Rambo (Extended Cut) (2010)

Well I must admit I had to have this, cos let's face it, it's Rambo. I'm a huge fan of the original trilogy and was a huge fan of Stallone's recent revival of the character in 'John Rambo' which i thought was a raw and gritty supercharged action film yet with depth of character and story that easily surpassed any of it's disposable contemporaries. Make no bones about it; "the expendables" sticker on the front the "expendables" trailer; the trailers of films from all of the actors in the "expendables" this is a pure money making and marketing combo to tie in with the release of Sly's latest actioner. BUT, I have to say, what whilst expecting nothing more than the all new "Rambo to hell and back" production diaries special feature, and maybe a couple of extended scenes in the movie, I was actually really surprised at just how different this new cut of the film is.

This is not just the theatrical cut with a couple of extra bits, this is a true director's cut style extended edition with a completely re-edited opening, many extended takes, many alternate takes, and whole new extra scenes that all blend seemlessly to really compliment and add much to the film. A lot of this really helps to elaborate the story, and really flesh out character and themes that whilst hinted at in the original, were never really fully explored. When Rambo says in the original "no, what you're trying to do is change what is", and Sara asks him "and what is?"; he just says "go home". I always used to wonder, "yeah, what is??". Well, a whole knew alternate take here reveals all, and also a few real home truths about his real feelings about war and regret. And that's not all, you find out so much more about the characters, their relationships, motivation, and so many tiny insertions of lines here and there, very subtle shot changes, alternate dialog, black and white flashbacks, that it's almost an entirely new take on the film. It's all great stuff!

A word of warning tho, there do appear to be a few cuts and alterations to some of the more violent and extreme/controversial scences. Some of these bits are alternate takes (when the main bad guy leader takes delivery of the young village boy for example), but others are just plain removed, or cut short. The child being stabbed in the attack on the village is missing, the guy flying though the air with both legs blown off is cut short, the bearded mercenary stabbing the solider under the hut is removed, and a few other bits that seemed slightly shortened. I should add that these alterations are VERY few, I probably counted 5 or 6, and doubt that this was a censorship issue as the majority of the blood soaked limb exploding violence is completely intact. I'd imagine this was purely a directorial/artistic decision, (a lot of the excised scenes were digital effects, some of which don't stand up quite as effectively as others). Something to bear in mind though before you buy!

The stunning MPEG 4 AVC encoded 1080p picture and 7.1 dts hd master audio remain, giving an blu-ray experience of reference quality, just like the original lionsgate release. People may hesitate to buy this, thinking that they're not really getting much for their money, but trust me this is FAR from a lazy release to steal your money, this is a superb director's cut edition that totally delivers. Also, for any foreign buyers, the blu ray is officially ABC encoded, so it will play on any blu ray player. Enjoy an all new Rambo!

I must admit, that as of recent I have enjoyed current mainstream movies regardless if they are released to the theater or directly to video so I can abase them. In other words, I truly find pleasure in ripping movies apart. It has been my perception, my perception, that about 70% of movies made in the past 5 to 6 years are horrid.

One might ask why I feel this way, well it is rather simple. Most movies are a plug in for a new phone, car or maybe to promote a soundtrack. These movies also rely more on special effects and visual stimulation, where acting, directing and story take the backseat. Therefore, movies (for the most part) in modern times are nothing more than a 90 to 100 minute commercial.

Then of course there are the movies that are so over the top they are just down right silly. This is the perception I had when I saw the trailer for "Rambo" (it was titled "John Rambo" when I first viewed it on the internet). I thought, "What the hell is Stallone thinking"? I didn't see the most recent "Rocky", but I heard it wasn't any good. I didn't really care too much about the quality of a new "Rocky" movie, but I felt like there was nothing else to do and all doors were closed when "Rocky 5" was made. Why was Stallone going back to Rocky? Was there a point to it? Now he is going to make another Rambo movie, why? Both these characters whose names start with "R" make a return after not being seen for almost 20 years?

I digress to the trailer for Rambo I saw on the internet. I was laughing so hard I couldn't take it. The way this movie was presented was comical. I had said to my brother and some friends, "I can't wait to see this movie, I need a good laugh". Then the day came, it was a work night (the same as a school night, but you go to work early the next day instead of school) and I went to a 9:40pm showing with my brother and two of our friends. I was so pumped and all four of us were ready to laugh very hard. As a side note, this is the first time I had been in a movie theater to watch a new release in a very long time.

We watched and we absorbed this movie and when the end credits rolled and the lights came back on in the theater we were speechless. I thought this was the first wonderful and moving film I had seen in a long time. (So did everyone else in my view party.) I couldn't believe it. I have seen all the other Rambo films and yes they were entertaining, but I wouldn't say they were deep or compelling pieces of cinema. This new Rambo movie had something to say.

It followed a different format, it seemed more dramatic and the violence (there was plenty of it) was brutal and candid. When I say candid, I mean that many of things that happened in this movie, happens in the real world.

The plot of this film is rather simple, Rambo now lives in Southeastern Asia near Burma and some American humanitarians need a guide and ride by boat to provide health care, food and education to the poor people in the area. They find John Rambo and after some persuasions from a female team member (Julie Benz) Rambo signs on.

Consequently, there is a large militant and fundamental group that has nothing better to do than torture and massacre the less fortunate people in their country. It doesn't take a wizard to figure out what happens next, Rambo, guns, violence, death, and blah, blah, blah. However, the violence doesn't seem to be moot or without justification if that makes sense. The best comparison I can make is to "Saving Private Ryan", the violence in that film was graphic and at times over the top, but made a point to portray the reality that was World War 2. "Rambo" has the exact type of feel to it with respect to violence being graphic, over the top and making a point. Mind you I am not saying that "Rambo is a better film or as good as "Saving Private Ryan", but it was used more as a frame of reference. Oddly enough, "Saving Private Ryan" came out in 1998 and "Rambo" came out ten years later (2008), perhaps in 2018 there will be another violent film with a message.

Stallone did a good job too in this film he gave a rather minimal performance, not much dialogue but did display a level of dichotomy towards his emotions to events in the plot. I felt the story was also simplistic, but it worked, the movie didn't need a multi-leveled storyline. I also felt the direction of the film was very good too; by the way Sly wrote and directed this movie.

"Rambo" was a motion picture that stirred myriad thoughts in my head when it was over. It made me think how revolting and disgusting it is that there are still countries in the world that can't get health care or are being "controlled" and/or restricted to certain living conditions by a dictatorship or totalitarian government that results to violence or casualties of human lives. It also made me think how insane it is that U.S. presidential candidates are able to raise thousands, if not millions, of dollars for their campaigns, but when they get into office, it then becomes difficult to "raise" money for the things they promised before they were the incumbent. Then I thought about how everyone wants to go "green" and save the environment, yet it costs more money and there is less tax breaks to "go green". Not to mention Earth Day is only one day a year, rather than year long recognition. What about relying on fossil fuel when there are other forms of fuel for our cars/machines? Or that many people are more up to date with Reality Television than what is going on in the world.

In conclusion, I am not sure this was Sylvester Stallone's intention to stir the pot of modern social sciences or in my case promote schizophrenia when making this movie. However, I felt this film didn't pull any punches and says a lot about the world we live in, on many levels. I recommend this film to anyone who wants an eye opening experience. This is a lot coming from a person who thought this movie was going to be the number one unintentional comedy of 2008 and now believes it was one of the best movies made in a very long time.

Sly, I commend you.

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Of all the Rambo movies this one is the best. The most violent, brutal stunning movie I have ever seen. Emotionally draining story of some do gooders that want to take medicine and help to a group of poor opressed people in Burma. They are under control of the brutal military that wants no one to hear this story let alone help these people. The do gooders talk Rambo into taking them up river to the settlement. He is reluctant to take them but the woman with the group talks him into taking them. Of course they are taken by the military and most everyone in the village is slaughtered. Someone from back home comes looking for them when they never return home. Rambo takes a band of merceneries to the settlement to bring them back. The do-gooders are held captive and tortured. It's nonstop heartpounding action after Rambo gets there.

Iv'e never seen anything like the violence in this movie. It's incredible.

It's filmed in Burma and the cinemaphotography is outstanding. Beautiful scenery. Good use of light and dark and camera angles. Very well done.

Be prepared for the violence because it is extreme. What's shown in this movie is going on there as I speak. We don't hear the story in the media. Stallone made this movie with Burmese people as actors and they were all at risk making this movie. Stallone still has it at 61 years.

