Tyler Perry's Temptation (2013)

This movie was not what I expected. Based off the previews I had my pre

conceived notions about how the film was going to be. I was pleasantly

surprised with all of the different messages throughout the film. I

enjoyed the fact that it had its comedic moments as well as ones where

I did not want to blink just in case I missed something. This film will

suck you in as if you are the main character and leave you with a

feeling of are you making the right choices in your own relationship.

I went to see this movie "Temptation" on Friday opening day and this movie to me was "Awesome" Tyler Perry did a Awesome job and the cast in this movie was "Awesome" too, full of surprises make you think twice about things. "Temptation" is worth seeing and I can't wait to buy the movie.

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This movie is an intense movie with lots of surprises! This is one movie I will want to earn and have as mine!!!!!!!!!!!!!!!!!

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This movie is an eye opener for women. It is inspirational, beautiful and teaches a lot about what happens in life. All that glitters is indeed not Gold. The devil tries to place the beautiful things of life in front of us when it obviously doesn't last..... It also teaches us patience and not to be carried away by material things.

As for Kim kardasian, I would say she did a very nice job, for someone who really isn't an actress professional, I was impressed.

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The movie was well put together and EVERY couple should see it! Tyler Perry has done a great job putting this real-life senario on the big screen. The subject manner that was covered in the movie is one that can happen and often does happen due to neglect of seeking help for your relationship.

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American Psycho (Uncut Version) (2000)

Based on Bret Easton Ellis' controversial novel American Psycho, this film tells the story of an 80's yuppie named Patrick Bateman (played by Christian Bale) who works on Wall Street by day and kills people by night. Like the often misunderstood novel, the film is more of a dark social comedy than a real horror story. Bateman dresses and talks like all the other wealthy, young Wall Street crowd, and thus mistaken identity plays a big part in his getting away with gruesome murders again and again. Bateman's own grip on reality begins to blur over time and at various times throughout the movie it's quite obvious that Patrick's view of reality is a sick, homicidal dream of endless torture and killing. Even when Bateman confesses at one point, no one listens or seems to care. Everyone has their own agenda and the main concern of Bateman's friends is which extravagant restaurant to dine at next, or getting the latest and greatest business card to impress one another.

Casting Christian Bale was a brilliant choice by director Mary Harron, who almost got fired from the project because of not choosing Leonardo DiCaprio for the starring role. I honestly don't think anyone could've captured Patrick Bateman's personality more flawlessly than Bale, who gave an extraordinary, chilling performance. And casting Reese Witherspoon as the prissy, bubble-brained Evelyn, who's engaged to Bateman but knows nothing of his psychotic, homicidal behavior, was a perfect choice. Much of the dialogue in the film is taken directly from Ellis' book, and the horrific violence of the book was toned down considerably, with much of it taking place off camera. Many viewers don't seem to appreciate the frequent humor in American Psycho, such as the various times Bateman says crazy things like, "I'm into murders and executions" that no one seems to hear. And his philosophical ramblings about the music of Huey Lewis & the News, Phil Collins, and Whitney Huston are hysterical!

The new "Killer Collector's Edition" is a mixed bag as far as worthwhile special features go. The documentary "From Book to Screen" is in depth but instead of having new interviews with the stars there are mostly boring interviews with film critics. Plus, it seemed like there was way too much coverage of the novel and very little on the actual shooting of the film. There's a lame video essay read by some singer and a documentary on the `80s. Thankfully, there are several deleted scenes (with optional director's commentary) as well as several humorous trailers. My favorite special feature (and probably the main reason why you should by this edition) is the director's commentary which tells lots of entertaining behind the scenes info. And, the picture and sound quality are better than ever! American Psycho IS NOT a film for everyone, but for those who enjoy intelligent satires with a little horror mixed in, this modern classic is a definite must for your DVD collection! And before you judge or even watch this movie, you should read Ellis' novel to appreciate the whole, uncensored story.

"I like to dissect girls. Did you know I'm utterly insane?" -P. Bateman

No doubt about it, Mary Harrion's "American Psycho" is definitely not for every taste and audience demographic. The good news is, perhaps, that the film is nowhere near as gruesome and gory as both its subject matter and its controversial nature would lead one to believe. In fact, its tone of ironic comic detachment helps to de-emphasize the more sordid aspects of the material and to instead highlight the film's bitingly satiric message.

Set in the mid-1980's, "American Psycho" casts a scathing eye on the then-brand new, up-and-coming group of 20-something executives known as "yuppies." Patrick Bateman, the psycho of the title, is a man who literally seems to have everything stunning good looks, a fantastic physique, a beautiful fiancé, a diploma from Harvard and a successful career as a Wall Street executive. Yet, alone of the young men with whom he consorts, Patrick flatly admits to us in voice-over narration that he is literally an empty-suit that his perfectly maintained outer appearance, seemingly well-ordered social routine and empty, superficial personal relationships merely mask the moral emptiness that lurks at the core of his soul. Much of the complexity of Patrick's character comes from the fact that he seems, paradoxically, to be both obsessed with the idea of conforming to the values of the world he lives in, and, at the same time, being strangely conscious of their unreality and meaninglessness. Thus, we see him becoming almost emotionally unglued because he fears he will not be able to reserve the proper table at a posh upscale restaurant or because he feels that one of his corporate buddies has a more impressive looking business card than he does. Much of Patrick's madness has its roots in the kind of obsessive-compulsive paranoia that arises from the modern insistence that life should and, indeed, can be converted into a perfect, problem-free existence if one just has enough money and a sufficient amount of the right "stuff" to make it that way. Frankly admitting that he feels no emotional attachment to any other human beings, Patrick is thereby free to channel his madness into its ultimate anti-social, taboo-shattering shape and form: serial killing. Thus, as days turn to nights, Patrick begins to rack up his victims and potential victims a homeless man, assorted prostitutes, an ex-girlfriend, an unctuous business associate, even some policemen who get wise to his activities later in the film.

Luckily for the squeamish among us, far more of the film's running time is devoted to a comic rather than thriller mode. The brittle, dryly humorous Mary Harrion/Guinevere Turner screenplay mines the corporate world milieu and the twisted rantings of a values-free mind for all their black comedy potential. Christian Bale brings a remarkable subtlety to a touchy role, managing to seem coolly alluring, chillingly detached, touchingly pathetic and wryly amusing all at the same time. Special credit should go to the stark, almost antiseptic look the filmmakers achieve through the art direction and set design, a look that matches in visual terms the moral and emotional emptiness of the characters and their world.

Much was made of the anti-woman tone of the novel at the time of its initial release. Perhaps because the writers and the director are themselves women, the movie seems to have toned down that aspect quite a bit. Indeed, as in a movie like "In the Company of Men," we find ourselves not so much appalled as sadly bemused by the vehemently anti-women comments uttered by Patrick and his cronies because we see what shallow losers these men really are. Harrion and Turner obviously know whereof they speak.

To reiterate, "American Psycho" may not be everyone's cup of cinematic tea, but those looking for a sharp little satire of modern American life will find some definite rewards.

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Whether we know it or not, many of us have co-workers who are just like Patrick Bateman. On the outside they exude confidence, style, and success, and they know exactly what to say and when to say it. But on the inside lurks a fragmented soul ready to snap at any given moment. Welsh actor Christian Bale, in one of the best performances you will ever see, brings to life Patrick Bateman, the Wall Street yuppie who works at Pierce & Pierce by day and is a serial killer by night. In adapting the controversial and unpleasant book by Bret Easton Ellis, director Mary Harron purges much of the violence and misogyny that made the novel one of the most despised and misunderstood pieces of literature in the last 20 years. What remains is the book's twisted sense of humor. This isn't a slasher film but rather a clever satire on the yuppie lifestyle of the late 1980s. Speaking in a pitch-perfect American accent that recalls a game-show host, Bale perfectly embodies his character physically and emotionally. His performance makes you simultaneously laugh at, pity, and fear Bateman. Jared Leto is also good in his brief role as Paul Allen (in the book it's Paul Owen; why his name is changed in the film, I don't know); Chloë Sevigny also stands out as Patrick's timid assistant, and Reese Witherspoon shines as his clueless and self-absorbed fiancee. This is the unedited version, which has a few additional flashes of nudity in one of the sex scenes. The difference is so minimal, you'd hardly notice it, showing how uptight the MPAA can get when it comes to editing films. Nonetheless, "American Psycho" is a disturbing but clever film that was one of the best of 2000. It comes highly recommended.

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Unfortunately for "American Psycho," the book has already garnered such a notoriously controversial stature that the film itself has a difficult task in trying to win over viewers. Like "Natural Born Killers," many people may have already made up their minds about this movie long before they even consider watching it.

Like "The Fight Club, "American Psycho" is a movie that could not be more misunderstood. Sure, this is about a psychopath on the most childishly obvious of all levels, but most of all this is satire on the yuppies of the mid to late 80's. It is an exploration in the hollow, meaningless existence of a rich Wall Street stock broker. A man who's life is so consumed by greed and power lunches that he can only find salvation whilst murdering someone. All the best scenes of "American Psycho" occur in the first three quarters of an hour. Christian Bale meticulously describes his morning routine with hilarious results and constantly tries to explain the significance of 1980's pop music. "The Greatest Love of All's transcendant beauty makes it by far Whitney Houston's most accomplished record" he claims, before butchering two girls. There is also a perfect scene in which Bale and his peers spend ten minutes arguing over who's business card font is better.

