to find some hidden meanings behind simple humor and sarcasms, but you have to look harder. All and all, it is worth one time watching.

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How much pain would you endure to get what you want? Then, how much injury inflicted on somebody else would maintain your wealth? Likable film, a little dark, but more lighthearted then "The Box". Glad I rented it.

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The Brass Teapot was really great. The actors are phenomenal-John and Alice make the cutest couple and the storyline is enchanting. If you like dark comedies, stories of good vs. evil, and a little bit of romance, you'll LOVE this movie!

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I was skeptical when I first saw the poster for this movie, but after renting it and watching it with my girlfriend I was surprised! For it's dark premise about inflecting pain for money seemed more like the plot to a horror movie, but the tone of the film is very light-hearted and interesting, and if you're in your 20's, it hits close to home. It has a very 80's vibe to the movie, like GREMLINS where it's dark but still keeps it's sense of humor. This is the perfect date movie to sit at home and rent on a nothing going on Saturday night. My girlfriend loved it!

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Flash Point (2007)

My expectations were quite high for this one, as I had heard from several people that it is definetly a great martial arts action film. I also see a lot of comparisons to the previously released "SPL aka Kill Zone" and rightfully so, since Flashpoint has both the same director (Wilson Yip) and the same action star (Donnie Yen). Though I find Flashpoint not quite up to par overall with SPL, that's still saying quite a bit, since SPL seems to be the film to beat these days. But what Flashpoint may lack in overall tone, it more than makes up for with breathtakingly superb fight action, Donnie Yen style.

Now when I say Donnie Yen style, it's cool and it's MMA (mixed martial arts). Well, at least he's always trying to act cool (as many reviewers will point out about Yen) and I guess it works, but its never necessary. Yen is so skillfull with his choreogrpahy and skill that that's plenty cool enough for me. Flashpoint is praised for its incredible fight action, but it will have to wait about an hour into the film for it to begin, When it does, it is intense and never lets up. The final 30 minutes of the film is the huge climax. Tensions and emoitons are at the highest (I want to say almost comparable to SPL at this point, and ironically the stories are somewhat similar as far as Yen's character is concerned). The tension can be felt in the fights, as the past hour of the film all comes together in what is to be a spectacular finish. There is a decent shootout that occurs throughout fields of grass before we see the big one on one between Donnie Yen and our main villain Collin Chou (Matrix Sequals, Forbidden Kingdom). The fight lasts 8 minutes and is almost unlike anything I have seen. Even Yen and Chou stated that this fight was the most difficult and accomplished of their careers thus far. It is fast, furious, and complete with a few slow motion kicks and punches that all felt perfectly placed you can almost feel the raw power behind a Donnie Yen knockout.

As good as the climax of Flashpoint may be, its the first hour that keeps it from being a perfect film. Though the story is interesting and worth watching to feel the true impact of the exciting conclusion, its still a slow ride that has almost no action to keep things moving. The characters, plot, script etc also don't have quite the effect of that in SPL, and the villain Collin Chou was basically an average villain without any unique qualities (until the last 30 minutes of the film!)

Despite the slow hour of the film, I can't stress enough how much it is still worth it when that last 30 minutes comes around. I'm not sure we'll see a fight quite like that again anytime soon. It is definelty worth buying this dvd and you will want to watch it several times as I already have. 4.5 Overall for exceptional martial arts action.

Acting 3.5

Action 5

Characters 3.5

Dubbing 3.5

Story 3.5

Overall: 4.5

First of all, this release from Dragon Dynasty is perfect. I will go over the special features at the end of the review, but I wanted to first mention that the final fight is uninterrupted. In the mainland Chinese version, there was a part where Collin Chou's mother comes in and tells him and Donnie to stop fighting. It totally ruined the flow of the fight. So I am very happy to see that Dragon Dynasty got the right version.