If you don't like Rambo then don't bother. Otherwise it's highly entertaining!

Steve

Read Best Reviews of Rambo (Extended Cut) (2010) Here

Ignore the fact that this is a Rambo movie and some have the audacity to say that Stallone is past his prime. This Rambo movie is not only the best in the Rambo series, but it's also one of the best action movies of all time.

Did you think that Commando had a lot of killing? BAH!

Did you think that Saving Private Ryan had the most gruesome injuries? Hardly.

This movie is saturated with arms being cut off, legs exploding into bloody stumps, heads popping like over-inflated balloons, and enough gun-play to satisfy even the most hardcore, extremist gun-enthusiast. If it isn't an arrow evenly dividing a man's skull, or someone's intestines being spilled on the ground, then it's an extreme amount of people being sawed in half by high calibre machine gun fire. There's even a crazy-intense seen in which Rambo basically pulls off the throat removal move from Roadhouse, only with a little slower satisfaction to it. About the only thing lacking is a Colombian necktie.

The story itself plays second-fiddle to the incredible amount of action. A church-group from Colorado is doing peacework in Burma, bringing medicine and religion to people oppressed by a militaristic regime intent on genocide. To make their way into hostile territory, the church-goers ask for Rambo's services as a river guide. At first he is hesitant, but the kind-hearted but deadly Rambo eventually consents.

Sure enough, after Rambo drops them off for their jungle-trek to the villagers, the church-group gets caught in the middle of chaos, as the evil military members are senselessly slaughtering every villager in sight. Once they are captured, it's up to Rambo to save the day.

The rest of the movie is a whirlwind of action, as Rambo leads in a hardened group of mercenaries for an extraction mission. They plan on sneaking into the compound, killing anything and anyone that gets in their way, and saving the prisoners. What transpires is carnage the likes of which I have never seen before.

This version of Rambo is an incredible movie if you're looking for pure action and entertainment from beginning to end. I haven't been more entertained by a movie in a very long time.

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The box cover says Rambo, but the title for the extended cut has been restored to the original JOHN RAMBO title.

The four-movie BluRay Box Set DOES NOT include the extended John Rambo.

Basically Stallone added nine minutes back into the movie, and most of it is dialog INCLUDING the Rocky Balboa style monologues.

There's a quick new scene on the boat in the beginning with the snakes.

Rambo has a big monologue along the same lines of Rocky's speech to his son in Rocky Balboa. It's in the rain when he's convinced to take the boat up river.

There's more dialog on the boat while he's taking the missionaries.

The pastor has more lines when he comes to get Rambo.

Going back to watch the theatrical cut makes it seem like an edited for TV version where they had to cut out big story bits. The extended cut feels more like an end for Rambo along the lines of Rocky Balboa, and restoring the John Rambo title makes sense.

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For a Few Dollars More (1965)

For A Few Dollars More is, in my opinion, by far the best of the "Man With No Name" trilogy! In "A Fistful of Dollars," director Sergio Leone bowled the viewers over with Clint Eastwood's character being a gruff gunslinger of few words and lots of action. In this sequel Eastwood's character has a lot more depth and even a little bit of humor. I am highly impressed with the script and acting in this particular film, especially in comparison with its predecessor. One can even consider it funny but useful that a few of the villains from the first film that were quite dead at the end of that one, are back now with new names! Magnificent performances by both Clint Eastwood and Lee Van Cleef serve to enhance this movie's style.

The premise:

This movie has a wonderful beginning as we are introduced to Lee Van Cleef's character while he's in the performance of his role of a bounty killer. We are then treated to the reintroduction of Clint Eastwood's character, which actually does have the name of Monco, while he is taking care of his business as a bounty killer as well. Once the director has shown these two acts, he deftly shows how they end up on the same path as they both find out that they can score it big by killing Gian Maria Volonte's character, Indio and his gang. From there, we're taken to El Paso where the film's intrigue and suspense kick into high gear as both Eastwood and Van Cleef's characters meet.

If you've never seen this movie or its predecessor, I highly suggest you check these movies out as they're basically the mold for many of the westerns that followed. Prior to this movie and "A Fistful of Dollars," westerns were much tamer, which lends to the popularity of these movies which have a lot more grit and realism to them.

Special Features:

Just like "A Fistful of Dollars" this movie is jam packed with hours and hours of special features, documentaries etc... This DVD is all about what it's supposed to be, the movie! It does include a great theatrical trailer and an exceptional 8 page booklet that gives a lot of great information about the movie and the people involved. {ssintrepid}

This review refers to the Delux Widescreen Edition VHS.....

He's back for the money again. This time as a "Bounty Killer", who always gets his man. When the poster says "Wanted Dead or Alive", look out if Clint's in the neighborhood! The man with no name (they do mention a name in this one but never actually refer it to him, so it's anybody's guess) has been tracking down the small fry, and now the big fish,Indio, has escaped from jail, leaving a bloody trail and a big price on his head.

Clint follows his trail, but he's not alone in his quest,Col. Mortimer(Lee Van Cleef) is determined he will be the one that gets this guy.They each try to "dissuade" the other, but to no avail. So they team up and set a plan in motion. But can Mortimer really be trusted? Is the money his only motive? Will he betray our guy?

There's lots of great western action and classic scenes, as these two persue Indio and his bloodthirsty gang of thieves.You won't want to miss a minute of it as these two quick draws show their stuff.There are also some wonderful comic moments to break up the action,watch for those.

If you're thinking of getting the VHS or waiting for a special edition DVD to come out you'll be happy with this tape. The digital Video transfer is a good picture, the widescreen(there's also a standard format edition if you prefer) lets you view all the great western scenery, and basically the sound(Hi-Fi) is good as far as clarity and the great musical score by Ennio Morricone. But the dubbing of the dialouge is a little off.The movie is so good though, I could not bring myself to take off a whole star just for that reason. It's classic Clint and Director Sergio Leone knows how to make a clasic western!

Sit a spell and enjoy....Oh and where DOES Clint get those wonderful panchos?.......Laurie

here's a couple of package deals for Eastwood Fans:

The Gauntlet/True Crime

Clint Eastwood Selection: Dirty Harry/The Outlaw Josey Wales/Unforgiven

Not always available but keep an eye out for a good deal

Buy For a Few Dollars More (1965) Now

Prior to this film, the Western movie genre had just been about been done to death in the United States. It took an unknown Italian director (the ingenious Sergio Leone) borrowing from a Japanes film source (Kurosawa's Yojimbu) to create one of the most incredible anti-heroes in movie history: The enigmatic Man With No Name played by the legendary Cline Eastwood.

"For a Few Dollars More" is the second film in the Man With No Name Trilogy. The first film was the highly-influential "A Fistful of Dollars," which seems to be perpetually playing on television. "A Fist Full of Dollars" was made for a mere $ 200,000, but was an incredible film.

"For a Few Dollars More" is even better. It has a much higher budget and a much more complex plot than its predecessor. I don't want to reveal too much about the plot to this film for those who have never seen it. It's a great story. A landmark film that will never be forgotten. Make sure you see all three movies in this trilogy. The final chapter in this trilogy is "The Good, the Bad and the Ugly," which might be the most well-known Western in the history of cinema.

Again make sure you get a copy of this film. After watching this film, you'll wonder why Hollywood can't make films like this anymore. They should.

Read Best Reviews of For a Few Dollars More (1965) Here

Federico Fellini is often credited as "the Greatest Italian Director." For me, however, Sergio Leone earned those laurels. More than deSica or Fellini, Leone's movies were Italian to the core: Grandiose, operatic, melodramatic, full of vendetta and vengeance. The irony is that Leone's most memorable movies took place not in Rome, the Abruzzi mountains or Sicily, but in the Old West.

With his epic "Once Upon a Time in the West" and "The Man With No Name" trilogy, Leone not only resuscitated the Western genre, but set a new standard. His first Western, "A Fistful of Dollars," was basically a retelling of Akira Kurosawa's "Yojimbo"; a Samurai tale transplanted south of the border in old Mexico. With "For a Few Dollars More," Leone really opens up as a screenwriter and director. Gone is the claustrophobic town of "Fistful," replaced by the full sweep of the great American Southwest (for which the drier regions of Spain provide a reasonable facsimile for those of us who know that Tucumcari is hardly so dry and El Paso nary as mountainous).

