Better Off Dead (1985)

It's finally here, and although it doesn't cost $2.00, it's better than nothing (if you caught that reference, you're a fan and will buy it now).

I won't go into plot and such you already know about the movie's merits (or can find them online easily). This review will concern the region 1 (USA) DVD release that came out 7/16/02 at long last! retail around $20-25 USD.

One note: I had trouble finding this on release day the local "big box" boys all told me they had "a copy on order or something"... I guess they didn't anticipate a big demand for this wildy funny 1985 cult comedy.

DVD Special Features: Widescreen enhanced for 16:9, English Subtitle Option, Dolby Digital & "English Stereo" (whatever that means). No foreign language tracks, outtakes or even a trailer. No stills of the cast or bios.... nada. Zip. Zero.

Initial Impressions: This DVD is truly a bare-bones production from start to finish. I actually thought the audio track was absent at first, due to the lack of any sound at all until the movie proper starts. And of course you can't skip over the annoying studio splash or the stern warning not to copy it. At least there's no ads or previews in front like some.

Menu Options: The menu page is a static photo with three options Play, Setup and Scene Selection. Setup lets you pick from "Subtitle: English or None". That's it. No other setup options... it looks like you could change Audio Indicator to other foreign languages, but that option does not highlight. Maybe they forgot to add foreign language tracks or the coder forgot to link up to the function.

Video: I played this on two different TV/DVD setups one highend and one old/low end. The Widescreen refused to work on my lowend set, but worked fine on the new DVD player. However, both sets showed the film to be overly bright and rather soft, especially in outdoor scenes. Even inside, there were no good strong blacks to be seen. The print itself seemed rather clean, with no spots or distortions immediately visible. Overall, it looked like a moderate home-transfer job of a videotape via a DVD burner... barely better than my vhs. Such a shame.

Audio: Nothing special, just good old Dolby. Not that surround would do much with this movie, but still.. blah.

Extras: none. I suspect if they could have had "less than none" they would have. Truly a poor showing for this classic comedy.

Summary: Although "gotta have it" fans like myself are happy to have a DVD at last, this shoddy transfer and lack of features makes me a bit ticked at whomever decided to jam it to us fans and charge "normal" dvd prices. It would have been much more accurately priced as a budget dvd in the 12.99 range after all this time... surely the production costs have been paid for many times over.

Other: The VHS (20th Cent.Fox) edition indicates 98 minutes, the DVD says 97 minutes... reason not apparent. Also, the keepcase coverart is truly dreadfulwhomever created this case cover needs some more photoshop lessons pronto!

5 stars for the original movie, 3 stars for this lackluster DVD edition.

As the years go by, I find myself growing more and more convinced that the '80s were the last true golden age for that often-maligned genre, the teen sex comedy. Whereas now Hollywood shells out a small fortune to finance a Britney Spears soundtrack for films starring young men who make Frankie Avalon look complex (and featuring actresses who seem to have copied Annette Funnicello's bust but none of her own admitedly simple charm), the '80s were usually made with low budgets, up-and-coming young actors who at least seemed to be having fun, scripts that were too joyfully crude to ever be considered truly offensive, and directors who seem to have vanished at the decade's in. My own personal favorite amongst these directors was "Savage" Steve Holland (Is that a perfect '80s name or what?) who defined the entire decade with just two films -One Crazy Summer and especially Better Off Dead. Both of these films display Holland's crazed, gloriously strange wit, his penchant for casting Curtis Armstrong as a high school students (despite the fact that Armstrong appeared to be in his 30s at the time), his fondness for the random nonsensical cartoon, and especially his early foresight to make John Cusack his favored star.

In Better Off Dead, Cusack plays a likeable but nerdy high school schlub. Of course, all teen films claim to be about likeable schlubs but Cusack was one of the few actors who was actually believable as being both likeable and socially unpopular. He's dumped by his girlfriend, decides to beat her new boyfriend in a ski competition, attempts suicide a few times -in a bit that everyone seems to hold as their personal favorite -has to deal with a homicidal paper boy who wants his two dollars. Its a crazed plot and Holland doesn't waste much time trying to make it all coherent. Instead, he uses the plot as an excuse to pile on more and more strange sight gags and bizarre characters. In short, rather than pretending his story is some sort of grand artistic statement (like the current crop of youth films), Holland creates his own demented world -a world where high school students are sent into almost religious ecstacy when their math teacer assigns them 200 pages of homework (their sincerely joyful reaction is my own personal favorite of the film's many out-there moments) and even a cartoon comes to life and asks permission to date Cusack's ex. Its a world where one of my favorite, unjustly unknown actresses of that era -the sweetly pretty Diana Franklin -shows up as a French exchange student who offers Cusack a chance at true romance if only he can survive a "fencing" match with an even more nerdy suitor. Its a world where a Japanese exchange student does a perfect imitation of Howard Cosell. In short, its a world that could only have been created in the freedom-loving days of the 1980s and John Cusack becomes the perfect everyman to lead us through that world. There are so many hilarious lines in Better off Dead and it seems everyone has their own personal favorite ("Its a shame people be throwing out a perfectly good white boy like that" comes up a lot though Armstrong shouting "Can you imagine the street value of this" as he snorts up a line of white snow is my own choice). What is truly amazing is that for a film that was dismissed when it originally opened, Better off Dead seems to have become the personal "cult" film of just about everyone who went to high school during the 1980s.

Cusack is one of the best actors working today but, for many of his long-time fans, his recent work has been a bit disappointing. Since renouncing the whole teen film thing, some of Cusack's performances have -on occasion -seemed to be a case of an actor taking himself too seriously. Even if the films did little for his career, Cusack seemed to, at least, be having fun in films like Better off Dead -a quality that sometimes appears to missing from his "mature" work. Of course, everyone in Better Off Dead seems to be having fun. Its a fun, genuinely goon natured film and this is why -despite being dismissed by snobs over the years -it retains such a strong following. Whenever I see a commercial for yet another film featuring Freddie Prinze, Jr. doing his "soulful" thing while the Backstreet Boys parade in the background, I think of Better Off Dead and its missing director. Come back, Savage Steve and -whatever you have to do -bring John Cusack with you. We all deserve to have a little fun again.

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I don't know what people were expecting to see or hear with Better Off Dead on blu-ray. High definition does not translate to a miraculous transformation. It simply allows you to experience more closely what the source elements have to offer. In the case of Better Off Dead, it had a very low budget and was made very quickly. The filmmakers weren't concerned with how great the shots could be artistically, since it's a screwball comedy for teenagers. The low quality 80's film stock that was used wasn't great with detail, depth, or color, and was quite unstable. The film's soundtrack, which was originally in mono, was created with basic sound effects and design, because that's all the budget allowed for. The film will never look amazing no matter how much restoration is done to it and it'll never sound amazing unless an entirely new sound mix with new sound effects is created. It is a product of its low budget source limitations and unless you accept that fact, you will be greatly disappointed.

On the positive side, the print is clean and full of natural film grain. It's the best I've ever seen it look. The sound is exactly as it has always been, thin, lifeless and limited in range, though dialogue is always intelligible. The downside of this release is there are no special features. No retrospective, or appreciation, or commentary. I'm not surprised considering how limited the fan base is for the film.

This is the best presentation of Better Off Dead to date and I'm sure it could never be much better than it is on blu-ray. Adjust your expectations accordingly.

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First off I have seen this movie quiet a few times, and it is a great flick, but when they made the DVD I had to have it. Well I am sorely disappointed in the quality of the sound. It doesn't have either Dolby Digital or DTS. I have movies that have both, ad sound great. This sounds like a muffled person.

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First off, you have to see this movie. Although it would get awards for being extremely cheezy... it's quite humorous. If you want a movie review, read the excellent posts by Jeffrey Ellis or Joshua Lai.

Second, my low rating is based on the actual DVD. I waited, and waited, and waited for this movie to come out on DVD. Considering DVDs have been around more than 5 years already, I'm truly amazed that companies still put out VHS quality works in DVD format. I could have sworn I was watching a videotape (on my HD monitor with progressive scan player). Unless you are a Better Off Dead nut like myself, wait until the studio releases a Collector's edition or Special editor before spending your money on this DVD.

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Training Day (2006)

I must say, my preconceptions about Training Day were all wrong. The trailer I saw in the theatres made it look like a belated ripoff of The Corruptor, while director Antoine Fuqua's disastrous fumble with The Replacement Killers several years ago did nothing to boost my confidence.

My doubts were dispelled the minute Denzel Washington looked up from his newspaper. It is indeed good to see Washington, one of the most gifted actors of our time, abandon the saintly martyrs he's been prone to playing for 10 years and sink his teeth into a role which allows him to show a mix of deep charisma and dangerous viciousness. That same alchemy had made his breakthrough performance in 1989's Glory amazingly compelling, and in Training Day, there isn't a single moment where Washington is less than completely absorbing. Ethan Hawke also gives the performance of his career as Jake Hoyt, an idealistic but easily swayed young cop who finds himself drawn into a web of corruption, violence, and twisted morals.

