Fate/Stay Night: Collection 1

Shirou lives alone after his adopted father passed away and left him with a huge house. Shirou has the ability to reconstruct objects with his magic. He stumbles across a classmate and a couple warriors in a battle after school. He soon becomes part of "The Holy Grail War". A battle fought every so often to obtain the Holy Grail. The winner gets to make a wish. He becomes the master of a legendary warrior spirit. Her name is Saber. Togther with their ally Rin and her servant, Archer, they will fight against ruthless enemies for their 1 most precious wish.

This anime is simply amazing. It has action and drama mixed together with mythology and magic. The modern day setting with legendary mythical heroes is really cool. I normally prefer anime dramas (Kanon, Clannad, Air, etc.) over action series, but this anime combines the 2 genres very well. The voice cast, animation, story, and soundtrack are all top notch. It's a very addicting series. There are many great, and memorable characters that keep you interested in the story and wanting to know more about them. There is also a dash of comedy thrown in there to lighten the mood. It's a very well rounded series with a lot to offer. I honestly think that no matter what genre of anime you're into, Fate Stay/Night will make you a happy camper.

I own this on DVD and Blu-ray. I have to say that the Blu-ray upgrade is excellent. It may seem kinda steep for a 13 episode box set, but it's worth it. If you buy the DVD's, you'll end up spending at least the same amount of money. Fate/Stay night is worthy of being called a legend. You don't want to pass this series up. I highly recommend it and I hope you enjoy it!

I have been a fate fan for a few years. This is series is very well thought out, action packed, and intelligent enough to keep almost anyone entertained and interested for years to come. This series has some problems, I will admit that. I.e. some of the continuity is lost because they try throwing in parts of the other story lines (there are 3) into the Stay Night story to make this series longer (not done as well as it could have been), another problem is the change of wardrobe for not apparent reason (You will know what I mean when you see it.), etc. I would still recommend this series to everyone.

Now to explain my review title. This series is AMAZING, BUT not worth 50$ for only half of it. The DVD version though is the COMPLETE series for about 35-40$ depending on where you are looking for it. This anime came out back in 2006. The quality difference is almost unnoticeable and it's cheaper.

My closing statement. This series is one everyone should watch. You won't regret it. But be realistic when buying it. Just because it says Blue-ray, doesn't mean that it is better then DVD. Thank you for reading and I hope this helped your decision.

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I guess this is becoming a habit with these Blu-Ray re-issues of Anime Classics. No production Gallery Stills, no Non-Credit Openings. The new fans of this series will never know what they've missed unless they happen to come across the old Geneon DVDs. My opinion is this: If you're going to do a re-issue, do it right. Include ALL of the original material (old anime trailers not withstanding of course, unless Blu-Rays are planned), but at least include all the other interesting extras that hard core fans would want. Here you just get the bare bones episodes at a very premium price upgrade. Sentai Filmworks isn't the only one guilty of this. Funimation also did the very same thing with their re-issue of the Tenchi Muyo Film Collection, which left a TON of extras not included. If you are lucky enough to own the original discs, you KNOW what I'm talking about.

Still, this is a series that really must be seen, and when seen, you'll want to own it. That said, the DVD set is a great value. If you can afford the extra cash for the Blu-Ray set, go for it, but my original Geneon DVDs look pretty good on my LG Blu-Ray player, and the (assumingly) remastered Sentai DVDs should be a great buy.

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Always loved the series; now I have it forever on Blu Ray

Just waiting on Fate Zero !!

Saber is the Best :)

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When it comes to video games and its characters, I don't think I've seen a title derived from a video game, within the last decade, achieve so much attention than the "Fate" series from TYPE-MOON. This series has captivated people from all over the world, merchandise continues to sell very well (considering its price for importing) and it's quite impressive to see how the fanbase continues to grow and are dedicated to "Fate"!

My first introduction to the "Fate/stay night" was just hearing about the original anime TV series. But it was the first PSP video game release ("Fate/unlimited codes" on the PlayStation Network that actually got me hyped for this series and made me learn more about the characters.

The more I researched, the more I started to noticed that a lot of people online were excited about this video game and discussing the anime series and while I never really understood the commotion of the series, I figured there were so many fighting games in Japan with characters that people go crazy for.

But then the Sony PSP game came out on the PlayStation Network and the huge number of posts on Danny Choo's official website in regards to dolls or figures, may they be the release of Nendoroids from Good Smile! or FIGMA figures from Max Factory, suffice to say, I've seen the popularity for this "Fate/stay night" achieve critical mass not just in Japan but all over the world.

At Anime Expo 2011, I attended a press conference which featured the release of a "Fate Extra" and once again, I've seen fans going crazy. In 2012, the Blu-ray and DVD of "Fate/Stay Night: Unlimited Blade Works" was released by Sentai Filmworks and now in 2013, the first volume of the original 2006 anime series will be released in January 2013.

The TV series is directed by Yuji Yamaguchi ("Yami to Boshi to Hon no Tabibito", "Angel Links", "Fate/stay night"), screenplay by Takuya Sato ("Armored Troopers Votoms Case; Irvine", "Mission-E", "Ichigo Mashimaro"), music by Kenji Kawai ("Devilman", "Eyeshield 21″, "Eden of the East", "Dai-Guard", "Blue Seed"), character designs by Megumi Ishihara ("Moonlight Lady", "Kakyusei") and art direction by Toshihisa Koyama (".hack//Liminality", "Halo Legends", "Kiddy Grade", "Outlaw Star"). Anime Production is by Studio DEEN.

What is "Fate/stay night"?

"Fate/stay night" is a Japanese visual novel developed by Type-Moon and was originally an adult game for the PC and then later released for the PlayStation 2. The popularity of the video games led to a manga series which was serialized in Shonen Ace magazine and in 2007, a 24-episode anime series was released and a total of four video games. In April 2012, the latest in the "Fate" anime series titled "Fate/Zero" (which is set 10 years before the events of "Fate/stay night") began airing in Japan and the second season is still airing on television.

In 2010, Studio Deen released the film "Fate/stay night" and in 2012, Sentai Filmworks released the animated film, "Fate/stay night: Unlimited Blade Works" on Blu-ray and DVD. The film was comprised of important scenes from the original TV series that is 24-episodes long (12 hours) but unfortunately, with an abridged film at 105-minutes long, you miss out on a lot of story.

So, "Fate/stay night" will now be released on Blu-ray and DVD courtesy of Sentai Filmworks.

VIDEO:

It's important for people to know that "Fate/stay night" is an older anime series. Not old-school but I usually feel that with series that were released 2009 and later, they tend to be HD native and look better. But for older series, they either are remastered at a higher bitrate and in the case of "Fate/Stay night", it's a 1080i High Definition (16×9) release.

Fortunately, the series does look good for its age. Colors are robust and while TV series are expected to have softness, fortunately the series is not too soft but you will see some banding and artifacts (not a lot but they are there).

But for those who have wanted "Fate/stay night" to be released on Blu-ray, for this 2006 anime series, you should be pleased by its overall picture quality as it does look better than many series that were upconverted to Blu-ray.

AUDIO & SUBTITLES:

"Fate/stay night" is presented in English and Japanese DTS-HD Master Audio 2.0. Typically, English soundtracks tend to have a more dynamic range as they are often fixed up for its US release. In the case of this series, the Japanese audio actually has better dynamic range. But both are well-acted and dialogue, music and sound effects are clear through the front channel.

Subtitles are in English.

SPECIAL FEATURES:

"Fate/stay night" does not come with any special features.

JUDGMENT CALL:

Finally! I can understand what the "Fate/stay night" storyline is all about!

Having played the video games and having seen the large dedicated fanbase for the "Fate/stay night" series in Japan, America and all over the world...I don't think I have seen a video game receive so much recognition by fans worldwide. You just don't see people going crazy for "Street Fighter" or "King of Fighters" action figures but look online and there are fans that just go crazy for the video games and action figures. And while I do feel that the character designs of the characters of "Fate/stay night" are quite cool to look at, I was drawn to it because of the character designs and for the fact that I am a fan of Japanese fighting video games.

And I am very happy that Sentai Filmworks have released this animated series in the US. Primarily to satisfy those who are big fans or are newer fans thanks to the video gae and the previous movie release.

While I do know that Japanese companies that sell the merchandise have done a fantastic job in making "alter" version and just continuing to give fans these wonderful looking versions of the characters and detailed outfits with the dolls and figures in Japan, here in America, more and more people are jumping on the "Fate/stay night" bandwagon.

As mentioned earlier, last summer I attended the "Fate Extra" reveal for the video game and the crowd went nuts when they saw the announcement of the game. And similar to the video games, there is also innovation by trying to release the video games encompassing various genres instead of fighting video games. From the adult PC game to the recent strategy tactic PSP game, fans are really enjoying the "Fate/stay night" series. May it be the action figures, the dolls or the games, this is one series that fans all over the world are passionate about.

And therefore, I wouldn't be surprised if fans go after the Blu-ray or DVD release of "Fate/stay night".

I'm quite biased towards the characters already and to finally now the context of what the story is about and the war between the seven magi's, it's a rather enjoyable concept, not necessarily unique, but it's the characters that make this worthwhile. There is non-stop action and while the animated series tends to focus more on Shiro and Rin, Saber and Archer fans will also enjoy this series.