Leone also begins staking out his territory as director with this one, too. "For a Few Dollars More" bears more traces of Cecil B. deMille than Kurosawa, as Leone starts trending toward an epic production that reaches full fruition in "The Good, the Bad and the Ugly" and "Once Upon A Time in the West." However, Leone's *style* of Western could never be confused with John Ford -rather, it hearkens back to the more violent moments found in Westerns such as "Winchester '73" (Anthony Mann), "High Noon" (Fred Zinnemann) and "Rio Bravo" (Howard Hawks), and looks forward to the gritty, realistic violence from directors influenced by Leone, such as Sam Peckinpah, Francis Ford Coppola and Martin Scorsese.

"For a Few Dollars More" is a tale of three men, and their respective missions: Indio, played by the great Gian Maria Volonte, is a sadistic, psychotic, killer and bank robber. His performance reminds me of Toshiro Mifune's best roles -big, tough, and foreboding. Clint Eastwood plays one of the men who try to hunt Indio down, a bounty killer named "Manco," reprising his role from "Fistful" as a mercenary for hire who plays by rules from his own book. But it's Lee Van Cleef as Colonel Douglas Mortimer who really steals the show. If you think Clint's squinty-eyed visage fills men with fear, then you ain't seen Van

Cleef -his eyes are steely, intelligent, intense; you can tell when Mortimer has somebody's number that he isn't bluffing.

The opening scenes set up the story beautifully: Indio and his gang are planning a big robbery at the Bank of El Paso and both Manco and Mortimer have set out to round up the bad guys. After a couple barroom scenes establishing the bounty killers' credentials as ice-cold killers, Manco and Mortimer pair off in a battle of wits, a showdown during nightfall in the streets of El Paso.

After proving to each other what deadly accurate shots they are, Mortimer proposes they team up to go after Indio and his gang, backed up by the realistic observation: "When two hunters go after the same prey, they usually wind up shooting each other in the back."

So working "one on the inside" (Clint) and "one on the outside" (Van Cleef), the two manouever Indio and his gang after they dynamite the bank and steal the safe. The scenes on the streets of Agua Caliente (Spanish for "Hot Water," which Manco and Mortimer will soon be in) are eerily silent. Indio' gang has free rein in the town, the hoofbeats of their horses a harbinger to windows slamming shut on the whitewashed adobe houses.

Though Clint plays a wise guy, over the course of the movie he discovers wisdom beyond his own years in the person of Mortimer. Clint may be cool, but never as cool-headed as Van Cleef, who sees through all of Clint's ruses and double-crosses. Van Cleef rides them out, cutting Clint way too much slack it seems. But by the final scene, a showdown between Mortimer and Indio, all the patience and faith Mortimer has invested in Manco pay off. For the showdown is rigged entirely in Indio's favour, but -having learned a thing or two at the feet of a real man of integrity -Manco shows up to make the playing field even for Mortimer. It's a beautiful scene, to see that Manco has dropped his cynical pose and accepted Col. Mortimer as a father figure.

The quintessential Leone Western (I won't degrade it by calling it a "Spaghetti Western"), "For a Few Dollars More" is filmed and cut a lot tighter than "The Good, the Bad and the Ugly," though it still comes out over two hours long. Ennio Morricone's soundtrack really melds seamlessly with the action onscreen. Morricone was to Leone as the great composer Bernard Herrmann was to Alfred Hitchcock: Leone's movies were only 60 per cent complete before Morricone laid down tracks just as pungent and larger-than-life as the story and actors on the screen. Today's composers, who are so busy trying to write "understated" scores for today's boring fare, could learn a thing or two from the beautifully bombastic Morricone.

The DVD widescreen presentation is much better than the fullscreen VHS. However, the colours are pretty washed out. I understand that MGM/UA has restored "The Good, the Bad and the Ugly"; I hope "For a Few Dollars More" is slated as well for restoration or preservation.

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this sergio is really the film that solidified sergio leones work sergio had more money to spend with his success of fistful of dollars and started to created his trademarks striking visuals, eerie music, a slow lingering camerathe pocket watch theme used so scarily in for a few dollars more would be used again and again in all his films -once upon a time in the west and also once upon a time in america and also good bad and the ugly.

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In Darkness (2012)

"In Darkness" (2011 from Poland; 144 min.) brings the true story of how a group of Jews in Nazi-occupied Poland take shelter in the large underground sewer system of the city, with the help of a couple of locals. As can be expected, many troubles ensue. I don't want to spoil the plot and you'll just have to see for yourself how it all plays out.

Several comments: first, there are a number of very graphic scenes in the movie (just as an example, in one of the first scenes of the movie, we see Nazi soldiers chase down a group of (naked) women running for their lives into the woods--later we see that none survive), so be aware that this movie is not for the faint of heart. Second, the movie's title accurately reflects what this is about, as a significant portion of the movie plays out in the underground sewer system, where of course there is little to no light. Last but not least, this movie takes its time to develop both the main characters and the story line, so this is not for anyone in a hurry.

This movie was nominated for an Oscar for Best Foreign Movie, and it certainly deserved that honor (it did not win, though). I left the movie theater where I saw it this past weekend full with haunting images in my head from this movie. Many movies before have brought Jewish survival tales from WWII, and this more than adds to that long roster. In sum, an important topic, and a great and haunting movie. With this, I've now seen 3 of the 5 Oscar-nominated best foreign movies (the others being Bullhead and A Separation). I hope to get a chance to see the remaining two (Footnote; Monsieur Lahzar) in the near future. Meanwhile, if you like quality foreign movies, "In Darkness" is highly recommended!

"In Darkness" is a 2011 Polish film nominated for Best Foreign Language Film at the 2012 Oscars. It tells the true story of a sewer inspector in Nazi occupied Lvov (then Poland, now The Ukraine) who agrees to shelter a group of Jews escaping from the death squads intent on exterminating them. The film is based on the 1990 book "In the Sewers of Lvov" by Robert Marshall.

Lvov was a thriving city prior to the war, and at the start of the war it was annexed by the Soviet Union and Jews from German occupied Poland fled to the city. The Lvov Ghetto became one of the largest Jewish ghettos in Nazi occupied Poland with more than 200,000 people. Aided by the Ukrainian militia, the Nazis accelerated liquidation in 1943 when the story begins. Ultimately less than 1,000 people survived.

FWIW Although not a part of this film, it's worthy to note that Simon Wiesenthal (1908-2005) was one of the survivors. Wiesenthal gained international fame after the war as one of the most successful Nazi hunters.

"In Darkness" is reminiscent of "Kanal", a 1956 Polish film about the Warsaw Uprising a 2 month struggle by the Polish resistance movement to liberate Warsaw from Nazi occupation while the Russians were advancing That film takes place in September 1944 and follows a platoon of 43 resistance fighters as they make their way through the city's sewer system to escape a Nazi offensive.

"Kanal" was the second of 3 films by Andrzej Wajda (1926) about this period, a period in which he himself was a resistance fighter. Wajda (1926) has 4 Oscar nominations for Best Foreign film "The Promised Land" (1975), "The Maids of Weilko" (1979), "Man of Iron" (1981), and "Katyri" (2007) and won a BAFTA for "Danton" (1982). He won the Palme d'Or at Cannes for "Kanal", "Man of Marble" (1977), "Bez znieczulenia" (1978) and "Man of Iron" (1981).

The director of this film, Agnieszka Holland (1948) worked with Wajda early in her career as a writer and served as an assistant on the critically acclaimed "Danton" (1982). In this film she directs with such skill that she makes you feel the hopelessness and dread which the fugitives must have felt. Holland was nominated for an Oscar and a BAFTA for her work on "Europa Europa" (1990) and for an Emmy for "Treme" (2010).

The film is relentless in its tribute to the survival instinct, both with respect to the fugitives living in the sewers for more than a year, and the Polish worker and his family who keep them alive at the risk of their own lives.

The NY Times called the film "suspenseful, horrifying and at times intensely moving" and said "the visual contrast between the worlds above and below ground is handled beautifully and evocatively." Rex Reed in "The Observer" called it "beautifully filmed, sensitively acted and expertly written" and said "It's harrowing, sometimes difficult to watch and wrenchingly moving to the point of tears. It is also brilliant. Do not miss it."

Bottom line a powerful film.

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A Polish film about Jews who hid in sewers from the Nazis during WWII. They were assisted by a local man who worked in the sewers and know his way around them. This was a very realistic movie that portrays the horrors of the treatment of the Jewish people by the German soldiers, and provides a glimpse of life on the run and the strong human desire to live. The dilemma of the man who is assisting them is apparent, as he must balance his desire to shield the Jews with his priority of protecting the lives of his own wife and child. This is a powerful movie that you do not want to miss.

