Cinderella(Two-Disc Diamond Edition Blu-ray/DVD Combo in Blu-ray Packaging) (Spanish Version) (1977)

I looked forward to this DVD release for months and snagged a copy the first day it was available. My excitement turned to dismay, however, as I began to watch it. From the moment the birds open the curtains to reveal Cinderella in her bed, it became painfully obvious that Disney truly had "enhanced" the picture to within an inch of its life. Instead of restoring this beloved classic film, the images have been changed; this is NOT Cinderella as she was first seen in 1950. Just to make sure I wasn't mistaken, I did a comparison between my parents VHS tape (the original video release) and the DVD. True, the picture on the DVD was much sharper and the sound was crystal clear, but Cinderella's hair was NEVER that color of yellow, and lines that were part of the original animators drawings, faithfully inked and painted onto the original cells, are no longer visible. For instance, right at the beginning of the film, when Cinderella turns over in her bed to shut out the sun, there were originally clearly drawn/inked lines in her blanket to show the drapery of the fabric. Those lines, obvious in the VHS version, are now only visible if you zoom in on them. Similar editorial decisions on the part of the DVD authors are evident throughout the film, though they decrease in frequency as the film progresses. It could be said these changes don't matter much, but they truly affect the look of the film. I often found myself thinking it looked like a Scooby-Doo cartoon, a far cry from any Disney classic. Although I understand that Disney owns this intellectual property in the legal sense, I don't understand why the've chosen to disrespect that very property, especially in light of their excellent work on Snow White, Sleeping Beauty, Bambi, etc. Hopefully, this is an anomaly and Disney won't continue to offer us disfigured films.

In an effort to revive his sagging animation department, Walt Disney turned once again to a fairy tale. This time around, he chose one of the best known and oldest of them all, Cinderella.

The tale is familiar. A beautiful girl is abused by her stepmother and stepsisters and forced to work as their slave. When a ball is given for all the eligible maidens in the kingdom, Cinderella dreams of going too, only to have her hopes dashed at the last minute. With a gift of magic, she is able to go, but only until the stroke of midnight.

The story is so well known, if fact, that any story about an underdog coming from behind and winning is called a Cinderella story. Disney's job here was to make the story entertaining for 75 minutes. The solution here was creating the animals. Mice Jaq and Gus and their constant struggle against the evil cat Lucifer is funny and tying this sub-plot to the ultimate outcome is brilliant. The other standout character is the stepmother who is frighteningly evil with no super powers.

As with any Disney movie, this one also has great songs. Arguably the best known is "Bibbidi-Bobbidi-Boo." Right behind it is "A Dream is a Wish Your Heart Makes." My favorite, however, is the often overlooked love song "So This is Love."

While not the best release in the Platinum series, it still stacks up well. The movie has been restored, and it looks great to me. I'm not a nitpicker, but I can't find any problems with the full frame picture, the original aspect ratio. There is an enhanced 5.1 home theater mix, which doesn't seem quite as impressive as some other releases. It seems more like the sound coming equally from all speakers. Of course, given the age of the film, there probably isn't much more they could do. For purists, there is an original soundtrack on the disc as well.

The extras in this set seem to be split between content for kids and adults, with the kids winning. Disc one includes a new version of "A Dream is a Wish" with the stars of several Disney Channel series. It also has several "Cinderella stories" in sports moments, a weird feature to me. Disc two includes several features about living like a princess.

Also on disc two are the bonus features adult fans of this movie will want to watch. There are two "deleted scenes," which are really abandoned songs with the storyboards created for them. In edition there are more abandoned songs with no storyboards on here. It's pretty interesting watching how various ideas went from one form to another before finally making it into the movie. Other extras include a thirty-eight minute documentary about the creation of the show, including achieved interviews with the animators behind the show. We are also treated to an overview of how the movie progressed over the years it was in development, a tribute to the "Nine Old Men," Disney's "Laugh-O-Gram" version of the story from 1922, and radio promotion from the time. I was thrilled to see trailers from the movie's multiple releases here. Unfortunately, there is no commentary in sight.

This Platinum DVD release means that all of Disney's animated movies have been put on DVD at some point in the last few years. While the Platinum series isn't quite as nice for adult fans as they used to be, this is still a release that fans of the movie will want to pick up.

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There are two well known versions of Cinderella, the French version and the German Brothers Grimm. Disney and Rodgers & Hammerstein used the more family friendly French version and Sondheim & Lapine used the more grisly Brothers Grimm.

The story is very simple. A young girl's father remarries to vain and cruel woman with two daughters of her own. Her father dies and the stepmother turns Cinderella into a servant.

The King wants his only child, the Prince to marry. So he holds a ball with all the eligible maidens. The evil stepmother and her two daughters attend but make sure that Cinderella does not. Come to the rescue Fairy Godmother. She does her magic and uses Cinderella's animal friend. The Prince sees Cinderella and instantly falls in love. But she has to leave before midnight and only leaves her glass slipper.

A search for true love begins!

This is a fun version of the fairy tale with the most violent villains of all three main versions of the story. This is still a great movie but if you want the best get the Leslie Ann Warren version of the Rogers & Hammerstein TV special.

DVD EXTRAS:

Disc One -

Cinderella Stories presented by ESPN Classic: Joe Namath host 10 sports "Cinderella Stories" from teams like NY Jets in Superbowl III and 1980 US Hockey Team to individuals like Lance Armstrong and Mia Hamm. You can watch all ten or just the ones that you want. These are superficial but can be inspirational for young kids. (Total running time 34 minutes)

Music & More Two music videos and a making of video (9 minutes total) A Dream is a Wish Your Heart Makes is done by Disney Channel stars and shows that with today's technology anyone can be made to sound alright. It also shows how you can take a great song and make it into drivel. This is followed by making of video. Every Girl Can be a Princess which uses clips from all the Disney "Princess" films. The song was written for a Princess album. It actually is very nice.

Disc Two -

Deleted Scenes Two deleted scenes and an introduction by Don Hahn (Producer of Beauty and the Beast. The Cinderella Work song is newly recorded and has the original storyboards. Dancing on a Cloud is the original recording with the original storyboards. (10 Minutes)

Music & More -

Cinderella & Perry Como: A 7 minute excerpt of his show promoting the film. Perry narrates with Ilene Woods (Cinderella) and the Fontaine Sisters as the mice singing the song live. The end is a jazz version of Bibbidy Boobity Boo by Perry, Ilene and the sisters this is great.

Cinderella Title Song: Original demo recording probably by the song writers (no storyboards). (2 minutes)

Unused Songs: 7 songs not used in the film audio only (17 minutes). Disney animated films always had unused songs. Usually, the scene that it is used in was cut but sometimes it just didn't advance the story and this was the number one rule of songs. They do not give singing credits on these.

Radio Programs: Three radio program excerpts promoting Ilene Woods (12 minutes) Village Store introduces Ilene as Disney's choice for Cinderella and she sings When You Wish Upon a Star. Gulf Oil Presents Ilene sings A Dream is a Wish Your Heart Makes. Scouting the Star with no singing.

Games & Activities -

House of Royalty: Three six minute vignettes on Look Live Act Like a Princess. These are for the youngsters only and they probably will not watch them more than once. Although Act Like a Princess has some tips everyone could use.

The Royal Life DVD ROM game in which you can point and click to make your dream castle, ball gown or bedroom.

Princess Pajama Jam A really silly 3 minute game on dancing like a princess. It would have been better if this lasted longer as a child's exercise program but it is really an advert for the Princess Party DVD.

Backstage Disney -

From Rags to Riches: The Making of Cinderella Four featurettes totaling 39 minutes. This is actually an indepth look at not only the film but Disney and has interviews (from 1995) with the original animators. The section on the voice casting is really interesting as many of the voices were well known character actresses. It is really great.

The Cinderella That Almost Was: This is a 14 minute featurette on the genesis of the story from a Silly Symphony to various early incarnations that were never used. It is very interesting to see what didn't make it into the film.

From Walt's Table: A Tribute to Disney's Nine Old Men This is a 22 minute round table discussion with today's top animated film makers discussing the original nine animators. It is nice but nothing special.

The Art of Mary Blair A fifteen minute tribute to the artist who helped conceive the style of many Disney animated features.

Storyboard to Film Comparison: Opening Sequence A seven minute comparison of the film to the original story boards or live action reference shot. These are always fun to watch.

Cinderella Still Galleries Massive stills galleries from concept drawings to posters

1922 Laugh-o-Grams: Cinderella An early animated short based on Cinderella set in current times.

Excerpt from The Mickey Mouse Club with Helene Stanley (1955): A four minute sequence with live action model Helene Stanley.

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Stunning new 2-disc `Platinum Edition' of Disney's 1950 fairytale confection CINDERELLA. The story is as old as the hills: Cinderella is mistreated horribly by her cruel Stepmother and stepsisters Anastasia and Drisella. Her only friends are some pet mice, the birds and her faithful dog and horse. When the Prince invites all the eligible maidens in the land to his grand ball, Cinderella is heartbroken when her Stepmother forbids her to go. Enter the magical Fairy Godmother, who, with a little "Bibiddi Bobiddi Boo" magic, enables Cinderella to live out her happily-ever-after dream.

From a historical perspective, the Disney studio was pinning it's future on the success of CINDERELLA. World War II had virtually wiped out the studio's international market and films like PINOCCHIO, BAMBI and FANTASIA had lost a lot of money on their initial releases.

Disney has performed a complete restoration on the film, including an extensive frame-by-frame cleanup of the original camera negative and the result is eye-popping (almost alarmingly-so as every hint of speckle, dirt and debris has been removed). The film looks showroom-new and it's hard to believe the thing was actually made over 50 years ago. Likewise the soundtrack has been sweetened with Disney furnishing the film with an all-new "Enhanced Home Theatre" 5.1 mix. But purists need not worry, as the original mono soundtrack is also included.