A lot of action is featured throughout each episode and as mentioned earlier, unlike the movie which is 105 minutes of footage taken from the series, fans who saw the movie first, should be happy that they can see the series in its entirety on Blu-ray.

As for the Blu-ray release, it's a 2006 anime TV series, so it is an upconvert, but compared to other anime series upconverts, it does look good. Colors are vibrant at times but there are hints of softness, artifacts and banding as well. But it's expected for a series that is slightly older. My only disappointment is the lack of any special features.

Exciting and action-packed, the first half of the series pretty much focuses on Shiro Emiya and Saber developing a relationship and taking on various challenges. But things are definitely going to become much more difficult for the second half of the series.

Overall, "Fate/stay night" is an enjoyable action-packed anime series and one of the better series based off a video game. If you love the video games or just craving for an action anime series, "Fate/stay night Collection 1″ is recommended.

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The Matador (2005)

Think you know Pierce Brosnan as an actor? Think again. This film reveals him as the anti-James Bond, a creepy assassin who suddenly grows a conscience in his waning years. No more REMINGTON STEELE, no more 007. This guy needs a serious injection of scruples.

When Julian Noble (Brosnan) is assigned to "rub someone out," there's no hope for his target. That is until one day he's contracted to take out a man in Manila and has a nervous breakdown, ending up face-down in a pile of donkey dung.

Then we move on to/flashback to Mexico City, where Julian meets up with Danny Wright (Greg Kinnear, ), a down-on-his-luck businessman who tries to befriend Julian in the hotel bar. But Julian's antisocial behavior gets in the way often and nearly forces Danny away. But they form a sort of twisted friendship and Julian takes Danny into his confidence while watching a bullfight and shows him how to function as a killer. Danny is both terrified and exhilarated.

Then, six months later, Julian shows up at Danny's house in Denver and ask for an impossible favor.

________________________________________________________________________________________

Brosnan deserves an Oscar for his performance as the confused and embattled assassin. I never, ever, ever saw Brosnan but always the character he was portraying. He completely creeped me out, even when some of his humanity returned.

Greg Kinnear was excellent as Brosnan's alter-ego, a Mr. Goody-Two-Shoes guy who needs an infusion of toughness to get his life back on track. The film is strange like that, too. Both men give some of themselves to the other, but in the process lose a portion of what they once were. For Brosnan's character, that was definitely a good thing all the way around, but for Kinnear's, we're not too sure.

The scenes filmed in Mexico were beautifully filmed, too. The shots of the colorful buildings, the huge stadium built for bullfighting, the cheesy bars, etc.

If you want to see a movie that'll tickle that dark funny bone, you couldn't go wrong here. Brosnan is masterful!

Julian Noble (a witty, debauched, ironic Pierce Brosnan) is a hit-man for hire and at a crossroads in his life: after years of killing for money, bedding anything within sight and inhaling as much liquor as he can, Julian is having trouble carrying off his assignments. Has he developed a conscience? Is he bored? Does he no longer need the money? It's never really made clear but "The Matador" is one of those films in which the journey is much more fun and important than the destination.

Along the way, Julian hooks up with a nebbish Danny Wright (a perfect Greg Kinnear) and Danny's wife (Hope Davis) both of whom hilariously accept Julian at face value: they are both excited and turned on by Julian's occupation and welcome him into their home for conversation, bourbon and pecan pie.

Director Richard Shepard keeps a tight rein on the proceedings and though much of the action has to be seen to be believed, the film rarely bogs down in its own absurdity.

The revelation of "The Matador" is of course Pierce Brosnan and, with this part, he once and for all sheds any notion in anyone's mind that he can only play James Bond. His Julian is paunchy, grizzled, graying and fun as hell to watch.

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Now this is an unusual and quite enjoyable movie, with Pierce Brosnan like you've never seen before and with Greg Kinnear giving a hilarious and touching performance, best for both in a long time. I loved the quirky conversations, the no bs jokes, the bright color schemes, the glow of cardamom yellow, aqua and flame red in the background, flower beds and their drinks. This movie is full of flavor, shades and produces quite a few chuckles, but also has some nice moments that make it an enjoyable experience and gives a sense of satisfaction at the end.

Brosnan plays Julian Noble, an assassin that meets up with Danny Wright (Greg Kinnear) in a bar in Mexico. Those two are as far from normal life style as possible in an exotic place; one just finished a "job" while the other has a semi successful business deal in the works. Julian finds out that it's his birthday and realizes he has no friends. As a secret killer, a hush hush man, he starts chatting with Danny at a bar and buys him a drink. The whole time the audience is made to wonder if he really wants to be friends or is Danny his next job. They talk and laugh, hit some rough spots, they get angry at each other, they laugh more, its back and forth like a husband and wife after thirty years of marriage. They argue all the time but they can't stay away from each other. They go to see a bull fight, that has a profound impact on their "friendship" when the bull fighter delivers the kill, Julian tells Danny who he is and what he does. He then proceeds to give him a hilarious demonstration of his talents.

I had a blast watching this, with fine performances from all the actors, witty dialog, jokes and offences, and scruffy, unshaven Brosnan, who paraded around in funky clothes and spoke words I never heard him utter. We watched him trot the globe form Budapest to Vienna, Mexico and Us to Danny's home and the trials and tabulations his failing career caused him. Once he's too tired to work, his midlife crisis hits him, he has no friends but Danny to help him out as his own boss it out to terminate the old dog, Julian himself. Half the fun was watching Kinnear and Brosnan collaborate, as they make a fine match, indescribable by words. It's a feast for the eyes and a holiday for my mind and a fun Thursday night movie to watch with someone close to share the laughs and gasps.

Kasia S.

Read Best Reviews of The Matador (2005) Here

I saw this movie last October at the Milwaukee Film Festival with nearly 1,000 people (no joke) and the audience was laughing so hard; I missed parts of the movie. If you want a break from lions, apes, and wizards this is the movie to see.

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Pierce Brosnan has previously played Remmington Steele and James Bond. In this film, he plays a hapless hit man who lost his nerve to kill. This black comedy takes a large poke at the Steele/Bond legends that Brosnan have already done and made famous. Brosnan does this satire with a flair

When he loses his nerve, he chats with a simple man in a bar (Greg Kinnear). Kinnear's character reminds me of Albert Brooks's character from the bad remake of the IN-Laws..that is where the similar ideas ends. He befriends Bronson in his hour of need

Kinnear's wife is played by Hope Davis. This role is most lifelike I have seen Davis act since she did the role of Joyce in the film American Spendor

To give away the end would spoil the fun..just get it and enjoy it yourself

Bennet Pomerantz AUDIOWORLD

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There's Something About Mary (1998)

I really can't understand how this one didn't get five stars from everyone here. I mean I know that tastes differ, but I think people may have been expected something this one couldn't possibly deliver. As a comedy, it is absolutely phenomenal. I really have to say that it's the only movie of the nineties that can match up with Stripes or Animal House. It's utterly amazing.

There's Something about Mary is a mélange of every kind of comedy. There's slapstick, physical situation, and intellectual social satire. This movie made Ben Stiller and rightly so. I recall seeing it in the theatre and not being able to breathe at times due to the convulsions erupting from my abdomen. No time was this more true than when Stiller walks into the gay rest stop and gets busted, but there are a million scenarios that could be cited. All the actors were sensational. Matt Dillon's character is exquisite in his cheesiness and he really excels in his role especially when he's playing football with the "retards" and showing off his sensitive side by pummeling them on the gridiron. Chris Elliot is exceptional in his role and any film that features Jonathan Richman that much is special and rare. I could not recommend this one any more.

You will laugh from begining to end with this movie. The humor is very crude at times, but not raunchy. I found myself saying,"oh my" and at the same time laughing out loud.

The storyline is unpredictable and extremely enjoyable.

It is a comedy and love story all in one, intertwined superbly.

I wouldn't recommend watching this with your mom and dad. I am 37 and would have crawled under the carpet if my mom and dad were in the room watching this movie during the scenes "before the big date."

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I hate it when they don't create a Blu Ray with a proper master copy! Why the hell would they bother using a lower quality copy to create this??!?! It's just plain lazy. Don't bother buying, as it is obviously about the same picture quality as the DVD you already own!

WAKE UP MOVIE STUDIOS!! IT'S SUPPOSED TO BE HIGH DEF, FROM THE ORIGINAL MASTER, WHY WOULD WE BOTHER BUYING IT IF THE PICTURE IS THE SAME AS DVD!!!

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The Farrelly brothers, who gave us Dumb And Dumber, Kingpin, and Me Myself And Irene, direct There's Something About Mary, a movie that stars Ben Stiller (Meet The Parents), Cameron Diaz (The Mask, Gangs Of New York), Matt Dillon (The Outsiders, Crash), Chris Elliot (Groundhog Day, Scary Movie 2), and many others.

Mary is a story about a Rhode Island loser named Ted, played by Stiller, who can't keep his high school dreamgirl Mary, played by the charming Diaz, out of his mind 13 years after their prom date went terribly wrong way before it happened. He hires an obnoxious guy named Patrick, played by Dillon, to spy on her and tell him what she's been up to. Well, Patrick falls for Mary, and decides to move out to Florida where she resides to get to know her, and he does. Ted discovers that Patrick isn't giving him the truth about Mary and goes out to find her himself. It turns out that Mary has many admirers who try to win her heart (or shoes!) besides the lonely Ted. So the movie becomes a race on who can get her first and forever.

