The Doors (1991)

This review refers to the Artisan Special Edition(2disc)DVD of "The Doors".....

Become immersed in the wild ride that Oliver Stone takes you on in this legendary film of a legendary rocker.The extrordinary life story of Jim Morrison, played eeriley by Val Kilmer, will keep you mesmerized and stay with you long after the movie has ended.

The film explores "The Doors", from their beginnings in Venice Beach, California, where they exploded onto the rock scene,breaking the mold of music in the 60's, to their rise as superstars. Morrison's life is the main focus as a senstive poet type dropping out of film school, to becoming the Peyote addicted,culture shocking, philosphical rock idol.The LSD trips, the visions of this genius, his personal life and of course the famous controversial concerts are all told through Stone's unique cinematic magic.

You'll get lost not only in the time setting of the story but of course in the music as well. "The Doors" electrifying music is heard throughout the film and follows them chronologically on their journey. It's a film for fans of the cinema and music alike.

As mentioned above Val Kilmer is uncanny in not only his performance as Morrison, but seems to take on the physical appearance as well. The band members played by Kevin Dillon, Kyle Maclachlan and Frank Whaley are extraordinary in their portrayals. Meg Ryan, in a very dramatic roll as Jim's girl Pam is brilliant.

This "Special Edition" DVD is the one to have(and it's not as expensive as the other) It's a 2 disc set, with a fabulous widescreen picture, and a 5.1 Dolby Dig(get to this through the special feature selections) audio track that will blow you away. Lots and lots of special features. On the disc with the movie you can listen to Stone's commentary where he fills you in on how the band met, the genesis of the songs, and where he has taken license with the story. The second disc is filled with featurettes and production notes. Looking at the Technical info for the other edition ("The Collectors") it seems to be longer by 30 minutes and may have some extras not included with this one, but it is not in the 5.1 which for me was the deciding factor in this film featuring this exciting soundtrack.

So get out those mood rings and leather fringe vests and get ready to rock with "The Doors".....

"This Is The End"...........Laurie

also recommended:The Very Best of the Doors

"Pam joined him three years later . . ." is on my copy of the 15 Year Anniversary Edition; the movie is the same as the Special Edition.

The packaging and menus are updated and look great. Substantially better than the special edition.

On to the 2 new features.

The Doors in L.A. 20 minute feature; Robbie Krieger, John Densmore, (yaaay!), Jimmy Greenspoon, and Pamela Des Barres are the prominent interviews on camera here. Nothing earth shattering, but it's nice to see/hear John Densmore's abridged opinions.

The Jim Morrison Phenomena in Paris it's interesting. You've got a handful of people who met JDM in Paris and hung out; they describe his mood and what he was (arguably) saying at the time. There's a French librarian who breaks down a lot of the parallels in the subtleties of the lyrics w/Greek literature. There's a somewhat annoying 20 something saying Jim was done with music and The Doors and blah, blah, blah that isn't substantiated w/anything. There is an interview w/Michelle Rudler, who is listed as "Coroner" who says lots of things were done wrong in the documentation of Morrison's death. It's about 50 minutes.

All of the extras on the Special Edition are here as well.

So in conclusion, if you are looking to purchase The Doors movie on DVD, by Oliver Stone, this is the one to get. The movie is entertaining enough but, you know, it's fictional and not historically accurate enough to garner more than 3 stars from this reviewer.

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The Doors suffers the same problems that Stone's other films about real people and events (JFK and Nixon) do; Stone uses the docu-drama format as a license to condense times and events, while simultaneously inventing composite characters and situations that never existed. All too often, these films, while containing exciting filmic and visual elements, ring a bit hollow.

The upside of The Doors is the performance of Val Kilmer, who threw himself into the role with ferocity and conviction; that he comes up short in the end isn't due to his acting abilities as much as the choice of episodes and Morrison's characteristics (both real and invented) that Stone chose to film. Simply put, Stone's Morrison comes across as little more than a sporatically gifted poet who sublimates his poetic callings to all the cliched rock star trappings. Perhaps this does describe some of Morrison's personality to a degree, but after seeing Morrison get stoned, drunk and act like a spoiled child throwing a tantrum for 2 hours plus, one wonders if Oliver thought of Morrison as basically an obnoxious drunk (possessed by the soul of a bald, silly-looking, half-naked dead indian that continually wanders around the movie) and, if so, what it was that turned Stone onto making the film in the first place...

The downside, in addition to the lack of scope regarding Morrison, comes in the numerous episodes that never happened (The Doors tripping on acid in the desert, Patricia Kennealy being present at the New Haven show Morrison got arrested at, Particia Kennealy and Pam Courson having a catfight, Buick actually making a commercial using the song Light My Fire and Jim finding out about it by watching tv, Jim setting fire to his and Pam's house while Pam was smacked up in the closet...and on and on). Also, the years of 1967 to early 1969 take up about an hour and a half of the movie, while the remainder of 1969 through to mid 1971 take about twenty minutes.

It's a shame that Stone went to such trouble to set up and film some great concert sequences, and Kilmer really made a terrific attempt at playing Morrison, but in the end both were content to rest the character on both the various myths about the singer and the confirmed instances of Morrison at his drunken worst. A well-shot film that, in the end, has little to do with reality.

Read Best Reviews of The Doors (1991) Here

Hey, I know I'm in the minority in my opinion here on Amazon, yet I will state unequivocally my view that the portrayal of Jim Morrison, his common-law wife Pamela Courson, the group, and even the supporting cast of regulars in The Doors Universe come off like characters in search of a serious screenwriter.

Come on already, Oliver. Who could sympathize with Jim and Company when they spew out lines of dialogue clipped, of all places, from Morrison's song lyrics? Did you actually think an audience would accept Jim uttering such discordant lines in an everyday conversation? Could you not separate the man from the performer? Because of that awful bit of writing, Jim comes off like a buffoon, not an erudite talent who, despite a lifetime of loneliness, alienation, and addictive tendencies (which would ultimately snuff out his life), still managed to push aside material comfort for a pursuit of the truth as he saw it.

Also, how come Jim revels in such horrible psychobabble? Had you not gleamed the interviews (available through Bright Midnight and other retailers) you'd hear an incredibly bright, articulate young man who lamented the day he elected to be part of a rock and roll band. You'd also have the makings of excellent drama, as a man who cannot escape his fame and a man who longed to create films and poetry in his own right.

How could one ever sympathize with a drunken lout (YOUR Jim) who acts like an ass (seems more like Val Kilmer playing himself rather than Jim), shows no compassion whatsoever, and just appears to become famous in one quick turn of events. The only clue we have to the success stems from the Sullivan show, the airport raid, and assorted concerts, but we never get a sense of Jim being nationally lambasted. Some archival footage might have helped there. But of course then the more sedate, intelligent Morrison--whom you portrayed as bumping into cops whereas Jim preferred to sway at a mike stand (see the archival footage)--doesn't figure in a Hollywood biopic.

What a shame. What a rotten, dirty, salacious mess. Maybe your own demons got the better of your good sense, Oliver. God knows, if your Morrison had been the true Morrison, I'd never had been a fan of his in the first place. Thanks for turning Jim into David Lee Roth, the members of KISS, Robert Plant, and all those other Circus Magazine posterboys for rock and roll excess. Too bad. An integrity, a nonmaterial nature, and a sincere attraction to make art distinguishes Jim from all those other Sex, Drug, and Rock and Roller hellions.

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(Blu-ray version)

For only those, who just like me, when look for a review, they only hope to find technicals opinions, nothing about the movie, history, critical or something like that, so...

The picture is great and the sound is great too. Buy it!

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Big Jake (1971)

This film is one of the better later-day John Wayne films, though strangely violent for a Wayne film. The Duke stars Jacob MacCandles (maybe a reflection of his real life family situation) as a tough man, estranged from his wife and grown sons. Bobby Vinton gives a quickie performance as Wayne's eldest son, shot when (the great) Richard Boone and his band of cutthroats nearly slaughter all on Jacob's ranch in the kidnapping of his grandson (played by Wayne youngest son Ethan). Patrick Wayne, his real son, plays second eldest son and youngest son, Michael, is played by Christopher Mitchum (Robert Mitchum's son!).

In tow are Wayne regulars, Harry Carey (disgusting tobacco chewing baddie), Bruce Cabot as the Indian tracker showing age with Jacob, Glen Corbett as breed the fast gun that faces off against Patrick Wayne in a gun fight, the most natural actor to ever grace the screen, the late Richard Boone, and a lovely appearance by the eternally beautiful Maureen O'Hara, once again playing John's long suffering wife whot loves him, but cannot live with him.

It is super to watch Wayne with Cabot, Carey, Boone and O'Hara, and Jim Davis (later rose to fame once more as Jock Ewing of Dallas) and though the film is intensely violent, I don't see it was gratuitous. The violence came from the end of a very violent era, times were changing, but not fast enough. The violence of the kidnappers had to be there to show Wayne's to-the-wall rescue of his small grandson was called for. Wayne's character was a violent man when the times called for it, but it was just as willing to let things go if ONLY the other person walked away.

He worked well with his sons and Mitchum, and the interaction between Jacob and his two sons provides the Wayne brand humour in the film.

The times were changing for the code of the old west, and in the same way, times were changing for John Wayne....

