Strike: Remastered Edition (1925)

(THE) STRIKE was the first film made by Sergei Eisenstein. The film is a tragedy, ending in annihilation, and it does not seem to have a final resolution other than the ending title card "Remember!" That the crowned heads of Europe imposed a regime of repression upon their people for a whole century from the fall of Napoleon to the end of the First World War is a well documented fact, and so this film does not actually go over the top in portraying it. In fact, there is a lot of humor along the way, which is found off-putting by some reviewers. This humor probably belongs to a tentative strand of thinking that was going on in the Soviet film industry at the time. While STRIKE was in production, Protazanov's blend of whimsy and realism, the science fiction classic AELITA opened in Moscow, and the theater facade was decked with gigantic figures of the King and Queen of Mars. The crush of patrons was so great that the director himself was unable to get into the theater, and had to miss the premiere. This popular success seems to have frightened the Soviet authorities, and Protazanov was put on a leash, and Eisenstein himself never indulged in such antics as these again. Then there would be only the straight propagandistic melodrama of OCTOBER and MOTHER and so forth.

Of course, STRIKE is propaganda, too. Notably, we do not know the names of any single character until after he or she is dead. The worker who hangs himself leaves behind a suicide note, and only then do we find out his name. That is the trigger that launches the strike. At the end, after the massacre, a single title card appears with a bunch of first names. These two title cards cannot disguise the fact that we do not really have characters in this film, but archetypes--the manager, the stock holder, the strike leader, the spies (of a number of different kinds), etc.

The blu-ray is a magnificent presentation of the film. I cannot compare it with any of the several DVD releases, but I have a twenty-year old laserdisc from the boxed set on Soviet cinema, and the blu-ray transfer is much superior in every way (but one). The blu-ray shows more perimeter to the picture, and especially on the top side of the screen. That gives the film more headroom, and it really makes a difference in the full portrayal of the art of Eisenstein. Cut-off heads is one of my biggest gripes about silent film on home video. There is one magnificent take early in the film, projected in reverse, going from feet standing in a puddle, moving away, the puddle clears to show the reflections of smokestacks, then conspirators walk backwards into the reflection. When I was watching the cropped picture on the laserdisc I couldn't see clearly the technique that Eisenstein was using. It all became crystal clear while watching the blu-ray. Both picture and sound are excellent--the sound on the loud side, so I had to turn down my amp.

The laserdisc and blu-ray are produced from different prints, and they have damage in different places, mostly in the opening reel. These things might have been repaired, but do not detract greatly from the presentation.

I mentioned that there was one way I preferred the laserdisc, and that was in preserving the original Russian intertitles. While I do not read Russian, I find that having the original titles there helps remind me that we are, after all, watching a film from Russia. Also, in the case of this film, the titles interact with the film in a unique way. About two minutes into the film there is one title that playfully morphs into the following footage. That one original title was retained on the blu-ray, but all the others were replaced with oversized English titles. The original titles were medium sized, appropriate for the size of the screen. Use of the large type makes the film seem even more didactic and doctrinaire than it is. It certainly would have been possible to give us an option of Russian or English intertitles, as was done with the blu-ray release of Battleship Potemkin. Again, I say that something is lost when the original titles are entirely replaced, even when the new ones have high definition as in this case.

So, to document the film in its original release format, I am keeping the laserdisc. But I will be watching the blu-ray for the film itself. I think it is flat-footed at the end, but there are so many brilliant moments along the way that make the film rewarding to see again and again. The blu-ray maximizes those moments.

If the quick and easy label is to call Sergei Eisenstein the Orson Welles of Soviet cinema, chronology notwithstanding, then "Strike" ("Stachka") is the great director's "Citizen Kane." This comparison would be dictated not by the greatness of this 1924 silent film, but rather by the fact "Strike" was Eisenstein's debut film. What the young Eisenstein clearly has in common with the young Welles is the reckless creativity of a kid with a brand new toy. The story is about the strike of factory workers in Czarist Russia in 1912, which ends with the rebellious comrades being brutally beaten down.

Eisenstein might be consumed with exploring the boundaries of cinematic technique, but he does evince some basic storytelling skills here. The climatic tragedy is set up initial comic element, which gain our sympathy for the workers on a human rather than an ideological level. Certainly a management that brings in spies and agents to infiltrate the oppressed workers cannot be supported. The strike begins after a factory worker, falsely accused of being a thief, hangs himself. The initial excitement over the prospects of success faded as the strike goes on and on. When the provocateurs hired by management finally bring things to a head, the tired and hungry workers are no match for the military troops that come to crush them. "Strike" features Grigori Aleksandrov as the Factory Foreman, Aleksandr Antonov as a Member of Strike Committee, Yudif Glizer as the Queen of Thieves, and I. Ivanov as the Chief of Police.

The more you know about Eisenstein's later works, the more you will recognize the raw cinematic techniques he displays in his first film as being refined in his later masterpieces. I know the obvious comparison is to look at "Battleship Potemkin" after screening "Strike," but I think the most profitable analog is with Alexander Dovzhenko's 1929 "Arsenal," which deals with a similar subject, namely a 1918 strike by Bolshevik works in Kiev. "Strike" runs 75 minutes and this Kino on Video edition has been digitally mastered from a mint 35mm print taken from the original negative. The presentation of this silent film is enhanced by a new score by the Alloy Orchestra.

Buy Strike: Remastered Edition (1925) Now

An epic feature film debut by filmmaker and film theorist Sergei Eisenstein. A precursor to the violence and large scale fights shown in his later films, "Strike" will continue to resonate strongly with cinema fans, especially for its famous final sequence.

The great Russian director Sergei Eisenstein, known for films such as the 1938 "Alexander Nevsky" and the 1944-1946 films "Ivan the Terrible" and a filmmaker who will be remembered for is his 1925 masterpiece "The Battleship Potemkin".

But a year before "Battleship Potemkin", "Stachka" aka "Strike" was created in 1925 and in Eisenstein's polemic cinematic style featured a theme of collectivism versus individualism and also featured the talent of the Proletcult Theatre.

"Strike" is a film that takes place during the Czarist rule and showcases workers of a Russian factory. The morale of the workers are low and while these workers work very long hours for little pay, the owners and higher up of the factory are shown as porkly characters that could care less about the employees but are more concerned of making money, eating and drinking well and getting rich.

Featured in six parts, the film begins with the following quote by Vladimir Lenin:

The strength of the working class is organization. Without organization of the masses, the proletarian is nothing. Organized it is everything. Being organized means unity of action, unity of practical activity.

VIDEO & AUDIO:

"Strike" is presented in 1080p High Definition (1:33:1) and is presented in Linear PCM 2.0 Stereo (music performed by the Mont Alto Motion Picture Orchestra). The edition featured on Blu-ray of "Strike" is a version mastered in HD from a 35 mm film element restored by the Cinematheque de Toulouse.

While it is is expected to see white specks and a little film damage, the picture quality is magnificent. If you have seen this film before and have seen versions that get to the point where the visuals keep fading to black, no problem whatsoever in the picture quality of this film on Blu-ray.

The clarity is well-done, especially the closeups of the various individuals. Tonal gradation, black levels and contrast is also magnificent and this is the best looking version of the film to date. I detected no softness, no artifacts, no excessive degradation of the original film elements (There are a few scenes which show this slight whiteness but it's for a second or two and doesn't disturb your viewing of the film.

The overall look of the film compliments Eisenstein's direction and the cinematography by Vasili Khvatov, Vladimir Popov and Eduard Tisse.

Also, the music by the Mont Alto Motion Picture Orchestra was well-done and complimented the film extremely well!

SPECIAL FEATURES

"Strike" comes with the following special features:

GLUMOV'S DIARY (4:43) For years considered lost, Eisenstein's first film "Glumov's Diary" (1924) is a playful experimental short made for his stage production of Alexander Ostrovsky's Enough Stupidity in Every Wise Man.

EISENSTEIN AND THE REVOLUTIONARY SPIRIT (37:10) Film historian Natacha Laurent places Eisenstein's work in the context of the Communist revolution and contemporary Soviet filmmaking.

Battleship Potemkin Trailer (1:32) Theatrical trailer for Kino's "Battleship Potemkin".

EXTRAS:

"Strike" comes with a slipcase cover.

JUDGMENT CALL:

A magnificent, groundbreaking film that still has relevance today!

Sergei Eisenstein's "Strike" is a straightforward film. Workers are mistreated, higher-ups are the ones who receive the benefits and when workers want to be treated well, their employers turn on them and the results are tragic.

Of course, in the United States, although strikes do happen and mediation between companies work hard to solve the issues, what we see in "Strike" still happens today in other countries (especially in China where several employee strikes in 2001 have turned violent due to worker's working very long hours and receiving unfair wages).

And in cinema, America has had its share of strike films with "The Grapes of Wrath", "Bound for Glory", "Norma Rae" to name a few. But what makes Eisenstein's "Strike" so amazing is what was accomplished back in 1925 visually. For one, Eisenstein is a filmmaker who knows how to incorporate large masses of people and capture the realism of that era. In this case, workers on strike in 1903 (note: There was a South Russian strike of 1903 in Odessa but violence was minimal and led to an independent labor movement but I have read that the film is actually was intended to be part of a series that led to the 1917 Revolution which ended Tsarist Autocracy and led to the creation of the Soviet Union).

It's Eisenstein's focus on collectivism that comes forefront as American cinema tends to focus on the individual who may have led the strike or had a big part in it. No one actor becomes the protagonist. Strikers are a collective, the management and shareholders work as a collective.

And that is where Eisenstein shows his strength as a filmmaker, the utilization of composition and structure that achieves the film's efficacy.

Once again, the collective is the keyword to this film. Where many films would show a hero either being incarcerated, killed or simply being held on the pedestal for their achievement, its a banality that is often seen to well in cinema today and Eisenstein knew at the time that it's the collective that that should be featured and not one person goes down, all will suffer together.