There are some fantastic extras on Disc Two including an all-new `Making-Of' documentary which features recent interviews with Ilene Woods (voice of Cinderella), Mike Douglas (the Prince) and Lucille Bliss (Anastasia). "The Art of Mary Blair" is an invaluable look into the life of the revered Disney concept artist and designer; "The Cinderella That Almost Was" hosted by Don Hahn explores the scenes, songs and characters that were considered but eventually cut from the final film. "Disney's Nine Old Men" is a charming segment hosted by Joel Siegel which has the leading Disney animators of today remembering the trailblazers who created the classic Disney animated masterpieces.

There is also a charming clip from Perry Como's television show which publicised the film with a performance from Ilene Woods. A clip from "The Mickey Mouse Club" features Helene Stanley (the live-action reference model for the Cinderella character) enacting a scene with the help of the Mouseketeers. There are also extensive galleries, interactive games and DVD-ROM components.

There are however some needless (and downright questionable) extras like the ESPN Classic "Cinderella Stories" programme, which profiles sport celebrities and their rise to fame. Just what exactly does all this have to do with Disney's Cinderella? Plain boring old filler. That said, the rest of the package is outstanding. For Disney collectors and families everywhere, this is a must-own.

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Well, only a year to wait...

This two disc Platinum Edition will follow Snow White, Beauty and the Beast, Lion King, Aladdin and (Easter 2005) Bambi as Disney's jewels in their DVD crown when it is released next October.

Whilst seemingly forgetting how to produce a decent animated film lately, the folks at Disney sure know how to produce DVD packages. Expect deleted songs, artwork, games, docs, commentaries and much more!

Just avoid the embarassingly bad sequel.

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CJ7 (+ BD Live) (2008)

I like Asian films, don't get me wrong. Nearly all of them, I have, are horror movies, unfortunately. What in the world would possess me to pick up CJ7? Well, someone very dear to me asked me if I had seen it. Seeing as I hadn't, I said no. Then, they went on to tell me what it was about. A movie about a man who desperately struggles to keep his son fed, clothed, and educated despite his struggle to stay employed. When his son asks for a toy that he can't afford, he sets out to find a suitable substitute that's cheaper(i.e. that doesn't cost anything). He returns from the garbage with CJ7, who is no more than a green ball at first. When his son activates this new ball, his son discovers that his new toy is much more than a toy but a magical solution to his family's struggles. Needless to say, I still wasn't sold on it so they went and rented it out. We watched it and, I got to admit, it is one of the best Asian films I've seen in awhile. I ended up purchasing it for my very own. It is one of the most hilarious, imaginative, and smart films to come out in quite a long time. Definitely one I'd recommend for families to watch.

However, be forwarned-parents, there are a few scenes that you might want to see first before letting your kids watch that involve..um, how can we say this...poo. They're not that offensive, mind you. In fact, they are downright funny. Yet, in all fairness, you might want to scope the scenes out before letting them watch. Chow's movies, as you may have seen before with Kung Fu Hustle, are not immediately for everyone.

DVD features include: "The Story of CJ7 " A behind the scenes look at the making of the film, Anatomy of a Scene" an in-depth look at how a scene with the adorable "CJ7" was shot, "How to Bully a Bully" A lesson on how to stand your own ground against the school bully, "Make Your Own Giant Lollipop" A how-to on making your very own lollipop prop,"The Making of CJ7" International Television Special A more technical behind the scenes look at the making of the film and visual effects, CJ7 Mission Control Game See how far you can launch "CJ7" into space!, CJ7 Profiles Learn more about your favorite CJ7 characters!, and Cast and Crew commentary.

CJ7 is, literally, the star of the movie. He's Asian's version of ET. Again, I highly recommend this movie to all. It's an endearing tale that families will love for years to come.

i already imported this from hong kong and it is a great transfer, actually looks better than it did at the theater i saw it at.

if you like any of stephen chow's other movies (shaolin soccer, kung foo hustle) you will like this one as well. some of the same actors, the same goofy style of acting and over the top theatrics. but this time there is an alien and a nice story. think of a chinese version of E.T. sort of. the part of the little boy in the movie is actually played by a girl and she does a great job.

do yourself a favor and at least rent it, it shouldn't be missed (besides its only 87 minutes long). when i went to the theater, there were only 6 other people in there with me. it really deserved better publicity than it got.

by far it was the best movie the first 6 months of this year until the summer blockbusters started coming out.

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This amusing Chinese import appeals at many levels. Dicky (the boy's name in the subtitles, at least) lives with his widowed father. The father struggles to make ends meet, while sending Dicky to the best school that he can afford, determined that Dicky will have all the chances in life that the father never had. Dicky struggles too. Poverty makes him odd kid out at school, and small size makes him an easy target for the school bullies. Almost everything more than essentials in Dicky's life comes from his father's knack for salvage including an odd little toy ...

It would be easy to say too much about this charming movie's plot, especially if you've seen *Batteries Not Included. I leave it to you to watch this self-consciously cute story unfold, all the way to the smiles-all-around ending. The movie's style seems heavy handed, by western standards. Acting and character stereotypes come across as blunt instruments, and the "flying warriors" idiom makes an improbable appearance in the schoolyard. A few things might grate on Western sensibilities, too, like what constitutes good parenting although generally kid safe, a few scenes might not work for very young or very skittish children. If you can take it in its own terms and ignore a bit of saccharine, you'll find some charming fun in this one.

-wiredweird

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I stumbled across this movie as a pay-per-view rental while looking for something for my family to watch on a Friday night. My kids were a little put off by the notion of subtitles, but that concern was gone within the first 90 seconds of the movie. I went into the movie with no preconceptions (never heard of Stephen Chow) and was pleasantly surprised by the movie. I laughed so hard I cried, and I just plain cried. It is the little details in this movie that are surprising, funny, and touching. Just see it, with an open mind. Your kids have to be at least old enough to read the subtitles, and probably should be a bit older to really get the most out of the movie. It is NOT primarily about the cute little character, CJ7. It is more about the relationships between Dicky and his father and classmates, and how they are affected by what happens after CJ7 arrives. I am here to buy many copies for friends.

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This is a fabulous movie for Dad's to watch with their kids. But make sure you do not buy the version with subtitles. The English version is so much better.

I give it the maximum number of stars.

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Capricorn One

What a joy to see this movie again. I had forgotten how suspenseful it was, not having seen it since its theater release. Even O.J. Simpson can't ruin it. Of course, it pushes the limits of believability from time to time...but never far enough to make it unenjoyable.

Now for the bad part....this movie definitely deserves a better DVD than this. It is widescreen, but not enhanced as it should be. But worse...the picture has areas where it almost appears as if it is being projected against a dirty screen. Other areas of the movie are blurred...amplified when viewed in a large format.

I can't NOT recommend this DVD...only because it is the only one available of this film. But I sure wish someone would do the movie justice.

Suprisingly, I saw this movie for the first time just a few short days ago, even though I was old enough to have seen it when it hit the theaters. A shame I let it go so long.

At the beginning of this movie, three astronauts (played by James Brolin, Sam Waterston, and O.J. Simpson) are pulled from a space flight destined for Mars. There was something wrong with the life-support system. The director of the space program (Hal Holbrook) says that they can't afford for the flight to be cancelled, so the three astronauts are coerced through threats to go through with a fake landing filmed on a closed base.

A reporter (Elliot Gould) talks with a friend (Robert Walden) who claims there is something mysterious going on with the flight. Immediately after this revelation, the friend disappears with no trace of him having ever existed. The reorter begins a quest to find out what is going on.

Meanwhile, the now unmanned spaceship burns up on re-entry. This means that except for the three astronauts and few head people in the space program, everyone else thinks they're all dead. This leads to the exciting last half of the movie.

A similar conspiracy theory (held mostly by extreme nutcases) revolves around our own moon shots, but this movie makes the plot an extremely good way to pass a couple of hours.

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I love this flick ! from 1978, it's a thriller that stands up to many, many viewings, and it gets you thinking...could something like this ever happen ? It's a great one for "Conspiracy theorists", "Enquiring minds", or just plain old folks like me who distrust "The System".

It boasts a cast of actors that never quite made it big, all turning in excellent performances: Elliott Gould, James Brolin, Brenda Vaccaro, Sam Waterston, Hal Holbrook, Karen Black, Telly Savalas, you even get O.J. Simpson in one of his finest minutes.

I get a big kick out of films made in the '70's. The mens fashions were priceless. Those wonderful suits, ties, and haircuts ! What a hoot it all was.

A favorite scene is the one with Sam Waterston on the cliff, and the crop-dusting plane chase is fabulous. The Jerry Goldsmith soundtrack is terrific, as is Bill Butler's cinematography. Though there are lapses in the script, I give this five stars for being one of the most entertaining and best B movies out there.

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I have to confess I have always liked this film, ever since I first saw it and was too young to realize some of the more obvious errors. It was a little slow, as I was used to Star Wars type speed, and a little talkative but I loved the idea. Seeing it again, on widescreen, as an adult, I appreciate it a lot more.

The positives are the story, the acting (which is actually very good, especially Hal Holbrook and Elliott Gould, and a hilarious scene stealing Telly Savalas), great direction, superb chase scenes and a very nice score.

It may not be a perfect film, or as awe-inspiring as Close Encounters, but this is a very entertaining film and one of the more under-valued films of the 70's.