It's a silly tale but under the Farrellys direction, it's a surefire laugh-fest all the way through. Expect to see lots of sick humor like a guy giving a dog CPR, or bodily fluids used as toiletries. Also, the characters in Mary are funny by nature. The funniest character of them all is Warren, Mary's handicapped and heavy set brother, who punches people who touch his ears and loves to give piggy back rides.

Recommended

B-

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This was an interesting movie. It kept me laughing so hard that the next morning my stomach muscles felt as if I had done about a 1000 crunches. You will truly enjoy this one, but if you are soft of heart, weak of stomach or easily offended this may not be the movie for you.

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King Lear

Ian McKellan totters into a circle of light and raises his palsied hands to command his court into prostrate submission. McKellan's Lear has a despot's easy authority that effortlessly requires obedience. Aged, infirm and bright-eyed, Lear enjoys humiliating those who doubtless wish him dead so that they may inherit. McKellan's Lear is a sly-suave tyrant reminiscent of Olivier. There are other fine Lears the brutally hostile Ian Holm (the boss from hell), James Earl Jones' as a cranky African tribal chief, or Orson Welles' nightmare fury. All are excellent. Welles, Olivier, and McKellan are more cinematic whereas Jones and Holm are filmed versions of stage productions. Welles and Holm provide a strong dose of Sturm und Drang melodrama the volume is turned up so high, it is hard to tell when catharsis hits. Olivier and McKellan are beautifully acted and nuanced. Jones has an amazing voice and his presence overwhelms the cast except perhaps Raul Julia's wonderful plotting, evil Edmund.

Of the directors, Trevor Nunn is the best and most experienced interpreter of Shakespeare to cinema. He is faithful to the text, (cuts are logical and keep the action moving) but with contemporary Hollywood fit and finish. It helps that Nunn takes care of details that Shakespeare neglects. For example, he shows us exactly how Goneril poisons Regan. When Lear complains that "my poor fool is hang'd," it refers to an earlier scene where the Fool is actually strung up.

The part of Lear demands a strong actor who can easily dominate a production. Only Olivier and Nunn balance the King with a strong supporting cast. Appearing opposite Olivier are John Hurt as the brilliantly sarcastic Fool, Leo McKern (Rumpole of the Bailey) as a pompously lecherous Glouster, and Diana Rigg as the blindingly beautiful Regan.

Trevor Nunn's outstanding cast boasts Romola Gerai as a sensual Cordelia upswept hair, wearing a strapless, white satin, wedding gown, and a simple gold chain necklace, that accents her flawless profile, neck, shoulders, and decolletage. Nunn's inspiration for Cordelia is a mystery, but to me she looks like Sargent's sensational painting of Madame X, with the black dress changed to white. She speaks from the heart, clear-eyed, like a child, rejecting Lear's incestuous demand that his daughters love only him and pays a price for her honesty. Sylvester McCoy's amazing performance as the bitter fool -who alone speaks truth to power without punishment rivals John Hurt's. Where Hurt practices wicked satire as a sport, McCoy is a disappointed romantic, his cynicism mixed with sadness.

Once again, Trevor Nunn has created an excellent film version of Shakespeare. If only more of his works were available for north american viewers.

I had the privilege of seeing this production performed live in LA. It was an incredible experience slightly marred by the fact that the concert hall was clearly a larger space than these actors were used to filling with their voices, and for those of us stuck under the balcony, it was not always possible to hear everything over the ambient noises around us. So I was thrilled when I heard that they were taking the production into the studio to trap it for posterity, and I immediately bought the (region free) Blu-Ray edition from the UK.

I don't regret the purchase, but I was somewhat disappointed. Outdoor scenes are all filmed against a blue screen that poorly simulates sky, giving all the outdoor scenes a certain cheese factor. On a stage we suspend our disbelief the lighting changes and we believe we are now out of doors, but on a screen we expect a little more realism.

Likewise, I found the sets of the stage performance more effective as well. They had a grandeur and later in the play, a decay that was really missing from the sets used in the studio. I understand that the studio was aiming for more realism, so you wouldn't have the same backdrop for a whole act when the scenes shift and so on. But they didn't manage to replace the missing set with anything more effective dramatically.

Furthermore, the cinematography was very heavy handed in terms of constantly flashing from one actor's face to another to make sure no reaction is missed. It was at times very jarring. On a stage, one of the interesting dynamics is that each audience member can choose where to focus attention, and so each person walks away with a different experience. Here in an attempt to capture the richness of each scene, the camera tried to show everything, and the result wasn't pleasant. O.K. The camera didn't show EVERYTHING. The infamous scene were Lear strips down is trimmed by the frame of the camera for modesty. So if such things as male nudity bother you, this is a production you can watch with your kids.

But if you get over the cheese factor of the camera work and sets, this is still Trevor Nunn, Ian McKellan and the Royal Shakespeare Company doing their thing. You'll hear Shakespeare's words interpreted and performed with great skill.

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This is a superb but ultimately disappointing production of Shakespeare's greatest play. How can it be both? It is superb for several reasons. Ian McKellen is one of the great Shakespearean actors of his generation, and he here delivers a masterful Lear, moving and credible and utterly faithful to the character in the text; if there are a few too many of the familiar McKellen mannerisms, who's to complain--they work as well here as elsewhere. The rest of the acting is at a very high level indeed; there is not a single performance I would fault, and I couldn't say that of any other video "Lear". The dialog has been intelligently edited, and clearly and audibly recorded; for once in a production of Lear there are no "What did he just say?" moments, not even with the Fool's dialog. Logic and clarity are equally evidenced in Trevor Nunn's direction. A small example: in this production, the disappearance of the Fool midway through the play is explained dramatically, as we witness his hanging by forces pursuing Lear, something not in the stage directions and only vaguely supported by the text. It's dramatically satisfying; we need not ask "What happened to him?" Another example: the poisoning of Regan by Goneril occurs on stage, and is thereby made genuinely horrifying instead of being a bit of off-stage melodrama. The initial displeasing of Lear by Cordelia and his instant, irrevocable rage, which are hard to make credible in performance because of the compressed stage-time, are easier to believe in here; they come off as (perhaps) some good-natured teasing gone horribly awry (though I'm not sure that's what was intended, and if so that it is faithful to the text). So why is the production nevertheless disappointing? When a great actor takes on a great character of Shakespeare, we want to come away with something new and great--some new understanding, some new emotion, some new experience of the play which will change forever our relationship to the text. Here, alas, there is nothing new. No new sense of Lear as an individual, as in the Olivier video, or of his relation to his daughters, as in Ian Holm's version. Just a very straightforward, highly competent rendition. Superb, but disappointing.

Read Best Reviews of King Lear Here

Not surprisingly from a Royal Shakespeare Company production, the emphasis in this rendering of King Lear is placed on acting. Potential viewers should therefore not expect a filmed theatrical performance with the energy it entails from the interaction with the public nor a truly cinematographic piece with sophisticated sets, sound and lighting à la Kenneth Branagh.

There are no subtitles to make the text easier to follow and given the movie's very considerable length, close to three hours, a significant effort is required from the watcher, despite the actors' undeniable talent.

Accordingly, this work is recommended to Shakespeare cognoscenti who are already familiar with the play and willing to explore acting subtleties.

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I don't know of a perfect film adaptation of "King Lear"; perhaps there's no such thing. In my mind's theater I amalgamate elements from different productions: the spectacle of Kurosawa's "Ran," the performances of Diana Rigg (Regan), Leo McKern (Gloucester), and John Hurt (Fool) in Olivier's version. Other reviewers have astutely pointed up the values in different modern interpretations of the play's leading figure. On balance I'd say that McKellan's Lear is as fine as any we may expect in this generation. He's a soldier, bully, a bastard (not in the Edmundian sense), a fool, a maniac, and finally a very pathetic man who cannot comprehend, any more than we can, the scope of the tragedy that has overtaken him. Lear is a role that tempts the ham in even the best actors (see Olivier); McKellan is not once porcine. The actors surrounding him are uniformly fine; in particular, the three sisters are sharply delineated (and sexed up in ways that, while not gratuitous here, are often missing in the play's production). Trevor Nunn's staging remains on an interior set, as was Olivier's, though Nunn's are better interiors, with less cheesy production values. (The "Howl, wind" scene rains such buckets that you wonder how the studio was ever drained.) Nevertheless, this is not a filmed version of a play; the camera is used intelligently for close-ups. The disc's single special feature is a delightful interview of McKellan, who speaks very insightfully about the challenges presented by Shakespeare's masterpiece.