Fuqua's directing is still overly stylish at times, but after a hyperactive first act, the film begins to roar. David Ayer's script is dazzling, a combination of rat-a-tat street vernacular and relentless forward momentum, and after the midpoint of the movie, the intensity of the scenes would reach incredible levels. And that's when Fuqua's show-offy camerawork finds a raison d'etre. In this film, Fuqua even finds room for some comparatively simple scenes which are really like a breath of fresh air to his filmmaking -for example, the "you're a leader" car scene, and that beautifully understated ending shot. I hope he makes this part of his regular style, because there's only so much virtuoso camera one can take before it gets tiring, as is the case in the opening of the film.

A white-knuckle thriller, well worthy of the accolades it received. I stand humbly corrected on my original predictions.

In all honesty, I had grown a bit tired of Denzel Washington's "goodie-two-shoes" roles in recent years, as great as they were. His performance in TRAINING DAY, however, has given me newfound respect for him as an actor. Not only does he play "the bad guy," but he milks it for all its worth his Alonzo Harris would make Clint Eastwood's DIRTY HARRY look like Barney Fife from "The Andy Griffith Show." The last time I walked out of a movie theater so rattled was after seeing DANTE'S PEAK in the early '90s mainly for its special effects. In TRAINING DAY, it was Denzel Washington's performance alone that blew me away! The fact that he has recently received his fifth Oscar nomination and third for Best Actor should come as no surprise.

Kudos also to Ethan Hawke for a great performance and a well-deserved Supporting Actor Oscar nod this year. Any young actor who can hang with the likes of Denzel Washington in a film like this DESERVES recognition. Hawke proves that he has a stellar film career ahead of him.

The Academy Awards telecast is March 24, and my money is on both these tremendous performers to come away with well-deserved Oscar gold. TRAINING DAY is a film with no special effects, no colorful cinematography, and no Picasso-esque art direction just a movie that slaps you upside the hide from start to finish, with two powerhouse performances that stay with you long after the closing credits.

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I've had many conversations with my friends about this movie. Conversations turned into debates. Debates turned into arguments. And there are many, many things to argue about concerning this particular movie, which I guess is part of its allure, at least for me. Whether it was realistic or not. Whether Denzel's performance, while indisputably good, was Oscar-worthy or not. Whether it was too violent, or simply a portrayal of the violence that goes on every day in a big city.

One at a time.

I believe this movie is realistic in all aspects dealing with the situations on the street. There are vicious people who's kill you just as soon as look at you. People who are out to get your money and your livelihood. People out to take your heart, sometimes literally. I believe that there are no clear-cut right or wrong answers out on the street. You just have to stick to some basic code of conduct and hope everything works itself out. I believe that not all cops are the knights-in-shining-armor people would like them to be in this post-September 11th world. That's probably not the most fashionable thing to say right now, but that's what I believe. I believe that mostly good and decent men can be corrupted by that sense of power and authority. And since my father was a cop in West Philly for 20 years, I have a pretty fair basis for my beliefs.

Whether Denzel's performance was Oscar-worthy or not... I don't put much stock in the Academy Awards myself. Usually, the Academy's criteria and mine differ a great deal. But they are supposed to reward people for excellence in film, and on that basis, Denzel certainly did deserve it. You could see the subtle shifts in Alonzo's character from scene to scene. Now, I didn't believe the character was stereotypical. If anything could be construed as stereotypical, it was his street persona. But that was only a persona, only a part of the character. It was the glimpses of the good man still lurking inside that made the character fresh and original. There isn't another actor working today that could've captured all those nuances. No Hopkins, no DeNiro, no Pacino, no Rush... nobody. He most definitely earned that Oscar, for what it's worth. And even if--IF--it was only a "freebie" for ignoring his tour-de-force performance as Malcolm X, it was certainly no different from Russell Crowe's situation last year, when he won for "Gladiator" after being passed over for "The Insider" a year before. And that reparation didn't even have the added wrinkle of any white actors having been ignored for 3 decades.

About the violence... I've never lived in LA. I've never even been off the East Coast, so I can't say I know how it is there. But I do know how it is here. This movie has no more violence in it than anything you might see on 52nd Street, or K & A, or 5th and Lehigh, or the Badlands, or even Broad and Olney, where I saw a crackhead jump on the hood of a man's car and promptly get the [stuff] beaten out of him. (If you live in Philly, or have ever lived here for an extended period, you know the areas I'm talking about.) It's not violent for the sake of violence, like other Hollywood movies. It's violent because it's a reflection of a certain lifestyle which happens to be very violent sometimes. That's what I believe.

Now I don't think that my opinion will change anybody's mind about this movie one way or the other, but maybe it'll help you see the other side of the argument. But if you haven't seen the movie, don't let this review or any other review sway you. Watch it with an open mind and judge for yourself.

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Back in the "go go" 1980s, during the heady era of Wall Street "greed," I read an article about a black stock broker indicted by the SEC for insider trading. It struck me that, in an odd way, this was indicative of progress for African-Americans. They had to have access to the inside in order to be indicted for it. In the old days, they never would have had those doors opened in the first place.

Which brings me to "Training Day", in which Denzel Washington delivers an astonishingly good performance as a totally corrupt and evil L.A. cop. The fact that an African-American leading man is portrayed as the "bad guy" is truly groundbreaking, and just another reason to look at this film and be in awe of it. In the same strange twist as the stock broker, here we see a black cop who has all the doors of sin open to him. Like the white cops of the Jim Crow South, he takes to corruption in a way that has no skin color. It is the story of humanity, temptation and power.

Blacks on film have for a number of years now been shown either one way or the other. There is no shortage of depictions of black drug dealers, gangbangers and "homies." Hollywood then tries to make up for it by portraying blacks as doctors, lawyers, voices of conscience or reason, and the most frequent stereotype, the "tough but fair police commander."

The negative portrayals of blacks, however, were never played by big name actors. Washington himself has built a career as a guy more or less saving the world in "Crimson Tide" and "Fallen". His flaws in "Ricochet" are brought out only by a vindictive white man (John Lithgow). In "Training Day", Denzel is all on his charismatic own, a product of a world that he is convinced revolves around him. By choosing to pursue this amazing role, Denzel demonstrates the kind of courage that is rare among actors.

Think of Robert Redford, for instance. Redford never let his hair down. He played heroes and fantasy figures. Every so often, however, a superstar will break type. Paul Newman did it in "Hud". So did Robert Duvall in "The Great Santini".

What is even more astonishing in "Training Day" is not just that a black guy is the bad guy, but a white guy (Ethan Hawke) is a clearly marked, unfettered hero, placed in utter contrast and opposition to the villain. "Candy Man", a B movie franchise of the early 1990s, featured the politically explosive portrayal of a black man slicing and dicing his way through white women, but this was hardly big time fare.

"Training Day" takes all the Political Correctness of the past 20 years and explodes it. Hawke not only is innocent and good in contrast with Denzel, but he is a Lancelot-type figure who comes to the aid of a Latino-girl-in-distress, and later faces torture and terror at the hands of a group of Mexican gangbangers. The actors who portray these guys are so good, so real and so terrifying that if you met them on the streets, even knowing they were just acting, you would be a little frightened.

By no means does "Training Day" leave the viewer groping with the uncomfortable notion that "white is right." The performances are too real and too powerful. It is only in retrospect that one realizes this is truly groundbreaking stuff. Denzel Washington is extraordinary. His performance in this film is among the very best ever seen. There are not enough superlatives, not enough words, than can do justice to his edgy power.

"Training Day" leaves the thinking viewer utterly exhausted and left in some kind of daze, grateful only that they do not live in the netherworld shown herein. Look at Ethan's face when he rides the bus after escaping, through pure luck and coincidence, death at the hands of the gangbangers. He is beaten. His actions afterwards are about redemption, a decision to take his life in a new direction in which expediency and innocence are no longer options. He has been transformed into a reluctant avenging angel, forced to face evil and fear because he cannot turn back. It is the story of Original Sin. Ethan represents what the viewer does not have the gumption to be at this point. The viewer wants only to crawl in a hole and forget what (s)he has seen, but Ethan's character is about the confrontation of good vs. evil that must take place if humanity hopes to advance.

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A brutal and disturbing film that attempts to connect you with the underbelly of the streets of downtown Los Angeles, while examining that fragile, thin line between those who enforce the law and those who break it, "Training Day," directed by Antoine Fuqua, is a cautionary morality tale that decidedly points out that what you do and who you are is a matter of free will and personal choice. Beyond the action, it's a study of human nature that explores the necessity of having a moral code by which to live, especially when confronted with that age-old seductress Evil, who can lure even the best of the best across that line from which there is no return. The most disconcerting aspect of the film, however, is in it's portrayal of those in high places who with facility betray those they are sworn to serve and protect, with their flagrant abuse of their position and power, and moreover, seemingly always manage to hold the high ground of advantage over those against whom their misdeeds are perpetrated. Indeed, the burden of proof must always fall to the good guy, and more often than not it is those endowed with a more positive, benevolent nature-the ones who want to do the right thing-that find justice elusive and become victims themselves, if only because of their refusal to compromise their own principles. And that is really what is at the heart of Fuqua's film, which very probably will take many viewers to a place they would rather not be. But, as Steve McQueen said in "Bullitt," when asked by his girlfriend how he can stand doing a job that keeps him so close to the gutter, "That's where half of it is--" And in today's world, unfortunately, it may well be that the percentage is even higher; which somewhat elevates the significance of this film.