Now to the movie review. If you liked the action at all in SPL (Killzone in US), then you are in for a real treat. The final fight in Flash Point is easily one of the best fight scenes ever filmed. Probably top 10. It is much better than Donnie Yen vs. Sammo Hung. At one point I thought I was watching a UFC match, except they aren't fighting in a cage and there are no rules. Donnie Yen is on his back kicking upwards and trying to block Collin Chou's punches, and he manages to grab hold of Chou's shirt and gets his legs around his neck. Almost choked out, Chou decides to bring Yen up and then slam him onto the ground. He slams Yen a few times, and it just keeps going back and forth like this nonstop. And the fight goes on for about 8 minutes! Fast and furious doesn't even begin to describe it. I have never seen anything like it before.

Donnie Yen was in an experimental stage during the late 90's and had some good and bad movies. Ballistic Kiss was horrible, but Legend of the Wolf was a wonderful piece of art. In SPL, Donnie mixed in some grappling and a few other techniques, but the final fight felt too choreographed and dancelike. Flashpoint focuses more on realism, but it is still very much focused on style. Donnie and his crew have perfected their style and are in my mind the top action crew in Hong Kong after making this.

The movie itself is nothing too special. It's your average cop drama and criminals are killing witnesses so they won't be charged with the crimes they committed. The relationship between Donnie Yen and his partner Louis Koo is very well done. Collin Chou gives a magnificent performance as the villain and newcomer Xing Yu is even better. Ray Lui rounds out the trio of villains and does a great job. These guys are truly scary.

4.5/5

Now to the special features. I will first go over the 2 Dragon Dynasty exclusives, and then the other special features.

feature commentary from Donnie Yen and Bey Logan. How awesome is that? Do I really need to say anymore?

32 minute interview with Donnie Yen. That's right, 32 minutes. Great interview. He goes over so much about the movie it's incredible.

Collateral Damage: The Making of Flash Pointa look behind the scenes and interviews with the actors and director Wilson Yip. 18 minutes, and very informative.

Flash Point Exploredthis is basically the same thing as the making of but longer and more indepth. 28 minutes.

There's a lot of other small features like the actors at a premiere, deleted scenes, training... but nothing great.

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FLASHPOINT is the third collaboration between Wilson Yip and Donnie Yen. This is the prequel to the highly successful "SPL: Sha Po Lang" (a.k.a. Killzone, U.S. title). Directed by Wilson Yip with fight choreography directed by Donnie Yen, "FLASHPOINT" looks very promising. How does it compare with one of my favorite action films of 2005, "SPL"?

Synopsis partially derived from the DELTAMAC dvd back cover:

Pre-1997, a hero's story. The timeline is just before Hong Kong was turned back over to China. Police Inspector Jun Ma (Donnie Yen), Serious Crimes Unit. Inspector Ma is fast, precise and brutal Ma is all-business, his superiors often doesn't agree with his methods. Ma detests crime and his life long nemeses are a Vietnamese gang of three brothers eldest brother Archer, the bully; second brother Tony (Collin Chou), the cool calculator; youngest brother Tiger (Xing Xu), the fighter. Their skills have seen them grow steadily in the criminal world. In order to further infiltrate the gang and fight them from within, Ma has planted a mole, Wilson ( Louis Koo), who has managed to gain the complete trust of the gang and has become their personal bodyguard. Over the years Wilson has become more and more unhappy with Ma's impulsive and unruly style, their disagreements in their way of working has led to constant arguments and altercations.

Unlike Yip and Yen's other 2 collaborations, SPL and Dragon Tiger Gate, "Flash Point" is all business. It is a straight-forward action film, losing all excess "meat" like intricate storytelling and character development. Donnie Yen once again reprises his role as Inspector Ma, the film is made for Donnie Yen fans--it is all Donnie!! If you're an action fan, then this film will satisfy. The result is "more style than substance". At least, it is not pretentious to resort to canned melodrama, it doesn't attempt to impress with complex emotions and doesn't do anything fancy. It isn't a perfect film, it has a very simple motive: to entertain us with "popcorn" action entertainment.