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Kingdom of Plants 3D

this is a outstanding television show. It's a fascinating show about plants. You will learn alot and be entertained at the same time. It was shot in 3d over a years time! David attenbourgh is outstanding as usual too. His brillaint and entertaining at the same time. This 3d blu ray can be played on your blu ray player. It has 3 episodes on it , as it was a tv show after all. Shown on sky tv in 3d in 2012. The second disc is the extras and it is only region b or europeon. So YOU can watch the show with this but for the second disc you will need a all region player. If you don't care about the making of disc then it shouldn't be a problem to you. So yes, if you order this on amazon.com or amazon.comuk (that's where I got mine), you can watch the 3d series. I have a allregion 3d blu ray player so I can watch the second disc as well. But if you don't have a allregion player you can at least watch the series in 3d. And it looks outstanding. You will learn alot of facts about plants , for instance how they interact with animals and other fascinating facts. the photography is one of a kind because they took a full year to shoot some of this. In this you can see plants move in motion that shows them for the vibrant creatures they are. Sometimes they can move very fast of course but often we don't notice it all. the picture on this blu ray is amazing and the colors are truly a sight to behold. Only a twit who is very shallow wouldn't enjoy this fine nature series. this does have a 2ds version on it as well for non 3d viewers.

I had seen this on... can't remember the network in 3D and it is an amazing film. All of the scenes are incredible, the explanation of how the evolution of plant life as we humans know it is presented perfectly. Richard is splendid in a quirky English way doing a great job of narrating and guiding the viewer through The Royal Botanic Gardens at Kew. I was mesmerized and I mean that watching this documentary, it is worth the near 3 hour view!!

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I do not have a 3D viewer, and although the disc does play on my regular BluRay it clearly is still shot in 3D and is very blurry. Would love to see it clearer.

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YOUNG PEOPLE FUCKING

i came across this film on imdb through sarah polley oddly enough (she got a thanks for it) so decided to watch it and i'd have to say it was pretty good. the title suggests that there will be a lot of sex, and while that's true in theory, it's not so much about the sex as it is the relationship between the couples. it actually skipped over the sex at points to move from one couple to the next. it was more about the relationships.

the movie followed 5 couples through one sexual experience. the couples were named according to status 'the couple', 'the friends', etc. and the movie was cut up into the stages a couple goes through when they have sex. in each part we'd get to see how the stereotypical type of couple would react to each other in that stage of the process. all of the couples go about it differently and they have problems... it's very 'real'. i was kind of surprised watching it because in a lot of movies the sex scene is always smooth and.. well, sexy, but in this movie the couples talked to each other a lot throughout the whole movie. there was a lot of doubt on both sides and for every situation there was at least one point where you thought it wasn't going to happen. they made mistakes, or it was weird and they had to fix it. basically it was a movie about the social aspect of sex. it wasn't as contrived as the big hollywood, action movie, sex scene. it was a story about how different people who love each other in different ways wanted to get together, and how they did. but as i say, there wasn't any more nudity in it than you'd find in a contemporary teen comedy, and it has a substantial story line that's actually trying to say something about the romantic life of sex.

it was funny and it was romantic. i'd definitely recommend it to anyone age appropriate. most of the movies coming out today with sex scenes idealize and stereotype sex, but don't actually go beyond the physical. because of this it could be said that sex in the media is poorly represented and is cheapened by either the desire to draw people to a movie as a selling point, or to keep the story line going because the plot is sorely lacking in anything worth telling a story about. this movie takes apart the sex we see on tv and goes beyond the physical, makes it relatable to real life, actually has something decent to say.

I recently watched a film from Chile called "En La Cama" ("In the Bed" or "In the Bedroom"), which was essentially a record of a sexual encounter between a young man and woman. The film chronicled "the act", along with all the lead-up and post-act banter. Sexy and sometimes poignant, it was an interesting experiment. The Canadian-produced "Y.P.F." (the film's true title, "Young People F**king" appears on the DVD) is just like that, only we cut between five different couples in different parts of town (the couples don't know each other) before, during, and after a romp in the hay, exploring their various desires, motivations, and baggage regarding sex. Oh, one couple isn't exactly a couple, but three people.

Anyway, like "En La Cama", the result here is sexy, occasionally serious, and worth a look. "Y.P.F." probably does a better job than the earlier film, however, in touching on common issues that couples might want to talk about further once the film is over.

Recommended for those with an occasional taste for edgy fringe cinema with an erotic bent.

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A quirky little comedy about one sexual encounter for five couples. With a smart script and perfect supposition of the characters and their storylines, this film manages to go beyond it's catchy title and say something semi-coherent about relationships and sex in the modern era.

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When i first saw the title, I thought it would be one of those stupid teen, drugs and sex movies, but its not. Yes, there is sex, but its not pointless, it actually helps continue the story with each "pair/couple" Some laugh out loud moments and it has Carly Pope. Very nice little movie

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Having one of the most jarring titles ever, YPF is a clever, often hilarious examination of young adult relationships. If only we older slugs could have as much fun. The film is a series of intertwined vignettes featuring various couples in various stages of--"development": an established couple in somewhat of a rut; two exes coming together for a one night fling; an awkward first date; two platonic friends looking to cross the line into intimacy; and a boyfriend willing to share his girlfriend with his roommate. All the situations are well done and skillfully acted, although the roommate segment grew a bit lame (yet a pudgy Ennis Esmer was fun to watch as the overbearing, somewhat neurotic, boyfriend).

Writers Aaron Abrams and Martin Gero (who also directs) deliver a witty, fast-paced story that flows smoothly and believably. Much of it is very, very funny, yet each of the various segments wrap up in a touching, poignant manner. I especially liked Abrams himself and a stunning Carly Pope playing the two buds who decide--because their own love lives are going nowhere--to throw caution to the wind and have casual sex; the chemistry and comedic timing between the two--as they realize their feelings for each other are anything but casual--are excellent. There is no graphic sex, all scenes are tastefully and discreetly done so that the viewer fully understands what's going on, so don't be afraid YPF is too high voltage to watch. It's about young people, young people. . .you know. . .interacting. And now I'm anxiously awaiting the sequel: OPF.

--D. Mikels, Author, The Reckoning

The Boondock Saints (Truth & Justice Edition) (1999)

It seems like the only way anyone hears about this movie, its either from fanatic word of mouth or from seeing it sitting in Blockbusters. Thats a shame, because this first outing by director Troy Duffy is an extremely cool film that deserves all the attention it can get.

Sean Patrick Flannery and Norman Reedus play two good ole Irish Catholic boys in Boston, who one day get sick of the corruption in the city and begin a bloody crusade to wipe it out. Willem DaFoe plays the FBI agent hot on their trail, who is torn between bringing the mysterious vigilantes to justice, or joining their crusade.

The film is, simply put, cool. Its one of the only movies that actually make going to church look cool. Don't be fooled by the description, however; this is not an action movie. Do not expect blazing gun battles with crazy angles and MTV like editing. This is a film about morality, doing what one thinks is right, and having codes of honour. It's about all those things, and how close they may sometimes get to walking the edge between good and evil.

The two actors who play the Irish vigilantes are great in their roles, playing the boys not as superheroes, but as regular joes with a huge chip on their shoulder. A nice twist in the film is DaFoe's portrayel of the FBI agent, who also happens to be gay. He plays him as a great character without being tempted to dip into stereotypes. Great job by the versatile actor.

This is definately a movie not to be missed. If you are fortunate to see this in your video store, take it out and enjoy.

I love the Boondock Saints. It's funny and action packed all at once. Naturally, when the special edition came out I jumped right on it. But, upon viewing it I realized the only thing extended in the "unrated" edition were the fight scenes. I figured they'd put in all the "deleted scenes" from the special features. I was very disappointed in that. I can't see a glaring difference between the rated/unrated editions. I'm just as happy with my first version, the only thing they seem to make better is the box the dvd comes in.

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It only takes a few minutes to draw a comparison between Troy Duffy's "The Boondock Saints" and almost any Quentin Tarentino film. As I watched this breathtaking movie, I snickered to myself over realizing this little fact. I figured few others would make the connection. Boy, was I wrong! It seems that anyone who has seen "Boondock Saints" immediately thinks of "Pulp Fiction" or "Reservoir Dogs." Moreover, a lot of people do not like the idea of Duffy ripping off such a noble American icon. Perhaps they have forgotten that Tarentino has based his entire career on borrowing or outright ripping off ideas from 1960s and 1970s cinema. I could care less whether Duffy imitated "Pulp Fiction" or whether he arrived at this idea on his own. Hollywood routinely begs, borrows, and steals in an effort to make a buck. The recent trend of remaking older films is only one aspect of this philosophy, so complaining about some filmmaker copying a specific style is a moot point. "The Boondock Saints" is an enormously entertaining way to spend a couple of hours and, despite a few flaws, may attain a cult status rivaling anything made by Quentin Tarentino. This is how it should be.

Connor and Murphy MacManus (Sean Patrick Flanery and Norman Reedus respectively) are two Irish brothers who spend their days drinking at the local pub and working in a local meatpacking plant. They don't do much with their free time outside of lounging around their filthy loft and hanging around with unbalanced people like their friend David Rocco, a minor criminal who longs to join the local branch of the mafia. Trouble rears its ugly head when some Russian gangsters move into the neighborhood and threaten to close down the neighborhood bar. After a fistfight leads to a couple of killings in an alley, the boys realize they may be in a spot of trouble with local law enforcement. Actually, they are in more trouble than they realize at first when an FBI agent by the name of Paul Smecker arrives on the scene. The inept local cops stand around throwing out all sorts of weird, implausible theories about these corpses in the alleyway, but Smecker moves in and figures it all out in an enormously hilarious and ingenious way. By slapping on some headphones pumping out classical music and prancing around the scene checking things out, Smecker tells the cops what happened, when it happened, and who probably did it. Sure enough, the MacManus boys sheepishly arrive at the local cop shop, bloodied and bandaged from their tussle with the Russkies, and confess to the crime.