Jake Hoyt (Ethan Hawke), a nineteen month veteran of the L.A.P.D., is about to begin his first day on a new assignment, having landed a spot in the Narcotics Division, where he will be a member of a small squad under the direction of Alonzo Harris (Denzel Washington)-if he measures up to Alonzo's stringent expectations. It's a job he wants, because he sees it as an opportunity to really do some good in the community; it's a place from which he can help rid the streets of drug dealers and other felons. But he quickly discovers that-as most worthwhile things are in life-it's just not that easy. As Alonzo is quick to point out, "If you want to protect the sheep from the wolf, you have to become a wolf. It's the wolf that catches the wolf--" Jake also learns that on this day he's going to have to make a lot of decisions, and make them quickly, without the luxury of time to consider all of the possible ramifications. And one of them is put to him directly by Alonzo, who tells him he's going to have to decide what he wants to be, a sheep-or a wolf. It's something he's going to have to know by the end of the day; and Jake doesn't know it going in, but this day, his "Training Day," is going to be a day that will change his life forever.

Fuqua's film is presented honestly and in such a way that it successfully puts the viewer on the streets of L.A., and Jake and Alonzo are credible characters; but the motivation behind Alonzo's ruthlessness is fairly anemic and under-developed. The weakness of the film, in fact, lies in the screenplay (by David Ayer), which though it captures a certain sense of "street-wise" reality, is otherwise rather formulaic and doesn't really have the depth it needs to make it emotionally involving. ...As Alonzo, Denzel Washington gives an excellent performance-and, quite frankly, this film would be less than average without him-but whether or not it is deserving of an Oscar is open to speculation. Washington is one of the finest actors in the business, without question, and he's taken on some challenging roles (in which he's been very successful) that make this part pale by comparison. Alonzo Harris is more along the lines of Mel Gibson's Riggs in "Lethal Weapon," or Eastwood's Harry in "Dirty Harry," the difference being that Alonzo is the bad guy. It's a credit to Washington's ability that he was able to make this such a strong character, however, and his Alonzo is certainly believable and real. And, in retrospect, perhaps it is an Oscar-worthy performance; it had to be to overcome the weakness of the script and what he was given to work with. And, again, without Denzel Washington, this film plays for two weeks in the theater and is quickly forgotten when it hits the video store shelf.

Hawke gives a strong performance, as well, but that he received an Oscar nomination for it is the stuff of which debates are born. Like Washington, however, Hawke does do a good job of bringing his character to life, and it is one of the strengths of the film.

The supporting cast includes Tom Berenger (Stan), Harris Yulin (Doug) and Scott Glenn (Roger). In the final analysis, "Training Day" is elevated by the performances of it's stars; without them, this one has no legs.

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The Battle of The Black Sea - The Untold Story of Black Hawk Down (2013)

This is bar none the best source of information regarding the events that led up to, during and after the battle that took place in Somalia in October of 1993. Paul's words are riveting and to the point. Having read every other book related to the battle on October 3/4, this goes above and beyond any other source of information that has been available to the public. There are many pictures and hard to find footage from Somalia 1993 included with Paul's commentary. Anyone interested in this subject will not be disappointed.

Thank you Paul and Panteao for producing such an excellent source of information.

Paul's account of what happened leading up to and during the operation that spiraled out of control and laid the ground work for the movie "Black Hawk Down" is very, very informative as well as entertaining. Chocked full of interesting tid-bits of information, names of participants and a minds eye view of the battlefield from a top Delta operator. He lays out the escalating battle with a no holds barred honesty and attention to detail of actions, inactions, and of the surroundings. His narrative brings to attention the problems he witnessed in command breakdown, lack of cooperation between command groups which compounded the problems in those desperate days, and increased the casualties .

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I was expecting a movie but it turned out to be a one person narrative. I much preferred Blackkhawk Down.

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Butch Cassidy and the Sundance Kid (1969)

A great film that deserves a new transfer. The source transfer of this film appears to be the same source as the one used for the DVD version. This is not to say that it doesn't look much better in Blu-Ray than it does on DVD. But it is not, evidently, a brand new remastered transfer made expressly for Blu-Ray release.

As happened in past generations of video standards, VHS to LaserDisc, LaserDisc to DVD, standard definition 480i to "high def" 1080i, and now 480p progressive scan DVD to 1080p Blu-Ray, the studios are cutting corners and, with many titles, re-issuing transfers that were "pretty good" for the prior standard on newer media without re-mastering them for the full potential of the newer standard. "Pretty good" is not why you buy a Blu-Ray, or pay a premium for it.

Sadly, some major film titles are being "shoved out there" on the new Blu-Ray format. This appears to be one of them. Although not nearly as bad as the abysmal "Silence Of the Lambs" and "Interview With The Vampire" BDs, the high-def picture quality of "Butch Cassidy" is still sub-par and underwhelming compared to what it could have been with a new-transfer made with BD release in mind.

(2008 HOLIDAY TEAM)It amazes me how incredibly well this 1969 western has held up after all these years. At once classically structured and satirically executed, director George Roy Hill and screenwriter William Goldman have pulled together a supremely entertaining period picture that caters to contemporary sensibilities to this day. It is to their credit that the film remains true to the characters and never gets too broad during its quickly paced 110-minute running time. The story naturally revolves around the legendary outlaws who robbed banks at the turn of the last century. Their escapades are divided roughly into three sections in the film. The first is the introductory set-up where their opposite yet complementary personalities are established. Leading the motley Hole in the Wall Gang, they ultimately pull off a train robbery with an excess of dynamite. The second part is an extended chase sequence where Butch and Sundance are chased relentlessly by a group of unknown bounty hunters.

The third and final part details their escape to Bolivia where they are determined to go straight but get caught up with local bandits and find their infamous past catching up with them. It seems inconceivable to have anyone other than Paul Newman and Robert Redford in the title roles. As the more established star at the time, Newman is characteristically laconic as Butch. His innate likeability is enhanced by his rascally manner and crack comedy timing. In the more traditional gunslinger role, Redford provides the ideal partner with his flinty manner and unavoidable charisma. In between them is Katharine Ross, fresh from "The Graduate", who plays Etta with sensual élan, though she does not figure in the most critical scenes. Of course, Burt Bacharach's instantly recognizable musical score is here, and while there is an anachronistic feel to such 1960's-sounding pop music over a western, it somehow works because the attitude of the film seems so modern. Even the comically romantic bicycle sequence manages to preserve its buoyancy thanks to the inane but undeniably catchy "Raindrops Keep Fallin' on My Head".

Conrad Hall's vibrant, burnished cinematography deserves special mention as it has been preserved well in the 2006 Ultimate Collector's Edition DVD package. The rest of the two-disc package is robust though bordering on overkill, adding on to the features that were already included in the previous 2000 Special Edition DVD. Retained from that edition is the interesting combination of perspectives provided by Hill, Hall, lyricist Hal David and associate producer Bob Crawford in their joint commentary track. New is separate and equally insightful commentary from Goldman. Another holdover from the previous edition is the forty-minute vintage documentary, "The Making of Butch Cassidy and The Sundance Kid", a still terrific featurette from 1970 with participation from Newman, Goldman, Hill and Redford.

There are three new documentaries a 2005 retrospective look at the film called "All of What Follows is True: The Making of Butch Cassidy and the Sundance Kid"; a fact-check featurette called "The Wild Bunch: The True Tale of Butch & Sundance"; and the somewhat repetitive "History Through the Lens: Butch Cassidy and The Sundance Kid: Outlaws Out of Time", a cumulative effort which combines elements of all the other documentaries into one ninety-minute feature. Lots of great insight is provided on the 1994 interviews with Newman, Redford, Ross, Goldman and Bacharach. A deleted scene is also included with Hill's commentary (since the audio had been lost) it is a disposable transitional scene where Butch and Sundance are watching newsreel footage of themselves in a Bolivian theater while Etta quietly leaves to the train station. Lastly, there are trailers for eight of Newman's vintage films. This is definitely a robust package for one of the great films of the 1960's.

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This disc ranks right up there with one of the worst Blu-ray transfers I own (along with the first Stargate release). It is a shame, as this is a really great and fun movie. It is one of the first westerns I recall that really interspersed humor with drama in an effective way. I thought it tried to be a bit too much or to have something for everyone (the bicycle scene went on a little long for my taste, for example). Audio is fine but the failure to produce a really outstanding video transfer (as was done with Patton recently) will disappoint the many fans of this movie who were eagerly awaiting this release.

Read Best Reviews of Butch Cassidy and the Sundance Kid (1969) Here

How do you ensure somebody's legacy as a hero? In the good old days, you wrote a book. Nowadays, you make a movie and if you're lucky and it's really, really successful, you can retrospectively even make legends out of dangerous criminals. Not that that always works, of course. But with two great actors with instant chemistry (Paul Newman and Robert Redford), a script (by William Goldman) bursting with one-liners making the audience bowl over laughing every other minute, without once derailing into slapstick, a director's (George Roy Hill's) ingenious use of the occasion to turn a whole genre on its head, and some of the world's most beautiful locations, filmed by an exceptional cinematographer (Conrad Hall) ... you just may pull it off. Case in point: "Butch and Sundance."