Although I do not like to talk about the ending sequences of a film, "Strike" is one of those films where the majority of discussion of this film is primarily of its final scene. It's the most violent scene but also cinematography-wise, it's the most beautiful part of the film is seeing how Eisenstein used the visual aspects of the film to make it artistic but at the same time, no doubt, stirring up emotions of the Soviet people in the 1920's who watched the film.

If you do not want to be spoiled by my comments on the ending, please stop here and revisit after you watched the film.

"Strike" is well-known for its violent final scenes towards the collective mass interwoven with realistic scenery of a live cow being slaughtered are images that stick in your head. Without having to show hundreds of people marching to their demise, it was a well-executed plan to use the cow during that time, to be a symbol of the slaughter of humans. To show how people of the same blood but not of the same social status are looked down upon.

A mother tries to rescue her daughter who runs towards the military soldiers in their horses. These soldiers could care less and start beating on the mother and possibly the most disturbing scene, aside from the cow scene, was a soldier grabbing a baby and literally dropping the baby many levels below to its crashing death. While we see the workers tormented and running for their lives, it's a sickening juxtaposition of the exaggerated capitalist, laughing, fat and non-caring of their workers.

The bourgeoisie, the management, higher ups, shareholders, governor, police chiefs...they are the antagonist, the workers, the proletariat are the protagonists, the heroes of the film.

These scenes are quite haunting and although Eisenstein had created even more significant films after his filmmaking debut with "Strike", It is amazing to see the filmmaker create this aural effect through visual means.

Interesting enough, Eisenstein actually had a conceived a more violent film according to a record made of the completed final sequence which involved the decapitation of the cows heads, skinning of the cows and ending with a closeup of the cow's eyeball in order to correlate with the massacre of the workers.

As for the Blu-ray release, having owned the DVD, this film features the restoration courtesy of the Cinematheque de Toulouse and a newly-recorded score by the Mont Alto Motion Picture Orchestra who did a magnificent job. It's also great to have the "lost" short film "Glumov's Diary" included in this Blu-ray release but for fans of Eisenstein, the included "Eisenstein and the Revolutionary Spirit" was a wonderful addition to this release.

There are not many filmmakers who have had the freedom to create films with a large mass of people and also to use his films to have this polemic and propagandist tone. It's a groundbreaking film for its time that a cinemaeaste must experience as it is quite different than "Battleship Potemkin" and Eisenstein's other well-known works.

Overall, "Strike" on Blu-ray is highly recommended!

Read Best Reviews of Strike: Remastered Edition (1925) Here

The most noticeable thing about this film is the extremely fast editing. This is fast compared with modern films, but by its contemporaries, it's lightning fast. Eisenstein advocated what he called 'montage', meaning more the juxtaposition of two different or similar images by intercutting or fading between the two to allow the viewer to draw comparisons between the two images. This is sometimes subtle, and at other times blunt (such as the scene with the crowd being slaughtered being intercut with cattle being slaughtered). Nevertheless it allows Eisenstein to make a point that we are treating humans as cattle and also avoids visceral depiction of the killing of the humans, whilst giving us a shocking image that tells us what we need to know. The film is somewhat difficult to follow, even with subtitles, and I felt there were no real points of identification. The humour in the depiction of the Bourgeoisie lightened the tone in places, but the film still seems more like a political manifesto for the Bolsheviks than representation of reality. Years ahead of its time technically, but dated in content.

Want Strike: Remastered Edition (1925) Discount?

This early work by Sergei Eisenstein in its Blu-Ray restoration is a fine example of storytelling in chapters. The restoration is excellent, the added music sound track is appropriate and the crisp black and white images take one back to those industrial times and predatory capitalism. There is lots of "human nature" and character studies plainly laid out for the viewer.

Eisenstein, like Carl Theodore Dryer after him, never made a bad film is his like. I am hoping that Kino restore and reissue every film that Eisenstein, the Master Film maker ever made. I will buy all of them.

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The Lion King Blu-ray Trilogy (The Lion King / The Lion King 2 : Simba's Pride / Lion King 1 1/2 :

So I recently watched the Lion King in the theatres, and it was still as magical as I remember it was growing up. After reading some of the reviews on here, there seems to be a little mix-up as to what you get, so I would just like to clarify in case someone is interested in this amazing trilogy, which by the way has a beautiful outer wood box.

The Lion King comes with the 3D blu-ray, the standard blu-ray, the standard DVD, and digital copy.

The Lion King 1.5 comes with the standard blu-ray and the standard DVD.

The Lion King 2 comes with the standard blu-ray and the standard DVD.

As you can tell, only the original Lion King comes with 3D and digital copy, so it is basically the same thing as the regular 4 disc 3D pack you can get. The other 2 movies only have the standards of each format, so you can treat them as basic combo packs. I hope this helps clarify a few matters and whatever you do, definately pick this movie up.

(This review is for the films only.)

Yes, I said trilogy. This set includes the Disney classic The Lion King and its two sequels,The Lion King II: Simba's Pride and The Lion King 1 1/2. All three are great films, which is surprising, due to Disney's history with doing sequels.

The Lion King is the classic story of a young lion club named Simba who is next in line to become king of the Pride Lands. As he gets older, his uncle Scar begins to despise him and Mufasa, Simba's father and Scar's older brother. Mufasa is king, which makes Scar furious, and he makes a plot to kill them both. The plot is proven to be a success. Mufasa is killed and Simba, believing it to be his fault, runs off. He leaves the Pridelands and meets Timon and Pumbaa, a meekat and warthog who eats bugs. Simba soon joins the two and adopts their "Hakuna Matata"(it means no worries)lifestyle. Soon, Simba grows up and one day comes across his old friend Nala, who tells him that Scar is destroying their home. Simba at first disagrees about doing something about it, but after meeting with a old friend of his father named Rafiki, a wise mystic baboon, Simba gets back on track and decides to challenge Scar and become......The Lion King.

This movie is truly one of the best animated movies ever made. With some amazing voice-overs(including James Earl Jones, Matthew Broderick, Jeremy Irons, Whoppi Goldberg, and Jonathan Taylor Thomas) and a engaging story, The Lion King is truly a classic to behold. Five Stars.

While probably the least interesting of the set, The Lion King II: Simba's Pride is still one amazing sequel. The story revolves around Simba's and Nala's daughter named Kiara. Kiara one days ventures into the territory of the lioness named Zira. Zira is the wife of Scar and she wants revenge on Simba. Zira has a young lion club named Kovu and while Kiara is in Zira's territory, she and Kovu get to know each other. Soon, the two parents show up and Simba takes Kiara home. At her home, Zira comes with a plan: she will train Kovu to kill Simba by getting to Kiara. Years later, they are now grown up and while Kiara is on her first hunt, a fire, set off by Zira's other children, is burning the pridelands. Kiara barely makes to high ground and Kovu arrives just in time to save her. Simba sees him and Kovu tells him to give him a chance, while truly trying to kill him. Meanwhile, Rafiki is trying to get Kiara and Kovu together, beliving it could stop the feud between the two families. It proves to be a success as Kiara and Kovu fall for each other. Soon Simba tries to get to know Kovu better and finds out the truth about Kovu plans for Simba, which Kovu now doesn't want to go through with, due to his feelings for Kiara. Kovu gets banished and Kiara runs off to find him. Zira now decides to take on Simba's pride by force and kill Simba by herself. Now, Kovu and Kiara must stop this before the worst happens.

Better than most sequels, Simba's Pride brings back all the characters from the original and introduces fascinating new characters. The story, while less interesting than the first, still works for this film and the voice-overs are good as well.

Four Stars.

The newest addition to the series is The Lion King 1 1/2. This is the first film's story, told from Timon's and Pumbaa's point of view. The story begins with Timon and his life before he took on his Hakuna Matata lifestyle. He makes tunnels for a living, but always screws them up. While Timon's mom beleves he just hasn't found his place yet in the clan, Timon, along with his Uncle Max and the other meekats, believe he is just a klutz and he isn't gonna get better anytime soon. Timon decides it's time to find the home of his dreams and sets off with his mother's permission. While on his quest, he meets Pumbaa and the two form a "aquaintship", which soon becomes a friendship. They soon find their dream home and everything seems perfect until one day they find Simba and decide to raise him until that fateday when Nala arrived. When they hear Simba has gone back to the Pridelands to become king, Timon and Pumbaa must now help Simba regain his right to become the rightful king of the Pridelands.

This one is incredibly funny and also, very clever. The idea of seeing the story from Timon and Pumbaa's point of view is delightful and the laughs are plenty. Overall, a new addition to the series that is fresh and fun. I give the Lion King 1 1/2 five stars.

I hope this review was helpful. I hope you enjoy this set of movies as much as I did.

Buy The Lion King Blu-ray Trilogy (The Lion King / The Lion King 2 : Simba's Pride / Lion King 1 1/2 : Now

This three movie, six disc collection is definitely worth the price paid. This collection contains Disney's The Lion King, Lion King 1 ½ and Lion King 2: Simba's Pride. The Lion King is a much beloved Disney classic. And while the Lion King 1 ½ and 2 are not nearly as good as the original they are funny and enjoyable in their own right.

The special features, frankly, are not that good. There's some games on them and some short montages on the characters. But mostly, I just watched the movies.

Read Best Reviews of The Lion King Blu-ray Trilogy (The Lion King / The Lion King 2 : Simba's Pride / Lion King 1 1/2 : Here

I love The Lion King trilogy, I have no complaints about the movies. This review is reviewing the box set it comes in.

The outside of the box is very lovely, with wood-like carving imagery on the outside. But once you open the case it comes in, you are in for a disappointment. The discs are in thin cardboard! There are no cases to hold the discs. You just slide them out of their "file" type thin cardbard. I can see this set getting very scratched in the near future if you watch these a lot. I only bought this set because I wanted all 3 movies. I suggest everyone wait and buy each separately in a appropriate blu ray case release. I would have rather had all three movies in actual blu ray cases inside this nice box, than this cheap, crappy drum. I expected much more, Disney...