I give Wayne credit for not pulling punches in a film that does him credit.

"Big Jake" is one of my favorite John Wayne movies, which is not to claim that it is a classic film. This film is directed by George Sherman, who first began doing Westerns back in the late 1930s, although Wayne is known to have directed some scenes as well. In retrospect I would argue that this 1971 film is the first of a trio of film that Wayne made at the end of his career reflecting the passing of the Western. The other two would be Wayne's next film, "The Cowboys," and obviously his final film, "The Shootist." Of that trio "Big Jake" is clearly the most fun and my biggest complaint about this film is that when it is shown on television they almost always have the first commercial break at the absolute worst moment.

The film begins with a raid on the McCandles Ranch where Little Jake McCandles (Ethan Wayne, the Duke's youngest son, named for the character he played in "The Searchers") is kidnapped by a gang of cutthroats led by John Fain (Richard Boone). Fain demands a ransom to be delivered across the border in Mexico. The Texas Rangers are willing to do it, but Martha McCandles (Maureen O'Hara), the boy's grandmother, announces that this is a disagreeable task and needs to be done by a disagreeable man. At this point we cut to an extreme close up of John Wayne peering down the barrel of a rifle. It is a great introduction to Wayne's character in the film and a fitting counterpart to the moment in "Stagecoach" when we first see the Ringo Kid and his Winchester. But television stations keep putting commercials before the cut because the film's opening sequence, in which narrator George Fenneman, who went from being Groucho Marx's announcer and straight man on "You Bet Your Life" to doing the narration for Jack Webb's "Dragnet," introduces us to all of the members of the Fain gang runs on a bit before we have the raid and the decision of what to do next. So Act I runs out for a bit and if there is a good reason to have this movie on DVD or VHS it is because that way you miss this horrendous commercial placement.

"Big Jake" is basically a chase story as the title character goes after his grandson, heading out with the ransom with only his trusted Native American friend Sam Sharpnose (Bruce Cabot) and a dog named "Dog." But there are several others things going on to make the proceedings more interesting. Big Jake did not even know that he had a grandson, and while the boy's father Jeff (Bobby Vinton, the singer) is wounded, his two brothers James (Patrick Wayne, another of the Duke's son) and Michael (Christopher Mitchum, son of Robert Mitchum who co-starred with the Duke in "El Dorado"). Clearly Big Jake has been separated from his family for a while and there are issues, particularly with James, who makes the mistake of calling his father "Daddy."

There is also a whole sub-text about relying on modern technology. While Big Jake heads off with horses the Texas Rangers take off in new fangled motorcars. Of course this is a mistake, but there is a recurring theme of the old ways being best. Michael has a motorcycle and James has a new fangled pistol, but they are able to overcome their reliance on modern technology. If the Old West is disappearing it is not disappearing until the Duke has his last fight.

Then there is the running gag that everybody seems to think Big Jake is dead. When we are treated to that great close up our hero is watching a group of cattlemen get ready to string up a sheep farmer. Big Jake does not want to get involved, not wanting to make a mistake of his youth that almost cost him his life. But then the leader of the lynch mob (Jim Davis) makes the mistake of kicking a boy ("Aw," says Big Jake, "why'd he want to go and do that for?"). There could be trouble but then it is discovered that the big man on the horse is Jacob McCandles, who apparently is not dead. This happens so often that Big Jake swears he will kill the next man who says that and, of course, he does.

Finally, this film has some great dialogue by Harry Julian Fink and Rita M. Fink. This was their first film together (he did "Major Dundee" and "Ice Station Zebra") and after this they created "Dirty Harry" for Clint Eastwood (no wonder the choice lines in this movie are so choice). When James calls Big Jake "Daddy," the Duke knocks his son on his can and announces: "You can call Dad, you can call me Father, you can call me Jacob and you can call me Jake. You can call me a dirty old son-of-a-b***h, but if you EVER call me Daddy again, I'll finish this fight." But my favorite is when Fain first encounters Big Jake (not knowing who he is, of course) and gives a very serious warning. At the climax of the film Big Jake repeats the warning word for word with a grim earnestness that is quite impressive. That is why this is not a great film, but a great movie.

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John Wayne rides high in the saddle once again in "Big Jake", which proves to be one of his better films from the 1970's.

Wayne plays Jacob McCandles, an aging rancher who goes after the group of men who attacked his ranch, killed some of his workers, and kidnapped his grandson. However, "Big Jake" doesn't plan on letting these no-goods get away lightly. He teams up with his sons James and Michael (played by Patrick Wayne and Chris Mitchum, respectively) and an old Indian friend named Sam Sharpnose (Bruce Cabot) to distribute some rugged Western justice. It has been many years since Jake has even seen his family; he doesn't even know about his grandson until his estranged wife (Maureen O'Hara) sends for him. A man also out of his time, Jake is surprised with inventions such as the motor-car that has made horse-riding obsolete, and the automatic pistol Michael carries for protection. Although it is 1909, he still prefers to use a horse and six-shooter, just like the old days. Whether they use "advanced" technology or not, Jake and his pals have a lot of trouble on their hands as they try to catch up with the men who have his grandson while fighting off local robbers who know about the alleged 1,000,000 dollars Jake possesses for his grandson's ransom.

The action scenes are surprising violent (compared to some of Wayne's older films), but they're not extreme to the point of earning "Big Jake" an R-rating. The dialogue, especially between Jake and his sons, is enjoyable and simple. A cast of familiar Western actors only adds to the fun, as familiar faces appear throughout the film. Some of the actors include Harry Carey Jr., John Agar, Jim Davis, and plenty more.

"Big Jake" is a film that John Wayne fans and action fans alike won't want to miss. Unfortunately, there are no special features on the DVD edition.

Read Best Reviews of Big Jake (1971) Here

This is one of the last traditional John Wayne Westerns. He's a little older but he's still tall in the saddle and commands the screen. Estranged legendary patriarch, Big Jake (John Wayne) reunites with his family to recover his grandson, Little Jake. Richard Boone, the leader of the kidnappers turns in a good performance as the personable but menacing villain. Boone and Wayne exchange some of the best cliched dialogue ever put on film. It's pure good old-fashioned Saturday matinee stuff. The film is also highlighted by Elmer Bernstein's best score for a Wayne Western since his "The Comancheros" and "The Sons of Katie Elder." This film also features Maureen O'Hara, Patrick Wayne, Chris Mitchum, Bruce Cabot and Bobby Vinton. This was director George Sherman's last film. There are some great scenes in this film. This is one of my favorite John Wayne Westerns.

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One of John Wayne's better late-career vehicles, "Big Jake" (1971) is an enjoyable turn-of-the-century Western that mixes humor and gunplay in equal measure. The cinematic icon remains tall in the saddle as Texas rancher Jacob McCandles taking on villainous Richard Boone and anyone else responsible for the kidnapping of his grandson. Veteran director George Sherman keeps the action moving at a relaxed pace. However, the climactic shootout is bloodier than expected for a Wayne Western. In a disappointingly small role, Maureen O'Hara appears with the Duke for the last time as McCandles' estranged wife.

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A Passage to India (1984)

This is a magnificent and exquisitely wrought film, well nuanced and faithful in its adaptation of E.M. Forster's classic novel of the same name. Director David Lean, who had previously directed such cinematic triumphs as "Bridge on the River Kwai" and "Lawrence of Arabia", outdid himself with this film, which was nominated for eleven Academy Awards and for which Peggy Ashcroft won an Academy Award for Best Supporting Actress, as did Maurice Jarre for Best Score.

Set in 1928 colonial India, it is a story about racism and love. A headstrong and adventurous Englishwoman, Adela Quested (Judy Davis) travels to India to meet her fiance. She is accompanied on her journey by her fiance's elderly mother, Mrs. Moore (Peggy Ashcroft), a lovely and kindly woman who, upon reaching India, is appalled at the treatment of the native Indian populace by her own countrymen. She eventually makes the acquaintance of a very nice Indian man, Dr. Aziz (Victor Banerjee), who is surprised at being treated as a sentient human being by this Englishwoman. During a social ocassion, in which the usual class boundaries were set aside, he again meets the delightful Mrs. Moore and is introduced to Adela Quested. Enthused by being treated as an equal, he gets carried away and invites them to be his guests on an excursion he can ill afford to a well known, but remote tourist spot, the Marabar caves.

It is a hot day and a long journey to these mysterious caves, and Dr. Aziz and Ms. Quested are thrown together more than they ordinarily would have been, setting the stage for a fateful and strange turn of events, one that would have great personal, as well as political, impact on the parties concerned. It is a collision of East and West and makes for a definitive statement about the nature of the relationship between the native Indian population and the British colonialists. It is a relationship that makes itself most manifest during the telling courtroom scenes, making it a film to be remembered.

This is a very well acted and compelling film, a sterling tribute to David Lean's directorial talents. In this, his last cinematic triumph, Lean leaves a legacy to be remembered, having exacted wonderful performances from the star studded cast, including James Fox, Alec Guinness, and Nigel Havers. Victor Banerjee is especially compelling as the put upon, well meaning Dr. Aziz, while Peggy Ashcroft gives a sensitive and well nuanced performance as the humane and soft hearted Mrs. Moore. Judy Davis is excellent as the conflicted Ms. Quested.

