Rifftrax: LIVE! Reefer Madness

I saw this show in the theater last year and couldn't wait to get it on DVD. The shorts alone make it worth buying, but then the jokes during the movie were certainly worthwhile as well. The jokes are not simply a repeat of the studio version of Rifftrax Reefer Madness and while I enjoy that DVD quite a bit the live version is just as good or better with lots of new jokes added. As others have pointed out, there are a few flubbed lines, but they are few and far between and it is LIVE comedy, so that is to be expected. If anything, it adds to the humor. The energy of the live performance and connection with the theater audience more than makes up for a few verbal stumbles. I highly recommend this DVD, it is one of my favorites of the Rifftrax Live series so far.

Shorts include:

More Dangerous Than Dynamite: A 1930's short about the hazards of washing your laundry at home in gasoline. D'uh!

At Your Fingertips: Grasses: A bizarre arts and crafts short for children from the 1970's. You'll wonder what the makers of this one were thinking when they dreamed it up.

Frozen Frolics: An odd 1930 cartoon that is not so classic, but it is a bit bizarre. Let's just say it's no Steamboat Willy.

There's also a new introduction on the DVD featuring Mike, Kevin and Bill.

The shorts are so amusingly odd that they kind of make fun of themselves, but Rifftrax certainly does add jokes worth hearing. If you're a MSTie and or a Rifftrax fan you won't want to miss this one. Recommended.

As the post-MST3K world goes, Rifftrax has just been too hit-or-miss for me. I've picked up a few titles (Carnival of Souls is one of my favorite B movies so I HAD to have that one). But seeing they put their live shows out on Blu-ray perked my interest enough to order this. Good thing too, because this has ended up being my favorite of the Rifftrax outings. The best part of the show isn't the feature film...it's the short about grass (as in lawn), which is funny enough without the riffing.

I found the visual presentation to be a bit annoying. The image keeps alternating between the movie itself centered on the screen and the movie off to the left to fit images of the three riffers to the right in Brady windows. I found that to be distracting and unnecessary.

Still, the subject matter is ripe for riffing, and the laughs are frequent.

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A 1930s movie about (sic) the "Dangers Of Marijuana?" Be a little real, marijuana is about as "dangerous" as Shirley Temple or Tiny Tim. The ONLY "true" way to achieve any sort of "edification" ref "Reefer Madness" is to allow the Riff Trax guys, Mike, Kevin, and Bill, to explain the..."subtile nuances" of this FINE film to you. And the song they've composed which is available between the Riff Trax-enhanced version of (giggle) "Reefer Madness" and the original (yes, they both occupy the same DVD!) film is worth the price of admission, just by itself. MST3K may have gone to that great resting place in the sky where "Fridays," "Alf," "the Monkees," and "Car 54 Where Are You" now abide, but the Riff Trax guys do very well, keeping its spirit alive and quite well.

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Mystery Science Theater 3000 is something new to me. But it is fun. It is a movie, a bad one with a couple of guys riffing it. If you do not know what that is, well you know how when you watch a bad movie with your friends and you make fun of it through out the movie... well there you go. That is what a riff is. They say funny things about the mistakes in the movie, and bad acting and whatever else they find that is funny.

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I love the Rifftrax Live dvds because they have all of the extra shorts too! Reefer Madness is hilarious with the riffs.

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New York Stories (1989)

There are two-thirds of a good movie in this movie, as New York's three most famous directors each contributed a short film about an aspect of New York life. The opening short, "Life Lessons" by Martin Scorsese and starring Nick Nolte and Roseann Arquette is a unforgiving look at the competitive, abusive, almost cannibalistic world of a megalomaniacal painter. I read somewhere that this short is flawed because Nolte's character doesn't change. That is not a flaw; that's the point. The ego of a successful artist, according to Scorsese, will not soften, will not learn what a conscience is, will not admit that there are other artists in his/her world. Even when the artist recognizes talent in someone else, it is quickly dismissed. The ego lords over all.

The final short film, "Oedipus Wrecks" by Woody Allen is typical comic genius. The plot is simple. Woody takes his overbearing mother to a magic show, and the magician makes her disappear. Completely disappear. The magician himself doesn't know how he did it. When mom appears as an apparition in the clouds, and speaks to the entire population of Gotham about her son, the laughs are endless.

In between these two films is one directed by Francis Ford Coppola. I can't tell you what it's about. I have yet to sit through more than ten minutes of it.

I just wrote because I didn't see any appriciation of Life Without Zoe mentioned...I loved the piece it was innocent and precocious in an endearing way the girl plays at being an adult like many adolescent girls...Zoe is still learning how to be an adult and she's excessive in some ways...I think Coppola lovingly depicts her character...it had a lot of charm...I wonder if other reviews expected a different tone from Coppola...I also really liked Life Lessons ...Oedipus Wrecks was entertaining but wasn't one of Woody Allen's stronger pieces...and im a big Woody Allen enthusiast.

Incidently Woody Allen uses adolescent girl charaters similar to Zoe often: including in the movies Everyone Says I Love You and Crimes and Misdomeanors

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Three directors to approach the diversity of New York.

Scorsese depicts the life of a painter in this city. He is a cannibal and needs to possess a younger woman, slightly artistic to find his momentum and his inspiration. He is the absolute vampire who sucks life out of her till she rebels and goes away, but he needs this resistance for inspiration to work.

Coppola looks at the city through the eyes of a young girl, the daughter of an internationally famous photographer, her mother, and an internationally famous flutist, her father. She lives in that rich world without any parents with her most of the time and finds a sudden pleasure when she can take a plane with her mother to fly to a concert of her father's somewhere in the wild wide world. Is that a life for a child ? It sure is the life of the children of that class of world-wide artists and celebrities and New York is an excellent base for them to grow somewhat normally.

Woody Allen goes back to his obsession of a Jewish possessive mother who cannot accept her son to be an independent person. She meddles and the trick is her disappearance and reappearance in the sky of Manhattan talking for weeks to everyone in the street and developing a consciousness of everyday life problems. New York, in that vision, is seen as the ultimate mother and the primeval family.

New York is thus shown as a multifarious entity where people live in a world of their own, a world suspended in mid air, somewhere in another space and time. Outlandish, eerie and fascinating. Nothing can destroy a city like this, and the vision of the twin towers of the WTC are there to remind us of that absolute perenity in resurrection if necessary...

Dr Jacques COULARDEAU

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I love this film, but the biggest problem I have is with the aspect ratio. I recently bought the film, not realizing it had been cut to a 1.33:1 from a 1.85:1, and I ultimately feel like if I'm paying for a film, I should own the entire thing.

Shame on me for not reviewing the aspect ratio before purchase, but beyond that, it's a great film minus the Coppola dribble in the middle.

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The anthology of three short films that take place in New York City was made by three great American directors, Martin Scorsese, Woody Allen, and Francis Ford Coppola.

"Life Lessons" directed by Martin Scorsese, literally took my breath away it made me want to rewatch all Scorsese's films (with the one exception, GONY, though). What a magnificent work visually it is as powerful as the painting Nolte's Lionel was painting. Combining in one short film Procul Harum's "A whiter shade of pale" and Puccini's "Nessun Dorma" from "Turandot" was a stroke of genius. This film is an ode to the power of talent; it is about greatness and curse of the gift, not about love to the woman. The best scene of the film and I'd say one of the best ever made about the Artist's work is Nolte triumphantly painting his masterpiece his love, desire, lust, cries, whispers, tears, and humiliations magically transform with every stroke of his brush into the immortal, triumphant, brilliant work of art. By the time the painting is finished, he would need a new source of inspiration and self-torture, and the cycle will repeat over again. Devilishly clever portrait of an Artist as Not a Young Man. 9.5/10 (4.5/5)

I loved Woody Allen's "Oedipus Wrecks" and I think it is very funny and touching. Looks like Allen has met mothers or grandmothers like Mrs. Millstein in real life and his little gem is his love-hate letter to them. In the end, mom always knows what is best for her little boy. Mae Questel and Julie Kavner (Marge Simpson) were wonderful. Woody's face after his mom "disappears" and the scene when he practically makes love to the chicken drumstick are pure delight; also the commentary that New York is used to everything and readily accepts the crazy situation it is so true. One of the best Allen's films I've seen lately I am very glad that I finally saw it.