While Butch Cassidy (Robert LeRoy Parker) was known as the Old West's Robin Hood for his charm, masterly planning, avoidance of bloodshed he really did claim he'd never shot anyone and his stance for settlers' rights vis-a-vis the wealthy cattle barons, Sundance (Henry Longbaugh) had the reputation of a loner; a fast draw repeatedly in and out of prison before even turning twenty-one. After several of their Wild Bunch/Hole in the Wall Gang associates had seen the short end of the stick in various encounters with the law, Butch and Sundance determined things were getting too hot in the West and, unlike the outlaws who not much earlier had stood it out until the end (Billy the Kid, the James Gang and the O.K. Corral gunfighters), decided to head for South America. With a woman named Etta Place, possibly a teacher as portrayed here or, perhaps more likely, a prostitute, they first spent several years farming in Argentina both had done cattle work before turning to robbery, although in the form of rustling (stealing unbranded cattle) but eventually reverted to their more profitable, preferred occupation. Most sources believe they died in a 1909 shootout with the Bolivian military in a town named San Vicente; others, however, claim either or both escaped alive, returned to the States under assumed names and died there (Sundance in Casper, WY in 1957 and Cassidy, according to his sister, in Spokane, WA, in 1937).

While their decision to leave the West instead of duking it out with the law and the mystery surrounding their deaths would already have made for a great movie, director Hill cleverly used the material for a 180-degree-turn on the Western genre. The opening credits roll next to sepia-tinged silent shots depicting a Hole in the Wall Gang train robbery, followed by the bold claim that "most of what follows is true" which in itself couldn't be further from the truth. What does follow is a wild ride from the Outlaw Trail to Bolivia ... during which our heroes aren't getting rid of their pursuers, no Western music with guitars and harmonicas accompanies them but Burt Bacharach's multiple-award-winning, deliberately anachronistic, upbeat score (plus "Raindrops Are Falling on My Head" during the most romantic scene raindrops???), a knife fight is settled by a kick in the groin, and a marshal trying to assemble a posse first meets with a lackluster population, neither willing to bring their own horses and guns nor clamoring to be supplied with such by him, and in short order sees his meeting usurped by a bicycle salesman. Add to that Oscar-winning cinematography, repeatedly using black-and-white lighting techniques even after the film's switch to color (e.g. in Sundance's first visit with Etta), reverse lighting to make daytime shots look like nighttime (during several scenes of the pursuit) and sepia-tinted shots for period feeling (besides the opening, also to sum up the trio's stay in New York), a Bolivian bank robbery with a crib sheet containing "specialized vocabulary" that Butch, contrary to initial claims, doesn't know in Spanish, and an immortalizing freeze-frame ending and you have one heck of an entertaining movie, shot in some of the West's most spectacular settings and in Mexico (as Bolivia's stand-in).

"Butch and Sundance" turned Redford into a megastar Hill lobbied hard for the then-perceived "playboy"'s casting, and his instincts proved so dead-on that Newman's entourage became worried the movie's expected primary star would be sidelined (a feeling never shared by Newman himself, though, who has been friends with Redford ever since). In a twist worthy of Goldman's Oscar-winning screenplay, fearsome loner Sundance became one of Redford's most popular roles, and his independent film festival's namesake. The movie renewed popular interest in the Outlaw Trail, which Redford himself traveled later, too (chronicled in a fascinating, alas out-of-print book). Its script is littered with memorable one-liners; from both heroes' "Who *are* those guys??" to Butch's comments on the small price to pay for beauty, on Sundance's gun-prowess ("like I've been telling you over the hill"), on vision, bifocals and Bolivia, on Sundance's asking Etta (Katherine Ross) to accompany them, although if she'll ever "whine or make a nuisance," he'll be "dumping her flat" ("Don't sugarcoat it like that, Kid ... tell her straight!") and his downplaying the final shootout because their archenemy LaForce isn't there; Sundance's "You just keep thinking, Butch," his comments on the secret of his gambling success (prayer), on not being picky about women (followed by a litany of required attributes), on the excessive use of dynamite, and his one weakness ("I can't swim!!"); and finally Strother Martin/mine-owner Percy Garris's deadpan delivery of the Shanghai Rooster song, of "Morons ... I've got morons on my team" and his assertion not to be crazy but merely colorful. The famous freeze-frame ending has repeatedly been cited, both cinematographically (e.g. "Thelma and Louise") and in dialogue (e.g. 1998's "Negotiator"). And although initially almost uniformly panned by critics, the movie won quadruple Oscars and multiple other awards. In true Hollywood fashion, it has made two fearsome outlaws legends forever ... and in the process, also won legendary status itself.

Also recommended:

The Outlaw Trail: A Journey Through Time

Digging up Butch and Sundance (Second Edition)

Butch Cassidy: A Biography (Bison Book)

Hud

Jeremiah Johnson

The Sting (Universal Legacy Series)

Adventures in the Screen Trade

Want Butch Cassidy and the Sundance Kid (1969) Discount?

This review refers to the Special Edition DVD of Butch Cassidy and The Sundance Kid......

This was probably the first western film where we actually are rooting for the outlaws. Butch(Paul Newman) and Sundance(Robert Redford) are portrayed with humor and style and are likeable (If not loveable) bad guys. Butch is always thinking, planning and scheming their next move. Sundance is the quickest gun in the west. What a team. (except Butch can't shoot and the Kid can"t swim)

As the movie opens (in the muted colors of an old photograph) we see exactly that, Butch scoping out a bank, you could see the wheels turning, and then Sundance displaying his expertise with a gun on a fellow poker player. As they ride off toward "Hole in the Wall" a hideout for notorious outlaws, the film switches to color and what glorious cinematography we are treated to through out the film.

They wind up going on the run after a botched train robbery to escape the "Super Posse" hired to find and kill them. Of course first they stop in town at the local Madam's place (look for a very young and beautiful Cloris Leachman as one of the "pros") and another stop to pick up The Kid's girl Etta Place(Kathryn Ross) and they become a trio as they head off to Boliva to try their luck there. They of course don't speak Spanish and have to learn the simple everyday phrases like "stick em up", and "give me the money". They even try "going straight" for a while, but are recognized as the "Banditos Yanquis", culminating in a shoot out.

There are so many wonderful scenes in this movie including the great bike ride with Butch and Etta to the tune of "Raindrops Keep Fallin On My Head".. If you havnt seen it yet I don't want to give it all away. If you have seen it you will love the way this film looks and sounds on this DVD.

The DVD is THX Digitally Mastered. The Musical Score of Burt Bacharach sounds excellent. The picture quality is superb. Colors are vibrant. It does not look like a 30 yr+ film. The look of the old west was truly captured by director George Roy Hill. It is in the original widescreen aspect. There were a couple of little glitches in one scene (may have just been my copy, not sure) but it did not interfere with my viewing pleasure of this film.

There are lots of interviews and commentaries by the stars and a featurette of the making of the film. The stars comments mostly on their memories (good and bad) during the shooting of the film. Be careful not to have any small children in the room while listening to the writer (William Goodman) tell his story.

I'm not sure how much of the actual events in the story are true but this is a legendary movie about legendary American Outlaws and a great western!

"I got vision and the whole worlds wearing bifocals"Butch To Sundance...............Have fun ...Laurie

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Salmon Fishing in the Yemen (2012)

The Yemen is a river in the country of Yemen, which occupies the south-western corner of the Arabian Peninsula. As we know, that entire middle-eastern area is hot, dry, and arid. In this Lasse Halstrom-directed dramedy, an oil-billionaire sheik from Yemen owns several estates in Scotland and has developed a fondness for fly fishing. He dreams of a way to bring the sport to his homeland and at the same time encourage his fellow countrymen to upgrade their way of life with an improved water supply.

We loved this cast (mostly) from the UK:

* Emily Blunt ("The Devil Wears Prada") is the first person contacted by the sheik. Her job is to research the practicality of the idea and make a recommendation. To complicate matters, her fiancé is soon reported missing in (military) action in Afghanistan.

* Ewan McGregor ("Beginners") is a mid-level bureaucrat with a touch of Asperger's who loves fly fishing on weekends. When approached about the feasibility of this experiment, he makes outlandish demands, assuming that their cost will deter these foolish people. He is struck dumb when his demands are met, e.g., the engineers who designed the Three Gorges Dam in China.

* Kristen Scott Thomas ("Nowhere Boy") is a blunt, plain-spoken government official who can see the public relations advantages for news from the Mid-east that doesn't include the escalating price of petroleum or body bags. She is hilarious in this (initially) preposterous plot and provides many laugh-out-loud moments. You will LOVE her e-mails!

* Amr Waked ("The Father and the Foreigner") is the fabulously wealthy sheik with the dream. It's obvious that he is intelligent and has already studied the situation. When our troubled heroine denies she is anxious, he says, "I have too many wives not to know when a woman is upset!" We can see why this actor is a heartthrob in his native Egypt.

* Tom Mison ("One Day") is our heroine's fiancé, loving, considerate AND handsome!

I haven't read Paul Torday's novel on which this film is based, but knowing salmon are anadromous, I suspect the migration to salt water would be too hot and arduous, so I personally had reservations about feasibility. On the other hand, this film had far more comedy than we expected and was far more touching as well, so eventually it didn't matter. I even got goosebumps when that fish turned around and started upstream. Nice surprise!