The violence (and sex) may be unsettling to some but is often times hilarious if you are willing to take it with a grain of salt. How can you not laugh when a bank machine asks Bale to "feed me a stray cat?"

This is a very clever and sophisticated film that could be perceived incorrectly. It is one of 2000's finer movies and deserves something better than to be overlooked because of the book's notoriety.

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After watching this film twice, I am of the opinion that it really is a satire rather than a horror film. I say this because the majority of the film is really about Patrick Bateman's pitiful attempt to define himself through his obsession with his model-like appearance, his outlandish purchases (such as two Robert Longo drawings in his living room), music selections, and his choices in nightclubs and restaurants. The man is adrift with no real meaning in his life, and thus this is why he is "psycho".

He demeans women, seeing them as little more than sex objects or status symbols. He is engaged to a woman (played by Reese Witherspoon) who sees men in the same way he sees women, which is convenient for a while but eventually results in a rupture of the relationship.

He is hyper competitive and overly sensitive to the trappings of success. He becomes especially competitive with a colleague Paul Allen (played by Jared Leto) who has gained recognition that Patrick lacks and seeks.

Early in the film Patrick lapses into psychotic halucinatory behavior, thinking that he is killing the women he picks up and the collegues who out shine him at work. We are given considerable hints throughout the film that his murders are figments of his imagination. I realize that some viewers will not interpret the film in this manner at all, but I suggest they carefully watch the film and seek the clues that Patrick is hallucinating and thus imaging that his desire to kill is in fact overt behaviors rather than impulsive thoughts.

So why is he an American Psycho? Because he is a terrible empty shell of a person, driven to self definition by the American marketplace. The poor fellow had no original opinions. He actually memorizes CD covers as substitutes for developing an original opinion of the pop music that is integrated throughout the film.

And yet, in some ways this really is a horror film, for what could be more horrible that a meaningless existance? The author of the book, Bret Easton Ellis, would let us know that many people experience this horror every day.

The film is actually very good and unfortunately misunderstood and underestimated by most viewers.

Alien Anthology Blu-ray Import Set (4 Discs) (2010)

My main concern with this set was that it would have issues with my US Region 1 Blu Ray Player. I saw mixed reviews and was concerned but for the lower cost decided to take a risk. I'm glad I did. It works perfectly on my Sony BDP-S570. This Blu Ray is definitely superior quality to the DVD version. I will definitely look for region free Blu Rays for my future movie purchases.

I recently had to upgrade my Alien collection from standard DVDs to Blue Ray format. The Alien saga is a must have. I grew up with the original Alien in the 80s. It's the original sci-fi Horror movie and nothing today has ever come close to topping it. And never will, as Alien is truly the Godfather of all sci-fi movies today. This collection is nice to have…what else is there to say, accept buy it now!

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The set doesn't come with a bunch of extras, but these classic movies look great on Blu Ray! A great set for an Aliens fan.

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really does change them in profound ways. It's funny, but all that detail shows how much artifice goes into film making. You can tell where lighting instruments are when Ripley is on deck; and the steam coming out of the eggs looks like steam makers. It's an odd combination of sensations. It simultaneously hinders willfull suspension of disbelief and makes you feel as though you are really on that set. High-Def has changed film making in all sorts of ways, but how you light a set has got to be one of the biggest. Really breathtaking stuff!

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These Blu-rays came quickly and the movies really clean up better than I would have imagined considering how old the first two are. If you like the Series I highly recommend this Box Set.

L'Age d'Or

L'Age D'or is one of the supreme surrealist films, but it's actually surprisingly accessible for Bunuel. In fact, one of his most accessible. That's not to say that you don't have to work a little, but far, far less that you would for, say, Brakhage or even some Fellini.

The film actually works on several levels, many of which offer Bunuel's often biting commentary on various aspects of life, including the blind acceptance of organized religion (for which the film was banned by the Catholic church for decades, and Bunuel was excommunicated), love and sex, human tolerance, class distinction (short but brilliant), and more. To be honest, to describe the various areas of the film is to pretty much ruin it for anyone who's never seen it. It's really best going in totally unexpectant. Again, though, remember that it's not going to unfold in a logical pattern, and will likely require a few watchings to catch it all. It's just that kind of film. In addition, the things that were absolutely appalling then may not be so much so today, or at least not to the same degree.

Still, it's a genuine work of genius, done for far, far, far many more reasons than just to stir things up. (And hopefully Amazon won't pull my review again because I dared to offer a contradicting opinion to someone else)

Absolutely a must-see for serious film-lovers, and probably a must-own, too. It's a serious work of art and nothing about it -nothing -is random. Oh... to clarify one thing: Yes, the film opens with a French documentary on scorpions. But as the narrator notes, the scorpion's tail has five segments, the last one containing the sting. L'Age D'or also has five segments; and the last one most definitely contains the sting.

Bunuel's first feature "L'Age d'Or" provoked such a fierce reaction among the Right that it was almost immediately banned by the French authorities after its release and not shown for another 50 years (it was finally allowed to play in Paris again in 1980). Suffice it to say, when you see it, you'll understand why: especially the final sequence.

While it is wonderful to have this landmark film finally available on DVD (as well as "Un Chien Andalou" in a separate release), I'm rather saddened by the lack of restorative effort here. The film has the visual and aural quality of the old 16mm prints I saw 15 years ago and there's virtually no extras worth mentioning. By all means get this release if only because it may not come out in any other format here in the US (and some of us can't afford a code-free DVD to buy the BFI version) but it would be nice if the rights holders would lease these films to Criterion to create a: "Bunuel: The Early Years" disc.

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In the second film that Luis Buñuel and Salvador Dalí collaborated on, they accomplished the infamous L'Age D'or, and this after they stirred the world of art and politics with their Un Chien Andalou a year before. This second film was about to exercise a full out assault on the established guidelines of society through irrational thoughts leading the audience to question their own ideas of society. However, in order to provide more detail to this notion one should know that surrealism grew out of Dadaism, which was a consequence of war. In the beginning of the 20th century, Tristan Tzara, the father of Dada, expressed himself that a world that can create war machines not worthy of art. Thus, he decided to generate an anti-art of ugliness against the up and coming industrial bourgeoisie, but instead of offending the new upper-class they embraced his new art. They felt that the Dadaism was attacking old traditions of feudalism and Christian dominance.

Surrealism is an expansion of Dadaism that grew out from the notions of the French doctor Andre Breton, who had fought at the trenches of World War I. Breton had studied the works of both Carl Jung and Sigmund Freud. Through his studies a heavy interest grew with the notion of the unconscious and its functions. Later, Dali developed his own unique technique to capture his unconsciousness onto the permanent medium of the canvas. Buñuel who also was interested in the subconscious did not have the talent of writing, painting, or music, which left him with the new coming art form of cinema. And he truly became one of the masters of cinema, whose films can still provide much pondering and pleasure.

Upon the release of the film the Board of Censors would not have released this film with a screening permit, if it was not for the ingenuity of the artists to call it madman's dream. The film received both appraisal and hatred, as some considered it pornographic and despicable while others found it to be a refreshing touch of reality in the 1930s. It was the bizarre content of the film that raised so much debate, even violence. The pinnacle of controversy came when the League of Patriots, a fascist organization, began to throw purple ink on the screen in the middle of the screening. These fascist thugs continued to vandalize the theater and cut apart artistic pieces by Dali, Man Ray, Joan Miró, and Yves Tanguy. Through several legal issues that came about from L'Age D'or, it was unfortunate that they removed the film from public screenings, and it was not until 1979 that the film received its first legal screening in the United States. Despite the outcome of withdrawing the film, Buñuel and Dalí created a surviving cinematic epitome of cerebral rebellion on societal prejudice bestowed to those who rule.

The film itself offers a peculiarly intriguing journey of the growth of a city, Rome, but in the light of surrealism. The narrative does not follow conventional methods, as it displays notions and concepts through a number of bizarre artistic scenes. The opening of the film displays scorpions while the audience is thoroughly enlightened of its anatomy and how territorial these arachnoids are against same and other spices. Maybe this is a subconscious hint of mankind's way of bordering themselves within countries, companies, and groups. Nonetheless, the scorpion sequence unexpectedly jumps to a scene with some bandits and papal characters, which eventually leads a strange scene with immigrants that claims the ground for the birth of Rome and the Vatican. Within the conquest like society Buñuel creates a society governed by rules of moral conduct and other appointed positions. This society receives an intricate dissection through a love affair between a man (Gaston Modot) and a young woman (Lya Lys) that ventures through scenes with a cow in the bed and toe sucking.

L'Age D'or does not provide any reason with its surreal imagery, yet there is something very familiar in each scene. This familiarity generates a link between the thoughts that the audience experiences. However, the imagery remains disconnected and dreamlike. One cannot help to think that Buñuel found a key to unlock the subconscious within the audience, as he playful juggles images of Christ and Marquis de Sade. There is nothing in the story that connects each scene, but the audience will make the deduction themselves and find a mutual connection from which they will derive the controversial material. This is a step away from Buñuel and Dali's previous film Un Chien Andalou where nothing was supposed to reveal anything in regards to rational thought. In the light of their second film, one should take a couple of steps back and reflect upon the power of the brain and cinema whilst one could feed the brain with thoughtless imagery of cinematic vacuity.

