A Bullet for the General (2-Disc Special Edition) (1967)

Blue Underground's disc contains both the US and the 3-minute longer International versions of the film A Bullet for the General. These are separate 1080P transfers and NOT seamlessly branched sharing the same Blu-ray disc. There may be some very slight differences in the image quality between the two versions but it won't be a lot if any at all. I've made a couple of comparison captures below. The transfer seems a little inconsistent with some sequences showing that nice sheen of grain we often see with Blue Underground but there are a few spots that look waxy as if DNR were the culprit. This wasn't at all egregious and I'd say that overall the visuals are extremely impressive with great detail in close-ups and depth being displayed. Colors are bright with true skin tones. The 2.35:1 widescreen is used in a slick fashion and the the video comes across pleasing throughout most of the presentation.The US version offers a healthy DTS-HD Master 2.0 channel at 1906 kbps that is comparable to the DUB on the International version that also has the option of lossless Italian at equally as robust a transfer. Gunshots are piercing and the aggressive pats of the soundtrack seems easily handled by the uncompressed audio. The flatness is expected. We have an original score by Luis Bacalov and the iconic Ennio Morricone that supports the 'Spaghetti' aspects very well. There are optional subtitles both English (SDH) and English for the Italian version as well as French and Spanish. Region Free too.

Extras :

There isn't much more on the Blu-ray disc which is fairly filled with the two films but we still get a A Bullet for the Director Interview with Director Damiano Damiani running 50 minutes in Italian with English subtitles, plus some trailers and a stills and poster gallery. What is a significant supplement is a bonus DVD Gian Maria Volonte: Un Attore Contro running just shy of a whopping 2 hours. It has plenty of the actor/writer and fans of the genre will definitely want to indulge. This is a very nice documentary addition in Italian with English subtitles.

Review By Gary Tooze of DVD Beaver, Thanks Gary.

Following with the unlikely alliance of an opportunistic American (Lou Castel) and a Mexican bandit (Gian Maria Volonte) who sells arms to the rebels, the first half hour or so of Damiano Damiani's cult classic is more than a bit ropey. The director has difficulty establishing the relationship between the two leads and resorts to a succession of shoot-em-ups. Thankfully, these are better handled than the drawn out opening attack on the train carrying Castel's enigmatic gringo, in which too many of the ideas are in the script and too few in the execution.

If the first half is the usual running with the rebels territory, the film becomes more complex as it progresses. It is clear from the beginning that the gringo is working to his own agenda, and throughout the course of the film he steers the group towards it. Not interested in women, he professes to be interested only in money, yet at one point kills a rebel paymaster and throws away his cash. Yet even after his objective and the bandito's part in it become clear, the film manages to take the characters even further in an intriguing epilogue.

Both may be mercenary, but finally choose their own executioners, although in very different ways. Castel inadvertently because, despite ruthlessly killing those on both sides to achieve his end, he is ultimately not ruthless enough, Volonte voluntarily, passing judgement on himself when he realises the consequences of his actions.

Castel is a fairly anonymous lead as the 'ugly American', a potential flaw which the director manages to turn to the film's advantage. A moral void, he has no ideals and no scruples but is instead a remorseless pragmatist. The real undercurrents in their relationship are brought out by Volonte; his bandito, first seen literally banging his own drum, manages to avoid caricature. His growing politicisation is convincing, as is his spellbound look of (largely sexual) confusion at the gringo during a confrontation with a landowner. The audience's sympathies are never directly engaged, our involvement with the character more covert and accidental en route.

Hailed as the best of the political spaghetti westerns, A Bullet For the General doesn't quite live up to the epithet but is still a remarkable example of the genre. Co-writer Franco Solinas also wrote Battle of Algiers and Quiemada, and his revolutionary fervour is very visible in the film's parallels with America's covert overseas operations and the presence of a militant priest throwing hand grenades in the name of the Father, Son and Holy Ghost (a less wired than usual Klaus Kinski as Volante's half-mad half-brother). The film even ends with a call to arms -"Don't buy bread, buy dynamite!"

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Directed by italian director Damiano Damiani in 1967, A BULLET FOR THE GENERAL is a pure marvel released now in the DVD standard by Anchor Bay. Just two trailers as extra features but imperial sound and images justify a must-buy status for this movie.

Now for the actors. Gian-Maria Volonté is exceptional in the role of El Chuncho, a rather likeable outlaw who considers that the mexican revolution is a good opportunity to make money by selling rifles to the revolutionaries. His brother Klaus Kinski, as blonde as El Chuncho is black, is more disturbing as a priest convinced that social justice must be brought into this world by all possible means, preferably with the help of explosives and machine-guns. El Niño, the character played by the colombian born actor Lou Castel, is even more intriguing with his attitude à la Clint Eastwood. He's the meanest of all but nonetheless develops a strange friendship for his alter ego Volonté.

Four years before Sergio Leone's A FISTFUL OF DYNAMITE, A BULLET FOR THE GENERAL is already visiting the mexican revolution but with an engaged point of view that doesn't leave unharm politicians, working-class people, wealthy ranchers, pistoleros, revolutionaries or americans. Great fun with food for the mind, what more can you expect from cinema ?

A DVD zone your library.

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Spaghetti westerns are, in my opinion, generally the best fictional films about the American West. You can argue that John Wayne made a bunch of great movies about life in the Old West, and you would be right to say so, but for some reason the Italians captured perfectly the specific elements of the era that made their movies seem more realistic. The frontier was a dirty, violent place full of unsavory types trying to get rich quick. Italian westerns capture this mood expertly whereas American films portray characters whose outfits look like they just came back from the dry cleaners. Hollywood films also tend to apply a black and white dichotomy onto their characters, the old "good guys wear white, bad guys wear black" philosophy that obscures the reality of the time and place. Not so in Italian films, where even the good guys often have distinctly unsavory traits. It's too bad spaghetti westerns went the way of the dinosaurs a few decades back; I never tire of watching these films even though I am not an expert on the genre. "A Bullet for the General," part of the larger Anchor Bay "Once Upon a Time in Italy" spaghetti western box set, serves as an excellent example of how powerful the genre once was.

If you enjoy spag westerns, you're going to love "A Bullet for the General." Like many other spaghettis, the film takes place in Mexico during the raucous revolutions of the early twentieth century. Bandits roam the countryside robbing and killing under the guise of revolutionary armies seeking social change. One band, led by a scruffy looking Mexican named El Chuncho (Gian Maria Volonte), earns their living by stealing weapons and selling them to a powerful warlord named General Elias (Jaime Fernandez). El Chuncho's band preys on federal army patrols, trains, and any thing else that allows them to realize their goals. Along with his holier than thou former priest turned revolutionary brother El Santo (Klaus Kinski) and a beautiful woman named Adelita (Martine Beswick), El Chuncho and his thugs make a good living at what they do. When the group happens to rob a train loaded with armaments, they run smack dab into a dapper gringo named Bill Tate (Lou Castel), a mysterious man who initially poses as a prisoner so he can get into the good graces of El Chuncho's army. Amused by the American and thankful for his help in stopping the train, the group decides to take him on as a fellow bandit and revolutionary. Chuncho even nicknames him "El Nino" in the process because of his baby-faced good looks.

Tate's hidden agenda remains hidden for most of the movie, but in the meantime he earnestly joins the guerilla war in Mexico. El Chuncho's band takes the rifles off the train and holes up in a poor village until it's safe to transport the arms to Elias's headquarters in the mountains. Regrettably, the local villagers convince the desperados to dispatch the brutal local landowner, a truly revolutionary action leading to land redistribution amongst the poor. Since the federal government opposes such actions, the village is certain to encounter an invasion force of substantial size. Suddenly, and probably due more to the pretty local women than any altruistic reasons, El Chuncho and El Santo take an interest in protecting the village from annihilation. The rest of the gang decides money is more important than a heroic stand, and heads off to Elias's fortress with the weapons. The now former bandit leader cannot stand to miss out on any of the action (or the money), and before too long is off riding after Tate, Adelita, and the rest of his compatriots. The conclusion to the movie, with Tate's true mission in Mexico revealed and the subsequent bloodbath that follows, is classic spaghetti western grit. Until the very end, you're just not sure what's ultimately going to happen.

"A Bullet for the General" is most notable for its strident political themes. All spaghetti westerns engage in the old good versus evil debate, but by the late 1960s the directors and writers of the films in this genre began inserting left wing rhetoric and pro-socialist situations into the pictures, thus turning the Old West into a mirror image of the turbulent social movements of the 1960s. Whereas in earlier movies you might see good guys and bad guys battling over money, in films like "A Bullet for the General" you see the good guys protecting the poor from money-grubbing big business interests such as railroads, oil companies, and landowners. El Chuncho's conversion from a greedy bandit to a socially conscious revolutionary symbolizes the transformation the New Left hoped most members of society would eventually undergo in the real world. Even the Church takes a shot on the chin in the movie, as El Santo becomes more authentic when he rejects the passivity of the pulpit in lieu of a socially active gospel requiring violent action against the propertied classes.