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Salmon Fishing in the Yemen is a hard film to categorize. Directed by Lasse Hallström, with a screenplay by Simon Beaufoy adapted from the novel of the same name by Paul Torday, you could nominally call it a romantic comedy, but it's actually far more than that. A character-driven human comedy about faith, passion and fishing comes closer. Add in an absolutely scene-stealing performance by Kristin Scott Thomas as the Prime Minister's take-no-prisoners get-it-done-yesterday! press secretary and you've got Salmon Fishing in the Yemen.

The film begins with Dr. Fred Jones (Ewan McGregor), the British government's leading expert on fisheries, receiving an inquiry about the feasibility of introducing salmon fishing to the Yemen. Jones quickly dismisses the possibility, responding that it is simply impossible for salmon a fish that thrives in cold fresh-water streams found in northern latitudes to survive in a hot and arid environment like the Yemen. The inquiry, it turns out, came from Harriet Chetwood-Talbot (Emily Blunt), a consultant for a company that manages properties for a very wealthy client, Sheikh Muhammad (Amr Waked) from the Yemen. The Sheikh has a vision of salmon fishing, which he became familiar with due to his having an estate in Scotland, as not only a way to create much needed jobs for his people, but also as a way of bringing people together. Undeterred by Jones' initial rejection and buoyed by the persuasive Sheikh's belief in his vision, Harriet persists in pushing for a feasibility study, which Jones continues to dismiss. Until, that is, the project comes to the attention of the Prime Minister's press secretary, the highly formidable and relentless Patricia Maxwell (Kristin Scott Thomas).

A series of recent news items about bombings and other setbacks in the war in Afghanistan, already highly unpopular, has left the government desperately in need of "Anglo-Arabian news that isn't about something exploding." After tasking her staff with "We need a good news story from the Middle East, a big one, and we need it now. You've got an hour. Get on with it!" Maxwell seizes on the salmon fishing project as ideal for the government's needs and pushes it forward, riding rough-shod over any and all objections as to the project's chances of actually working. Which in turn sets everything in motion and brings all of the main characters face to face.

Ewan McGregor's Fred Jones is a man who muses "I was wondering if I was genetically programed to dull pedestrian life." He's comfortable in his government job where his biggest challenge is picking out pictures of fish to spice up his annual report; he's married but it's a passionless marriage, as becomes poignantly clear when his wife (Rachel Stirling) takes a several-months assignment in Switzerland, only bothering to tell him as she's packing for the trip. Emily Blunt's Harriet Chetwood-Talbot, on the other hand, is Fred's exact opposite, passionate in her job and in her private life where she's had a whirlwind romance with a hunk of an army officer (Tom Mison) who's just been deployed to Afghanistan. And Amr Waked's Sheikh rounds out the trio, a philosophical, quietly charismatic man who has a vision that he pursues all the more passionately because it is so impossible. A chemistry develops among the three as Fred finds himself much to his surprise responding to Harriet's optimistic vivacity and to the Sheikh's belief that the more impossible a thing is, the more it is worth pursuing, even when or rather especially when all you have to go on is faith. In addition to becoming not only engaged by but increasingly optimistic about the salmon project, Fred also finds himself coming to believe that other things are also possible as his working relationship with Harriet blossoms into something else. Between the two, Fred ends up making his own leaps of faith, with regard to the Sheikh's fantastical project and to the prospect of finding real love with Harriet.

But it is Kristin Scott Thomas' over-the-top press secretary Patricia Maxwell with her take-no-prisoners approach to everything who supplies the comedy. A powerhouse on high heels, Maxwell dominates everyone else around her, up to and including the Prime Minister himself, and she has far and away the best lines in the film which she delivers with acerbic glee "Is that the best you cocked-up, Oxford-educated, moronic buffoons can come up with?" She also has the best scenes, like ones showing her at home where she's kicking her kids' butts at computer games or ordering them off to school, and you realize that she treats the government ministers above and around her exactly the same way as she handles her kids. And the scenes showing the IM exchanges between her icon and that of the rather hapless Prime Minister are absolutely priceless.

In addition to an engaging script and fine performances by the actors, the cinematography is also quite well done, taking you from highly diverse settings of urban London, rural Scotland and the desert wadis of the Yemen (actually shot in Morocco), all beautifully shot. The scene where the Sheikh discusses his dream project with Jones while the two are fly-fishing is imbued with a grace and tranquility gives added feeling to the Sheikh's vision and you begin to see exactly what he is talking about.

My only quibbles about the film are fairly minor. The way in which Harriet's boyfriend's ill-timed reappearance is handled is dealt with a bit too neatly and ends up feeling out of place. And the reactions on the part of the Sheikh and Jones when some disgruntled Yemenis attempt to sabotage the project seems more "message" oriented than how real people would actually react. But those aside, the rest of the film flows quite smoothly, leaving you both entertained and with more than a bit of its quietly infectious optimism.

Recommended as a quirky but highly enjoyable film and for Kristin Scott Thomas' riotously over-the-top performance.

Buy Salmon Fishing in the Yemen (2012) Now

If you're going to see this delightful movie, the first thing you need to do is to shut down your critical faculties. Don't ask questions about the state of Ewan McGregor's marriage, or the logic of moving thousands of salmon, or the likelihood of a woman hugging an Arab sheikh in a Muslim country, or the ease with which people travel long distances, and so forth. It doesn't matter because the gentle tone of the movie even with the satirical edge of Kristin Scott Thomas' extremely obnoxious but funny Assistant to the Prime Minister just carries you away. It's sweet, it's charming, it's not cloying and it definitely draws you in to the story. This is the first movie I've been in a long time where the character of a Scot is a key plot element. [What was the name of the wonderful one years ago with Peter Resier (?) and Burt Lancaster as Texans looking for oil off the cost of Scotland?] Ewan McGregor gets to use his own Scots accent and is just wonderful and appealing in his role. Emily Blunt is also good, as she rolls with the plot.

If you're in the mood for a lovely, gently comic, romantic movie, this is the one.

Read Best Reviews of Salmon Fishing in the Yemen (2012) Here

"Salmon Fishing in the Yemen" is directed by Lasse Hallstrom ("Chocolat," "The Cider House Rules"). A visionary sheik (Amy Waked) believes his passion for the peaceful pastime of salmon fly fishing can enrich the lives of his people, and he dreams of bringing the sport to the not so fish-friendly desert. Willing to spare no expense, he instructs his representative, Harriet (Emily Blunt), to turn his dream into reality, an extraordinary feat that will require the involvement of Britain's leading fisheries expert, Dr. Alfred Jones (Ewan McGregor), who thinks the project is both absurd and unachievable. When British government publicist Patricia Maxwell (Kristin Scott Thomas) champions it as a good-will story, however, the unlikely team puts everything on the line to prove the impossible is possible.

Metaphorically, the movie contains the message that we can find our oases no matter the desert. Also resonating is that, with unlimited resources, the wildest, craziest dream can be pursued, if not fully realized. McGregor and Blunt are the film's best ingredients. Both have charm, and it's fun to watch the scientifically oriented Dr. Jones become immersed in politics as a romance with Harriet blossoms. However, the film drags for long stretches until a satisfactory final act. There are two bonus featurettes.

Want Salmon Fishing in the Yemen (2012) Discount?

This is one of the best movies I've seen this year. It's fun, funny, thoughtful, well cast, great screen play.

A genuine good movie for grown ups. Not animated, not full of computer graphic cleverness, no gross gore.

Will probably purchase for personal library. Highly recommend!

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Darkness (2012)

I would say this movie was excellent but I do not think that is strong enough. The movie was outstanding in every way it kept u waiting for what was next and wanting more. Super movie!!!

Not overly engaging or very memorable. One thing i didn't like is the lack of subtitles. In a film like this where people talk softly or with thick accents, subtitles really help. Nothing i dislike more than having to crank the volume to hear a conversation then have music BLAST out of nowhere a second after for a cheap scare. One other problem is doing the shakey camera garbage. Yeah yeah, he was trying to go for camera effects.... pfffft more like, "I cannot create real tension, through creative lighting or dialog so i'll shake the camera instead" It doesn't happen alot, but i am just getting tired of horror films using shakey cam as a crutch for creating tension i guess it is replacing the blasting music jump scare. So it kinda missed the mark on being a memorable "chilling" horror film and falls into the "It's ok" category.

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Labyrinth (1986)

In the early 80's Jim Henson created one of the most ambitious fantasy films ever: The Dark Crystal. It was a movie that had a completely realized world with its own creatures and flora... and it was performed entirely by puppets. Not the Muppet kind that Henson is famous for, mind you. These were serious creations that involved serious innovations in animatronics. While many loved the movie and it was critically acclaimed many others didn't "get it". There was no human interaction in the movie whatsoever and that put off people. Also the movie was serious with none of that Muppet mayhem Henson fans are so used to. That put off a few more people.

The next evolutionary step in Jim's grand scheme of fantasy puppetry was Labyrinth, and they filled in the gaps that The Dark Crystal left for those who couldn't (or wouldn't) "get" the concept of a fully realized fantasy setting that is outside of our own. How does he do it? Let me tell you...

Step One Human actors. Labyrinth included the young, yet already talented Jennifer Connelly as their heroine and well-established musician and actor David Bowie as her nemesis. Now you get the fun of a complete puppet world while at the same time you have human characters that interact in that same environment. Thus giving the viewer a better connection to the puppet characters.