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There is a history of important art creating strong outrage when debuting in Paris. Coletrane and Dolphy earned derision, and Stravinsky's Rites of Spring generated general unrest. The screening of L'Age D'Or engendered direct assaults on the theatre and even rioting on the street.

Bunuel was a self-cenfessed atheist (though much of his body of work examined the spiritual) and there are many images in this film that mock church heiarchy. However, these blows seem more a humorous critique of the authority of beauracracy, that match well a total effort to turn the constraints of societal norms on its ear.

It's doubtful that some 70 years after the fact that viewing this movies will induce riotous outrage. But the dreamy, surprizing images continue to amuse and stimulate an out-of-the-box viewpoint. Not as jarring as the Andelusian Dog, it is perhaps the stronger of the two and absolutely requisite viewing for Bunuel afficianados.

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Although L'Age D'Or is around three times as long as Bunuel and Dali's earlier film, Un Chien Andalou, I find this almost three times as entertaining as well. That's not to say Un Chien Andalou is boring either, L'Age D'Or is simply a brilliant work of cinematic surrealism. It wasn't nearly as provocative as I expected, except for a few scenes, but that isn't necessarily a bad thing. A must-see for those interested in surrealism and classic or cult cinema.

As for the actual dvd...I paid $25 for it, and although it was worth it, I feel Kino could have provided better packaging at the very least. Worth it either way, though.

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Kramer vs. Kramer (1979)

1979's Kramer vs. Kramer mirrored a trend that was becoming more and more prevalent in America in the 1970's, the breakup of marriages. Dustin Hoffman & Meryl Streep star as Ted & Joanna Kramer. Ted is the prototypical yuppie. His job in an advertising company is really accelerating and it is taking up most of his time from his family that also includes eight-year old Billy (Justin Henry). Ted is so involved in his career, he knows little of the day-to day routine of his own household. One day, Ted's world is shattered when Joanna leaves him and Billy in order to find herself. Ted must learn how to raise his son, juggle his work and home life and go through a divorce trial. The film is both poignant and touching as Ted & Billy bond and form a loving relationship. Mr. Hoffman is excellent as is Ms. Streep and Jane Alexander gives a strong turn as the Kramer's woman's libber neighbor who Ted feels egged Joanna on and caused the breakup of his marriage. But the true find is young Justin Henry. He gives one of the finest performances by a preteen in movie history. The film was much lauded and praised and come Oscar time, Mr. Hoffman finally took home the Best Actor award after several failed nominations. Ms. Streep won Best Supporting Actress, director Robert Benton took home the Best Director award and the film won Best Picture.

"Kramer vs. Kramer" was released in theaters back in 1979 and is about the Kramer family. The film starts off with Joanna Kramer (Meryl Streep) with her 7-year-old son Billy (Justin Henry) and watching him go to sleep at night. Ted Kramer is a busy advertising designer who works his tail off to provide for his family and is eventually recognized by the advertising firm he works for and selecting him to take on a major account.

Excited about the new developments for his work, you realize that Ted is a workaholic and dedicated to his job. Once he gets home, Joanna tells him that she is leaving him and Billy. She doesn't where she's going but she's leaving and not coming back. She also tells him that she doesn't love him anymore.

Ted doesn't understand what is going on. He just got this major account, an account that could bring more income to the family but now he's faced with a wife that left him and now having to raise his son by himself.

We watch the transformation of Ted Kramer within a 18-month period, as he struggles and becomes a good father for his son while trying to maintain his job.

Then out of nowhere, 18-months later, his ex-wife Joanna returns. After leaving Ted and Billy, Joanna has sorted her life and got herself a new job. But most of all, she wants custody of Billy.

This sets up a legal battle between both Kramers for custody of Billy.

"Kramer vs. Kramer" is not only a moving film but it really hits the nail on where cultural society was going during that time. Women wanting a bigger presence in their careers and not wanting to be just housewives and also how divorce can change the family dynamics and how one would face becoming a single parent.

VIDEO & AUDIO:

The film is featured in 1080p High Definition (1:85:1). The Blu-ray transfer is definitely the best transfer of this film as knowing that it was released back in 1979, watching it 30-years later and it's so clear at different parts of the film, that the film doesn't show its age in terms of film quality. Of course, the film shows its age in terms of the clothing used and that phone calls were made via the old rotary phones of that time but picture quality was very good. There were some indoor shots that had a bit more grain but overall, a very good transfer.

As for the audio, audio is featured in TrueHD5.1. The film is primarily a dialogue-based film but I did notice that in some outdoor scenes, you can hear people's discussions in the rear and side channels. Also, when you hear that guitar strumming of the film, the music really comes quite clear and noticeable. Overall, being a dialogue-driven film, audio is clear.

SPECIAL FEATURES:

The Blu-ray comes with one major special feature and that is the documentary "Finding the Truth: The Making of Kramer vs. Kramer". This special feature was on the original 2001 DVD release but for those who have never seen it, then this DVD definitely shows us some really in-depth behind-the-scenes situations. For one, both Robert Benton and Stanley R. Jaffe really wanted Dustin Hoffman for the role.

Hoffman was going through his first divorce and really wasn't sure where his life or his career would be going, not knowing if he wanted to do film anymore. But eventually, Benton and Jaffe wanted Hoffman that they moved to the area to be closer to him and work out the script for the film.

As for Meryl Streep, she was shooting "Manhattan" for Woody Allen and doing theater but as any actress starting out, she wanted the role badly and hoped that Benton and Jaffe would allow her the time to shoot both films which they did.

As for Justin Henry, the casting of his role was so crucial that his mannerisms captured both Hoffman, Benton and the crew's attention. The child was essentially born to play that role.

But what is more enjoyable was to know how certain scenes were improvised. From the broken glass scene, Meryl Streep and the director didn't know that was going to happen, so that was a genuine reaction. Also, to see how Hoffman would help Justin achieve his emotional scenes especially in the hospital scene was definitely insightful.

But overall, you learn a lot of interesting facts from the film and it was good to see the all the major talent interviewed for this segment.

JUDGMENT CALL:

The film is ultimately moving and your easily drawn into the story and its characters.

"Kramer vs. Kramer" is a film that definitely made an impact on society at that time because cultural society of "motherhood" and "fatherhood" was changing. The focus on two parents working, the woman becoming more independent and not being forced to stay at home to take care of children and eventually the film would be used and brought up for several court cases that involved custody battles.

Granted, divorces are much, much more common place but 30-years ago, "Kramer vs. Kramer" was released during a time where "Brady Bunch" just ended several years earlier and TV sitcoms focused so much on the family dynamic, father was making the money and the women were essentially housewives. "Kramer vs. Kramer" was a film about a man who was the moneymaker in a top job now having to face becoming a single father while his ex-wife, unhappy of having to be forced to be a stay-at-home wife, now searching for her life and essentially getting a job (that pays more than what Ted is making).

Suffice to say, this film worked on many levels because of the talents were wellcast. Dustin Hoffman is an excellent actor and his use of improvisational and trying to make sure the scenes work was well done. Justin Henry as Billy was one of the best examples of excellent child acting and seeing a kid through a variety of emotions happiness, sadness and excruciating pain. And of course, Meryl Streep, with only 15-minutes of screen time, manages to really bring out the character of Joanna in a variety of levels. Also, Jane Alexander as the family friend Margaret, who definitely brought a contrast towards Ted Kramer's situation of a wife who's husband has left her with the kids.

The storyline was well-written and until I saw the featurette on Blu-ray, I never realized how certain pivotal scenes were improvised and Dustin Hoffman really made sure he could bring out the best in both Meryl Streep and Justin Henry. But also to find out that during the filming of "Kramer vs. Kramer", Dustin Hoffman was essentially playing himself because during that same time, he was going through his first divorce and was emotionally distraught of the situations in his personal life at that time.

"Kramer vs. Kramer" looks and sounds great on Blu-ray. Granted, times have changed considerably within the last 30 years but knowing how much this film impacted pop culture at that time and just knowing how things were behind-the-scenes in the making of the film, "Kramer vs. Kramer" never looked more beautiful as it does with this release.

A classic film worth owning on Blu-ray!

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A career-driven man, insensitive to his wife and son's needs, is suddenly immersed in parenting when his wife (Meryl Streep) leaves him and their son to find herself. Throughout the film, as Ted adjusts to the demands of parenting, his career suffers, but his relationship with his young son grows. Over a year later, when his wife returns and tries to regain custody of the boy, Ted fights to retain custody.

The movie presents a well-done portrait of a family the conflicting demands of a relationship, parenting and personal growth. It also tells the touching story of a father and son, and the sacrifices the father is willing to make in the name of love. A classic as powerful today as 25 years ago.

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This is a very good movie with three extraordinary leading performances. Much has been said about the work of Dustin Hoffman, Meryl Streep, and Justin Henry (who plays their son) in this film. 23 years later, these peformances remain great. Everyone knows what powerful actors Hoffman and Streep are at their best. So what really stood out to me was Justin Henry. He is absolutely natural; not a "phony" moment in his performance.