Larry David ("Seinfeld", "Curb Your Enthusiasm") plays the Theater Manager. It made me think if Estelle Costanza created by David and Mrs. Millstein (Woody's omnipresent mother) have a lot in common in making the lives of their sons miserable and smothering them with their merciless love? 9/10 (4/5)

Coppola's "Life Without Zoë" was much weaker than Scorsese's and Allan's stories and paled in comparison this episode "from the lives of the reach and beautiful" was pretty and cute but you can skip it. 5/10 (2.5/5)

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The Artist (+ UltraViolet Digital Copy) (2011)

I respond to hype involving movies in a variety of different ways. If I get all excited about a film months before its release, I often find myself being disappointed with the film's final product. I saw a trailer for "The Artist" months back, and didn't think much of it, because I didn't know much about it. I had seen reviews and award acclaim for Michel Hazanavicius's "The Artist", and wanted to give it a shot. On account of the limited theatrical release that the film got, I found myself venturing toward the bad part of town the night before it happened to win the Golden Globe for best picture, and oh, was it worth it.

"The Artist" is everything you could possibly want it to be. The story isn't anything revolutionary or surprising, but it really doesn't have to be. In case you have somehow not heard of this film yet, it is a silent film that is set in 1927, at the height of the silent movie era. It follows George Valentin, an actor who has had a great deal of success in silent film. The film follows the years where the film industry is moving into "talkies", where he finds his success is dwindling. He falls hard for Peppy Miller, an actress who is just breaking into the business. This story lasts over the span of maybe ten years.

While up until now, Hollywood has widely forgotten about the silent film era, the style of the film feels kind of experimental to a moviegoer of my generation. The film is a beautiful love letter to this period of film which we all have forgotten about. It makes me think that actors, writers, directors...everybody had to work a lot harder in that generation. It's hard to write a universally appealing story with no dialogue.

Style is a big deal, camera angles, and lighting are critical. I'm glad this one was released after I took my first Film Studies course at college, because there's a good chance a film like this would have slipped through my fingers otherwise. I learned about the silent film era, and found that there were twice as many flops as there were hits, in those days. This film could not have worked in those days, since it is clearly about the silent film era. However, I appreciate the little hidden history lesson that this film offered.

In a film with no dialogue, actors have to have very expressive faces, they have to be able to emote, which is also something that a wide amount of today's actors and actresses have forgotten how to do. Jean Dujardin's George Valentin is wonderful. His infectious smile is a big reason why the film works. It's the same deal with Berenice Bejo. The two actors have phenomenal chemistry, and that's enough to carry this, even if it were a bad film.

Like I said, this film's storyline is nothing new. It's the classic story of the Hollywood big cheese who helps the beautiful young starlet in her rise to fame. The film works because it's a story that can be shown in any country, in any language, and it would still be relevant. It's universal in a way that I didn't expect. The film doesn't use the titles that silent films are known for too much. There are titles, but they are used sparingly, only when they need it. That was a very good thing. For a film that's so strictly about filmmaking technique, being shot in glorious black and white, with a 4x3 aspect ratio, it's quite affecting. I give most of the credit to the actors, the extraordinary musical score by Ludovic Bource, and the direction. This was clearly a labor of love, and it pays off in a big way.

Grade: A

It is a masterful movie-maker who can take a simple story (much less a silent one) and captivate an audience. That "The Artist" is so straight-forward is itself a tribute to the old adage that any story can capture the imagination, it just must be true to the soul. The genius here is that you are totally drawn into this world in near totality by the expressions on the actors' faces. It belies the fact that the silent film is indeed a lost art and we are fortunate to have it re-introduced to the main-stream in such a glorious fashion.

But first things first, this is *not* a stodgy, stick-in-the mud film. "The Artist" is at times laugh-out-loud, and then is equally engrossing as an emotional hay-maker. If you are expecting a dull yawn-fest, go see the latest CGI-laden summer film. But if in the the best sense you want to be captivated by a film, see "The Artist".

Without any giveaways, the story here involves an aging film star who is being left behind by the rise of the sound-age of film. Right behind him is a rising starlet who is excelling in the sound age. It is their story to tell: his from the perspective of the slide down and hers from the climb up. There is great supporting work as well, including a delightful little doggy who is essentially the side-kick to our hero. But it is lead actor Jean Dujardin who rightly "steals" the picture with his breath-taking emotional range.

Also a delight are the little scenes we as an audience identify with as true-isms: the bits of film magic that stick with you long after you leave the theater. The rising starlet using our hero's jacket in a pantomime, reflecting her awe and love of him, is the perfect example. But what tops it all in my mind are those moments where "The Artist" blends old-fashioned movie staples into itself and makes you want to cheer, though you know it's been done a thousand times before. An example being the aforementioned doggy as hero at one point. It is this homage to old films that makes you smile the director is so skillful at it, he creates his own legitimate, unique and praise-worthy old-Hollywood world without it feeling stale in the least. In fact, it is as refreshing to watch as anything else you will see this year or any other.

"The Artist" is the best of what movies should be: good storytelling that makes it look easy.

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In an era where we rely heavily on CGI and 3D to wow us, this movie takes us back to a time when acting was truly an art, men were gentlemen, women were proper, and moviegoing was a theatrical and magical experience. Gone are the days when we can get into our Sunday best and spend an evening at the theater for a movie and a live show. Nowadays, anyone can catch a flick at 10am 7 days a week wearing their jammies, and often being the sole soul in the theater.

Spoiler: this is a silent movie. Sorry if I've lost your attention already. But hear me out. True, this is one of your "been there, done that married boy meets single girl, married boy falls in love with single girl, married boy can't have single girl, single girl moves on, and there is still a happy ending" story. But it's not the story that makes this movie it's the way the story is told that makes this movie revolutionary and epic. Jean's and Bérénice's pure, raw emotion, in addition to a stellar soundtrack, tell the entire story without the need for schnazzy graphics or complex plot. Dialogue is only displayed on screen maybe less that twenty times. The rest of the story is told entirely through kinesics, which is relayed via stellar acting.

I don't usually go see a movie in the theaters twice. I will see it once, and if it's good enough to see again will wait until it comes out on Blu Ray. But this movie...I even convinced by buddy, who had zero interest in seeing the movie and hadn't even heard of it, to go see it, and he loved it.

The score is also worth picking up. Yes, it's 100% instrumental. But 50% of the meaning of the movie is through this score! Even if you've not seen the movie, it's written so well that you can feel the emotion just by sitting back and closing your eyes while listening to it.

I can only hope that we begin to see more silent movies like this.

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There are many who would have been stunned when they heard that a silent movie won for best picture in 2012 at the Oscars. Okay I admit I was one of those people. But after having had the chance to see the film it made me think that perhaps Hollywood granted the award for two reasons: one, because it is a great film and two, because it is a love note to the Golden Age of Hollywood.

The film is about the career of silent screen idol George Valentin (Jean Dujardin), a swashbuckling/dancing/sly grinned matinee idol if there ever was one. When the film starts George is at the top of his game and the biggest box office draw around. Along with his pet pouch he's the talk of the town and a hit with everyone.

One day while signing autographs he literally bumps into a young woman named Peppy Miller (Berenice Bejo). At first surprised he passes it off with a laugh and the two go on their way. Except that now the press is all abuzz wondering who this mystery woman is, something that Mrs. Valentin (Penelope Ann Miller) isn't pleased with.