Want The Lion King Blu-ray Trilogy (The Lion King / The Lion King 2 : Simba's Pride / Lion King 1 1/2 : Discount?

The Lion King is one of Disney's animated "golden age" films (along with little mermaid, alladin, etc.), and it really is a timeless classic.

for the pre-order price of about $75, it's a great value considering the 4 disc blue-ray set alone is going to run you at least $30, Lion King 2 around $20 and 2 1/2 maybe $15. Shell out a few more bucks and you get a nifty box to keep everything in and you know that you have the complete collection, special features and all.

The great thing about the 4 disc blu ray combo pack for the ORIGINAL Lion King, is that it includes:

the regular 2D movie dvd & blu-ray disc, a 3D blu-ray disc, (this ensures that whatever technology you are currently using, you will be able to watch the movie, regardless. and if you are using DVD now, you will have blu-ray for later when you upgrade. or you can always give away whichever one you don't want/need.)

and the digital copy which I always love as an option. Digital copies allow you to upload to mobile devices (especially easy for itune users although it might restrict usage to apple devices), such as your phone, tables (great for keeping you or maybe your kids entertained on trips or when waiting for stuff), and of course, your laptops and computers.

for the other 2 movies, Lion King 2 and Lion King 1 1/2, there is a DVD & Blu-ray copy for each.

The set also includes all the bonus discs for all three movies, which of course has all the bonus features: deleted scenes, commentary, shorts, new songs, etc etc.

It's a great value and would make a great gift for anyone who enjoys Disney Animated Movies.

(if you dont need/want all the bells and whistles or the other movies, then another version might be better for you. the 2disc DVD/blu-ray also has the special features, just not the 3D or the digital copy)

Much Ado About Nothing (1993)

Since his Oscar-nominated "Henry V" adaptation, Kenneth Branagh has come up with a simple, effective recipe: Blend 3 parts English actors well-versed in all things "Bard" with 1 or 2 parts Hollywood, sprinkle the mixture liberally over one of Shakespeare's plays, lift the material out of its original temporal and local context to provide an updated meaning, and garnish it by casting yourself and, until the mid-1990s, (then-)wife Emma Thompson in opposite starring roles.

In "Much Ado About Nothing," that formula works to near-perfection. A comedy of errors possibly written in one of the Bard's busiest years (1599) although as usual, dating is a minor guessing game "Much Ado" lives primarily from its timeless characters, making it an ideal object for transformation a la Branagh. Thus, renaissance Sicily becomes 19th century Tuscany (although the location's name, Messina, remains unchanged); and the intrigues centering around the battle of the sexes between Signor Benedick of Padua (Branagh) and Lady Beatrice (Thompson), the niece of Messina's governor Don Leonato (Richard Briers), and their love's labors won initially the play's intended title; Benedick and Beatrice are a more liberated version of the earlier "Love's Labor's Lost"'s Biron and Rosaline as well as the schemes surrounding the play's other couple, Benedick's friend Claudio (Robert Sean Leonard) and Beatrice's cousin Hero (Kate Beckinsale) become a light-hearted counterpoint to the more serious, politically charged intrigues of novels such as Stendhal's "Charterhouse of Parma:" Indeed, the military campaign from which Benedick and Claudio are returning with Don Pedro, Prince of Aragon (Denzel Washington) at the story's beginning could easily be one associated with Italy's 19th century struggle for nationhood.

While according to the play's conception it is ostensibly the relationship between Hero and Claudio that drives the plot as well as the plotting by Don Pedro's illegitimate brother, Don John (Keanu Reeves) Beatrice and Benedick are the more interesting couple; both sworn enemies of love, they are not kept apart by a scheming villain but by their own conceit, and are brought *together* by a ruse of Don Pedro's (although even that wouldn't have worked against their will: "Thou and I are too wise to woo peaceably," Benedick tells Beatrice.) And while Don John's machinations create much heartbreak and drama once they have come into fruition, the story's highlights are Benedick's and Beatrice's battles of wits; the sparks flying between them from their first scene to their last: even in front of the chapel, they still although now primarily for their audience's benefit respond to each other's question "Do not you love me?" with "No, no more than reason," and when Benedick finally tells Beatrice he will have her, but only "for pity," she tartly answers, "I would not deny you; but ... I yield upon great persuasion; and partly to save your life, for I was told you were in a consumption" whereupon Benedick, most uncharacteristically, stops her with a kiss.

Branagh's and Thompson's chemistry works to optimum effect here; and while every Kenneth Branagh movie is as much star vehicle for its creator as it is about the project itself, Benedick's conversion from a man determined not to let love "transform [him] into an oyster" into a married man (because after all, "the world must be peopled. When I said I would die a bachelor I did not think I should live till I were married"!) is a pure joy to watch. Emma Thompson's Beatrice, similarly, is an incredibly modern, independent young woman; and scenes like her advice to Hero not to blindly follow her father's (Don Leonato's) wishes in marrying but, if necessary, "make another courtesy and say, Father, as it please *me*" only enhance the play's and her character's timeless quality.

Yet, while the leading couple's performances are the movie's shining anchor pieces, there is much to enjoy in the remaining cast as well: Richard Briers's Don Leonato, albeit more English country squire than Italian nobleman, is the kind of doting father that many a daughter would surely wish for; and what he may lack in Italian flavor is more than made up for in Brian Blessed's Don Antonio, Leonato's brother. Kate Beckinsale is a charming, innocent Hero and well-matched with Robert Sean Leonard's Claudio (who after "Dead Poets Society" seemed virtually guaranteed to show up in a Shakespeare adaptation sooner or later); as generally, leaving aside the appropriateness of American accents in a movie like this, the Hollywood contingent acquits itself well. Washington's, Leonard's and Brier's "Cupid" plot particularly is a delight (even if the former might occasionally have gained extra mileage enunciation-wise). Keanu Reeves, cast against stereotype as Don John, is a bit too busy looking sullen to realize the role's full sardonic potential: "melancholy," in Shakespeare's times, after all was a generic term encompassing everything from madness to various saner forms of ill humor; and I wonder what but for the generational difference someone like Sir Ian McKellen might have done with that role. But as a self-described "plain-dealing villain" Reeves is certainly appropriately menacing. Michael Keaton's Dogberry, finally, is partly brother-in-spirit to Beetlejuice, partly simply the eternal stupid officer; the play's boorish comic relief and as such spot-on, delivering his many malaproprisms with his tongue firmly planted in his cheek.

The cast is rounded out by several actors who might well have demanded larger roles but nevertheless look ideally matched for the parts they play, including Imelda Staunton and Phyllida Law as Hero's gentlewomen Margaret and Ursula, Gerard Horan and Richard Clifford as Don John's associates Borachio and Conrade, and Ben Elton as Dogberry's "neighbor" Verges. (In addition, score composer Patrick Doyle stands in as minstrel Balthazar.) With minimal editing of the play's original language, a set design making full use of the movie's Tuscan setting, and lavish production values overall, this is a feast for the senses and, on the whole, an adaptation of which even the Bard himself, I think, would have approved.

Also recommended:

The Oxford Shakespeare: The Complete Works 2nd Edition

Love's Labour's Lost

Henry V

William Shakespeare's Hamlet (Two-Disc Special Edition)

BBC Shakespeare Comedies DVD Giftbox

BBC Shakespeare Tragedies DVD Giftbox

Olivier's Shakespeare Criterion Collection (Hamlet / Henry V / Richard III)

William Shakespeare's The Merchant of Venice

Richard III

The Complete Arkangel Shakespeare: 38 Fully-Dramatized Plays

"Much Ado About Nothing" is one of those sparkling adaptations that supposedly couldn't have been done. But Kennneth Branagh (director and star of "Hamlet," and creator of the supremely underrated "Midwinter's Tale") brought an all-star cast in a sparkling Tuscan setting, to bring this tale of bickering loves and sordid betrayals to life as never before.

The sullen Don John has just been stopped in a rebellion against his brother Don Pedro, by young hero Claudio. Now all of them (including Don John, whom his brother has forgiven) are arriving in Messina, the home of kindly Leonato. But when they get there, Claudio immediately falls in love with Leonato's beautiful daughter Hero. And despite the efforts of Don John, Don Pedro manages to get the two young lovers together and altar-bound.

But Don Pedro isn't willing to stop there. Hero's cousin Beatrice has a long-running feud with Claudio's pal Benedick -they insult each other, they bicker, they argue about everything ("It is so indeed -he is no less than a stuffed man!"). What's more, both of them swear to stay single forever. ("All women shall pardon me -I shall live a bachelor!") Pedro and the others conspire to get Benedick and Beatrice to somehow fall in love with each other. And at first it seems that everything is going well -until Don John manages to cast doubt on Hero's honor

There's a certain timeless quality to "Much Ado" -not just the dialogue, but the simple costumes and the buildings in it. That leaves the audience free to pay more attention to the dialogue and its plot. And what a plot it is! "Much Ado" is brimming over with funny dialogue, dastardly plots, comedic supporting characters and weird pairings. (Beatrice and Benedick are the sort of love-hate couple that a lot of movies try to have, but don't succeed with)

The dialogue is mostly (if not all) Shakespeare's own, but it's not necessary to be a Shakespeare buff to understand what they're saying. It's not dumbed down, either -it's just spoken as normally as ordinary English. And the Tuscan landscape sparkles with life, passion, and lots of fruit and wine. You don't need to be a fan already to understand and appreciate this movie.