I do wonder if the film would've been even better if Streep's character had been fleshed out a bit more. It's extremely hard to relate to her. We don't see anything particularly bad or intolerable in Hoffman's character, so her abandoning of their son seems unconscionable. She had to go "find herself?" I had no sympathy for her, simply because it seemed she walked away from a loving and devoted husband. I understand he was very busy with work, but he was putting food on their table. When raising kids, sacrifices must be made. Hoffman's character sacrificed most of his leisure time in order to work hard. Based on what we see in the film, Streep's character didn't want to make those kinds of sacrifices.

Anyway, if a movie can spark conversations, or even debates, it must've done something right. The DVD features an insightful 50 minute documentary, loaded with interviews of all the principal participants in this well-made movie.

Want Kramer vs. Kramer (1979) Discount?

Definitely a period piece, it is worth a revisit 31 years later for several reasons. First, it gave Meryl Streep her first Oscar (as a "Supporting" Actress, so don't expect to see a lot of her). Second, it's an interesting look at what socially was probably ground-breaking gender-bending in 1979: the question of whether the best "mom" for a child caught in divorce could be the dad. And third, the young son caught between his parents is simply adorable!

What I like about this film is its realism. Neither parent is portrayed as the bad person, and the emotional development of each character is believable. The acting is superb, and the film is well written, directed, produced, and cast.

On the negative side, it is an emotionally heavy film, as, like in reality, the child is in such innocent pain. Also, by today's film standards, even though it lasts only 105 minutes, it is a little slow at times.

Adult themes, sexual situations, language.

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Toy Story 3 - Movie Only Blu-Ray (2008)

My review is brief as others have almost said it all. I just want to say that I am 62 years old, and just the thought about the way I felt when I saw this movie in the theatre makes me tear up. It is a nostalgic feeling in a big way. Reminds you of your childhood and those special feelings about growing up. You want to grow up and get on to being an adult in the worst way, but thinking back now your childhood was such a very special time. So fleeting and if we're lucky, such a special time in our lives.

I highly recommend the purchase of this movie to add to your collection.

I honestly feel that the series should stop here. Perfect right where it was left.

I went to the San Francisco Film Festival screening at Pixar Studios last night not really knowing what to expect. Toy Story has been with us for 15 years now (20, in terms of actual development) and I had a sinking feeling that maybe all the character potential had been used in the first two and this was some shameless plot by Disney to exploit the franchise ("Little Mermaid 3", anyone?). Well, shame on me for underestimating the capabilities of Pixar, who once again have shown how a small studio in Emeryville is a storytelling powerhouse that leaves the rest of the industry in the dust.

Toy Story 3 is the tale of Andy, the toys' owner, going to college and their quest to determine their future headed between the attic or a daycare center. If you've enjoyed the way the first two films blend character drama with innovative action and humor, this cocktail hits its stride in the third film, which draws on everything we already know about the characters and then adds two new entire sets of toys to the plot. There's a new villain, two very amusing romance sub-plots and a litany of visual gags that push the envelope even further. I'm not allowed to go into any details but the second half of the film is a familiar set piece performed in a completely new way that will forever change your view of certain toys and day care centers.

Apart from a level of animation that sets the bar in the industry and an attention to detail that makes you wonder what most "real" films actually do in pre-production, the real genius of the third film is to provide a satisfying conclusion that gives every character a completed character arc. About 20 minutes before the end, I was wondering how they would do this since there were some fairly dark moments (similar to those in Wall-E and Up), but naturally they manage to pull it together. There's literally not a single wasted shot, let alone a wasted scene, and the pace quickens throughout to keep the tension mounting.

Overall, this is another Pixar classic that easily has enough for both kids and adults (and movie aficionados). It's not difficult to see why each of their movies takes five years to complete yet despite the technical wizardry, the success of their movies is fundamentally routed in their stories, a fact which most other studios seem to forget these days. As to whether the stage is set for Toy Story 4, I suppose they could always pull it off given the creativity at work here, but I think there was a deliberate attempt to make this the last in the series.

Buy Toy Story 3 - Movie Only Blu-Ray (2008) Now

"Toy Story" was about sibling rivalry. "Toy Story 2" was about loving others, even if it means you might get hurt someday.

So what is "Toy Story 3" about? It takes the whole "kids + loyal toys" theme to its natural conclusion, by showing us what happens when the kids grow up and leave. While the first two-thirds of the movie are fairly pedestrian (for a Pixar movie!), the last part is both action-packed and emotionally wrenching.

Ten years have passed, and Andy is now a college-bound teenager. His toys are anxious about what's going to happen, so Woody keeps assuring them that they'll be put safely in the attic. But a misunderstanding leads to a date with the garbage truck. Since the toys believe they have been abandoned, they jump into the box of donated toys bound for Sunnyside Daycare.

They're greeted by the genial Lots-o'-Hugging Bear (aka Lotso) and the friendly daycare toys, and all seems to be well. But Andy's toys soon discover that Sunnyside is a nighmare -they've been assigned the "Caterpillar Room" for wild abusive toddlers, and Lotso is the Godfatheresque overlord of the daycare. Once Woody learns the true horrors of Sunnyside, he must infiltrate the daycare and somehow get his friends out.

You know that the movie industry is officially in a slump when the cleverest, funniest and most touching movie of the summer... is a CGI sequel about toys. "Toy Story 3" starts off rather lightweight at first, with the toys being brought into Sunnyside and Woody setting off in another direction.

But once Lotso is revealed as the villain, the movie takes a sharp turn -it becomes a clever, complex "Great Escape"-style caper, with some moments of G-rated horror (THE MONKEY!) and hilarity (resetting Buzz ends up turning him into a flamenco-dancing suave Spaniard). And while the toys' attempted escape from Sunnyside is taut and genuinely thrilling, it's only the START of the climax -a harrowing, genuinely scary chase scene that brings the toys together.

And there's a bittersweet core to "Toy Story 3": kids grow up, leave home and the people/toys they leave behind are both proud and sad. In the final scenes of the movie,we're quietly ushered through the emotional goodbyes and hellos of growing up.

And the adorable little cast of toys still remind us that what matters most is love and loyalty, particularly during a deadly crisis where they all fearfully join hands (it sounds sappy, but it isn't). There's also some endearing additions to the cast -the foppish clotheshorse Ken, Big Baby, a Totoro, a giggly tricerotops, and the Shakespearean stuffed hedgehog Mr. Pricklepants.

Anyway, this blu-ray/DVD combo has a wealth of extras -trailers teasers, theatrical shorts (oh look, Night and Day are scuffling!), "Cine-emplore," commentary, lots of making-ofs, behind the scenes stuff like "A Toy's Eye View: Creating A Whole New Land," a music video, and just lots of endearing odds and ends like Ken's dating tips. Er...

It hurts to say goodbye to Woody, Buzz and their friends, but "Toy Story 3" is a fitting farewell that brings the trilogy full circle. Best movie of the summer, hands down.

Read Best Reviews of Toy Story 3 - Movie Only Blu-Ray (2008) Here

My ratings are based mainly on the QUALITY OF THE 3D, not the video content.

Not counting shallow effects, there are about 16 out of screen effects that extend 10% of the way, from the screen to the viewer, 1 effect at 15% and a few blurry rain drops at 20%.

The quality of the in screen 3D is good to very good but...

PIXAR DOES NOT WANT (or try to create) OOS EFFECTS.

Children may enjoy Pixar's in-screen 3D films, but if Pixar wants to ignore half of the 3D technology, they should only charge half as much.

*** Disappointing OOS 3D ***

MY 3D RATING = GOOD (poor, fair, good, very good, excellent)

Note: As far as the percentages go, everyone's eyes are different. What I see at 25% you may see at 15% or 35%. To fully realize how far something is out of the screen for you, pause on an effect and direct a partner with an extended finger to the tip of what you are seeing. You may be surprised.

Click on `' for the lowdown on other 3Ds

Want Toy Story 3 - Movie Only Blu-Ray (2008) Discount?

What amazes me is that PIXAR continues to keep the story, characters, and action fresh in a third installment of the story line.

How many sequels come close to the original? How many "part 3's" come close? Very few.

But this is great and my kids and I enjoyed it every bit as much as the first two. if you have children then this is a MUST buy. (assuming you've seen the first two).

The Dark Knight Trilogy (Batman Begins / The Dark Knight / The Dark Knight Rises) (2012)

Disregard all the naysayers claiming this is a money grab. No, it's called having a choice. Not everyone wants the Super Duper Ultra Rare Limited Collector's Edition, that's often filled with a bunch of useless physical items. Some people just want to have the trilogy and nothing more. For $30 (currently), you get just that, and even a little bit more.

You get the following in the Blu-ray edition:

Disc 1: Batman Begins Feature Film

Disc 2: The Dark Knight Feature Film

Disc 3: The Dark Knight Special Features

Disc 4: The Dark Knight Rises Feature Film

Disc 5: The Dark Knight Rises Special Features

PLUS you get a 64 Page excerpted (i.e. shortened) version of the wonderful book: "The Art and Making of The Dark Knight Trilogy"

That is tremendous bang for your buck! Not only with the movies, but there are hours and hours of special features included too, including a documentary about the Batmobile. The Ultimate Collector's Edition, which won't be released for another year will no doubt cost at least twice as much. The only thing I have a problem with here is the cover art. It just doesn't look anything like Nolan's Batman.