Step Two Better puppets. The Dark Crystal is a masterpiece in of itself, however the technology used to animate the puppets was in its infancy and if you had to be picky about it you can pick away at the limitations of the puppets in that movie. With Labyrinth you get updated technology, which gives you puppets who can show emotions better. Case in point is the goblin Hoggle, who is the starring puppet. So much attention to detail went into his facial expressions that you can actually see the fear, disgust, anger, and joy in his eyes. Add to that other puppetry innovations and you have a world of cool puppets.

Step Three Keep it fun. The Dark Crystal was a grandiose and serious film that included some funny moments now and then. Labyrinth is the opposite. Is a fun film where the characters meet up with unexpected and often times crazy situations. Makes this fantasy adventure feel more comical in the same way it would reading a fun bedtime story.

Step Four Keep the original concept. Jim Henson did The Dark Crystal with the thought that he wanted to create a whole different world inhabited by beings and creatures portrayed entirely by puppets. Labyrinth is essentially the same thing, but done in a different way. Walking through the movie's namesake (the maze that leads to the goblin city) is definitely like being in another world that's both fascinating and fun. Much of what you see is visually impressive and essentially relish in the fact your eyes can play tricks on you. Brian Froud is again signed on as the conceptual designer and his work shines just as well in this iteration as it did with Dark Crystal.

Labyrinth also has the destinction of having songs specially written for the movie by David Bowie. Keep in mind this movie was in the 80's so what you get is 80's Bowie, and there are a couple scenes that flow more like music videos (or musical numbers) than standard scenes.

You might get the impression I am dogging on Dark Crystal in order to lift up Labyrinth. Can't be farther from the truth. However I do know the differences between the two films and how the other was made in response to the first. Labyrinth is the folk tale while Dark Crystal is the fantasy book. I believe both are fantastic movies.

The original DVD for Labyrinth was a good compilation right from the start, and was superseded with the Anniversary Edition having remastered visuals and a couple new featurettes. Now we have the movie on Blu-Ray, and boy I thought the Anniversay Edition looked good. I was worried when this movie went high definition that a lot of the original film grain was going to be lost in the digital cleaning that's popular with some companies with older films. Luckily what you end up with is the best looking picture to date. I'm not going to say this movie is presented in supersharp crystal clarity, but then again that would ruin it. The movie look as true to the original theatrical release as you can get. Details really pop out without looking antiseptic. Visually the Blu-Ray does breath new life into this classic. The extras are pretty much identical to what was offered on the Anniversary Edition with one exception. Here's what you get:

Documentary Making of the Labyrinth Has interviews with actors, puppet performers and production staff including Jim Henson, Brian Henson, David Bowie (who gives us some insight on his character) and Jennifer Connelly as well as lots of details on design and production of the movie. This documentary is a gem for those of you want solid behind-the-scenes details and was in the original DVD and is included on the Anniversary Edition.

Journey Through the Labyrinth: Kingdom of Characters and The Quest for Golden City These two featurettes from the Anniversary Edition include updated interviews with the cast and crew and never before seen footage from the Jim Henson archives. Kingdom of Characters focuses on... you guessed it... the main characters in the movie including conceptual design for the puppets (although Hoggle seems to be mostly left out, likely because there is so much of him in the original documentary) and background info on the actors. The Quest for the Golden City is mostly design details on the labyrinth, Goblin City and castle itself. These featurettes do well to fill in the gaps left by the original documentary. The extra footage is test footage of the puppets and such, with some production footage as well. I noticed some of the production footage was a rehash of what's on Making of the Labyrinth, but the crosstalk is few and far between.

The Storytellers Picture-in-Picture: This is the Blu-Ray exclusive featurette. When you turn it on while watching the movie occasionally a window pops up with an interview with one of the crew members speaking some interesting anecdote about the film. There isn't a whole lot of these that pop up in the movie, but when they do you get some rather interesting and entertaining production and behind the scenes information. Hearing about the casting call for the Helping Hands scene and the interview with Warwick Davis are alone worth checking out the feature.

Commentary by Brian Froud

You also get Dolby True HD Surround in English, French, Portugese with a Dolby Digigal Spanish track (how many movies have a Portugese dub?) with subtitles in all. Kind of strange they left out the Japanese audio that the Anniversary Edition had. I recall hearing improvements from the previous release's Dolby Digital 5.1 mix, but nothing groundbreaking.

Every release of Labyrinth has been impressive from the very first DVD, and with each new release it gets even better. So is it worth the double/triple dip? Well just like how the Anniversary Edition gave you a better picture with more extras the Blu-Ray ups the ante. I say if you want to enjoy this movie in the best way visually then yes. The new extras are nice, but to be honest as long as they original making of documentary is in there everything else will always come in second.

Labyrinth is a wonderful movie for all ages. The visuals will impress and the hijinks will entertain. If you are a Muppet fan this movie will be much more accessable than the Dark Crystal, and if you like The Storyteller then you have abolustely no choice but to get this (it's like a full length Storyteller movie sans John Hurt).

This is one of my favourite movies, because it truly understands the hearts of grown up girls, their love of fantasy and lure the dark & dangerous lad that leads us down the garden path. It's a wonderful tale, with marvellous tunes that linger on and on. From "It's Only Forever", "Underground" and "Chilly Down" but most especially "As the World Falls Down". Sigh, such a beautiful and deftly filmed Cinderella Ball for Adults. I don't know a woman that loves this film who does not say "I want that dress!".

Sarah is an easy to relate to teen. She is part child part woman, one foot in each world and truly not belonging to either. Added to this, her father has remarried and has little time to spend on his growing daughter. We are not told, but it's clear her mother is dead. Mom was an actress and lover of the magic and she passed this on to her lovely daughter. It's very hard to believe Jennifer Connelly is only 12 years old here!!! She is the perfect Sarah, the beautiful woman-child that has no sense of her place in the world. Too grown for childish things, too young for boys and dating. Her cherished childhood toys are giving carelessly to her new baby stepbrother, again emphasizing her feelings of alienation. Her new mother has little patience, and even when she tries, she meets with a hostile resentful woman-child. Sarah pain at feeling as if she is not wanted anywhere is so heartbreaking.

Left with the crying baby, and feeling that her world is slowly crumbling around her (reflected in Bowie's "As the World Falls Down"), the child side takes control and spitefully wishes the baby to be taken away from the Goblins. In true Muppet fashion, they promptly and cheerful comply. Sarah faces the Goblin King Jareth perfectly brought to life by Bowie and demands he return her brother. When Jareth says he will only return her brother if she finds her way to the Goblin City, Sarah sucks in her courage and goes after him.

Along the way she meets wonderful friends such as Hoggle and Sir Didymous, and finds out her own inner value and worth. Something we all have to do in growing up.

A true faerytale for the little girl in us, wonderfully realized through the magic of the Muppets, Connelly and Bowie. This set is laced with all the wonderful goodies that will thrill all the many lovers of the film.

Kudos for the super repackage.

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I first saw Labyrinth when I was about ten years old and it has been my dream fairytale ever since.

The story was simple -big sister has to grow up, learn her responsibilities and rescue little brother from becoming a goblin.

But what was magical about the whole show was the brilliant M.C Escher sets, marvelously entertaining puppets created by the father of all puppets, Jim Henson, and the beautifully romantic interludes between Jennifer Connelly (Sarah) and David Bowie (Goblin King).

Present-day computer animation can make dinosaurs almost real but I preferred the cute and adorable puppets that created my own make-believe of a world of magic, fantasy and adventure. I could almost see myself running around in that maze, dodging the boobie traps and having great companions like Hoggle, Ludo and Ambrocious with me.

I admit I was pretty charmed by David Bowie's portrayal of the Goblin King but who wouldn't be? Powerful, mysterious and not bad-looking, he seemed to be in the classic Prince Charming genre, except that he was also a little diabolical compared to those in Cinderella and Snow White etc.

Labyrinth is a classic and will always be my dream fairytale, and I am still watching it over and over every now and then. Most of all, like Dark Crystal, it is one of the signature performances by the late Jim Henson and his wonderful family of puppets.

Read Best Reviews of Labyrinth (1986) Here

"Labyrinth", directed by Jim Henson, is one of my all-time favorite children's fantasies. It's about teenage aspiring actress, Sarah (Jennifer Connelly), who's sick and tired of being mistreated by her parents (Shelley Thompson and Christopher Malcolm) because she thinks her baby brother gets all the attention. Sarah soon begins to hate her baby brother and wishes that he would be taken away by evil goblins. Miraculously, Sarah's wish comes true...but now she's afraid of what might happen to her brother and wants him back. So to get him back, she must embark on a journey through an enchanted labyrinth maze to get her brother back from the evil king goblin (David Bowie). Along the way, she meets many magical creatures and defeats dangerous tasks as she learns what's really important about family.

The film's special effects were done by the Lucasfilm company (yes, George Lucas's effects company). The acting is superb from the entire cast, especially a very young Jennifer Connelly and David Bowie. The storyline is wonderful, but the DVD is lacking, with only trailers, production notes, and one documentary on the making of the film. "Labyrinth" might actually not be for all ages, since it can be a little scary...esepcially the goblins might creep some young children out. But it is still a must.