Fortunately for Connor and Murphy, Agent Smecker takes a real shine to these gregarious youngsters and releases them from jail. After all, the whole incident was merely a case of self-defense gone horribly bloody. But something strange happens to the MacManus brothers after this incident; they suddenly think they receive a calling from God to rid the streets of criminals. Checking in at the local armory of the Irish Republican Army (this is Boston, after all) and arming themselves to the teeth, Connor and Murphy use information gleaned from their encounter with the low-level mafia goons to stage a mission against the bosses of the Russian Mob. Other jobs soon follow, all apparently sanctioned and sanctified by the Almighty. The boys are so successful they soon draw in the assistance of David Rocco, who, with his vast knowledge of Boston's underworld, provides a list of criminals who deserve to die. As the body count rises, Smecker comes closer to learning the identities of these homegrown vigilantes. The fact that the FBI agent undergoes a crisis of conscience over the crimes--he quickly realizes these murders are the work of citizens fed up with crime--leads him to secretly help the men responsible for the killings. Throw in a bunch of Mafia thugs, adult film star Ron Jeremy as a doomed hoodlum, a vicious, mystical killer named "Il Duce" (played by Billy Connolly, still atoning for "Head of the Class"), stylish gunplay, and an exploding cat and you have all the makings of this marvelous movie.

"The Boondock Saints" is a film about vigilantism and whether that activity is ever justifiable, although that theme seems to disappear for most of the movie. The conclusion, too, ends up being just a little too implausible, but getting there is a boatload of fun. The best things about Duffy's film are the whipsaw quick dialogue, the hilarious running gags, and Willem Dafoe as Agent Paul Smecker. Dafoe especially deserves accolades for his portrayal of a conflicted FBI agent whose sympathies eventually turn to the MacManus brothers. His way of solving crimes, especially the shootout between Il Duce and the two vigilantes, is not only brilliantly executed but a wonder to watch. Moreover, Smecker's interactions with the local Irish cops provide endless opportunities for great dialogue and hilarious jokes.

Regrettably, a bit of overacting at certain points of the film quickly annoys, as does the failure to provide anything more than lip service to vigilantism and how it pertains to our ultra violent world, but "The Boondock Saints" is so much fun despite these flaws that you will hardly notice them. The DVD includes many extras, such as important deleted scenes, a commentary by Troy Duffy, and a widescreen presentation. There's even talk of an impending sequel, although the absence of the Willem Dafoe character, if the reports are true, could cause significant problems. There is not any other way to say it: if you have not seen "The Boondock Saints," run, do not walk, to the local video store and buy or rent a copy today.

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Connor ( Sean Patrick Flanery) and Murphy ( Norman Redus) McManus are two fraternal twin brothers that are highly religious and are basically thought of as saints. However, thou shall not kill is the only commandment that they cannot keep. When a sadistic Russian mob starts to force its way into their South Irish Boston neighborhood, they know what they have to do. They set out to rid the streets of every gangster, criminal, and lowlife. In their eyes they are serving God's vengenance. As the bodycount rises, they become local heroes to the world around them. Paul Smecker( Willem Dafoe) is a gay FBI agent who is assigned to the case. While he agrees with the McManus brothers are doing, Paul is forced to do his job. He must now use his extremely unorthodox and brilliant methods of investigation to bring the Mcmanus brothers down.

Before I watched this film, I was very skeptical because the movie came straight to video. However, "Boondock Saints" turned out to be one of the best films I have ever seen. If I had to describe the film, I would classify it as a modern day morality tale that is driven by vengenance and determination. The film features an outstanding mix of comedy and intense action. There are moments in the film when you will be laughing your head off. The dialogue in this film is first rate. There are other moments in the film however, where you will be shocked at the countless violence. The shoot out scenes are extremely well done. Perhaps one of the best things about the film, is the creativity that the McManus brothers use for some of their kills. The performances given in this film are suprisingly good!! Sean Patrick Flannery and Norman Reedus are outstanding as the McManus brothers. However, the best performance of the movie hands down goes to Willem Dafoe as Paul Smecker. It is the best performance of his career in my opinion. Watching Paul work is very entertaining. His methods are unorthodox, intelligent, and entertaining!

Overall, "Boondock Saints" is a great film. It features an excellent mix of comedy and action, the gunplay in this film is first rate, and the performances given from the actors involved could not have been better. The DVD is very affordable and has commentary by writer and director Troy Duffy, deleted scenes, and outtakes. The presentation of the film is also excellent and delivers top notch picture and sound quality.

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There are movies that when they are initially released are underground successes that suddenly and without warning become iconic when they reach the mainstream audience once they are released on VHS/DVD. Can Boondock Saints be considered one of these rare films? Definitely!

The titular Saints are two Irish brothers, Connor and Murphy McManus (Sean Patrick Flannery and Norman Reedus) who find themselves turned from ordinary citizens in their Irish neighborhood in South Boston into vigilante heroes on a self-ordained mission of God to rid their neighborhood of the Russian Mob.

It starts when they get into a fistfight in their local bar and nearly end up getting killed by the mobsters who visited the bar, but instead end up killing the mobsters in the most inventive way imaginable. However, the duo believe that they are messengers of God's vengeance and go on a violent seek and destroy mission to get the head boss, teaming up with one of their closest friends (David Della Rocco).

Meanwhile, as the body count begins to rise, an FBI agent (Willem Dafoe) with a few eccentricities is assigned to the case and uses his unique way of reconstructing what happened at the crime scenes (which we vividly see in the flashbacks) in such a way that makes the team of CSI look more like grade school rookies.

As the two sides converge on the ultimate climax in the final battle to take down the boss, a third unexpected variable is thrown into the mix when (via flashback)a mysterious gunman with some tie to the Saints (I won't give it away)appears at one ot the crime scenes.

The film is definitely an amazing debut for director Troy Duffy, using actors who really make you feel the story and relationships (especailly Flannery and Reedus) as it progresses to the end and characters that (at times unintentionally) make you laugh out loud. And there are some scenes that are violent yet stylish and fun and one scene involving a cat and a gun that might stun some and make others bust a gut, and I know from personal experience when I saw this scene for the first time.

There are some rumors that a possible Boondock Saints 2 is in the works, and if so I'm definitely in to see it but hopefully it will be released to a much wider base than the original. But if you like a little vigilantism with a touch of dark humor, then you definitely have to get the Boondock Saints.

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Drive Me Crazy (1999)

Isn't it funny how some films don't quite fit their stereotypes? I settled down to watch Drive Me Crazy because I was in the mood to watch a mindless teen movie, and given that this film stars Melissa Joan Hart of Sabrina The Teen Witch fame, I was expecting really more of the same. It doesn't help that the beginning of the film reinforces the stereotype (complete with cheesy pop background music, neon-lit opening titles and slow pan across a typical teenage girl's bedroom followed by Melissa answering the phone in her best "a la Sabrina" perky voice).

What I encountered was a film that is still very much rooted in the teen "prom" genre, but is slightly deeper and sophisticated (as well as more ponderous and slow-moving) than I expected. It's quite a biting and penetrating observation of the high school social hierarchy as well as the conflicting emotions of young love. Think of it as a more serious version of Clueless with a dash of Dangerous Liaisons thrown in.

Nicole Maris (Melissa Joan Hart) is a pretty and popular girl at the Timothy Zonin High School (definitely in the "in" crowd) who is organising a big formal dance celebrating the centenary anniversary of her school. She has the hots for school basketball star Brad (Gabriel Carpenter) and hopes he will be her date for the dance.

Neighbour and fellow classmate Chase Hammon (Adrian Grenier) is on the other side of the school social stratum. Sporting a "rebel without a cause" attitude and a grungy appearance, he hangs out with nerdy Ray (Kris Park) and "Designated Dave" (Mark Webber) the latter so-nicknamed because he doesn't drink therefore he always chauffeurs the other kids when they are blind drunk and want to go back home after a party. At the beginning of the film, the three of them (masterminded by Chase) stage a prank involving putting coloured dye into the school sprinkler system which nearly gets them suspended.

Incidentally, Nicole and Chase used to be childhood friends but then grew apart into their different ways. Both have single parents (William Converse-Roberts as Mr. Hammond and Faye Grant as Mrs. Maris) as Chase's mum died of cancer and Nicole's father (Stephen Collins) is estranged. Their parents appear to be very "friendly" with each other, and later on in the film we find out why.

So, when Brad on the verge of asking Nicole to the centenary dance falls in love with a cheerleader instead (when he accidentally fell on her during a basketball game), and Chase's girlfriend Dulcie (Ali Larter) dumps him because she thinks he's too shallow (because she is into animal rights and he doesn't seem to be interested), Nicole and Chase strike an unholy deal they will pretend to be in a relationship with each other in an attempt to make their desired partners jealous.

Nicole gives Chase a Pygmalion-like makeover and suddenly it looks like their crazy plan may just succeed after all. Or will they fall in love with each other instead? And what about Nicole's best friend acid-tongued Alicia (Susan May Pratt) will she throw a spanner into the works?