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I'll say this much, when ITC Entertainment Group focused more on motion pictures than television series(The classic Space:1999 series for example), they definately cranked out some winners. Films like The Eagle Has Landed, Satrun 3, Green Ice, and The Legend Of The Lone Ranger for example. However, the British Television and Motion Picture really brought out a winner in 1977 with the release of the classic science fiction/action adventure/political and conspiracy thriller, Capricorn One. Written and Directed by the great Peter Hyams, and starring an astounding cast of actors that consisted of James Brolin, Elloit Gould, Sam Waterston, Hal Holbrook, Brenda Vaccaro, Telly Savalas, David Doyle, Karen Black, and countless others. Nt to mention having an explosive soundtrack by Academy-Award winning composer Jerry Goldsmith.

I first saw the movie on NBC's Sunday Night at the movies, and it made me a fan of James Brolin for life. The movie tells the story of NASA's first mission to Mars, and how much NASA's future is riding on this major project. If the mission is a failure, then Congress will cut back funding on the manned space program. When the three astronauts are about ready to launch, they are immediately pulled out from the Apollo space capsule and are flown to an abandoned Air Force base in Texas. There, they are told by the cheif flight director of the project, that due to a faulty life support system, the mission would put the astronauts in peril. In order to assure the future of NASA and future space flights, they are told to fake the Mars landing on a very convincing soundstage. If they do not cooperate, their families will be killed. The astronauts have no choice nut to participate in the elaborate hoax. At the same time, one of the NASA technicians discovers that the transmissions from the space craft are not coming from the spacecraft. The technician tells a reporter friend of his, and the reporter begins to investigate. When the mission comes to n end, the capsule suddenly burns up in the Earth's atmosphere, due to a faulty heatshield, the three astronauts, knowing their lives are in jeopardy, escape from their captors into the Texas desert, hoping to expose the sensational fraud. From that point on, it becomes a game of cat and mouse for the astronauts and the NBC news reporter trying to solve the mystery and blow the whistle on the governmental conspirators involved.

Definately one of the best thrillers of the post Watergate '70's, and in some ways, much like the film Hanger 18 and The X-Files television series and movies. Not only is it entertaining, and has a very solid plot, it is also a movie that referes heavily back to the old conspiracy theory of a faked Moon landing. James Brolin, as always, shines as the lead astronaut who desperately tries to reach civilization and expose the conspiracy for what it is. Elloit Gould did a good job as the reporter, yet I think either Harrison Ford or Roy Thinnes could have done a better job. Karen Black was good as the other television news reporter, yet, I also think that former James Bond girl Lois Chilles would have been a better choice.

The action was really good, especially the helicopter chase sequence in the end. Definately some very good stunt work in that scene. Especially the astronauts escape from the abaondoned hanger. Sam Waterston was very humourous in his role. And as always, Hal Holbrook was good as the man caught in the middle of

the hoax. His character was not a villain, his character was someone who did not realize how serious the government agaents were in pulling the conspiracy off. Telly Savalas was really a hoot as the curmudgeony crop duster who helps Gould rescue Brolin in the desert from government asassins.

Definately one of my favorite movies. It may be controversial, but it still packs a whallop and delivers the goods. It would have been great if James Brolin had done more movies instead of television. He truly showed the audience that he could do movies.

Interesting side note, watch the ending of the film, and you'll suddenly realize that both Brolin and Gould have something in common. Gould is Barbara Streisand's ex-husband. And Brolin is currently Barbara's new husband. Coincidence? I'll let you decide.

Triple Feature (Beetlejuice / Charlie and the Chocolate Factory / Corpse Bride) (2012)

This is a great deal. Even if it were a bit more expensive it'd be worth buying in my opinion. Perfect gift for Tim Burton fans.

Beetles are neat. Not in my juice though. Chocolate is yummy...and there's an entire factory of it! A zombie wife? Eww.... Well, why not?

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When I saw these three movies bundled together I jumped on it right away! The movies are great, the transfer to bluray looked good, sounded good, I must say I'm very happy with my purchase.

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Really love the triple feature. Very good Tim Burton collection.

I would recommend this blu ray set alot

Five stars!

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All of the films looks very decent to great on Bluray but the transfers are fairly low bitrates around 20Mbps with Beetlejuice being the highest around 22Mbps. At 10 bucks or so you can't go wrong though. I like each film for its own reasons and you can find reviews for each of those somewhere else. All in all nice deal.

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Meet Joe Black (1998)

This film has something that most flicks today can only dream of: class. It doesn't spoon-feed the plot to you, and it doesn't have useless dialogue crammed into every nook and cranny. Those who say this film drags should stick to children's cartoons. There is so much happening beneath the surface. Some just tune out the gaps in dialogue, and that's a real tragedy, because that's when the most happens, and the film really shines. Pitt, Hopkins, and Forlani are tremendous. Pitt's combination of power and innocence is flawless. This film is the most sophisticated to come out in a while, and the fact that the critics don't like it doesn't phase me one bit, nor does it surprise me. Meet Joe Black is a breath of fresh air: a truly elegant film.

I'm not a Brad Pitt fan. His physical attributes don't astound and thrill me! But, I've got to give it to him: He was convincing in his dual roles as the coffee shop sweetie and Mr. Death. Claire Forlani, whom I've never seen in a film before was simply luminous. She's the perfect Susan in this parable of one man's last days on earth. Anthony Hopkins as Bill Parrish is remarkable, as always. He truly makes you feel as though he's a man with little time left and has to spend the rest of his alloted time cleaning up his act, making amends with his loved ones, assuring his daughters that he loves them and has always loved them. Also, Marcia Gay Hardin and Jeffrey Tambor are both extremely good as the number two daughter (in her father's heart) and her slightly inept (business wise) husband. They're both touching. I wasn't put off by the length of the film. I think we should take the time to savor some things in life. Slow down, relax and enjoy this beautiful offering from Martin Brest. You did a good job, Marty!

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I'll admit that only morbid curiosity led me to watch this movie upon it's initial release. The premise of this remake sounded interesting, but the over the top costs and production problems had been tabloid fodder for months. When it didn't do blockbuster business, not many people were surprised.

It's a shame that this movie didn't do better than mediocre reviews and lukewarm boxoffice receipts. There I sat in the audience marveling at the gorgeous design and antiques, not to mention the exquisite costume design. So many films these days go for established designers, but this movie used a studio designer much like the days of the old Hollywood system. The attention to detail is exquisite.

As for the acting, it all boiled down to one scene for me. Anthony Hopkins describing the first time he'd ever had a lamb sandwich to Brad Pitt. It turns into one of the most beautiful remembrance speeches of a widower for the wife he still grieves. Needless to say even this heartless cynic got a bit misty. To have a man express such love without sounding condescending or corny is quite a feat. It's enough to make you believe in the power of a good actor.

Brad Pitt also deserves kudos for this role. Despite living through a personal hell and sustaining an injury, he does a great job in his double role. I thought the scene in which Death says good bye to Claire Forlani's character was some of his best acting.

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I didn't see this movie when it first came out in the theatres, and wasn't privvy to all the trash-talk about it's initial box-office flop. Came across it while channel-surfing about a year ago, and only caught bits and pieces of it the first few timesbut was intrigued enough by what I saw to eventually buy my own copy; I have now watched it through several times in the last year. This being the 454th review of this film on this site, by no means do I figure to offer any amazing new insights for someone who has never seen this under-appreciated movie. But after reading through several of both the one and five-star reviews on this site, I thought I'd add just a few personal observations. To start, it is worth nothing that about 3/4 of the numerous reviews posted here rate MJB as a 5-star movie. The 5% that relegate it to one star all have a central theme: it was too long, too slow, and pretentious.

Now I am a contemplative sort at heart, but still also enjoy a good pure-action flick, provided the production values, acting, plot and message are sound. Perhaps because I have been a cancer specialist for the past 23 years, and am witness to Death on a frequent basis (in His more obscure, spiritual form), I think those who are critical of the perceived "slowness" of this film just aren't catching what I believe must have been the intent of the director: life generally rushes by in the blink of an eye, but when you are confronted with your own imminent mortality, and the pressing reality of the prospect of Oblivion (or at least the end of all you know as real), everything tends to slow down to a snail's-pace. The last days, hours, minutes of one's life are grasped very dearly, and only relinquished with great resignation.

The pace, therefore, of MJB I believe to be a purposeful attempt to capture that time warpthose who found this movie slow and pretentious just didn't buy into the attempt. I think many of the 5 star reviewers for this movie obviously did. I did, and can only add that when one's life is "flashing before your eyes", it actually "flashes" at a very languid pace. The human spirit holds on as long as it can, to savor what it is about to know no more.

I won't comment on all the other aspects of this very-finely crafted movie, except to say that like so many others, I was riveted by Claire Forlani's physical presence: she didn't have to utter a single syllable in this film for meBeauty beyond description, so much that even Death Himself was caught in her spell. How some reviewers saw Anthony Hopkins' performance in this film disappointing is beyond me: he's the perfect actor to handle the subdued and introspective nature of his character in MJB. Likewise, Brad Pitt does a credible job with a part that must have posed quite the challenge to portray in a believable way, and yet always manage to convey a sense of other-worldliness. The first time I watched MJB I was put-off by his seemingly stilted, robotic mannerisms and monotone speechbut with repeated viewing, it just fits. This guy (Death) doesn't get out much, after all. Also a nice casting choice to make the human form of Death so physically attractive: a subtle reminder that appearances are yet mortal, fleeting, dust in the wind.

And the musical score is excellentpurposefully grandiose and sweeping at times, and lyrically subdued, tender, and sad at others. Of course, if you thought the movie slow and pretentious, the score probably also seems melodramatic. To each his own.

But I guess to appreciate this movie you just "have to be there" : facing your own mortality with a guaranteed finality, and even an awareness of what will be your final day, your "last rush of time".

If you are in such a place, or perhaps have faced it with a loved one, this movie will ring absolutely true. Recommended, regardless of all the negative hype over the years, as a lasting testament to Life.