As the film progresses the paths of George and Peppy cross once more when they meet on the set of his next film where she's an extra. They playfully dance back and forth much to the displeasure of the head of the studio (John Goodman). When he attempts to toss her off the lot, George steps in and defends her. This is much to her good fortune as the roles she receives increase and her popularity grows as well.

The same can't be said of George. When Goodman shows him the latest thing to hit Hollywood, sound, George laughs it off and gloats that he's never needed sound to reach and audience. When the studio switches to sound only, George is tossed aside as old. He promises to show them how great silent films are by starring in, directing, writing and producing his next film. Opening the same day as the new Peppy Miller film, it draws a few people against the lines waiting to see her film.

Down and out and nearly penniless after the stock market crash, George's wife leaves him. Only his trusted chauffer Clifton (James Cromwell) stays by his side until George finally fires him due to no money with which to pay him. George sells off everything he has and finds little to keep him going.

At the same time the fortunes of Peppy Miller are skyrocketing. Little known to George so are her emotions for him. It will only be a matter of time before these star crossed lovers finally meet once more.

It seems like such a simple story, perhaps a bit of A STAR IS BORN, tossed in as well. But this is no remake and yes, the story is quite simple. But that doesn't make it the least bit boring. Instead it's a tremendous piece of storytelling that makes the viewer use their eyes to get the story. The music enhances the action on the screen just as it was in the silent era. The composition of what we are viewing is something we could take for granted or perhaps we have the chance to see how visually stimulating it can be, even in black and white.

The film ends with a dance number straight out of the old Fred Astaire/Ginger Rogers playbook. Unfortunately there will be far too many viewers who won't even know who Astaire and Rogers were which is kind of sad because there are so many great movies that just aren't the thing these days. Younger viewers ignore films that are black and white. They have no desire to watch a film that is "silent" (even though the score to this movie is fantastic). It's much easier to watch a movie with tons of explosions or sparkling vampires than it is to invest oneself in a love story like this one.

That's a big loss for this generation. They don't know about the high flying adventures of Captain Blood or the deeply romantic loss felt by Rick in a town named Casablanca. They'll never know the charm of Nick and Nora Charles as they solve crimes or the horror displayed by an actor named Karloff. This movie might change that though. Perhaps after watching and enjoying this film the younger generation might be interested enough to seek out those classics. One can only hope. And if not, at least they'll be entertained by this film. It deserved the attention it received.

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Wow! The acting in this movie was amazing. Even though few words were spoken throughout the movie, I felt as though I watched and listened to an entire dialogue. The unspoken and unheard became loud and clear. The actors facial expressions and body motions moved with their lips and created a script that anybody could understand and enjoy.

This movie should be catalogued with the best classics.

What I liked most about the movie:

It was cerebral.

Every actor and every scene combined with great music to bring this movie to life (living color and sound).

It didn't need sophomorish bathroom humor to be funny.

It didn't need sex to be passionate and romantic.

It had many very memorable moments like the old time greats Here's lookin' at you kid.

It didn't need words or sounds to hear and experience the action, love, tragedy and inspiration.

And, the dog was just as much of a character as any of the human actors in the movie. The dog should be named Oscar.

I watched this alone, and like a good book I couldn't stop watching even though I was tired and needed to go to bed.

I plan on watching it again, and I am going to insist that my girlfriend watch it with me I know she'll love it.

If they made silent movies like this back in the beginning, it could have delayed the need for talkies.

From one armchair critic to another watch it (you'll be glad you did).

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American Psycho (Uncut Version) (2000)

Based on Bret Easton Ellis' controversial novel American Psycho, this film tells the story of an 80's yuppie named Patrick Bateman (played by Christian Bale) who works on Wall Street by day and kills people by night. Like the often misunderstood novel, the film is more of a dark social comedy than a real horror story. Bateman dresses and talks like all the other wealthy, young Wall Street crowd, and thus mistaken identity plays a big part in his getting away with gruesome murders again and again. Bateman's own grip on reality begins to blur over time and at various times throughout the movie it's quite obvious that Patrick's view of reality is a sick, homicidal dream of endless torture and killing. Even when Bateman confesses at one point, no one listens or seems to care. Everyone has their own agenda and the main concern of Bateman's friends is which extravagant restaurant to dine at next, or getting the latest and greatest business card to impress one another.

Casting Christian Bale was a brilliant choice by director Mary Harron, who almost got fired from the project because of not choosing Leonardo DiCaprio for the starring role. I honestly don't think anyone could've captured Patrick Bateman's personality more flawlessly than Bale, who gave an extraordinary, chilling performance. And casting Reese Witherspoon as the prissy, bubble-brained Evelyn, who's engaged to Bateman but knows nothing of his psychotic, homicidal behavior, was a perfect choice. Much of the dialogue in the film is taken directly from Ellis' book, and the horrific violence of the book was toned down considerably, with much of it taking place off camera. Many viewers don't seem to appreciate the frequent humor in American Psycho, such as the various times Bateman says crazy things like, "I'm into murders and executions" that no one seems to hear. And his philosophical ramblings about the music of Huey Lewis & the News, Phil Collins, and Whitney Huston are hysterical!

The new "Killer Collector's Edition" is a mixed bag as far as worthwhile special features go. The documentary "From Book to Screen" is in depth but instead of having new interviews with the stars there are mostly boring interviews with film critics. Plus, it seemed like there was way too much coverage of the novel and very little on the actual shooting of the film. There's a lame video essay read by some singer and a documentary on the `80s. Thankfully, there are several deleted scenes (with optional director's commentary) as well as several humorous trailers. My favorite special feature (and probably the main reason why you should by this edition) is the director's commentary which tells lots of entertaining behind the scenes info. And, the picture and sound quality are better than ever! American Psycho IS NOT a film for everyone, but for those who enjoy intelligent satires with a little horror mixed in, this modern classic is a definite must for your DVD collection! And before you judge or even watch this movie, you should read Ellis' novel to appreciate the whole, uncensored story.

"I like to dissect girls. Did you know I'm utterly insane?" -P. Bateman

No doubt about it, Mary Harrion's "American Psycho" is definitely not for every taste and audience demographic. The good news is, perhaps, that the film is nowhere near as gruesome and gory as both its subject matter and its controversial nature would lead one to believe. In fact, its tone of ironic comic detachment helps to de-emphasize the more sordid aspects of the material and to instead highlight the film's bitingly satiric message.

Set in the mid-1980's, "American Psycho" casts a scathing eye on the then-brand new, up-and-coming group of 20-something executives known as "yuppies." Patrick Bateman, the psycho of the title, is a man who literally seems to have everything stunning good looks, a fantastic physique, a beautiful fiancé, a diploma from Harvard and a successful career as a Wall Street executive. Yet, alone of the young men with whom he consorts, Patrick flatly admits to us in voice-over narration that he is literally an empty-suit that his perfectly maintained outer appearance, seemingly well-ordered social routine and empty, superficial personal relationships merely mask the moral emptiness that lurks at the core of his soul. Much of the complexity of Patrick's character comes from the fact that he seems, paradoxically, to be both obsessed with the idea of conforming to the values of the world he lives in, and, at the same time, being strangely conscious of their unreality and meaninglessness. Thus, we see him becoming almost emotionally unglued because he fears he will not be able to reserve the proper table at a posh upscale restaurant or because he feels that one of his corporate buddies has a more impressive looking business card than he does. Much of Patrick's madness has its roots in the kind of obsessive-compulsive paranoia that arises from the modern insistence that life should and, indeed, can be converted into a perfect, problem-free existence if one just has enough money and a sufficient amount of the right "stuff" to make it that way. Frankly admitting that he feels no emotional attachment to any other human beings, Patrick is thereby free to channel his madness into its ultimate anti-social, taboo-shattering shape and form: serial killing. Thus, as days turn to nights, Patrick begins to rack up his victims and potential victims a homeless man, assorted prostitutes, an ex-girlfriend, an unctuous business associate, even some policemen who get wise to his activities later in the film.