The DVD itself is first rate, offering crystal clear visuals that do justice to the breathtaking cinematography. Coupled with crisp sound, this DVD ensures one's viewing pleasure. It is one well worth having in one's collection.

When David Lean's "A Passage to India" opened in 1984, some saw it as a showdown between the glory days of literate epic filmmaking and the "feel-good" ethos of the Lucas/Spielberg popcorn juggernauts. Who better than the director of "Lawrence of Arabia," "Doctor Zhivago" and "Bridge on the River Kwai" to show the film school grads how to make a movie? As always, anything burdened by such mythic expectations is bound to fail ("Phantom Menace" anyone?) Sadly, I joined the chorus of detractors lamenting "Passage" as a poor shadow of the "Leanscapes" that catapulted "Lawrence" and "Zhivago" into film history.

Amazing how age softens perspective. A fresh viewing of "Passage," courtesy of Columbia TriStar Home Video's new DVD, reveals an eloquent adaptation of E.M. Forster's complex novel about British colonialism in 1928 India and the cultural and sensual abysses that separate men and women, English and Indian, sensualist and ascetic.



"Passage" tells the story of Adela Quested (Judy Davis) en route to India to visit her fiancé, Ronny Heslop (Nigel Havers). Traveling with Heslop's mother, Mrs. Moore (Peggy Ashcroft, in an Oscar-winning performance), Adela arrives in the city of Chandrapore to find an alien environment, yet evocative in a way she cannot fathom. Mrs. Moore is similarly captivated by India, but is less than admiring of the treatment of the Indians by their colonial masters, i.e. her peers. One night, Mrs. Moore visits an abandoned mosque. There, she encounters local physician Dr. Aziz (Victor Banerjee). At first he charges her with blasphemy, entering a holy place improperly. When she assures him that she showed due respect by removing her shoes before entering, the two strike a friendship that might signal some understanding between the two cultures.

At a lunch party given by British teacher Richard Fielding (James Fox), who does not share his countrymen's disrespect for India, Adela meets Aziz for the first time while Mrs. Moore and Fielding converse about metaphysics with Professor Godbole (Alec Guinness, donning yet another disguise for Lean), a Brahmin mystic. Adela is fascinated by Aziz's juggling of their two societies. In an effort to impress Adela and fit in as more of an Englishman, Aziz impulsively calls for an expedition to the mysterious Marabar caves outside town.



What at first seems (to both sides) a breach of etiquette turns sinister when Aziz is accused by Adela of attempting to rape her during a visit to one of the caves. Now seen as a political tool by both sides, Aziz's trial threatens to escalate resentment into outright bloodshed. As everyone tries to solve the riddle of what really happened, Aziz and Adela must find some way to break away from the societal and cultural maelstroms threatening their freedom.

Adhering closely to the Forster novel, Lean's screenplay adaptation finds greater interest (and rightly so) in the circumstances that led to the incident as well as the aftermath. Davis' Adela is repressed and cloistered comfortably within British society. Both Aziz and India arouses her, awakening sensual feelings capable of enlightenment...or destruction. Lean visualizes this conflict with a scene not in the book. When Adela goes bicycling outside the city (Chapter 8), she comes across the ruins of an ancient temple. Almost voyeur-like, she spies the numerous statues of couples having sex. Adela herself almost reaches a fever pitch when wild monkeys literally expel her from their feral sanctuary. The lack of respect that Adela showed in her judgment is a direct contrast to Mrs. Moore's deference when she enters the mosque and meets Aziz. Yet Lean gave us the conflict in purely visual terms, no less grand than the match-to-sunrise jump cut in "Lawrence" or the endless icy tundras of "Zhivago. "Passage" proved a worthy valediction to Lean's career. Between directing, scripting and editing the film, we see Lean in complete command in his storytelling faculties. Even the final scene, straight out of the book, works better in the film than on the page.



The transfer also succeeds on every level. The 1.85 anamorphic image is rock solid and sharp throughout the presentation. (Politics at the time forced Lean to shoot the film in the more TV-friendly 1.85 aspect ratio instead of the wider 2.35 Cinemascope format. Back in 1984, this compromise seemed outrageous. Again, after watching the film, I found Lean's "flat" framing just as carefully composed as anything on his ultra-wide canvas.) The source materials are in terrific shape, as there are no blemishes and defects visible. Colors are rich and vivid but natural. Deep blacks and careful contrast control provide excellent detail delineation. Digital and compression artifacts are completely absent.

The Dolby Surround audio plays adequately; to be expected as the sound mix is not particularly flashy to begin with. Maurice Jarre's score, which weaves Hindu music with Cole Porter-esque rhythm, never overpowers the dialogue or sound effects. Surround channel activity is relegated primarily to music fill. French and Spanish mono tracks are also available on the disc.

The main perk of the special features is a section entitled "Reflections on David Lean." While the title implies a testimonial to David by his peers, it's actually an eight-minute collection of soundbites, shot on video, from David about the making of "Passage" and some thoughts about such collaborators as William Holden and Alec Guinness. There's no identification of the source or circumstances of the observations, but he's never less than fascinating when talking about the difficulties of shooting in India or how Forster wouldn't let grant the movie rights because he "distrusted filmmaking."



Trailers from "Lawrence of Arabia," "Bridge on the River Kwai," and "Guns of Navarone" appear on the disc, mirroring the same trailers available on the "Lawrence" DVD. Again, no "Passage" trailer (Did Columbia not create one back in '84?) The trailers are letterboxed with decent audio and video.

Check out "A Passage to India." A thoughtful, quiet gem awaits you.

Buy A Passage to India (1984) Now

Very interesting examination of English and Indian attitudes about themselves and each other in 1920's India. The English that reside in India may start off as decent folk with the feeling that they are in the business of improving India and some are. Most however merely see the India venture as an employment opportunity and once there merely carry on being English and force their English ways and rules on Indians whom they demean in the process. Lean presents the stereotypical English administrators and their wives as a rather unappealing bunch of snobs who only become more prejudice the longer they stay on. India is seen by them to be a muddle in need of their administrative and civilizing skills. The Indians of course see things quite differently. British snobbery and decorum prevents any social mixing with the Indians they rule so its no surprise they don't understand the people whose country they are in.

Judy Davis and her fiances mother arrive in India and find the stringent social norms to be revolting. They immediately want to meet Indians and learn about the place they are in from the Indians whom they treat like polite hosts. When they do begin socializing with the Indians however trouble follows. The incident in the Marabar caves is brought on by the uneasy combination of English repression and Indian sensuality which is everywhere on display in the temples and statuary. The "incident" is the central mystery to the movie and I won't spoil it for you but during the trial that follows the true nature of the relationship between the ruling English and the subject race is made painstakingly clear to all. Excellent and competent and compressed presentation of the Forster novel which also relies on a stage version of the book. Many ripe lines throughout that stay in your mind and crystallise each characters personality as well as the overall situation quite succinctly. And as always with Lean great views from every window. Judy Davis is especially impressive as she can go from pale and mousy to red lipped seductress with just a slight change of expression and posture. Alec Guinnes plays "the inscrutable Brahmin" but the only thing inscrutable about him is that he is English and cast as a holy Indian, a misstep that wouldn't fly in todays politicized world. Other than that great cast. James Fox especially likable as the good teacher Fielding.

Read Best Reviews of A Passage to India (1984) Here

Sometimes, what you don't see can be of equal importance to what you do see in a film. David Lean's film is no exception ... but more on that later.

A film of epic quality, it follows two travelers on their journey from England to India during the Raj colonial period of the 1920s. For Adela Quested, it's her first time out of England to anywhere. For Mrs. Moore, it's a chance to visit her son, Ronny, who is expected to marry Adela during the visit. But, their visit is not without incident.

What both Adela and Mrs. Moore discover is an India ruled by British bureaucrats (Ronny being one of them, a city magistrate) who exude personal and cultural superiority over Indians. This was a shock to them since they both expected to find Indians and Britons meeting socially and on friendly terms. The only exception to that rule appears to be Fielding, principal of a college.

Through Fielding, Adela is introduced to Professor Godbole (a Hindu holy man) and Dr. Aziz (a Muslim physician) socially. Mrs. Moore met Aziz in a previous scene but had not yet met Godbole until that moment. One note on that (a film flaw). During that mosque scene where Mrs. Moore meets Dr. Aziz, Aziz never once mentions his name to her ... yet later, Adela knows his name as mentioned to her by Mrs. Moore. Perhaps his name was mentioned in a brief scene that ended up on the cutting-room floor. But, that omission is trivial and in no way detracts from the enjoyment of the film.

During this social introduction, Aziz invites Mrs. Moore and Adela on a journey to the Marabar caves, a tourist destination. On the trip, and tired from all the activity, Mrs. Moore stays at the encampment near the lower caves and encourages Aziz and Adela to explore the higher caves alone.

Then, something happened ... and I won't tell you what (grin). Suffice it to say that Aziz finds himself in police custody. A court trial ensues that pits culture against culture, race against race, and clearly demonstrates the differences in attitudes between resident British citizens and Indians. But the trial's climax isn't the most moving part of the film. Lean has risen the film's denouement to a higher level ... one that leaves you smiling and crying at the same time. But what Lean does NOT mention in the film is equally interesting.

