Our Hospitality: ULTIMATE EDITION (1923)

For some reason this film is less well-known than a lot of Buster Keaton's others...yet I find it a lot more satisfying than something like Steamboat Bill, Jr. or even Sherlock Jr.! It's got his fixation with trains in the first act, a very fun depiction of old narrow-gauge trains that, like most historical depictions in Keaton films, is based on actual accurate history (exaggerated for comic effect). It's got great comedy and suspense in the main plot, which involves Buster inadvertently stumbling into the home of a family, after falling for the girl who lives there, who are the Hatfields to his family's McCoys (or is that the other way around?), and relying on the family's strict Southern Hospitality rules to keep himself from being shot. Of course, if you know much about Keaton you probably already know this film, but if you've just seen a little, this is one of his best.

As for the Blu-Ray: the main musical option is the Thames Silents score by Carl Davis. This alone is reason to get this edition...his scores for this, Keaton's The General, and other silent era films are among the best...fun, tuneful, entirely appropriate yet exciting and never falling into hackneyed contrivances. The transfer is decent...a little more money might have allowed cleaning up the title cards, where the tiny and dense scratches of this print (not as pristine as the one used for Kino's The General Blu-Ray) are very obvious and kind of distracting over the black title card backgrounds. But luckily they don't really show up much in the actual scenes. The transfer is at 1080i from reading around online that seems to be because this HD transfer was done a few years back before they'd decided 1080p was the way to go for releases, not for any reasons relating to frame rate or anything like that. But again, I'm sure money wouldn't allow a new HD transfer, and I doubt anyone could tell by watching it that it wasn't 1080p...it looks fine to me.

The extras are interesting and worth watching. One extra that needs a slight disclaimer is the unreleased earlier test version, "Hospitality," which seems to be a test cut with mostly just the dramatic scenes, speculation being that Keaton wanted to see if they played before adding in the funny business. It's a nice historical artifact to have, but the print is a very poor reduction print of an original which had suffered major nitrate damage. So, it's historically of interest and I'm glad it's on here, but it would take a fairly obsessed Keaton fan to actually watch more than a few minutes of it.

So: if you are at all a fan of Keaton, or of silent comedy in general, or you think you might be, make sure to snap this up and help assure that the rest of Keaton's library is financially worth putting out in HD! I keep mentioning finances, but silents aren't exactly big sellers, so you take what you can get, and overall this is a great release! If only some Spielberg-type would spend a couple bucks and pay for a fancy restoration/clean-up of one of these historic and still-entertaining films. Oh well.

PS: Yes, silent films can look great in HD! Film's resolution, even back then, was/is much higher than 1080p. This print isn't as wonderful as the one used for The General, but it's still quite an improvement over previous versions and is worth seeing in HD. Plus, Keaton (and other silent era filmmakers) worked in a purely visual medium seeing a detailed, quality image is definitely worth it!

The picture quality of this film is superb, even better for that it is in HD. The Carl Davis score creates such a beautiful and climatic mood which this film requires. The extras are fantastic and the the film itself I have always enjoyed, but now with the Carl Davis score and the beautiful way it has been presented now shoots up amongst my favourite Keaton movies.

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OUR HOSPITALITY (writ./dir. Buster Keaton, 1923, 73 minutes) is another favorite of mine given to us by the immortal Buster Keaton. I rank this with his The General (The Ultimate Two-Disc Edition) and Our Hospitality/Sherlock, Jr. (I recommend this awesome two-fer DVD set). HOSPITALITY is BK's first great feature-length film, though he had already done a couple of them.

Set in the Antebellum South (1830, Keaton was impossibly ahead of his time making this period authentic-looking) Buster plays Willie McKay, a New York-bred unwilling member of the old Canfield-McKay feud. (Yes, loosely based on the Hatfield-McCoy feud that really lasted only a few years.)

Returning to Kentucky to claim his inheritance (an "estate" that will make you howl with laughter when you see it), Willie soon falls right into the arms of the waiting Canfields. They are, of course, waiting to kill him. Luckily for him he is already sweet on the young Canfield girl (played by his 1st wife Natalie Talmage Keaton) and this will save him later. Uniquely, Buster's son Buster, Jr., plays him at age 1.

There is a waterfall scene in this, and all I'll tell you is Keaton designed and had built the entire thing on one of his lots. Goes to show you, alongside works like THE GENERAL, what Keaton was capable of achieving. You will marvel at Keaton's partly rebuilt, partly restored Stephenson's Rocket locomotive ... and yes, they really did ride those once upon a time.

Another bittersweet detail: Joe Roberts (Old Man Canfield), a dear friend and traditional heavy in Keaton's films, suffered a heart attack while filming. He insisted on returning to finish the film and died very shortly after they wrapped. Keaton's films are filled with disasters, hair-raising, realistic and funny as hell. Just as often they are filled with tragedies: in this film, along with Roberts' heart attack, Keaton was brutally carried off by water and almost drowned. The scene remains in the film.

While this does not have the accolades of THE GENERAL (then again, how could it), no one can miss watching it. Here for the first time, Keaton experiments fully with his signature lighting, model sets and daring camera shots. The acting is refreshing and surprising: everyone seems extremely realistic except for good old Roberts, bless him. Once in a while Keaton had to have the Old Schoolers in there too. Although it certainly does not quite reach the heights of THE GENERAL, this is Buster Keaton at his prime!

How can anyone remotely interested in film miss this?!

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Our Hospitality (1923) was Buster Keaton`s first true feature film. Keaton's previous "feature," Three Ages (1923) was actually three short films assembled together. There was both an artistic and a commercial reason for this: Three Ages was a parody of the similarly structured D.W. Griffith feature Intolerance (1916). Additionally, Keaton had proved his audience appeal in shorts. Metro Pictures realized the inherent risk of a Keaton feature, and the structure of Three Ages created the option of breaking it down into three shorts. Fortunately for all concerned, Three Ages was a commercial and critical success.

Our Hospitality may be seen, in retrospect, as a model for Keaton's features and a precursor to The General (1926). What separates Keaton from his peers (Chaplin, Lloyd, Langdon) is the way his character integrates into a larger narrative. That is not to say that Keaton's films are not character driven, but the character serves the narrative, not vice versa.

Our Hospitality opens with a prologue of the ongoing feud between the Canfields and the McKays. A young Canfield and the McKay patriarch are killed in a rainy shoot out at night. To avoid the curse of the feud and further bloodshed, the McKay widow takes her infant son, Willie, and sends him north to New York. Meanwhile, the Canfields swear revenge.

Twenty years later, Willie (Keaton) is the personification of a 19th century New York Yankee, adorned in a dandified suit. His mother has since passed away when Willie learns he has inherited his father's estate. Imagining a southern mansion waiting in the wings, Willie hops onto the next train like a salmon returning to its birthplace. Before departing, he is warned by his guardian to stay clear of the Canfields.

The trip south foreshadows the archaic world Willie is about to enter. The train itself is primitive and, naturally, encounters numerous mishaps along the way. Luckily for Willie, the ordeal is made bearable because his fellow passenger is a pretty girl (Natalie Talmadge, the first Mrs. Keaton). Unfortunately, Willie's spawning choice here, unknown to him, is a Canfield daughter.

There are numerous aquatic metaphors. Willie stands apart from his fellows, like a fish out of water, with city clicker suit and queer umbrella. While fishing, he catches a minnow, throws it back, and then gets pulled into the water by a bigger fish. Willie's mansion turns out to be a dilapidated shack and he unwittingly finds himself in the home of his sworn enemies. True to Southern hospitality, the Canfields vow not kill Willie while he is a guest in their home. When Willie learns of this, he naturally tries to remain a permanent houseguest. Almost forced out, Willie is saved from leaving by the sudden appearance of a heavy downpour. A dam blows up, nearly drowning Willie, but it also safely conceals Willie from his predators, the Canfield boys. In a reversal of the fishing line, Willie is tied, by rope, to a Canfield son. Both get hauled into the water. A descent into the rapids brings further peril, as does a waterfall. Willie dangles over the waterfall like that salmon on a line. Yet, it is the waterfall which unites Willie with his girl, allowing him to spawn.

Our Hospitality is replete with inventive sight gags (a tunnel is cut to fit the train, a horse's rear-end is disguised as Willie in drag), but it's really a sophisticated, yet simple retelling of the Romeo and Juliet narrative.

* My review was originally published at 366 weird movies.

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This is great film! Clever and imaginative, featuring wonderful sight gags and stunts that astonish and confound the imagination. Be careful not to pre-judge this edition from the version now available on Netflix streaming that used to have the same music. That music may be more contemporaneous with 1923, but is barely adequate compared with the music here. Written by Carl Davis, the score fulfils the potential of Our Hospitality to be a wondrous experience to treasure and to share!

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A Little Bit of Heaven (2011)

Without revealing any real spoilers I have to say...

I'm not much for the "Chick Flick"/romance genre, but this movie wowed me.

Kate Hudson put in a performance of such quality, that I haven't seen from her since "How to Lose a Guy in 10 Days". She starts out fun and flirty with a bit of despicable mixed in. Then her character moved me to a bit of hatred for the treatment she issued to her family and friends. Then towards the end she made me fall in love with her character and almost come to tears for her predicament.

There's a lot of teaching, learning and cameraderie throughout the movie. There are laughs shared and tears shed between the characters. Every single moment within the movie feels genuine, and I can genuinely see myself or anybody else going through the same phases if faced with a similar situation. I honestly wouldn't be surprised to find out that this was based on a true life story(don't remember seeing that stated anywhere in the movie though).

This movie has sufficient humor to be a comedy, sufficient grief to be a tragedy and just enough love to be a romance that doesn't make you nauseous. There is only one truly over the top moment in the movie, but it's at the end. The biggest tragedy is this movie will only be in limited release at a few theatres just weeks before the DVD comes out.