Kenneth Branagh (who also directed and adapted the play) is amazing as Benedick, lovably witty and egotistical; he gets a little silly at times (such as his bird calls or joyous romp in the fountain), but demonstrates his serious ability after Hero is disgraced. the outstanding Emma Thompson is even better as the sharp-tongued Beatrice, a fiery young woman with her own mind and definitely her own mouth. Thompson lashes out Shakespeare's witty lines as easily as if she just thought them up herself; one of her most powerful scenes is here. Denzel Washington (Don Pedro) looks like he's having a great time; Keanu Reeves (Don John) is a bit flat in places, but glowers well enough. Kate Beckinsale's first movie role (Hero) is suitably sweet and adorable. Robert Sean Leonard (Claudio) is the one weak link in the cast; he seems a bit too overwrought and hysterical to be a major hero. (No pun intended)

This movie was unavailable for a very long time and only recently was rereleased on DVD. The DVD is pretty spare; aside from the movie, there are a few DVD promos (for "When Harry Met Sally" and "The Princess Bride" -both, I notice, comedic romances) and a brief making-of featurette. The featurette doesn't really offer much that is new, but does give some insights into the chosen settings and why the cast wished to do the movie.

Those who enjoyed Branagh's "Hamlet" and "Henry V" will rejoice in "Much Ado About Nothing," the quintessential romantic comedy. Funny, sweet, romantic, and incredibly well-acted, this is a keeper.

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Yes, Keanu Reeves fits in to this Shakespearean production like a tuba player in a heavy metal band, but don't let that scare you off. His leaden delivery can't weigh down a movie this light and bubbly.

Branagh has outdone himself in this tale of young men and women in love. It is set in the gorgeous Italian countryside, all warm sunshine and bright colors. The actors positively glow with happiness and health.

Branagh plays an almost self-parodying arrogant ham with just the right note of swagger and hidden insecurity. His battles of wit with Emma Thompson's Beatrice bring some of Shakespeare's cleverest writing to vivid life. Denzel Washington makes for a truly regal prince, and Michael Keaton puts in a knee-slapping cameo as the Beetlejuice-ish Dogberry.

This is one of Shakespeare's best comedies and Branagh films it excellently, moving the plot along and keeping things light. The title is apt -the problems the characters face aren't difficult to solve -and Branagh thankfully doesn't take any of the proceedings too seriously.

This is Shakespeare as it was intended to be. It's not actors dressed in tights histrionically shouting lines; it's funny and vibrant with a strong pulse. It's a feel-great movie and not to be missed, by Shakespeare loyalists or by anybody else.

Read Best Reviews of Much Ado About Nothing (1993) Here

This, without a doubt, the funniest film that I have seen Kenneth Branagh do. True, it was no match for his four-hour masterpiece HAMLET, but MUCH ADO ABOUT NOTHING is almost as great. Branagh shows us that his acting abilities can range from heroic to comedic. But please, let us not talk of the very bad performance he gave in the insanely crazy, and just as stupid WILD WILD WEST. Another thing that suprised me about the film: Keanu Reeves as a bad guy. This film also proves that Reeves, who plays the sinister John the B-----d, can play a wide variety of characters (from THE MATRIX's Neo, to BILL AND TED'S EXCELLENT ADVENTURE's Bill Es Preston Esquire.). The other supporting actors (Denzel Washington, Michael Keaton, Emma Thompson, Brian Blessed, among many others) gave what could be called their finest performances ever. The movie, which is insanely funny, also has some dramatic moments, so as not to make it too ludicrous. Anybody who has a thirst for Shakespeare, or just wants a good laugh, should see this movie. Trust me, you'll be singing HEY, NONNY NONNY 'til you die. Grade: A+

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If your mind is longing for a Shakespeare production, this is an excellent adaptation of the highest order. Not only is this one of the best romantic comedies ever written, it is set in the Tuscan sun and reaches its full comic potential in all the lustiness and witty dialogue only Shakespeare could create.

At a sensuous picnic, Beatrice reads:

Sigh no more, ladies, sign no more,

Men were deceivers ever,

One foot in sea, and one on shore,

To one thing constant never.

Then sigh not so, but let them go,

And be you blithe and bonny,

Converting all your sounds of woe

Into hey (nonny nonny). (brief translation: what the heck).

Act 2, scene 3, 62-69

In Messina, the governor Leonato, his daughter Hero, and her cousin Beatrice (Antonio's daughter) learn from a messenger that Don Pedro has won victory in a battle and is returning home.

Denzel Washington as the Prince Don Pedro really adds sex appeal to this movie! When he arrives with his soldiers from war there is a moment of excitement when everyone lets their inner child escape and there is a feeling of giddy anticipation and the movie takes on a vigorous life of its own.

This is pure escapism for sure. The Italian villa with lush landscapes, fountains and plenty of shrubs to hide behind for eavesdropping on crucial conversations is just enchanting. It is the perfect place for the story to unfold. Here the prince and his warriors decide to vacation for a month.

The main plot involves two love stories. Hero (Kate Beckinsale) and Claudio (Robert Sean Leonard) are in love and hardly need to be pressured into matrimony.

Benedick (Kenneth Branagh) and Beatrice (Emma Thompson) have a hilarious adversarial type courtship in neither can decide what they really want.

"Thou and I are too wise to woo peaceably."

They have both declared they will never marry. In fact, one assumes it was their desire of their wild hearts all along, but was only revealed in a tortured path of wit and intrigue.

Claudio: [to Hero] Lady, as you are mine, I am yours; I give away myself for you and dote upon the exchange.

Beatrice: Speak, cousin, or (if you cannot) stop his mouth with a kiss, and let not him speak neither.

Don John ("yummy" Keanu Reaves) is of course the evil villan in this story and sets out to destroy the relationship between the beautiful Hero and the handsome Claudio. Like a devil, he manages to create mayhem and then leaves the tortured souls to figure out the details of their salvation. With the sweet Hero slandered and presumed dead, one assumes as sure as there is a thought or a soul, there is no turning back.

There are so many great lines in this play that were included with such flair. This is now my favorite Shakespeare adaptation. You will laugh with absolute delight at the antics these characters get up to!

Universal appeal!

~The Rebecca Review

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Triple Dog (2009)

Cheesy and corny, I like! This movie is supposedly a horror movie, but its more like a Comedy-Thriller-Drama. I absolutely love Scout Taylor-Compton and she usually makes some good indie movies and I really liked this one. It's a very cheesy movie but I really enjoyed it. I recommend this one for tweens who aren't really into the Horror genre, this one is good fun!

Hilarious is a great word for this film. So many bad lines and confusing ones: one my favorites: "Yo would you guys Superman that Hoe for 20 bucks?" Midway through the film as one of the girls is doing the dare of urinating on the principal's porchmat the bad girl Chapin spouts out "Shes totally splitting the whisker!" What the hell does that mean? Lines like that make me think, do modern teenage girls actually say things like that? Probably not, but its very funny indeed. So heres my final thoughts about this: Its a stupid/very cheesy movie with lots of hilariously bad dialogue. Watch it with friends and beers and enjoy.

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High school? Premise suburban high school age girls, bored. Let's play dare. One dominant girl, the rest subordinate, like sheep. No drinking nor drugs to induce this stupidity, but completely willing to make poor decisions anyway. I kept waiting for the movie to get better or remotely realistic. It didn't.

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I hope this review doesn't damage my review credibility, I'm avid Movie Collector and collect all styles of movies, I some how came across the lone 5 star review on Amazon, went to Youtube checked out the trailer and was sold, there aren't many reviews online for (triple-dog) so I wanted to give this little gem Its due, I own a few cheesy quality Movies that flew under the radar that some men wouldn't want to be caught watching, (16 WISHES, WISH APON A STAR, READ IT AND WEEP) all made for Disney Channel Movies, but (triple-dog) has enough edge and fresh ideas that I can see grown men hiding this under there collection of Action Movies, I don't think it fair to judge this movie with Oscar level movies, like American Beauty, Slum Dog Millionaire, Titanic, its just too different, but if compared to modern teen or tween Movies I'll stand by the 5 star review.

This is a surprising rated R movie, I say 13+ is o.k, teens would see more Sexuality and Vulgarity in a episode of (Jersey Shore) than (triple-dog), the prevailing question is what really happened to the girl that jumped from the bridge ? and what does Chapin (skater girl with edge) have to do with it ?, who will get there head shaved ?, who will win the game of triple-dog ?, If you buy this movie for your teens,"Mom and Dad can be Cool for at least one night". A really good job by Brittany Roberts as the lead Chapin, a quality supporting casts, some amusing dares and it all will pay off in the end. really good Teen Drama for adults too.

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This was a great thriller! I love the acting and production of this film. I watched with my friends and it was a perfect way to end the night!

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Equilibrium (2009) Christian Bale; Sean Bean; Sean Pertwee

I can understand the urge to compare "Equilibrium" and "The Matrix". Both films feature dark, foreboding cinematography. Both films are about rebellion against a warped reality. Both films feature a reluctant, messianic protagonist. And, finally, both films rely heavily on stylistic, hyper-kinetic combat scenes that can only be described as, well, reverent. That is where the similarity ends because while "Equilibrium" has a few moments of slow-motion it's action scenes are much more original than those of "The Matrix Trilogy". No Wires, just pure crazy choreography which makes the action feel all the more authentic. The environment is also a great deal more organic in contrast to the cryptic automaton of the Matrix.

"Equilibrium", in short, manages to be entirely its own movie. Where The Matrix relies on "bending" the rules of physics in an imaginary construct of a world, "Equilibrium" goes the other way and hypothesizes the "Gun-Kata", a martial arts ballet that allows it's practitioners to predict and anticipate close quarters gun fighting and hand to hand combat. Then, through a series of precise, dance like movements, a person can take on several combatants, using exacting, fluid actions to eliminate his attackers. Given a decidedly artistic presentation within the course of the film, these rapid-fire rhapsodies are exhilarating and oddly beautiful. They glamorize death as an abstract expression of powder bursts and shrieking projectiles. The film features some of the best choreographed shootouts I have ever seen, and ends up putting anything in The Matrix Trilogy to shame.

"Equilibrium" is a film that explores what it theorizes to be the root of all worldly chaos, human emotion. The movie takes place in the near future after a third world war that leaves Earth on the verge of total destruction. From the ashes arises a government that regulates everything and everyone through mind control. The drug Prozium is hailed as the elixir to the world's problems because it suppresses human emotion and thus eliminates the possibility war. All art, music, poetry and any emotion are considered contraband and must be destroyed upon discovery.