In today's world, India is beset by inter-sect angst between Hindus, Muslims, Sikhs, and persons of other faiths. In theory, this inter-sect rivalry has been around since before India became a British colony. But, this rivalry was not mentioned once in the film. It is perhaps a testament to the novelist (E.M. Forster) and Lean to realize a potent underlying force in the story ... that British colonial rule held these rivalries in abeyance ... uniting Indians of all faiths into a common bond that eventually forced colonialism to end in India.

The film is a masterpiece on every level and remains one of my favorites of all time.

P.S. Closing comment to those (like me) who own region-free DVD players that render both PAL and NTSC DVDs. For some reason unknown to me, it's over $10 cheaper to buy the DVD from Amazon.co.uk than it is from Amazon.com ... even after overseas shipping is added in. That's where I ordered mine (from the UK).

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"Passage to India" was one of the greatest films produced in the Reagan era. It also happens to be the final film of one of cinema's most honered craftsmen, Sir David Lean, who is considered by many to be the greatest British director of all-time. This film may not be on the level of his other 70mm epics such as "Bridge on the River Kwai" and "Lawrence of Arabia" in terms of sweeping scope, but it more than holds its own. Produced in an era where apartheid in South Africa was the hot political issue, this film deals realistically with the occupation of the english in India. Not so much the political occupation, but how the two culture relate to each other through the eyes of the films two lead characters beautifully played by Judy Davis and Victor Banerjee. A film which does not give you the answers, but encourages you to draw your own conclusion in regards to the charcters (espeically Davis' Adela Quested) motivations. Now how does the DVD look? The transfer is beautiful, the best I've ever seen this film presented since it opened back in Dec, 1984. There are no distracting compression artifacts or nasty layer switches. The dolby stereo surround track is clear and ambient with no drop-outs, so a 5.1 upgrade would've been unnecessary for this film. If you enjoy striking visuals and English literature brought to vivid life through film, Passage is a must-have. My highest recommendation.

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Monsieur Lazhar (2012)

How is a class of eleven/twelve-year olds to cope with a tragedy that suddenly and out of the blue takes away their teacher? How do parents and teachers react to the trauma the children are experiencing? The school principal is under pressure to keep things "normal", none of the other teachers can take on the class, one school councillor is designated for the class of twenty plus young minds a crisis of great proportion... Into this challenging scenario walks Bashir Lazhar and offers himself as the ideal replacement teacher. With great subtlety and compassion does the film, Monsieur Lazhar, explore the evolving relationships between teacher and students, among various teachers and last but not least, between Bashir Lazhar at the school and his personal struggles beyond. While set in Montreal, Quebec, the messages of the film are nor locality specific, and could happen anywhere. The story touches on the different ways of dealing with loss and guilt, with honesty, lies and pretense, with prejudice and expediency. And finally, how the coping mechanisms of adults cannot easily be transferred to those of children living through a crisis. The story concentrates on two of the children, Simon and Alice, their growing hostility and Bashir's strict yet sensitive methods in dealing with the emotional struggles that the children go through.

Mohamed Fellag's acting in the role of Monsieur Lazhar is excellent, his interpretation of his character utterly convincing in his unassuming and often understated acting. The child actors, especially the two interpreting Simon and Alice, come across as natural and genuine. Philippe Falardeau, the film's Canadian writer/director came to international attention last year with his film "Incendies" that, like Monsieur Lazhar this year, was nominated for the Academy Award for best foreign-language film. [Friederike Knabe]

There is no shortage of good French language films about children and their teacher(s). Though this one is set in Montreal, it has many of the endearing qualities that French directors bring to their portrayal of the interaction between children and adults.

What makes this film excellent is its overall tone. It's touching, it's heartwarming and ultimately sad, but in an almost uplifting way. The acting the children is flawless.

And while the subject matter of death is at the core of the film, it is enveloped in a

feeling of awe and detachment at how the kids deal with it, and themselves, and a humanistic

portrayal of the teacher who has to take on the class following the suicide of their previous teacher. The teacher himself though has his own understated but real demons to cope with. But the heart of the film, including most of its scenes, take place in a classroom.

Technically, the film has a near perfect touch. Scenes end when "they should" instead of being drawn out for unneeded effect (and the ending included), histrionics are absent, and it flows like a calm stream with potentially turbulent undertones. It's a film ultimately about life, love, respect, hope and endurance.

It's a film you'll enjoy owning so that it can be viewed on multiple occasions. And being a foreign film, you can bet that most of your friends and family haven't seen it.

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And I don't throw that word around. Everything about this film is exquisite: the story, cinematography, editing, pertinence, depth, character development, acting, soundtrack -and the French (my second language) is pristine. I don't recall breathing while watching it in the theatre, but I must have. The popcorn went untouched. I can hardly wait for the DVD!

Read Best Reviews of Monsieur Lazhar (2012) Here

A replacement teacher and his students help each other come to terms with tragedies in their lives. Compassionate, thoughtful, often very funny.

Recognizes that a modern classroom with its heavily regulated behavior can be an environment hostile to compassion and connection and addresses that both as a part of the inciting tragedy and as an obstacle to dealing with it.

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I'm sure I can't improve on the review that originally brought this Quebecois film to my attention. Je vous remercie profondément, Madame Knabe! Was "Monsieur Lazhar" nominated for Best Foreign Language Film for 2012 or 2011? In either case, it deserved to win just as much as whichever motion picture captured that condescending prize, including even Michael Haneke's intense "Amour." The acting is wonderfully well attuned, both from the adult teachers and from the students in a Montreal public school distraught over a well-loved teacher's suicide in her own classroom. The dynamics of faculty relations in the small school are perfectly convincing, which is not often the case in films. [I taught art and music in a grade school for two anxious semesters, by the way, decades ago at the beginning of my adult life.] As is so predictable, the brightest children are both more perceptive and more vulnerable than their teachers. It must be scary to confront such a realization for the first time as a beginning teacher. The title character, Monsieur Lazhar, has more immediate reasons to be scared, however. Only his gentle, humane decency carries him through.

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Ocean's Trilogy (2009)

I enjoyed the movies my self and looked forward to the BD release, but when I put them in my player and noticed the almost DVD quality video I felt ripped off. There are numerous artifacts through out the movies and bad colors. Buy with caution.

This is, without a doubt, the WORST quality blu-ray movie I have seen!! what were they thinking when they did this transfer? It is hard to see a big difference in this regular DVD and the Blu-ray.

The movies are great. the quality is a real let down. This review is based on the HD quality, not the review of the movie, as it should be on the Blue ray box set listing. Don't waste your money until they do a better job with the quality of the conversion

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The pros:

Brilliant ensemble cast

Entertaining story lines that are enjoyable through multiple viewings

The cons:

Lack of special features (Ocean's 12 disk special feature consists of...drumroll please...the TRAILER alone)

No real justification to buy box set unless you are just really really excited about owning, well, the box

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I'm sure everyone has seen this series so my rating is not based on the plot or acting quality. Everything looks great in HD, of course. The problem is that because they are crooks (lovable crooks, but crooks nonetheless) their operations usually happen at night or in the dark. That means tons of film noise, which is gloriously captured in 1080p. I find that some of the night/dark shots are grainy to a point of being obvious, though not enough to annoy me. It's like two guys sitting next to you in the theater, constantly chatting away in low volumes. It doesn't distract from the movie, but you'd enjoy things a little more if it weren't there. That's the only minor imperfection I could find. Everything else is marvelous.

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Ocean's Eleven is a fantastic film and the two follow on are still a good time, although not the same quality as the first. The second is by far the weakest and takes the most liberties with being ridiculous. You do have to suspend disbelief in these films but it is totally insane to say they are a bad trilogy especially when the first is genius. Not to mention that the original is actually pretty crappy if you go back and watch it. Just because it is a classic doesn't make it good. If you look at the original Thomas Crown it is actually quite bad. The remake was a fun, very well done film. Clearly the previous reviewer has an axe to grind and that is making it into their review. If the extras are anything like extras on the non-HD versions, you'll be pleased. Rarely have I appreciated a commentary but they have some great ones on these discs.

Velvet Revolver - Live In Houston / Let It Roll - Live In Germany (2012)

Will work on US blu ray players...excellent concert.. 2 concerts for the price of 1 Highly recommended. Love Slash!! amazing guitar player.. Concert Rocks

I'm a big VR/STP fan, so I had to have this. It has all of your favorites, but it has several that you will probably want to skip past. Best line in the show "We were all working really hard on getting sober, but we had to take a break from sobriety to do a tour." Scott Weiland

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Heroes: The Complete Collection (2011)

When taken one season at a time, Heroes can be a little disconcerting, and maybe even a bit confusing. As someone who had never seen the first season, and then began watching the series, missing a few episodes here and there, I found it fascinating. Watching Season One gave a sense of order to the rest of the episodes. While there are an awful lot of characters introduced after Season One, and many who die shortly thereafter (or are they really dead?), the story line which weaves in so many directions at once is intriguing. Watching the seasons again, in sequence, is awesome and makes me wish for that movie which was supposed to "wrap things up". I don't think the critics have been fair in assessing this series; it seems like there are a lot of fans who'd like to have seen Heroes continue, and who enjoyed the mental challenge of the plot twists and turns, not to mention the twists and turns of the personalities of the characters. I highly recommend this set to anyone who enjoys science fiction watch it in sequence and to really get the subtleties, try to watch without letting too much time pass between episodes and seasons. It is a fun series to follow!