If you are looking for a good combination of laughter and real life human drama with the spice of true love this is the movie. A fenomenal cast, Gael Garcia is a perfect cast for it, his crying is so passionate and sincere. Kate Hudson is a spectacular romatic gender actress. It's a light and sensitive movie about what it takes to come to peace with yourself when your time is up.

Positively recommend it.

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At the advertising agency Marley is asked if she is losing weight, a question that drives Marley to the doctor. Her new physician is Dr. Julian Goldstein (Gael García Bernal), a handsome but shy and dedicated young man who examines Marley and sedates her for colonoscopy: while Marley is under medication she dreams of being in heaven next to God (Whoopi Goldberg) who tells her she is dying and gives her three wishes Marley chooses a million dollars, a chance to fly, and to find love. Upon awakening she is informed she has extensive colon cancer and Dr. Goldstein suggests she see a Dr. Sanders (Alan Dale) who offers her two choices extensive chemotherapy or death. Marley chooses the former and from there she begins to alter her relationships with everyone around her. She gradually falls in love with Dr. Goldstein, confronts her parents and friends with her news, and the manner in which they accept her fate is where the film alters to a tender heart-warming gentle string of events that should be seen instead of read.

It is so rewarding to see Kate Hudson expand her acting talent into a serious role and she manages to find that perfect balance between the lighthearted personality we all recognize and the empathetic and vulnerable woman she becomes. Gael García Bernal assumes a new type of role and is completely charming and loveable. There is a fine cameo by Peter Dinklage a Special Escort hired by neighbor Peter to give Marley `a little bit of heaven' and Kathy Bates, Lucy Punch, and Romany Malco are particularly fine. This film will likely bring a few tears to the viewer's eyes, but those releases of emotion just make us feel better about life. Despite the few over the edge silly parts in the film this is a solid little gem that should find an appreciative audience when it reaches the theaters. Grady Harp, April 12

Read Best Reviews of A Little Bit of Heaven (2011) Here

kate hudson is amazing in this story....such a beautiful movie. Funny as she usually is but with a different twist this time. Please take the time to watch this movie you will not regret it. Awesome cast

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The reviews run from almost zero to stellar responses. some reviewers reference folks they know who have one form of cancer or another[all cancers are NOT the same!],and how the script doesn't accurately portray the real struggle[s] as they see it through the eyes of friends,etc. or from reading books, watching documentaries,etc. this is a movie, folks, and so saying Hollywood sold out is kinda surprising to me; i halfway anticipate a 'sell-out' anytime hollywood tackles subjects such as cancer..as a person living with two last-stage lymphomas, i could if so desired pick apart its fragmented nature, or the plot holes, or a number of other things, e.g., underdeveloped character. played by Gael Bernal Garcia, Treat Williams,etc. but that would be picking and missing the point at least in the opinion of someone living with end-stage disease[s]. what i got from the movie, aside from ms. hudson's extraordinary performance, was that for some[?] or many[?] of us it often takes something, some kind of life shattering/life-threatening event to wake us up and out of our daily robotic way[s] of living and focus perhaps for the first time ever on what's REALLY important!! and it brilliantly shows the difficulties faced by the patient her or himself as to how to communicate with friends/family so as to not burden them while simultaneously informing them of your feelings, and also trying to care about their feelings too which is an ENORMOUS undertaking....and unless one is a patient, you just ain't gonna get it....so the messages contained in this yes less than ideal movie are critical and crucial IN EVERYONE'S LIFE, NOT JUST THOSE WITH LIFE-THREATENING ILLNESS!!! WAKE UP BEFORE IT WELL MIGHT BE TOO LATE!!!

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Mimic (The Director's Cut) (1997)

"Life finds a way." Ian Malcom, "Jurassic Park"

This famous line from Steven Speilberg's dinosaur adventure has become a popular lesson of many science fiction films today. "Mimic," a film in which genetically altered insects become something never intended, is no exception to this particular lesson; in fact, the movie uses it to its advantage on numerous occasions, that, and some very sophisticated special effects and filmmaking techniques. Mexican director Guillermo del Toro, who directed "Cronos," turns what is a basic nature-gone-mad movie into something more terrifying, more chilling, and more suspenseful than anything we've ever seen done before.

That's not to say that "Mimic" is as fresh as a spring breeze. There are elements at work in the film that are all too familiar if you know your science fiction well. There's the obligatory explanation for the havoc surrounding the central characters, scenes involving them being trapped somewhere beyond any help, and a hero in the group that will devise all the plans for escape and the way in which to kill their opponent. But under a new premise, and some very strikingly intense moments, "Mimic" makes the old seem new again.

The hero (or heroine, in this case) is Dr. Susan Tyler (Mira Sorvino), who is called upon by the city of New York to find a cure for a fatal disease striking the city's children. Along with husband Peter Mann (Jeremy Northam), they create a genetically altered breed of insect (revealed as a cross between a cockroach and a praying mantis) to wipe out the disease-infested cockroaches underneath the city.

Of course, the bugs, named the "Judas" breed, were altered in ways that left them with a short life expectancy of only six months, plus a sterile female so that no mating will take place. But, after three years have passed, Susan encounters a bug closely resembling the "Judas" breed insects, and it becomes apparent to her that they have survived.

How did they survive? The movie never explains it, which is best; it's better left as a mystery. It also leaves room for the ensuing action sequences, as Susan and Peter, along with a police officer (Charles Dutton), make their way into the underground subways and abandoned facilities beneath the city streets.

This is where things get really interesting, as del Toro works his magic on us. A simple scene in which Susan attempts to retrieve a flashlight by sticking her hand in a dark hole is full of suspense, while a claustrophobic intensity permeates sequences involving an abandoned subway car where the group seeks refuge from their predators. Accompanying all of this is a heightened sensory perception. Del Toro toys with shadow and light, along with sight and sound, to add an atmospheric feel to each setting. Not since "Seven" have I seen a film that uses this technique so masterfully.

And the message behind it all? It's one we're well familiarized with, that playing God gets us nowhere. Sure, Susan's intentions were in the right place, and we even understand her reasons after an early shot of her in a hospital ward filled with sick children. I think the general theme behind all of the mayhem is not one of toying with science, but one on the many ways that life can change, and evolve into something previously unknown.

"Mimic" has a good cast in its favor. Mira Sorvino shines in a role that differs from others roles of her career, such as "Mighty Aphrodite." But she proves herself able to play a convincing character in any situation. Jeremy Northam is the last person you'd expect to see running through tunnels and putting himself in dangerous situations, but he pulls it off. F. Murray Abraham makes an appearance as Susan's mentor, Dr. Gates, playing the well-educated man to perfection, while Charles Dutton is superbly comical and heroic as Leonard, the police officer.

"Mimic" is a dazzlingly intense adventure that is genuinely suspenseful and totally entertaining. It's ability to tighten the intensity surrounding its sequence of events is a trait rare to this genre, as is its ability to bring us into the atmosphere of the film's murky settings. Del Toro has fashioned a new evolution of sci-fi out of old-school tricks; I highly recommend this film.

I enjoy "Mimic," the movie. I have owned it on VHS, DVD, and now on this nice Director's Cut Blu Ray (Best Buy started selling the Blu Ray on September 6 . . . everyone else will have it on September 27). I am happy with my purchase and I will keep my Blu Ray of "Mimic" because the movie is kind of awesome in that science gone wrong giant bug sort of way.

My three stars for this review are strictly based off of the fact that this Blu Ray release is marketed as a Director's Cut and every single movie website, fan site, movie reviewer site (I think you are getting my drift) has been overjoyed in the fact that Guillermo Del Toro is finally given the chance to "reclaim" "Mimic." There is this whole back story involving executive producers, movie studio big wigs, and creative differences that plagued the development of "Mimic" (It is one of those typical Hollywood stories). It became such a problem, that Del Toro believed "Mimic" was not really his movie, he lost control of it, and did not like the outcome this is all pretty much stated within the new "Reclaiming Mimic" featurette found on the Blu Ray. With a back story such as this, yes, people should be excited for a Director's Cut . . . Del Toro finally gets to reinstate his vision or, at least, what's left of it being that he cannot go back and re-shoot the movie. But, as stated in the "Reclaiming Mimic" featurette, Del Toro is finally happy with the movie's Director's Cut. Without re-shooting the entire film, this is the cut of the movie Del Toro wants the audience to experience.

See, there's a lot of hype. Del Toro did not like the original cut, but is more than happy with his own cut. The studio was too hands on the first time around and completely changed his vision. With all of this promise behind Del Toro reinstating his vision, to me, I was somewhat just disappointed when the movie really wasn't all that . . . different.

(Vague spoilers below . . .)

The action remains the same. There is no alternate ending. There are more character scenes, which are always made to make you feel more for the characters' situations, but . . . I already felt for the characters. So the scenes did not make me "feel more" about them because I already liked them (originally). There are scenes which help to fill in some of the timeline of the narrative and I enjoyed those because they filled in some of the gaps. But again, it doesn't make "Mimic" the Director's Cut a wholly different experience. And that is why this Director's Cut is disappointing and a little bit over-hyped. With all the problems happening behind the scenes of the original, this Director's Cut had a lot of weight behind it, but, if this is all the Director's Cut is, it makes me wonder why exactly Del Toro didn't like the original movie because his vision is really not all that different from what the studio saw.

(Ok, so this review is getting long and I'm going to wrap it up.)

My final word on the subject is this: Buy this movie in order to have a good science versus nature movie on Blu Ray, but do not expect the "Director's Cut" to be a miracle or even all that different, because it is not.