Luckily for the squeamish among us, far more of the film's running time is devoted to a comic rather than thriller mode. The brittle, dryly humorous Mary Harrion/Guinevere Turner screenplay mines the corporate world milieu and the twisted rantings of a values-free mind for all their black comedy potential. Christian Bale brings a remarkable subtlety to a touchy role, managing to seem coolly alluring, chillingly detached, touchingly pathetic and wryly amusing all at the same time. Special credit should go to the stark, almost antiseptic look the filmmakers achieve through the art direction and set design, a look that matches in visual terms the moral and emotional emptiness of the characters and their world.

Much was made of the anti-woman tone of the novel at the time of its initial release. Perhaps because the writers and the director are themselves women, the movie seems to have toned down that aspect quite a bit. Indeed, as in a movie like "In the Company of Men," we find ourselves not so much appalled as sadly bemused by the vehemently anti-women comments uttered by Patrick and his cronies because we see what shallow losers these men really are. Harrion and Turner obviously know whereof they speak.

To reiterate, "American Psycho" may not be everyone's cup of cinematic tea, but those looking for a sharp little satire of modern American life will find some definite rewards.

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Whether we know it or not, many of us have co-workers who are just like Patrick Bateman. On the outside they exude confidence, style, and success, and they know exactly what to say and when to say it. But on the inside lurks a fragmented soul ready to snap at any given moment. Welsh actor Christian Bale, in one of the best performances you will ever see, brings to life Patrick Bateman, the Wall Street yuppie who works at Pierce & Pierce by day and is a serial killer by night. In adapting the controversial and unpleasant book by Bret Easton Ellis, director Mary Harron purges much of the violence and misogyny that made the novel one of the most despised and misunderstood pieces of literature in the last 20 years. What remains is the book's twisted sense of humor. This isn't a slasher film but rather a clever satire on the yuppie lifestyle of the late 1980s. Speaking in a pitch-perfect American accent that recalls a game-show host, Bale perfectly embodies his character physically and emotionally. His performance makes you simultaneously laugh at, pity, and fear Bateman. Jared Leto is also good in his brief role as Paul Allen (in the book it's Paul Owen; why his name is changed in the film, I don't know); Chloë Sevigny also stands out as Patrick's timid assistant, and Reese Witherspoon shines as his clueless and self-absorbed fiancee. This is the unedited version, which has a few additional flashes of nudity in one of the sex scenes. The difference is so minimal, you'd hardly notice it, showing how uptight the MPAA can get when it comes to editing films. Nonetheless, "American Psycho" is a disturbing but clever film that was one of the best of 2000. It comes highly recommended.

Read Best Reviews of American Psycho (Uncut Version) (2000) Here

Unfortunately for "American Psycho," the book has already garnered such a notoriously controversial stature that the film itself has a difficult task in trying to win over viewers. Like "Natural Born Killers," many people may have already made up their minds about this movie long before they even consider watching it.

Like "The Fight Club, "American Psycho" is a movie that could not be more misunderstood. Sure, this is about a psychopath on the most childishly obvious of all levels, but most of all this is satire on the yuppies of the mid to late 80's. It is an exploration in the hollow, meaningless existence of a rich Wall Street stock broker. A man who's life is so consumed by greed and power lunches that he can only find salvation whilst murdering someone. All the best scenes of "American Psycho" occur in the first three quarters of an hour. Christian Bale meticulously describes his morning routine with hilarious results and constantly tries to explain the significance of 1980's pop music. "The Greatest Love of All's transcendant beauty makes it by far Whitney Houston's most accomplished record" he claims, before butchering two girls. There is also a perfect scene in which Bale and his peers spend ten minutes arguing over who's business card font is better.

The violence (and sex) may be unsettling to some but is often times hilarious if you are willing to take it with a grain of salt. How can you not laugh when a bank machine asks Bale to "feed me a stray cat?"

This is a very clever and sophisticated film that could be perceived incorrectly. It is one of 2000's finer movies and deserves something better than to be overlooked because of the book's notoriety.

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After watching this film twice, I am of the opinion that it really is a satire rather than a horror film. I say this because the majority of the film is really about Patrick Bateman's pitiful attempt to define himself through his obsession with his model-like appearance, his outlandish purchases (such as two Robert Longo drawings in his living room), music selections, and his choices in nightclubs and restaurants. The man is adrift with no real meaning in his life, and thus this is why he is "psycho".

He demeans women, seeing them as little more than sex objects or status symbols. He is engaged to a woman (played by Reese Witherspoon) who sees men in the same way he sees women, which is convenient for a while but eventually results in a rupture of the relationship.

He is hyper competitive and overly sensitive to the trappings of success. He becomes especially competitive with a colleague Paul Allen (played by Jared Leto) who has gained recognition that Patrick lacks and seeks.

Early in the film Patrick lapses into psychotic halucinatory behavior, thinking that he is killing the women he picks up and the collegues who out shine him at work. We are given considerable hints throughout the film that his murders are figments of his imagination. I realize that some viewers will not interpret the film in this manner at all, but I suggest they carefully watch the film and seek the clues that Patrick is hallucinating and thus imaging that his desire to kill is in fact overt behaviors rather than impulsive thoughts.

So why is he an American Psycho? Because he is a terrible empty shell of a person, driven to self definition by the American marketplace. The poor fellow had no original opinions. He actually memorizes CD covers as substitutes for developing an original opinion of the pop music that is integrated throughout the film.

And yet, in some ways this really is a horror film, for what could be more horrible that a meaningless existance? The author of the book, Bret Easton Ellis, would let us know that many people experience this horror every day.

The film is actually very good and unfortunately misunderstood and underestimated by most viewers.

Dead Poets Society (1989)

"I learned this, at least, by my experiment; that if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours." (Henry David Thoreau, "Walden.")

Hands up folks, how many of us discovered Thoreau after having watched this movie? *Really* discovered I mean, regardless whether you had known he'd existed before. How many believe they know what Thoreau was talking about in that passage about "sucking the marrow out of life" cited in the movie, even if you didn't spend the next 2+ years of your life living in a self-constructed cabin on a pond in the woods? How many bought a copy of Whitman's poems ... whatever collection? (And maybe even read more than "Oh Captain! My Captain!"?) How many went on to read Emerson? Frost? Or John Keats, on whose personality Robin Williams's John Keating is probably losely based? Judging by the vast majority of the reviews on this site alone, you just can't fail to notice that this movie has a powerful appeal like few others; "inspirational" is probably the most frequently used word in the opinions represented here. And justifiedly so, despite the fact that charismatic Neil Perry (Robert Sean Leonard), one of the movie's main characters, tragically falters in the pursuit of his dreams, in the wake of apparent triumph. Because although Neil's story is one of failure, ultimately this movie is a celebration of the triumph of free will, independent thinking and the growth of personality; embodied in its closing scene.

Of course, lofty goals such as these are not easily achieved. Todd Anderson (Ethan Hawke) in particular, the last scene's triumphant hero, is literally pushed to the edge of reason before he learns to overcome his inhibitions. And Thoreau said in "Walden:" "If you have built castles in the air, your work need not be lost; That is where they should be. Now put the foundations under them." Anyone who takes this movie's message to heart (and Thoreau's, and Whitman's, and Emerson's, Frost's and Keats's) knows that success too easily won is often no success at all, and most of our truly important accomplishments are based on focus, tenacity and hard work as much as on anything else. And prudence, too ... dashing Charlie Dalton (Gale Hansen) pays a high price for his spur-of-the-moment challenges of authority; although of course you just gotta love him for refusing to sign Keating's indictment. "Carpe diem" live life to its fullest, but always know what you are doing, too.