Unfortunately, a few problems plague "A Bullet for the General." First, the filmmakers failed to utilize the full potential of the volcanic Klaus Kinski. There is an intriguing scene where we see El Santo roaring biblical quotations from a rampart while tossing grenades into a mass of troops, but for most of the movie his character simply disappears. Second, the dubbing is awful--truly, ear achingly awful. But the good outweighs the bad. Anchor Bay performed miracles with the pristine picture transfer, the story is intriguing, and there's plenty of good shoot 'em up action. The DVD unfortunately only contains two trailers as extras, but the movie's good enough that you won't miss the behind the scenes stuff and interviews usually included on most discs. "A Bullet for the General" is must see viewing for spaghetti western aficionados, and a good introduction to the genre for the beginner.

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Although I'm confident it's a minority opinion, I always felt that Gian Maria Volonte was the best part of A Fistful of Dollars and For a Few Dollars More, though not in the same league as Eli Wallach would be in the classic finale of the trilogy. (Who is?) In 'A Bullet for the General', Volonte takes the lead in a better than average ensemble cast as El Chuncho, a bandit leader whose childish infatuation with the sainted General Elias makes him the perfect patsy when American Bill Tate (Lou Castel) is hired to send a bullet to the general.

First of all, if you are not already a fan of Italian westerns or at least look favorably on them then 'Bullet' is probably not going to change your mind. Hallmarks of the genre poor dubbing, convoluted storylines, gratuitous violence and over-emotive acting styles are all present and accounted for here, though to my mind, this film keeps the more grating elements in check. What we end up with, underneath it all, is a neat little psychological study that adds just enough flavoring to the excitement to push this film past average and make it a minor classic of the genre.

The dandy American, Tate, worms his way into El Chuncho's bandit gang, and it will be immediately apparent to all but the most obtuse that he has designs on something much larger than banditry and running guns for the Mexican Revolution. Once he is invited into the gang, he meets El Chuncho's half-mad half-brother El Santo (Klaus Kinski), Adelita (Martine Beswick), and the others, and is accepted more or less at face value after telling them that the train they have just raided was taking him to prison. From then on, Tate keeps pushing to see Gen. Elias a revolutionary leader hidden up in the mountains for whom El Chuncho is stealing guns.

Throughout the film, El Chuncho's fondness for Tate, whom he calls 'El Nino', causes him to sacrifice members of his original group until only these two are left to deliver the load of guns to Elias. Without giving away too many spoilers, in the end Tate both saves El Chuncho and at the same time betrays everything in which the bandit leader believes.

Subtlety is not a word that springs to mind when thinking about the action styles of Volonte or Kinski, and even though their actions remain over the top, both these two and Martine Beswick manage to imbue their roles with the hint of something more than two-dimensions. I'm trying not to over-praise here in the context of a basic action/western, they manage to convey more complexity than usual for this type of film, which I think really puts the entire effort on a higher plane. Lou Castel, as the american Tate, is, unfortunately, the odd-man out here. By design of the director or no, his acting style never resonated with me, or else it stood out at odds so distinctly from the others that it appeared out of place. His presence is the single most distracting element of the picture.

There is a very anti-American allegorical layer to this film those who expect to be offended by that may want to pass it by. El Chuncho, for all his violent, criminal savvy, is politically naive, and easily manipulated by Tate. Tate, on the other hand, represents the idea that any action is blessed as long there is a tall enough dollar sign behind it. When El Chuncho is placed between nationless greed and belonging to his people, though, he makes a choice that speaks for the entire film. I won't say that director Damiano Damiani completely avoids ham-fisted sentimentality this is an Italian western after all but within the context of the genre, I think it's excellently done, whether I agree with the subtext or not. Easily within the top ten of Italian Westerns that I've seen.

This Blue Underground release was nicely done not pristine, but nice. Both sound and picture were entirely serviceable, though the only extras included were trailers and a filmography of Damiano Damiani.

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The Opening of Misty Beethoven Blu-ray, Directed By Radley Metzger (1976)

I am absolutely blown away by the love and care that DistribPix put into their restoration of THE OPENING OF MISTY BEETHOVEN. The aspect ratio has been restored, so that you are seeing the film as you would have seen it in the theatre. And the colors, dialog and music all look and sound the best that they possibly could. The extras are nonpariel -you get featurettes on the actors, a behind-the-scenes documentary, the complete story of the music used in the film (without equal in the annals of adult cinema), deleted scenes and much more. If you've only seen the subpar DVD made from a VHS tape, you owe it to yourself to see the film as "Henry Paris" intended. And while you're at it, don't forget to pick up a copy of the stupendous soundtrack CD!

The Opening of Misty Beethoven is widely recognised as the greatest porno film of all time, at least among those who care about the film aspects and not just the sex. It has an entertaining plot suitable for a porno, wonderful sets, a witty script gorgeous actors and actresses and is topped off by a great soundtrack. Not to forget about the sex: two scenes are really hot and the others all add to the overall experience. Distribipix's Blu-ray package truly does justice to the film: excellent transfer and superb special features including two versions of the film (hard and soft) with two separate commentaries. Fans are well rewarded and anyone new to the movie will be instantly enraptured by it.

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It is a miracle what 12 weeks of editing can do for a film! "Misty Beethoven" is widely considered the best porn movie ever made, and I can only agree. It has class, it has style, and it is very well acted especially by Jamie Gillis and directed. It is the pinnacle of the brief moment in time known as 'porn chic'. Everyone is glamorous, money is no object, and the sex is plentiful. Most memorable are the many montage sections in the film, something I have never seen in another adult motion picture, and certainly not done with the style and skill as "Misty Beethoven'.

Anything by Radley Metzger / Henry Paris is worth searching out, as he was the one true auteur of porn, but this film is the best of the best. Additionally, no expense was spared in doing a complete audio / video restoration, with tons of bonus features and even a commentary by Mr. Metzger. It looks great, it has great packaging and cover art, and it is perhaps the one great porn film. A must buy, if you are interested in that kind of thing.

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The Opening of Misty Beethoven(1976) is a cult classic of the 1970's Porno Chic genre. It's a loose remake of George Bernard Shaw's Pygmalion. It stars Jamie Gillis and Constance Money. It has good camerawork, good production values, and some well chosen stock music cues. Distribpix did a good job restoring the film and packing the DVD and Blu Ray's with extra features. The soft core version of The Opening of Misty Beethoven is also an extra. Two deleted scenes from Misty Beethoven were used as filler in Barbara Broadcast(1977) and Maraschino Cherry(1978). The Opening of Misty Beethoven is a classic adults only film from Henry Paris.

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'The Opening of Misty Beethoven' (which I have just watched for the first time) is considered by some (or many) to be the greatest adults-only movie ever made. I'd have to watch a LOT more to confidently agree or disagree but I can say that I liked it very much! There is a story (which doesn't come across as a necessary evil) and would be extremely watchable in either the soft or hard core version, both of which are included on this Blu-ray. It's really quite funny, too, with plenty of jokes and sight gags, all of which the performers deliver with ease and aplomb ...except for one lady in one of the aeroplane scenes, but she's pretty and it's only one line, hehe. The music is appropriately whimsical and sexy by turns, and I now want the soundtrack!

This Blu-ray release has clearly been a labour of love for the producers, from the careful restoration and transfer of the movie to the packaging. If you are interested in this movie or this period in adults-only entertainment, I think you will not regret buying this Blu-ray. The movie itself is fully worth the money, but there are also some interesting and informative special features (many in high definition). Of course, your primary reason for buying will be to enjoy watching some really good looking people making out! ;)

Superman: The Movie (2006)

This is a tough one to review. For a film made in 1978, I don't think it could look any better. I'm willing to bet this Blu-ray disc is as good if not better than the premiere screening of Superman back in 78. Great care must have been taken to clean up and restore this picture. It is practically free of scratches and dirt. It is detailed, far above standard definition. Colors are balanced and eye catching. Contrast is natural and evenly spread. Inserted scenes are consistent with the rest of the film. Never looked better. Still, 1978. There are a few scenes with plenty of grain and most of the film gives the impression of being a little out of focus, a little blurred. Five star transfer, four star visual impact. I doubt if a 1080p display is getting much more out of this picture than a 720p display.

(PS3 1080p projector 92")

At last, Superman is presented the way it was meant to be! The master print for the 1978 classic had deteriorated so badly that the film, particularly the white-on-white Krypton opening scenes, was almost unwatchable. (I had even gone so far as to write a critique on Amazon.com demanding a 'Director's Cut' DVD edition, digitally transferred and remastered, be made!)

Somebody was listening! While this isn't a 'Director's Cut' (Donner has said that the version that premiered in 1978 was the version he preferred), the movie has been expanded, to include a couple of brief scenes with Brando, and the famous Superman Gauntlet sequence at Luthor's underground lair (the remaining unused sequences can be seen in the 'Deleted Scenes' Chapter, on Side 2).