I highly recommend "Labyrinth".

Score:

100/100

A+

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It's hard to believe that when Labyrinth was released in June of '86 it didn't do well. People weren't impressed. Some people say that things get better with age. Maybe this is also true with films.

Labyrinth is the ultimate fantasy adventure story. Sarah, the heroine, has to find her way through the magical labyrinth to get her baby brother back from the evil Goblin King. Along the way she makes friends and enemies as she fights temptation and reminds us what is truly important.

The release of this DVD was a long-time coming. It was worth the wait. Presented in wide-screen, that means we can see all of the goblins in hidden in the drawers and not just the one speaking, and Dolby Surround. The picture quality is good and the hauting soundtrack has been captured excellently.

Also included on the disc is the original cinema trailer and the original production featurette "Inside the Labyrinth". Probably as valuable, if not more, as the film itself. It's a facinating glimpse into the making of a masterpiece. Including interviews from the cast and crew and, more importantly, the Muppet master himself, Jim Henson.

This movie is probably more popular now than it has ever been and for good reason. And for just over ... bucks it's a movie must for anyone who is young or just young at heart.

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Eight Below (2006)

Inspired by the Japanese movie (released in the United States as ANTARTICA), which was based upon the true story of a 1958 Japanese expedition, the real antecedent of this movie is Egerton R. Young's marvelous memoir of his dogsled team, first published in 1902. This was the first book to detail the different personalities among dogs and the first to describe their work ethic and sense of responsibility.

Jack London acknowledged his debt to Egerton Young's memoirs (among other sources) which he took to craft the dogsled team in THE CALL OF THE WILD, something missing in the various incarnations of the novel on film. EIGHT BELOW captures the real intelligence of siberian huskies (well, two of them are malamutes) better than any movie I've ever seen. Sure, this is just a movie and tricks were used to make it appear that these dogs do what they seem to do. But huskies do smile, laugh, worry, think, and bond--and if you don't agree, then you just don't know them.

Yes, there are some sentimental and maudlin moments in this film, but there is also a sense of naturalism and a declaration of personal responsibility. An adventure film that is rare and welcome and worth seeing again.

The musical score is beautiful and nicely edited to fit the mood of each scene, ambient but not overwhelming. Both humans and dogs are underplayed, and it struck me as a movie for adults who can use their imagination to fill in the gaps in understated dialogue and character development. The beauty of the scenery is often breathtaking.

It was a nice touch that one of the dogs, the oldest, is named Jack, and one is named Buck. Buck was also the name of the protagonist in THE CALL OF THE WILD and Jack was the name of Egerton Young's real dog upon which Buck was based. Of course it may be just a coincidence.

The other dogs include the twins, Truman and Dewey (a Democrat and a Republican), Shorty, Max, Shadow, and sweet Maya, the lead dog. Dog people will have no trouble distinguishing between them.

Those who love this film might be also interested in Egerton Young's MY DOGS OF THE NORTHLAND, Jack London's THE CALL OF THE WILD, edited and annotated by Daniel Dyer, and Gary Paulsen's WINTERDANCE: THE FINE MADNESS OF RUNNING THE IDITAROD.

This is an excellent family movie about an Antartica adventure. Although Jason Biggs of American Pie is in it, this time he's the usual goofball but without any stupid humor and not one bad word anywhere in the film. It's safe family entertainment. The story is about a scientific post in Antartica that uses eight Huskies to get around with selds in the snow-barren wilderness of the South Pole. Trouble starts for the dogs when Winter arrives early and the dogs have to survive by themselves which is documented in the film as is also the human aspect of leaving the dogs behind to fight for themselves. The scenery and photography is breathtaking and it is a well-made Disney movie. It is based on a true story and that makes it even more interesting. Don't compare this film to Snow Dogs as this film is not a comedy and the location, storyline and premise are completely different. Aside from the dogs as heros, Paul Walker plays the human hero and he plays the role of an expedition guide very believably. Some concepts of the human psyche which may have been intended to be communicated in this flick, clearly miss the mark as these are not communicated, but it doesn't matter ... it's a clean family movie which the juniors as well as dog lovers will really appreciate and enjoy. Also, a lot about the behavior and kindness/faithfulness of the four-legged friends is shown. My wife liked this film very much and she said the DVD once released is a definite buy. Although this movie is two hours long and there are some slow passages, the two hours don't seem like two hours at all. This film is about a very real adventure and it's well worth watching it.

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EIGHT BELOW is a satisfying film on every level: the story is excellent (based on fact), the script is good, the direction by Frank Marshall is tight and fast paced for a two hour film, the scenery is spectacular and the cast is committed and well chosen. But the real stars of this film are the eight wondrous dogs who for much of the film carry the entire story of being on their own in the Antarctica winter for five plus months and for the most part surviving through bonding and obvious devotion to each other. They are splendid beautiful to watch in action and touching to observe in their interaction. But the dogs alone could not have made this happen without the other true stars of the picture the dog trainers. They deserve mention, so here they are: Michael Alexander and Sally Jo Sousa are the main trainers and are well supported by Tammy Blackburn, Tracy Gardhouse, Thomas L. Gunderson, Rowan Harland, Trish Judd, Dea Valentin Kristensen, Grace McLeod, Scott Rowe, Andrew Simpson, Cherie Smith and Tim Williams. There! The kudos go to them and their names are buried in the credits.

The story is one of dedication and devotion of a group of sledders in the Antarctica who take researchers, such as Doctor McLaren (Bruce Greenwood) who is looking for a meteorite from Mercury, on their missions. The main dog lover and trainer is Jerry (Paul Walker in one of his best performances) and he is assisted by Katie (Moon Bloodgood) and Coop (Jason Biggs). When Jerry is out with the eight dogs taking Doctor McLaren to fine his meteorite, a major storm arises and the dogs and the two men barely make it back to the station, McLaren suffering a broken leg and saved by the bravery of the dogs and Jerry. The crew must evacuate and Jerry insists the dogs be taken out with them, but he is promised that the pilot Katie will return for them, a deed which goes unkept because of the severe weather. The dogs are left to fend for themselves and Jerry is heartbroken, making every feasible attempt to rescue them. By films ends we have witnessed the miracle of survival of the dogs and a demonstration of the profound bonding between man and animal.

This film may seem slight from the photo on the DVD, but it is one of those family oriented films that breaks barriers and delivers on a grand scale some very important emotional content. The cast is excellent (the dogs of course being the main characters). The production values are superb except for a strangely mawkish score by Mark Isham. Well worth your time and attention. Grady Harp, September 06