The primary clash is between individualism and collectivism -the notion that each person is an end to him or herself and pursues his or her own happiness, and the theory that the individual exists only to further the interests of the state. In "Equilibrium", the side of "feelings" (the side that promotes painting, music, and literature) is the side of the sovereign individual.

The film clearly suggests that emotions -the ability to "feel" -are what make life worth living; yet they are also the source of violence and war. At some level, this is clearly true. The joy of art, the intensity of romantic love, the pleasures of a touch or the sight of a sunrise, the fascination of a great idea -these are the things we live for. "Crimes of passion" such as murder, domestic violence, and assault generally involve uncontrolled emotions.

In "Equilibrium", murder and war among the civilian population have been wiped out. Of course, they have been replaced by state-sponsored murder and terror. Thus, the film points out the real purpose of deadening people's emotions is to perpetuate state oppression.

This nightmare is presided over by the Big Brother-like dictator Father, and enforced by a quasi-religious order of "Clericks," whose incredible combat skills are unleashed on "sense offenders" who have gone off the drugs that keep the populace docile.

John Preston (Christian Bale) is the perfect Grammaton Clerick (the government is known as the Tetragrammaton). He kills "sense offenders" without passion or guilt ... until he inadvertently fails to take his prescribed tranquilizer dose and events begin to catch up with him. Little by little, he finds himself drawn into "sense crime" and then into the resistance. I hesitate to reveal much more about the plot of "Equilibrium", jammed as it is with surprise and invention -suffice to say, this is an intellectual rollercoaster ride, as cerebral as it is visceral; both a bleak glimpse into a possible future and a stirring tribute to the indomitable human spirit.

The creators of "Equilibrium" had to take some liberties with the very idea of emotion, of course. The drug really only eliminates the "highs" and "lows," leaving enough emotive strength for the characters to retain ambition and a visceral hatred of their enemies. Plot means conflict and human conflict is impossible without emotion.

The acting is excellent, and if you like Christian Bale as much as I do, he shines above all else. Bale is truly exceptional in bringing a real sense of emotional conflict to the character of Preston, and as the film moves on he gradually brings that emotion to the forefront. At the start of the film, and in it's many flashbacks, Preston is supposed to be this emotionless killer that doesn't realize he's actually feeling subtle emotions. Bale's performance keeps the perfect monotone voice of an emotionless character, but in his eyes shows the doubt, remorse and anger. Then as the films moves on he gradually starts changing his tone of voice, allowing the monotone to falter in key moments, until in the end he completely releases all of his emotions.

As you can tell, Equilibrium's plot draws from a rich variety of sources. There's a lot of Orwell's "1984" and Aldous Huxley's "Brave New World".

True, there are a few minor plot problems, but any movie that treats ideas and symbols seriously these days is a find, and one that pulls off a serious treatment of life's most fundamental questions in the context of a gripping story is a rare jewel.

"Equilibrium" is not science fiction so much as political speculation. It's that mainstay of movies, the cautionary tale, twisted into a decidedly dense and deceptive action thriller. While it may not always deliver in the thought department, we sure get some wonderful visual flourishes. And if a sci-fi film can stir your imagination, it's won most of the battle.

The creation of the enigmatic weapons battle dance, "Gun-Kata", makes the movie a see at least once exercise in speculative movie making.

Sci-fi flick with stunning visuals, "Equilibrium" deserves much more attention not only from fans of genre, but also from general audiences. Sure, its flaws are too visible, borrowing Orwellian ideas from other films like, say, "Brazil," but it is not that ideas themselves but the way they are put into practice that really counts, and on that score "Equiliburium" is a winner. (And critics, please let me know, why do you all praise Steven's "Minority Report" which actually borrows ideas from other films of this genre? So, why not give this one a due respect?)

Well, I admit the opening chapter of "Equilibrium" is a bit weak, introducing us to the dystopia world after the WW3, but soon you will forget that. The totalitarian government established after the war decided to eliminate anything that might possibly make humans emotional, forcing the people to inject a certain doze of [chemical substance] to be unemotional every day. Moreover, it decrees there should be no more music (not only hip-hops, but classic music), no more motion pitures, and no more decorated interiors. Those who love them hide underground, becoming rebels while the authroity set up a super-cop troop called "Grammaton Clerics."

Christian Bale ("American Psyco") is John Preston the best of the Clerics, and dedicates himself to the job until he arrests a woman Mary O'Brien who possessd illegal stuffs. But her strong creed and perhaps beauty make their way into the sleeping heart of Preston, who has been long fighting for his cause.

The film's philosophical messages are in themselves not new at all, and director Kurt Wimmer might have kept his idea a little too long. I say so, because today, in the 21st century, it is not this Orwellian society that we are afraid of most. The story has enough twists to surprise us, but maybe one too many, I think, and the wrap-up part of the film feels a bit hurriedly done.

However, those are noting before the film's sensational action scenes, which can make up for any flawed part of the film. The "Gun-Kata" fighting deserves special mention, using [weapons] like Japanese swords, and its hyper-kinetic movement is very violent and very beautiful at the same time. Incredible it might sound, but Christian Bale shows excellent action star quality here, displaying the beauty of "Kata"s -and "kata" means in Japanese "style." Yes, there are lots of styles in "Equilibrium."

Other plsyers are also effectively cast, and most unexpected is Emily Watson, who quite naturally becomes the Joan D'Arc-like character. Taye Diggs is good as Preston's partner, and though short time, Sean Bean, cast against type, is also perfect as Partridge who plays a key role in the story.

I was quite surprised and satisfied, and even thrilled to see this neglected film, which should have been more pushed. Again I say, its actions are sensational. Not that this is "Matrix"; rather, it is more unique and has its own "kata" = style, which means a lot these days.

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Never, Never, Never Buy This.

Video This blu-ray is 1.78:1, by cutting 2.35:1`s side!

Sound This blu-ray has only one sound track,

This track is 2.0ch, not 5.1ch!!!

Special Features Nothing.

Subtitles Nothing.

This blu-ray is not blu-ray. It is only waste.

Never waste your money and time.

The Best Media of Equilibrium is DVD until NOW!

Read Best Reviews of Equilibrium (2009) Christian Bale; Sean Bean; Sean Pertwee Here

-----------2.0 STEREO ?!?!?!?!?!?--------------

Had to give 1 star even though I love this film.

From what I understand and if true can sum it up: Alliance (the totally crappy Canadian distributer) also owns Echo Bridge who is who bought the rights from Miramax.

Also as the other reviewer mentioned this release is in the wrong aspect ratio. The movie was filmed in a 2.35:1 aspect ratio. This Blu-Ray is in 1.78.1 aspect ratio.

It is possible both of these things are wrong (2.0 Stereo and Aspect Ratio) but that is how it is listed on the Blu-Ray case in front of me and I'm debating weather I should return it or not so I have not opened it yet.

I was so looking forward to this release......bummer.

Edit: 2.0 stereo and wrong aspect ratio confirmed see comment.

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The whole point of BluRay is that the people who have it are in it for the best most accurate picture available. you release the incorrect aspect ratio for the people who still have VCR's and rabbit ear tv's... unacceptable. To cut a 2:35 aspect ratio to 1:77... UNACCEPTABLE. What a piece of crap. A hidden gem like this movie is deserves so much better. This company should be ashamed of themselves.

Broadway Damage (Blu-ray) (1998)

I couldn't help but to think of Barbra Streisand as I watched this film. In her best performances, Barbra played the role of the ugly duckling who falls in love with the handsome leading man (Omar Shariff, Robert Redford, Jeff Bridges). This movie follows a similar formula, where Robert is the ugly duckling and Marc is the handsome leading man.

Robert has two dreams: becoming a songwriter and landing Marc. Likewise, Marc also has two dreams: landing a role on Broadway, and finding a handsome boyfriend. In addition to their friendship, Robert and Marc have one thing in common: "girlfriend" Cynthia, who is trying to find a job (one job in particular, that is). Marc and Cynthia decide to share an apartment. One day, while staring out the window of their new apartment, Marc discovers the man of his dreams (a musician with stunning good looks, of course).

Marc explains to Robert the concept of the "Grand Gesture". Its when you swallow your pride, buy flowers or something, and let that special person know you're in love with them. Easy for Marc to say, since he is good looking and popular with the gents. Not so easy for Robert, who gets turned down by the card store cashier. Humiliated, Robert gives up on good-looking boyfriends.

Here is where the story varies from the typical Streisand plot. While ugly-duckling Streisand becomes the beautiful swan by using her voice, her talent or (in the most fictional of plots) a makeover, Robert stays plain old Robert. Can Marc see past Robert's dull exterior? Can Marc see past the musician's beautiful exterior? Will Robert get the courage to do the "Grand Gesture" to Marc?

Those are the questions to be answered in Broadway Damage. By the way, what's with the title? Alhough the movie explains what "broadway damage" is, I'm not sure it was the best choice for the title. Personally, I would have chosen "The Grand Gesture".

Back to Streisand... If you love "The Mirror has Two Faces", you'll love Broadway Damage. If you hated "Mirror", chances are you'll still like Broadway Damage, anyway.

Like a good Broadway show, this film has it all: a great-looking, talented cast; a clever story; memorable music; optimism; and a warm-hearted ending. Michael Shawn Lucas is perfect as Marc, a sweet hunk trying to make it as an actor on Broadway. He goes to audition after audition, suffering rejection after rejection. Hence, Broadway 'damage'. His nerdy but cute song-writing friend Robert (Aaron Williams) harbors a secret passion for him, but hides it because handsome Marc is a perfect 'ten' and, therefore, out of reach. Their companion Cynthia -overweight and over-the-top -is played by Mara Hobel, no stranger to campy films. She played opposite Faye Dunaway as Joan Crawford's daughter in 'Mommie Dearest', one of the great camp classics of all time. The three friends share career problems, relationships, and other personal traumas. They are loveable and a joy to watch. When Robert finally makes his 'grand gesture' to Marc, he does so in a wonderfully witty song (by Cindy Soltoff) which is sweet, bouyant, touching, and tuneful enough for any Broadway show. This is a real hit.