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Every frame of this film is beautiful. It has the look and feel of a Merchant/Ivory film. The musical score is by Thomas Newman. He is my favorite modern composer. I can hear his reverence for the piano. I can't watch this film without crying no matter how many times I see it. I agree with another reviewer: a favorite scene is when Anthony Hopkins describes how he came to like cold lamb sandwiches. It took great care for this film to take something so simple and give it such depth and richness. If you like love stories, you'll like this film. If you like fantasy, you'll like this film. Because sadly, love and fantasy are so often synonymous.

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Kill Bill - Volumes 1 & 2 (Amazon.com Exclusive) (2004)

Quentin Tarantino is arguably the best film-maker of his generation. His ability and passion to tell stories through film is second to none. "Kill Bill" bears witness to Tarantino's love of film by referencing a variety of genres such as blacksploitation, marital arts, anime, spaghetti westerns, and superhero movies. Some might find it easy to dismiss him as merely a movie fan who makes movies about other movies. I argue that he's far more creative than that. He draws upon these genres for inspiration and creates stories that are fresh, intelligently written, and compelling to watch. For example, in the third act of volume 2, Bill, played by the late David Carradine, shoots [Uma Thurman's character] with a dart filled with truth serum forcing her to answer his many questions. While waiting for the serum to take effect, Bill monologues about his fascination with comic books and, in particular, superhero mythology. "The point emerges" as Bill compares [Uma Thurman's character's] alter-ego, Arlene Plympton, with Superman's alter-ego, Clark Kent. No one but Tarantino could reference comic books in a film and make the dialogue sound so interesting.

In the realm of cinematography, he "pulls out all the stops" using a variety of camera techniques like split-screens, long-shots, and fast close-ups on the eyes. Some of these techniques can be traced backed to Martin Scorsese, one of his biggest influences. Of course, do I even need to mention the music? I believe I can best describe the selection as cooler than Dante's ninth level of hell. "Kill Bill", while packed with dozens of exciting ideas, can be enjoyed simply as fun movie viewing which, in my opinion, is a trademark of an excellent director.

The Box Set isn't anything extraordinary. Based on my own copy, all that I can determine is that the Box Set contains the regular DVDs............................. in a display box. Unless you are obsessive over display boxes, you could do just as well to buy the two movies separately either online or at your local movie retail store. I personally enjoy the DVD extras but don't be deceived. The Box Set doesn't contain any additional DVD extras.

An excellent blu-ray transfer for an awesome movie. The picture quality is one of the best video transfers on blu-ray and the audio is equally pleasing. Its a must own in the collection of best blu-ray titles. Not much on the extras side, but the Movie itself is worth it.

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REGARDING THE WHOLE BLOODY AFFAIR: First off, The Weinstein Company owns the rights to "The Whole Bloody Affair" when it arrives, so you can't fault Disney for releasing the one and only cut of this movie that they own. They do not, have not and will not have the ability to put out "The Whole Bloody Affair".

And if you're waiting for "The Whole Bloody Affair" I hope you have other things to occupy your time. "TWBA" was first mentioned in 2004, and it's since been four long years without literally ANY actual progress on the front of that cut surfacing. The cut is NOT yet finished. I think people are under the impression that foreign cuts of KB are "TWBA" and they are NOT. Quentin has NOT YET CUT "THE WHOLE BLOODY AFFAIR" TOGETHER AT ALL. Every year he makes a promise that he's about to get to it, to no avail. I wouldn't say I'm actually skeptical it will ever come out (I'm sure Quentin wants to do it) but I'm not exactly holding my breath anymore either.

So, in conclusion: Not only is "The Whole Bloody Affair" NOT coming out tomorrow or something, but it's not likely to come out for quite a long time (especially with Quentin starting Inglorious Bastards), and when it does, it won't be through Buena Vista.

Thanks.

EDIT: In 2011, the completed "Whole Bloody Affair" did finally premiere at the New Beverly in Los Angeles for a week during programming selected by Tarantino (who owns a stake in the theater). There is still no release date for a home video version.

Read Best Reviews of Kill Bill - Volumes 1 & 2 (Amazon.com Exclusive) (2004) Here

I think a lot of reviewers are forgetting the fact that Kill Bill vol 1 and 2 are great movies. $40 for two great movies in high def isn't a bad deal.

Back when this was released on DVD years ago people kept howling not to buy it because you should wait until The Whole Bloody Affair comes out. Well guess what, years later it still hasn't come out on any format. Stop holding your breath for it. Its supposed to be what, 5 hours long?

Also, these are the theatrical versions and i'm fine with that. I own the japanese versions and theres not much difference. Definitely not enough to miss out on owning such a great movie.

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Once upon a time in El Paso, Texas a wedding party is slaughtered execution style. However, it turns out that the Bride (Uma Thurman), who is pregnant, is not dead but in a coma. Four years later she wakes up, no longer pregnant, in time to save herself from insult being added to her injury. Then the Bride puts together her list of people to kill: (1) Vernita Green (Vivica A. Fox), (2) O-Ren Ishii (Lucy Liu), (3) Budd (Michael Madsen), (4) Elle Driver (Daryl Hannah), and (5) Bill (David Carradine). In "Kill Bill, Volume 1," the Bride only gets to the first two names on her list, albeit not in that order the way the film is cut, and then proceeds to the rest in Volume 2. This does not constitute a spoiler because you cannot have a film called "Kill Bill" that does at least get to the title character, regardless of the results. But then this was a do-it-yourself "Box Set" (I bought the two DVDs and they gave me a box to put together).

There is more happening in the each film besides the kill list, such as an anime telling us how O-Ren Ishii became the Queen of the Tokyo underworld and the training sequence in which the Bride studies with the great Pai Mei. But in the first film the primary emphasis is on how the Bride takes out her first two victims and the triumph of style as substance, especially when style means fountains of blood gushing from human beings that would make Akira Kurosawa proud. With "Pulp Fiction" Tarantino made his impression upon our ears with scene after scene of great dialogue. No wonder the soundtrack for that film had clips of some of what came rolling off the tongues of the actors (usually Samuel L. Jackson, who only plays a corpse in these films). But with "Kill Bill, Volume 1" Tarantino's blood feast is mostly for the eyes. This film is not for everybody, but then what Quentin Tarantino film ever was?

The biggest complain about Volume 1 is that it has the two most memorable sequences in the entire epic, namely watching O-Ren Ishii and her posse walk glide into the House of Blue Leaves with the blasting soundtrack giving them energy and the final showdown in an exquisite garden at night with gently falling snow where O-Ren in her white kimono and the Bride in her yellow biker suit do their dance of death with Japanese steel. Nothing in Volume 2 tops either of those scenes, which is not necessarily a bad thing, just a cinematic reality.

The caveat when Mirimax decided to split this four-hour revenge film into two volumes was that those who sensed a lack of character development and motivation in Volume 1 would be appeased by what was put forth in Volume 2, and this is indeed the case. We finally get to go back and see a couple of pivotal scenes set before the "beginning" of the film's opening, such as the massacre at the Two Pines wedding chapel. The net result is that character is more important than killing in the last half of the film, which makes sense because it would really be virtually impossible for the Bride to slice and dice more opponents than she did at the House of Blue Leaves.

I watched Volume 1 on DVD again before I went to see Volume 2 in the theater, which I thought would put me perfectly in the narrative flow. However, Quentin Tarantino has set up his audience just to play with their minds, which, of course, is what he was doing from the start and at the climax of this film I was not at all sure who, if anyone, was going to come out alive. Certainly what happens with numbers 3 and 4 are not what you expected after seeing the fate of numbers 1 and 2, but that certainly puts what happens with the final name on the list up for grabs.

There are a lot of oppositions between the two halves of this film. The beautiful setting of the duel between the Bride and O-ren in the gentle falling snow is countered by the showdown with Budd (Michael Madsen) in the harsh sunlight of his trailer in the desert. Having devoted an entire chapter to Hattori Hanzo creating his most perfect sword for the Bride, it is amazing how hard it is to get the sword out of its scabbard in this one. Volume 1 was a feast for the eyes, but in Volume 2 Tarantino's dialogue becomes more prominent, although not quite up to the level of "Pulp Fiction." But the dialogue is important because before we get around to the titular business of this film, the Bride and Bill have got to have themselves a conversation. Sound also matters more in this film: there is one sequence that is effectively done in the dark.

I am barely acquainted with the genre of Hong Kong films that Tarantino was apparently weaned on, so everything is fairly new to me and consequently smacks more of homage than parody, which is no doubt the director's intent. I probably will not go out and check out some of the films that inspired Tarantino to do "Kill Bill" which have been pointed out to me, because they will undoubtedly pale in comparison to the slicked up version that he is serving for our American palates. All things considered, I have a definite preference for Volume 1, which seems to run counter to the prevailing sentiments, but it took me a while to be comfortable with how the two parts fit together. The key thing is that they do, without Volume 2 being simply more of the same, because it is definitely not. There is something to be said for Tarantino pulling out all the stops just to have fun.

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127 Hours (2010)

"127 Hours", director Danny Boyle's ("Trainspotting", "28 Days Later") follow-up to "Slumdog Millionaire" is a near great film. I honestly can't tell you the last time I was so moved by a piece of celluloid. "127" has created both pleasant and nightmarish memories, memories that will stay with me for many, many years to come.