Normally I do not like science fiction books or shows, but Heroe's is believable and thought out well. This is at the top of creative writing. The actors are amazing and deserve thanks for letting the audience connect with them. There is very good down to earth humor too which was important to me. As far as equality between males and females, this show was top notch and did not degrade the males like so many show do these days, I felt the last two years where just as interesting as the first two, and I was sad to see it end because those writers are so proficient in there work they would have written more captivation storys', Maybe the show just wanted to end at the top, I will be watching where these stars work next!!! I HIGHLY Recommend purchasing of this series and must say I learned a lot from the extra'.

these dvds for the commentaries which are full of whit and explained to those of is who have no clue how filming works. Ny favorite part is listening to actors speak about how the real actors are vs, what we watch on the show, CONGTATULATIOMSto all who put this show together, My house burned down I needed some good escapr tv and this show lifted my spirits!

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I am a gigantic fan of HEROES, but the packaging! It's a paper-thin box surrounding the four season sets, along with a DVD case containing the Season 2 and 3 bonus discs. Sloppy, sloppy work.

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Loved the show when it first came on and when it ended. I miss this series alot. It had alot of potential for another season and they could've ended it at season 5. The blu ray disc set is very awesome looking and the picture on my new blu ray player is crisp and clear.

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Heroes: What can I say, I enjoyed the series but was disapponted that they were not continuing with the series. I would have liked to know what happened with the the Petrely family. I know that Nathan died, but was Syler able to continue as Nathan. Did Hero save the World, I know he saved the cheerleader. There are a lot of what if's in the story. I'm sorry to see it end.

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Just Cause (2012)

There's more than the alligators lurking in the swamplands of the Everglades in this thriller. It's hard to know who to trust as a Harvard law proffessor(Sean Connery) who hasn't even had a case in 25 years, reopens one of a convicted killer(Blair Underwood) in Florida. There is evidence to support that his confession was beat out of him, and the proffessor intends to prove it.

Don't take anything for granted in this chilling mystery as the list of suspects grows. There's the tough lawman(Laurence Fishburne),the psychotic serial killer(Ed Harris) over in the next cell,and you may even suspect the alligators in the swamps for a while. There are many twists and turns that will have you wondering who done it? The prof's wife (Kate Capshaw)is even invovled. Lots of action, lots of gripping suspense to keep you glued to your seat. You wont want to miss a minute of it.

The cast listed above all do marvelous work in this film. But I must also mention that the legendary Ruby Dee makes a superb appearance, as well as Kevin Mccarthy and Hope Lang.

So let's talk about the DVD. Fabulous! Wonderful widescreen picture. The swamps never looked so clear. Colors looked perfect.Nighttime scenes were all perfectly visable. The sound in the Dolby Surround 2.0 was actually very good, probably could have been perfect in the 5.1 with all the action though. Don't look for any special features,this DVD has only the language selection of French.It's a great film to add to the thriller section of you DVD library(even without the extras)

So Look out for those alligators and enjoy.......Laurie

also recommended:Presumed Innocent

Hi..

I don't get why so many people didn't like this movie, and why is there all those negative reviews about the film ?

This film is just great, it has an interesting plot, great acting by all the stars and a good ending.

So don't you guys pay any attention to those negative reviews, this movie has it all.

I personally think that this is one of connery's best movies with an amazing performance by all especially connery !

And the scene where connery's character interviews Harris's character is one of my favourite scenes, quit memorable and thrilling !

This is a must BUY movie and is highly recommended !

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I remember the night I first watched this movie. I rented it at the Video Shop, without much enthusiasm & at the insistence of my roommate. Well, let me tell you, this Thriller is exactly that..THRILLING!! Every turn and twist imaginable is in this movie. Did he or didn't he kill that little girl? I was on the edge of my seat for most of the movie. Ed Harris is terrific as well as Sean Connery, who just keeps getting better with age. I recommend BUYING this movie. I have watched it about 4 or 5 times now and my heart races each and every time. [....]

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A bravo performance by the great Sean Connery, plus a fairly imaginative storyline, saves this one from mediocrity. The supporting cast is not bad, although you really never get to know them much. You may think that you see where this one is going, but there are surprises.

A young black man is on death row for a murder that he maintains he did not commit. Connery plays a liberal, anti-death penalty law professor who gets talked into trying for a new appeal in the case. Turns out that the convict was indeed beaten and coerced into making his confession in what was otherwise a fairly thin case against him. But all is not what it seems, and more would be telling. This one held my interest throughout. It has a somewhat strange moral message if you want to call it that.

One of the better suspense/murder films out there. This one is worth a try, especially for Sean Connery fans.

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Just Cause is one of those films that at first makes you wonder quite why it was so heavily slated when it came out nothing special but competent enough and with an excellent supporting performance from Ed Harris. Then you hit the last third and everything starts to get increasingly silly until you've got a killer with a flashlight strapped to his forehead threatening to fillet Sean Connery's wife (a typically mannered and unconvincing Kate Capshaw) and kid (a very young Scarlet Johannsen) in an alligator skinner's shack. The kind of movie that's probably best seen on a plane, and even then only once.

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Baarìa (2009)

BAARIA is another masterwork form the consummate film artist Giuseppe Tornatore. Tornatore is so highly regarded in Italy and Sicily that famous actors fight for the opportunity to work in one of his luminous films, agreeing to take minute walk on roles just to be near the director: Monica Belluci, Ángela Molina, Beppe Fiorello, Raoul Bova etc. This film deserves close attention form the viewer and in some ways it may be better to view the DVD's Interview with Giuseppe Tornatore BEFORE watching this film so that the writer/director's concept and technique is understood before the story unfolds.

Baarìa is Sicilian slang for Bagheria where Tornatore was born and this is an autobiographic epic of three generations in the Sicilian village where he was born. It begins in the 1920's where Giuseppe "Peppino" Torrenuova lives with his brother Nino and his parents in a hovel. They are so poor that Peppino's father advises him to become a shepherd in order to help support the family. Peppino progresses to taking a cow around the town to fill the milk buckets of the townspeople, struggles through school, progresses to young adulthood when he falls in love with Mannina and going against Mannina's family's dream of having their daughter marry money, the two elope in the home of Mannina! and it is here that the characters become the adults who carry the film. Of note, Tornatore elected to cast the main characters with little known Sicilian actors: Peppino is Francesco Scianna and Mannina is Margareth Madè both brilliant in their roles. From this point the time passes through historical references to Il Duce, the mafia, WW II and the coming of the Americans, but more important is Peppino's idealistic concept that his future lies in politics. He becomes a Communist, rises in the ranks, eventually even visiting Moscow to meet with Stalin, and returns to Baaria to help the people struggle for land reform and socialism, all the while he continues to have children with Mannina and follow his dreams of being a successful politician, a dream that is as fragile as it is unattainable.

The film flashes back and forth in time and has no linear story line: Tornatore is more interested in taking snippets of his memories of his past life growing up in Baaria than he is in keeping the audience clear about the characters who flash in and out of the story. His use of children is magical they seem more wise in their innocence that the adults. But take the movie for what it is a mélange of remembered moments in the writer/director's life and witness some of the most beautiful moments ever created for the screen, such as the eventual death of Peppino's father who passes his wisdom to his son, and Peppino's advice to this oldest son as the son takes the train to Rome: the son asks 'Why do people call us hotheaded?' to which Peppino answers 'Because we think we can embrace the Universe, but our arms are too short.' Peppino's wisdom he passes to his son is to follow his heart at all costs and there will he find satisfaction. This film is overflowing in such moments and watching it is like opening a treasure trunk full of dazzlingly memories. The musical score by the evergreen Ennio Morricone is absolutely one of his finest a score the composer created in conjunction with Tornatore.

There is a problem with the DVD that hopefully someone will solve: the English subtitles (the film is in Italian and Sicilian) are very difficult to read so bleached out are they over backgrounds of bright Sicilian light. It is a post-production flaw that needs to be corrected for non Italian speaking audiences, but even with that minor problem, this is one of the most touching and tender and emotionally satisfying films this viewer has ever seen. 10 stars! Grady Harp, October 11

I have spent quite a lot of time trying to find the Sicilian version of this movie in the U.S. and when I finally watched the America release in "Italian" I found that the movie had a lot of Sicilian. Sicilian being my first language it was music to my ears. Sicilians are a unique and passionate people. Our language is so expressive and truly musical. I only wish there were more movies that were made in our native language. I'm guessing that this was released and marked as Italian because Americans will not notice the different languages...One scene in particular, when Peppino is running to school in the very beginning the teacher is yelling for him to hurry he shouts, "Sperugiate" (please excuse the spelling), but that is Sicilian. It happens many times in the film and appropriately (Sicilian being the conversational/familiar language used with friends and family, while Italian is spoken formal settings). Growing up in a Sicilian family we speak Sicilian at home and with our relations and neighbors, but with other Italians or when conducting serious business we speak in proper Italian. Anyway, I hope the people who watch this film experience the same satisfaction and feel the same nostalgia that I did when watching this film. Some of the nostalgia comes from my own experiences as my parents sent me Sicily as a child several times to spend summers there and some of the nostalgia stems from the verbal history my grandparents imparted on us.