You won't enjoy this movie if you are afraid of letting your mind and your feelings run free. Shot on the magnificent location of Delaware's St. Andrews Academy, "Dead Poets' Society" is visually stunning, particularly in its depiction of the amazingly beautiful scenery (where the progression of the seasons mirrors the progression of the movie's story line), and it is as emotionally engaging as it invites you to mentally reexamine your position in life. Robin Williams delivers another Academy Award-worthy performance (he was nominated but unfortunately didn't win). Of course, Robin Williams will to a certain extent always be Robin Williams ... "Aladdin's" Genie, "Good Morning Vietnam's" Adrian Cronauer and "Good Will Hunting's" Professor McGuire (the 1997 role which would finally earn him his long overdue Oscar) all shimmer through in his portrayal of John Keating; and if you've ever seen him give an interview you know that the man can go from hilarious and irreverent to deeply reflective in a split second even when it's not a movie camera that's rolling. Yet, the black sheep among Welton Academy's teachers assumes as distinct and memorable a personality as any other one of Williams's film characters.

Of its many Academy Award nominations (in addition to Robin Williams's nomination for best leading actor, the movie was also nominated in the best picture, best director [Peter Weir] and best original screenplay categories), "Dead Poets' Society" ultimately only won the Oscar for Tom Schulman's script. But more importantly, it has long since won it's viewers' lasting appreciation, and for a reason. As the Poet said: "Camerado! This is no book; Who touches this, touches a man" (Walt Whitman, "So Long!"), this is no movie; who watches this, watches himself!

Also recommended:

Good Will Hunting (Miramax Collector's Series)

A Midsummer Night's Dream (The New Folger Library Shakespeare)

Henry David Thoreau : Collected Essays and Poems (Library of America)

Whitman: Poetry and Prose (Library of America College Editions)

Robert Frost: Collected Poems, Prose, and Plays (Library of America)

John Keats: The Complete Poems (Penguin Classics)

Be careful about the label 'Special Edition' if you are still waiting, like me, for the fabulous Director's cut that was released on laser disk but not on DVD. It contains essential extra footage added by Peter Weir that fleshes out the motivations behind many of the characters and answers some questions that the theatrical cut raises. The Director's cut is 142 minutes so this DVD is just a re-release of the original theatrical version.

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I just received the "Special Edition" and was disappointed. The reviewer who advised caution was correct-this is just the same version with a few "bonus" features. The "Deleted Scenes" or "Raw" footage contains only the couple of minutes of Keating meeting the boys at the cave after Neil's performance. The version shown on USA (I haven't seen the Laser Disk Director's Cut) containing the extra footage of Knox's dinner at Danbury's and meeting Ginny Danbury, the scene rehearsing near the lake, the boys being assigned their extracurricular activities are all missing. The original script called for Knox and Chris to kiss near the frozen waterfall after the Keating-led meeting. That's not here, either. Too bad those scenes really tie up the story much better.

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No matter how many times I watch a particular movie, certain ones have a way of moving me. Dead Poets Society was one of them. It was the most influential film I had ever watched, and the only one that I could relate to directly and indirectly.

Robin Williams plays the English teacher, John Keating, who brings enthusiasm to the classroom of young scholars whose only sense of fun is spending time together in their study groups. But his method of teaching was rather unconventional. Keating did not conduct an in your face way of teaching, and nor did he spoon feed the boys in his class. Keating suggests to the students that in any formal environment, there is the strict expectation that one follows the straight and narrow, and free thinking is the antagonist where there should not exist any curves or turns. He simply opens the minds of the students who only thought that going to prep school was the easiest way to get to Harvard. And in essence, the main gist of the film has to do with, no matter what direction in life one takes, poetry is the path to expression.

This movie was high with emotions and of course relationships. I particularly thought Ethan Hawke's performance was very convincing. If you've ever been a situation like Hawke's character, you would know what I mean; watch the movie and you'll understand. Also, the relationship between Robert Sean Leonard's character and his father was very realistic of a person who's dying to break free from parental influence.

As in any movie depicting honor and respect (School Ties and Scent of a Woman), someone suffers the consequences, but no one is left standing alone. In the case of Dead Poets Society, the circle of friendship that existed between the students became a hard lesson. The film makes a good of emphasizing that those whom you thought were invincible, turned out to be less of your expectations, and the movie was good at presenting that scenario.

If you like a movie that doesn't preach to you, but nourishes your mind with words to ponder, or words of encouragement, I recommend Dead Poets Society.

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I Love DPS. It's my favorite film, and, I think, one of the best made in my lifetime (30 years). During my own boarding school days, it was life-altering. So, I got the new Special Edition, assuming it would be the director's cut. I remember once seeing it on television, about 20 mins longer. Not so. They included one cut scene (in the bonus stuff) which was supposed to be intercut with the suicide scene (and mercifully, wasn't).

The interviews with the actors were odd. Ethan Hawke was a tad flaky -he called Robert Sean Leonard "Terry" (his character's name in the Hawke-directed Chelsea Walls) He also was mysteriously unclear on where they were staying during filming -"We were staying at a Radisson -or maybe it wasn't, but something like that -in Dover. No, New Castle. No, it definitely wasn't New Castle. Dover? I don't know where it was." (It was New Castle, according to the credits. But why wasn't this monolouge of uncertainity cut out?) RSL didn't have much to say for himself, considering the importance of his role. They talked to Dylan Kussman (Cameron), Allelon Ruggiero (Meeks), Kurtwood Smith (Mr. Perry), Norman Lloyd (Mr. Nolan), who was very Mr. Nolan-ish ("They wanted ME to audition! I had been on St. Elsewhere! _I_ wasn't going to audition!") and oddly, Melora Walters (One-Line Townie Girl, Gloria), who was rather annoying. Obviously, Robin Williams was conspicuously absent, and I would have liked to see Gale Hansen (Charlie) and Josh Charles (Knox). The only interesting information was that RSL and Ethan wrote the desk set scene themselves, because what the script called for wasn't working.

Then I watched the feature with commentary by Peter Weir (who was interesting), the cinematographer, and the screenwriter who was quite irritating. In the original script Keating was supposed to have cancer, and die at the end. He kept referring to him as being sick/dying, without explaining that was an earlier version of the script. Also, although he said Neil was based on his best friend, and Welton was what his school (private, but a day school) wanted to be, he neglected to say that Keating was based on an English teacher (Samuel Pickering, now a professor at University of Connecticut) he had at school. Perplexing.

All in all, if you have the regular DVD, don't bother buying the special edition. So disappointing. Also, I had the distinct impression from the film commentary that it was meant for the 10-yr anniversary. Wonder what the hold-up was? The bonus material here wants to fly like a desk set and instead falls with a resounding thud.

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The Texas Chain Saw Massacre (1973)

First, the movie. The Texas Chainsaw Massacre is probably one of the scariest movies ever made. It was unique for its time, and there's still nothing quite like it today. The plot doesn't sound like much2 women and 3 men make a drive to rural Texas to check out a graveyard that has been 'defiled', and to also relax and enjoy themselves. This last part of their vacation plan doesn't go real smoothly, as they make the mistake of wandering into an area where an insane, backwoods, inbred, cannibalistic sociopathic family live. Things get more and more horrifying from there.

I've heard people complain this movie isn't scary and not gory enough. As far as the gore, it is fairly low-key by today's standards (though I'm sure my mother wouldn't want to watch it, and it couldn't be shown un-cut on regular network TV). There's not a lot of blood till the end of the movie, but the acting is so good, and the screams of the victims so wrenching, your imagination fills in the rest and it actually is painful to watch. I will agree that the movie is kind of slow to get startedI admit the first time I saw it as a teenager I was getting impatient for some action. However, the last half of the movie more than makes up for it.