Aron Ralston (James Franco) quickly grabs some supplies and heads out to his favorite spot, the canyons near Moab, Utah. As soon as the sun rises, he jumps on a mountain bike and heads out to explore and enjoy the great outdoors, heading to a spot some twenty miles away. He crosses paths with two young women, Kristi (Kate Mara) and Megan (Amber Tamblyn) and agrees to show them the way to their destination. Once there, they swim and dive and have fun. After a few hours, they head on to complete their individual journeys. As Aron navigates a narrow crevasse, a small boulder comes loose, causing him to fall and wedging his arm between the wall and the boulder. He can't budge it and becomes worried at the sight of some streaks of blood. Aron takes stock and has very limited food, some water, stretchy cord, a camera, a video camera and a dull knife. Before leaving for the trip, he wasn't able to find his Swiss Army knife, so he is left with a dull give-away promotional knife. He tries to chip away at the sandstone, to move the rock, but doesn't make any progress. Over the next five days and twenty hours, Aron has to figure out how to use the limited supplies he has to survive until he can be rescued. Or, on the other hand, he has to figure out if and how he can get out of this situation on his own.

Boyle starts the film by masterfully depicting why Aron, and others like him, are so eager to escape the city, eager to mountain bike in the wilderness, eager to climb rock formations, eager to backpack. When he meets the two women, they even remark about how they don't feel like they figured into Aron's day. Aron is the type of guy who actively looks for adventure and makes decisions on the spur of the moment. This is why he agrees to spend time with the young women, setting his schedule back half a day.

As soon as Aron gets trapped, Boyle has to do something to give us more details into the adventurer's history. He has to make us care about this man and he can't really do that by keeping us only with Aron for the rest of the film. As Ralston tries to assess his situation, a memory surfaces and this gives Boyle the opportunity to show us a brief part of his past. The technique Boyle uses seems more suited for films made in the late '60s. And normally, this would drive me crazy. But in this situation, these moments work, primarily because they are pretty brief. They also move back and forth between more real and more imagined settings. For instance, Aron remembers a moment he and his dad shared during his childhood. They sit on an old couch in the family home, talking. Then his dad is gone and young Aron is still sitting on the couch, but the couch now sits in the crevasse Aron is trapped in, the sand and rock walls surrounding the furniture, visible to the side.

Boyle introduces us to Aron's father (Treat Williams) and mother (Kate Burton) and the love of his life, Rana (Clemence Poesy). These moments, though brief, helps to give us insight into Aron's character and life. Because they are so brief, it is surprising that we feel we know Aron and his family so well. We really get a feeling for him and come to care for him.

A lot of the credit for the success of this film lies with Franco. For much of the relatively short running time, Franco is the only person on screen and this would only serve to amplify any poorly acted moment, any false characterization, any thing that doesn't ring true. From the first moment he is on screen, we start to understand him. He is most happy when he is explaining what some stretch of wilderness is, the history of a cavern, earning some bit of solitude to compensate for any minute of time he is forced to spend cooped up in the city. In this element, he finds peace and revels in every moment.

When he meets Kristi and Megan, Franco's smile helps us recognize he simply wants to have a good time. Sex isn't a part of the equation, he wants to share some moments with like personalities. Later, when he is trapped and has a lot of time to think, he remembers back to some moments in his life. When we return to him, Franco's demeanor and facial expressions seem to be an honest portrayal of how the young man would react. And make us feel he is really remembering these moments.

When Aron finally realizes what he has to do, Franco shows us the horror of this realization and the pain of this decision.

THE moment is both necessary and extremely difficult to watch. It is necessary because it is a part of the story. But so many other filmmakers would shy away from a frank depiction of this moment. Boyle doesn't. Without it, the story would be nowhere near as impactful. Because of it, you might have nightmares. It would be gruesome enough, hard enough to watch if he had found his Swiss Army knife. But without it... I just shudder thinking about it again.

The film ends with a coda giving us an update on Aron Ralston's life. During the moments before this, I started to tear up because he was going to be okay, because he was going to make it, something I already knew given he wrote the book this film is based on, but I was still extremely moved. And the last few moments give us a glimpse of the real Ralston and all of the people affected by this incident. Because of everything Boyle and Franco are able to accomplish throughout the film, I was extremely moved by these brief images.

Best of all, Boyle ends the film, presents this coda, in a way stylistically in tune with the rest of the journey and all of those memory flashbacks/

"127 Hours" is a great piece of filmmaking. You need to see it. You can always close your eyes if that scene becomes too much for you.

From the macabre paranoia of "Shallow Grave" to the comedic debauchery of "Trainspotting" to the disturbing creepiness of "28 Days Later" to the fanciful romanticism of "Slumdog Millionaire," director Danny Boyle has made kinetic films that really connect to the viewer at a visceral level. Very much a visual stylist, Boyle uses every tool at his disposal--quick cut editing, frantic camera movement, fantasy sequences, jarring music--to really delve into the emotional core of whatever story he is telling. At first glance, "127 Hours" would seem an odd follow-up to the Oscar winning "Slumdog." Stripped down to the most primal level, "127 Hours" is one of the simplest, most straightforward narratives you're likely to encounter. And yet, through the technical bells and whistles and an earnest James Franco performance, you are immersed in a world of madness, desperation, perseverance, hope, struggle and ultimately survival. And there is no denying that this very matter-of-fact tale packs a punch!

Franco plays real-life adventurer Aron Ralston. In 2003, the reckless Ralston set off to explore Utah's Canyonlands National Park. No one knew where he is going and safety was secondary to fun in Ralston's blissed-out commune with nature. While negotiating a crevice, a boulder dislodged and trapped Ralston's arm stranding him in isolation within the earth. The film then documents Ralston's dilemma for the next 127 hours. With limited supplies and no mobility, Boyle makes the most of his claustrophobic environment by inviting us into Ralston's mind. And the primary success of "127 Hours" is that it really traps us within this confined space as well. We're there to the bitter end where survival and sacrifice meet at a crossroads.

In many ways, I wish people cold go into "127 Hours" with no expectations and forewarning of what is going to happen. I know that's naive. Ralston's tale is certainly public domain--reported on TV, the subject of books and news features. In fact, the entire film is marketed around the gruesome turning point in Ralston's struggle. This decisive act that spared Ralston's life is so harrowing and Boyle does not shy away from its unpleasantness. But the promise of this scene lingers over all that proceeds it. We are biding time for this ultimate act. We know what's going to happen and we know it's going to be graphic--everyone has told us so well in advance. But that sequence is so strong, it has come to define the entire movie. "127 Hours" has literally come to be described as "the movie where he......." (I, for my part, have resisted divulging this point--although you can read it everywhere else, including the product description and other reviews).

Franco does a great job making us root for Ralston. Impetuous and somewhat irresponsible, this thrill seeker didn't take the necessary precautions advisable. He thought he was immune to the dangers inherent in the mountain. But Franco makes him such a life force, you want him to be the victor over his poor decisions. His whip smart survival instinct keeps him alive and he never gives up. But as he faces mortality, he comes to understand his shortcomings and even faces visions of the future. His videotaped proclamations to his family are the emotional highpoint of "127 Hours." Franco is a physical actor and acquits himself well in the adventure scenes--but it is the immobile moments that showcase an interior to Franco that hasn't always been on full display in other films. Boyle takes full advantage of Franco and delivers one of the year's most effective human dramas. Stunning in its simplicity, "127 Hours" has an energy and vitality that make it stand out from the pack. KGHarris, 11/10.

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From the macabre paranoia of "Shallow Grave" to the comedic debauchery of "Trainspotting" to the disturbing creepiness of "28 Days Later" to the fanciful romanticism of "Slumdog Millionaire," director Danny Boyle has made kinetic films that really connect to the viewer at a visceral level. Very much a visual stylist, Boyle uses every tool at his disposal--quick cut editing, frantic camera movement, fantasy sequences, jarring music--to really delve into the emotional core of whatever story he is telling. At first glance, "127 Hours" would seem an odd follow-up to the Oscar winning "Slumdog." Stripped down to the most primal level, "127 Hours" is one of the simplest, most straightforward narratives you're likely to encounter. And yet, through the technical bells and whistles and an earnest James Franco performance, you are immersed in a world of madness, desperation, perseverance, hope, struggle and ultimately survival. And there is no denying that this very matter-of-fact tale packs a punch!

Franco plays real-life adventurer Aron Ralston. In 2003, the reckless Ralston set off to explore Utah's Canyonlands National Park. No one knew where he is going and safety was secondary to fun in Ralston's blissed-out commune with nature. While negotiating a crevice, a boulder dislodged and trapped Ralston's arm stranding him in isolation within the earth. The film then documents Ralston's dilemma for the next 127 hours. With limited supplies and no mobility, Boyle makes the most of his claustrophobic environment by inviting us into Ralston's mind. And the primary success of "127 Hours" is that it really traps us within this confined space as well. We're there to the bitter end where survival and sacrifice meet at a crossroads.

In many ways, I wish people cold go into "127 Hours" with no expectations and forewarning of what is going to happen. I know that's naive. Ralston's tale is certainly public domain--reported on TV, the subject of books and news features. In fact, the entire film is marketed around the gruesome turning point in Ralston's struggle. This decisive act that spared Ralston's life is so harrowing and Boyle does not shy away from its unpleasantness. But the promise of this scene lingers over all that proceeds it. We are biding time for this ultimate act. We know what's going to happen and we know it's going to be graphic--everyone has told us so well in advance. But that sequence is so strong, it has come to define the entire movie. "127 Hours" has literally come to be described as "the movie where he......." (I, for my part, have resisted divulging this point--although you can read it everywhere else, including the product description and other reviews).

Franco does a great job making us root for Ralston. Impetuous and somewhat irresponsible, this thrill seeker didn't take the necessary precautions advisable. He thought he was immune to the dangers inherent in the mountain. But Franco makes him such a life force, you want him to be the victor over his poor decisions. His whip smart survival instinct keeps him alive and he never gives up. But as he faces mortality, he comes to understand his shortcomings and even faces visions of the future. His videotaped proclamations to his family are the emotional highpoint of "127 Hours." Franco is a physical actor and acquits himself well in the adventure scenes--but it is the immobile moments that showcase an interior to Franco that hasn't always been on full display in other films. Boyle takes full advantage of Franco and delivers one of the year's most effective human dramas. Stunning in its simplicity, "127 Hours" has an energy and vitality that make it stand out from the pack. KGHarris, 11/10.