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If you love a good romantic fantasy, you'll probably LOVE this. This film is about reliving those risk-taking moments when first falling in love, and it's ultimately about friends, arguing in favor of love beginning with a strong friendship. There are so few films of this genre (sad we even call this a genre) that have a light-hearted feeling. The script isn't an oscar contender, but that didn't bother me. The characters & performances have their sweetness and humor, and are easy on the eye. All my friends and I loved it (even the cynical ones).

Read Best Reviews of Broadway Damage (Blu-ray) (1998) Here

"Broadway Damage" is the most adorably classic, campy, sassy romantic comedy I've seen in years!

Lead role, Robert (Aaron Williams), is absolutely cute as a button and his witty Broadway-style songwriting will make you blush and smile and get up and sing! Fellow lead, Michael Shawn Lucas, plays the role of Marc, an aspiring (not so successfully) Broadway star. The two are precious in a 'perfect ten' sort of way, and are accompanied by their quirky "fag hag," hilarious, gay-ball-busting best friend Cynthia. I have to admit I'm a softie for this actress, Mara Hobel, who was also a star in "Mommie Dearest" ("No more wire hangers!"). Brilliant. Just campy brilliance.

The production is brilliant, the characters and acting impeccable, and most of all, the climate is over-the-top, Broadway-inspired, campy bliss with the rooting of a classic romantic comedy. Ingenious, this one, and I guarentee it will leave you smiling and wanting more, especially if you're at all exhausted with the consistent formula of gay cinema. Pick this one up; it's charming and zany, and you won't be disappointed!

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"Boy meets boy" is one of the timeless plotlines -since the ancient Greeks at least -and this well-acted romantic comedy adds a number of twists and turns to what could have been standard fare. The showbiz wannabes of the title who lust after, long for, love, lose, and land one another are appealling, and the men are all goodlooking -even the presumably plain Robert, who in the real world would have no trouble attracting another man, even if he did wear a stupid porkpie hat as here. Perhaps that's why the director put the hat on him, to try to disguise how cute he is. The lead hunk, Mark, has a frequent bemused smile that suggests thoughtfulness. He is appalled to learn that casting agents think he "reads light," and it's one of the movie's accomplishments that Michael Shawn Lucas as Mark carries off the combination of masculine appearance, conversation almost devoid of camp, and an unaggressive sensitivity that makes you like him -he's the hunk with a heart of gold, even though he is also clearly a gym bunny for whom climbing a tree is an exotic experience. His elusive "must have item," David, is dark and pretty as a movie mystery man should be. As the Long Island princess, Mara Hobel is good, but her character's main shtick (trying to land a job interview with Tina Brown despite having zero qualifications) is dragged out too long. The resolution of one of the movie's main romantic dilemmas in the last reel feels very artificial and is the only wrong step in this otherwise charming and witty tale.

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The Saphead: Ultimate Edition (1920)

The new Blu-ray disc (and re-issue DVD) from Kino Classics presents TWO DIFFERENT versions of THE SAPHEAD, derived from two different camera negatives.

I prefer watching the "Alternate" version, it is way better in the second half with better interior details.

The first version is the standard "Rohauer" version with his re-issues titles and film tinting. The "Alternate" version (accessible from the extras menu) presents what is believed to be the foreign camera negative version that would have been sent to other countries to have the 1-frame dialogue cards translated (Kino inserted the Rohauer dialogue cards that are long enough to read).

The "Rohauer" version has new Rohauer titles and a brief history of the story on stage before the movie starts. The "Alternate" version recreates what the original title card might have looked like. Unfortunately the original title cards have not survived over time.

The "Rohauer" version is 2 minutes longer than the "Alternate" version, but this discrepancy, demonstrated in a brief bonus documentary, is due to slightly shorter cuts of some scenes. Nothing major is missing.

The "Rohauer" version may look sharper at first, but you will notice much more detail in the dark areas of the "Alternate Version". The wedding scene is particularly dark around the edges, Kino tried to compensate for the edge darkness by raising the black levels on the edges, but this does not restore the details, It just gives a weird halo effect that looks unnatural. The "Alternate" version has all details and a smooth grey-tone.

The "Rohauer" version tints all scenes various colors (muted somewhat on this new re-release) while the "Alternate" version only tints the night scenes blue. Which version is correct is unknown as the tinting continuity log is lost. The negative of the "Alternate" version had all of the night scenes mounted on one reel for tinting while all other scenes were edited together. This hints that only the night scenes were originally tinted.

The bonus documentary "A PAIR OF SAPHEADS" compares selected scenes from the two versions, showing how the camera placement differs. Sometimes one version has tighter framing, other times it is the other version with tighter framing. It is obvious that two different negatives, filmed at the same time, survive.

Comparing this new Blu-ray to the old "Art of Buster Keaton" DVD (which only contains the "Rohauer" version) shows an overall sharper, stable image. The old DVD was not bad, this is just a little better. The tints on the old DVD are much more brighter, this new Blu-ray tones them down to a more natural look.

Aside form the above mentioned bonus, there is also an audio recording from May 5th 1962 of Buster Keaton at a private intimate party. The amateur recording is primitive and often hard to hear as the microphone is too far away, so turn up the volume. This peak into his off-screen world shows his joy in social parties.

There is also a collection of stills from the movie.

A miss-named, miss-leading bonus item called "Why They Call Him Buster" would lead you to believe this is a documentary about Buster starting out in show business. But NO this is only a promo for Kino's LOST KEATON DVD & Blu-ray release. Shameful! Why didn't they just call this a promo.

I am sorry there is no audio commentary, I especially like to listen to them on silent movies. They often help you understand out-dated jokes or forgotten cameos.

As far as the movie goes, this is Buster's first feature film. Since the original title card is lost we don't know if he got star billing in the title, but in the cast credits he is last.

While not his best work, Buster is still enjoyable here and this is a 'must-have' for his fans. Buster is the 'comedy hero' in this otherwise dramatic film.

If you are just getting to know Buster, i direct you to his classics like "The General"The General [Blu-ray] and "Sherlock Jr." Sherlock Jr. / Three Ages [Blu-ray].

This collection contains the first 3 films Buster made following the filmmaking apprenticeship he experienced under Roscoe "Fatty" Arbuckle from 1917-19. After seeing the dissatisfying results of "The High Sign", he was hired to do "The Saphead" while thinking up a better idea for his 2-reeler debut, which eventually came to be "One Week".

THE SAPHEAD (1920): "The Saphead" is based on the play "The Henrietta", which had been a hit on Broadway and starred Douglas Fairbanks in the role of Bertie "the Lamb" Van Alstyne. Fairbanks had recommended Buster for the role in this filmed version, retitled "The Saphead".

Buster's role doesn't start until about 10 minutes into the movie, where we see him wolfing down a big meal and being overly pampered by valets and servants. Bertie the Lamb is the son of a wealthy man who thinks his son is spoiled and soft. Because Bertie has read a book that states that the modern girl is more interested in a dangerous guy than a safe guy, he goes to a gambling parlor and then tries to get himself arrested. In this scene, fans of Buster's are given a rare treat: He opens his mouth and shows his teeth, which almost develops into a full smile! What a cutie!!

"The Saphead" is actually a drama that's peppered with the subjects of infidelity, illegitimate children, death, suicide, and financial ruin. The only comedic moments in the film are supplied by Buster, who is allowed to practice his trademark pratfalls in a few scenes, which help illustrate the depth of his inept character, the Lamb. But because of his role, the film is worth watching simply because he's in it.

THE HIGH SIGN (1920): "The High Sign", a 2-reeler that was shelved after its completion in January 1920, was actually released to the public after Buster had an unforeseen accident that derailed his filmmaking schedule, thus leaving him without a release to fulfill his contract obligations in April 1921. Buster intended "The High Sign" to be his 2-reel debut under his new contract, but was unsatisfied with the results, believing that his debut should have stronger material. "The High Sign" features him as a shooting gallery employee who is forced into the role of "button man" for a group of low-rent gangsters, who use a "high sign" for a password. Although "The High Sign" wasn't up to Buster's standards, it's as good as most of the 2-reelers he made in the future, and I think it deserved a better reason to be released than as an alternative because of the consequences caused by a broken foot.

ONE WEEK (1920): "One Week" is the second 2-reeler Buster made, which did pass his quality control inspection. It's also, to this day, one of his most popular 2-reelers, so he was correct in releasing it first. "One Week" is about newlyweds who are gifted with a house-building kit. Not knowing that the jealous former suiter of his bride has sabotaged the construction directions, they build what turns out to be a cockeyed house (and throughout the film, they don't seem to notice that anything is wrong with it). The gags center around this dysfunctional building until the end, when we get to see one of the most famous scenes of Buster's career (involving a train).

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Disclaimer: I am a huge fan of Keaton's work. This is why it pains me to say that "The Saphead" is weak, and not just by Keaton's standards. As much as I love this man skip this film. That said, I gave this DVD three stars because of the short features which follow it. "The High Sign," described by one reviewer as "a lark," is actually one of my favorites. Filled with enough gags for any short comedy, Keaton's acting is a pleasure and the plot is the sort of comedy/conspiracy narrative G. K. Chesterton might have made if silent films were his thing I'm always reminded of "The Man Who Was Thursday." "One Week" is another wonderful short. With the famed, surreal hobby-kit house and a perfect ending, it is another must see Keaton short.

So here's the problem: is it worth getting The Saphead just for the two shorts? If you're a Keaton fan and want to fill out the collection then go ahead, you won't regret it. If you're not a big fan, but like Keaton at his best, go for a DVD of more consistent quality I recommend the Our Hospitality/Sherlock Jr. double feature.