Read Best Reviews of In Darkness (2012) Here

With the notable exception(s) of Kieslowski's trilogy of films (Blue, White, and Red, especially Red), this is the finest Polish film that I've seen. In Darkness is powerful, unsentimental, and riveting.

Amazingly, after the film was done, the director, Agnieszka Holland, discovered that a key character in the film version of this true WWII survival story--the little Jewish girl (Krysia Chiger)--was still alive. The two women met in Warsaw in 2011, and their conversation is replayed in one of the film's supplemental features. Here, Mrs. Krystyna Chiger-Karen (she had married Marion Karen, a survivor who had been helped by Oskar Schindler) spoke movingly about how "everything" that the director "put into the film was true."

Agnieszka Holland can go toe-to-toe with the best of today's international film directors, and "In Darkness" is a testament to that truth, as well.

PS. The video and audio quality of the bluray disc is very good.

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The challenges that we face in life today are put into perspective when compared to what people endured during World War II. Stories about the holocaust are painful yet amazing in the sense that they shows us the strength in people that has no rival. In Darkness (W ciemnosci), directed by Agnieszka Holland, is the true story of a sewer worker that saves the lives of a group of Jews. Leopold Socha (Robert Wieckiewicz) is a Pole living in Lwow (now called Lviv and part of Ukraine) in Nazi occupied Poland. He doesn't go out of his way to become a hero, but rather he stumbles on the opportunity to make money hiding Jews in the sewers he knows so well.

Lwow has a rich history for both Poles and Jews that spans many centuries (while today both of these groups are only small minorities), with a mix of ethnicities, including Ukrainians, coexisting peacefully before the war. With the conflict running its course, self-interest and survival are the two primary motivations most people are left with. Leopold risks not only his own life, but also that of his entire family, by assisting the survival of anyone Jewish. The Germans meted out a quick punishment of death to the Poles who tired any heroics. Both the group of Jews and Leopold have some reservations and distrust in each other, but as time goes on, their business arrangement turns into much more.

In Darkness doesn't spare us the brutal events of war and will be quite shocking for some viewers. I would say the film is inappropriate for children for a number of reasons and the squeamish may also find it hard to watch. However, the violence isn't gratuitous, as it only adds to what really went on. The realism is also enhanced by the fact that several languages are used in this movie, including Polish, Yiddish, German and Ukrainian.

No other subject has received as much attention in Polish cinema as World War II. Some say these films acted as a catharsis for the whole country after it witnessed so many horrors. While this still may hold true, these movies also educate their audiences to history many are unaware of. While In Darkness doesn't try to overload us with historical facts or dates, as it subtlety informs us of how life was like in Nazi occupied Poland. We get a good look at the chaotic and brutal way of life people had to endue and come away with an appreciation that things should never be that away again.

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Man Who Shook the Hand of Vicente Fernandez (2012)

GREAT MOVIE WITH ERNEST BORGNINE.

I LOVE VICENTE FERNANDEZ AS A SINGER AND ERNEST BORGNINE AS AN ACTOR.

THE LAST MOVIE ERNEST BORGNINE DID, WONDERFUL JOB DONE.

THANK YOU.

This movie is one that I'd like to watch more than once. It is funny, entertaining, inspiring, and one I'd recommend to anyone! It's a uniquely creative film that left a few tears in my eyes. Must see!

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Rex is s a retired DJ who feels like he's a failure because he never fulfilled his dream of getting the lead role in a Western. After a back injury lands him in a nursing home, his obsession with all things cowboy seems to come to life. There's a villainous doctor trying to take advantage of a pretty nurse and an old bully whose son owns the place who calls all the shots. Corners are cut, employees are taken advantage of, and both the residents and the staff are praying for a hero. They find it an unlikely and sometimes grumpy old man. Its takes a while for Rex and the staff to warm to each other, but once they learn he met and shook the hand of a local celebrity back in his radio days, he becomes a living legend and he stands up to doctors and old bullies alike.

I liked this movie more than I expected to. I thought it was cute the way they tied life in the nursing home into Rex's cowboy obsession. Mr. Walker and his henchmen ride around on their scooters instead of horses. The quickest draw is a card game instead of a shoot out. Standing up to the villains in a big part of the film, but Rex also has to realize that even though he never landed the lead role in a film, he's still a star in the eyes of his family. Ernest Borgnine gave a stunning and realistic performance in his film, which was a wonderful finale to a lifetime of great accomplishments. 4 Stars

***Please note that I received no form of monetary compensation for this post. I did receive a sample of the product to try in order to write a fair and honest review. The opinions expressed in this review are my own and were not influenced in any way. ***

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Red River Range (1938)

I just received this and the other three new BR discs from the John Wayne Three Mesquiteers era. The Amazon.com review of the story almost takes longer to read than the movie is long. I'm just kidding but its a 56 minute film as they all are and I surmise the reason they are on separate discs and so expensive is because the market is small. On all films the picture quality is sharp and stunning at times and the sound is robust. These are fun films and its a hoot to see young Duke riding a big white horse with his oversized white hat. Some of the horse chase scenes in all the films is really stirring as the camera is just ahead of the horses and to see them charging at full speed in HD is pretty cool. These are sort of silly/stupid scripts and sadly Duke Wayne isn't the main star...he is co starring so he's not on camera as much as I'd like but I am a fan and am glad I picked them up. This will be my review for all four films as they were all made within a couple year period all directed by the same man and all pretty enjoyable with their own quirkiness. I just wanted to let folks know that they are a quality presentation and the covers are retro cool with original graphics also displayed on the BR disc itself.

Republic Pictures presents "RED RIVER RANGE" (22 December 1938) (56 mins/B&W) (Fully Restored/Dolby Digitally Remastered) -The series was based on a series of western novels by William Colt MacDonald, which began with "Law of the .45's" in 1933 --The Three Mesquiteers is the umbrella title for a series of 51 western B-movies released between 1936 and 1943, including 8 films starring John Wayne --The name was a play on The Three Musketeers, and each film featured a trio of stars --The series blended the traditional Western period with more modern elements, which was not unknown with other B-Western films and serials --Towards the end of the series, during World War II, the trio of cowboys were opposing Nazis --The Three Mesquiteers series was extremely popular at the time of its release --The series was the only one of its kind to be specifically named and ranked in contemporary polls of the top western film stars --For example, from 1937 to the end of the series in 1943, The Motion Picture Herald consistently ranked the series in its top ten, reaching a peak of 5th place in 1938, when a pre-Stagecoach John Wayne was the series lead

Under the production staff of:

George Sherman Director

Betty Burbridge Screenwriter

William Colt MacDonald Screenwriter

Stanley Roberts Screenwriter

Luci Ward Screenwriter

Jack A. Marta Cinematographer

John Marta Cinematographer

William Lava Composer (Music Score)

Tony Martinelli Editor

William A. Berke Associate Producer

Our story line and plot, Our heroes Stony Brooke (John Wayne), Tucson Smith (Ray "Crash" Corrigan) and Lullaby Joslin (Max Terhune) members of the Three Mesquiteers which finds the boys working as government agents to stop some cattle rustling --the meatpacking industry has hired its own agent, Tex Reilly (Kirby Grant), to get a line on the rustling --That in itself was an interesting aspect of this oater, the inflation of meat prices as a result of cattle rustling --One never does think of the economic hurt, those rustlers cause --Kirby's cover is blown before he can infiltrate and folks in the Red River country already know the Mesquiteers are coming --So Wayne and Grant switch places and Wayne poses as an escaped killer --The focus of the investigation is a dude ranch where some mighty strange goings on are occurring --Can't reveal what the scheme is, but I assure viewers it's a lulu --Lorna Gray, aka Adrian Booth, is the heroine, while raucuous comedy relief is provided by old-timer Mrs Maxwell played by Polly Moran.

the cast includes:

John Wayne ... Stony Brooke

Ray Corrigan ... Tucson Smith

Max Terhune ... Lullaby Joslin

Polly Moran ... Mrs. Maxwell

Lorna Gray ... Jane Mason

Kirby Grant ... Tex Reilly

Sammy McKim ... Tommy Jones

William Royle ... Payne

Perry Ivins ... Hartley

Stanley Blystone ... Randall

Lenore Bushman ... Evelyn Maxwell

Burr Caruth ... Pop Mason

Roger Williams ... Sheriff Wood

Earl Askam ... Henchman Morton

Olin Francis ... Henchman Kenton

Ed Cassidy ... Marshal

Elmer ... Elmer, Lullaby's Dummy

Al Taylor ... Henchman Slick

Special footnote -The 32 year old John Wayne was fortunate enough to have talented writers around him to write novels that could be adapted into vehicles for his career, as well as short stories and screenplays that would immortalise him as the American hero --This film is one such example --When you watch this film you're not watching it for the story (like you would do in 'Rio Grande' or 'The Man Who Shot Liberty Valance'), you're watching it to see John Wayne in action --He is the romantic embodiment of what it was like for the settling community to live in the post-civil war era --Despite the fact that most of these westerns distort history, what Wayne delivers gives you access to his humanity --That's what we like about him.