The ending may be somewhat predictable, and yet the film as a whole seems to be more than the sum of its parts. The characters are reasonably fleshed out and have complex overtones to their personalities, and the dialogue is reasonably clever in places. However, overall I found the film to be somewhat slow-moving and uninvolving. The problem is, a romantic comedy with artistic pretensions can aspire to become a piece of serious drama, but an ambitious teen movie ends up looking awkward because let's face it what is the serious equivalent?

Incidentally, I think Melissa should really stop playing teen roles. She may still have the pert little body and a perky voice, but she is not as fresh-faced as she used to be and it would be nice to see her play her age for a change in a more substantial role.

I must admit right off the bat that I'm a sucker for these type of movies with the predictable, happy ending. However, I must also say that I truly believe this was a good movie because it both hit the mark with what high school can be like yet it was different from many of the recent high school flicks that have been made. It is different because neither character is chasing the other one and they are former friends rather than 2 people who know nothing of each other. Also, even though Melissa Joan Hart's character is the popular, perky one, Adrian Greiner's character is not your typical "loser" character nor would I classify him as a loser. He is not an academic nerd either, but a rebellious person who gets in some trouble. That being said, I do have some beefs with the movie. First, the "falling for each other" between Hart and Greiner doesn't develop as it should. It also bothered me that neither one says how/what they feel even at the end. The audience knows they are attracted to each other but they never say anything. Also, this movie really should have been longer so that the story could have developed more, again especially the relationship between Hart and Greiner. Still, a good movie overall and one worth seeing if you like romantic-comedies or this type of genre.

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I'm honestly not one to be a big fan of teenage movies, USUALLY. But...when I saw this movie I notcied that the world of teenage cinematic productions really DID have potential, can you imagine! Adrian Grenier is the cuuuutest, and Meslissa Joan Hart acually acts in this movie, hard to believe, but yes, she does! It has an interesting plot and is one I could watch over and over again. It is funny, smart, and witty. Never leaving you yawning this movie receives a 5 in my book! I would reccomend it to anyone!

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Britney sings the title track to this movie that Melissa Joan Hart satrs in.. relaly good teen flick

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Drive me Crazy on the surface is portrayed as a shallow,run-of-the-mill, simplistic movie.I also thought it would be this. But instead it is an eyopening web of complex emotions. Some of the beginning parts are questionable though (Chase goes from grunge-boy, to popular boyfriend in about 2 seconds with little instant remorse, or thought), but as the movie unfolds, it becomes something more. This is largely in part of the simple, yet true to the heart performances of the two leads, Adrian Grenier, who delicately portrays a teenager somewhere between a hurt child, and a noncomformist anti-hero, and Melissa Joan Hart believeably portraying a perky popular girl who has a slow change of heart about who she is and where she stands. As supporting characters ''Designated Dave'' is strongly played, showing acore of insecurity and hurt. BUt overall what makes the film worth seeing is the general feel of it. The simple, yet realistically portrayed wounds of hurt, insecurity, and inferiority that make the ''uncool'' kids try to be what they aren't. High school is finally realistically portrayed as a Nazi-like environment. As brutal as it seems, it really is. People get hurt, and suffer and are dehumanized in what is no less than a Nazi following of kids degrading each other. Hopefully other filmmakers will take the hint and start creating movies that are more true to life, instead of the upper-cut, simplistic movies they currently process.

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THE HOBBIT An Unexpected Journey COMBO PACK Blu Ray+DVD+Ultraviolet PLUS EXCLUSIVE Bilbo Baggins LE

Almost clicked the order button, but due to my love of the extended versions of the original trilogy, I decided to do a little research before I made that mistake. in doing so, I discovered that the Blue-Ray/DVD set for release on March 19th will contain only the theatrical version of the movie. Warner Bros is including a teaser trailer containing Dragon Smaug with this version in order to entice people to buy it. The extended version of 'The Hobbit: An Unexpected Journey' will be released in time for Christmas 2013. As with the Lord of the Rings Trilogy, Warner Bros. is trying to stick it to the consumer again by hoping people will buy both versions. Sorry, WB... I can wait another nine months. In the meantime, I'll rent a copy to satisfy my urge to see it sooner.

This movie is FREAKING AMAZING!!! I was getting really worried before going to see it because of some negative reviews, but there is nothing to worry about. If you loved the Lord of the Rings movies, especially the extended editions, then you will love The Hobbit too!

A little bit about me: I grew up on the animated movies, read the books when I was in sixth grade, and have reread them several times over the years. I'm a HUGE fan, but not a "purist", and saw each of the live action films several times in the theaters. I took a class on Tolkien in college (and knew more about the books than even the teacher lol), went to view the original manuscripts at Marquette University in Milwaukee twice, and borrowed most of the History of Middle Earth books from the library but just skimmed them. I'm pretty familiar with much of the appendices/deleted chapters/abandoned attempts at revising The Hobbit and sequelizing Lord of the Rings, etc.

I've been waiting for The Hobbit since 2003, and have been following the production online. When it was announced 5 months ago that Peter Jackson was splitting the story into 3 films (after already completing production on the 2-film adaptation), my heart sank. It's not that I was opposed to turning The Hobbit into a trilogy (despite that it's meant to be a children's story and not an epic), but I just didn't think there was enough story and it seemed like a cash grab that would probably destroy the pacing. But, Peter Jackson hasn't let me down before and so I held out hope. In fact the more I heard him talk about giving the dwarves a bit more character development and backstory and adding in all the stuff about the White Council, I began to look forward to it.

When a couple weeks ago reviews starting coming in saying that, as I had first feared, the movie dragged and the pacing was terrible, I prepared myself for disappointment. Even though hardcore fans on messageboards like theonering.net who had seen the movie early kept saying it was terrific, the negative reviews from professional critics kept coming in. The movie is "bloated" and "dull" and "misses the point", they said. And so I was VERY nervous going to see the movie this afternoon.

I'm pleased to say that not only is the movie incredible, but it's on par with the Lord of the Rings movies. I haven't felt this way about a movie since Fellowship of the Ring 10 years ago. I haven't been able to stop thinking about it all night, and I can't wait till I can go see it again. I sat in the theater for nearly three hours with the biggest grin on my face the entire time. The movie didn't feel bloated or stretched thin to me. I was worried that there would be all these scenes that went on too long or belonged on the cutting room floor, but I can't think of anything I would have left out. It was like watching the book acted out on the screen in front of me with really great acting, music, and production values.

The cinematography has really improved in the last 10 years! Wow this movie is beautifully shot! Howard Shore's music is once again great, though there are some little deletions and changes from the Original Soundtrack -the only one that really bugged me though was the use of the Nazgul theme over Thorin fighting Azog. There was better music there in the Original Soundtrack and changing it was a horrible decision.

I love the added stuff with the White Council/Necromancer. It's all there in Tolkien's appendices and in "Unfinished Tales", and (blasphemy for saying so) depending on how this continues to play out over the next two movies I may end up liking this even better than the book! Either the next film or the one after that will have the Battle of Dol Goldur and, from what I've heard, we will see Gandalf, Saruman, Radagast, and Galadriel battling werewolves and giant spiders as they try to drive out the Necromancer. I can just imagine how awesome that will be if Peter Jackson pulls it off!

And, yes, this felt to me like a complete movie. One of the reasons I originally hated the idea of a trilogy was I expected to feel short changed by only seeing a small fraction of the story and then having to wait another year. But I felt like there was plenty of story and they got into plenty of adventures.

My only nitpicks are few: I liked the design of the Great Goblin but I thought he acted way too cartoony. My other is there were a couple times where Bilbo and the dwarves fell from a height of like 500 feet and just got back up. They would have been killed. I also thought the character Azog was fine, but why did he have to be all CGI? Why couldn't it have been an actor in makeup like Lurtz in Fellowship of the Ring? Those are really my only nitpicks though.

As I sat in the theater I had a feeling like this is one of the best filmgoing experiences I've ever had. I had the same feeling watching Lord of the Rings. As someone who originally hated the idea of making this into a trilogy, now I say bring it on!!!

UPDATE: I got to see the movie in 48 frames per second (HFR 3D) yesterday. I had only seen it in regular 24fps 3D before. 24fps has been the standard for film since the Silent movie days. The Hobbit is the first movie to be shot at 48fps to give it a sharper look. Unfortunately the technology is new so only a few theaters are equipped to even show it at 48fps. Many of the reviewers were saying they hated it, that it looks like a BBC TV movie. I was still curious to give it a try because it's new technology and it's how Peter Jackson intended you to see the movie, but I didn't want it to distract from my first viewing if I ended up not liking it, so we saw the movie first at 24fps 3D.

Anyway, I liked it and I didn't think it looked "cheap" or like a "soap opera" at all. It looked really sharp and there were some parts where the people looked like they were really right in front of you. In addition to that, motion blur is completely gone now and I've heard from other people who get headaches from watching 3D movies that they were fine watching this one, thanks to the 48fps.

Peter Jackson has confirmed that there WILL be an extended edition dvd/blu ray like they did with the Lord of the Rings movies. So you may want to hold out from buying the theatrical dvd when it comes out and get the extended edition.