The DVD version of the Trilogy is a 3-disc set and lacks many of the extras found in the Blu-ray set, but it does look nicer. It has a lenticular cover featuring the Batman sign from all 3 movies. It looks really cool compared to the cover used for the Blu-ray edition.

All in all, this is a wonderful set to get if you don't own any of the movies yet. Heck, even if you do, it's still a great value if you just want The Dark Knight Rises. Consider TDKR sells for around $20-25, for just a few bucks more you get the 2 preceding films, and a book. You really can't go wrong here!

Here is a list of the Special Features that included. The list may not be all-inclusive. The set has no exclusive features, but rather, the same ones that come with the individual releases

BATMAN BEGINS SPECIAL FEATURES

■ In-Movie Experience: Christopher Nolan, David S. Goyer, and others reveal the movie's backstory as you watch

■ The Dark Knight IMAX Prologue (in high definition)

■ Tankman Begins: A Batman Begins spoof

■ Batman: The Journey Begins: Concept, design, and development of the film as well as the casting of Batman himself

■ Shaping Mind and Body: Observe Christian Bale's transformation into Batman

■ Gotham City Rises: Witness the creation of Gotham City the Batcave, Wayne Manor, and more

■ Cape and Cowl: The development of the new Batsuit

■ Batman: The Tumbler: The reinvention of the Batmobile

■ Path to Discovery: A look at the first week filming on rugged and remote Iceland locations

■ Saving Gotham City: The development of miniatures, CGI, and effects for the Monorail chase scene

■ Genesis of the Bat: A look at the Dark Knight's incarnation and influences on the film

■ Reflections on Writing Batman Begins: with David S. Goyer

■ Digital Batman: The effects you might have missed

■ Batman Begins Stunts: Confidential Files: Discover facts and story points not in the film

■ Stills gallery

■ Theatrical trailer

THE DARK KNIGHT SPECIAL FEATURES

■ Movie with Focus Points (picture in picture)

■ Explore your favorite movies through BD-Live(tm), an interactive gateway to exclusive content-

■ Gotham Uncovered: Creation of a Scene: Director Christopher Nolan and creative collaborators unmask the incredible detail and planning behind the film, including stunt staging, filming in IMAX®, and the new Bat-suit and Bat-pod

■ Batman Tech: The incredible gadgets and tools (in high-def)

■ Batman Unmasked: The Psychology of The Dark Knight: Delve into the psyche of Bruce Wayne and the world of Batman through real-world psychotherapy (in high-def)-

■ Gotham Tonight: 6 episodes of Gotham Cable's premier news program

■ The Galleries: The Joker cards, concept art, poster art, production stills, trailers and TV spots

THE DARK KNIGHT RISES SPECIAL FEATURES

■ THE BATMOBILE" DOCUMENTARY: Witness all five Batmobiles together for the first time in history. Dive deep into every aspect of the most awe-inspiring weapon in Batman's arsenal as you journey through the birth and evolution of this technological marvel and cultural icon. (01:00)

■ ENDING THE KNIGHT: A comprehensive look into how Director Christopher Nolan and his production team made "The Dark Knight Rises" the epic conclusion to the Dark Knight legend.

The Prologue: High-Altitude Hijacking

Return to the Batcave

Beneath Gotham

The Bat

Batman vs Bane

Armory Accepted

Gameday Destruction

Demolishing a City Street

The Pit

The Chant

The War on Wall Street

Race to the Reactor

The Journey of Bruce Wayne

Gotham's Reckoning

A Girls Gotta Eat

Shadows & Light in Large Format

The End of A Legend

■ Trailers

■ Art Galleries

Just got mine in the mail. It does indeed come with UltraViolet copies of all 3 movies!

It also comes with:

A 64 page excerpt from "The Art and Making of The Dark Knight Trilogy."

Batman Begins: 1 disc (Movie and special features together)

The Dark Knight: 2 discs (Movie and special features are separate)

The Dark Knight Rises: 2 discs (Movie and special features are separate)

And a code for discounted memorabilia. I will be posting some pictures soon.

Hope this helps!

Buy The Dark Knight Trilogy (Batman Begins / The Dark Knight / The Dark Knight Rises) (2012) Now

The boxset has finally been released; all three installments of Nolan's realistic and cinematic take on Batman dispersed on five discs. While people tend to focus on the acute realism, it is not so grounded that it defies the source in which it came from. The three films circle around different Batman comic arcs in unique ways. This boxset includes:

Batman Begins (2005)

The Dark Knight (2008)

The Dark Knight Rises (2012)

A 64 page book detailing behind the scenes with the inside look many of us have been yearning for, which makes for an entertaining read. Those hours of extra content on the discs are just not always as accessible as a quick read available right away at your fingertip. All three films come in great, the picture truly is wonderful as it actually is filmed on, well film. 70 mm cameras come in handy when heightened realism is at foot, which illustrates a distinct contrast to the digital jitter of today's 'films'. The explosive scenes and death defying stunts go beyond the mystery of cape and cowl, the bonus content reveals the meticulous care for quality and picture quality.

Batman Begins is self-explanatory, Bruce Wayne finds himself with guilt, anger, and more importantly fear. He must confront his inner demons to establish truthful vengeance. Begins was foreshadowed by its 2008 sequel The Dark Knight, which displayed Heath Ledger's acting prowess as the chaotic Joker.

Batman's dilemmas were always skin deep, literally as Bruce Wayne juggles his persona's before the Jokers attempt to disrupt society. The Dark Knight gravitated audiences eyes on the villain whose intensity was so hot make up would smear and further taint that gruesome near necrotic scar cheek to cheek. It was as though Bruce's conflict were buried in favor of the Joker's antagonizing run through Gotham City. It is not to be overlooked though, the Joker tempts Batman's vary nature. The Dark Knight is often considered top dog of the three, pitting Begins and Rises for the second position.

In all honesty I thought The Dark Knight Rises was just as engaging, just not in equal amounts. Rises, frame for frame is every bit as good as The Dark Knight. Ounce for ounce it becomes a bit more on the rare side when it comes to Batman, who has disappeared after the events of The Dark Knight. Likened to that of a hermit Bruce once again must learn what it means to be Batman, and not just a man in a mask.

I wrote up an in-depth review for The Dark Knight Rises the other evening, which can be found under the normal release of the film, if anyone is interested. The `Ultraviolet' digital stream is available until December 2014, the other slip insert I still have yet to read. The box itself is quite nice for the price. Best obtain now, three great films with a book and a digital `copy' for a little over the price of the average movie release is quite the deal.

I had to shrink the video, literally compressing it to a file size that would upload. I apologize about the video size, and the noise. Lastly, this trilogy is a great buy, the price is just a bonus.

Read Best Reviews of The Dark Knight Trilogy (Batman Begins / The Dark Knight / The Dark Knight Rises) (2012) Here

Great set. Comes with all movies including the ultraviolet copies of each movie. For $30 bucks, the value of everything you get cannot be beat.

Want The Dark Knight Trilogy (Batman Begins / The Dark Knight / The Dark Knight Rises) (2012) Discount?

I'd rather pre-order this and save money. I don't really care about special features and extra items too much, the point is to have the film itself. Those who say it's quick money grab, it's his/her choice. It's going to be more expensive in the future. Besides, Not everyone uses the extra content that comes with their special/collectors edition. It's useless to me. I am sticking with this one.

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Star Wars: The Prequel Trilogy (Episode I: The Phantom Menace / Episode II: Attack of the Clones /

Star Wars: The Complete Saga (Episodes I-VI) [Blu-ray]

I'm a first-generation Star Wars fan since 1977, having seen the original versions of the original three films in the theater one time each as a child, then falling in love with them all over again on VHS in 1987. And I've been a huge fan ever since. The Star Wars Saga is the ultimate epic space opera and film series.

This isn't actually a review of the movies most of you reading this will have seen one or more versions of dozens of times, although this review will discuss some of the changes made to the films.

I actually own the six-film Star Wars Saga blu-ray set linked above, and I reviewed that. The movie discs in this product are 3 of the same discs from the larger Saga set, so I thought I would edit that review down to only discuss the prequel trilogy discs themselves and post it here. This is meant to be an overview with personal observations and select commentary thrown in.

DISC PHYSICAL QUALITIES

The discs themselves are heavy-duty, yet smooth and well-coated with scratch resistance the best available in retail products I've seen. The discs themselves do not have any images they are light grey with blue trimmings. The discs have the previously used logos of STAR WARS with the episode subtitle underneath, both on top of the episode number in the form of a large Roman numeral.

THE FILM DISCS

This is as good a place as any to mention that there are two audio commentary tracks for each of the films of blu-ray. There are the same ones from the previous DVD versions of these films, and then new commentaries compiled from "archival interviews with cast and crew". I don't enjoy listening to commentaries while watching adventure films, but I will force myself to listen to the new tracks once (as I did for the original DVD commentaries).