BIOS:

1. John Wayne (aka: Marion Robert Morrison)

Date of Birth: 26 May 1907 Winterset, Iowa

Date of Death: 11 June 1979 Los Angeles, California

2. Ray 'Crash' Corrigan (aka: Raymond Benard)

Date of Birth: 14 February 1902 Milwaukee, Wisconsin

Date of Death: 10 August 1976 Brookings Harbor, Oregon

3. Max Terhune

Date of Birth: 12 February 1891 Anderson, Indiana

Date of Death: 5 June 1973 Los Angeles, California

If you crave action, drama and plenty of adventure check out other western double features --Ask Amazon.Com to carry the volumes as they are not available on Amazon as of yet --you can order and pick up your copy now from VCI Entertainment

THREE MESQUITEERS WESTERN DOUBLE FEATURES FROM VCI ENTERTAINMENT

VOL 1 -GHOST TOWN GOLD & COME ON COWBOYS (VCI #7215)

VOL 2 -HIT THE SADDLE & HEART OF THE ROCKIES (VCI #7218)

VOL 3 -THE THREE MESQUITEERS & ROARIN' LEAD (VCI #7254)

VOL 4 -PURPLE VIGILANTES & PRAIRIE PIONEERS (VCI #7277)

VOL 5 -OUTLAWS OF SONORA & WEST OF CIMARRON (VCI #7290)

VOL.6 -CALL THE MESQUITEERS & RIDERS OF THE WHISTLING SKULL (VCI #7310)

VOL.7 -GANGS OF SONORA & PIONEERS OF THE WEST (VCI #7321)

VOL.8 -CODE OF THE OUTLAW & OKLAHOMA RENEGADES (VCI #7330)

VOL.9 -GAUCHOS OF EL DORADO & OUTLAWS OF CHEROKEE TRAIL (VCI #7332)

VOL.10 HEROES OF THE SADDLE & THE KANSAS TERRORS (VCI #7337)

VOL.11 RIDERS OF THE RIO GRANDE & SHADOWS ON THE SAGE (VCI #7339)

Hats off and thanks to Les Adams (collector/guideslines for character identification), Chuck Anderson (Webmaster: The Old Corral/B-Westerns.Com), Boyd Magers (Western Clippings), Bobby J. Copeland (author of "Trail Talk"), Rhonda Lemons (Empire Publishing Inc) and Bob Nareau (author of "The Real Bob Steele") as they have rekindled my interest once again for B-Westerns and Serials --If you're into the memories of B-Westerns with high drama, this is the one you've been anxiously waiting for --please stand up and take a bow --all my heroes have been cowboys!

Total Time: 56 min on VHS/DVD ~ Republic Pictures ~ (4/15/1997)

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I have acquired only one of these Wayne films from Olive, and found it to be a high quality, great looking, complete release. However, I question where they got their print from. It was VERY disappointing to see a superimposed "revival" on the title card for a few seconds. It seems that with the film quality looking so good, that the superimposed word could have been removed with today's tech or replaced the credits from another print. I will not purchase any others until I can confirm that the other features do not have this problem.

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THIS IS ANOTHER GRADE B WESTERN, BUT IT IS VERY WELL DONE. THESE 3 ACTORS HAVE GREAT CHEMISTRY.,WORKING TOGETHER. THIS IS MY KIND OF MOVIE.

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was deliveried on or about of the arrvial of the movie very good quality movie of the time it was made

very good service

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Spider-Man 2 (2004)

Just when I was about ready to throw in the towel on Hollywood and its univentive sequel/remake/book adaption craze of unoriginal recycling, I sat down to see the second chapter in Sam Raimi's "Spider Man" series. While I enjoyed the first film, it never really drew me in emotionally. It had some real cool action sequences and some interesting special effects but the story was very paint-by-numbers comic book fare. I enjoyed the film's cinematic style, which seemed to me like an homage to the 50's-style of films, but while I wasn't turned off by the the hero's backstory, I was never fully compelled by it either. When I had heard all of the cast members spit the usual studio speech about how the sequel would be even better, I took it very much with a grain of salt. By the time I came out of this movie, however, I was a believer.

"Spider Man 2" takes place two years after the original where Peter Parker (Tobey Maguire) is struggling with the realization that his superhero alter-ego is alienating him from everyone that he loves. His best friend, Harry (James Franco) is stelling stewing over his father's death at the hands of Spidey and the object of his affections, Mary Jane Watson (Kirsten Dunst) is fed up by Pete's inability to committ to her. If that wasn't bad enough, his commitment to crime fighting has cost him more than a few jobs and he's struggling to pay his rent. On the Spider-Man side of things, he has to deal with a new enemy, Doc Ock (Alfred Molina), a transformed version of Otto Octavius, a brilliant fusion engineer whose expirement ends up killing his wife and subsquently driving him insane. As far as super-villians go, this one's a doosy.

"Spider Man 2" improves on so many aspects of the first film. Where the first film had Maguire as the akward teen coping with his newfound powers and subsquent responsibilites, this one paints him as the reluctant hero that is banished to a life of personal abandoment. The hero seems like a far greater underdog this go around as Spider-Man must deal with a much tougher villian while Peter Parker tries to put his life back together. I liked the fact that Raimi balanced out the film's jaw-dropping effects with some emotional character depth. There is a good mixture of storytelling and cinematic style here. Raimi also improved on the dialouge here. There are some comedic moments but the rivalry between Spidey and Doc Ock doesn't elevate itself to the level of cheesy line-trading that went on between Maguire and Dafoe in the first.

The performances are really what seperates this one from its predecassor. Tobey Maguire is given a lot more to do, this time around. While Molina doesn't have the same charisma as Dafoe, his villian is far more menacing. Kirsten Dunst is given a somewhat smaller role here but it serves its purpose. My one complaint is that Mary Jane doesn't really look the same in this one. In the first movie, she had a much different look to her than most of the characters that Dunst has portrayed. Here, she doesn't carry herself the same way. It doesn't really take anything away from the film but it is somewhat noticeable whether intended or not. There are a good deal of amusing cameo appearances here as well but I'm not gonna spoil them for you.

"Spider Man 2" is not just one of the better sequels I've seen in awhile but also one of the best films of its kind that I've seen at the movies in some time. I can't remember the last time that I went into a movie theatre and was entertained on so many levels the way that I was with this film. Maybe low expectations might have played a part in it but in all honesty, I doubt it. No matter what your preconceived notion of this movie is, you will probably be drawn in just the same. You don't have to be a comic book fan or even a fan of the first movie to enjoy but it certainly doesn't hurt things. (Review: ****1/2)

The trailers for this movie looked great and the reviews have been stellar. Definitely the movie of the summer whether you are a Spidey fan or not. As most reviews have pointed out, the storyline is very well developed. Peter Parker struggles with complexities of living a dual life. And decides for a time to be Spider-Man, No More.

I won't go into detail too much about the plot as every other review on here will probably give you a synopsis. I will however, make some comments about what I particularly liked or disliked about this film.

I found that I came out of the movie thinking that there wasn't as much action as I expected. It was strange that Peter Parker's powers could go away simply because he didn't want to be Spider-Man anymore. And I found myself noticing that Tobey Maguire was starting too look a bit old for this part. He is already 28(?) now, and by the time Spider-Man 3 is released, I may not be able to be convinced that he Peter Parker anymore. I was also a little disappointed that the rumours of a Venom appearance weren't true and that the next movie will probably feature Harry Osbourne as the Green Goblin. And I didn't like how so many people saw Spider-Man's identity (Harry, MJ, Doc Ock, all the people on the train).