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THE SAPHEAD is a rather dull romantic comedy. I'm guessing that if it didn't have Buster Keaton in the title role, this film wouldn't have seen a DVD release for another twenty years. From a historical viewpoint, I suppose we must be grateful to the film, as it established Keaton as a bankable star, thus enabling him to go to bigger and better things. But judging the film on its own merits, I can only say that I was completely bored by it.

The movie has a few major flaws. The most annoying is the fact that Keaton (although the star) doesn't have enough screen time, and the other characters are one-dimensional and simply not interesting. The script is adapted from a play by the name of THE NEW HENRIETTA, and I can only hope that the material was funnier on the stage, because it certainly didn't translate well to the screen. The story takes too long to set itself up, the plot isn't terribly inspired, and, worst of all, most of the jokes aren't all that funny. Keaton does his best with what he has to work with, but, truthfully, there isn't much to this. He livens things up a bit on a handful of occasions, but for the most part, he is overwhelmed by the leaden script.

Also included on the DVD are two short movies. Unlike the main feature, these two were co-written and co-directed by Buster Keaton himself. The difference couldn't be any more staggering. Give the man some creative control, and he turns out material a thousand times better. While the main feature is slow, ponderous and dull, these two shorts are fast-paced and hilarious.

The first short film is THE HIGH SIGN. By cheating his way through at a shooting gallery, Buster finds himself employed as both a bodyguard and a hit man. The movie culminates in a large house with multiple revolving walls and trapdoors. Buster and company leap through them with reckless abandon. I'm quite torn by watching this. Part of me wants to admire the craftsmanship and the effort that went into designing the physical gags and the intricate set. The other part of me just wants to be engulfed by the sheer entertainment.

The second short on the disc, ONE WEEK, starts with a fun gag involving Buster Keaton and his new bride attempting to exit one car and enter another -while both automobiles are still moving. In any case, the newlyweds have been given a house as a wedding-gift. But there's one catch. The "house" is a kit, a do-it-yourself construction job. Thanks to some sabotage from the wife's ex, Buster builds himself a bizarre structure, with several features not found in ordinary homes. Anyone who knows anything about Buster Keaton's style of comedy should salivate at the thought of his baffled but determined character given over to that premise. And the result here is wonderful. The production crew built a giant house prop worthy of Keaton's comedy, and there's a fun gag that involves the moving of an unwieldy piano that rivals the problems that beset Laurel and Hardy in their Oscar-winning short film THE MUSIC BOX.

The picture quality is quite good considering that the material is over eighty years old. The DVD cover claims that the soundtracks are a modern recreation of the original scores, and while I can't independently verify that, it seems appropriate enough. I'm hesitant as to whether I should really recommend this DVD given that I was so utterly bored by the main feature. The two extras (of about twenty minutes each) are worthy of purchase though. Perhaps I should say that this disc will mainly be of interest to Buster Keaton fans. People looking for a solid introduction to the man's work should probably choose one of the other entries in the Art Of Buster Keaton DVD series.

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This DVD contains one feature and two shorts from Keaton's earliest work as an independent filmmaker after he ceased his three year partnership with Roscoe Arbuckle in 1920 after Arbuckle left the Comique company to sign with Paramount.

"The Saphead" does not showcase Keaton the filmmaker, but rather Keaton the actor. The script is from a play, the directors are individuals Keaton never worked with before or hence, and the studio was Metro, predecessor of MGM. Keaton plays Bertie the Lamb, mild-mannered and spoiled son of Nick Van Alstyne, "the Wolf of Wall Street". In spite of the fact that Keaton had no creative input to the film and isn't actually its centerpiece, there is much to like about this film and much that is so Keatonesque. Keaton plays an old-fashioned romantic and someone that is thrust into the role of the fall guy by the actual bad guy a theme he repeats in his own features. He also has down pat the part of being the well-dressed dapper man of the 1920's, which he repeats with more comic effect in "The Battling Butler".

"The High Sign" was Keaton's first two-reeler after he went solo in 1920, but it was not the first film he released. Here he plays a drifter who gets hired by a member of the gang "The Blinking Blizzards" to run a shooting gallery. In a turn of events that can happen only in a Keaton film, Buster winds up being hired to both kill the father of the girl he loves and also to protect him. The film ends with a funny chase sequence through a house that has a series of trick doors, false walls, and traps that could only be designed by the mind of Keaton.

Keaton disliked "The High Sign" and delayed its release. Instead, his premiere release was "One Week". Here Keaton is the groom in the story of a pair of newlyweds that receive a wedding gift of an assemble-it-yourself house. Unfortunately, the bride has a jilted suitor that wants revenge. He gets it by renumbering all of the containers of building supplies that come with the manufactured home. The result is a house that is incorrectly assembled to say the least. The roof doesn't fit, the kitchen sink is on the outside of the house, and the chimney is over the bathtub, among other faults.

I really like the score on all of the Kino Keaton DVDs, and the video, though not perfect, is better than anything you'll find in the public domain. The only bad thing I can say is that there are no extra features or commentary at all. In their earlier DVDs, of which this is one, it seems like Kino didn't really grasp the power of DVD to deliver extra features and just reissued the VHS tapes of many of their silents in DVD form with no upgrades.

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All the President's Men (2011)

This Oscar winning 1976 film is about Carl Bernstein and Bob Woodward, the two Washington Post reporters who broke the biggest story of the 1970's that of the Watergate scandal. It originally seemed like a small story, a break-in at the Democratic headquarters, but because of these two young men doggedly going after the facts, it brought down a president.

Starring Dustin Hoffman as the chain-smoking and quirky Bernstein, and Robert Redford as the more sophisticated Woodward, there is a chemistry between them which gave them the impetus to push way beyond the limits of what the story required, and as one discovery led to another, build on the accumulated details to go even further. Both the men were good at sizing up people, and the film shows how, in one interview after another, they got each interviewee to reveal those details that could fit into the king-size puzzle that they had taken on. Martin Balsam, cast as the managing editor, wanted to give the job to more senior reporters, but as Jack Warden, the metro editor, pointed out, the two young men had a passion for the story that was very special. Jason Robards, the executive editor, was quick to question all their facts, but generally supported them all the way.

Throughout, there are lots of shots of the massiveness of the tall buildings in contrast to the smallness of the men. And, when it came to the secret informer who they called "Deep Throat", those scenes were cast in shadow. The pacing was excellent and the there was tension throughout, which kept me fascinated even though I knew the eventual outcome. This story became an obsession with the two reporters and it seemed as if nothing would stop them. Occasionally, it got a bit repetitive, but that is the nature of good reporting, which can also be called good detective work.

The film brought back the reality of the 1970s, from the hairstyles to the manual typewriters. I found myself thinking about the cell phones and computers we take for granted today, as I watched them pour through phone directories as well as thousands of library take-out slips as they followed up on every clue. The acting, of course, was excellent as well the screenplay, which focused entirely on the news story, rather than becoming maudlin with the personal lives of the men. I give this film a high recommendation. It's definitely worth seeing.

The enduring brilliance of the 1976 film "All the President's Men" is not due to the handful of great performances by legendary actors. It's not due to the shockingly true story it documents. What sets "All the President's Men" apart, making it one of the great suspense thrillers of all time, is its utter authenticity.

The film does not make a single misstep. Each low key scene after another, solidly crafted, realistically portrayed, slowly builds a growing sense of dread. Like reporters Bob Woodward and Carl Bernstein, we discover each clue. With great apprehension, we begin to realize this peculiar Watergate burglary is leading to one of the great scandals in American history.

I have seen "All the President's Men" at least 10 times, and each time my respect for this film grows. I am amazed by the camaraderie during the editorial meetings, so realistically portrayed. Equally impressive is how two larger-than-life actors Robert Redford and Dustin Hoffman (as Woodward and Bernstein) disappear into their roles. Rarely noted, these two superstars give what is arguably the finest performances of their storied careers. By film's end, they are no longer Redford and Hoffman but two young reporters, intensely on the trail about to break the story of the century.

One of the great supporting casts of all time is important to the success of this film. Jason Robards, Jack Warden and Martin Balsam as the Washington Post editors who grudgingly guide and support their young reporters, are nothing short of brilliant. And then of course, you have Hal Holbrook, Jane Alexander, Ned Beatty, Robert Walden, Stephen Collins and Lindsay Crouse in crucial, but memorable supporting cameos.

The late director Alan J. Pakula was the perfect choice for this film. An expert in paranoid thrillers ("Klute," "The Parallax View," "Presumed Innocent"), "All the President's Men" must be considered his crowning achievement. Hollywood has a history of changing true stories for dramatic embellishment, and Pakula should be applauded for sticking to the facts (as should William Goldman, who wrote the tight screenplay based on the Woodward/Bernstein novel of the same name) and creating an authentic recreation. It must have been an incredible challenge to make a film with so little action (no explosions, murder or gun fire).

In "All the President's Men," the pounding of the typewriter key is akin to the firing of a cannon. Eventually, as we see Woodward and Bernstein furiously typing away while on the television Richard Nixon is sworn in for his second term as President, we realize just how great a country the United States is. We are all accountable for crimes, even our highest elected leaders. This is a free country, perfectly personified by our free press. "All the President's Men" flawlessly documents this.

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The beauty of this film is it is a better watch today than it was in the 70's. Remember that this movie was made only a couple of years after the events it chronicled. My favourite moments were those that obviously inspired the X-Files television series, and the wonderful depiction of a 70's newsroom with its scruffy reporters (or at least its attempts to make pretty-boy Robert Redford look scruffy) and incessant clickety-clack of a multitude of typewriters. Those not familiar with the Watergate players (as I was not) may get lost in the names, but fortunately you don't have to understand it all to appreciate what a great film this is. I missed a lot the first time, and I'll probably miss a lot the next time, but it'll be worth watching again and again. It ranks up there with The Russia House as a political thriller, but is even more engrossing because it is true!

The DVD picture and sound was crisp, but any sort of extra would have been nice. Who can figure out Warner Bros? Some of their DVDs are excellent (Contact, L.A. Confidential), but this one is bare-bones. Still, it is priced to own.

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All the Presidents's Men is a truly wonderful film.