As I have only had one frame of reference for viewing the blu-ray films, I thought I should first specify what that is, in case my experiences are in any way relative to my equipment and viewing conditions. This may mean more to you than it does to me. My blu-ray player is a Sony BDP-S350. My HD TV is a Sony Bravia KDL-40V4100, a flat-screen LCD with a diagonal of a little over a meter. My blu-ray player and TV are both almost 3 years old. My line of vision is exactly 90° to the plane of the TV screen, and my eyes and ears are at a height equal to about 1/3 up from the bottom edge of the screen. I'm sitting such that the distance of my head to the TV screen is a little more than the width of the Death Star's thermal exhaust port.

The Films on Blu-ray

All three films sound and look awesome in HD! Even Revenge of the Sith, which had the least room for improvement, is substantially better. All three films sound and look awesome in HD! I fully appreciate all the effort that had to go into improving the resolution of over 6 hours of high-quality sci-fi entertainment, frame-by-frame. Coruscant from space is breathtakingly gorgeous!

There is one significant exception in the HD upgrade. A very logical and fitting artistic choice was made in the rendering of the holograms of characters. Throughout the all six movies, it looks like the holograms were not upgraded to HD, now looking somewhat pixilated compared to the surrounding "reality" they are projected into. This of course is easily explained in-universe as they are just not high-resolution transmissions, and I feel this actually works to improve the illusion of the entire scene seeming real. The holograms are now an intentional vestige of the analogue age, left behind to honor the origin and evolution of the Star Wars films themselves which began as motion picture projections but have now become the ultra-realistic-looking digital media. A very nice touch. And the hologram effects also seems more unified between the two trilogies now.)

A significant improvement that the HD upgrade also provides is a solution to a common criticism I have ran into since 1999. Over the years I have heard many Star Wars fans express that the addition of GC characters and objects into the films seems unrealistic, in not only the updated versions of the classic trilogy but even the prequels. Ironically, these fans seem to have no trouble accepting the un-reality of rubber muppet characters, but CG is somehow unacceptable in their vision of the Star Wars universe. Well, now muppets, rubber masks, human actors and CG characters can all exist in visual harmony together, thanks to the wonders of HD. The increase in resolution seems to have unified the apparent realities of them all. Now the real-world elements of the scenes have been "raised" to the same level of visual reality of the CG elements, resulting in the CG elements seeming to much more naturally blend in with their surroundings. This adds in a whole new level of visual realism to the films, perhaps being the greatest achievement of these new blu-ray versions of the films.

Now I'll go into more detail about some of the blu-ray enhancements and changes specific to each film.

Episode I: The Phantom Menace

The effect for the Jedi Knights speeding away from the droidekas on the Trade Federation ship has been improved. The original effects error of the two-headed pod race announcer's hand passing through his vest was fixed.

The big change that even the die hard purists don't seem to mind so much is the complete and utter removal of that awful imitation Yoda muppet. The TPM muppet bore a vague resemblance to the original muppet from the sequels, but I thought that the TMP muppet could at most pass for Yoda's crazy spice-addicted brother. I know some fans that feel the CG Yoda model from AotC and RotS was not as good as the original muppet, but even they would agree that the prequel CG model looks a lot more like the original muppet than the TMP muppet did. And in blu-ray the CG Yoda in all 3 prequels looks more realistic now, so I'm very happy with this change.

Episodes II: Attack of the Clones & Episodes II: Revenge of the Sith

These mostly only had minute editorial tweaks like the exact transition between scenes, moving a couple reaction shots and dialogue lines to a slightly different part of a scene. The only really somewhat significant change is adding a line of dialogue in AotC where Anakin is having a nightmare about his mother while staying on Naboo. Shmi Skywalker's voice is now heard pleading for Anakin's help with the echo effect (signifying it is a thought or dream in Anakin's mind). It does accomplish the addition of a little more urgency to the drama of the film.

FINAL WORDS

You may not agree with all the opinions I expressed here, but if you are reading this then you must be a Star Wars fan of some kind on some level. If so, then do yourself a favor and watch all six films on blu-ray at least once, even if you have no intention of ever owning them. You'll see much more than I could possibly ever hope to describe in words. And if you wish to criticize the blu-ray versions after viewing them, at least you'll then have an educated opinion for doing so.

In my first viewing of Star Wars: The Complete Saga, the rich Star Wars multiverse has deepened in a way I couldn't have even imagined before seeing the films on blu-ray. While still not perfect, my favorite films have just gotten an incredible amount better. As impossible as it previously seemed, I'm somehow now even more of a Star Wars fan than I was before. But this blu-ray release has also reminded me that EVERY version of any Star Wars film is awesome!

If you have any questions, please feel free the ask. If you have also seen the blu-rays and want to comment on them with respect to my review, please also feel free. May the Force be with you.

I am baffled by some of these reviewers who are climbing a soapbox about the industry and Lucas. For those of us who are patient, a box set with cost saving and a SPECIAL BONUS!! Slim cases so shelf space is minimized!

EXCELLENT!!

About a rush to market, snatching up media related to STAR WARS as soon as it hits the shelf. If you don't like the movies themselves or the packaging or the recording quality that is one thing. Whining about your own gullibility is quite another. Let me clue you in. If Lucas makes or includes special features, enhancements and the like ... he will not fail to promote that. Investigate the product before you buy. And to those of you who didn't even buy any products but are just looking for places to gripe, this is not the appropriate place.

This is the excellent product that I anticipated to the point of not buying any of the movies when they first released to video. It is as much as it promises to be. (I expect the same to be true of the other volume containing ep. 4-6.) If you like space saving box set bundles without a lot of extra bells and whistles, this is for you.

These sci-fi movie fantasy adventures, though a bit juvenile in their scripts and exhibitions, have become family classic adventure movies that inspire the imagination and adequately entertain a growing audience. A series of perennial favorites well on there way to becoming "timeless" classics.

Buy Star Wars: The Prequel Trilogy (Episode I: The Phantom Menace / Episode II: Attack of the Clones / Now

A good opportunity to get all three films at slightly less than buying them separately. There's nothing new here, so it's only good for those who don't own any of the three films already.

Read Best Reviews of Star Wars: The Prequel Trilogy (Episode I: The Phantom Menace / Episode II: Attack of the Clones / Here

For all the flaws that the Prequels may have, they're still highly enjoyable films, with just as many memorable scenes and quotes as the Original Trilogy. I think it's great that they're keeping the movies out there for any new generation to purchase (not that DVDs are that hard to come by of course), and really it's nice to have a convenient box set. So it's a good deal, if, you don't have the movies already. Otherwise, it's just another stepping stone in the journey towards the much wanted "Ultimate" box set with all six films. We can only hope!

Want Star Wars: The Prequel Trilogy (Episode I: The Phantom Menace / Episode II: Attack of the Clones / Discount?

I really just want to take a few paragraphs to let you know what this product is.

Basically, each of these movies got a 2-disc release when they were released on DVD. This box set has taken those 2-disc sets, and packaged them into a smaller case so in order to minimize shelf space. The "Original Trilogy" (Episodes 4-6) slimset is a debatable purchase, because it doesn't include the bonus disc that came with an earlier deluxe set. But this "Prequel Trilogy" is a better deal if you're planning to buy these movies.

As for the extras:

* I love "The Phantom Menace" content, especially the 90-minute making-of documentary that shows everything from cast readings to sandstorm carnage to special effects meetings to George Lucas quietly beginning his "Episode II" writing. And say what you will about the quality of the movie, but Fox and LucasFilm did an excellent job of advertising this movie. Even its promotional extras are worth watching.

* "Attack of the Clones" is another solid batch of extras. They mostly focus on the special effects, but there are some good interviews and behind-the-scenes stuff with the cast. Another all-around strong package.

* I'm slightly disappointed with the "Revenge of the Sith" extras. The main documentary is producer Rick McCallum going through the different departments of the cast & crew. He even talks about the caterers! Now, this is a fascinating way to explore the making of a movie, but the problem is most of the content (especially the special effects clips) focuses on the Mustafar sequences. I would've loved to see more on the opening space battle, not to mention Kyshhykk (sp?) or General Grievious. The bonus disc is good enough, but a huge stepdown from the other two prequels' material.

So, if you want to buy the "Prequel Trilogy", this is the way to go. Sure, you can probably find some cheaper copies of the original releases, but why bother?

Oh by the way, "YES! I LIKE THE PREQUEL TRILOGY. I PREFER EPISODES 4-6, BUT 1-3 WERE QUITE ENTERTAINING FOR ME.

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Woochi the Demon Slayer

I bought this based on a trailer I viewed on another Cine-Asia production I purchased: Detective Dee & The Mystery of the Phantom Flame [Blu-ray]. This movie comes out of Korea, whereas "Dee" is a Hong Kong film (I rated "Dee" at 5 stars). "Woochi" also goes under a couple of alternate titles including Jeon Woo Chi (The Tao Fighter) and Jeon Woo Chi (Taoist Wizard).

Though listed as playable in region B/2 (Europe, Greenland, French territories, Middle East, Africa, Australia and New Zealand) when I bought it, this is another Cine-Asia production that appears to be region free (i.e., I can play it on my US of A cheapo Magnavox blu-ray player). However, just like the Detective Dee film, trying to play most of the extras, such as "deleted scenes," resulted in the same frantic "Not Support!!!" message. This is likely because most of the special features are in the PAL format which my poor console apparently can't handle. Again, the movie itself plays fine.