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With both a literal and a figurative nod to Federico Fellini, Italian auteur Giuseppe Tornatore has created "Baaria." A personal epic spanning five decades in the life of a typical Italian family, there is undeniable beauty and lyricism in Tornatore's vision. His beloved "Cinema Paradiso" was a striking blend of nostalgia, whimsy, fantasy and heartfelt drama that struck a chord with both viewers and critics. It won an Oscar, as well as a slew of other awards, and is widely considered a modern masterpiece. With "Baaria," he adheres closely to a similar formula but with decidedly mixed results. I had heard one of two things about "Baaria" prior to catching it on this presentation. Some said it was a masterpiece, some said it was an utter disaster. And in truth, I do believe the film to be divisive. I expected to fall in love with the movie, but I ended up admiring individual elements as opposed to embracing it in its entirety. Part of the film's unusual quality is that it seems both completely intimate to the filmmaker but more noticeably aloof to the viewer. In the film's construction, Tornatore advances through the years and presents some compelling moments without ever slowing down enough to let us actually become invested. This choice might be embraced by some, but the lack of emotional connection is what will create the film's strongest detractors.

As always, Tornatore's film is a beautiful physical specimen. The technical aspects of art direction and cinematography enhance the movie's appeal, and it really looks crisp and clean. Taking place in a small Sicilian hamlet called Bagheria (of which the title Baaria is a nickname), the bulk of the film deals with a small boy who advances through his life to old age within the narrative. Not only do we see his world and family, but we see the political structure of the country change around him. I enjoyed much of this perspective as there were subtle lessons in history sprinkled throughout the piece. Certain moments have a pleasant sweetness, some are more tough. It's as if we are catching random glimpses of the characters as time progresses. And in truth, I really liked the idea of the film. However, if I'm being completely honest--the device, while interesting, is also what caused me to disconnect from the story. Just when something of interest happens, you move on. Nothing has time to resonate. How can you watch someone's life story and still not particularly know them or care about them? That is ultimately how I felt with "Baaria."

And yet, I still can't completely discount Tornatore's conception. It's big, bold and adventurous. Sure, it veers to the fantastical once too often--but here is a filmmaker with a specific point of view. It wasn't wholly successful for me, but it didn't lack in ambition (which so many films do). The movie itself ranks at about 3 1/2 stars for my taste. But the DVD features are enough to make me round up and should be appreciated by Tornatore fans. He is front and center in a commentary track, in behind the scenes footage, in an interview, and at the film's premiere. In addition, some deleted scenes are also present. Clearly, this was a personal and important project for the director. I just wish that I had felt the same passion as he has for the work. KGHarris, 10/11.

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As a legitimate proud of a the most faithful tradition of the Neo Realism tradtion, Tornatore returns to Sicily to undertake the task of telling us the life and times of a fervent believer of the new hopes of a better tomorrow.

The man and his circumstances, disavenences through thirty years from his early youth until his early fifties. The film captivates and engages, and if it's true it lacks of the enraptured magic of Cinema Paradise, the movie will reward you, due its unforgettable and laughable vignettes all the way through, without loosing ends about the inner contradictions between the reformer politician and the old fashioned head of family.

The marvelous introduction reminds us so much to De Sica's Miracle in Milan, where the fantasy and surrealistic images allows us to be part of his narrative scheme.

Terrific cast, splendid script and amazing photography make of this movie a must-see. Don't miss it.

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Saw this film on a return flight from Italy. Though I speak no italian, this film captured my attention. So expressive is the writing, I found it easy to follow the story even without subtitles. I await the North American release of this DVD with real anticipation.

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Under Siege 2: Dark Territory (2008)

Most movie sequels I've seen were bad remakes of the original. But UNDER SIEGE 2: DARK TERRITORY delivers some excitement, holding your attention.

Steven Seagal reprises his rule as the Navy cook/martial arts champion serving knuckle sandwiches to hijackers who take over a train. Seagal's in top John Wayne form, speaking slowly and softly and not saying too much. And as in the first film, he's at times funny, with one wisecrack you won't forget. ...

Eric Bogosian adds flavor as a slimey villain, another reason UNDER SIEGE 2 rises above the average sequel. Bogosian matches the high-energy performance he gave several years ago in the movie TALK RADIO.

Is it a Hollywood law to cast women as only sex objects or victims? Katherine Heigl fills the role of the latter in UNDER SIEGE 2. Despite her good looks, she plays Steven Seagal's niece not his love interest. I suppose that's something you would not predict. But sure enough, the villains capture Ms. Heigl and it's up to Uncle Steve to save her pretty little head.

See UNDER SIEGE 2: DARK TERRITORY. It's a cut above both action flicks and sequels.

And this is a rare thing . . . a sequel that's just as superb as the original. Steven Segal is the cook again, and he boards the Grand Continental luxury express train with his niece. But trouble brews . . . a group of terrorists led by a disgruntled ex-CIA operative hijack the train to take control of a covert space satellite weapons platform, holding the passengers hostage and blackmailing the Pentagon and others into paying a huge ransom. And, of course, ex-Navy SEAL Casey Ryback(SEGAL) goes into action to stop the terrorists from causing a nuclear attack on the Pentagon with the space weapon. OK, the plot is mind candy, but this movie delivers some stunning action scenes and speeds along with a great sense of urgency as it thrills! The DVD enhances the enjoyment big style as the action comes across as more explosive, the sound effects will rock your living room! The cinematography is also nice to look at great scenery and train footage for any railroad buffs(like me) watching. Also, if one looks at the film's climax, one could say it was inspired by a brilliant 1976 movie called THE CASSANDRA CROSSING, which I would also strongly recommend. But as far as UNDER SIEGE 2 goes, nobody beats Steven Segal in the kitchen!

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For several months we have been searching every video store in hopes of finding Under Siege 2: Dark Territory, only to come up short time and time again. We even checked every $5 bin with exhaustion. The only thing we could come across was Under Siege which we have already watched/reviewed/loved but never it's b counterpart #2. So this past Sunday after a nice day of NFL action half of Sid was poking around his local blockbuster when something magnificent happend. Looking through some videos for sale revealed a copy of Under Siege 2 for the glorious price of $3.99. Just looking at the cover gives you the feeling that you're in for some of the finest action b you will ever grace your eyes upon. You have Seagal who is hanging from a moving train with one hand, his piece in the other, and all the rear cars on fire from a sweet explosion. The only thing that could have made the cover better was if you had a zombie Busey (since he died in the first one) hanging on behind Seagal. But since we didn't have a horror-action here that wasn't in the cards.

Our story picks up with now retired Navy chef Casey Ryback working as a cook at the Mile High Cafe in Denver Colorado ($100 says Seagal begged the producers to call it the Mile High Club). Ryback has decided he wants to take his niece Sarah (Katherine Heigl) on a little vacation to LA which she doesn't seem happy about at all. Instead of being happy to spend some time with uncle Seagal she's pissed because he and her father hadn't talked in years. He gives her some song and dance and all of a sudden she loves him again. Within a 2 minute span she goes from hating him to hugging him saying how happy she is to see him. Typical woman. Now that all is well in the Ryback family they hop aboard the train to meet their uncle Tom porter Bobby Zachs (Morris Chestnut) who has the hots for Sarah. That however soon changed when he tries to make a move on her and she grabs his hand flipping him over in quite the hilarious scene. She says she learned her sweet ninja moves from her uncle as the movie takes b to new heights. From the non stop corny dialogue within the first 20 minutes the film was already up to 2 stars.

Once the train gets moving we see a couple shady characters that you knew would be the hijackers. Travis Dane and his crew stand up with their guns and alert everyone they are taking control of the train. Who hijackes a train? We're pretty sure the last time a train was hijacked or robbed was in the 1920's, but Dane must be a man of tradition. We soon find out that 2 of the passengers on the train hold the secret passwords to control a top-secret government weapon of mass destruction. He makes them cough up the codes by nearly burning their eyes out with some device, which Santa told us all about when he burst in half way through the film. Anyway, once he gets the codes he throws both of them off the moving train down the side of a mountain. Fantastic! Now Dane hacks into the government database taking conrtol of the weapon. He starts going nuts blowing up various building all over the world. In fact the scene of the destroyed industrial facility in China recycles unused footage from On Deadly Ground (1994). In On Deadly Ground, it's the burning Aegis Oil facility. Another star for reused footage.

As the choas continues they find out the universally feared Casey Ryback is on the train. They find his niece and take her hostage to lure Ryback into their clutches. Unfortunate for them Ryback is already on his way killing any of their crew in his path with help from the porter. Ryback is able to unattach part of the cart with a lot of the hostages so they won't have to witness Rybacks sureal ninja moves rendering them speechless. We have some crazy fights scenes in which Seagal hangs off the side of a mountain with 1 hand yet manages to kill 2 guys. Don't ask. And he winds up taking out every villian, saving the pentagon, and his niece. Good thing the government left the fate of the world in Seagals hands by saying "Rybacks on that train? Leave it to him."