But if you think this movie isn't scary, I seriously doubt you've watched alone, at home, at night, with all the lights off. The first time I saw it was in the daytime, and it still made my hair stand on end. When I got the Special Edition DVD I unwisely watched it after midnight with the lights off. I couldn't sleep until the sun came up. The opening scene of the rotting corpse in the cemetery wired to a headstone alone made my skin crawl. The scene where Pam first discovers Leatherface's room, with the furniture made of bones and the chickens in bird-cages, gets scarier each time I see it. The last 20 minutes, at the dinner table, has to be one of the most grueling and realistic scenes to sit through ever made. The final few images--well, over 10 years went by between the last time I saw the movie and the time I watched it on DVD a few weeks ago, and I *still* could remember those shots so vividly it was like I saw it yesterday.

The DVD is incredible-the transfer is so crisp that it seems like the movie was filmed last year instead of in the early 70's. Since I'd only seen it on "pan & scan" VHS, I never really appreciated how beautiful some shots of the rural setting are, and also how well-thought out and carefully put together most of the cinematography is. Breathtaking, actually. Until the commentary pointed it out, I never realized how perfect and effective the long, continuous shot of Pam hesitantly getting up off the porch swing and slowly walking to the screen door is. This movie does not look at all amateurish, even though it was made on an extremely low budget.

The DVD is packed with cool and interesting special features. First, the commentary by Tobe Hooper, Gunnar Hansen aka Leatherface, and director of photography Daniel Pearl is fascinating. There's lots of subtle but powerful elements in the movie I missed till now-for instance, the lack of almost any score or soundtrack that gives it a documentary feel, making it that much more disturbing. Hardcore fans of this movie know already this was NOT an easy shoot by any standards, but their accounts of how much energy and work it took to get certain things right, not to mention the really tortuous things many of the actors went through...well, if any actor deserves to be paid millions for a movie, this cast certainly earned it. The dinner scene was the most horrendousthey could only do one take, it went on for 20+ hours, and this was in 110 degree heat with no air conditioning. Gunnar Hansen said that by the end, he was so out of it he started to think he wasn't acting. Kind of gives the tag line "Who will survive and what will be left of them?" a whole new meaning.

There's also some deleted and alternate scenes, including some "lost footage" never available before. With many of them, you can read the script excerpt of the scene first. There's a hilarious blooper reel-the quality isn't that great, but you'll laugh your butt off. There's lots of production notes and stills, along with shots of rare publicity material. A couple scenes are broken down shot by shot, with Hooper explaining why he made the directing and editing choices he did. There's even more, I just don't have room for it all. The menu is also pretty great. I highly recommend the Special Edition to anyone who is a fan of TCM. You'll be able to spend hours enjoying it, and they couldn't have done a better job. My recommendation (for what it's worth) is to get this one fast, because it would be a shame if it went out of print and so many people missed this wonderful collector's edition.

As a massive horror fan from the UK (where this film is banned) I had to wait many years to see this film, and after all the hype and expectations which I had built up I was half expecting to be dissapointed when i finally watched it...how wrong could I be? This film had me gripped instantly. The film builds up suspense like no other and when the murders do actually happen they are not ruined, like many other horrors, by almost comical deaths, they are nasty! This film is gritty and raw, with documentary like visuals which only add further to the sense of fear which you can almost smell. The acting is brilliant, its laid back yet energetic at the same time. Never have I seen fear portrayed as realistically as Marilyn Burns haunting display in this movie (but then again I never looked at myself in the mirror while watching the film). All of the factors in this film mix to make an evil couldron of depravity, that'll make you too afraid to look but even more scared when you close your eyes. This film is the freakiest i've ever seen and to say i enjoyed it seems kind'a sick as the killings are so realistic and depraved, but there's no denying it, I loved it.

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The DVD edition of "The Texas Chainsaw Massacre" is simply essential for all TCM fans. For a movie that's achieved almost mythical status among its devotees, the unearthing of unknown and unseen gems from the making of TCM is a treasure trove. On the DVD, you get outtakes and bloopers, trailers and TV ads for the original movie and its inferior sequels, scores of publicity stills, and an alternate audio track featuring Tobe Hooper, Gunnar Hansen and cinematographer Daniel Pearl giving a running commentary of the film as it plays. Their comments lend much insight into how TCM was made, the impact of the film, and updates about what happened to various cast members. The film itself has been restored to a vibrantly colorful print, and the viewer has the option of watching the film in stereo or in its original mono mix. If only every DVD could be this lavishly issued... If you haven't seen the film yet, you must know that this is a landmark horror/suspense film. Far from the river of blood its title suggests, there's relatively little killing in the movie; its strengths lie in a palpable atmosphere of Texas heat and dread; black as oil humor, and heart-in-your-throat suspense. Its reputation as a sick, gory slashfest comes mainly from its myriad inferior imitators. Check out the DVD and make your own judgment.

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First things first: this is not a true story. There was no cannibalistic serial-killer family in the 1970's Texas, this movie was loosely based on the exploits of Wisconsin murderer Ed Gein and the rest is fantasy.

However, what this is is one of the most horrific movies ever made, incredibly visceral and violent even though very little blood is used. The villains range from demented to sadistic, the heroes from sympathetic to annoying. The movie's cheif fault is that its teenagers are, for the most part, very poorly developed. We only get to know two of them, so when they wander into the clutches of Leatherface it's less painful for the audience, if incredibly painful for the characters.

However, the movie excels in so many aspects that this minor point is quickly overlooked. The hot, humid texas atmosphere is perfectly filmed, adding a layer of foreboding to the already tense atmosphere. The killings are done in a variety of ways without being far-fetched and ridiculous (interestingly, only one is killed with a chainsaw) and the acting credible, especially Gunnar Hanson as Leatherface.

The Best horror movie of the 1970's, and one of the greatest of all time. 9/10

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When Pioneer released their first DVD of 1974's "The Texas Chain Saw Massacre" on October 6, 1998, it did not include the Tobe Hooper/Don May approved transfer that was used on Elite Entertainment's 1996 LaserDisc. Somehow, Pioneer got their hands on a backup copy, a workprint, that didn't have all of the digital restoration that the LD transfer had. Because of this, Pioneer's transfer suffers from being too dark, bad encoding resulting in still images appearing to move, color bleeding, and black and white lines occassionally popping up during the picture. Pioneer screwed up, bad. What's worse, five years later in 2003, Pioneer announced it was rereleasing The Texas Chain Saw Massacre on DVD as a 30th Anniversary Special Edition (even though the 30th Anniversary wasn't until 2004), but this was really just an attempt to cash in on the remake. Shamefully, Pioneer released the same disc from 1998 with the same flawed transfer and tried to pass it off as something new. The cover art was new, and very much inferior to the 1998 art, but everything else was exactly the same. Pioneer knew this was a flawed transfer. They didn't care. They wanted to profit over doing as little work as possible. Thankfully, Chainsaw fans are finished with Pioneer and their lousy DVDs. On September 26th 2006, Dark Sky Films (a division of MPI Home Video) will release a 2-Disc Ultimate Edition DVD of The Texas Chain Saw Massacre (1974). Finally, we will be getting a brand new, totally remastered, 16x9 enhanced transfer. Don May supervised this transfer in 2003 for the VOOM HD Satellite Service and has made a few more tweaks since then. This will be the transfer we should have had years ago; the way Chainsaw should look. No more of that botched non-anamorphic junk that Pioneer gave us. All of the extras on Pioneer's DVD(s) commentary track with Tobe Hooper/Daniel Pearl/Gunnar Hansen, deleted scenes and alternate footage, blooper reel, props and set footage, photo galleries, TV spots and trailers will be carried over to this Dark Sky release. New additions will include a commentary track with Marilyn Burns/Paul Partain/Allen Danziger/Bob Burns/David Gregory, the 80 minute "Shocking Truth" documentary from 2000, a 74 minute "Flesh Wounds" documentary, a tour of the Texas Chain Saw Massacre house with Gunnar Hansen, "The Shocking Truth" outtakes, and radio spots. Toss your Pioneer DVDs in the garbage and get ready for the Ultimate Chainsaw experience.