Unfortunately, it was also one of the first films to be released on the DVD format. Because the format was experimental, the studios were not willing to spend lavish amounts of money to create a DVD when the format might not even sell to the public (see Sony's Mini-Disc). So in what was a sound business decision, but a horrible decision for fans of the film, All the President's Men was given the bare bones treatment. Why spend the money is nobody is going to buy the machine to play the disc? That means both no special features (which still plagues some new releases) as well as making the quality of the film transfer just plain bad. Is it better than VHS? Yes, but not by much. A couple of the other reviews have mentioned that the picture and sound quality is fine. I'm guessing that these folks either lack the technology to exploit the marvels of DVD, or simply have not viewed enough DVDs to know what is good from bad.

Unfortunately, this is simply bad. The report from Widescreen Review speaks for itself, but I think it important to restate that fact that the positive reviews about the DVD transfer are wrong. All the President's Men doesn't have the action-packed scenes that take full advantage of Dolby Digital sound. But the 2.0 Dolby that is used isn't good. There is too much background noise and there isn't much difference between using your home theatre system vs. the speakers from your television. And compared to the picture quality, the sound is great. As I watched the DVD, I couldn't believe how bad the picture quality is. I know that a 25 year old film isn't going to be as crisp and clear as a film made last summer. But film restoration projects have made films that were shot in the 30's look way better than this DVD does. The film is grainy, the colors are not sharp, and the images aren't always too clear.

Warner Brothers has started to re-release some of its early releases and has given them better handling. Nothing has been anounced about All the President's Men, but one would hope that it too will receive a make-over in the near future. I'd save my money until that happens -this disc is such a small upgrade from VHS that it isn't worth it.

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Don't bother purchasing the current dvd. See what is coming soon:

Warner Home Video have announced the Region 1 DVD release of All The President's Men (Two-Disc Special Edition for 21st February 2006 priced at $26.99 SRP. The Academy Award winning motion picture about the Watergate burglary investigation that ultimately brought down the administration of Richard Nixon will arrive from Warner in two-disc special edition form in the same week as President's Day.

Newly remastered, the DVD bonus materials include commentary by Robert Redford (a first in his distinguished career), vintage featurettes including a making of the film and an interview with Jason Robards from the Dinah Shore show, as well as a new featurette about "Deep Throat" Mark Felt, whose identity was only recently revealed.

Features include:

Commentary by Robert Redford

Telling the Truth About Lies: The Making of All the President's Men

Out of the Shadows: The Man Who Was Deep Throat

Woodward and Bernstein: Lighting the Fire

Vintage featurette Pressure and the Press: The Making of All the President's Men

Vintage Jason Robards interview excerpt from Dinah!, hosted by Dinah Shore

Alan J. Pakula thrillers trailer gallery

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Finding Nemo (Three-Disc Collector's Edition: Blu-ray/DVD in DVD Packaging) (2003)

Recently, I saw Albert Brooks on Late Night with David Letterman, talking about Finding Nemo. Brooks, who stars as the voice of Marlon, the daddy fish, had taken his son (who, I believe was about five years old, the equivalent human age of Nemo), to the premiere. After about five minutes, Brooks said his son leaned over to him, and quietly said, the way a grownup might, "I cannot watch this movie," and walked out. Late in the movie, the son returned, having obviously been crying. Leaning over, Brooks assured his son, "You are not Nemo."

Such is the power of this fish story about father and son clownfish who become separated, and must struggle to find their way back to each other. Marlon is a loving but neurotic and overprotective father; Nemo is a frustrated young fish who wants to be independent and see the world, and resents his father for preventing him from doing so. We see an ocean (read: the world) that is a terrible, heartless, and yet joyous place that we frail fish must confront, as best we can, because there's no alternative.

The animation was done by the wonderful folks from Pixar, who are the closest thing to the reincarnation of Walt Disney. There is simply no comparison between the animation of the typical, visually flat, politically correct, contemporary animated movie (many of which are produced by Walt Disney Pictures!) and Nemo. In Nemo, the ocean floor looks like the ocean. And the characters are all ... characters. They are all physically distinctive, wonderfully written, and performed by gifted actors who if you'll pardon the cliché will alternately make you laugh and cry. Of particular note are Barry Humphries as Bruce the Shark, Geoffrey Rush as Nigel the Pelican, Willem Dafoe as Gill, Allison Janney as Peach, and of course, young Alexander Gould as Nemo. Ellen Degeneres, in particular, steals every scene she's in, as Dory, a gregarious fish whose memory leaks like a sieve. But this is Albert Brooks' movie. The Academy should give this man a special Oscar for the most moving voice work my wife and I have ever heard.

Thomas Newman, of the musical Newman clan (Alfred, Lionel, Randy) has produced a score that is subtle and unobtrusive much of the time, but at dramatic moments takes over, and is more impressive, with repeated viewings. He deserves his fifth Oscar nomination for Nemo.

Andrew Stanton's (Toy Story, Monsters, Inc.) screenplay, written with Bob Peterson and David Reynolds, brims with intelligence and wit (e.g., in an AA-style group of recovering and frequently lapsing sharks, the members intone, "I am a nice shark, not an eating machine.... Fish are friends, not food"), and Stanton's direction does not waste a scene. Every moment in Nemo will either charm you or move you. In fact, as my wife remarked, for all of its many comic scenes, this is one of the most moving movies you'll ever see. We've already seen it several times with our three-and-a-half-year-old son, who loves it, and yet with each new viewing, we notice things we'd previously missed.

Though I wish Nemo would win all of the big Oscars (Best Picture, Director, Screenplay), I doubt Academy voters will choose it over its live-action competition. And yet, I will be very surprised, if a better picture -live action or animated -is released this year. Finding Nemo is truly a find.

Originally published in The Critical Critic, October 17, 2003.

Finding Nemo is the fifth installment for Pixar Studios, the most reliable studio in Hollywood today, and it is my personal favorite. The first obviously outstanding aspect of the movie is the animation. From the breathtaking wonder of the Great Barrier Reef, to the cold, sterile fish tank, the animation is top notch and truly state of the art. The water, which has always been the bane of animation, is picture perfect, and the animators have captured the rolling but constant ocean and the light refractions perfectly. But animation itself doesn't make a film. Finding Nemo's strongest aspect is it's warm, witty, heartfelt, and funny story of a father's quest to reclaim his son. The kids will love the vibrant characters and funny situations, and so will the parents. However, the parents will be able to enjoy the film on a level far more than the kids will. The story is about losing a child, and the desperate quest to be reunited, which will hit the parent right in the gut. This is the story's dark side, which has, thankfully, not been sugar coated by the creators. Overall, lets just say Halleluja, Pixar, you've done it again!

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YOU MUST SEE THIS MOVIE.

There. Now that I've said that, I should tell you that this is NOT solely a childrens' movie, but will be enjoyed as much (if not more) by adults. The cleverness of Pixar will never cease to amaze me. Only they could take a concept like a full-length movie about fish and make it totally believable. This film succeeds n being very, very funny. Heck, I'm 16 and saw it in the theater with only my mother. The two of us were laughing hysterically throughout the entire thing!

There's alot of sadness and emotion in this movie and some absolutely terrific voice acting--the voice cast is top-notch. There are some touching moments and subtle messages to be heard by all, not just kids. I look forward with anticipation to the DVD release of this wonderful movie. The suspense never lets up; encounters with jellyfish, a whale, and a deep-sea lanturn fish make every moment exciting.

As we know, every Disney/Pixar film is associated with its own special "short." Well, this one is the best yet, and the short film sets you up for the great feelings you'll have while seeing "Finding Nemo." I won't give away the storyline, but it involves a cute snowman, a water globe, and some tropical souvenirs that completely ready one for the overwhelming tropical-ness of the feature film.

One thing I can't get over is how true-to-life these characters are. The attention to finding a unique species for each fish is incredible and adds a whole new, educational, dimension to the movie. There are some memorable characters in "Finding Nemo." First and foremost is Marlin, the lovable clownfish who is an overprotective father to his adventurous son, Nemo. Then there's Dory, the regal blue tang with the memory problem. She provides much of the comic relief but is also an immensely "real" character. Bruce is a mako shark who wants to get rid of the typical image of sharks as mindless eating machines. Crush is a 150-year-old sea turtle with a cool-surfer-dude attitude. Nigel is a helpful pelican. The whole thing takes place in the Great Barrier Reef off the coast of Australia.

And then there are the aquarium fish, who invite Nemo into their 'club' when he gets scooped from the sea. He goes through the initiation ceremony at Mt. Wannahockaloogee, complete with tiki statues and all. The animation is awesome. Their group includes Peach, the lookout starfish; Deb, a delusional fish who thinks her reflection is her sister; a French shrimp, a puffer fish, a yellow tang, and a royal gramma. They are led by Gill, a moorish idol who longs to return to the ocean.

This film is excellent; it deserves a sequel...

Overall this is one film that nobody should miss--parents, kids, or otherwise. I hope this review has convinced you to go get yourself a ticket to "Finding Nemo."

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My daughter and I went to see this film at our local IMAX theater and I have to say it was fabulous! This picture deals with some difficult themes in an entertaining and heart-warming way. The ocean scenes were so breath-taking that at times it was hard to believe we were watching computer animation. We loved this movie so much that we will be going to see it again this week. Looking around the theater I saw many young adults and couples without children. I hope the 70 million dollar opening weekend sends a message to Hollywood: America is tired of the violence. We want more feel-good movies.

Bravo Disney/Pixar! We are patiently awaiting your next theatrical release in Nov. 2004!

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"I'll call you squishy, you shall be mine, you shall be my squishy" says Dory the blue, short term memory loss fish to a small jellyfish near by! This movie is wonderful. It's cute, it's funny, it's silly, it's sweet and it has a great meaning to it. It's great for all ages. You will want to watch it over and over again. If you are anything like my nieces and I you will find yourself quoting little things that Dory says throughout the movie because they are so funny and memorable!! It's classic!

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