Technically, the DVD is fabulous; the Krypton sequences are now clean and sharp, a couple of shots where, previously, color balancing problems had turned Superman's costume green have been corrected, and, best of all, the soundtrack has been digitally remastered and sounds even better than it did in 1978!

Three fabulous documentaries are included on Side 2 about the making of the film, and how the flying effects were achieved. This was an incredibly expensive and difficult film to make (so much so that Donner, after 'Superman' was released to rave reviews, was fired, and replaced by Richard Lester, for 'Superman 2'), and through interviews with Donner, Christopher Reeve (who is honored for his work in the film, and his courage since his crippling accident), Margot Kidder, Gene Hackman, and several of the creative team, you can appreciate what a unique and wonderful film this is!

Two other 'pluses'; a full-length audio commentary track with Richard Donner, and a 'music only' option, where you can admire one of composer John Williams' greatest scores!

This Special Edition DVD should be an essential part of any film lover's collection!

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Last night a friend that works at Warner Brothers brought over a surprise: The Superman-The Movie two disc DVD! And after watching it, I've got some good news, and some bad news.

First the good newsThis new version is even better that the original edit of the film. A lot more of Marlon Brando's scenes. And the really cool sequence in Lex Luthor's underground hide out where he tries to kill Superman with bullets, fire & cold. Plus more...

The picture quality is just stunning. Krypton has this insane glow to it. And the new sound rivals brand new movies. The music is bright & vibrant, swirling all around you, and the entire 5.1 mix is used very well.

Now, the bad newsThere's only the one version of the movie. I had hoped you'd be able to play the original, too.

More good newsThe second disc has an enormous amount of brand new special features (almost two hours worth.) In their entirety, they seem to transport you back in time to relive the fascinating story of how the two Superman movies got made--up until director Richard Donner was stupidly fired, and not brought back to finish the second film. There's a lot of never-been-seen before, behind-the-scenes footage. In the casting tests you can see early versions of the Superman costume as Chris Reeve plays against many actresses including Leslie Warren, Anne Archer (both who were very good,) and of course Margot Kidder.

And then there are the two exceptional documentaries with new interviews from almost everybody. They follow the history of the two films, and include very interesting business aspects. Chris Reeves' story is very touching. Also included is a documentary on the special effects with neat(!) early flying tests.

Now more bad newsMy friend took the discs with her.

To some up: this is the most complete, classy & top notch DVD package I have ever seen. Very well done ! A+

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The movie:

"You'll believe a man can fly." That was the advertising tagline. Well, I can't think of many instances of it, but this was one time when a movie delivered on its hype. "Superman" fires on many cylinders, but the main one, the integral one, was believability. This film is an absolute achievement in terms of tone, style, and effects. For 1978, the effects are terrific, but also the performances and the writing really gel and sell the concept to the audience.

We haven't seen yet the actor who can top Christopher Reeve's Superman. The solidness, the goodness radiating from his presence in costume, combined with the vulnerability and sheer hilarity of his Clark Kent are (perhaps) impossible to top. Margot Kidder turns in a feisty Lois Lane, and their chemistry is great. Gene Hackman is a credible Lex Luthor, both funny and menacing at the same time. Supporting players fill out a cast that just really inhabits the world and never feels less than real.

The run time of the movie is perhaps a bit flabby, and this edition adds about 3 minute of new material. But I for one am quick to forgive it it just so captures a feeling of innocence, wonder, Americana, that I'm willing to just bask in it, even when the action slows down.

The Blu-Ray:

Well, this is not one of the discs you'll pop in to show off "how great HD looks." The film was shot almost throughout with soft focus filters which bump up the haze of lighting and obscure detail.

BUT: It looks as good as it probably ever can and ever will. In A-B comparisons with the previous DVD (which was great for its day) the upgrade is subtle but evident. Some shots show very strong detail, when it's in focus. Check out the foliage in Lois' rooftop apartment. Some facial shots show exceptional detail in fine lines. Whenever the soft filter is absent, you can really tell you're watching an HD presentation. The colors are the main upgrade in the Blu-Ray reds and blues really pop, and black levels are rock solid in most shots not involving visual effects. Film grain is present and generally not too obtrusive, except during some effects shots. But I prefer its presence to excessive digital noise reduction. In the end, how you feel about this Blu-Ray will depend on your emotions for the film itself (mine are very strongly positive), and how you feel about a home video accurately replicating the look and feel of the original presentation's film stock (something I'm also strongly in favor of).

Audio is presented in a strong Dolby Digital 5.1 channel mix. There isn't much of a workout for the surrounds, but John Williams' iconic score really sings, nonetheless.

Extras include an hour's worth of documentaries, reprises from the DVD edition. Casting tests, trailers, a commentary by Richard Donner and Tom Mankiewicz, and a wonderful score only track highlighting the music, round out the disc. Overall, at least average and probably slightly above average.

**********

I grew up with this film. I'm predisposed to enjoying it. As a Blu-Ray, it is hampered by the stylistic choices of the filmmakers, but still gives us a very good presentation of the film.

It's a five star film in my book. It's certainly in the top 5 comic book movies ever made (and was the true pioneer in terms of big budget successes from comic book material.) I considered downgrading this disc by one star simply because it can't overcome the flaws inherent to the source material. For the paltry sum Amazon is asking for it, you really can't go wrong, though. Kids of all ages (ages 3 to 83?) who just want to feel good about the world will be transported to a better, simpler, more beautiful place. Fans of 1970's cinema will find a lot to love, as well. There are many shots which really shine in detail, and almost all of the shots benefit from zippier colors. If you don't own this film otherwise, or are just a fan of the action/comic book genre, this is a must-buy. It's a classic.

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It is about time that this classic gets the full treatment--loaded with extras. However, if you are also interested in the Superman II special edition, it is more cost effective to get the "The Christopher Reeve Superman Collection (8-Disc Deluxe Special Edition)" which is currently the same price as buying this set and II, only you get films 3 and 4 too (which is better than paying for them, right?)

Also, Amazon has the Richard Donner Cut of Superman II available for pre-order which has the extended version of the film never before available (the special edition will be the theatrical release only).

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The Fast and the Furious: Tokyo Drift (Blu-ray + Digital Copy + UltraViolet) (2006)

Lucas Black (the kid from the "American Gothic" TV series and the "X-Files" movie) has matured into a charismatic young actor with a brooding screen presence. He does a terrific job picking up the franchise torch from Vin Diesel and Paul Walker in this killer sequel, a well crafted guilty pleasure that delivers the Fast and Furious goods.

Sexy, colorful, edgy, expertly paced, with a great opening sequence and a knockout ending, "The Fast and the Furious: Tokyo Drift" is formula genre filmmaking at its absolute finest. The movie has a beautiful female lead (Nathalie Kelley), cool sidekicks, wonderfully over the top villains, and a great setting (the filmmakers do a great job utilizing the Tokyo locations).

This movie is a real rush of adrenaline. A wicked guilty pleasure that lives up to its title.

Loud, Brash, Noisy, Sexy, Morally Murky, Bursting with Energy and Guts, Justin Lin's (the terrific "Better Luck Tomorrow") take on episode 3 of the "Fast and Furious" franchise is a great way to spend a hot Summer afternoon along with a gallon size soft drink and a tub of Popcorn.

Here Lin is in Tokyo with the stoic, deadpan line reading Lucas Black (as the booted out of the US to avoid Juvenile detention, Shane Boswell...a car nut addicted to driving fast and grinning like a Cheshire cat) who, of course finds the local car culture and its inhabitants by way of a school pal, Twinkie played by the appealing Bow-Wow. And he just as quickly falls in with the "wrong crowd" consisting of Han, a sort of Sensei to Shane (the enigmatic and excellent Sung Kang from "Face" and "Better Luck Tomorrow"), and the villain of the piece, Yamata played with his face crunched and a constant sneer by Sonny Chiba. Then there is the lovely Neela (Nathalie Kelley...a dead ringer for FFI's Jordana Brewster): like Shane and Twinkie a High School (!)student with very, very permissive parents.

Lin directs this piece to within an inch of its life: your eyes and ears are never bored, never without something to feast your eyes upon or pop your fingers to.

Lin never judges his characters, we never feel that he is slumming...he always respects the material he is given to direct and he always puts his personal stamp on everything that he does.

I wish he were given something as meaningful and heartfelt as "Better Luck Tomorrow" to direct but he's young and he has many many movies to make before he is through.

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The cast in this movie was extremely well chosen, and they all acted very well. Sean is a reckless, charming, somewhat troubled teenager, but he doesn't come across as stupid and careless--despite his angst and frequent bungles, he is immediately likable. When a car race with a peer at his school results in two wrecked cars and extensive damage to a local construction site, the only alternative he has to jail is to move to Tokyo and live with a relative (his father, I thought, but maybe his uncle...).