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A terrific if flawed fantasy/horror film, "Mimic" suffered from studio interference as the film was taken away from Guillermo Del Toro prior to release and recut. In the wake of his success with "Pan's Labrynith", Del Toro was given the opportunity to recut the film, alter the pacing and tone of the film to reflect as much of his original vision as possible and that included reinstating some scenes cut prior to release.

Unfortunately, the meddling began well before the film went before cameras and the pre-production screenplay truly represents the "Director's Cut" of the film but, sadly, that film was never shot. As it stands though "Mimic" is still a terrific fantasy/horror/thriller even if it isn't what he had originally hoped for.

Shot for less than $8 million the film did decent business at the box office (well enough to inspire two sequels that Del Toro wasn't involved in)making $25 million. This new Blu-ray release sparkles with a sharp, nice looking transfer. The film has always looked dark and the Blu-ray gives this film the visual depth that it has always needed and this is a much needed upgrade from the rather murky looking DVD released in 1998.

The presentation isn't perfect however but it still looks exceptionally good particularly compared to what has come before and kudos must be given to Lion's Gate for allowing Del Toro the opportunity to return to this film and improve it. The film has always looked quite grainy and the Blu-ray remains true to the "look" of Del Toro's conception.

Special features include an introduction from Del Toro and a commentary track where the director discusses the challenges he faced making the film from pre to post-production. We also get a fine featuette on the creature design and "Reclaiming Mimic" covers some of the same ground as the commentary track. "Back into the Tunnels" demonstrates what a shoddy DVD we got in the beginning as it provides us with lots of behind-the-scenes footage about the production of the film (the original DVD was virtually bare bones). Finally we get a gag reel, deleted scenes, animatics and the threatrical trailer (outside of a "digitial" copy of the film).

Although compromised (to some degree from the very beginning), "Mimic" has a marvelous idea and the re-editing does a nice copy of capturing the creepy mood that Del Toro was going for as well as restoring some of his original intent in making the movie. We'll never truly get a "Director's Cut" of the film because, quite frankly, there was a lot of stuff that was never shot for the film. Still, what Del Toro has done here has improved the film and the extras go a long way to explaining what went wrong (Miramax and the Weinsteins)during the shooting.

The bottom line: While much remains the same about "Mimic" there's enough change to the structure of the over all film that improves it. Lion's Gate does a great job with the transfer considering the source and the extras are top notch. My only complaint is that for comparison purposes we should have gotten both cuts on Blu-ray.

Read Best Reviews of Mimic (The Director's Cut) (1997) Here

This may be a very personal thing, but my cousin once saw Mira Sorvino in a karaoke bar in Kyoto five years ago. I still regret that she (my cousin) didn't have my phone number to invite me.

Anyway, Mira Sorvino was here in Japan for the promotion of this creep film "Mimic." It was a bit surprise she took the role of entomologist Dr. Tyler, because it was soon after she got an Oscar for that Woody Allen film. But she judged right for this film turned out successful, being directed by Guillermo Del Toro, later to direct "Blade 2."

The story is, in my opinion, another clever look on urban legend. In New York, a deadly disease carried by roaches burst out, and many children suffer from that, most cases leading to death. Entomologist Susan Tyler (Sorvino), asked by CDC specialst Peter (Jeremy Northan, of "Emma" and "The Net"), embarks on a plan based on releasing a genetically enhanced new spieces. It worked; the disease soon is gone, but that's only the beginning of another plague that is more deadly.

And that is THE Thing, that acts like humans, but in fact, lethal enemy to us. They inhabit in a disused subway constructions where unlucky characters have to be trapped. Though the story seems derailed in the final chapter of the film, the film, as a whole, maintains its creepy atomosphere throughout, and those weird feelings that some people might get when they watch insects -something akin to awe and fear -are tactfully expressed in the darkly images of the underground world.

The cast is also superb; besides intelligent Sorvino, you see Charles S. Dutton ("Alien 3"), Josh Brolin ("NIghtwatch"), F. Murray Abraham ("Amadeus") and Giancorlo Giannini ("Hannibal"). And some may be amuzed by the stylish opening title sequence by Kyle Cooper, who did his job in "Se7en." and many others.

Basically, love or hate film, "Mimic" will engage the heart of the people who love the kind of film like David Cronenberg. The story's defect is obvious (and the film at several points resembles that of underrated John Sayles film "The Alligator"), but if you go in for an eerie feelings of his films, it is worth a look.

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Director: Guillermo del Toro

Cast: Mira Sorvino, Jeremy Northam, Alexander Goodwin, Giancarlo Giannini, Charles Dutton, Josh Brolni, Alix Koromzay, F. Murray Abraham, James Costa.

Running Time: 105 minutes

Rated R for terror/violence and language.

"Mimic", like all great genre pictures, exists comfortably in two spheres: on the simple level, it speedily entertains as a gory fright film imbued with mordant humor; on the more difficult level, it provides symbolism and thematic undertow. Best of all, these two levels often work at the same time, such as when an old priest gets tossed off a building by one of the creatures, plummeting past a neon "Jesus Saves" sign, and crashing to a gory death on the pavement. A little while later, the creature drags the dead body into the gaping black maw of an open sewer. The latter is what "Mimic" is really really for: the importance of breeding and offspring. The movie's surreal opening, with its rows of linen-canopied hospital beds all in a row like so many little coffins, shows us sick children, gasping for air because a cockroach-borne disease is carrying them off. The battle lines are drawn in the first few moments: Us versus Them. Scientists Mia Sorvino and Jeremy Northam glean the cure for the dread disease by concocting a genetically-altered bug whose secretions kill off the diseased cockroaches; "Judas Breed", as it's called, will be the only true breed this couple will engender: Sorvino fails pregnancy tests at home, while their creature, supposedly unable to reproduce, grows apace underneath Manhattan's fallopian sewers. It merely seems like "nature's way" that the Judas Breed has mutated to the size of six feet, and can mimic standing upright like their human prey, It's also fitting that these creatures instinctively hone in on the vulnerability of children: they viciously rip apart two kids, and befriend another who has managed to communicate with them by clicking soup-spoons together.

This is an atmospheric thriller from Guillermo del Toro, director of "The Devil's Backbone" and "Cronos", who manages to mix great direction with good old fashioned monster horror to great effect. The concept itself is clever, even if the idea of bugs evolving to look very like humans is a little fa-fetched; however, once the action moves to the subway the fact that the bugs are clearly lethal no matter what they look like, makes this less important. The film is quite short and makes the action come quicker and seem more urgent. Several people get killed by the bug that wouldn't usually get killed in this sort of horror (children for example), this is very effective as it is quite scary to see the unexpected happen. The mood is dark throughout and Del Toro uses the sewers and subway to great effect, creating a real sense of claustrophobia, like the humans have entered the bug's world and not the other way round. The bugs are shown early on in the film usually not a good idea (keep it hidden in the "Jaws" way), but here the special effects are good enough to make the bug really believable, yet the horror is not in seeing the bugs but in they way they hunt and kill, but the fear is in what could happen. The cast are great, Sorvino especially is very good in the lead. Jeremy Northam and Charles S. Dutton are good in support and Abraham Murray adds a bit of cameo class (though his role is quite unnecessary). The director is the real star, adding some genuine scares and real mood to a film that could have easily been just another creature-feature that goes straight to video and straight to the back of your mind. Overall a superior creature horror film.

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Free Willy: Escape from Pirate's Cove (2010)

This movie was a real surprise, our family has watched all theh Free Willy movies from the past and decided to give this one a try. Bindi Irwin is a very talented young lady and very believeable thorughout the movie. Beau Bridges is such a wonderful character actor and he plays the gruff grandfather very well. We througly enjoyed the movie and the friendship between two young children in the movie. Steve Irwin would be so proud of his little girl.

This is the 4th in the Free Willy series, but it's not about the original Willy. It is filmed in South Africa and Jason James Richter or none of the other cast from the first 3 movies are in it, but it's based on the same story line, a Orca is caught, can't get out, an evil man wants him and in the end he reunites with his family. I won't give details but it's a great family to watch. If you are a Free Willy fan it is a must see and buy.

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The 4th movie of the Free Willy series is truly a delight. I loved every minute of it! Bindi Irwin was truly amazing as Kirra. It is so amazing how much she looks like her father, and carry's on his legacy through her knowledge of animals, and her love for them...which makes this even better, because you can tell her passion for animals is really genuine. I also thought the scenery was so beautiful, the acting by all the cast was excellent, and this movie ranks up there as being just as wonderful as the other Free Willy movies. I thought the ending was very powerful and emotional, that it made me cry. Hearing the song by Bindi Irwin while the credits were rolling were amazing, and I recoginized her voice immediately. Bindi Irwin seems so down-to-earth, like I said before a genuinly passionate person, and I hope she remains following in her father's footsteps.

I am defintely going to buy it, and on blu-ray, so I get the highest quality, and so I can see the bonus features, because the one I rented didn't have any on there.

Read Best Reviews of Free Willy: Escape from Pirate's Cove (2010) Here

Another "Free Willy" movie? Oh, brother. That was my initial reaction. When I discovered, however, that Bindi Irwin would be starring in it, I became intrigued. I grew up in Eugene, Oregon, attended the same school as Terri Irwin, and my heart has been linked to their family since Steve Irwin's early success as "The Crocodile Hunter" and the later tragedy of his death. How could I not give this movie a chance?

The story is quick-moving and fun-spirited. Bindi is a young girl from Australia whose father gets hurt in an accident. She is forced to go spend six weeks in Capetown, South Africa, with her estranged grandfather, the father of her deceased mother. Beau Bridges plays his role well, giving it a few moments of goofiness and some heartfelt scenes. He and his granddaughter do not hit it off right away. In fact, he is a gambling, unmotivated fellow who runs a downtrodden theme park. A storm brings the theme park an unexpected surprise, though, in the form of a young Orca. "Willy" becomes the catalyst for a granddaughter/grandfather relationship, as well as the source of rivalry and conflict from a bigger, better theme park.