Read Best Reviews of 127 Hours (2010) Here

After seeing the film in theatres twice, I decided to order (directly from Amazon) this excellent (in my opinion) film by Danny Boyle. While, as with any film, I mostly bought it for the main feature, I was also interested in the background of the film and was looking forward to watching the Special Features listed as part of the product description:

"Feature Commentary by Director/Co-Screenwriter Danny Boyle, Producer Christian Colson and Co-Screenwriter Simon Beaufoy

Deleted Scenes

Search & Rescue: Actual events that aided the search and rescue of Aron Ralston

127 Hours: An Extraordinary View A unique collaboration between the director and actor

Disc 2: Digital Copy"

However, the single disc I received only contained the commentary and deleted scenes. Neither of the featurettes were on the disc and there was no second disc containing the digital copy. After speaking with an Amazon representative and researching this a little bit, I discovered that these features are only a part of the Blu-Ray product. So, if you're into Blu-Ray (I am not, but that's a whole other story), then you will get everything you ordered. Unfortunately, the DVD comes up short, at least based on Amazon's description of it. Needless to say, I was a bit disappointed with the product I received.

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In 2003 mountain-climber Aron Ralston went on a hiking trip in a desolate part of Utah without telling anyone where he was going. He became trapped at the bottom of a canyon when a boulder dislodged and pinned his right arm to a wall. Over the course of five days with little water, less food, and no hope of being found, Aron made a video diary documenting his ordeal while trying to sustain by any means necessary (including drinking his own urine). Eventually, in a moment of desperation, Aron was forced to amputate his arm with a dull knife in order to escape. Ralston is obviously a brave human being, who was faced with a dilemma in which many people would've chosen death. His act is a triumph of human determination and willpower and his story is brought to life by Oscar-winning director Danny Boyle. 127 Hours is widely considered one of the best films of 2010 and recently received six Oscar nominations, including Best Picture. While complaints have been aimed at Aron's character (some people see his decision to not tell anyone where he was going "stupid), the use of dream sequences/surreal imagery, and Boyle's hyperkinetic style; I found no issue with these aspects of the film. In fact, I've been so impressed by this film the two times I've seen it I can hardly find a negative thing to say about it.

Boyle and his co-writer Simon Beaufoy (the Oscar-winning scribe behind Boyle's previous film Slumdog Millionaire) stay faithful to Aron's ordeal and over the course of a riveting 90 minutes, Boyle shows us how powerful the will to survive can be. The success of the film hinges on the dynamite portrayal of Aron by James Franco. The film spends the first 15 minutes establishing Aron's thrill-seeking personality; his drive to Blue John Canyon in Utah, his encounter with two girls (Amber Tamblyn and Kate Mara), and eventually the moment where he found himself in an unimaginable situation. From here, it's a one-man show for Franco. Aron has a watch, a video camera, a CD player, headphones, a flashlight, a rope and pulley, but almost no food and little water. Franco leads us through Aron's initial attempts to escape, his quiet acceptance of his fate, and his refusal to simply wait for death. Knowing the ending doesn't make the film any less suspenseful and the proceedings are nothing short of riveting.

Boyle tells this story in just 90 minutes, a perfect running-time that neither drags it out nor rushes it. In the hands of another director this could have been a snooze-fest, but Boyle has crafted a film that creates tension by perfectly capturing the claustrophobia of Aron's ordeal. While dream sequences/hallucinations are used, they don't clutter the story needlessly. They are necessary to establish Aron's personality and further the themes that Boyle and Beaufoy are trying to convey with their interpretation of Aron's story. It's not these images or his visual pizzazz that Boyle uses to carry the story, but his willingness to stay with Aron and allow James Franco to lead the audience through the story with his show-stopping performance.

The success of the film rests on Franco's shoulder and I couldn't spot the slightest misstep in his performance. Franco has to be interesting enough to hold your attention for over an hour, as well as making his character's journey believable. Through body language and tone of voice, Franco makes you believe you're watching an optimistic man slowly relinquish all hope before making one final decision in an attempt to save his own life. This is not a typical Oscar-bait performance, but a nuanced performance built on much subtlety. Spending the bulk of the film in a small space without the use of his right arm, Franco brings the audience right into that canyon with him. When the climactic scene arrives, you believe that Aron has reached this point of desperation. Had Franco made the smallest mistake in his performance, it could've brought the whole film down. I believe James Franco would win the Academy Award if not for Colin Firth as he delivers one of the most riveting and truly impressive screen performances of 2010.

One can't discuss this film without mentioning the climax, where Aron must finally take his fate into his own hands and amputate his arm. The scene is both realistic and horrifying, even more when one takes into account that this actually occurred. Rarely does a scene make me wince and recoil the way this scene did. It's brilliantly shot, acted, edited, and executed; graphic, but Boyle only shows as much as necessary relying on haunting sound effects and Franco to convey what's happening. It's a powerful, unforgettable scene.

127 Hours is an unforgettable experience that works on so many different levels. It's entertaining, exciting, intense, brilliant, and ultimately moving; a triumphant piece of filmmaking. It's much better than Boyle's Best Picture-winning Slumdog Millionaire (a film which has been widely forgotten) and is undoubtedly one of the best films of 2010. Having seen it twice now, it's still as suspenseful and powerful as it was the first time I watched it. While subsequent viewings and time may show some imperfections, it will remain the most intense movie-going experience I had in 2010.

GRADE: A

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A River Runs Through It (1992)

This review refers to the Columbia/Tristar DVD edition of "A River Runs Through It"...

Even with Brad Pitt co-starring in this film, it was the awesome cinematography that kept me mesmerized. Filmed in the lush mountains and rivers of Montana, director Robert Redford and Director of Photography Phillipe Rousselot(who won an Oscar for his work on this film)capture the beauty of this land and the story.

Based on a autobiographical novella by Norman Maclean, we are swept back to the earlier part of the 20th century with the Maclean family. Family, church and Fly fishing came above all else. Norman, played at the younger age by newcomer Joseph Gordon-Levitt(who was honored with the Young Artists award in 1993 for his performance), and his younger brother Paul are close and come from a loving but highly disciplined household, run by their stern father(Tom Skerritt) the Reverend of the small town church. The Rev. is strict when it comes to their education, but a big part of that education is the freedom to fly-fish, enjoyed by all the Maclean men.

We watch as Norman and Paul grow into men(Craig Scheffer/Brad Pitt) and how differently their lives turn out. Norman grows into a fine scholar, but Paul takes a different path. His is one of a rebel, who finds trouble at every turn. But always they have their love for each other, their family, and their love of fly-fishing. Paul turns it into an art that is a sight to behold in that beautiful Montana scenery.

Other fine performances are turned in by Brenda Blethyn as Mrs. Maclean, Emily Lloyd as Jessie Burns, the girl Norman loses his heart to and Vann Gravage who plays the young Paul. A beautiful music score by Mark Isham adds greatly to the view without being obtrusive to the story. A fine screenplay by Richard Freidenberg will draw you in and keep you there. It's a great break from action movies without getting overly dramatic.

It is rated PG, but probably not appropiate for the younger viewers, there are some adult themes as well as brief nudity.

Columbia has done justice to this beautifully filmed movie in it's transfer to DVD. Just Gorgeous! Remastered in anamorphic widescreen(if you prefer full screen, that is on side B)with excellent clarity of the colors as well as the picture. The sound remastered in Dolby 2.0 Surround was very good, but I would have loved to hear it in 5.1. It may be viewed in French, Spanish(also stereo),or Portuguese(mono), and has subtitles in these languages as well as English. There are theatrical trailers and Talent files, but no other special features.

If your in the mood for a great action thriller, this is NOT it! This is a film to just sit back and savor.....Oh and I really did enjoy Brad Pitt's performance(almost as much as the scenery)...enjoy....Laurie

also recommended:

Meet Joe Black

The Color Purple

Studs Lonigan (1960)

I don't think anybody who has ever visited the American West, particularly the north-western states of Montana and Wyoming, hasn't come away deeply impressed with the majestic beauty of their mountains, rivers, streams, endless skies, prairies and meadows. Many probably went home to find that the photos they took, trying to immortalize their impressions, just didn't seem to do justice to the real thing, and wishing they possessed the craft to adequately capture the region's beauty in images, whether literary or visual. Robert Redford has succeeded to combine words and pictures in this stunning adaptation of Norman Maclean's 1976 autobiographical novella "A River Runs Through It."

Set in early 20th century rural Montana, this is the coming-of-age story of the author and his brother Paul, sons of a Scottish Presbyterian minister who raised them with both love and sternness and instilled in them, more than anything else, an understanding for the divine beauty of their land, symbolized by and culminating in a fly fisherman's skill in casting his rod, and his ability to become one with the river in which he fishes. For, in Norman Maclean's words, in their family "there was no clear line between religion and fly fishing;" and growing up, the brothers came to believe quite naturally that Jesus's disciples themselves must have been fly fishermen, too; and that consequently every good fly fisherman is closer to the divine than any other human.