In Tokyo, Sean quickly discovers the racing scene. After trashing a race car, he has no choice but to work for Han, the car's owner, as compensation. Han is by far the best character in this movie, to the point that he seems out of place--you just don't expect a character THAT good in this sort of action flick. Han is a whimsical, philosophical and intense character. He completely upstages Sean and almost from the first moment you see him, calmly eating his chips while he watches Sean destroy his expensive race car, you want to see more of him.

Much of the movie's impetus comes from D.K. and Neela. D.K., short for "Drift King," is the top racer in the area and the nephew of a local yakuza boss. He's partners with Han and is obsessed with Neela, a peer of Sean's at school. D.K. dislikes Sean immediately, noting Sean's interest in Neela and tensions between the two of them escalate throughout the movie, leading to the "climax" which is a night race down an extremely windy road out in the middle of nowhere. The races in general are pretty entertaining and are a good length, time-wise.

This was a good flick with a few really excellent qualities. The plot was a little hazy but there was one, and the characters were very well developed. Just the Han character made it worth seeing, for me. I'd recommend it to anyone who enjoys action movies. It was at last as good as the previous two movies in the series.

Read Best Reviews of The Fast and the Furious: Tokyo Drift (Blu-ray + Digital Copy + UltraViolet) (2006) Here

The Fast and the Furious: Tokyo Drift isn't a deep, thought provoking movie, but it doesn't purport to be either. It's just what it was marketed in trailers to be: an action packed fun bit of mind candy filled with fast cars, dozens upon dozens of hot Japanese girls, thumping music, and body flinching car crashes. The basic plot is that a high school driving nut gets in trouble (yet again) after racing with a rich boy. To keep him out of jail, he is sent to his estranged father in Japan. Alas, there he discovers the world of drifting, an even more dangerous style of racing. Unfortunately, he also soon finds himself in trouble with the relative of a high ranking Yakuza.

For me, the only really noticeable mistake in this movie is that way too many people walked away with only a few scratches from what should have been fatal crashes. For example, there is one crash where a car rams into a concrete tube while going at least 80 mph. Yet the two occupants didn't even require a hospital bed! A more minor mistake might have been putting in a little too much plot, especially when some things weren't followed up as well as they could have. In the end, though, the plot is mostly there to serve as some spacer between all the hot cars and awesome races. I should mention one other minor mistake. Vin Diesel's cameo was so completely pointless. The movie already had a good ending, it was just kinda senseless.

The cars in this movie are the real stars. So many hot little numbers, including American muscle cars, hot foreign vehicles, and one pimped out van that you just have to see to believe. The acting is good, for what it is, though Luca Black's twang-filled voice might annoy some folks. Twinkie, another army brat played by Bow Wow, is such a hoot! I know I said the plot was mostly spacer, but I did find the interaction between Sean, Han, and Twinkie to be awesome.

So I suggest you don't think about the logistics of things. Just sit back and enjoy the cars, the some times over-the-top characters, and, for the men (or lesbians) the multitude of Japanese girls who barely wear any clothes. All in all, I thoroughly enjoyed seeing this movie. I was pleasantly surprised that they attempted to include at least some true elements of Japanese culture, such as the changing shoes thing in schools.

I do recommend this one been seen in the theater. The music and pulse of the movie are made for big screen, surround sound viewing! I might get this one DVD just to have something fun and rocking to watch when I want some mindless action.

Want The Fast and the Furious: Tokyo Drift (Blu-ray + Digital Copy + UltraViolet) (2006) Discount?

After buying the original "The Fast and The Furious" I found most of my enjoyment came from making fun of the movie and shaming it. However, I can now say I am a fan of the trilogy (all 3 films are good).

Lucas Black is simply The Man and gives another great performance here. Bow Wow does a surprisingly good job as well. Car buffs and street racers will especially like this movie (which I am neither). This is a fast paced and exciting action packed movie that many will enjoy.

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Marvel Blu-ray Three-Pack (Fantastic Four / Fantastic Four: Rise of the Silver Surfer / Daredevil)

The Bluray transfer of these movies are great, and its very hard to complain for the price, but the original Fantastic 4 movie is missing many of the extras included with the old DVD version and the Daredevil disc has the director's cut, but is missing the theaterical version and many of the extras from the old DVD version. Only the Fantastic 4: Rise of the Silver Surfer disc offers comparable extras equivalent to the old DVD issue. If you don't care about extras or added content, and like comic book movies (even ones that aren't the greatest), this set is a great deal.

If you were looking to replace your old DVD versions with comparable extras and HD quality, you may want to hold off on getting this in hopes that a superior version will one day be released on blu-ray.

One thing is for certain, if you've never seen the Daredevil Director's Cut you're missing out on a great film. (One that's remarkably better than its theatrical release) I'm glad they didn't include a copy of the initial release on Blu-Ray. That film should be ignored. Honestly, the DD DC is one of the best comic based films regarding any origin. It's better than Batman Begins, Spider-Man and Superman. The FF films are fun and look great in HD on Blu-Ray. Too bad there wasn't more story to go along with the popcorn fun. Overall, the price is right and every Blu-Ray collection should have these movies.

Buy Marvel Blu-ray Three-Pack (Fantastic Four / Fantastic Four: Rise of the Silver Surfer / Daredevil) Now

OK, these are popcorn movies. So, just have to make that point clear. For its price, this is a great value. The movies look and sound great on blu-ray. Fantastic Four might not be the best superhero movie, but it's entertaining. Especially when you just want to turn off your brain and watch the special effects.

Daredevil, on the other hand, is quite a good movie. Definitely the best in the collection.

Read Best Reviews of Marvel Blu-ray Three-Pack (Fantastic Four / Fantastic Four: Rise of the Silver Surfer / Daredevil) Here

He watched it all over the holiday break and he really appreciated this gift from me. I would assume he will re-watch all of three movies again.

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If only there are more sets of such variety movies. 3 movies for a reasonable price, really worth getting it!

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Hellboy II: The Golden Army Collector's Set (2008)

You know you're not watching a formulaic comic book film when one of the highlights is a drunken rendition of "Can't Smile Without You" by Hellboy and Abe Sapien. "Hellboy II: The Golden Army" is a more confident, assured outing than the first film and while it does not draw from Mignola's comics for its plot it is perhaps better off for it, lacking the usual burden of comparison and expectations. "The Golden Army" is more fantastical than the first film and is less sci-fi oriented but this is the sort of thing Del Toro does exceptionally well as a writer. He never lets the fantasy become the focus of the film, instead concentrating on characters and delivering action scenes that can only be described as, forgive the crass immaturity, kickass.

As entertaining as many comic book-to-film adaptations are it is a rare event when one can call one of these films a true artistic achievement. I am convinced without a shadow of a doubt that Guillermo Del Toro's entire career has been leading up to this film, particularly regarding his work as screenwriter here. The comedy feels less forced and is worked incredibly well into the script here, so much so that it doesn't feel remotely unnatural when the scene of comic drunken singing leads directly without a break into one of the film's most intensely dramatic sequences. Del Toro's handling of character has never been better, not even with "The Devil's Backbone", which is still my favorite of his films, and his sheer skill and ability when it comes to telling a fairytale-esquire fantasy is astonishing, as proved in the prologue to this film. In short this is Del Toro at the top of his game and providing artistry the likes of which we rarely if ever see in summer blockbusters. It's only fair that an astonishingly brilliant comic like "Hellboy" by an astonishingly brilliant artist like Mike Mignola is adapted this well and by someone as talented at what they do as he is.

How refreshing it is, a week after the release of "Hancock", which to me epitomizes everything wrong with action film-making today, that we get "The Golden Army" which features hands down some of the finest action scenes we have ever seen in this sort of film. Just stunningly beautiful, well-shot, well-crafted, the sort of thing that leaves one wondering how much time and effort went into it and endlessly thankful that some really talented people went to the trouble of making the film.

The film is generally just superb on a technical level. Why am I even saying this? Of course it is. Danny Elfman composing, Guillermo Navarro serving as cinematographer, top-notch editors, fantastic special effects wizards. It's a world-class crew that made this film. I shouldn't be surprised at its quality but "The Golden Army" really just floored and astonished me with how good it is. The cast is also excellent, proving once again that you don't need 'big names' to carry a movie. Just about everyone here is excellent, particularly Perlman with another excellent turn as Hellboy and the underrated Selma Blair as Liz Sherman.

"Hellboy II: The Golden Army" provides essentially everything a Del Toro or Mignola fan would want. I imagine it will entertain and charm many outside those circles as well with its fantastic action sequences, engaging characters, and wonderful sense of humor. I would personally go as far as calling "Hellboy II: The Golden Army" one of the top five or so comic book movies ever made.

Guillermo Del Toro has become the new master of dark fantasy -first with the quirky clockpunk "Hellboy," then with the Oscar-winning "Pan's Labyrinth." Not to mention forthcoming travels to Middle-Earth.