The movie has some funny moments and some incredible scenery from the Capetown area. Beau and Bindi give the film a lot of heart. There are one or two slapstick moments, but overall it remains focused on its young female star and her desire to care for animals even while winning over her crusty, but good-natured grandpa. The only real weakness is the use of simulated underwater Orca scenes. They might work well in an aquarium presentation, but they don't do well in a film. And they seemed unnecessary, considering the very real Orca used throughout the movie.

I was pleasantly surprised by "Free Will: Escape from Pirate's Cove." It has a message about preserving nature, without getting too preachy about it. It makes good use of adorable and likable Bindi, and it shows that Beau Bridges still has some life in his acting career. My daughters and I enjoyed this together.

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knowing the orcas werent real kinda put a damp blanket on it for me. free willy was magical because of keiko.

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Erin Brockovich (2000)

Julia Roberts outdoes herself in yet another David and Goliath struggle based on a true story. Erin Brockovich (Roberts) is a down-on-her-luck mother of three who can't seem to hold down a job. After having an auto accident, she makes a bumpy transition from client to employee at the law firm and stumbles onto a case with staggering implications. It seems that utility giant PG&E has poisoned the groundwater and the local residents are getting gravely ill.

The story starts poorly with scenes of Erin looking for jobs and botching her accident case. The first twenty minutes of the film could have been condensed into five. However, once the investigation of the case begins, the story is engrossing. It is a powerful and well written human interest drama centered on a tough and smart (though crude) woman who leads a passionate crusade on behalf of the victims.

Director Steven Soderberg played it straight in filming this after his extremely avant-garde effort in "The Limey". His key strength here was the direction of the actors with both Julia Roberts and Albert Finney giving excellent interpretations of their characters. However, my only negative criticism of the film was the way Erin's boyfriend George was presented. George is a grubby tattoo covered biker (the tattoo on his left shoulder says "DIRTY") who behaves like Ward Cleaver with a ponytail. He is genteel, articulate, level headed, patient, sensitive and kind. All of this is so disconnected with his lifestyle that it seems inconceivable that a character this wonderful could possibly come in this package.

Julia Roberts' gave a superlative performance that smashed any myth about her inability as a dramatic actor. A far cry from her accustomed lightweight romantic characters, her portrayal of Brockovich was gritty, raw and audacious. Emotionally, she commanded states from manipulative vamp and vicious harpy to sympathetic confidant and indignant crusader. This is unquestionably her best performance and legitimizes her as one of the more versatile actresses in Hollywood.

Albert Finney also gave a fine performance as the bumbling but effective curmudgeon of a lawyer. He was simultaneously obnoxious and charming and created a good contrast to Roberts' character. The two of them had terrific chemistry.

Aaron Eckhart was lovable as George, although as mentioned above, the character's forbearing personality didn't jibe with his rebellious culture. However, I put more of the responsibility for this on the director than on the actor.

The DVD has some excellent comments by the real Erin Brockovich that lend credibility to the story. However, Brockovich is so toned down in these interviews, it makes Roberts' portrayal seem like an exaggeration.

This is an excellent story that is well and believably dramatized. I rated it an 8/10. For viewers who enjoy strong dramatic performances and who are not offended by liberal profanity, I recommend it highly.

What was the last film I seen with Julia Roberts in? Ah, Runaway Bride, another Romanic comedy, and Notting Hill before that, same genre. So what on earth is she doing in a true-life drama? A lot actually......... I have to admit, I am a bit of a Julia Roberts fan, but never in my life did I expect she is this good. No, good is not the right word; Oscar worthy only comes close. That might make me a bit biased towards her but even the cynics cannot denied that she has broken her "pretty woman" mould and become a true character actor, besides Julia Roberts, her co-star Albert Finney is also excellent as Ed Masery, he almost steels the show with his subtle and convincing portrayal of Erin's boss and friend.

As I said and you probably know, this film is based on a true-life story about a woman with no skills who found out something weird is going on and sued a multi-billion-corporation company and won the largest lawsuit payout in American history. So what makes this film differ from other "true-life-dramas"? Well, a lot of the credit must be given to Julia Roberts, her portrayal of the real Erin is truly convincing. Her performance brings the character to life; the audience can truly FEEL the way she felt, I've seen this film twice in the theatre and it's just as good the second time around.

The script is sharpe, some of the dialogue from Erin is really humorous, and the drama is dealt with care and precision. This is true movie from Julia and from director Steven Soderbergh, another masterpiece to buy on DVD.

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No matter what role she plays, she can always make it better. And this movie is one of them. Erin Brockovich is the out of luck, out of work woman with two kids. She starts working at a local law firm with no experience. When she comes onto a case that has to do with her own town's water, she takes it with decication. Fighting coragously to win against the large company that has destroyed the water, she shows that she is a true fighter.

It's not Julia's usual romance. She has never shown so much skin or played such a sassy role, but she does it wonderfully.

Read Best Reviews of Erin Brockovich (2000) Here

Okay, language issues aside, Julia Roberts SHINES as the real-life Erin Brockovich, a dogged, unabashed crusader for justice.

Erin accidentally finds out that several hundred unsuspecting residents of Hinkley, California are dead or dying from poisoned water that has exceedingly high levels of toxic chromium.

This is a touching story that reminds me a lot of Sally Field's performance in Norma Rae. It's about a grass-roots effort to right a very terrible wrong, and the investigative techniques used by Erin will floor you with their sheer simplicity. It's not what she does, rather it's HOW she does what she does that makes a difference. Erin is not equipped professionally to take on this insurmountable task, but she refuses to let that stop her from trying. She's what I would call "ignorance on fire", but she's also smart as a whip.

What I love most about this movie is how Roberts character gets results when others can't. She may not be the most professional (this movie is cleavage city!), or meekest person you'll ever meet (her boss says she could use a good dose of "charm school" he's right!) but she has a way with people. True, her wardrobe doesn't hurt in her getting her way so often (especially with men), but it's her honest compassion for these victims that makes the movie work.

Erin Brockovich teaches all of us a lesson in true leadership, persistence against all odds, and how to motivate people. These victims TRUST her because they know she really CARES, That's the real lesson here, and that's why she is so successful in getting them to do something they would never have done without her.

This movie is a real gem. You will learn a lot about purpose, passion, corruption, romance, and how to deal with people so that they respond. And you'll also learn that door-to-door selling is NOT antiquated!

Highly recommended.

Cris

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"Erin Brockovich" is a wonderful movie! Starring Julia Roberts, Albert Finney, and Aaron Eckhart, it's based on the real-life story of Erin Brockovich, a down-on-her-luck, twice divorced former beauty queen with three young children. Having no post-high school education and few job skills, she has great difficulty finding and holding down a job. Despite her adversities, she displays a fierce grit and determination as she constantly seeks ways to support her family.

Then a seemingly tragic twist of fate puts her on the road to a complete reversal of luck. After being seriously injured in a car crash, she sues the doctor who hit her. Her antagonistic personality and foul mouth cause her to lose her lawsuit. With bluff and bravado, she persuades her lawyer, Ed Masry, into giving her a job as a file clerk in his law firm.

Erin finds herself intrigued by one of the cases contained in the files she's putting away. Why are people's medical records included in a simple real estate transaction? She asks Ed if she can look into it. He agrees. What Erin finds horrifies her. A large electric utility near the small town of Hinkley has been dumping a highly toxic form of chromium into the water. Citizens in Hinkley are contracting various forms of cancer and other gravely debilitating diseases.

The film's main story line tells of Erin and Ed's efforts to persuade Hinkley's citizens to join in a class action lawsuit against the utility.

Julia Roberts, Albert Finney, and Aaron Echhart each illuminate the screen with their superb performances. In Roberts' case, it would be easy to focus on her good looks and skimpy wardrobe and slight her acting. The fact is, though, her acting in this movie is probably her strongest attribute! Throughout the film, Roberts' character comes off as completely natural, believable, and admirable if not always likeable. Julia Roberts is certainly deserving of her 2001 Academy Award Best Actress award!

Albert Finney (nominated for Best Spporting Actor) plays the gruff, irascible, hard-working, and totally decent lawyer Ed Masry. Finney's Oscar-worthy performance is certainly the equal of Roberts. The chemistry between Roberts, the star of modern-day female movie stars, and Finney, the grizzled veteran of stage and screen, sparkles.

Aaron Eckhart' s portrayal of George, the biker-turned-boyfriend and live-in baby-sitter is a refreshing change from the typical and expected Harley-Davidson rider stereotype. As Eckhart depicts him, George is smart, tender-hearted, probably a bit lazy, possessed with a wanderlust he keeps under control, and a thoroughly decent fellow.

How director Steven Soderbergh managed to keep "Erin Brockovich" from becoming another tedious, cliché-ridden legal and family drama is intriguing, and is probably one of the key reasons for the movie's tremendous popularity. It would have been easy to turn "Erin Brockovich" into a film filled with stereotypical courtroom pyrotechnics; long, idealistic speeches about the "little guy" versus corporate America; and characters that are either too easy to hate or too easy to love.

That's pretty much what I expected when I began watching the movie. Instead, I witnessed a film filled with ordinary, decent people... people with faults, to be sure; but all living their lives as best they can. Instead of slick lawyers seeking victory at any cost, there are attorneys zealously representing their clients to the best of their abilities. Instead of hapless, pitiable victims of corporate greed, the townspeople of Hinkley are portrayed as caring, decent, law-abiding citizens whose only concern is the welfare of their families.

What Soderbergh has, in fact, done is present to his audiences a wonderful reflection of American life the good as well as the bad. At the conclusion of this wonderful film, it's easy for viewers to walk away feeling pretty good... not only about the ultimate outcome of the movie, but also about the fact that we Americans are, for the most part, decent, caring, law-abiding citizens. And that makes "Erin Brockovich" a film well worth seeing!