Under Siege 2 was well worth the wait. We would give it more then 5 stars if we could. It has everything you will ever need in an action movie. Expect explosions, hilarious sped up martial arts, neck snapping, arm breakings, train jumping, borat looking villan, non stop one liners, rock scailing, knife fighting, and a ton of casualties by the hands of a semi slender pre ponytailed Seagal. If you haven't seen this one and you enjoy our reviews go and pick it up. Do it Now! You'll even get to hear Seagal say "Nobody beats me in the kitchen!"

Read Best Reviews of Under Siege 2: Dark Territory (2008) Here

Our hero in this movie Casey Ryback(played by Seagal) is going to take a vacation with his neice on a scenic trainride.An evil

band of terrorists led by Eric Bognosian hijack the train.You

will want to note that the villain in this movie is not nearly as evil as Tommy Lee Jones in the 1st Under Seige.They are trying

to gain control of a satellite that can cause earthquakes on earth.Ryback begins dealing out misery and justice to the forces of evil on the train. He has a feirce battle with a menacing looking mercenary on the train.There is action galore in this

movie as well as an exciting finish to this movie. This is as

exciting movie that you will enjoy watching.

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This review is from: Under Siege 2: Dark Territory as in the first Under Siege happens to be in the wrong place at the wrong time...in this case, aboard a train hijacked in mid-journey by terrorists. His estranged niece (Katherine Heigl) is aboard, trying to manage a little quality time with Uncle Casey. Unfortunately for them, military defense contractor Eric Bogosian supposedly dead in a car accident, but actually alive and well and in full cahoots with the white supremacist terrorists is using the train as a mobile platform to elude government detection, while computer-hacking into his own creation: an orbiting Star Wars particle-beam satellite. Bogosian's aim is simple global blackmail. He and his renegade paramilitary pals want money a lot of money or cities around the world are going to start burning. With his country (and the world) at stake not to mention a trainload of hostages, including his own adorable niece what's a good, ol' fashioned, red-blooded, patriotic American ex-Navy Seal to do? Why, go to war, of course regain control of the train, put Bogosian's satellite link out of commission, and kick a little terrorist tail.

Yes, Seagall is a terribly wooden actor, but that strangely seems to work in his favor. The character of Casey Ryback is likeable precisely because he's wooden somehow, it simply adds to his charm. Katherine Heigl can't help but be adorable, and is appealing in everything she does. Bogosian is as slimy, cold-blooded, and despicable a cad as ever slinked his way smarmily through a red-hot action-melodrama suspenser. The rest of the cast are simply terrific, and the production and action sequences are stellar. The suspense remains steady throughout, which is no small feat for a formula melodrama. There simply isn't a dull moment. This is a beautifully unified and realized production, from Frame One to Frame Last. It's compulsively watchable, and re-watchable.

If the plot sounds vaguely familiar, you're remembering the 1971 James Bond entry Diamonds Are Forever, which ranks on about the same par as this movie. Sadly, the James Bond franchise has rarely come up to the same level, since but this film has, and surpassed it.

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Marley & Me (Three-Disc Bad Dog Edition) (2009)

'Marley & Me' is a great adaptation of the novel by Josh Grogan. It kept all the emotional elements as well as the fun. Jennifer Aniston and Owen Wilson had amazing chemistry together in this heartfelt film. It is more than just a dog movie, surpassing hit dog films such as 'Beethoven,' '101 Dalmations,' and 'Homeward Bound.' This film concentrates on the family and how a dog affected the lives of this family for both good and bad. It's a good representation of a young couple and how they evolve as they have children and move on in life. Along with it, is shows the life cycle of a dog, which is something that rarely gets shown honestly in films. It shows the good, the bad, and the painfully tragic elements of having a dog. The end of the film is very true to the book and I'm glad because it is probably the most important part of the story and it's nice to see it portrayed honestly for fans of the book.

Overall, I think viewers will enjoy this film. Jennifer Aniston is sweet as the supportive wife and Owen Wilson shows how he's much more than playing screwball characters and can be tender and emotional as well.

There are quite a bit of extras on the "Bad Dog Edition" that fans of this film will no doubt enjoy exploring.

There is a collection of 19 deleted scenes with optional commentary by director David Frankel. We see John and Jenny go house hunting in Boca Raton. There is more footage of them choosing to adopt Marley. Naturally, there is more of Marley's antics as well.

"Finding Marley" takes a look at the 22 dogs used in the film. One dog in particular had the most screen time. We see how his trainer got him to do various things and it is amazing to see how well trained he is.

"On the Set with Marley: Dog of all Trades" is an "interview" with the dog that played Marley including on the set footage provided by a camera located on the pooch's head.

"Breaking the Golden Rule" features the cast and crew talking about how Marley & Me is not a dog film per se but about the Grogan family. The cast speaks admiringly of each other and, of course, the dogs.

"Animal Adoption" champions adopting your pet from a shelter or pound. It covers some of the things to consider when you want to adopt an animal. This is one extra that everyone should see.

"Purina Dog Chow Marley & Me Video Contest Finalists" features footage of dogs doing all sorts of funny, goofy and adorable things that did not qualify for the Hall of Fame but were pretty entertaining in their own right.

"Purina Dog Chow Video Hall of Fame" features the best of the best.

Also included is the requisite "Gag Reel" with the cast blowing their lines and so on.

"When Not to Pee" shows how a spontaneous moment of dog urination was recreated and took two dogs and several takes to pull off.

Finally, there are some trailers.

Buy Marley & Me (Three-Disc Bad Dog Edition) (2009) Now

There is a lot of controversy about this movie....it seems like people either love it or hate it. I'm in between....

I did not see Marley and Me in the theaters but being a dog-lover since I was born, I was interested and borrowed the DVD from my boss a few days ago as my mother wanted to see it as well.

For all you who have heard from lots of angry parents claiming "false advertising" and "deceiving trailers", I'd like to confirm that yes, that is somewhat true. If I had young brothers or sisters or children of my own, who wanted to see a cute and funny family dog movie, "Marely and Me" is not the movie that comes to mind here.

This for two reasons:

One, the movie's focus is on the marriage of a new couple and their struggles through a married life. It doesn't soley focus on the dog, he more so takes a backseat in most of the film, apart from the first hour or so. Children will adore the puppy Marley in the beginning, but their attention will go elsewhere when things get more serious after Marley grows up.

Two, is the mature content of the movie. There are several sexual references (nothing too explicit), some profanity, and darker scenes that are definitely too intense for younger viewers. I wouldn't suggest Marley and Me to anyone under 12...or any child who has not had "The Big Talk" yet. Because these scenes are most likely going to trigger the question that must be answered with "The Big Talk". Sure, innuendo goes right over the young ones' heads. But the last scene is the real clincher. It's going to have them crying so hard that it makes me say "Please completely abandon the idea of showing the movie to a kid. They won't be able to handle it."

My best suggestions for kid-friendly, family-friendly cute dog movies with HAPPY endings and very little adult content:

Homeward Bound: The Incredible Journey

Beethoven (only the first flick)

Lassie (most mature of the three but will definitely touch your heart.)

Now that we've covered that fact that this is NOT a children's movie, onto the actual review:

It's good but it could've been a bit better. Again, for two reasons:

One, it's a bit too long. Cut a half-hour out and it'd be fine.

Two, the relationship between the family and the dog wasn't really developed enough in my opinion. Marley spent most of the movie destroying things and terrorizing people and I kept waiting for him to do something heroic or outstanding in order to redeem himself but...he doesn't, aside from a comforting scene here and there. When Owen Wilson's character comments to the vet that Marley stayed up all night to watch over their sick son, I was thought ".....what? Why didn't they show that then!?" And because of this flaw, it really takes out much of the impact the ending is supposed to have. I'm a crier, a dog lover, and very sensitive. But the most I got was slightly teary-eyed. Marley and Me's biggest mistake was that it doesn't give the viewer enough time to fall in love with Marley before it's time to say good-bye to him.

.......although if you hate crying and feeling depressed, this COULD be a good thing.

Oh, did I mention that the dog's euthanasia scene is completely milked for all it's worth? Yeah. It's like the directors are doing everything possible to get you to cry that it almost feels insulting. They drag it out so far that I was saying to myself, "Come ON...enough is enough...it's far too obvious...just STOP IT!" I don't like to be beaten over the head with stuff. Owen telling Marley that he's a great dog as he dies was the thing that triggered my tears. The sad music and the home movies, and the children's euthanologies just made me roll my eyes and say "...um....trying a little TOO hard now".

So where's the good stuff? Well, it lies in the film's originality, talented acting, and ability to tell the realistic story of a any dog owner's life. There is something here any person who has raised a puppy can relate to-all through the parts of Marely's mischeviousness, I myself kept laughing and saying "YUP, MY DOG DOES THAT!!" Some of his antics are exaggerrated but not to point beyond disbelief-and that makes it even funnier. Comments like "Now he's eating the floor" and "Now he's eating your briefcase" had my family of three burst into laughter because as dog owners, we know what it's like.

The acting is GOOD. The characterization is GOOD too. Despite what you've heard, Jennifer Aniston is NOT Rachel Greene at all in this. She's an admirable, take-charge, responsible and independent mother, who as a human of course has her limits but she only complains ONCE about it. She also still looks pretty good for her age....I'd imagine that's a bonus for you men out there who like to look at her. *laugh* And the children are all very adorable and Owen plays a good father who even when he dislikes his job, puts his family first in every choice he makes.