So you know he has the skills to pit Mike Mignola's scarlet anti-hero against an army of fairies and elves, and not make it silly. Instead, it's a spectacular dark fantasy full of humor, action, quirky appeal, romance, and some truly astounding special effects. But what really shoves this movie over the top is Del Toro's brilliant direction, and the stunning performance by Ron Perlman.

Decades ago, Professor Broom (William Hurt) told a small Hellboy a yuletide bedtime story about the Elf King Balor and his unstoppable Golden Army, and how the crown that controls the Army was split into thirds and divided among fairies and humans.

Well, you can't really expect that kind of power to never be revived.

Cut to current day. Hellboy (Perlman), Liz (Selma Blair) and Abe (Doug Jones) investigate a strange supernatural attack on an auction house, where the archeological curiosity known as the Crown of Bethmoora was being sold -only to be attacked by savage tooth fairies. Turns out the crown was stolen by Prince Nuada (Luke Goss), a resentful young elf who is determined to take the world back from humanity -using, of course, the Golden Army.

And while Hellboy chafes against strict new commander Johann Krauss (a suit filled with ectoplasm), Abe encounters Nuada's sister, Princess Nuala -who also happens to have the last third of the crown. But Nuada will not allow anyone to oppose him as he searches for the Golden Army's location, and Hellboy and his friends must venture into a strange, ancient kingdom to stop him from destroying all of humanity.

The worst you can say about "Hellboy II: The Golden Army" is that it sticks to the formula of the demonic outsider with a dark destiny, and his continuing romantic woes. There's some retreading as Hellboy realizes anew that he'll never fit into the world of humans, because he's big and red and has horns and a tail. Okay, we got it. Next big psychological issue!

Fortunately those flaws are relatively minor ones. Del Toro is still able to spin a dark, twisted story with some truly bizarre creatures (the utterly alien, eye-winged Angel of Death), clockpunk robots, trippy underground goblin markets and a new BPRD agent who is basically ectoplasm in a suit. And for the action scenes, Del Toro does not pull punches when it comes to the smashing action scenes -giant thrashing vines and a one-on-one duel with Nuada are among the highlights.

With all this going on, it would be easy to neglect the characters. But Del Toro packs the script with solid snappy dialogue and some poignantly romantic moments -including some pretty startling actions from dear ol' Abe. And he also adds little moments to this epic story that remind us that these are supposed to be people -such as Hellboy's bickering with Krauss, or Abe and Hellboy getting drunk and having a little Manilow singalong together. It's just so cute.

But what really sets this movie apart is the "children of the Earth." No flitting Victorian sprites -these are creatures that are weird, grotesque, dangerous and immensely powerful, from nasty little tooth fairies up to vast rock monsters and plant gods. There's an alien, bizarre aesthetic to these creatures that feels wholly real, as if Neil Gaiman casually dropped a few sketches onto the drawing board.

But as amazing as the visuals are, Del Toro never neglects the characters. Perlman is perfect for the role of "big Red" -he's gruff, sarcastic, moody, but also endearing and self-deprecatingly likable. There are more hints of his potentially dark future, and he faces some delicately-handed temptations. But Big Red's good heart is still very much in the forefront, no matter how much human beings fear him.

Blair gives a more lively performance here as a spunkier Liz, who also has some surprising developments in store. Jones is pitch-perfect as the fish-man, who experiences the first pangs of young love for Nuala, while Goss gives a chilling, whispery performance as a rebel prince who is willing to do whatever it takes -even kill family -if it helps him restore the fey kingdom. Pretty good villain, since he clearly isn't trying to be bad.

There's also loads of extras in this particular edition of the movie -feature commentary with director Guillermo Del Toro, Jeffrey Tambor, Selma Blair and Luke Goss, as well as some deleted scenes also with commentary with Del Toro, a prologue to the movie, a digital script, image gallery, a "Puppet Theatre" for the opening sequences of the film, concept art, interviews, and other such stuff. Also making-of documentaries -seven mini-documentaries that visit the set, the "Troll Market Tour" in the movie's most memorable "faerie" setting, and the two-hour "Hellboy: In Service Of The Demon." Basically, it turns the film inside-out and lets you examine its guts.

"Hellboy II: The Golden Army" is a wild, darkly ornate ride through the world of half-forgotten gods and fey. While it has a few flaws, those are far outweighed by the brilliant of Del Toro's vision.

Buy Hellboy II: The Golden Army Collector's Set (2008) Now

Fans of dark fantasy movies will definitely like this one. If you take Pan's Labyrinth and add more creatures, and then give it an injection of humor, and sprinkle some Hitchhiker's Guide to the Galaxy, some Fantastic Four, and a little Lord of the Rings, and last of all let Neil Gaiman put the finishing touches, you'll probably get Hellboy II or a reasonable facsimile thereof.

Short Attention Span Summary (SASS):

1. Humans and mythical creatures are at it again

2. One crown rules an indestructible golden army

3. Uneasy lies the head that wants to wear the crown

4. All Hellboy breaks loose after a visit from the tooth fairies

5. The Bureau for Paranormal Research and Defense sends a gasbag to lead the team into the bowels of New York City

6. Hellboy may be red and angry, but it's Liz (Selma Blair) who's the hottie

7. Big fights, big guns and big fun follows

8. `Twas beauty that tamed the beast

When the BPRD agents are called to take on the job of stopping rogue Prince Nuada (Luke Goss) they get a lot more than the main responsibilities listed on their job descriptions. Battling mythical creatures, disobeying direct orders, and generally tearing the place apart, our heroes never let a little adversity get them down on the way to a stellar showdown.

This is a fantasy, an adventure, a battle of good against not-so-good, and a love story, all rolled into one red hot package.

Rated: 4.5 stars

Amanda Richards, July 23, 2008

Read Best Reviews of Hellboy II: The Golden Army Collector's Set (2008) Here

Outside of Ron Perlman's bravo performance as the title character, Hellboy, in the first film, what wowed me the most (as I stated in my previous Amazon review) was the deeply theological and emotional subtexts of that film. As much as I loved Ron Perlman's even more bravo performance in "The Golden Army", it took me a while to clue into the fact that some of the deepest subtexts in this second movie are a bit different than the first film.

I don't wish to indulge in any real spoilers this early in the game, but this new film has exchanged the theological subtext for a psychological one that is just as deep.

In the first film, the question was one of what made Hellboy a truly 'human' character. The answer was the right to choice based on free will. In this new film, the related question is whether or not Hellboy can ever truly fit in and should he even try. "The Golden Army", with the beneficial switch to Universal Pictures, makes a clever connection between Hellboy and Boris Karloff in "Bride of Frankenstein". Mr. Karloff's little cameo appearance as Frankenstein on one of Hellboy's many television sets in a significant scene with Elsa Lanchester as the titular Bride nails that subtext in just a few brief moments of film time in a way that a lot of surface action in the film never could have.

The father/son subtext of the first film is still here, but buried even more deeply as John Hurt's character of Hellboy's adoptive father, Trevor Bruttenholm, was murdered in the first film. We are reminded of his character by a cameo appearance of John Hurt as Trevor 'Broom' in a flashback to Hellboy's younger years; but hasn't anyone ever told Guillermo del Toro that, in the original comics, an eleven-year-old Hellboy would nowhere be as small as the character is portrayed in this flashback. In the original comics, once he get past ten years old, Hellboy is almost full grown physically, if not emotionally mature.

Yet, there is a further connection in the new film to that father/son subtext of the original film. It's too bad that it is one that will probably pass right over the heads of that portion of the audience who haven't see the first movie. In this second movie, both Hellboy and Prince Nuada are the sons of murdered fathers. Where the huge difference lies between these two characters is the identity of the villain who commited the murder.

Once again, we have a film of deep emotional, religious subtexts lurking under a fun, exciting, quip filled surface. Watch out for a drunken scene between Abe and Hellboy. I thought I'd die laughing; but it is those deeper subtexts that make me love Guillermo del Toro's "Hellboy" movies and I can't wait for the third installment.

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It is good to see Mike Mignola's Dark Horse Comics working-class (SUPER) hero character return...along with most of the cast and original director Guillermo del Toro (now a bankable guy, thanks to PAN'S Labyrinth). Hellboy himself, again played by RON PERLMAN (TV's Vincent of "Beauty and the Beast" from back in the day), who has been under latex pretty much is entire career, infact, Hellboy maybe the closer to revealing his actual face than many of his other roles. But thankfully he returns to his greatest achievement to date...the gruff, working man archetype stogie and all. Of course he is nearly invulnerable, although that invulnerability is tested in the Golden Army as he faces plenty of Fairy folk, the supernatural and monsters for the Bureau of Paranormal Reserch and Defense (the bridge between the MIB and the Ghostbusters). RED is still a cat-lover and feeling under appreciated, ready to break into the public arena to receive to much deserved thanks for "savin' the world" on a daily basis. Selma Blair returns as Liz, the girlfriend who happens to be a "firestarter" aka pyrokinetic. Doug Jones returns as Abe Sapien's faceman empathic body (sounds like he is again voiced by David Hyde Pierce who refused on screen credit last time out of respect for Jones' impressive physical portrayal...so I think this is the case this time...) Abe is the smarts in the team and this time gets a love interest in Princess Nuala, which opens for so great scenes with RED giving advice while the pair get drunk and sing Manilow. Genus and worth the price of Ticket, rental or DVD, whichever the case may be. The great Jeff Tamor is back as the BPRD's resident "suit" New to the team is Johann Kraus a German...well poltergeist in a retro containment suit, voice by Seth MacFarlane, the doctor can inhabit objects and he is sent into BPRD HQ to tighted the reigns on HELLBOY who has blown his covert status and is known to the world now...thus the massive TV ad campaign featuring Big RED on with James Lipton and the Ghosthunters (beautiful, youTube it if you missed it).