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Funny Face

In 1957, Paramount produced a very enjoyable musical comedy called "Funny Face", directed by Stanley Donen, and to the music of George Gershwin, Adolph Deutsch, Roger Edens and Leonard Gershe. With a simple plot, the film begins in New York City within the offices of the major fashion magazine named "Quality". Its president, Maggie Prescott (Kay Thompson), is determined to find a new way to promote the magazine. In a moment of inspiration, she comes up with the slogan "Think pink," and breaks into song praising the color pink and saying that everything (from women's clothing, soap, furniture, etc.) must be pink. Of course, she "wouldn't be caught dead" in it.

Moving on to another magazine project, Maggie wants to find the perfect spot to photograph one of the magazine's models named Marion (Dovima, who was a major fashion model in the 1950's working closely with photographer Richard Avedon. This was her only film.). An assistant suggests that they go to a bookstore in Greenwich Village to create an intellectual atmosphere. Maggie, Marion, a host of Maggie's staff all in pink and the magazines head photographer, Dick Avery (Fred Astaire), force their way into a dingy, but quiet, bookstore along with all of their equipment. A store employee, Jo Stockton (Audrey Hepburn) protests the uninvited intrusion vehemently, but the "Quality" magazine army locks her out of the store to work undisturbed. After several hours, the "Quality" mob vacates, but the books and store are left in a shambles for Jo to clean up. Dick offers his help to clean the store, but Jo refuses. After Dick leaves, Jo proceeds to sing another wonderful song in the film, "How Long Has This Been Going On?"

Maggie decides that "Quality" must find a real "Quality woman" to represent the magazine and it isn't Marion. When Dick develops the photos taken at the bookstore, Jo is in one of them. He suggests to Maggie that Jo could be the woman that they need, but Maggie has her doubts. To lure Jo to the "Quality" offices, they order a large number of books and want them delivered. Jo arrives hours later with a pile of books and is accosted by Maggie's staff who want to redress her in preparation for a photo shoot. Jo escapes and hides in Dick's dark room. They talk and he sings to her another of the film's title song, "Funny Face". Jo completely disagrees with everything that "Quality" magazine represents; she believes in "empathicalism", a philosophy that rejects all material things, as described by her idol, Professor Emile Flostre, who lives in Paris. When Jo is told that the "Quality woman" photo shoot and a fashion show will be done in Paris, she reluctantly agrees to be the model since it will give her the opportunity to meet Prof. Flostre.

The film continues in Paris where Jo models many clothes designed by Givenchy and a romance between her and Dick Avery develops. Jo finally gets the opportunity to meet Prof. Flostre (Michel Auclair), but will he meet Jo's expectations? Will the romance between Jo and Dick survive the photo shoot and meeting Prof. Flostre? Does Maggie get to produce the Paris fashion show of your dreams? You'll just have to watch this very entertaining film to find out!

The songs in the film include:

* "Think Pink" 5/5, Kay Thompson. A fast, snappy & whimsical song.

* "How Long Has This Been Going On?" 5/5, A blues song sung by Audrey Hepburn at the bookstore.

* "Funny Face" 5/5, Fred Astaire. A charming song.

* "Bonjour Paris" 5/5, Fred Astaire, Audrey Hepburn, Kay Thompson. A fun song filmed at various locations in Paris.

* "He Loves and She Loves" 4.5/5 Audrey Hepburn and Fred Astair. Filmed at Le Château de la Reine Blanche in Coye-la-Forêt with Audrey Hepburn modeling a wedding dress.

* "How To Be Lovely" 5/5, Kay Thompson and Audrey Hepburn. A fun & gutsy song.

* "Basal Metabolism" 4.5/5, A blues song that Audrey Hepburn dances to in a bistro.

* "Clap Yo' Hands" 5/5, A fun, melodramatic blues song sung by Fred Astaire and Kay Thompson to sneak into the bistro. (a.k.a. "Ring-a Them Bells")

* "Let's Kiss and Make Up" 4.5/5 Fred Astaire. A love song sung again at Le Château de la Reine Blanche.

* "'S Wonderful" 5/5, Audrey Hepburn and Fred Astaire. Another love song sung at Le Château de la Reine Blanche.

Some may think that "Funny Face" is nothing more than fluff, but it was produced to entertain with color, fashion, music, dance and comedy and it does so very well. The acting, singing and dancing from Audrey Hepburn, Fred Astaire and Kay Thompson is quite good and I rate "Funny Face" with 5 out of 5 stars. If you're primarily interested in Oscar-winning dramas, "Funny Face" may disappoint you; but if you enjoy light-hearted musicals and like to laugh, then you'll probably be very entertained with this fun film!

Think Pink! S'wonderful! Songs that are among the many wonderful memories from the classic love story and popular 1957 musical "Funny Face" starring Audrey Hepburn, Fred Astaire and Kay Thompson featuring memorable Gershwin songs, exciting choreography, beautiful fashion and beautiful scenes shot in Paris. "Funny Face" was not just a regular musical of that time, it was a special film that highlights the style of an era and of course, another stunning fashion collaboration between Audrey Hepburn and her designer Hubert de Givenchy. And also bringing together two top tier music talents such as Astaire and Thomas, all three in one film is just fantastic!

The film starts off with publisher and editor of Quality Magazine, Maggie Prescott (Thompson), looking for a new fashion trend. A woman that exhibits beauty and intellect and both Prescott and fashion photographer, Dick Avery (Astaire) decide to look for this woman who can "think as well as they look". So, the two along with the magazine staff visit a bookstore (Embryo Concepts) in Greenwich Village in Manhattan, they meet Jo Stockton, a shy bookstore clerk who also has a passion for philosophy.

Prescott tries to convince Stockton to consider becoming a model for the magazine but she does not want any part of it. But Prescott, quite persistent in having Stockton become this new face, tricks her to bringing books to the offices of Quality Magazine. As Stockton tries to hide from staff, she hides in the film developing room where Dick Avery is working. Having known that Stockton's dream is to go to Paris and attend a lecture of renown philosopher, Professor Emil Flostre, Avery convinces her that by becoming a model for Quality Magazine will eventually bring her to Paris and attending the lecture of her favorite philosopher.

So, off to Paris they go and as Dick and Jo spend time together, they eventually start to fall in love. As Jo is being prepared for the Gala to introduce her as the new fashion trend for Quality Magazine, she gets caught up in a lecture for her favorite philosopher, Emil Flostre that she forgets to attend the Gala. Thus Dick goes to look for her and causing a scene that embarrasses her in front of Flostre. But it seems that all is lost. Quality Magazine may not have their model. Dick may have lost the special woman in his life and as for Jo, she may have lost the one person that she truly loves.

"Funny Face" is a classic from it's first song sung with Kay Thompson belting out "Think Pink" to the three talents singing in Paris, Audrey Hepburn's dance at a bar (which many have seen through a recent GAP commercial), to Astaire's talents as a vocalist and dancer and Gershwin songs such as "S'Wonderful", "How Long Has This Been Going On" and "He Loves and She Loves" but for film-goers at the time, it was a film that utilized the VistaVision technology (a higher resolution and widescreen technology developed by Paramount in 1954 and an older technology that continues to be used today) and a film that featured the beauty of Paris. Talented actors, beautiful outfits, beautiful music taking place in a beautiful city, there's nothing funny about "Funny Face", the film is just overall... Beautiful!

VIDEO & AUDIO:

The film is presented in widescreen format, enhanced for 16:9 TV's. A lot of the Centennial Collection releases have been remastered for high definition and having the previous DVD's, I can tell you that the DVD looks great. The shots of Paris from yesteryear to the dreamlike scenes between Astaire and Hepburn as they dance to Thompson's "Think Pink" and white and pink just stands out. There are just many of these classic scenes that the remastered video make the film come alive. But I can only imagine how this film would look in 1080P if released in Blu-ray.

Audio is featured in Dolby Digital English 5.1 Surround/English, Restored Mono, French Mono and Spanish Mono. The film of course is dialogue-driven but for those who love those Gershwin classics, they do come alive for this film courtesy of the Dolby Digital 5.1 track.

SPECIAL FEATURES:

Similar to the three previous "Centennial Collections" from Paramount, the special features are all on disc 2. Because "Funny Face" was released in 2007 as a DVD, some of the special features from that disc can be found on this Centennial Collection but there are a few new features included as well.

* Kay Thompson: "Think Pink" Kaye Thompson who played Maggie Prescott was a woman who was known for her quick wit, her sharp tongue and multi-talented. Her friends and people she worked with take part in this near-27 minute featurette in which they talk about her past, her work in "Funny Face", the memories they had working with her but also her contributions as an author with her popular books series "Eloise". It was a great featurette to have included on this DVD.

* This is VistaVision A 25-minute featurette about the history of the VistaVision technology, the films that used it and the films that continue to use it today. A very interesting featurette especially for those who are interested in learning more about another technology outside of Anamorphic CinemaScope and the beginning of hi-res Widescreen film.

* Fashion Photographers Exposed A 18-minute featurette about fashion photographers and how "Funny Face" inspired many of them but also giving us an idea of the life of a fashion photographer and how the work of a fashion photographer in reality differs from Dick Avery's character from the film and all the staff involved with working with a fashion photographer.

* The Fashion Designer & His Muse An eight minute featurette (that was included in the original 2007 DVD release) about Audrey Hepburn and her designer Hubert de Givenchy.

* Parisian Dreams An eight minute featurette about "Funny Face", a love story set in Paris and how Paris enhances a love story. Originally included in the original 2007 DVD release.

* Paramount in the 50's Retrospective Featurette A near ten minute featurette on Paramount and it's popular films in the 1950's, featured in various Paramount releases.