But while they were united by their love for their native land and its rivers and fish, the brothers couldn't have been any more different on a personal level. And thus, this is also a story of brotherly (and parental) love and loss, of the inability to communicate, and of dreams and aspirations nurtured and fatally disappointed. While disciplined, sensible Norman (Craig Sheffer) left Montana for a six-year college education at Dartmouth and ultimately after having temporarily returned home and taken a bride to assume a teaching position at the University of Chicago, rebellious Paul (Brad Pitt in a truly career-defining role) knew that he would never leave his home state and "the fish he had not yet caught;" and opted for a journalist's life instead. But ultimately he wasn't able to fight the demons that possessed him; and his parents and brother had to stand by and helplessly watch him embark on a path of self-destruction, reduced to comments on symbolic matters like Paul's decision to change the spelling of their last name by capitalizing the "L" ("Now everybody will think we are Lowland Scots," scorned their father), where to open topicalize their concerns would have destroyed the careful equilibrium of mutual respect, love, hope, caution and guardedness characterizing their relationship. And so, only after Paul's death could his father tell a hesitant Norman that he knew more about his brother than the fact that Paul had been a fine fisherman: "He was beautiful" and mourn in a sermon, even later, that all too frequently, when looking at a loved one in need, "either we don't know what part of ourselves to give or, more often than not, the part we have to give is not wanted. And so it is those we live with and should know who elude us. But we can still love them. We can love completely, without complete understanding."

Craig Sheffer and Brad Pitt are perfectly cast as the earnest, reasonable Norman and his maverick brother Paul, who relies on his innate toughness in his fateful attempt to take life to its limits and still beat the devil, but who also turns the casting of a fishing line into an art form that makes a rainbow rise from the water, and who with his greatest-ever catch stands before his father and brother "suspended above the earth, free from all its laws, like a work of art." Moreover, this movie reunited Robert Redford with Tom Skerritt, with whom he had first shared the screen in the 1962 Korean war drama "War Hunt" (both actors' big-screen debut), and who gives a finely-tuned, sensitive performance as the Reverend Maclean. Notable are also the appearances of Brenda Blethyn as Mrs. Maclean and Emily Lloyd as Norman's bride-to-be Jessie. But the movie's true star is Montana itself, particularly its rivers and streams; every frame of Philippe Rousselot's Academy Award-winning cinematography and every sweep of the camera over Montana's magnificent landscape, and along the silver bands of its rivers with their gurgling cataracts and waves curling softly against their banks, powerful testimony to Robert Redford's genuine love and respect for the West and for nature in general; the causes closest to his heart and matched in importance only by his efforts to promote a movie scene outside of Hollywood. And Redford himself assumes the (uncredited) role of the narrator, thus bringing to the screen Norman Maclean's lyrical language and uniting words and pictures in an audiovisual sonnet, subtly accentuated by Mark Isham's gentle score.

Both movie and novella end with the lines that have given the story its title: "[I]n the half-light of the canyon, all existence fades to a being with my soul; and memories, and the sounds of the Big Blackfoot River, and a four-count rhythm, and the hope that a fish will rise. Eventually, all things merge into one; and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of the rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs" those of Norman Maclean's now-lost loved ones; those he "loved and did not understand in [his] youth." As we have had to learn, it is not only human life that is terminal; even nature itself (including, incidentally, the Macleans' beloved Big Blackfoot River) is not immune to destruction by human carelessness. This movie is a powerful plea to all of us not to wait until it has become too late.

Also recommended:

A River Runs through It and Other Stories, Twenty-fifth Anniversary Edition

The Norman Maclean Reader

Norman MacLean (Western Writers)

The Big Sky

Desert Solitaire

Jeremiah Johnson

The Horse Whisperer

Legends of the Fall (Deluxe Edition)

Spy Game (Widescreen Edition)

Buy A River Runs Through It (1992) Now

A River Runs Through It is one of those films that can be watched over and over. The movie focases on the lives of two brothers(Brad Pitt and Craig Sheffer) growing up in Montana and the different paths they take. The sons of a minister(played well by Tom Skerrit) they are brought up religiously with two faiths, the church and fishing. Eventually Normon(Scheffer) goes away to school and Paul(Pitt) stays at home and becomes a newspaper reporter. Years later, after finishing his degree, Normon returns to Montana to decide what he wants to do with the rest of his life. While he was away Paul has developed some bad habbits, namely gambling. Everyone in the family is aware of the problem but doesn't seem to want to confront it. Instead they go fishing and catch up on old times. Normon meets a local girl at a dance and begins courting her. This leads to a hillarious incident involving her brother, who is a compulsive liar and a drunk. Eventually Normon settles on what he wants to do and Paul's problems come back to haunt him. Robert Redford's excellent directing, along with strong performances, and breathtaking cinematography make this a very charming film. It is worth seeing, again and again.

Read Best Reviews of A River Runs Through It (1992) Here

I have heard it said that Norman Maclean's classic novella "A River Runs Through It" is the finest piece of American literature ever written. I don't understand how things like literature can be ranked in such simple terms. I will say, however, that it is one of my personal favorites. Spare, poetic and spellbinding. Perhaps one of the reasons that I love this novella so is because I grew up on a farm near the Rocky Mountains, and spent so much time when I was younger fishing and tracking through wood and field. Maclean's tale speaks to me of my youth in authentic and familiar terms.

I generally approach cinematic adaptations of literature, particularly of literature which I hold in such high esteem, with a certain amount of reluctance, even dread. Who could possibly capture the beautiful, simple craftmanship of Maclean's profound prose on celluloid? Evidently, Robert Redford. And he does it with grace and apparent ease. Many of Maclean's efficeintly magnificent words are provided through narration. While I generally find the device of voiceover narration distasteful (primarily because it is so often used to "coach" the viewer), in this case, the viewer is drawn into (and eased out of) Macleans world by Macleans own prose, and nothing could be more appropriate or satisfying. Also, the cinematography is nothing short of spectacular, capturing the magnificent, rugged expanse of Montana's "big sky" wilderness one moment, the golden intimacy of an afternoon on the river the next. I dare say that Redford has captured the essence of Maclean's abiding love for his childhood wilderness in this film, and we, the viewers, are richer for it.

A River Runs Through It is as close to perfection as I have seen in translating a beloved work of letters onto the cinematic screen. Does it have its flaws? I'm sure it does, and there are other reviews here that will point them out for you if you care. For my part, I wish only to say that this is a story about love, crafted by Maclean with love, and now adapted to the screen by Redford with a care that speaks of love love of the subject matter and the written words. Macleans last words in the novella (and the movie) are "I am haunted by waters." Thanks to his words, and Redfords faithful adaptation of them, I too am haunted.

Want A River Runs Through It (1992) Discount?

I have seen all the films directed by Robert Redford and appreciated his love of the American people and the land. In A River Runs Through It, Redford displays the lyric romanticism and visual splendor of the high Rocky Mountins of Montana as if he were a 19th century landscape painter of the ilk of Thomas Moran or Albert Bierstadt. This film makes love to the visual and the word, with text by author Norman Maclean, and stunning camera work by Phillippe Rousselot (Serpent's Kiss, Reigne Margot).

Redford's cast is perfect. Tom Skerritt is the Rev. MacLean, a man whose methods of education include fly fishing as well as the Bible, Brenda Blythen, the mother, and his sons, Craig Schaffer and Brad Pitt create a family whose interactions reflect the same problems all encounter with growing teenage sons, and later, complex young men. Both Schaffer and Pitt are totally believable as the brothers whose love of fly fishing and each other will tie them together forever. It is the relationships between men, father and sons, brothers, and their women to the outside world that grounds A River Runs Through It to a vein of storytelling that is missing in so many of Hollywood films produced in recent years.

What makes these relationships special however, is the attention Redford gives to the language as spoken in dialogue. This is a literate script, beautiful to hear and unforgettable when coupled with the stunning Montana rivers and mountains. The words and setting are equal to performances by a cast that rises to their material. While the idea of fly fishing may seem an odd device to center a story, it is not so implausible in Redford's directorial hands. Given the material, Redford's ode to a simpler time and life is worth revisiting again and again. This treasure of a film should be included in every collection.

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Backdraft (1991)

This is actually a 2-disc "Anniversary" special edition.

Digitally Remastered Picture & Sound

2.35:1 Anamorphic Widescreen

English DD5.1 Surround

English SDH, French and Spanish subtitles

Ron Howard Introduction

Extras:

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Over 40 Minutes of Deleted Scenes

"Igniting the Story" -Director Ron Howard, Academy Award®-winning producer Brian Grazer and others discuss the evolution of the film from script to screen

"Bringing Together The Team" -From the casting room to firefighter clinics see how director Ron Howard brought together a talented team of actors and real-life firefighters

"The Explosive Stunts" -Filmmakers reveal the state-of-the-art technology and heroic stunts that created the explosive action of the film

"Creating the Villain: The Fire" -See how an overwhelmingly talented team of special effects creators and stunt coordinators worked together to bring the fire to life

"Real-Life Fireman, Real-Life Stories" -Get an insider's perspective on what it takes to be a firefighter in this round-table discussion with the crew of Station 73, Santa Clarit

MOVIE: In a much needed re-release Universal gives us an incredible 15th Anniversary set for Backdraft. Backdraft is a movie that we see so often nowadays, but Ron Howard executed it in such a way that it remains as one of the best of the "real-life hero tribute" films. The script is filled with contrived dialogue and some incredibly lame and cliched plot turns, but it's the fire footage that makes this film exceed above the rest. The filmmakers initially wanted to go with CGI fire, but the tests done looked so fake that they turned to the real thing. Some amazing scenes are shot in this film that we'll probably never see in a film again due to the fact that CGI has advanced so much over the past decade. The characters are likable and relatable, but the acting is a bit overdone. This isn't the greatest film ever made, but the characters feel real enough to keep a strong emotional connection with the audience, and that's the essence of good filmmaking. Many see Backdraft as the ultimate tribute to firefighters across America, and while the ending of the film sends a tribute, the movie is actually very much centered around the two brothers. Heroism and courage are not central themes of this movie, but it's more about embracing the people around you (not teamwork). The film also features the first collaboration between Ron Howard and Hans Zimmer, in which Zimmer produces one of his best synthesizer based scores. A really good film that finally gets the DVD release it deserves.