Among the things I liked most was the beginning of the movie, which was very clever in the way that it showed you storyboards from the 1st movie to refresh your memory and summarize what has happened. Undoubtedbly, the action scenes in this movie were great (eg. the scene where he has to stop the speeding train). And the storyline is very well developed. In addition to these, there was also a good mix of humour thrown in to make the movie even more entertaining (eg. when Peter gives up being Spider-Man to the tune of Rain Drops Keep Falling On My Head, and the elevator scene where the stranger asks him about the costume... "a little itchy"... haha). We also saw characters from the comics such as John Jameson, which some of us know as Man-Wolf.

This is a great movie to see with the family and I hope that it breaks many box office records. (...) That's it for now Spidey fans! Have a great summer!

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Spiderman 2 has some of the highest expectations to ever be placed on a movie. Spiderman grossed $403 million dollars and is the fifth most successful movie in U.S. history. Spiderman 2 could shatter that number.

Spiderman 2 picks up right where Spiderman left us. Peter Parker(Maguire) is a struggling college student. His grades are slipping and so are his friendships with his best friends Mary Jane(Dunst) and Harry(Franco). His Aunt May(Harris) is worried sick about him. His duties as Spiderman are keeping him so busy he's starting to fall apart. He has a huge assignment due in school about a famous scientist and Harry happens to know the guy so he gives him the hook up.

Harry is now in charge of special operations at Osbourne Industries. Dr. Otto Octavius(Molina) is a world famous scientist who has ideas on how fusion will save the world. He's created four mechanical arms he wears that help him do the work. An accident happens though that causes the arms to fuse to the Dr and he goes on the rampage because the A.I. from the arms consume him. He is determined to make his fusion work and will stop at nothing to do it.

Peter is a little devestated by the accident. He enjoyed meeting Octavius but is saddened by the experience. His life is also getting very hard on him. He finds out Mary Jane is engaged and is so mad with him that she wants almost nothing to do with him. Harry is so obsessed with killing Spiderman because he blames him for his dads death. He's angry at Peter and wants him to give him info on Spiderman. Peter can't take it anymore so he gives up as the web slinger.

Peter is happy with his new life. His grades are improving, but his relationship with MJ isn't going the way he wanted. Doc Ock is still on the loose and must be stopped. Will the web slinger give up his new found happy life and stop Doc Ock or will he keep his new found happines. This is the movie that is Spiderman 2.

This movie destroys the first one. It's much more entertaing than the first. It doesn't drag like the first one did, because so many new character aren't introduced. The movie is quite humerous in places and it is obvious that Raimi is more comfortable with the character. Raimi's comedic charm is evident all over the film and he takes the story and runs with it.

An excellent story has been given to us. The Smallville creators Alfred Gough and Miles Millar contribute to it. The screenplay is from Alvin Sargent who has written a comic masterpiece. The writers did a fantastic job with the story.

Tobey McGuire is excellent as Spiderman. He is perfectly cast as Peter Parker. He seems more comfortable with the role and he shines. Kirsten Dunst is hot as Mary Jane. Like everybody else it's obvious she is more comfortable with the role and it's a bigger one for her this time around. Molina as Doc Ock is perfect. A awesome cast was done with this movie and the makers really need to be complimented on the good job.

This movie is awesome. It's the most entertaining movie of 2004. It's easily the best comic book movie ever. Spiderman has always had a more humble human trait that so many other comic heros don't have. It's not so much about his powers and abilites, but how much he sacrifices to make the world a beter place. He puts other people above himself and he does so for the right reasons. With Great Power Comes Great Responsibility and that's why we love Spiderman.

You have to see this movie. This is what a comic movie should be. It's the best movie to this date of 2004 and is family fun entertainment. You can't call yourself a Spiderman fan and not see it. Go see it and be prepared for a great time.

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I have to start by saying I'm fairly biased about this film. The original was one of my favorite movies, and I grew up reading the comics religiously. That being said, I do feel I would be able to give it an unbiased review if I didn't like it, but thankfully, that was not the case.

Spider-Man 2 is Sam Raimi at his best. I've never been in a theater where I've felt an audience have so much fun at a movie. This film had everything: incredible special effects, great dialogue, romantic themes, plenty of action, and some decent acting. When I first saw the trailer for the film, I thought the special effects looked a bit shoddy, but the final release was amazing. Everything was seamless, and the attention to detail was very noticeable. One of the best parts aspects of this film is the comedic elements. I didn't expect to laugh going into Spider-Man 2, but it pleasantly surprised me and I found it more humorous than most comedies. The humor is very subtle and some of it is campy, but doesn't come off poorly. It's great watching Parker trying to deliver pizzas in his costume to meet a deadline, or being forced to use an elevator and make small talk with the other occupant. Raimi fans will also be pleased with a few Evil Dead II references, and one 30 second scene in a hospital realy stood out and showcased his talent for the horror genre.

Raimi captures the essence of Parker so much more closely in this film. The Parker in this film is given a closer focus on the fact that he still experiences much of the flaws that every other New Yorker has to go through. From having to live in a run down apartment, to never having any money. Too many Super heroes come from wealthy backgrounds and have an unlimited supply of money, but Spider-Man is just a below-average teenager who's given an incredible ability. And this is why he's so identifiable and likeable to the audience. As I said, Raimi does an incredible job of showing this and I couldn't believe how closely the film version of Parker matched the bumbling science nerd I grew up with in the comics. In addition, comics fans will love this film for all of the hidden references that are stacked in the movie. There's a cameo of creator Stan Lee, a photographic reference to a famous comic panel of Spidey taking of his mask, oft-quoted lines from the book, and Dr. Connors and John Jameson appear, who feature into the comic very prominently.

It does have a few faults, albeit they're hard to notice. I found that some of Maguire's lines came off a bit forced, which I noticed in the first film. Franko is also a little stiff as Harry Osborne. I didn't notice any bad acting, but nothing I would consider Academy-worthy either. There was also a subplot about a physical problem with Parker that felt out of place in the film and wasn't developed very well. But it made for some really incredible scenes that I wouldn't want removed.

Overall, this is one of the best films I've seen in a long while, and accomplishes that rare feat of surpassing the original. There were two or three specific events at the end of the movie that really blew me away and that I wasn't expecting, and will make for some very interesting sequels. As a long-time Spider-Man fan, I can definitely say this movie is very fulfilling, and I would recommend it to audiences of any age and type.

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We all know how great Spiderman 2 was, it included one of the classic villains from the comic in an excellent adaptation of the original story delivering a movie that was indeed better than the first one. So I will base this review on the extra scenes and the DVD specs and not the movie itself.

Disc 1

This one includes the movie with 8 minutes of bonus footage, this footage is not shown separately as `deleted scenes', instead, the scenes were added to the movie so we can consider this an extended edition of the film.

Peter's birthday party is extended. Here, we see Peter and Harry going over Harry's issues with Spidey and the death of his father.

The elevator scene in which Spidey talked about his costume was replaced with another that I personally didn't like, the new one feels awkward and not as spontaneous as the original.

MJ at the shoe store. Mary Jane talks about love and the kiss she got from Spidey with a friend.

Two fight sequences are extended; in the one in which Dr. Octopus takes aunt May hostage, a new bit in which they both crash into an office through the window and fight inside was added. Also, the train sequence has new bits of Spidey and Dr Octopus fighting while hanging besides the train.

Jonah Jameson wears the Spiderman suit while the staff looks amazed, a quite silly scene that I understand why it was originally removed.

Bottom-line, the extra 8 minutes do not add anything to the movie; they are tiny bits that were originally removed for a reason. If you are a Spiderman fan and a collector you can get this for a very decent price, if you liked the original and expect to see major changes, the 2.1 version will only disappoint you.

The movie includes a trivia track with a lot of information about the comics, the actors and the movie itself; if activated, it will also show you behind the scenes during the movie. The movie screen will be minimized in the lower left corner to show the behind the scene footage in the full screen. Presented in English, French and Spanish (all three in Dolby Digital 5.1) and subtitled in the same three languages. It includes also an audio commentary by Laura Ziskin & Kirsten Dunst.

Disc 2

The features included here are more oriented to promoting the third movie of the hero. There is a sneak peek for the "Spider-Man 3" movie, which is basically the same scenes from the original trailer plus some interviews with the cast. I rather watch the last trailer for the movie but that one is not included here.

There is a `Inside 2.1 Featurette' that describes the process of completion of the scenes, ironically the last comment in this featurette says that `the movie the people will remember will be Spiderman 2 and not the 2.1 version'

Another preview for the video game is also here, but when you see it you'll see that it was added just to justify more features in the disc. Also, a look at Danny Elfman composing the music for the Spiderman saga is shown as part of the special features.