* Galleries Featuring production stills, movie stills and publicity shots for the film.

The Centennial Collection also comes with a booklet that features information of facts of the film which include how the film differs from the 1927 Broadway musical that starred Fred Astaire and sister Adele. Also, the collaboration of screenplay writer Leonard Gershe and collaborating with real-life fashion photographer Richard Avedon and much more!

And the DVD is just classy with it's black and gold packaging (which most of the Centennial Collection are packaged) and ditching the pink and white packaging.

If there is one thing about "Funny Face", I could imagine how the film captured the attention of viewers with its stylish presentation of the fashion but also using the city of Paris and it's iconic monuments and the beauty of the city portrayed in color in this film.

Also, to have talent such as Audrey Hepburn (singing and dancing) and how she would only do the film if Fred Astaire and of course, having Kay Thompson in a rare film appearance all together is just amazing. From the classic opening scene of "Think Pink", to the moment when each person arrives in Paris and you get a beautiful look at the architecture and scenery and the choreography of Audrey Hepburn as she unwinds and starts to dance in the red-dimmed bar and many more scenes that are just enjoyable to watch.

There are just so many of these classic moments on "Funny Face" and it's not just the music scenes, there are just beautiful scenes such as Audrey Hepburn in a wedding dress, and the multiple modeling photo shoots featuring Avery and Stockton such as the scene where Stockton wears an elegant red dress and walks down the steps asking Avery to take a picture while he tells her to stop and she keeps saying "I can't Stop, take the picture" and saying it with a smile. And then with each photo shoot, the photography stills are showcased in various versions. May it be in full color, grayscale and then a combination of both. These things may seem common place today especially in color correction years of PhotoShop but back then, a lot of these visual images back in 1957 were new, fresh and unique.

And of course, the age difference between Astaire and Hepburn really doesn't matter in this film. Astaire is just full of life and he can move and dance much fluidly than many youngsters, so to have these two talents come together, it's no surprise that Hepburn feeds of his energy. Their chemistry work in each musical number and also when their characters are together. And as much as I love "Roman Holiday", "Sabrina" and "Breakfast at Tiffany's", "Funny Face" is one of those films that shows you the pure charm and the versatility of Hepburn as an actress.

Now, you may be a person who owns a prior DVD release of "Funny Face" (and other Audrey Hepburn films on DVD) and wonder if this DVD is worth upgrading to. I can tell you right now that these Centennial Collections are the definitive versions to buy on DVD. Remastered, in Dolby Digital 5.1 Surround Sound and even more special features than their previous DVD incarnations, these Centennial Collection releases are just beautiful to watch, to hear and enjoy.

This DVD is highly recommended!

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FUNNY FACE is one of the most enjoyable and delightful of Hollywood musicals. Featuring an immortal George & Ira Gershwin score ("He Loves and She Loves", "S'Wonderful", "Let's Kiss and Make Up", "How Long Has This Been Going On?"); the smartly-written screenplay by Leonard Gershe also marks this film with a strong storyline. I've yet to meet anyone who doesn't like this movie.

When Quality Magazine invades a pokey Greenwich Village bookstore for a photo shoot, it's the "dowdy intellectual shopgirl" Jo Stockton (Audrey Hepburn) who gets unwittingly discovered. Photographer Dick Avery (Fred Astaire) finds something special in this "funny face" and jets her off to Paris as the new model for Quality's beauty campaign. Of course love comes knocking for Jo and Dick, but not before some marvelous songs have been sung, and showstopping dances have been performed.

Kay Thompson steals the entire movie as the deadpan magazine editor Maggie Prescott. She gets things off to a cracking start with "Think Pink", traipses all over the streets of Paris with "Bonjour Paree"; and also gets a kooky 11 o'clock beatnik routine, "Clap Yo' Hands" (with Astaire). The character of Prescott is a thinly-veiled caricature of noted fashion editor Diana Vreeland; whilst Astaire's role is modelled after photographer Richard Avedon. Fans of "Seven Brides for Seven Brothers" should keep an eye out for former brides' Virginia Gibson and Ruta Lee, reunited here as two of Prescott's assistants.

Audrey Hepburn's early ballet and dance training came in handy with making FUNNY FACE, her "Basal Metabolism" routine is spectacular (and she sings quite well too). Filmed on location in Paris, the entire movie definitely has the proper European Travelogue feel to it.

This 50th Anniversary Edition of FUNNY FACE will feature a brand-new High Definition transfer of the movie, some great new featurettes ("The Fashion Designer & His Muse", "Parisian Dreams"), plus the material from the previous DVD release ("Paramount in the '50s" featurette, a photo gallery and the trailer).

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The movie is wonderful! And I have the first DVD that came out. When I saw there was a 50th Anniversary Edition I was thrilled, hoping, or let's say, expecting to have extra features as many 'anniversary editions' often offer. So I ordered the DVD sight unseen before its release. That was a mistake! The extras are boring and the featurette of Paramount can be found on other DVDs. A pity they had a chance to honor the work of Kay Thompson, the work of Fred Astaire and Audrey Hepburn, even some commentaries on the making of the film, information on photographer Richard Avedon....too bad.

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Audrey Hepburn does indeed fill the air with smiles in Stanley Donen's exquisite and happy film about a shy book clerk in New York who is transformed into the toast of the Paris fashion world. George and Ira Gershwin wrote some of their best songs for the film and a few additional numbers were contributed by Roger Edens and Leonard Gershe, who also wrote the delightful story. The premise is quite frivilous but the execution glorious and joyful and it is easy to see why this was Audrey's favorite among all her films.

Fred Astaire is winning as fashion photographer Dick Avery and Kay Thompson is marvelous as Miss Prescott, the one-track mind owner of Quality Magazine he works for. Hepburn is adorable as the shy New York bookstore clerk, Jo Stockton. They bully her into letting them do a photo shoot, making a mess off things for her to clean up. From the moment Donen's camera catches her sliding on the ladder in panic we are in love and we know it won't be long before Jo and Dick are also.

Jo is a shy intellectual, mad about empathicalism, a screwy philosophy endorsed by Professor Emile Flustre (Michel Auclair) who, of course, lives in Paris. Once Dick displays his own brand of empathy by kissing Jo while they are cleaning up, he gets an idea for a new layout and the seed of love is planted in Jo's heart. Donen captures Hepburn's child-like yet feminine grace like no one else ever has and her wistful and waif-like beauty has never been seen to better advantage than in Funny Face.

Making Jo the face for Quality magazine may not be such an easy task, however, as it goes against everything she believes. Being chased by Miss Prescott's minions, Jo ducks into Dick's darkroom, where she and Dick share a lovely song and dance moment to the title-tune, Funny Face. Once Jo discovers it will all lead to Paris, where she can meet the great empathicalist, Emile, she gives the green light and the fun really begins.

Stanley Donen staged every song himself, and it shows. That moment that nearly always exists in every musical, even the great ones, when we are tempted to fast-forward and get on with the story, simply does not exist here. Every number is lively and imaginative, easily holding our interest. None of the numbers is more joyful or fun than the one when they first arrive in Paris and become typical tourists. Ray June's photography shows off the beautiful City of Lights and the funny and happy face of Audrey Hepburn in wonderful fashion.

It is like watching a great chef make the sweetest and most delicious of pastries as Dick takes Jo through one great shoot after another all over Paris, transforming the cocoon into a butterfly. The two share a lovely song sequence in a garden with a brook outside a church, when Jo finally tells Dick she is in love with him. Hepburn in a white wedding gown is as elegant and graceful as the doves and swans surrounding them.

There are some fun complications involving Jo's idol Emile, of course, who Dick knows is more man than philosopher. A fun and frantic ending caps a film that is a sheer delight from beginning to end. Astaire was somewhat older than Hepburn and it seems to work in the film's favor, as you could see where the innocent Jo would need a more worldly man to appreciate her charms rather than take advantage of them.

This is a wonderful confection from Stanley Donen, who would work with Audrey once again in another classic, Charade. The little girl from Holland who aided the Dutch resistence during WWII grew into one of the most lovely and luminous stars ever to grace a movie screen. She is gone now and Funny Face is a wonderful way to remember her......

The Devil Wears Prada (2006)

My wife and I, huge fans of `America's Next Top Model' and `Project Runway', were very excited about seeing this film. Why it took us this long still baffles me, but as of Friday night we had the pleasure of seeing `The Devil Wears Prada' and let me just say that it was quite the pleasure. Now, most if not all the praise has been heaped on the shoulders of Meryl Streep, and while she was outstanding, this film is more than just a Meryl painted canvas. There are four brilliant performances in this film and they all are deserving of praise.

First is Anne Hathaway who plays Andrea Sachs, a young aspiring journalist who takes a job working as Miranda Priestly assistant at `Runway Magazine'. Anne Hathaway proves with her performance that she's all grown up. No, that's not to take away from her more adult roles in more adult films like `Havoc' and the masterpiece `Brokeback Mountain', but here Anne proves that she can do adult comedy, not falling back into her teen goofiness that made her famous in `The Princess Diaries' but keeping everything smart and mature. She has enough poise and grace to match wits with Miranda, and she does so elegantly.

Next up is Emily Blunt who plays Emily, Miranda's first assistant (there are two, Andrea being the second). Emily has worked her butt off to get to where she is, slaving for the unruly Priestly and it's all about to pay off with a trip alongside Miranda to Paris. The only thing standing in her way is Andrea, for if Andrea fails miserably then it reflects poorly on Emily. Emily Blunt turns out I think the best performance of the bunch for she has enough sass, enough attitude and enough wit to make her pop out from the screen and stand out no matter who is sharing the screen with her.