As many have said before, this is a good movie to see with teenagers or significant other. The romance is well-done. But also see it if you love dogs or have owned one. Whether it's dogs, romantic love, or having a family, Marley and Me most likely has at least one thing any older viewer can relate to.

Read Best Reviews of Marley & Me (Three-Disc Bad Dog Edition) (2009) Here

This movie is excellent. I read the book before entering the theater on Christmas Day. I am a huge Jennifer Aniston fan so I am usually first in line to see her movies anyway, but I was amazed at how closely the movie followed the book. We have a man and wife, Owen Wilson and Jennifer Aniston who are hopelessly in love. When the husband realizes his wife may soon want kids, he knows he is not ready and instead opts for a dog instead. They are easy enough and it can delay the process of children for a couple years right? They didnt bargain for the trouble that Marley would bring them. They could rarely vacation because they couldnt find someone to dog sit what they called the worlds worst dog. In the end you realize all the hardships that Marley has helped bring them through and helped to bring them closer together, further proving that dogs can be a mans best friend.

Excellent movie, great performances from both main actors, and watch for Eric Dane the comical womanizer that gives his friend advice, from dogs, to women. Definitely worth watching and worth owning.

Want Marley & Me (Three-Disc Bad Dog Edition) (2009) Discount?

I didn't expect to like this movie, but wound up loving it. I laughed

at every scene, and cried like a baby at the end. Lot's of emotional

rollercoaster rides with this touching comedy. Experiences everyone

has endured with a beloved pet. They make you mad, they make you laugh,

and they provide that unconditional love when you need it. Then they

break your heart, make you feel hopeless you can't help them, and give you those memories of endearment you will never forget. What is life

without a Marley in your life?

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A Christmas Carol (1984)

Christmas just isn't Christmas unless you watch at least one version of A Christmas Carol, and this is by far my favorite. George C. Scott gives one of the greatest performances I have ever seen an actor give; he truly becomes Ebenezer Scrooge to the fullest degree possible. Scott can say more with just the slightest hint of a facial movement than many actors can say during the course of an entire movie. All of the performers here are excellent, bringing to life adored characters such as Bob Cratchit, Tiny Tim, and Scrooge's nephew Fred. All four spirits are remarkable, none more so than Scrooge's old partner Jacob Marley; having Marley's jaw drop after untying the burial cloth holding his mouth closed is an important aspect of the story and certainly does make an impression on the viewer. This is just one example of the moviemakers' faithfulness to Charles Dickens' original story; another would be the inclusion of the two miserable children, Ignorance and Want, beneath the robes of the Ghost of Christmas Present.

This timeless tale works extremely well on its own, but the unsurpassed acting skills of Scott make it almost more than real. The change wrought in him during the course of the night, as he changes from a man of crass materialism and unkindness to a repentant soul pleading for a chance to change his ways, is powerfully presented and really touches the viewer emotionally. The simple happiness revealed in the lives of Bob Cratchit and others are as heart-warming as the forgotten mistakes and pains of a younger Scrooge are agonizing. If there is any heart out there that is not touched by the goodness and courage of Tiny Tim, I don't even want to know about it. No matter how many times you watch this movie, it proves itself capable of bringing a tear to your eye, a lump in your throat, and ultimately the very spirit of true holiday cheer and Christian charity that Dickens intended it to convey.

I cannot say I have seen every adaptation of A Christmas Carol, but I really cannot believe any other version could exceed the quality and emotional impact of this one. No matter how many times I read the story or watch the movie, it remains a source of eternal joy to me. This is more than a movie for me; it is an important and necessary part of each and every Christmas holiday season.

The celebrated version of "A Christmas Carol" is the one starring Alastair Sim, who gives the definitive version of the traditional, crabbed miser performance of Scrooge. It indeed is very fine, but this version is better. It is probably the most faithful of all the screen "Christmas Carols" to the original Dickens story. It pulses with color and life, and the ancient Midlands town of Shrewsbury makes a delightful stand-in for 19th-century London. But what really makes this version unforgettable is the superb, surprising casting, beginning with George C. Scott as Scrooge. Scott plays Scrooge not as a crabbed old coot, but as a man whose imposing, smug facade masks enormous sorrow and insecurity--a man who suffered greatly, lost his way because of it, and needs to find that way again. It is a brilliant performance, and the supporting players shine like rubies: Frank Finlay as a truly terrifying Marley's Ghost; "Tom Jones" co-stars David Warner and Susannah York as Bob and Mrs. Cratchit; Edward Woodward, taking time out from "The Equalizer" to make a delightful Ghost of Christmas Present. This version of "A Christmas Carol" remembers that the story is, first and foremost, a ghost story; when the Ghost of Christmas Present reveals Ignorance and Want to Scrooge, every viewer will be thoroughly unnerved, and thoroughly moved. The terror, of course, is all the better to appreciate the abundant joy with which the story ends. Once you see this version of "A Christmas Carol," you will settle for no other.

Buy A Christmas Carol (1984) Now

George C. Scott makes an outstanding Scrooge in this 1984 TV production of the Christmas classic. The story is once again told of a miser, miserable and alone. He shuns Christmas and helping others, only doing things that will increase his personal wealth. But then one fateful Christmas Eve, he's visited by four spirits who try to show him another way. Will it be enough to redeem him?

I love this story, usually enjoying it in a couple forms over the course of December. This particular film version is my favorite. Probably helps that I've watched it almost every year since it came out. The acting is superb, especially from Scott. The costumes, scenery, and effects are wonderful as well, and they stick very close to the original story. Just watching a few minutes, I get... in and want to watch the whole thing all over again.

This DVD is the perfect way to watch the film. The picture and sound are remarkably clear for an almost 20 year old made for TV film. Definitely better then my old recorded from TV tape. The film is presented in its original ratio full frame. While it would have been nice to have an extra or two, the quality of the movie makes up for this absence in my opinion.

If you're looking for a film version of this classic story for the holidays, look no further. This movie is sure to become a tradition in your family.

Read Best Reviews of A Christmas Carol (1984) Here

Every winter, I enjoy watching A Christmas Carol on TV whenever I can, and the 1984 version is my favorite. The production and performances add up to a moody, realistic and touching adaptation of the Charles Dickens' classic.

Director Clive Donner (editor of the much celebrated 1951 Alastair Sim version of Scrooge) presents a stunningly authentic recreation of Dickens' London. From effectively foggy streets to Ebenezer's own cobwebbed-infested manor, Donner provides a gritty, appropriately dark atmosphere, enhanced by the wonderful score.

The film's pacing is exquisite. In showing Ebenezer the error of his ways, the filmmakers give equal time to his past, present and future, never once lingering to the point of boredom. Thus the story seems to fly by compared to the other adaptations.

George C. Scott is excellent as Scrooge. Like all of those who've portrayed the character, his old miser starts out mean and bitter and ends up joyous and thankful! But throughout his performance, true sadness runs deep. Scott makes his emotional transformation subtle, painting a realistic portrait of a man haunted by the mistakes of his past, taking his pain out on the world.

But what separates the 1984 production of Christmas Carol from all others is the terrific supporting cast. David Warner may give the warmest performance of his career as Bob Cratchet (all the more poignant considering the many villains he's played over the years). Frank Finlay is the most compelling Jacob Marley I've ever seen. You can almost feel this man's torture just by gazing upon his unblinking expression. Edward Woodward brings great depth to the Ghost of Christmas Present, communicating tremendous power, yet just the right touch of humor. Finally, this adaptation of the Dickens' tale features the scariest, most intimidating Ghost of Christmas Yet to Come you'll find anywhere!

Most of us look forward to a healthy dose of A Christmas Carol at the end of each year and we all have our favorite version. Thanks to the handsome production values, expert pacing and perfect cast, led by the magnificent George C. Scott, I believe they truly got it right in 1984!

Want A Christmas Carol (1984) Discount?

It would be an understatement to say that there have been many filmed versions of "A Christmas Carol." They run the gamut from somewhat scary to lighthearted, from straight drama to musical, and everything in between.

Myself, I tend to dislike the musical versions and prefer the story to be straight drama, with a touch of scariness. As such, this version is my favorite. While it is not a completely faithful adaptation of the book, it is true to the spirit of the book and to Dickens's firm sense of social justice.

George C. Scott as Scrooge is one of those rare examples of absolutely perfect casting. With his jowly, scowly face and gravelly voice, he is completely believable as the miserly, miserable Scrooge, yet at the same time, he shows the humanity that is buried beneath, especially when the Ghost of Christmas Past is showing him the path he took that led to his lonely, bitter existence.

The Ghost of Christmas Present is a harsher, more judgemental spirit. As played by Edward Woodward, he laughs a lot, but at the same time is oddly humorless. There are times when he is actually rather frightening, which of course sets the stage for the terrifying Ghost of Christmas Yet to Come.

The supporting cast is extremely good (save for maybe Susannah York as Mrs. Cratchit), and the production values are much higher than one would expect from a TV movie. In fact, one could easily mistake it for a theatrical release; I was surprised to learn that it wasn't.

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