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The Howling (Collector's Edition)

When "The Howling" appeared in theaters in 1981, it heralded a mini-revival of the werewolf movie that took advantage of advances in special effects; two films followed later that year: "Wolfen" and John Landis's beloved "An American Werewolf in London." Although "The Howling" doesn't quite match the artistry and continual popularity of Landis's film, it nonetheless has aged wonderfully and is still one of the most enjoyable horror films of its decade. It's scary without getting too gory for the average viewer, has superb special effects that don't overwhelm the story, features a fun cast of familiar faces, and has a quirky sense of humor and loads of movie in-jokes for horror movie fans.

MGM first released "The Howling" in a no-frills DVD that let the movie down: no extras, a cheap and scratchy transfer, and a very dull mono soundtrack. Thankfully, they realized the popularity of the film and are now giving us a nice edition with revamped sound (5.1 Surround), a sharp picture, and a big bowl full o' extras.

John Sayles's script (co-written with Terence H. Winkless) unapologetically drops the classic werewolf legend into the modern-day -in this case, the world of television news and the fad of self-help psychology. News anchor Karen White (Dee Wallace-Stone), while on a special assignment to lure out a serial killer (Robert Picardo from "Star Trek: Voyager") in the city, is attacked by something bestial. On the advice of psychiatrist Dr. Waggner (Patrick Macnee), Karen and her husband (Christopher Stone) head to Waggner's clinical retreat in the woods. However, there's something very disturbing about the other patients in the colony, and those weird wolf howls at night won't stop...

The werewolf transformations supervised by Rob Bottin still have an amazing effect on viewers. Using air bladders, make-up, rubber, and pneumatics, Bottin was able to create a real-time transformation of a human into a nine-foot two-legged wolf. We see limbs snap, snouts grow, claws sprout, the whole deal, and it's damned incredible. (Amazingly, only six months later Rick Baker would do this movie one better with the transformation in "An American Werewolf in London.")

The cast goes a long way to making the film work away from the effects. Dee Wallace provides the serious angle to the film, and is convincingly fragile. The rest of the actors add a wonderful loose humor: Slim Pickens, John Carradine, Belinda Balaski, and director Joe Dante's favorite actor, Dick Miller. The beautiful Elisabeth Brooks steals every scene she's in as a femme fatale who burns with sensuality, mystery, and one weird leather fetishist outfit. Director Joe Dante, who would go on to direct such wacky films as "Gremlins" and "Looney Tunes: Back in Action," puts his nutty sense of humor all over the film and packs it with in-jokes. The names of many of the characters are directors of werewolf movies, werewolf films and cartoons pop up on the televisions, and "wolf" items are scattered all over the place (Wolf Chili, a book by Thomas Wolfe, a reference to Wolfman Jack, a copy of the book "Howl"...and so on).

The extras, most of which are on the flip side of the disc, are excellent. There's a feature-length commentary by Joe Dante, Dee Wallace, Christopher Stone, and Robert Picardo. Dante has plenty to say and is a very lively commentator, and this is a generally enjoyable audio track. "Unleashing the Beast," a fifty-minute documentary (divided into separate parts, but you can play them all together) goes into great depth on the making of the film. It includes new interviews with Joe Dante, producer Mike Finnel, cinematographer John Hora, writer John Sayles, and actors Dee Wallace-Stone, Robert Picardo, Dick Miller, and Belinda Balaski. Conspicuously missing is effects wizard Rob Bottin, but you can see him on "Making a Monster Movie," an eight-minute featurette that was made in 1981. It also contains vintage interviews with Joe Dante and Patrick Macnee. The extras also include two trailers, production photos, and deleted scenes and outtakes (some of which are very funny). But the really major extras for most people will be the new picture quality and the remixed 5.1 sound. If you're a purist, you can still listen to the original mono mix -it's here too.

"The Howling" makes most early 80s horror films, with brute slashers cutting down dumb teenagers at summer camps and slumber parties, look pretty awful. This is fun, funny, scary, smart -and the effects will still make your jaw drop or maybe your fangs grow.

THE HOWLING is a rare original cult-movie, far from the reluctant werewolf pattern. The idea of werewolves instead of a single one hadn't been well developed before, as some legend variations. It has the legendary transformation scene with Rob Bottin's effects, stronger with Pino Donaggio's score (with no CD releasing yet). Rick Baker (Bottin's brother) was consultant and created later the Oscar winner effects of AN AMERICAN WEREWOLF IN LONDON, other historical movie.

Both movies are linked. Contemporaries, they represented a new era. There's no point discussing which one's the better. "AWIL" is more modern in a way, having non-sense humor, bloody scenes and unbelievable effects. THE HOWLING, earlier, has a classical movie profile, surprising plot and ending. Its characters were named after classical werewolf and horror movies directors, like George Waggner, Sam Newfield, R. William Neill, Erle Kenton, Lew Landers, Terry Fischer, Charlie Barton, Jerry Warren and Jack Molina. There are lots of ironies, like THE WOLF MAN quotations during the film and after credits, and the wolf cartoon in a tense scene. John Carradine, Roger Corman, John Sayles and Forrest J. Ackerman appear, giving additional charm. It's the first time more complex werewolves characters emerge, like Eddie (Robert Picardo, the scariest werewolf on movie history) and Marsha (Elisabeth Brooks, 1951-1997). Joe Dante made this classic with $1,6 million and used his own garage for the rated movies scene.

Lots of ideas were borrowed later ("the gift" in WOLF). There were sequels non-related to the original, without the "THE" of the title. Most of them have nothing to do with each other. It's depressing to someone expecting a real sequel to watch HOWLING II.

Comparing to THE HOWLING, Brandner's book is different in many aspects, but both are unique. If you liked one, try the other, but don't get anxious finding total equivalence, some points of one aren't in the other and vice-versa.

Unfortunately, the movie had no lucky on TV. Its first release on VHS had a blueish image. Later, a brighter version came, yellowish, but allowing explicit sight of the effects and a better screen fitting. I can't tell which one has the original color or if none of them has. The MGM VHS release (August, 2000), after years of "out of print", is a very good presentation no cuts, Hi-Fi Stereo. The only possible complaints are a few optical ghosts during the title presentation and a beautiful but not original cover. The light gets closer to the brighter version, with impressive color balancing. But I don't know if it's closer to the original.

Lucky are those who watched it in the theater, with original color and no lateral reductions. We'll have to hope for a DVD version in a letterbox format, with tone color and light fidelity to the cinema's. A special edition, maybe director's, would be wonderful: interviews, soundtrack, theatrical trailler/teasers and more. Otherwise, loyal horror movies enthusiasts are not having what they deserve.

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Karen White (E.T.'s Dee Wallace-Stone) is a TV news reporter who's become the object of serial killer Eddie Quist's psychotic obsession. One night, in a daring attempt to catch the killer on live television, Karen comes face to face with the beast inside him. A rookie cop comes to the rescue, and fills Eddie with lead before Karen can be physically harmed, but she's already the victim of psychological damage. Even the famous Dr. Waggner (Patrick Macnee) can't help Karen remember the face she saw that night, which has been locked away deep in her subconscious. Finally, the concerned doctor suggests that Karen and her husband, Bill, spend some time at his "Colony," a retreat in the California woods for some of his patients who need to "unwind." When the two arrive there, however, they find the place is hardly a relaxing setting. Surrounded by strangers who just keep getting stranger, disturbing howls coming from the woods at night, and a sudden rash of animal mutilations, Karen is not having a restful stay. To make matters worse, the Colony's lovely resident nymphomaniac, Marsha, has designs on Karen's frustrated husband, Bill. Meanwhile, back in the city, Karen's friends and co-workers, Chris and Terry, are doing their best to discover the secrets of Eddie Quist, who they find has mysteriously disappeared from the city morgue. Their search leads them on a path of werewolves and the supernatural, and both will have to come to terms with what they believe if they are going to save their friend from the dangers that surround her before it is too late!