One fault that the film may have is that the villains; Tony and Tiger are skilled martial artists in real life but they are pretty much one-dimensional villains with the usual stereotype. Although Tony (Collin Chou, Matrix Reloaded) is shown as a skilled fighter, his character is a bit uninteresting. Another is that the police force is so inept in protecting witnesses. It seemed so unreal that Wilson's girlfriend (Beautiful Fan Bing-Bing) would be so unprotected. Also, what is up with movies portraying cops as lacking in common sense? Sometimes, it really bothers me that movies nowadays, cops are being portrayed to be so untrained in dealing with dangerous situations just so the screenplay can get to where it wants to go. The plotline in Flashpoint is unimaginative and pretty routine. The plot is so stripped down that "simple" is an understatement.

Thankfully, to the film's credit, the film does deliver in the action sequences. Yen is his usual "COOL-over-acting" self. Yen is an actor who likes to show off and his acting abilities may oftentimes be lacking, Donnie Yen is still being Donnie Yen with his bit of over-acting. He eats up the screen with the film's final fight finale, Yen is intense and enraged, righteously focused and skillful in the encounter and most of all: Fonzie-cool. The Martial Arts fight is very well done, and stays within the realm of Inspector Ma's character in SPL. Yen uses the usual mixed martial arts style of Boxing, furious kicks and Brazilian Jiu-Jitsu. The fights are fast-paced and visually stunning, it certainly entertains with maximum impact. As with SPL, the fights are filled with intensity that you could almost feel every bone-breaking hit (and misses). Collin Chou is to be credited that his caliber as a martial artist makes him a worthy opponent. Like him or not, Donnie Yen does have the presence of an intense, highly skilled fighter, he is quite convincing as a butt-kicking action hero. He is ultra-cool in the final fight finale, which in my observation, sometimes Donnie Yen tends to make to much effort in looking cool.

Action fans will definitely embrace "FLASHPOINT". It is far from perfect, but with its "pure" screen action sequences, it does entertain and is never boring. Sometimes, viewers just want action and the fight sequences on display is hard-hitting and tough enough to satisfy those fans. The plot is hollow and a bit sloppy; "FLASHPOINT" will definitely NOT unseat "SPL: Sha Po Lang" as the BEST Wilson Yip-Donnie Yen collaboration. With its truly unforgettable Yen-Wu Jing alleyway duel/Sammo Hung-Yen final fight, SPL outshines everything `Flashpoint" has to offer. As an action film, Flash Point is a satisfying enough diversion. This prequel could have been so much better, but thankfully, it is not much, much worse.

RECOMMENDED! For action fanatics...[4 stars]

Note: The Dragon Dynasty release will feature an English dubbed track. Hopefully it will also carry the fantastic 6.1 DTS-ES Cantonese Language track.

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Flash Point does two things well. It sets up the villains as not only bad guys, but sadistic, nasty, brutish bad guys for whom you have absolutely no sympathy and every desire to see hurt or maimed. The other is deliver some incredible fight scenes, particularly the finale between Donnie Yen and Collin Chou. In fact Flash Point recently won a Hong Kong film industry award for best action choreography.

The story is typical of the genre, about a Hong Kong cop who goes to extremes in apprehending the bad guys. He is given cause and official leave to go after a group of Vietnamese drug smugglers after they blow-up a friend's dinner party, then kill all the witnesses scheduled to testify in proceedings against one of their members. The characters are rather bland and the middle section of the film, including a romance, is entirely forgettable.

I don't claim to be an expert in the genre, just a casual fan who started watching martial arts movies back in the days when they were packaged as something like "Kung Fu Theater," inexpensive foreign films on low-budget terrestrial stations broadcasting over UHF. I've been around and seen a few. And Flash Point is one of the best of recent memory, including Yen's other recent project, Kill Zone.

Hiyaa!

#

Want Flash Point (2007) Discount?

I just picked up my Limited Edition release of Flashpoint. This is the prequel to the highly successful "SPL: Sha Po Lang" (aka. Killzone). Directed by Wilson Yip with fight choreography directed by Donnie Yen, "FLASHPOINT" looks very promising. Does it compare with one of my favorite action films of 2005, "SPL"?