I play this on a 40 inch HD TV via HDMI hookup, and the quality appears to be as good as blu-ray cuts usually are, but not exceptionally so. This version (Cine-Asia blu-ray) is in Korean audio with English subtitles. It's a bit long at 136 minutes, but since I don't see a lot of Korean films, the costumes and settings are interesting enough so that when things are a bit slow I just enjoy looking at the differences. A good editor could probably tighten this up a bit, but you might lose some of the dense plot and make it even more confusing. In any case, it's the action and special effects sequences that make this a fun film to watch. Without giving much away, I particularly liked the creative use of paper as a magical element.

The modern day sequences in the movie reminded me, in a good way, quite a bit of Big Trouble in Little China. You have a humorously portrayed protagonist fighting ancient supernatural creatures in the streets of a modern city. I think they're both films in the same spirit of rollicking good fun not requiring a lot of intellectual analysis to enjoy. This movie goes on our Saturday night get-together with friends for watching a movie while eating pizza.

Oh. The giant goblin ninja bunny really rocks. Bunnies! If there were more, or longer, scenes with the giant goblin ninja bunny, I might have bumped this up to five stars even with all of the other issues.

Long ago there were demons locked in the heavens guarded by a person playing a magic flute. The demons escaped and came to earth in human form, the flute likewise came to earth. The demons are in human form looking for the flute. Meanwhile there are two rival Tao groups after the flute wanting to contain the demons.

The story becomes complex. One "self taught" Tao Master in Jeon Woo-chi (Dong-won Kang) who likes to play tricks and seeks fame against the basic Tao code. There is also a woman who doesn't like needle work, and a man who acts as Woo-Chi's horse, but is really a dog. There are three Shinsuns who work for the opposing Tao master. Oh yeah, there is a bronze sword too.

The film contains magic and illusion. It freely mixes the two. It takes place 500 years in the past and the present. It has magician battles, gravity defying moves, CG monster effects, and some humor. The modern Woo-Chi assumes the clothes of the "King of Pop."

The English translation sounded like a bad spaghetti western. The deleted scenes are in Korean with subtitles available. Like many eastern films, it is easy to lose yourself in the characters and story so you must pay attention. This film isn't for everyone.

Parental Guide: No f-bombs, sex, or nudity. soft 4 stars

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This was a great sorcery martial art film. It had some great fight scenes and cool sorcery and some funny humor. Woochi is worth the price.

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First, I bought in BR just because it was 6 USD.

Second, I already had a very strong concept and solid of the art and quality of Korean cinema.

Third, I was expecting something funny and amusing.

The story and plot are more of the same (the battle of the Good versus the Evil) but with different twists and out of clichés characters.

Graphics are cool. Not that state-of-the-art of Hollywood limitless budgets but pretty decent to get excited.

Characters are just magnificent.

The fact the story moves from ancient times to modern back and forth instinctively is a very nice point (like in Highlander).

I highly recommend it.

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But good Japanese kung fu movie better in three d, mostly for anime lovers though if you like anime and watch this movie you'll know what I mean.

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The Sting (Blu-ray + DVD + Digital Copy) (1973)

I just bought this DVD for my father because this movie IS a classic, no matter what anyone says. But, when it came in the mail, I was surprised to see "Full Screen" on the front of the box. So I did what many of you did NOT do (with the exception of reviewer cammonro dated Sept 2, 2003), I went to the Universal web site and emailed their Home Entertainment division.

From Universal Studios Home Entertainment:

'The Sting' is only available on DVD in the 1.33:1 aspect ratio, which in this case displays the same picture information side-to-side as was seen theatrically. Also, more information is shown top-to-bottom than in the theatrical version because of the way the film was originally shot.

One process used in creating movies for theatrical exhibition is to place 'mattes' over the top and bottom of the 35 mm film frame to alter the aspect ratio to 1.85:1 'Widescreen.' To avoid black letterboxing bars on the top and bottom of the picture when it is displayed on standard television, the original mattes are removed in a process known as 'Open Matte.' (This is not to be confused with 'Pan & Scan,' a completely different process of transferring film to Video and DVD.) 'Open Matte' was used with in the production of 'The Sting.'

SO THERE YOU HAVE IT. For all of you complaining about how this DVD is PAN-AND-SCAN, you are WRONG. And for all of you still waiting for WIDESCREEN, you ALREADY HAVE IT with this DVD if you understand what Universal is saying above; you are actually seeing MORE than what you'd see in the theater version because of the "Open Matte" process Universal used, NOT pan-and-scan.

If anyone begs to differ with these facts, argue with the source, Universal.

Please stop whining about this DVD's aspect ratio. It's not "full-screen." It's widescreen with the original top and bottom sections restored.

According to film historian David P. Hayes, THE STING was filmed in 4:3 (equivalent to "full-screen") ratio because director George Roy Hill wanted it to look like an old movie. The studio (and/or the exhibitors) apparently had second thoughts about it, though, so theatrically-released prints had the top and bottom sections blocked ("matted") to fit the widescreen format.

What you see on this DVD is not "pan and scan" (with missing left and right content), but the original format with the top and bottom restored.

(...)

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Honestly i've seen better HD DVD's but still this one is remastered like crazy,its a hell of alot clearer than the original dvd release and its amazing to see what they can do with movies such as old as this one. I mean 1973 this movie comes out and after watching the HD DVD you would think it was a new release. All in all to keep this short this is an amazing film and you should pick it up on HD DVD right now!

Read Best Reviews of The Sting (Blu-ray + DVD + Digital Copy) (1973) Here

The most successful "sting" occurs when a victim never realizes that she or he has been "stung." In this Academy Award winning best film, that would be Doyle Lonnegan (Robert Shaw), a mobster/gambler in Chicago in the 1930s who is bilked out of hundreds of thousands of dollars by Henry Gondorff (Paul Newman) and his associates who include Johnny Hooker (Robert Redford). Credit George Roy Hill with brilliant direction of an especially talented cast. The musical score is eminently appropriate, devised by Marvin Hamlisch based on the works of Scott Joplin. A great deal of real or apparent blood is shed as elaborate preparations for the sting are completed. Most of the characters are not who and what they seem. We know what Gondorff and Newman are up to, of course, which adds to the fun. But there is a twist near the end of the film which fooled me. The narrative is seamless. The pace is expeditious but unhurried. In all respects, this is a thoroughly entertaining film but also one which at least suggests some darker regions of human nature. Those who enjoy it may wish to check out The Grifters (1990) which also has a bittersweet flavor at times. For broader humor, I suggest Dirty Rotten Scoundrels (1988).

NOTE: My comments are limited entirely to the film itself. Although the image and sound are clearer than in the VHS format, the supplementary features are unworthy of this Academy Award winning best film.

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The acting is wonderful, the suprises are unpredictable, and overall, this is one of the most original movies I've ever seen in my life. There can be no duplicates. And evey time i watch this movie, some how I notice about five things I've never seen before, like it changes every time. And no, I'm not an old movie collector or total classic lover, actually, I'm only sixteen. But this is easily one of my favorite movies in history. My favorite scene is with the card playing on the train.

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Rosemary's Baby (The Criterion Collection) (1968)

Rosemary's Baby is my favorite horror film of all time. Its got it all: a genius director, marvelous actors, a haunting tale, spooky neighbors, dastardly witches, and, of course, Satan. The film revolves around a young woman named Rosemary Woodhouse. Rosemary and her husband are expecting a child. But Rosemary doesn't look so good. Rosemary is starting to believe that she has been impregnated by evil itself, and everyone she knows might be in on it. As a thriller it works on a level Hitchcock only hinted at. Its a film that surpasses masterpiece and classic, and rests snug atop the terrain of legend.

It was once a venial sin to watch this film, condemned by the Catholic Church and the Legion Of Decency, now you can own it in glorious High-Definition, with a genial satisfaction only Criterion could bestow.

This film only gets creepier and creepier with time. There are several different ways to watch this film. And this film, in turn, tries to tell us many several different things. As film scholar David J. Skal points out in his fantastic book 'The Monster Show':

"Whether Levin's strategy was conscious or not, the plot of Rosemary's Baby was a brilliant metaphorical distillation of the widespread ambivalence and anxiety over sex and reproduction, concerns overshadowed by the garish glare of the swinging sixties. On a simplistic level, both Rosemary and the reader share lingering doubts about the chemical-occult tinkering of their reproductive systems. Rosemary drinks the stinking tannis-root cocktail that her neighbor provides while the reader(likely) swallows the magic candy of birth-control pills. Neither has a deep understanding of the effects of either substance on their bodies and their lives; they rely trustingly on patriarchal authority. Rosemary Woodhouse is led repeatedly to believe she is making her own carefully considered reproductive choices, but the decisions are all being made for her. No matter what assurances are offered, no matter what charms and preparations she uses or ingests, she is not really safe. One of the many indelible images in the film version of Rosemary's Baby is the pregnant but wasted-looking Mia Farrow dashing out against the light into midtown traffic, an apt metaphor for child-bearing under socio-technological seige."

Roman Polanski is my favorite living Director. He is without a doubt the most cathartic of any, living or dead, and damn near the most personal. To think that just one year after making Rosemary's Baby, tragedy would strike his home, wife, and child, is far too horrifying a concept to accept as reality. Polanski fought back with films like Macbeth and Chinatown, both are nothing short of cinematic exorcisms; Polanski fighting off his demons. His films are usually deeply personal, and Rosemary's Baby is no exception.