The story goes like this, back when HELLBOY was a er...Hell Boy...his adopted father (William Hurt) Prof. Broom told he a bedtime tale about an Elf King Balor and his INDESTRUCTABLE ARMY of clockwork machine-men things....the flashback / story time imagery is lovely stop-action-style puppetry...the war against humans was ceased and the Army controlling crown, broken into three parts....never to be reassembled....buuuut....

The Prince, twin son of King Balor had other ideas....Hellboy and the team must stop him from regaining the crown and sending the Golden Army to destroy man. Beginning at an art auction where the Prince unleashes disturbing swarms of "tooth fairies" to regain part of the crown.

Like it's predecessor Hellboy 2, isn't heavy with computer monster...most of the creatures are amazing costumes and make-up, (overcoming the major flaw in many superhero movies...) The outsider protagonist motif carries well in this one and suits the theme with RED coming terms with what he wants his place in the world to be... while this film is unlikely to win director Guillermo del Toro another 3 Oscars, it is fun and visiually pushes the boundaries of what is the mainstream Superhero genre....much more than you would expect and I am not nearly as worried about Guillermo del Toro's upcoming HOBBIT production...if HB 2 is any indication it is in good hands and I think we may expect a 3rd Hellboy, too.

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X-Men: The Complete Collection (X-Men / X2: X-Men United / X-Men: The Last Stand / X-Men Origins: W

This is a bundle of five X-Men movies. Please note that this is not a box set, it is just the five movies sold together each movie comes in its own separate blu-ray case. Video/audio quality varies by disc, but is generally excellent; these discs also include a variety of special features that take you behind the scenes of the making of the movies.

The X-Men movies hold and important place in film history; the first film in the series is often credited as the film that launched the golden age of comic book superheroes on film. Both the original X-Men and it's sequel, X2: X-Men United, are well regarded among audiences. The final film in the trilogy, X-Men: The Last Stand, is not nearly as good as its predecessors but it's still a fun movie with great action sequences.

Also included in the bundle is the spin-off titled X-Men Origins: Wolverine, which looks at the early days of Logan (perhaps the most popular character in the franchise). And finally, X-Men: First Class is a prequel which examines the history between Professor Charles Xavier and his friend (turned adversary) Magneto.

My own opinion is that the X-Men films are not quite on the level of Nolan's Batman trilogy or Sam Raimi's Spider-Man trilogy. However, these movies are very entertaining, and there are interesting themes related to society's acceptance/rejection of the mutants that parallel our own problems. In terms of technical achievement, I would single out the costume design and the makeup work as top-notch.

If you've never seen the X-Men films, or if you're a fan but have yet to buy them, then this Complete Collection on blu-ray is the perfect set for you and comes highly recommended.

Here are the links to the individual releases:

X-Men [Blu-ray]

X2: X-Men United [Blu-ray]

X-Men The Last Stand [Blu-ray]

X-Men Origins: Wolverine (Two-Disc Ultimate Edition) [Blu-ray]

X-Men: First Class (+ Digital Copy) [Blu-ray]

(Amazon's prices constantly change, and in some cases it may actually be cheaper to buy the titles individually)

Note: I have two Blue-ray/ DVD players. One is "Region A or 1" (the norm in the US) and the other is "Region Free" so that I can play anything I want in it (including Region A's or 1's). My Panasonic "Region Free" is only about a year old.

These Blue-ray disks has great a picture & sound. How good the movie is I leave up to each person. However, I do have a WARNING for everyone.

I just discovered that some of the "Region A or 1" Blue-ray disks that I bought on "Amazon" will not play in my "Region Free" player. But they play just fine in "Region A or 1" player.

Most of the disks that will not play in my "Region Free" player will display a "Fox" back ground with a message that reads [This disc has been coded for Region A only and will not play in this machine. Please eject this disc and play on a Region A player.] on the screen after you insert the disk. The others that will not play in "Region Free" player have different backgrounds with a similar massage.

*****Four of these five Blue-ray disks happen to have this problem!

Only "X-Men Origins: Wolverine would play in both players.

Since I have one of each this is not a problem for me, but I thought it would be useful to know for those who might only have a "Region Free" player.

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I just bought the X-Men Trilogy boxed set, X-Men First Class, and X-Men Origins Wolverine on Blu Ray individually and it only cost $55.47. You're paying $12 extra for this set, and it doesn't even come with a nice box for the main trilogy.

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These movies are very very good. I got them a very good price. So much better in HD. I have watched them several times. I highly recommend buying this on Blu-ray you can't go wrong.

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Love the Blueray disks for HD quality and clarity. Could there be any more X-Men/Women in the near future? Hope so.......

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Of Gods and Men (Two-Disc Blu-ray/DVD Combo) (2011)

What is refreshing about the popular and critical success of Of Gods and Men (winner the Grand Prix at Cannes 2010) is not that it is particularly experimental or challenging, but rather that it avoids going either for the populist crowd-pleasing angle or the tear-jerker that its real-life inspiration seems to demand. The film is based on a true story of a small community of Cistercian monks in Tibhirine in Algeria caught up in the country's political troubles during the 1990s. The monks regard it as their duty to bring aid and provide medicine for the local villagers who are suffering because of the local unrest and the battles between the national army and Islamic fundamentalists, but they risk incurring the wrath not only of the fundamentalists through their spreading of Christian beliefs, but also the Algerian army who believe that they may be giving aid and medicine to wounded militants.

It would be all too easy to let the divide that exists in this situation and the choice that is faced by the monks to remain simplistic should they stay or should they go? Even though there are some reservations expressed, there is never any doubt that the monks will come to the logical Christian conclusion and stay. What is rather more impressive however is how the director refuses to allow this decision to be seen, as it would in a more conventional film, as simply an act of heroism or bravery. The situation is not exploited shamelessly for heavy-handed sentimentality as it would be in a Hollywood production, but rather it goes deeper into the qualities that lie behind courage and potential martyrdom. What the monks have to grapple with are their own doubts, their own flaws, their own fears their very humanity. It is not weak to confront these fears, but the true measure of the men is in how they come to terms with their human weaknesses without denying them.

Beauvois manages to draw the essential truth and beauty out of the film, and at the same time protect it from the intrusive elements that could indeed diminish its force, simply showing the closeness of their brotherhood, their willingness to understand and forgive, and their ability to reflect deeply not so much on the decision that must be taken whether to stay or to leave, but on a deep search into themselves for the heartfelt truth. These kind of reflections and questions are not so easy to put up on the screen without troublesome exposition, but Beauvois manages to show simply and effectively how the monks find this truth in their daily routines and in the simplicity of their lifestyle. It all comes down to life and the love of life itself, and the simple pleasures that can be gained from it.

This film is based on the true story of a group of monks during the recent civil war in Algeria. There is a beauty in their devotion to the poverty stricken local residents, whom they serve with warmth and simplicity.

As the real world intrudes on their quiet labor, they must confront some essential questions that could affect their prospects of survival. Should they accept an armed guard from a government with little legitimacy? Should they leave? Should they attempt to build a respectful relationship with the fundamentalist rebels who menacingly visit them? Can they abandon their mission? Their struggle with these questions forms the basis of the film's plot. While slow if you are used to hollywood action, it is completely believable, with every scene pregnant with psychological nuance and internal turmoil.

With subtle elegance, the climax of the film occurs when the monks come to their decision over a meal, together listening to music on a crude cassette player and weeping at their intimacy and commitment to the community. Even though I am not a believer, it brought tears to my eyes to witness the holiness and devotion of these men as they labored in obscurity and accepted their fate.

I saw this in Paris, where it was much discussed as an "event film". The Parisians took this as art that made an important statement and deserved to be viewed seriously and debated. This is an interesting contrast to the film experience elsewhere, whether you think it pretentious or not.

Warmly recommended.

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Something happens to the human heart while experiencing OF GODS AND MEN: the reminder of our responsibility to not only those we love but also to the betterment of the human condition no matter the cultural differences is overwhelming. Would that this film could be required viewing for every global citizen! We might, just might, begin to grow not only more tolerant of other people's beliefs but embrace them as fellow beings and in doing so, end the clangorous need for war.