Synopsis partially derived from the dvd back cover:

Pre-1997, a hero's story. The timeline is just before Hong Kong was turned back over to China. Police Inspector Jun Ma (Donnie Yen), Serious Crimes Unit. Inspector Ma is fast, precise and brutal Ma is all-business, his superiors often doesn't agree with his methods. Ma detests crime and his life long nemeses are a Vietnamese gang of three brothers eldest brother Archer, the bully; second brother Tony (Collin Chou), the cool calculator; youngest brother Tiger (Xing Xu), the fighter. Their skills have seen them grow steadily in the criminal world. In order to further infiltrate the gang and fight them from within, Ma has planted a mole, Wilson ( Louis Koo), who has managed to gain the complete trust of the gang and has become their personal bodyguard. Over the years Wilson has become more and more unhappy with Ma's impulsive and unruly style, their disagreements in their way of working has led to constant arguments and altercations.

Unlike Yip and Yen's other 2 collaborations, SPL and DRAGON TIGER GATE, "FLASH POINT" is all business. It is a straight-forward action film, losing all excess "meat" like intricate storytelling and character history. Donnie Yen once again reprises his role as Inspector Ma, the film is made for Donnie Yen fans--it is all Donnie!! If you're an action fan, then this film will satisfy. The result is "more style than substance". At least, it is not pretentious, it doesn't attempt to impress with complex emotions and doesn't do anything fancy. It isn't a perfect film, it has a very simple motive: to entertain.

One fault that the film may have is that the villains; Tony and Tiger are skilled martial artists, but aren't "built up" so we get the impression that they are not a phenomenal fighter like Ma's character/caliber. The film loses some of its intensity when the bad buy isn't developed as being "bad". It was a bit obvious that Yen could whoop the daylights out of both of them from the start. Another is that the police force is so inept in protecting witnesses. It seemed so unreal that Wilson's girlfriend (Beautiful Fan Bing-Bing) would be so unprotected. The storyline in Flashpoint is unimaginative and pretty routine. The plot is so stripped down that "simple" is an understatement.

To the film's credit, the film DOES deliver in the action sequences. Yen is his usual "COOL" self. Yen is a bit of a showy actor, although his charisma may sometimes be lacking, Donnie Yen is still being Donnie Yen with his bit of over-acting. He eats up the screen with the film's final fight finale, Yen is intense, enraged, righteous and most of all: COOL. The Martial Arts fight are very well done, and stays within the realm of Inspector Ma's character in SPL. Yen uses the usual mixed martial arts style of Boxing, furious kicks and Brazilian Jiu-Jitsu. The fights are fast-paced and visually stunning, it certainly entertains with maximum impact. Like him or not, Donnie Yen does have the presence of an intense, highly skilled fighter, he is convincing as a butt-kicking action hero. He is ultra-cool while he is kicking the crap out of Tony (Collin Chou), the end result was never in doubt.

I have the limited Edition (ALL-Region) 2-disc release from DELTAMAC. It is very nice with the very cool cloth like cover.

VIDEO/AUDIO: 2.40 ANAMORPHIC WIDESCREEN. The transfer is exceptional. Colors are radiant, very sharp and clean. As with "SPL", Deltamac has outdone themselves with the dvd quality. 5.1 Dolby Digital EX/5.1 DTS-ES in Cantonese track is very crisp and loud. Subtitles are well-timed and decent. It has minor typos and incorrect grammar.

Final remarks:

ACTION fans will definitely embrace "FLASHPOINT". It is far from perfect, but with its "pure" screen action "junk", it does entertain and is never boring. Sometimes, viewers just want ACTION and the fight sequences on display is hard-hitting and tough enough to satisfy those fans. The plot is hollow and a bit sloppy. `FLASHPOINT" will not dethrone `SPL: Sha Po Lang" as the BEST Wilson Yip-Donnie Yen collaboration. SPL has the KILLER Yen-Wu Jing alleyway duel/Sammo Hung-Yen final fight which are so full of intensity and realistic emotion. SPL outshines everything `Flashpoint" has to offer. As an action film, it is a satisfying enough diversion. Yen's latest could have been better, but thankfully, it is not much, much worse. (It is better than INVISIBLE TARGET)

RECOMMENDED! For action fanatics and martial arts junkies...(4 stars)

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