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My Life in Ruins (2009)

Why are there so many critics in this world? This is a sweet, fun movie that opened up a chance for many to see places in Greece that can not be filmed for commercial reasons. Kudos to Nia for gaining approval to film in such fantastic places as Delphi, Olympia and at the Acropolis. This is the perfect movie for a light, summer night or for when you just need a "pick me up." See for yourself. Greece is a magical place and it was a delight to see it on the big screen. Nia is charming on and off screen and I think she is terrific. You go girl!

The 2009 release 'My Life in Ruins' turned out to be a totally unexpected surprise. The scenery is magnificent, the storyline and dialogue sharp and the cast of uniquely quirky characters will keep you throughly entertained from beginning to end. The budding romance between tour guide Georgia (Nia Vardalos) and bus driver Nico (Alistair McGowan) was really quite charming and tourist and self-designated funny man Irv (Richard Dreyfuss) was clearly the secret ingredient that made it all work so well.

I particularly enjoyed the way the film incorporated an ongoing subtext suggesting that the Greek Gods may be subtly interacting with the tour and tourists. It was just the right touch of whimsy and depth to supply an added dimension to this delightful romantic comedy.

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I saw this movie a few weeks ago at the theater. I found it very entertaining and informative. It took me to places in Greece that I would love to visit. Nia is funny, sexy and believable. In the year 2000 I went on a tourist bus tour of Europe and this movie surely brought back many fond memories. Every bus tour includes many diverse characters, with a believable love story, this makes it very entertaining. I have recommended this movie to all my friends.They should own it.The filming is exquisite showing the sites of Greece like a travelogue.I left the theater feeling as I had been thoroughly entertained.

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My wife and I missed this great movie when it came out in theaters in 2009 probably because it did not have a very large promo budget compared to the high tech blockbusters but we caught it by chance on a flight home from Europe this summer and I immediately ordered the DVD. With a talented international cast including Richard Dreyfuss this movie optimizes both the humorous and serious side of life. The chemistry between all of the characters is just wonderful and relies on real human interactions combined with the spectacular scenery of Greece rather than special effects how often do you see that these days? Noting some of the negative comments it is admittedly something of an 'inside joke' to those who are into travel and there are a few Greek tourist clichés and other stereotypes. However all of the jibes are sensitively done, by and large accurate to my experience, and will resonate with anyone who has ever toured Greece 'economy' class! I would hope that this film gets at lease a nod at Oscar time this year, and in any event would recommend it for any movie collection as a feel good / date movie.

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what FUN! this is a romantic comedy that is not just about a boy and girl getting together: it is an ensemble piece about the joys of being true to who one is. nia vardalos never looked better and her wardrobe, for a change, is complimentary; acting chops are better tuned, as well. the on-screen chemistry between nia and alexis georgoulis is combustible: no wonder the greek tabloids touted an off-screen romance between the two; and did everything they could to prove it, too. casting directors should cast georgoulis in more flicks in this country; he's a real screen presence. the rest of the ensemble are pitch-perfect; what a joy to watch them all.

yes, this flick is full of stereotypes; what romantic comedy isn't? afterall, stereotypes are stereotypes because they are recognizable characters from time immemorial: we KNOW these people. so, drop your defenses, relax, and enjoy this romp through greece.

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NFL Super Bowl XLVI Champions: 2011 New York Giants (2012)

I've been duped into buying each of the Giants' last two Super Bowl winning seasons DVDs. NFL Films, thanks for taking my money while delivering a pedestrian, rushed-to-market product.

My chief complaint with this (and with the Super Bowl 42 DVD) is that the narration fails to TELL THE STORY of the season. It's hard to make this Giants campaign seem flavorless, but they did. The format of the film is such that they'll go over a few highlights of each game rather journalistically, move on to the next one, and lather, rinse, repeat. There is very little commentary and they barely put anything in context. How about beginning with the fact that the team was widely criticized for making no free agent impact, for allowing Steve Smith to slip to Philadelphia, to see Plax return with the Jets? How about mentioning the fact that each of Coughlin's eight seasons in New York have begun with a 5-2 or better record, and late season declines were a pattern that was on the minds of everyone when they seemed to begin another one? How about discussing the emergence of JPP, the contract dispute with Osi, or Justin Tuck's tumultuous season -rife with personal lose and physical injury -before returning to strengthen the defense down the stretch? Or Eli Manning's bounce back year, in which he defended his pre-season remarks and reversed a nasty turnover trend to throw a record-setting 15 TD passes in the fourth quarter? No, no mention of any of this. Instead, all you get is "Bradshaw ran for a TD... then Eli threw for one... the Giants won X to Y. The next week, Cruz had two TDs, Corey Webster had an INT, the Giants won X to Y..."

In fairness, the footage is pretty spectacular. Makes you wonder where it is when the officials don't have a good view on a replay review and the announcers are telling you "all they have is what you're seeing on your screen, folks."

The bottom line is, I get these DVDs so I can remember the finer points of a miraculous season and so that in 10, 20 years time, I can pop the DVD in and bring this season back to life. I seriously doubt that this product will serve that purpose.

At about an hour and fifteen minutes, the feature program is longer than most other Super Bowl recap DVD's of recent memory. I was expecting the standard 30 minute retelling of the Super Bowl and short snippets of the season's highlights leading up to it, but what I got was a comprehensive review of every Giant game this season, win or lose, and the featured play from each game in high definition on blu-ray.

What makes this program special is the fact that NFL Films has recently elevated their high definition photography to an art form, so every play is stunning in its appearance and when the players are miked up for sound and they are hit or are hitting, the brutality of the sport is graphically spotlighted. On a good sound system, some of these hits sound as brutal as they look.

Obviously, for the Giant fan, buying this memento of another improbable run is a no-brainer, but even for the casual NFL fan, this feature-length film features some of the best behind-the-scene footage of preseason coaching, banter between officials and players, sideline discussions (including the now-infamous Bill Belichick "make 'em throw it to Manningham" plea during the Super Bowl) and other rare moments that only the NFL Films crew has access to.

The scene selections are divided by game, so if you wish to fast forward through the Giants mid-season swoon and get to the good stuff, just flick the remote and off you go! What I also liked about the program is the highlighting of all players who played an integral part in this championship, like Victor Cruz, Jason Pierre-Paul and even Chase Blackburn. Sure, this is Eli's team, but you are not beaten over the head with it, like you were with the Aaron Rogers or Drew Brees love-fest videos. This was truly a team effort, and the narrative certainly makes the most of that theme.

I also like how candid they were able to get with Tom Coughlin, particularly his heartfelt post game speeches, and especially with linebacker Michael Boley, who you can clearly see took over Michael Strahan's role as the emotional leader of this defense, and who I believe was even more emotionally invested this year than Strahan was during the 2007 run. I certainly hope they peg him for at least one spot in the America's Game film of this team's story. I vote for Boley, Cruz and either Pierre-Paul or Ahmad Bradshaw to be the narrators, as Coughlin and Manning are probably not going to repeat...all I can do is speculate of course!

The bonus material is not extensive, but it does feature the Super Bowl ceremony with everyone humorously assaulting Raymond Berry as he escorts the Lombardi Trophy through the field, as well as Super Bowl Media Day highlights, a short Super Bowl XLII retrospective (borrowed liberally from the NFL Films feature) among a half dozen or so clips and highlights. Nothing to write home about, but that's hopefully not what you bought it for.