VIDEO: Owners of the original Backdraft release will rejoice with this all-new digitally remastered transfer. The colors are solid, but I think they picture could have been sharper. There was no hazing or haloing during the fire scenes though, and that was my biggest fear.

AUDIO: I didn't own the previous set of the Backdraft, but I'm guessing that this Dolby 5.1 mix is the same mix from the old set. If it is new, then it's a shame. The subwoofer get's a good workout and Zimmer's score is prominent but the dialogue and quality overall is not that rich or spread out.

SPECIAL FEATURES: The special features are really short, I went through them in one day. Even though they are short, they are great to watch and are informative. When you play the film you will see a short introduction from Ron in his scruffy beard mode. The best featurette was the "Igniting The Story" one in which we go through the script to screen process. We interview some key people about bringing the movie to life, and surprisingly Hans Zimmer gets his own section about the score. I was so happy to see Zimmer in there discussing his work because composers usually never get any screen time in the special features. The other featurettes cover the casting, stunt work, using fire as a character, and then real-life accounts from real firemen. A great set of features with new interviews mixed in with interviews from 1991.

BOTTOM LINE: Buy this set whether or not you own the old one or not. While not the best work we've seen from Ron Howard, it's definitely one of those movies that takes you on an exciting and emotional ride. It also has the honor of being the definitive film about fire fighters unlike the most recent and forgettable Ladder 49.

Buy Backdraft (1991) Now

At the time of its release, Backdraft was regarded by some critics as an admirable if not flawed homage to the profession of firefighting. Of course, compared to the recent Ladder 49 it seems downright gritty and hard-hitting but still doesn't hold a candle in terms of realism to television's Rescue Me. Still, Ron Howard's film has its heart in the right place and does boast an impressive cast. Looking back at it now, Backdraft was one of Howard's early attempts to be taken seriously as a dramatic filmmaker and an initial bid at Oscar glory something that would elude him until A Beautiful Mind.

Howard's film dutifully trots out the stereotypical characters: the long-suffering ex-wife (DeMornay), the gorgeous but otherwise unimportant love interest (Jason Leigh), the crazy killer (Sutherland), the gung-ho recruit (Gedrick) who is punished for his inexperience, the feuding brothers and so on. What Backdraft does have going for it is how it shows the camaraderie of the men in the firehouse: the good-natured hazing of the new guys, the communal meals and how they watch each other's backs in and out of fires. It is very much a brotherhood and this film brings this out very well.

Speaking of which, the firefighting scenes are well-staged and executed, done before the proliferation of CGI and this gives these scenes a real, visceral quality. It is like the fire is another character, a living, breathing organism with a life of its own and the ability to take one as well. Howard's camera is able to get into the thick of these fires so that there is no safe distance in which to remove oneself from the action. You're right in there with the firefighters.

The best scene in the movie isn't the impressively staged fires but the one between Donald Sutherland's twitchy, crazed arsonist and De Niro's investigator. It lasts only a few minutes but every moment between these two brilliant actors is mesmerizing and truly brings the film to life proving yet again that good acting trumps SFX and stunts every damn time. In fact, Backdraft should have focused on De Niro's intriguing character and his intuitive knowledge of how fires work and what causes them. The screenplay hints at an interesting backstory for him and his relationship with Sutherland's firebug. Instead, it amounts to nothing more than a subplot and a red herring of sorts.

The first disc features an introduction by Ron Howard as he briefly talks about how proud he is of the movie and what else is available on this 2-disc set.

There is 43 minutes worth of deleted scenes that sheds light on Brian's backstory -his nomadic existence, how he dropped out of the academy years ago and how he talks his way back in. There is also more footage of the mysterious arsonist plying his trade that reveals a little too much a little too early in the movie. We also get more of De Niro and Sutherland which is always a treat.

The second disc starts off with "Igniting the Story," a featurette that traces the origins of the project as Howard and his producer Brian Grazer talk about what drew them to it. The screenwriters talk about the genesis of the screenplay while the term "backdraft" is also explained.

"Bringing Them Together: The Team" examines the casting process. Howard knew Kurt Russell from back when they were child actors and had always wanted to cast him in one of his movies. Baldwin, Glenn, Gedrick and, surprisingly, Jason Leigh (who never seemed too enthused about this project) talk about how they got involved in new interviews for this DVD.

"The Explosive Stunts" takes a look at how they pulled off the realistically rendered firefighting scenes. The highlight of this extra is Scott Glenn recounting a particularly dangerous stunt where he came very close to getting seriously burned.

"Creating the Villain: The Fire." After computer effects tests failed, the special effects guys ran all kinds of practical tests to see the various ways they could manipulate fire. Everything was planned out beforehand.

Finally, there is "Real-Life Firemen, Real-Life Stories" with actual firefighters from Station 73 in Santa Clarita, California recounting some of their own personal anecdotes and what they think of the movie. These guys really love what they do and speak passionately about it.

Read Best Reviews of Backdraft (1991) Here

`It lives, it breathes and it hates'. This is the description made by Robert DeNiro's character in Backdraft, stating the volatile nature of something we all fear, but rely on; Fire.

Backdraft is a different movie, filled with characters who are flawed and angry with one another. There are many messages that go along with this movie. I'm not sure where Ron Howard was going with the relationships of the characters, maybe no where and that's ok. Why try so hard to make the relationships go somewhere in such a short amount of time when we can clearly tell that the issues between them are a result of a lifetime of hardships and disagreements. These are not the kind of disputes that get resolved in a short period of time, if ever. You can take away what you want from the movie in that respect.

The movie centers around Brian McCaffrey (William Baldwin), who returns home to Chicago after years of failed business ventures to make sure he doesn't follow the family line of becoming a Firefighter. After giving in and completing the Fire Academy, he is placed in his brother's company, one of the toughest. His brother Steven (Kurt Russell) is still a bit annoyed with him for not deciding to become a fireman right off the bat (Chicago firefighters have a stout tradition for family continuance and stubborn old fashioned fire fighting that has no room for progressive tactics). He seems determined to make sure Brian either stays with it and becomes as good as he is, or quits. Brian takes it personally at every turn. Sibling rivalry ensues.

Subplots abound as we learn that fire stations are being closed for political purposes and Brian finds he has feelings for childhood friend (Jennifer Jason Leigh). DeNiro plays Donald Rimgale, the Fire Investigator that is looking into the Backdraft murders (a phenomenon that causes a fire in a closed room to subside after using all the oxygen, but explodes when O2 is reintroduced from the open door), high level politicians and businessman are being killed with this method and it becomes an MO. DeNiro is solid in his role as the Arson investigator, spouting lines about loving fire and understanding it's nature. Kurt Russell is good as he swaggers through his role, a character who attacks fire, knowing for some reason that he won't ever be killed by it. Baldwin seems lost as usual, but the character himself is somewhat lost trying to decide what to do in his personal struggle. Leigh doesn't seem interested in her role but manages to get through and Rebecca De Mornay plays the small role she has as Steven's estranged wife with great world-weary realism. Scott Glenn, mercilessly put in a shaved down role, is good as well. The best character though is Donald Sutherland, playing Ronald Bartel, a pyro-psycho who is locked up in a mental institution. He comes up for release occasionally and Rimgale goes in and repeatedly proves just how insane he still is, no matter what he tricks the doctors and release board into thinking. Sutherland is obviously having the most fun with his part. His character is called upon to help find out who is behind the Backdraft murders.

The biggest character of the film though is the fire, and it is astounding. Even though the movie is over 11 years old, it holds up today. With a combination of real fire exaggerated with computer affects in some spots, the visual result is frightening and actually looks alive in some scenes. All in all, the movie is good, although there are a lot of elements squeezed in to make it somewhat epic, and even though it doesn't quite reach that status, it is a good all around movie with great action, emotion and special effects.

Want Backdraft (1991) Discount?

"Backdraft is the story of two brothers. After the death of their firefighter father, older brother Steven (Kurt Russell) follows Dad's footsteps into the Chicago Fire Department. Younger brother Brian (William Baldwin) bounces from one scam or get-rich-quick scheme to another. But Brian eventually winds up back in Chicago in the Fire Department, and in Steven's Co. 17, no less. They go back and forth for a while, until finally Steven drives Brian out of the department and into arson investigation. Brian winds up working for an arson investigator (Robert De Niro) investigating a series of murders-by-arson.

This movie features a stellar cast, giving mostly excellent performances. Special notice should be given to Russell, in what I think is his best performance ever. J.T. Walsh gives an excellent supporting performance as the sleazy Alderman Swayczak, as do Rebecca De Mornay as Steven's estranged wife and Scott Glenn as Firefighter "Axe" Adcox. Donald Sutherland is especially creepy, yet charming as an imprisoned arsonist to whom De Niro and Baldwin go to for advice on identifying the arsonist. Baldwin and Jennifer Jason Leigh (playing Brian's girlfriend and Swayczak's aide) could have held up their parts better, but that doesn't detract from the movie as a whole.

The fire is the real star of this movie. The special effects are truly incredible, and have to be seen to be believed. This movie boasts the best effects I've ever seen in a non-science-fiction movie. Whoever the effects man is should have won an Oscar for the fire scenes in this movie.

Some may criticize the ending for being overly sentimental, but every single time I see this movie, I get choked up during Steven's last scenes. As an older brother, I really identified with Steven and how he wants the best for his brother, but he isn't quite sure of the line between pushing him to improve and pushing him down.

The special effects alone are worth getting this movie, but director Ron Howard put together an all-star cast that (mostly) managed to put together a movie in which the plot isn't entirely overshadowed by the effects. All in all, a very good movie that's well worth your $15.

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