Another one of my personal heroes had a hand in the creation of Rosemary's Baby.

John Cassavetes gives an outrageously good performance as Rosemary's husband, Guy Woodhouse. The performance Cassavetes lays down gets better and better, and more and more complex the more you watch the film. Mia Farrow is the obvious force to be reckoned with here, but Cassavetes' performance is quickly overshadowing her's for me. Its a performance of subtlety and nuance. Each look, motion, action, pause, and word takes on different meanings after repeated viewings. Sadly, Cassavetes and Polanski hated each other. Polanski has gone on record discrediting Cassavetes' abilities as not only an actor, but as a filmmaker. And Cassavetes can be quoted as saying, "You can't dispute the fact he's an artist, but yet you have to say Rosemary's Baby is not art". The two nearly came to blows, and by the end of production had grown loathsome of each other. But you could've fooled me. It seems as if everyone involved with this film were in tune with each other, in perfect sync.

What Mia Farrow does in this film is indescribable. You'll be hard-pressed to find a more empathetic portrayal of a damsel in distress. I felt all of her fears, and shared more than just basic emotions. Mia Farrow had the ability to communicate feelings effortlessly on film, a very rare and unique gift that Polanski skillfully manipulates and fine-tunes. Not only a great performance but an iconic one. "What have you done to its eyes" will stay with me forever.

It is a truly mystifying picture. Its impossible to not feel Rosemary's paranoia, or even question her sanity, or your logic. Atmospheric and isolated at the same time, this film will play with your sensibilities. If you have not seen it, I highly recommend this one. This is a film that should not be missed by anyone. It is just that good.

And this Blu-Ray Edition is stellar. The picture is very good, and what we've come to expect from Criterion: Quality Above All Else. The colors are very impressive. When compared to the previous DVD release, the picture is a Godsend. The sound is even better. Krzyzstof Komeda's score has never sounded better. Its as if this was my very first time actually hearing it. It was a wonderful experience.

The supplements, in my honest opinion, could have included a little bit more red meat. The disc includes an Interview with Author Ira Levin from 1997, a feature length documentary about the composer of the picture, and the best stuff collected by Criterion: the new interviews with Roman Polanski, Robert Evans, and Mia Farrow herself, I can see myself watching these many times over. But, not to gripe with a next to perfect release of my favorite film, it could have easily included a commentary track. Or the Vintage Behind The Scenes Feature available on the previous DVD release. I guess Criterion just didn't feel like going all out with this one, which is sad for me, I just can't get enough of this one.

Regardless of how I feel about the bonus features, the movie LOOKS and SOUNDS great. Thank you Criterion a million times over! If you're a fan of the film, DO NOT HESITATE. Its worth the upgrade, its worth the cost, and you'll love the product!

Traditionally, this has been my favorite movie and probably holds that position for the longest amount of time. Over the years, other films have come and gone and even some of Polanski's other films have stolen the top spot. I admire his entire body of work, but after viewing the BD version of this film there is no doubt that once again Rosemary's Baby is definitely my favorite Polanski film.

The BD quality of this disc manages to still retain the gritty look of the original film print while delivering a significant improvement from previous DVD transfers. The problem with many BDs these days is that some of the essence is lost. It all looks digital now. Everything is too sharp, too crisp, too "perfect" but with this transfer, you can still see film grain, slight imperfections in sharpness that give a resonating feeling of uneasiness and perhaps a vintage sort of rustic quality. Another great improvement is the richness and depths of the colors and contrast of the film. Some of the "blooming" effects of overexposure are minimized. More details can be picked up. The nuances of the wallpaper, the trinkets in the Castavet's house, the chunks of tanis root. This film is brilliant!

The supplemental documentary offers interviews with Farrow, Polanski, and Evans. This is different from the Paramount DVD, some of the same content is included, some is left out, but there is plenty more that has been added. I have read many books on Polanski, interviews, and different essays on the film and still have been given new insight into the film and what went into it. A very worthwhile supplement, indeed. The other is a bit about long time collaborator who did the score, and yet another with the author of the book Ira Levin.

If you have never seen this film, it is what I would consider a genuine horror movie. It easily trumps anything that has come out in the past decade (or two) and is absolutely the most terrifying film I have seen. This is psychological horror that will leave you most uncomfortable even long after leaving the theater. What you won't find is BOO! (laugh) repeat. The Exorcist and The Omen are other good examples of this "genuine horror" I speak of, but Rosemary's Baby is still absolutely the best of the three.

If you HAVE seen this film before and enjoy it, the upgrade is well worth it.

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No great special effects, no buckets of blood, hell not even jump out of your seat scares, really. So after reading that sentence you might say, "What's the point of watching a horror movie if all that is true?". Oh, dear friend, a horror movie can have so much more then just blood and cheap scares.

Rosemary's Baby is the type of horror that creepys up on you bit by bit, you start to piece everything together, you start to feel, yes really feel for this Rosemary girl, in a horror story no less. You begin ever so slowly to feel very uncomfortable about those people she meets, and you're sure there has to be something wrong with that baby, and you know what it is and you're almost sure how it will end, but you keep rooting for this Rosemary girl.

Rosemary is a new bride and she and her husband are making that first big step that comes with marriage, they buy a house, an apartment actually. In what looks like Dracula's hotel. There she does all the things that a newly wed bride does, at least in the 60's: paint, decorate, contact-paper the kitchen shelves, etc. She doesn't work outside the home, being a wife is her job, and she does it well. Her husband is an actor, with bit parts here and there but nothing steady. She even befriends another woman in her age group that lives there, and she has her nosey neighbors(they actually ask you what you pay for stuff!!). Everything seems fine, and normal, right? Right? So what, you some times hear chanting next door, or that your new friend threw herself from a window, you're out in the real world now and things happen.

I find that this movie is actually about Rosemary's leap into modern day feminism or at least trying to make that leap. She begins the movie in very June Cleaver-mode as I've stated, she even finds herself distanced from her friends, which happens to a lot of women sometimes when they are in a very unhealthy relationship. She even seems to accept all this, up to a point. Imagine that her biggest rebellion is to have a party at her home with, HER friends. By this time so many things have happened that you just want her to get the hell out of Dodge, which she eventually does, but with very 60's antifeminist ramifications, you'll understand when you see it.

And in the end what wins? Rosemary's feminism or society's expectation on what she must do?

And the biggest punch line of all is towards the end, when they say the baby has his "father's" eyes.

Creepy.

Read Best Reviews of Rosemary's Baby (The Criterion Collection) (1968) Here

I am always searching for classic and good horror films, because really actual horror movies don't get to my expectations, as the classic ones did on their time. For me, a good horror movie should keep me watching at it, from the opening credits to the end without any kind of self interruptions, like making a phone call, or something like that. Good horror should give me ,above all, a psychological impact after the movie ends. It is important to recognize first, the differences between classic and modern cinema, to give a reasonable review to Rosemary's Baby. I'am 29 years old, and for me this is a MASTERPIECE.

A MASTERPIECE that new horror filmmakers should learn of it, instead of making CGI Monsters, found footage documentaries, and trying to make people jump with all the technology in sound systems we have these days. It's the new horror style and I respect it, but in my opinion it lacks of the most important thing, the mentioned psychological impact. Rosemary's Baby uses only Mono Sound and a simple soundtrack to create a perfect atmosphere.

The main theme of this movie is the frustration, because everything is going from bad to worse arround Rosemary, and seems it will never stops. That frustration slowly starts becoming in a mix of anxiety and horror. The acting is excellent, despite de accent and expressions used in the 1960's, the body language takes all the credit. This is an extraordinary drama film that involves suspense, mystery and horror.

I'm glad I waited for this blu ray version to watch the movie for the first time, and the movie itself became one of my favorites. The video quality is excellent (1968), the extras are great, the cover art and the packaging tells you that you have a classic in your hands, not a conventional movie in a conventional disc-case. This is the first time I buy a Criterion Collection Blu-Ray and the quality and presentation is Superb.

I Recommend Rosemary's Baby Blu-Ray for first timers, and for fans of the movie I think there's nothing to tell them.

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First of all, the film itself is a classic, and it's far more than just a horror movie. It has always been one of my favorites, and I believe that it has held up well with the passage of time. The cast is consistently excellent, with standout performances by Mia Farrow and Ruth Gordon. Visually, this has always been an interesting film, from the opening sequence with the bird's-eye view of the Dakota apartment building. Costumes and sets show an attention to detail that enhance the story and give an authentic 70's feeling.

The DVD transfer of the movie was acceptable, but not great. This Blu-Ray release offers a major improvement in both video and audio quality. The image has been cleaned up to remove dust, scratches, and other defects. The first part of the film has a rather dreamy, hazy look to it, but even with that, you can clearly see details that were never visible in previous releases.

The audio consists of a very well-balanced, uncompressed mono track, which allows you to hear every sound in this dialogue-driven film.

There's an informative and entertaining feature about the making of the film, including interviews with Polanski, Farrow, and Robert Evans, among others, as well as many photos.

The Blu-Ray also includes an unusually thorough booklet, with several essays and illustrations.

As a long-time fan of this film, I am extremely pleased with the job that Criterion has done with the Blu-Ray release.

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