Stanley Tucci also does wonderfully here as Nigel, Miranda's second in command. He is there to make sure everything is perfect, and also help Andrea adjust. Stanley always has done great backup work, playing second hand man to just about everyone, but here he really makes his performance his own and owns it. He delivers some of the funniest lines in the film but he never feels like the `token gay guy'...he's needed in this film, not filler, and he commands his scenes and really stands out amidst the crowd.

And then, of course, we have Meryl Streep who plays the ruthless tyrant known as Miranda Priestly. What I was most impressed about was the way Meryl underplays every word, every emotion, every scene, which is not what I expected. I really expected her to go all Glen Close and reincarnate Cruella but she didn't (thankfully) and instead turned out one of the most inspired performances of the year. She must have had fun playing the snooty self absorbed and above all selfish editor-in-chief of `Runway'. She lets us see inside her character briefly (when crying over another failed marriage) but her character is more about shutting off feeling in order to succeed and so we don't get to see the real Miranda because we're not supposed to.

Carried by these four brilliant performances `The Devil Wears Prada' is a fabulous film that will make you laugh and make you smile and will impress almost anyone. The script is brilliantly adapted from Lauren Weisberger's novel, and while it's not an exact replica (are any adaptations these days?) it carries the same wit but smoothes things out to make it more approachable and, in my eyes, more enjoyable. Bravo!

Meryl Streep is absolutely hilarious playing Miranda Priestly, the editor of the world famous fashion magazine "Runway". Along comes Andrea (Andi) Sachs for a job interview. She recently graduated from Northwestern University as a journalism major. Emily, the first assistant to Miranda, nearly snickers in Andrea's face as she looks her up and down and makes snobbish critical remarks about her unfashionable ordinairy clothes. Everyone in the office is calm, casual, and laid back until they learn Miranda Priestly is returning to the office when they go into "high alert".

The grand entrance by Miranda is superb, her haughty but elegant manner is perfect, with one breath and in one single sentence she rattles off six or seven commands to her assisant. Everyone jumps to attention and gets into action ... Andrea's interview is nearly cut short when Miranda notes she lacks the fashion background Miranda is looking for. However Miranda is won over by Andi's sincere work ethic and despite misgivings hires her. As second assistant, Andi manages to pull off miracle after miracle to make things happen for Miranda. It is when she does the impossible: obtains a publisher's copy of the latest Harry Potter book for Miranda's twin daughters that Andi's star at Runway begins to rise but at a huge cost to her personal life. Through a series of most auspicious but unexpected events, it is Andi who goes to the spring Paris fashion show with Miranda and a very select group of Runway staff. In Paris Andi comes to terms with her own values and resolves some personal struggles about her job and what she wants from life ...

The film is a parody about the serious competition which exists in the fashion and magazine publishing industries. The tensions, dramas, and back-stabbing are clearly evident. Dealing with the stresses and strains associated with trying to separate one's personal and professional life is very difficult. It becomes clear, the price of success means favoring work over family and friends . As Miranda Priestly said to Andi after returning from the spring Paris fashion show and as she stepped out from the limo amidst photographers and reporters: "They all want to be us" ... This film is most highly recommended a sparkling gem of a film. Erika Borsos (pepper flower)

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While this film highlights how a college student makes the leap from school to professional life, I also believe that it highlights Meryl Streep's enormous talent although she is not the lead character. She gives such a commanding performance as the dominant impossible boss. In fact there are several outstanding supporting characters such as Stanley Tucci. He is priceless as the guy you love to hate. A really good script, plus great actors equal a great movie!

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Well, I'm all over the map about this movie, I really am, finding something to agree with in almost every review here, including the least positive.

The positives are these: I adore the look and pace of the film, the to-die-for clothes of course, and the performances (first and foremost) of the great Streep as the towering, terrifying Miranda, the winning Hathaway as the perpetually harassed Andrea, the dependable Tucci as Miranda's long-suffering, witty-wise second-in-command Nigel, and the wonderful Emily Blunt as the bitchy, put-upon first assistant...uh, Emily. All of them--especially Streep, Tucci and Blunt--bring both bite and (mostly hidden) heart to what could have been a collective phone-in of annoying caricatures. And though we really only get glimpses of him here and there, I also enjoyed Rich Sommers's endearing turn as the sweetest of Andy's circle, Doug.

I am seriously ambivalent however, about what the message of this movie is supposed to be, especially to women, and the alarm bells really go off when--SPOILER ALERT--Andy reconciles with her sulky boyfriend, Nate, telling him he was "right about everything."

What? What exactly was he so "right" about??

I don't know about you, but I found Nate, the boyfriend character, absolutely insufferable through almost the whole of the movie. I'm pretty sure he was supposed to be the voice of reason that tries hard to keep Andy grounded and remind her what's truly important, but he came off instead as a sulky brat who could not accept his girlfriend's growing pains as she labored to cope with an impossibly demanding, first ever grown-up job that nothing in her easy-going schoolgirl existence had prepared her for. Were there no demands being placed on him in HIS choice of career? Was his job supposed to be the more important one?

Ditto Andy's best friend, Lily, who seemed to me increasingly more jealous of Andy rather than supportive of her; Lily too was pursuing Bright Lights-Big City dreams that demanded a lot from a young newcomer, after all, so how is it that she had such a hard time with Andrea's chaotic ups and downs? Where did Lily get off being so judgmental and disapproving? This is friendship? I watch these performances and can't decide whether actors Adrian Grenier and Tracie Thoms made poor choices in their playing of difficult characters, or if the characters as written were simply impossible to like. Either way, both were a whiny pain, especially Nate, and Andy's mea culpas to him near the film's conclusion were tough to take.

No one disputes that Miranda Priestley was a Boss From Hell who routinely wiped her feet on her young assistants, particularly Andrea, but we also see that ultimately Miranda was as human as anyone else, a glamorous workhorse whose alley-fighter smarts hid real pain, and it should be said that Andy--who was in the beginning quite smug in her disdain of all the fashionista "shallowness" that surrounded her--had a knocking down or two coming. (I loved the way Nigel simultaneously comforted and took Andy to task after an especially bad morning.) If Miranda put Andy through the wringer--and she did--well, she also taught her some important things (sometimes unwittingly) about hard work, hanging tough, and the choices we make in life to get to where we want to go (or need to stay). Andy could have quit at the end of her first week (I think I would have), but no matter how bad or insanely silly things got, she didn't, at least not immediately. On some level she became aware that she was getting an education she wouldn't get anywhere else from anyone else, and there was value in that. I think she knew that; I hope she knew that. I hope the audience does, too.

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This could easily be dismissed as another "little-fish-in-a-big-pond" story, but the wonderful script and fine acting by all sets it high above the rest. Meryl Streep was terrific, though she was allowed to show a soft side a few times, which took away from the "bite" that may have been implied by the title. (I had a boss like that, but mine was meaner and showed less sensitivity). Streep is not the main character, however, and Anne Hathaway shows command in the central role. There's excellent support from Adrian Grenier, Stanley Tucci and Emily Blunt. The shots of New York City (and of Paris) are grand and impressive, and, as one would expect, the costume designs are stunning, though few are original for this film. David Frankel's direction kept things moving at a swift pace, and the DVD extras are entertaining and informative. I enjoyed "The Devil Wears Prada" very much.

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Starlet (2012)

I'm so happy it's already out on Bluray and DVD! Starlet was one of my favorite movies of the year. Absolutely in my top three. It completely caught me by surprise. I really don't want to spoil too much because the beauty of this film is to discover it on your own. Nonetheless, I think I can say that the performances are outstanding. There is such a natural way in which the actors exist in the film. It all feels so natural. Dree Hemingway's work is truly impressive and inspiring. The film carefully takes you in. There is a new revelation in every scene, subtle or big, the film never stops surprising. The film is harsh, sweet, naive, mature, it just is what is has to be when it has to be. I love that. A beautiful thing is that this film never ever judges any of its characters and truly makes you think that nothing is what it seems. Starlet is pure honesty. I feel that the director and people involved made this one from the heart. There is nothing better than an honest piece of work. Thank you.

"Starlet" is one of the most heartfelt looks at the people of the City of Angels I've seen in a long time. It is poignant and sincere. It doesn't need shock or artifice to make you pay attention. Love, love, love...see it if only for the doggie / Chihuahua that steals the show!

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There's a feeling in the movie that makes the spectator relate with; an every day life loneliness, a void that we try to run away from but in the end its always there... and in between that, what seems to save us: finding am accomplice for that feeling. sharing it without even mentioning it.

The story is minimalistic. Silences are beautifuly placed and tell the audience more than what would dialogue do. Or at least, it gives the audience the space to relate with the movie, and fill the blanks with those feelings.

The music and photography are there to back up the mood of the film amazingly. I fully recommend it.

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The only character in this movie that is 100% likable is the dog. Which is perfect. That's real life. The others are weak, sad, and bored. Kind of mean. And beautifulDree Hemingway's and Stella Maeve's looks are the 'blink blink it's a movie' factors that makes their characters unauthentic. They seem like real people. Addicted, numb, and desperate for human connection.

The photography and music reminded me of The Virgin Suicides and King of California. As I write that I realize Dree Hemingway physically resembles both Evan Rachel Wood and Kirsten Dunst. The take away she does not have an original face, but she is totally watchable. This is the dreamy, dry, hazy L.A. Good score. Uses one of the repugnant songs ever in the best ways ever. Bravo. "Crazy bitch" may fill me with more furor than any other pop song.

Besedka Johnson as Sadie is heart breaking. She is a strong lady. She demands respect. She doesn't reel from foul language. She has her marbles. She is appropriately suspicious, but eventually grateful for Jane's attentions.