Only a few months before the legendary "An American Werewolf In London" was released, Joe Dante gave us the OTHER best werewolf film ever made, the original "The Howling." Rather than the lone, cursed wolf-man figure, The Howling gives us a very different take on the genre, portraying werewolves as pack creatures much like the real-life animals they take their names from. Everything from alpha leaders, to challengers, to mating, hunting, and socializing is shown from the werewolf's point of view, giving us a much more realistically-based depiction. These tall and very impressive looking werewolves are also able to shape-shift whenever they choose, day or not, making them quite the formidable adversaries. But "The Howling" doesn't disregard the traditional Hollywood legends completely. It still takes silver bullets or fire to kill these werewolves, and their condition is still spread as easily as a single bite. The Howling's effects are fantastic, only outshined by "An American Werewolf In London," released that same year, and just as in that film, the material is handled with great love and respect. It's loaded with humor and cute and funny references to wolf and werewolf pop culture, from cartoons and illustrations, to a can of Wolf brand chili. There's no shortage of gore and horror either though, with some genuine scares for any lone, nighttime viewers. The cast is excellent, studded with camp and horror favorites like Dick Miller, Patrick Macnee, Dee Wallace-Stone, John Carradine, Kevin McCarthy, Christopher Stone, Slim Pickens, Dennis Dugan, and Roger Corman, among others. Elisabeth Brooks is breathtaking as the frighteningly seductive temptress, Marsha. Now, for many, the final scene (or rather, the next to final scene) in which we see a VERY different type of werewolf, tends to "ruin" the scary and impressive style of the rest of the film. Don't let this ruin it for you! According to Dee Wallace in a recent interview at thewerewolfcafe.com, this different look of the final werewolf was done to depict the character in question's unwillingness to submit to the evil transformation. Knowing that makes the whole thing much more acceptable (thanks, Dee)! Overall, "The Howling" adds up to one frighteningly good time that I highly recommend!

6 sequels followed "The Howling," ALL of which have an awful reputation. I recommend checking them out and judging for yourself. They're all very different, and a couple might be rather enjoyable to you, but avoid the no-budget part 7 (New Moon Rising) at all costs.

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PLOT: The film opens in California. A recent occurrence of grisly murders has gotten the attention of the police. Famed newscaster Karen White (Dee Wallace Stone) has agreed to assist the police in a sting operation in order to find the killer. The biggest lead they have come up with is a mysterious man named Eddie (Robert Picardo). Following a phone call, Karen agrees to meet Eddie in a film booth at a porno shop. Karen goes (followed by the police.) Karen meets Eddie in the booth and suddenly a scream is heard which sends the police racing into the shop and firing at the booth. Eddie is killed from the bullet wounds instantly. Karen is left in such traumatic shock that she can't remember what she saw. She starts having strange nightmares and is forced to take a break from her anchor job. Karen's reporter friends, Terry Fisher and Chris (Belinda Balaski and Dennis Dugan) find the apartment of Eddie. It is filled with strange objects and realistic but strange drawings of people covered in hair. "The kid had talent," remarks Chris. By looking at the signature on the drawings, they discover that Eddie's last name was Quist. Karen later visits the psychiatrist Dr. George Waggner (Patrick MacNee). He is affiliated with Karen's news station and recommends that Karen go to his clinic in upstate California called "The Colony", in order to relieve some stress. Karen is accompanied by her husband R. William (Bill) Neill (real-life husband Christopher Stone). The other people at the colony are really weird, especially the eccentric yet sexy nymphomaniac Marsha (Elisabeth Brooks). At night, Karen awakes in her cabin to hear strange howling sounds from outside in the wilderness. By the time Bill wakes up, the sound has stopped. Terry and Chris later go to the county morgue to see Eddie's body, in an attempt to get some information for an upcoming TV special they are working on. When the morgue attendant (screen-writer John Sayles) opens the compartment door, he sees that the body is gone. There are also claw marks on the inside of the door. "You don't suppose someone could have stolen him, do you?," asks Chris. The attendant replies, "Well he didn't get up and walk out on his own." Karen is still having her nightmares and she still can't remember what happened in the porno shop. She has trouble fitting in with the people at the colony, but Bill starts to fit in right away and he constantly finds himself drawn towards Marsha. One night, on the way back to the cabin, Bill is suddenly attacked and bitten by some sort of wild animal. Before he can see what it is, it's gone. He is immediately treated by Dr. Waggner for rabies. Not too long after this, Karen realizes that she is in a place where no one is who they seem to be.

COMMENTS: Joe Dante's The Howling is a delightful film and easily one of the Top 5 best werewolf films of all time. It is based on Gary Brandner's1977 novel of the same name. It is not a faithful adaptation however. Dante and the other filmmakers wanted to make an homage for other werewolf films and they used Brandner's novel as the base. Many people have claimed that this is one of the few times when the movie is better than the book. The filmmakers decided to base the werewolves on original legends: they would look like large wolves standing on two legs, they can only be killed by silver or fire, if they aren't killed properly then they will regenerate, and they can change at will and don't have to wait for the full moon. Many of the character names have been changed to the names of directors of werewolf films. Many other references are made, such as Terry and Chris watching the Wolf Man on TV, Bill's reference to radio DJ Wolfman Jack, a photo of a young Lon Chaney Jr. in Dr. Waggner's office, Chris is seen watching a cartoon with the big bad wolf while he has a copy of the book "Howl" on his desk, and the sheriff of the colony is seen eating a can of wolf chili. Rob Bottin's special effects for the transformation scenes are absolutely amazing and he was only 21 at the time. I think it looks better than some of the CGI crap that filmmakers use today. No more cheap lap dissolve tricks from films like "The Wolf Man." Rick Baker served as the special effects consultant on this film and afterwards he did the special effects on "An American Werewolf in London", which won him the very first Oscar for special makeup effects. The Howling franchise introduced us to sexy female werewolves and Elisabeth Brooks as Marsha was a fine example. This movie was also the first to show a "werewolf sex scene". Since this movie was such a big hit, Joe Dante later went on to direct movies such as "Gremlins", "Innerspace", "The `Burbs", and "The Explorers." Dee Wallace Stone went on to play the mother in "E.T." The Howling started a franchise and was followed by 6 inferior sequels: Howling II: Your Sister Is A Werewolf, Howling III: The Marsupials, Howling IV: The Original Nightmare, Howling V: The Rebirth, Howling VI: The Freaks, and Howling VII: New Moon Rising. Some were o.k. (Howling III), some were so bad that they were hysterical (Howling II) and one was so bad that it wasn't even funny (Howling VII). The original Howling is a timeless horror classic. I would recommend this film to anyone. The new special edition DVD is awesome. The picture and sound have been completely remastered and it can be viewed in full screen or the original widescreen theatrical ratio. It also features deleted scenes, outtakes, photo gallery, original theatrical trailers, commentary w/ Joe Dante, Dee Wallace Stone, Christopher Stone, and Robert Picardo, a 1981 documentary entitled "Making A Monster Movie: Inside the Howling", and a brand new documentary entitled "Unleashing the Beast: Making the Howling." Check out my reviews for the Howling II and Howling III DVDs as well.

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I love Horror films. When talking about the many sub-genres involved and the low percentage of quality horror films, some films stand out as merely "important" rather than achieve a level of greatness (Last House on the Left, Friday the 13th). The Howling is such a film.

When looking at the great werewolf films out there and considering the times they were released, the original Wolfman stands next to An American Werewolf in London as perhaps the greatest Werewolf films of there respective times. The Howling may very well be a challenge to the latter of these two films as the best of it's time. Both were released in 1981, but the Howling was developed before the Landis project. It doesn't really matter, as I do believe An American Werewolf in London to be better film but the Howling is an important film along with being entertaining. Neil Jordon's In the Company of Wolves came out a few years later and is my personal favorite of any in this sub-genre but all that aside, The Howling is a true horror classic and a werewolf movie fan's treasure. It is a must have of hardcore horror fans because it contains and helped identify the many traits we've seen before and after it.

The Howling starts off in a similar vein to that of the original Dawn of the Dead, putting the idea of a werewolf into the mainstream media (disguised as a serial killer) and it ends on a similar note. This allows us to sort of picture this mythical creature on scale with today's society, or at least that of 1981. It's dated and it's thrown right on TV so we can all feel connected. The film is handled as a kind of film noir at first and slowly brings itself from that and into the werewolf sub-genre in fairly atypical fashion. The acting is really only good by it's main protagonist, whose name escapes me. It also has it's share of character actors who we've enjoyed in these kinds of films before. The Howling isn't afraid to laugh at itself either, which I think is almost a must in horror films...it interesting how almost all other notable werewolf movies (i.e. Dog Soldiers, An American Werewolf in London) also make us laugh. This helped me in some respect to look past a lot of the dated special effects and to laugh at them. The film gets more microcosmic later on and sets itself up for some good scares and some eerie and outstanding howls in the night. Unfortunately, the film ends a bit too quickly, but the Howling remains almost as important as An American Werewolf in London for bringing this great myth back to the forefront of horror films again.

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