Xavier Beauvois both wrote (with some assistance from scenarist Etienne Comar) and directed this film that is as much a work of art as it is a deeply moving story. The film was first released in France as 'Des hommes et des dieux' to high acclaim: hopefully it will have the same impact here in this country. Based on a true story, the time is in the 1990s, the place Algeria during their Civil War. A Trappist Monastery is the home of eight devout elderly monks, each performing the duties to allow them to exist off the land and serve the poverty stricken Algerian village near by. The head of the monastery is Christian (an elegant and tender Lambert Wilson), the old physician Luc (Michael Lonsdale) serves the physical needs of the impoverished Muslim villagers, and the rest of the monks tend the gardens for food, and study, and rise each morning to begin a day of prayers and masses. These gentle, wise old men are Christophe (Olivier Rabourin), Célestin (Philippe Laudenbach), Amédée (Jacques Herlin), Jean-Pierre (Loïc Pichon), Michel (Xavier Maly), and Paul (Jean-Marie Frin). A group of terrorists crash the monastery in an attempt to get medicine and food and challenge the 'heretic' monks (the terrorists are Islamics), but the strength of the monks and the quiet faith of Christian manages to head them off. As the radical Islamic terrorists begin killing foreigners the monks must make a decision to flee to safety or remain at their posts as nourishers of the little village they tend. The human side of the monks shows in the fear of survival , but the strength of their faith and their commitment to their people makes the decision to stay unanimous. The fact that the terrorists are Islamic is not seen as a difference in their humanity. History has already provided the ending, but the manner in which the monks are driven away from their monastery is not only desperately moving but also uplifting in the manner in which these devoted men face their fate.

Every actor in this film is an experienced French actor and their performances defy description except to say that to the man they are brilliant. Lambert Wilson and Michael Lonsdale are particularly eloquent. The film is in French but with little spoken dialogue: much of the film is the camera (by cinematographer Caroline Champetier) pausing on the monks at prayer, singing masses, or simply close-up face shots of these well-worn faces. Almost every frame of this film could be a Renaissance painting. The music for the film is limited to the chanting and singing of masses (breathtakingly beautiful) except for a small but poignant Christmas celebration when the monks share a glass of wine from Luc and listen to an old tape of Tchaikovsky's 'Swan Lake'. The simplicity of the lives of these Trappist monks, their spiritual faith, and their bonding to the villagers they serve and to each other is powerful. Understatement rules, especially the indescribably beautiful final scenes as the story disappears into the snowy fog. Few films will move the viewer as deeply as this miracle of a film. Grady Harp, April 11

Read Best Reviews of Of Gods and Men (Two-Disc Blu-ray/DVD Combo) (2011) Here

Just watched the movie twice on board Singapore Airlines. This movie is slow for todays world but if you are patient enough you will be greatly encouraged. It is a true story and the commitment and the love that the monks display is great and brought tears to my eyes. I would say a "must watch" and I look forward to see it on DVD or itunes.

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Excellence expressed in so many ways.

The storyline is excellent. A true story with historic events which create an intense human drama that is skillfully portrayed.

The acting is superb by every cast member.

A well-crafted script where an economy of words proves less is better when every word carries significant impact.

The cinematography is the best I recall, where each scene speaks more clearly than words.

The direction is all-inclusive of every detail, bringing the characters up-close and personal.

And the underlying allegory is superbly reflected in more than a few scenes.

To describe the movie as inspirational is of great understatement. It is like participating in a spiritual retreat within two hours.

Of Gods and Men is the hallmark of cinema as art. A movie worth seeing again.

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Body Heat (2008)

The most important thing you need to know is that most of the women I know consider "Body Heat" to be the sexiest movie they have ever seen. Now, I do not feel that way, but I am pretty sure I can explain the difference in judgment. Then again, writer-director Lawrence Kasdan created sexual tension between Princess Leia and Han Solo, so we should not be surprised at what he can accomplish in a galaxy closer to home.

Attorney Ned Racine (William Hurt) is one of those lawyers whose life is in cruise control, the sort that usually find redemption in those John Grisham novels. Instead he meets Matty Walker (Kathleen Turner), a sexual siren with a well-to-do husband who leads him willingly down the path of damnation. Kasdan gets credit for taking 1940s film noir in which love goes terribly wrong and bringing it into the sexually provocative 1980s, but it is Turner who breaths the fire and passion into this film: Think Lauren Bacall's throaty voice put into the sculptured body of a sex goddess and covered in the sweat of a hot and humid Southern summer night. The plot takes some delicious twists and turns as well. "Body Heat" paved the way for every every other sick and twisted tale of bad love to come down the road since, from "Fatal Attraction" to "Basic Instinct" and beyond.

Most Romantic Lines: "You're not very bright, are you? I like that in a man." That pretty much sums up this film's idea of "romance."

If you like "Body Heat," then check out these other films on AFI's list: #49 "The Postman Always Rings Twice" and #84 "Double Indemnity." Why? Because they are also movies where a guy meets the sort of gal he would kill to be with--and he does.

Matty: "You're not too smart. I like that in a man"

Ned: What else to you like? Lazy? Ugly? Horny? I got'em all.

Matty: You don't look lazy.

Finally upgraded on DVD this top notch film noir looks better better than the previous edition on DVD. It isn't perfect (image appears a bit soft at times but part of that was intentionally due to the soft diffuse photography by Richard Kline the other part of that could be due to the interpostive negative aging)We can practically see the heat and humidity sweat through the TV screen. It also has some very nice extras for fans of the film. John Barry's sultry score sounds rich and creamy in the 5.1 remix on this disc.

William Hurt plays criminal lawyer Ned Racine who gets pulled into an affair with married woman Matty (Kathleen Turner). She has a solution to all of their woes when she suggests they murder her wealthy husband (Richard Crenna). Featuring strong performances from a top notch supporting cast including Mickey Rourke and Ted Danson "Body Heat" recalls films like "The Postman Always Rings Twice" with its noir plot but has its own unique twists and turns.

The previous edition had very little in the way of extras. This re-release includes three featurettes on the production of the film covering everything from pre-production to post -production. We find out for example that George Lucas personally agreed to underwrite any budget overruns but did so quietly without telling Kasdan and did it on his own accord. Also Alan Ladd Jr. insisted that Hurt shave his mustache as he felt it made him look too sleazy (precisely the point). Kasdan just went ahead and shot it his way. After they saw the dalies they never complained about it again. Other interviews include new comments from Hurt, Turner, Danson, Editor Carol Littleton, cinematographer Richard Kline and director Kasdan discussing various aspects of the production. Hurt has always marched to a different drum and that's evident in both the new and original 1981 interviews included with this set. He's certainly off-beat.We also get five deleted scenes and the original theatrical trailer. While it might have been nice to integrate some of the deleted scenes back into the film they wouldn't have benefited this already tightly coiled film.

This along with "The Big Chill" and Kasdan's revival of the epic western "Silverado" continues to be the highlight of his career as a hyphenate. Although he would go on to writer/direct other challenging and memorable films such as "The Accidental Tourist", "Grand Canyon" and "Wyatt Earp" (not to mention the underrated "I Love You To Death") "Body Heat" established his mastery of both the written word and fleeting image of cinema.

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Lawrence Kasdan has done a lot of great stuff as a writer (a small, indie film called Raiders of the Lost Ark comes to mind) but in Body Heat he demonstrates a great touch with the 40's noir style as a director.

Kathleen Turner sizzles, and I mean sizzles, as a smart, ruthless, greedy, and incredibly hot married women who's can't hide her lying eyes. William Hurt is naive, innocent, and believably dumb as her intrepid lover/lawyer/sap.

I dont' want to spoil too much of the plot, but it's dark, atmospheric, and well directed with great lighting that only the dvd shows well. The vhs version is terrible. Pan and scan ruins films like this one, and shadows used this effectively need dvd.

You'll like this film if you like noir, or if you just like exciting murder/romance stories, or even if you just like steamy love scenes. It's got it all.

Read Best Reviews of Body Heat (2008) Here

"Body Heat" is one of my all-time favorite thrillers. It's literate, suspenseful, well-acted, beautiful photographed, reasonably believable, and very, very sexy. What more could you want?

The movie is an excellent example of film noir; however, since it was released thirty years after that genre's heyday, some critics originally dismissed it as a "Double Indemnity' knockoff. Indeed, it does closely resemble that Billy Wilder classic, and, as Roger Ebert noted, it's hard to make a modern film noir. Back in the late 1940s and early 1950s, such movies didn't have this label applied to them. The filmmakers didn't know they were creating something unique in these mostly `B' pictures. These films were most likely a byproduct of Post-WWII cynicism. Still, the genre has been successfully revived from time to time. Robert Altman's "The Long Goodbye" (1973) comes to mind.