An enjoyable film if you like this sort of thing. To utilize film review clichesslice of life, indie paced, unsentimental, sticks with you. I'm a Northern Californian. I've always had a foreigner's fascination with Los Angeles. I don't spurn and spit at it like my fellow Yay Bareans, but I know it's not for me. This is the sort of film that shows you what it must really be like in L.A./San Fernando Valley. There are real people there too. They live lives. They have cool dogs.

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I feel fortunate that a good friend recommended this to me without telling me anything about it. He told me to avoid reading reviews so nothing was spoiled and I would say the same to others. It's best to just watch the story unfold and form your own ideas and feelings about what you see.

I felt like I was watching real people, more than I do when I watch some documentaries. The look, thoughtfulness and realistic characters remind me of some of the best American films that focus on relationships produced in the 70s, like Kramer vs Kramer. Now it's often good independent films like Starlet that seem to step back more and allow us to think and feel things more naturally as we watch.

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Frankenstein (Import)

After disappointingly releasing James Whale's 1931 classic Frankenstein in two previous DVD editions, I had my doubts as to whether or not this edition would be any better. Would Universal give this classic horror film the treatment it deserved? To be honest, the previous DVD's special features were always great, like documentaries, audio commentary, ect.; but the one real issue that bothered me about the other editions was picture and audio quality. I can honestly say that, even after going as far as making a side by side comparison between the first release and this new edition, this new anniversary edition is the one to own. Much has been improved over the old versions, and I could not see any blemishes that exist here that did not exist before. The film now looks sharper, with significantly less dirt and dust, and the contrast of the expressionist photography has also been improved, with truer blacks and more subtle grays giving the film's cinematography the dark starkness it was intended to have, I dare say the film probably hasn't looked this good in years. And as a plus, they let the end credits fade to black like they were intended to, unlike in previous DVD editions when they strangely paused the end credits. As far as audio is concerned, it is good and loud, somewhat hissy, but not distractingly so. Extra special features also worth while. This new edition finally fives this classic the digital treatment it deserves and proves that even after 75 years, Frankenstein is still a fascinating landmark in early American horror cinema.

Although I have seen better prints of the film, this DVD issue of Universal Studio's famous FRANKENSTEIN is a magnificient package that is sure to delight any fan of classic horror. The film itself has been restored for content, and the Skal-hosted documentary--which traces the story from Mary Shelly's famous novel through its numerous film incarnations--is a delight, including numerous interviews with various historians, critics, and Karloff's daughter. The bonus audio track by Rudy Behlmer is also quite interesting, as are the various biographies and notes, and although the short film BOO is a spurious mix of footage from NOSFERATU, DRACULA, THE CAT AND THE CANARY, and FRANKENSTEIN, it is an enjoyable little throw-away. All in all, it doesn't get much better than this.

As for the film itself, the production of FRANKENSTEIN was prompted by the incredible success of the earlier DRACULA--but where DRACULA is a rather problematic and significantly dated film, FRANKENSTEIN was and remains one of the most original horror films to ever emerge from Hollywood. Much of the credit for this goes to director James Whale, who by all accounts was deeply influenced by silent German film and his own traumatic experiences during World War I--and who mixed those elements with occasional flourishes of macabre humor to create a remarkably consistent vision of Mary Shelly's original novel.

Whale was extremely, extremely fortunate in his cast. Colin Clive was a difficult actor, but Whale not only managed to get him through the film but to draw from him his finest screen performance; Mae Clarke is a memorable Elizabeth; and Dwight Frye, so memorable in DRACULA, tops himself as Fritz. But all eyes here are on Boris Karloff as the monster. Karloff had been kicking around Hollywood for a decade, and although he appeared in quite a few films before FRANKENSTEIN he never really registered with the public. But in this role, acting under heavy make-up, weighed down by lead weights in his shoes and struts around his legs, and without a line of intelligible dialogue he offered a performance that transcended the word "monster." This is a suffering being, dangerous mainly through innocence of his own power and the way of the world, goaded from disaster to disaster to disaster. Even some seventy-plus years later, it is difficult to imagine any other actor in the part.

Karloff would play the monster again in two later films, one of them directed by Whale, but although THE BRIDE OF FRANKENSTEIN is a remarkable film in its own right, this is the original combination of talents and the original vision. Truly a national treasure, to be enjoyed over and over again. Strongly recommended.

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I notice most of the reviews posted here are for a different DVD, the Legacy Collection of Frankenstein movies. But this 75th anniversary edition is only ONE movie, the original Frankenstein, along with some "making of" and interviews on the second disc. While this is a good version of the film it only costs a few dollars more to get the Legacy collection which includes Bride of ..., Son of ..., Ghost of ..., House of ..., Frankenstein's Second Cousin, etc.. Don't make the mistake of buying this version based upon these wrong reviews, especially when you buy it new paying full price.

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All movies are dated. Some are more dated than others, of course. A film's dated quality can be its strength as well as its weakness. Much film criticism has surrounded the primitive techniques used in 1931's "Dracula" and "Frankenstein". Lack of musical score, obvious use of studio sets, theatrical acting, pedestrian use of the camera, etc. Yet I would argue that these qualities are what make these films unique and give them a dream-like, nightmarish quality, which the later, slicker and more polished sequels lacked. The sound of the Frankenstein monster's footsteps coming down the hall before his entrance, the thumping of the dirt being thrown atop the coffin in the opening sequence, all would be lost had they been interpolated in a musical score. The same goes for "Dracula"'s scattering rats, bats and night creatures among the clacking bones in the coffins. Granted, the later "Bride of Frankenstein" brilliantly used music and a far more sophisticated film technique to unfold its story, yet it was a completely different piece of art. It was much more operatic and complex and full of irony and satire as well as horror. Whereas "Bride" gave us thrills, "Frankenstein" gave us chills.

There is something magical about pre-code films. These are films made before 1935 or so, before the Hollywood moral police enforced their censorship rules on the studio system. Pre-code films have a raw quality, an edge, a wisecracking, bristling aura that code movies don't. Code movies tend to be slicker, polished, glamorous and more cautious in the their content. Just compare "King Kong" (1933), "42nd St." of the same year, "Public Enemy" (1931), as well as the aformentioned "Dracula" and "Frankenstein" to any film of the code era and you'll see what I mean.

"Frankenstein" is a raw frightfest that still has some scary moments: just watch Karloff's face as he tries to come through the door after killing Fritz, with Frankenstein and Waldman trying to keep it closed. His growls are enough to still send shivers up your spine.

And yet look at the desperation in his face after he throws Frankenstein off the windmill and the villagers decide his fate. It is a look of panic and helplessness.

You can't help feel sorry for him, despite all the terror he has caused. This is genius movie-making and still scary stuff after 3/4 of a century!

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OK...........well....I am exactly the sucker....err....I mean FAN...yea, FAN that Universal goes after with these multi-dip releases. I have just finished comparing the 90's release, Legacy box set, & this, the 75th Anniversary FRANKENSTEIN DVD's. BTW: If anyone reads my DRACULA comments, you'll see they are similar in my final opinions.

So, overall, YES.....I'd say there is a better picture quality to this transfer. But look.....when someone tells me a film has been restored, especially a film of the calibre of FRANKENSTEIN, then I expect to have my bolts knocked off with the transfer....ESPECIALLY AFTER BUYING TWO PREVIOUS RELEASES. I don't need to be told how old these films are and what to expect. Technology allows for many things these days and IF a company is going to toot their horn and say something is restored....especially a high roller like Universal....then RESTORE IT.

Now, if you have either of the previous releases, you'll know that the transfers weren't all that bad...not great, but definitely liveable (remember when it was just cool to get this on a disc?lol:-). In this one, the print STILL has a noticeable amount of speckles and murkiness as the other two. So to say this was the blingbling-anniversary-looked-like-we-gave-a-poop-release, well, it STILL comes up short as far as the cleanup. If this was the first time I'd ever seen this movie released on DVD, then I'd say OMIGAWD, this is amazing.....but compared to the last releases, this doesn't show me all that much difference in picture quality. Maybe if Universal spent the time and energy to do it right.....i.e. the definitive HD transfer and stopped this rerelease crap, I'd be more impressed. As it is, it seems to be more money gaining effort than an actual 'Anniversary' effort.

I did notice that on the LEGACY BOX SET (the green packaging), the sound had more of the fuzziness. I noticed this with DRACULA as well, that the 90's releases (poster art covers) SEEMED to have better sound than the LEGACY versions. But then this is at the same time picking the lesser of two evils in sound quality as none sound all that spectacular to begin with.

So let's see.....let's recap shall we:

PICTURE QUALITY: Better than the LEGACY BOX SET, though -that can be arguedin various parts of the film. If you NEVER picked up a DVD copy of this film, then this is the one to get. If you have the other two versions, I'd decide how much you like this film before dropping the cash for it. I mean really....only hardcore collectors are going to feel compelled to upgrade to get three or four less speckles per scene (well, that's an exaggeration, but you get the picure).

VALUE: If you are only marginally interested in the classics monster stuff, get the LEGACY SET. It at least has more films included as well as the same special features (minus the one new one added here) and definitely decent film quality. The first releases from the 90's might be cheaper to find used at this point though...and surprise! they have the same d@mn features...only back then, they really WERE special unlike now, when other than the new Karloff piece, they are recycled.

PACKAGING: So.....with this new release, we get cooler sepia toned box art. A nice touch. The packaging is nearly identical in construction as the LEGACY sets, i.e. it opens like a hardback book. Only here, it seems kinda skimpy. Whereas the LEGACY was this slicked cover housed in a window sleeve to protect the case. Well, here is a simulated 'leather'-ish cover with no gloss, and no case. I know this is minor to some, but hey, this will get scuffed & jacked up. And depending on where you buy this, for the price (in some places nearly 30 bucks) well, Universal could have at least given us a sleeve to put this in.

OVERALL PART 2: This releases is cool....but still gets a 50/50 for what we get packaged up.

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