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Are you ready to return to middle-earth? Why wouldn't you be? Peter Jackson, with the "Lord of the Rings" trilogy, brought us to a place that many thought wasn't possible except in the written form. A product of many of our childhoods, J.R.R. Tolkien constructed an elaborate world of wizards, trolls, elves, dwarves, humans and most importantly Hobbits. It is an elaborately detailed world of maps, homelands, stories and adventures. It couldn't possibly be realized anywhere close to what J.R.R. Tolkien's imagination did. Yet, Jackson pulled it off better than anyone could have hoped. Now, he's trying again.

"The Hobbit" is a step backward into the history of middle-earth. It is quite simply the adventure that Bilbo Baggins takes that leads to him writing his book, "There and back again". Peter Jackson is trying to do the unthinkable with this trilogy, duplicate the magic he pulled off before. Much can be told from this first installment and whether or not the magic is still there.

The movie, filmed at twice frame-speed as traditional film (48 frames) has many geeks talking about how it will look too real. Ultimately, at 48 frames, it could look as crisp and real as a soap opera. Well, first of all, with a film like this, it takes a lot of guts to attempt such a thing; a movie with such obvious special effects and makeup. Yet, the opposite could also be achieved; a level of escapism and realism that not only delivers a quality movie experience, but also sucks you into a world that you don't want to leave.

Peter Jackson has learned a few things from his first trilogy and you can see it in "The Hobbit". This world is even more realized. The characters are more fleshed out. Richard Armitage's depiction of Thorin is full of heart and passion. The faithfulness to the book itself is even more realized. More importantly, the journey is even more colorful and creative.

"The Hobbit" is a lot of the same. It's another journey full of adventure and trolls, dwarves and orcs, but again, it is a quality journey. The escapism you feel in this film is like nothing I've ever felt before. When it was time to go, at the end of the film, I didn't want to go yet. I was there, I was in middle-earth, ready to take the journey ahead with Bilbo, Gandolff and the band of Dwarves. I didn't care about length or how long I had been sitting there, I was invested. That, is really all any movie can do.

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I have four words for you: Erebor, Thranduil, Rivendell, and Elrond. (In order of appearance, of course!)

This movie was absolutely gorgeous. Costumes, effects, design, everything was amazing. The Radagast sections didn't need to be quite so long but I do appreciate that PJ's trying to get the Dol Goldur/Necromancer bits in. Similarly, Galadriel's comments about Angmar and Rhudaur probably will be incomprehensible to the average watcher but they do hold a deeper significance. (Elrond's 'watchful peace' comment, anyone?)

You can tell where the scenes slow a bit in a more 'taking our sweet time telling the story' fashion but it does take some energy from the Lord of the Rings in its battle scenes. It is a fresher, younger look at the world of Middle-Earth between Morgoth and Sauron and the environments and attitudes of the characters reflect that. Each dwarf manages to be unique (Bofur turned out to be my favorite, honestly, for his frank oddness) and makes an impact, and McKellen and Freeman are fantastic. There's a very Arthur Dent air about Bilbo, but it works wonderfully.

I hadn't expected Thranduil in this movie, so his appearance nearly sent me into a faint.

This is a MUST SEE.

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I put off seeing the Hobbit movie in part because I read all of the critics' reviews of it. You may know what they said: too slow-paced, too stodgily faithful to the book, overwhelmed by extraneous material thrown in, just plain silly, and just not up to the prequel-sequel. Now that I've taken in a matinée of the movie, I have to ask this question:

What movie did the critics watch?

The Hobbit: An Unexpected Journey (TH:AUJ) was the most fun that I've had at the theater in a long time. Yes, folks, I did use the f-word just now. Let me use it again: fun, fun, fun! I won't say that the first Hobbit movie was better than the Lord of the Rings (LOTR) trilogy, but I will say that it was more fun.

As a book, The Hobbit presented a challenge for being filmed: it's both a children's book and the prequel to The Lord of the Rings, the acme of high fantasy. Given such a source, a movie based on The Hobbit had to combine whimsy with high adventure without letting either overwhelm the other.

I'm here to say that Peter Jackson rose gloriously to the challenge. I fell in love with TH:AUJ from its introduction, intercutting bucolic scenes from the Shire on the eve of Bilbo Baggins's one hundred and eleventh birthday with majestic, marvelous, and tragic scenes of the Mannish trade center of Dale and the Dwarf Kingdom of Erebor, the Lonely Mountain. These scenes showed all of the loving attention to detail of the LOTR movies and beautifully set the scene for a sixty-year's younger Bilbo's adventures.

In the inimitable "perfectly faithful to the book, which I'm completely rewriting" Peter Jackson style, he pitchforks us moviegoers next into Bilbo's meeting with the wandering wizard Gandalf and with thirteen Dwarves led by the obsessive Thorin Oakenshield, heir to the lost kingdom of Erebor. Jackson captures beautifully the mirth and mayhem of Bilbo's unexpected dinner party as well as the dark drama behind Thorin's quest, on which the reluctant Bilbo is supposed to go as a burglar.

Soon, Bilbo is running out his front door without a handkerchief, and he and we are off on an adventure that won't let up. Some critics complain that each scene TH:AUJ is longer than scenes were in the LOTR trilogy, but what the critics call a fault, I call a virtue: we have a chance to see a whole storyline play out rather than watching telescoped bits and pieces of scenes that we got in the trilogy. The pace and the flow of TH:AUJ made it seem to me far shorter than its two hours and forty some-odd minutes of running time. For me, the movie never slowed down.

Parts of TH:AUJ are over the top, but, more often than not, gloriously so. I found Sylvester McCoy's portrayal of Radagast the Brown -a portrayal in which he largely reprises his take on Dr. Who -far less intrusive than critics have made it out to be. Even his rabbit-drawn sleigh had a mad logic to it. As for mad logic, the battle in the halls of the Great Goblin under the Misty Mountains won't be believed, but may well just be enjoyed.

Between scenes of adventure, there are scenes of Elvish wonders and of Middle-Earth's beauty that will bring tears of joy to Tolkienphiles' eyes. At its best, TH:AUJ is a visual extravaganza that makes the prequel-sequel look drab.

TH:AUJ goes only through chapter seven of The Hobbit. Purists may sniff at the enhanced role given to Bilbo in the movie compared with what he played in that part of the book, in which he was mainly baggage. My response is, "Hey, the enhanced role works!" Along with it, you get to see Gollum, as scene-stealing as ever,and even glimpses of the dragon Smaug, who must carry the next movie, and looks as if he'll do so with style.

I'll be the first to admit that TH:AUJ isn't as respectable as the LOTR trilogy. On the other hand, as Bilbo Baggins learns, it's not until you give up being respectable that you have adventures.

South Pacific (1958)

I first saw South Pacific when it was released in 1958 at the age of 10, and remember being totally overwhelmed by the orchestrations, performances and photography. Over the years I have regularly heard the film trashed by critics and many members of the public, so I was curious to see how I would respond to it now when I recently bought the video. Well, maybe it's just me, but I found the film as thrilling and beautiful as I did forty years ago. I agree with everyone else that it was a mistake to use those colored filters in many of the sequences, but the film still packs a heck of an emotional whallop, and I think along with The King and I stands out as the most successful of the Rogers and Hammerstein shows put on film. The weakest of the cast is John Kerr, who is somewhat wooden; however, Juanita Hall is magnificent as Bloody Mary (she will never be surpassed in the role she createwd on Braodway), Rossano Brazzi is thoroghly convincing as Emille DeBeque (even if he was dubbed by Giorgio Tozzi), and Mitzi Gaynor gives an unforgettable performance as Nelly Forbrush. Of all of the criticism one hears of South Pacific, to me the most puzzling is the bashing of Mitzi Gaynor, who to me is not only excellent but perfection in the role. I realize a lot of this probably stems from anger that Mary Martin didn't get the role and is basically sour grapes, but the fact is Ms. Martin was too old to be convincing in 1958. The scenes in which Ms. Gaynor struggles with her small-town prejudices are moving and very real, and when Bloody Mary brings Liat to her to find Lieutenant Cable, who has been killed, it breaks one's heart. Anyway, the movie still knocks me out, even if that makes me, as Nelly Forbrush calls herself, a "knucklehead." The incredible photography, gorgeous music, and theme of the need to triumph over bigotry which is still so relevant even today, makes this film a 5-star winner in my book. As trite as it sounds, "They don't make 'em like that anymore!"

This brand new edition of SOUTH PACIFIC is a must for all fans of the beloved Rodgers and Hammerstein classic. Based on characters and segments from James Michener's "Tales of the South Pacific", the story takes place on the islands during the tail-end of World War II. A pretty young nurse from Arkansas, Ensign Nellie Forbush (Mitzi Gaynor), falls in love with a wealthy French plantation owner Emile de Becque (Rossano Brazzi). Their relationship is tested when she discovers that he fathered two children with a now-dead Polynesian wife, and that he is wanted for the murder of a man in France. As Nellie confronts her own fears and prejudices, the handsome Lt. Joe Cable (John Kerr) falls helplessly in love with Bali Ha'i island beauty Liat (France Nuyen). Filling out the comedy in the tale are Bloody Mary (Juanita Hall), the wheeler-dealer with a heart of pure gold; and Luther Billis (Ray Walston), the tattooed leader of the beach-bound troops.