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The four stars is for the incredible dogs, and the strong bond Jerry Shepherd (Paul Walker) holds with them (as well as for both commentaries on the DVD, which holds some very cool info about the dogs, and interesting facts, such as to why One's breath does not show in below zero weather, like so many tend to believe it should). They actually deserve the highest of all star ratings, but I can not even think to give this movie five stars for all the rest of it. The rest of it deserves less than zero! This movie pulled, ripped, and shredded all my heart strings and left me absolutely drained. At the end -kindly overlooking the obvious fact that no way would any guide "forget" to wear his gloves under any circumstances in such freezing weather, therefore forcing him to leave his dogs for fear of losing his fingers to frostbite -I couldn't help but focus on the fact that first they chose to take the equipment out before the dogs, thus beginning the whole tragedy in motion, and second that all Dr. Davis McClaren (Bruce Greenwood) had to do was make up his mind to help when initially asked, and Old Jack and Dewey would have been saved. And did the girlfriend even once try to buck the system to get the dogs in the beginning, even if futile?... No. Everyone except for Jerry were about letting them go and moving on. Gee, if it were their loved ones, their children, would it have been so easy? I think most definitely not. And it was made clear that the love held by Jerry for these magnificent animals was as strong as this. And it was only through the heartbreaking persistence of Jerry -and the luck of a child's eye-opening drawing of the hero dogs that saved his daddy's life (that of Dr. McClaren's) -that Dr. McClaren and the rest finally, most hesitatingly, hopped on board -a whopping six months later. Unbelievable. It felt as if they were finally giving in to a child's whim, so to shut him up already. When Jerry apologized to Dr. McClaren, saying that he shouldn't have put his problems on him, this simply astonished me. Not only did the dogs save Dr. McClaren's life once, but twice, and all through his own stubbornness of pushing forward despite Jerry's warnings of danger; and it was because of this very idiocy that the dogs were hastily abandoned in the first place, in order to get the injured doc back, so to save his sorry legs, as well as to save Jerry's fingers from the frostbite that he got from saving the unworthy doc. I do believe that not only made it his problem, but put him in the position of a life-long indebtedness to the dogs and Jerry. To him, though, the dogs weren't worth the leftover money to reciprocate, and he did not feel he owed Jerry anything. Amazing. And let me reiterate, this was LEFTOVER money!!! He wouldn't have gotten his stupid rock or grand award, not to mention have had a life to get these things, if it hadn't been for them. In fact, I do believe their saving him twice would more than make that money theirs for some kind of reward, don't you think? But instead of a reward they got tragic betrayal instead. Makes my blood boil. Sure, he finally gave in way later, but even then it felt like he was inching his way to it, through guilt alone, begrudgingly doing Jerry and the dogs a FAVOR instead of finally understanding that HE OWED THEM ALL and was doing what he should have done from the start, saving them all -as he should have Dewey and Old Jack -as they had saved him time and again. God help the surviving dogs had it not been leftover money, but instead his being asked to put his own cash in. No doubt he would never have gone the extra mile then. Even now, it annoys me to no end that Jerry didn't pull the "they saved your life twice" and "You owe us all" cards when he was first asking Dr. McClaren for his help. If ever a time to bring it up, this was it! Put his problems on him? Ridiculous! He didn't even get started!!! The only true heart through it all was from the dogs and Jerry. No one else cared enough or tried enough, which made Jerry's declaration to his girlfriend, near the end, that he owed her for always understanding how important getting back to the dogs was, very confusing to me. There was a great lacking of support, all around, emotional or otherwise, to Jerry and the dogs, and this chickie was definitely no different. She always had some sort of sly smile on her face, even in the beginning when giving condolences over having to leave the dogs... this happy glow... Really disconcerting. Just felt like, "So sorry, so sad, but must move on now!" If the intention of her character was to be understanding throughout the movie, her part was sorely lacking. At best, she came off as patronizing and just barely patient through his worrying so much over something that she made very clear should be let go of, even though the dogs were at that very moment starving, lost, lonely, and dying. It wasn't a year later... or even six months yet... but this was her attitude at the beginning until they finally decided to go back. Did she not get that you don't get past something WHILE IT IS STILL HAPPENING???!!! Only after you understand that it is over, truly done with, do you even start to think about the journey of learning to live with it. But out of sight out of mind, right?!!! So, that scene, and the fact that no one ever actually apologized or made some motion that they were responsible with their lack of previous action, made me sick at heart. The fact is that even if this movie wasn't based on a true story it would irk me and make my heart ache... but the sad truth is that not only was there one dog (Old Jack) that died through starvation, alone and immobile in the snow... but in real life, there were actually SEVEN -and SIX more unaccounted for!!! In real life there were 15 dogs and only two known to have survived. So, I don't even get the comfort of, "Well, at least this was just a movie". Needless to say, this is the movie that finally outdid the one other movie that ripped my heart to shreds as a little girl -Old Yeller -but at least that one was truly "just a movie". So, yes, this movie is a spectacular viewing, the dogs are beyond awesome, Paul Walker is fantastic, a true hero (An avid dog lover in real life, as well!), with a considerable joyous relief in the end for the dogs that did survive... but I just can't get past the absolutely avoidable TRAGIC deaths of those other loyal, loving, trusting dogs... betrayed... and the fact that the ones that did survive were no doubt scarred for life. So many are heralding this movie as a human bonding, growing thing. While I do say that it is a lesson of the true love and loyalty that dog holds for man, and that man should hold for dog... for the rest of it, it's a painful reminder of all the dogs left behind (ex:The heroic Vietnam War dogs; the K-9 Katrina victims; the no longer interested family leaving their pup in the woods), an acknowledgment of the ungratefulness and insufferable selfishness of so many out there, and the heartbreaking destruction that too often comes from it. **View this movie so to let the haunting images fill you, and then never allow such a horrific thing to happen again. NO ANIMAL LEFT BEHIND! These dogs story needs to be told, so that their deaths are never, ever in vain and such tragedy is never allowed to ever happen again.

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I have grown up with Huskies and have one currently. The thing I like the most about this movie is the way it depicts the emotion, enthusiasm and intelligence of this breed of dog. I was so proud to see them on screen doing what they love to do. The movie made me want to raise and train sled dogs, particularly Huskies. I would recommend this movie to anyone who loves dogs and adventures, but bring a tissue for the sad AND happy moments!

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Christopher Nolan Director's Collection (Memento / Insomnia / Batman Begins / The Dark Knight / Inc

The Christopher Nolan Director's Collection is one of those fabulous Blu-ray sets that very few people will actually need. Nolan is a genius to be sure, but it's hard to imagine that most DVD collectors don't already have one or more of these terrific films. All of the Blu-ray releases in this set are just repackaged versions of what has been available previously, there is NO new actual disc content. Due to licensing reasons, the collection does NOT include Nolan's first film "Following" (rumored to be a potential Criterion release) or "The Prestige." This is still an awesome group of five films, all of which look great in Blu-ray. If you don't own them, this comes with the highest recommendation. As most are familiar with the movies themselves, I will limit my comments to what is included in this item's contents.

In addition to movies, the set has the following exclusive content: 10 Collectible Photo Cards, 40 Page Photo Book and an (up to) $8.00 Movie Cash Credit to see "The Dark Knight Rises" in theaters.

The box has five movies over 7 discs. All of the Bonus Features are from the original releases, but I'll include them here as a reference point.

1) Memento (2000): Here you get the more comprehensive release that was put out for the film's tenth anniversary. Bonus Features include "Remembering Memento" (a 10-year anniversary look back on the making of the film), "Anatomy of a Scene," IFC Interview with Writer/Director Christopher Nolan, Audio Commentary with Director Christopher Nolan, "Memento Mori" (Short Story by Jonathan Nolan), Feature Script, Tattoo Gallery, and Leonard's Journal.

2) Insomnia (2002): Bonus Features include an additional scene, Commentary by Nolan, Commentary by Hilary Swank, production designer Nathan Crowley, editor Dody Dorn, cinematographer Wally Pfister and screenwriter Hillary Seitz. There are four featurettes: Day for Night: Making The Movie, 180 Degrees: A Conversation with Nolan and Al Pacino, In the Fog: Cinematography and Production Design, and Eyes Wide Open: The Insomniac's World.

3) Batman Begins (2005): Bonus Features that include MTV's Tankman Begins spoof, The Journey Begins: Creative Concepts, Story Development and Casting, Shaping Mind and Body: Christian Bale's Transformation into Batman, The Tumbler: Reinvention of the Batmobile, Gotham City Rises: Production Design of Gotham City, the Batcave, and Wayne Manor, Saving Gotham City: Development of Miniatures, CGI, and Effects, Genesis of the Bat, Confidential Files, Cape and Cowl: The New Batsuit, Path to Discovery: Filming in Iceland, and Character/Weaponry gallery.

4) The Dark Knight (2008): This is two discs with Bonus Features that include Gotham Uncovered: Creation of a Scene, BD-Live: An Interactive Gateway to Exclusive Content, Batman Tech: Gadgets and Tools, Batman Unmasked: The Psychology of The Dark Knight, Gotham Tonight: 6 episodes of Gotham Cable's premier news program, and the Galleries: The Joker Cards, Concept Art, Poster Art, Production Stills, Trailers and TV Spots.

5) Inception (2010): This is two discs with Bonus Features that include an Extraction Mode Describing The Film's Signature Moments, Dreams: Cinema of the Subconscious, The Cobol Job: Comic Prologue in full animation and motion, 5.1 soundtrack selections from Hans Zimmer's score, Conceptual Art, Promotional Art, and Trailer/TV Spot Galleries. KGHarris, 6/12.

Christopher Nolan is, by far, the greatest director of all time in my opinion. I love all of his movies but because my brother is moving out and taking all of these with him I was looking for a chance to buy them for myself. This box set is a great start to get back all my treasured Nolan films. But let's give a quick rundown.

MementoMy favorite movie of all time. Most unique directing ever. 10/10

Inception2nd favorite movie of all time. One of the best concepts of all time. 9.5/10

Batman BeginsGreat movie. Love Cillian Murphy as scarecrow. Very well done. 8/10

The Dark KnightBest Batman flick ever. Joker is fantastic and so is the rest of the movie. 9/10

InsomniaNot written by Nolan, just directed, and it shows. But who doesn't love Robin Williams as a killer? 7.5/10

All this for $25? I'm in. The only gripe about this box set is no Prestige! I would have much rather of had that then Insomnia. Also need to get Following and Dark Knight Rises. But, like I said, this is a great start.

UPDATE: Just got in in and thought I would review the packaging. It is a hardcover box and the front flips open to the left which reveals screenshots from the inside. All the movies are individually packed with their own bluray cases on the right inside (Dark Knight and Inception come with an extra disc of bonus features). They slide out along with a art book with summary's of the movies a a few quotes from the cast and lines from the movies as well as a collection of screenshot cards from the movies (some really cool ones in there such as a closeup of scarecrow). I would say it has some pretty awesome packaging.

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This set includes 5 Movies from director Christopher Nolan:

Memento

Insomnia

Batman Begins

The Dark Knight

Inception

Each blu-ray is identical to the previous individual release in terms of video/audio quality and bonus features.

In total, this is a 7-Disc set (both "The Dark Knight" and "Inception" have two discs).

This set includes these exclusive bonus items:

10 collectible Art Cards

Booklet containing info/photos from Nolan's films

Outer box (measures approx. 7 x 5.5 x 3.5 inches will fit on standard blu-ray/DVD shelf)

** As a director, Nolan has made three other films to date: "Following", "The Prestige", and "The Dark Knight Rises", but these are not included in this box set.

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Perfect got in for less than $30.00. Inception alon made it worth it. They should have also added The Prestige on this one.

Great movies as with nolan's movies I love the twist and turns.

Want Christopher Nolan Director's Collection (Memento / Insomnia / Batman Begins / The Dark Knight / Inc Discount?

This are all essential Blurays from ANY collection, and the fact that they are all packaged together and for $30 you'd have to be crazy to not get it!

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