I think writer/director Lawrence Kasden would readily admit that his movie is partly a homage to all those earlier dark thrillers, but, even so, he takes the genre and makes it his own. The many ways he conjures up the image of heat serve as a textbook for novice filmmakers who need lessons in style. Ditto the way he depicts the numerous sexual encounters between William Hurt and Kathleen. We see lots and lots of skin and sweat, but there is not a single frame of gratuitous nudity, at least as I define the term. Ditto the way that every subordinate character is there only to move the plot along, yet at the same time is a memorable one.

Kathleen Turner shows here, in her first movie, why she became a major star in the 1980s. She is sultry and sexy, a true femme fatale. She has bits and pieces of Lana Turner, Veronica Lake and Barbara Stanwyck in her, but, with that incredible voice, she is a one of a kind. She becomes her character, Matty Walker. From the moment we first see her, we are fascinated, intimidated and uneasy. This in one smart, powerful woman.

On the surface, it seems like the story is all from Ned Racine's [Hurt] point of view, but it is equally Matty's tale. As Racine, Hurt is great. He doesn't play Ned as dumb, he plays him as vain and lazy. This is the perfect choice. Matty takes full advantage of his deficits, and by the time he figures it all out, it's far too late. Had he been merely stupid, she would have come off as merely cruel, rather than as complex and calculating.

Oh, and the plot? I don't want to say too much. The locale is South Florida during a dreadful heat wave. Ned is a womanizing attorney whom nobody respects but everyone likes. One night he is hanging out at the beach and sees Matty. Its lust at first sight. She plays it cool and hard to get. He persists, and one night she relents. She lets him know she's not just beautiful. She's rich and unhappily married. His wheels start spinning. He comes up with a plan to solve all their problems. At least he thinks he's the one who came up with it.

I highly recommend this movie to people who love a good adult thriller. The DVD has almost no special features, and I hope one day Kasden and others will be involved in a special edition. But it's a very inexpensive DVD that's well worth the money. The film transfer is very decent. I believe the movie originally was in stereo, but these tracks seem to have been lost. Since it's a character-driven piece, this doesn't affect one's enjoyment of the film, though hopefully the tracks will one day be restored.

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A noirish mystery from the time when William Hurt was an icon of you-know-what, and soon after, Kate Turner was too? I've never been that impressed by her acting ability, but here her limitations map perfectly onto the role of an insincere woman who pretends to be in love merely to entrap William Hurt into her scheme.

From the captivating eroticism, oops romance, to the windchimes, to the sultry background score, to the water condensed on the side of the tub, to every detail of the plot, this film is picture perfect.

But the main draw to the film is easily the terrific writing, it actually has a plot (a respite in itself!) and the final few scenes of the movie weave an intriguing web for all the loose ends of the movie. Five minutes before the credits, we're sure the story is over and we're into the wrapup -after all, we've seen movies like this before -but then, in one final killer twist, everything is upended, and we see that the there is much more to this plot than we had realized. The clues had been there, but in the end, we discover that we've been as gullible as William Hurt's character, and we're bowled over by the truth that's finally revealed.

Very well-thought-out scheme that'll leave you thinking for a while. Get it if you can!

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Kelly's Heroes / Where Eagles Dare (Action Double Feature) (2010)

I bought this Blu-ray for Where Eagles Dare, and had hopes for an improvement over the DVD version, which was already pretty good. Sadly, during the transfer the brightness was turned down so low that much of the image is now lost in the shadows. For example, many scenes are now so dark that you can't see the actor's faces. In other cases, big items (like airplanes) are lost in the darkness of the mountain backgrounds. This was not a problem on the DVD version. It's especially regrettable since in the brighter scenes, the blu-ray does offer a sharp image. I can only wonder if the person doing the transfer actually looked at the results. (Note that another reviewer feels the brighter DVD image was a problem, and the darker blu-ray is more faithful to the original version shown in theaters 42 years ago. I saw it back then, but make no claims to remember the brigtness level in the theater on that day so long ago. Maybe others have a better ability to remember such things.)

UPDATE 6/18/10: A commenter suggested I try altering my LCD video settings. These settings work well for every other disc I own, plus OTA broadcast and streaming Netflix over Roku, but what the heck, I tried it. I had to choose a setting with very, very high contrast and backlight levels, but it made a real difference. The movie looked a lot better and the details became much more clear. Was the result better than the DVD version (viewed with my regular LCD settings)? To my eye, maybe it's a 5% or 10% improvement. I wonder how or why the default settings are so dim on this BR disc? Another reviewer (on blu-ray.com) had the same experience I did. But I think if you really like the movie, it's probably worth getting the BR disc and turning up the brightness and contrast when you watch it.

The seventies saw a spate of enjoyable war themed movies being released, from The Dirty Dozen to Eye Of The Needle. WED and Kelly's Heroes were among the best of the bunch, lighter and more energetic than today's dark tales such as Valkyrie, Saving Pvt. Ryan etc, good though they may be.

Anyone who is going to purchase this is already familiar with the plotlines, so I won't delve into a synopsissee IMDB or Amazon for that.

Allies vs. Nazis has always made for good theater, and Eastwood as an action hero is tops, with stellar casts including Richard Burton in WED and Telly Savalas and Don Rickles in KH.

The price point for the Blu-ray discs as a combo is great and the transfers are superb, though not restored and remastered, as some reviewers have lamented.

Still, the clarity of the picture and the vibrancy of the colors is, in my opinion, superior to the previous DVD releases. I compared WED on standard DVD and Blu-ray by simultaneously playing them, one in my sony BDP350 and the other my upconverting Toshiba HD-DVD players. There was no contest, the blu-ray was remarkably detailed, and colors excellent, the 2:35 widescreen a must for viewing the entire film as it should be seen. (mind you, I love my HD-DVD and always felt that it was a better standard for high def than Blu -ray, but alas Toshiba lost that battle........sigh)

You simply can't go wrong with this combo set!

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First the real question. The transfers are pristine and look great. The sound is much better on both this go round. Worth the upgrade? Yes, definitely.

The movies themselves are really trend setters for their time and tho Kelly's Heroes is the more dated of the two (ironically mainly because of the studio's attempt to update it to a sixtie's teen audience despite it's WWII movie status)...it's still worth a soda and a box of popcorn (and that'll pay for them right there!) to hear Donald Sutherland say "Stop making with the negative waves...Man"...as he manages to slip some sixties love generation comic relief into the proceedings (his appearance as the visiting General thorn in Robert Ryan's side in The Dirty Dozen is almost as hilarious and helped Sutherland rock the 60's at the movie theater leading up to the seminal MASH in 1970). Heroes is a solid heist caper set in the middle of Wartime which makes it oddball enough -even for then. The motley crew featuring Don Rickles in his first 'close to persona' appearance post his Beach Party epics, are savvy acting vets and deliver the goods. Particularly the Nazi Tank Commander to whom they eventually spread their gold fever. One other appearance of note is an early Carroll O'Conner comic gem as a Give 'Em Hell General that displayed his flair before Archie Bunker immortalized him. All in all a very satisfying movie from an era that turned out too many psychedelic wrecks attempting to capture the times. These guys reflected it perfectly and did it in a WWII vehicle long before Hawkeye and Pierce...go figure!!!

Where Eagle's Dare is really a ride along for Clint Eastwood who had just achieved his superstar status prior to this one's release, so even tho it's always been billed since it's original run as a Clint Eastwood movie it's really Richard Burton's show all the way. It was his first and only attempt to forge himself into an Action/Adventure leading man and he succeeds admirably. Heaven (and Elizabeth) knows why he didn't do more! The plot while seeming a simple straight forward WWII rescue mission turns mind-twister in the final third and the movie features really spectacular stunt sequences. There's action, suspense, and skullduggery aplenty for fans of this type of film and as I said before a surprisingly effective action star performance from Richard Burton coupled with an almost as silent as his 'man with no name' cowboy turn, as the token American on a British mission, from Eastwood. Great fun and since it's a period piece it holds up well.

Highly Recommended

Read Best Reviews of Kelly's Heroes / Where Eagles Dare (Action Double Feature) (2010) Here

We ALL need to email these studios and stop them from putting out movies on blu ray with no restoring or removing lines and dirt from prints. THis is shoddy, and unacceptable, however both of these movies are classic war movies and are five star films in the genre. Although 'kelly heroes' is more of 1970's army transplanted to the 40's but who cares? it's still fun and noone could think it was more than unrealistic adventure, 'where eagles dare' is played much more straight and is just a great war flick all the way. Why didn't Wb fix this up? Please email them so they will stop this practice.

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Kelly's Heroes and Where Eagles Dare had special blow-up prints for 70 mm presentations, including overture, intermission an exit segments, none of which are present in these Blu-Ray discs.

Once in a while the inheritors of the MGM film library forget to do a proper research of the theatrical prints used for movies. We can see a clear example in all of the MGM cartoons for Tom & Jerry, where the soundtrack is subpar compared to the original tracks, and on many occasions the shorts were cut and never re-edited to their original content.

Sadly, this is the case with these two BD-V discs, and all of a sudden we miss the chance to see those movies exactly as they were shown in the 70 mm theaters.

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