This DVD has been available for a while in the UK and Australia, and now finally gets a US release this November. The double-disc set includes two versions of the film: the original theatrical cut, and the rarely-seen Roadshow version which runs for 20 minutes longer with material that was subsequently trimmed for the film's general theatrical release. Audio commentary is provided by Ted Chapin and Gerard Alessandrini (original theatrical cut); and Richard Barrios (Roadshow version).

Extra features will include the fascinating "60 Minutes" report by Diane Sawyer with James Michener returning to the islands and reuniting with people that served as the inspirations for characters in the book...including the real Bloody Mary. Vintage performances from the "General Foods" Rodgers & Hammerstein TV tribute (original Broadway leads Mary Martin and Ezio Pinza), two MovieTone news segments and the trailer.

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With the world a little shaky now, it's a real pleasure to be able to put on a DVD and take a trip down memory lane to 1958 when South Pacific was released in movie theaters. The Rogers and Hammerstein score sets the tone for this musical adaptation of the Broadway show that was based on Tales of the South Pacific" by James Mitchener.

The story is set on an island in the South Pacific during WW2. The Japanese are entrenched in a nearby island and are bombing American forces that go near, but life is sweet for the G.I.s at the naval base. Mitzi Gaynor, cast as a nurse, is beginning a romance with an older distinguished French planter played by Rossano Brazzi. John Kerr is a young lieutenant who comes to the island to convince the planter to risk his life to spy for the Americans. And Juanita hall is the older native woman who pushes her daughter, the lovely France Nuyen, at John Kerr. The music is excellent and the words of the songs really do move the story along.

The theme however, is more than a love story. It deals with racism and the tragedy of war too. And these themes are what held it all together for me. It's a great human statement surrounded by wonderful familiar melodies that I'm still humming this morning. I loved it. And I didn't even care that, with the exception of Rossano Brazzi and Ray Walston, whose role as a sailor who always has a scheme and adds some really funny comic relief to this tale of love and war, the acting in general was mediocre. Everyone else gave rather stilted performances, and Mitzi Gaynor might be pretty, but she can't quite show a wide range of emotion. Also, the songs were all dubbed and obviously so. But that was the way Hollywood did things in those days. It's also interesting to note what the standard for beauty was in 1958. With the exception of the dancers, it was youth alone and not workouts in the gym that shaped the actors' bodies. Narrow waists were in style for the women, but hips were allowed to flare naturally.

I loved South Pacific in spite of its few faults. It was great entertainment even though it didn't make me forget the prospect of war. If you've never seen this film, don't miss it. And if you've seen it before, it's certainly worth a revisit. Highly recommended.

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Over the decades, I've seen this film many, many times -on TV, on VHS, on laserdisc. Each time I saw it, I wanted it to be a bit more than it was:

-I've always wished I could appreciate the performance of Ray Walston as Luther Billis, because all of his scenes were pure ham, and he seemed to ruin all the scenes he was in.

-I have always wished "I'm Gonna Wash That Man Right Outta My Hair" was as complete in the film as it is on the RCA soundtrack recording (I'll tackle this now -experts at the studio maintain that the complete version never made any final cut of the film).

-I've always wished I could see the film as originally assembled and premiered.

-I have always wished Alfred Newman's scoring -brilliant though it is in all the cuts I'd seen of the film -offered a bit more Newman flair.

And now, I'm extremely gratified to say, my wishes have nearly all come true.

This restoration print is phenomenal. Yes there are some washed-out scenes, but I don't care. They are finally back where they belong. This roadshow restoration was printed from a Todd-AO master negative and is a considerably DIFFERENT film from the one most of us have been exposed to the past 49 years.

The print is magnificent, clear and in many ways looks better than most new films look today.

This roadshow version resonates for me in ways that the theatrical cut never did. Time and again, the music set my heart racing, my pulse throbbing, and my senses went into overload.

This film is a visual and aural feast. It's also now my favorite film musical EVER!

Color filters? Bah! Get over 'em! I read somewhere that cinematographer Leon Shamroy wanted them for the purpose of achieving/enhancing emotional responses to scenes. Other sources say it was director Joshua Logan who insisted on using them, primarily because he had experimented with such things in the Broadway production. I know many responses have been sheer hatred/disdain for all the filters, but I love many of them. Those I don't I ignore.

I've read/heard a lot of hoo-haw about the casting of Nellie Forbush (including the highly negative and wishy-washy commentary by Richard Barrios, a film historian whose commentary is replete with "people" have said -"many people", "some people", "people", "a friend", "someone"...all in the negative...and always attributing his negativity to unnamed others. He seemingly owns nothing he says, but doesn't mind repeating what he has heard. This depletes him of any sort of authority on the subject. It's unfathomable to me that a studio would afflict a restoration of one of its most profitable movies with such absurd negativity...especially given the film's many admirers).

Much has been discussed about why Mary Martin and Ezio Pinza did not recreate their roles. One of the features on the second disc will show you why -check out the numbers performed in that 1954 Rodgers and Hammerstein TV tribute (three years before filming began on the movie version). Martin looks to be somewhere in her 40s (she was 51)...and matronly plump -and Pinza (who was 62) looks terrible (and totally unromantic-leadish). You can get away with a lot on stage, but you cannot hide such things on camera. I doubt that Martin was EVER considered for the role. And Pinza died in 1957.

Mary Martin was a great, shining star of the Broadway musical theater. She had a lightly raspy singing voice that she invested with great emotional nuance and feeling. I am a huge fan of Martin's and mean her no disrespect in my observations above.

Barrios maintains that Mitzi Gaynor's voice was not in Martin's league. I'm not sure what he means by that because to my ears, Gaynor's voice is leagues better than Martin's in quality and range. He may be saying he felt Martin's intepretation of the songs was better (and he comes off as one of those somewhat snooty theatrical drama mavens for whom nothing translated to the screen from the theater will ever be good enough, but I disagree with virtually everything that comes out of his mouth on the commentary so I won't mention him again).

There is talk that Elizabeth Taylor was a candidate. What a blessing THAT never happened.

The other great "sigh-in-the-sky" complaint is that Doris Day would have been perfect as Nellie but that she turned off Joshua Logan at a party one night when she refused to get up and sing for guests. I'd always heard she refused to audition for Richard Rodgers.

At any rate...I certainly cannot imagine Doris Day, with her all-too-familiar mannerisms, as Nellie Forbush in "South Pacific." I know she had the look, but I think Gaynor was by far the best choice of those considered for the role.

Many will strongly disagree. And many of those will be the same folks who still bemoan the loss of Frank Sinatra as Billy Bigelow in "Carousel." The visual imagery of that casting still induces giggles. That slight, skinny man wearing a barker's cap and being a rugged barker on a carousel? I think Hollywood dodged a HUGE misfire when he walked out on that film.

Watch Gaynor's performance closely in this roadshow version -she is luminous, she is restrained, she is exuberant. She is up to the task in every scene and pulls off some incredibly difficult scenes with great dramatic effect. Her vocals are magnificent.

And the huge surprise for me: Ray Walston is wonderful as Luther Billis. They restored much footage of him ...much of what was missing was character development and nuances. In the cut version we saw only the more hyper/extreme elements of his performance. This restored Luther Billis is terrific, and Walston owns the role!

Being a film music fan of many, many decades (!), I have to say that it's always the music that counts most for me in any musical (not to mention any other kind of film), but "South Pacific" is Alfred Newman's masterpiece. He took a classic Broadway score and made it shine more gloriously than it had ever shone before. It's thrilling beyond words to have Newman's original scoring returned to the film...many glorious flourishes pop up frequently to great effect...the entire segments like Cable's walk through the jungle of Bali Ha'i with Bloody Mary -an entire chunk of film with an entire chunk of original music restored (the Newman scoring of this chunk brings to mind the opening music in the vision sequence in "The Song of Bernadette", but with exotic colorings employed rather than religious ones). Newman's work set a standard that has never been remotely approached by anyone but Newman himself (in "Camelot"). The choral direction of Ken Darby, Newman's right hand man, is inspired. "Bali Hai'" never had a presentation on Broadway like the one in the film. On stage, it's anothe great song, but on film it becomes magic.

I cannot recommend the restored roadshow version of "South Pacific" more highly. See it (and IGNORE ENTIRELY the accompanying commentary).

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Beware all those South Pacific fans....the best version ever to be released on DVD is on its way. For reasons no one seems to know America is the last country in the world to see the 2 disc edition of this classic movie musical. Writing from Australia where the special 2 disc edition has been available for some time, my suggestion is to wait for the real thing --it is worth it. The early edition which is the only one available on American Amazon is and has always been poorly adapted to DVD. The new version is finally 16.9 widescreen version and, wait for it, there are two versions and the second one is superior in that it is the complete 171 minute version of the film, uncut at last with scenes just about nobody (unless you were privy to the original roadshow screenings in the fifties in the States)has seen. You will see things that always seemed peculiar to me suddenly make sense (although, strangely the uncut version of "Wash that Man" remains lost, now probably forever)But this is a real treat and add twenty minutes from the Ford Tv special starring the original Broadway casts, two expert audio commentaries on both versions and a 60 minutes special on James Michener returning to the islands one more time and you have something worth waiting for......IF it ever gets a release in the States that is..!!!!

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