All in all, NFL Film's ability to be EVERYWHERE during filming of these games (including in the cheap seats!) makes this a truly unique perspective on a truly unique season and team. I think the most memorable moment of this feature is the very prophetic shot of Mario Manningham's mother in deep focus in the stands at the Super Bowl, then a close up on her son and Manning, just before Eli calls the play that ultimately defines and decides Super Bowl XLVI. You'll be asking yourself, how did they know? Maybe they already knew it was destiny repeating itself...

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This is an ACTUAL review of the DVD, and not a bunch of whining about Blu-Ray or Hi-def or what people think this DVD should contain. Such things are of no matter to me personally. As long as I have a lasting document of this incredible season, I am happy.

I received the DVD earlier today, in advance of the Tuesday release date. All I can say is...stunning!

The first thing I must say is that to call this a season's highlight package is to sell this production woefully short. "Cinematic" is a more appropriate term. NFL Films, as a production studio, consistently puts out a product that rivals any Hollywood studio and can easily play on the big screen. You will have a greater appreciation of how fast and violent this game is when watching this, or anything from NFL Films. When you see the camera focused on a ball in flight, that is likely from the camera of Donnie Marx. That's his signature shot. He's got to be one of the best cameramen working in any medium. His shot of Tom Brady's "Fail Mary" at the end of the Super Bowl is a thing of beauty.

About this DVD in particular, I got chills and that nervous stomach when watching, even though I knew what was going to happen. If you were already a fan of Giants' WR Victor Cruz, you will grow to love him even more. NFL Films was able to capture him in those moments, and you'll see that he plays the game with a team-first attitude and a childlike enthusiasm (on display when the Giants win the NFC Championship, and sprints across the field). I have to use the world "childlike", because when he is handed the Lombardi Trophy, his eyes open wide and he looks at the trophy as if he's reliving the moment he held his first child a few weeks earlier. I also love an exchange between Safety Deon Grant and one of the refs during the Atlanta playoff game where Grant argues the spot of the ball. The ref tells Grant to do his job and he'll do his. Grant replied that he DID his job and that why the spot is where HE said it was. Classic stuff.

I think the one tiny complaint that I have with the DVD is that it focused on Giants' WR Domenik Hixon's acrobatic TD catch against the Rams. But they don't mention that it was Victor Cruz's window into the starting lineup, since Hixon suffered a season-ending injury to his ACL on the play. I DID like that they didn't spend too much time on the shellacking that New Orleans put on the Giants on that Monday night.

The one major complaint that I had about the Giants "Road to SB XLII" set is addressed on this DVD, as the Super Bowl XLVI Post-game trophy ceremony is presented in the special features, along with Media Day highlights from the NFL Network, an interview with Eli Manning conducted by the man he supplanted as Giants QB...Kurt Warner, A interview with the Giants WR Corps, and a feature on Super Bowl XLII hero David Tyree.

Giants fans...I really can't wait for you to see this DVD!

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First, this isn't the Super Bowl XLVI "Road to the Super Bowl" production, which contains the entire Super Bowl and Playoff Games. That DVD collection should be out some time this spring/summer. "NFL Super Bowl XLVI Champions: 2011 New York Giants" is a Giants' 2011 highlight DVD/Blu-ray. It contains highlights of every regular season game, playoff game, and of course Super Bowl XLVI. There are some very nice special features too, which include:

Super Bowl XLVI Media Day

Super Bowl XLVI Post-Game Ceremonies

Super Bowl XLII Recap

The Eli Manning Conversation

Back To The Future

The Receiving Giants

Catching Up With David Tyree

2011 NFL Shots of the Year

2011 NFL Players Wired For Sound

2011 NFL Coaches Wires For Sound

The Blu-ray transfer is superb, and is a must have for any Giants' Fan.

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One thing's for sure is that Tom Brady proved that he is no longer an elite quarterback in the game (can he regain his elite status? maybe). Regardless, his terrible rookie-like mistakes cost the NE Patriots the Superbowl and handed Eli Manning an extra ring. Could the Patriots won in spite of Brady? maybe if they got really, really lucky and had a healthy Gronkowski. I give the Pats credit for being in a semi-rebuilding year and still making the Superbowl, but I give the Giants credit for not making any big mistakes. And while I admit that Manning's not an elite quarterback, he didn't make any big mistakes. And that is what you want out of your quarterback. Period. No big mistakes for Big Blue.

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The Rabbi's Cat (Blu-ray and DVD Combo Pack)) (2011)

I offer a litmus test. If you adored Sylvain Chomet's "Triplets of Belleville" but were bored with "The Illusionist", this film won't work for you. Myself, I thought the colors and drawings were artistically incredible ... something like Arabic or Hindu painted miniatures. Alas, there really is not much of a story. It is instead a tale of a journey by a rabbi, his voluptuous daughter, an Arab sheikh, and a Russian who are searching for a hidden Jerusalem in Ethiopia where Blacks and Jews co-exist in peace. Along for the ride is the rabbi's "talking cat" a creature which loves arguing and commenting on everything when he's not being pampered by the rabbi's daughter. Since the rabbi is a religious man, they discuss differences in customs and spirituality and beliefs...and why that matters.

The half of the film that take place in Algiers, 1920 is simply stunning. Beautiful blue pools, Persian carpets, exotic buildings, and mosaic tiles. For that alone, I give it 4 stars. The discussions between the characters were engaging but they did become didactic after a while. One of the great moments is the decision by the cat to obtain a bar-mitzvah, and the objections of the orthodox community to such an insanity.

The major problem of the movie is lack of a coherent narrative. Perhaps that is life itself lack of a coherent narrative form speaks substance.

This is animation for adults...worth a peek!

Although released under the GKIDS label, I'm going to start out by saying that "The Rabbi's Cat" is not an animated feature for children. It is undeniably geared toward adults or, at least, teens with an awareness of the world around them. The film discusses religion, racism, and violence and is thought-provoking in a surprisingly comedic way. This feature won the César Award in France for Best Animated Film and is based on Joann Sfar's series of graphic novels. Truthfully, without knowing anything about the movie, I really didn't have a strong desire to see it. I imagined the worst when I read about a talking cat offering wit and insight into a myriad of weighty topics. But I'll watch anything, you never know where that next great surprise is going to come from! Well, for me, this was it! I absolutely loved "The Rabbi's Cat!" The movie is smart, silly, sophisticated, and scathing. There is much to admire in this 89 minute movie, and the DVD/Blu-Ray also boasts some impressive extras.

Bonus:

1) 12 page excerpt from the graphic novel. This is a neat addition, you see that the film catches both the spirit and the look of the piece to perfection.

2) Joann Star Draws From Memory: A documentary feature (just shy of an hour) that sits down with the artist and filmmaker. I didn't know anything about Sfar, but found him to be an interesting subject.

3) Making-of Featurette

4) Trailer

Also of note: Sometimes these GKIDS features or other International animated releases will have an English dub option (of which I'm not a particular fan). "The Rabbi's Cat" does not. This is a subtitled release.

"The Rabbi's Cat" is set in Algeria during the thirties. This environment is a varied mix between French, Arab, and Jewish cultures and there is an unease in this cohabitation. When a Rabbi's cat miraculously gains the power to speak to its owners, it offers humor and commentary about this diversity. His is a search for truth, for God, for faith, and for his place in the world. A surprise guest from Russia adds further depth to the discussion and soon leads the major characters on a pilgrimage across Africa to a rumored city inhabited by Jews. Much of "The Rabbi's Cat" plays out as a wacky road trip with very serious undertones. I won't reveal any spoilers, but the group encounters violence (and even bloodshed) along the way. The trip can meander, but it is in these cross cultural adventures that the film really sings with wit and insight.

In terms of the technical presentation, I really liked the fluid hand-drawn animation on display. It's quirky and oftentimes lovely to look at. But trust me, that's one ugly cat! In short, "The Rabbi's Cat," in my opinion, was thoroughly entertaining. Check it out as a seriously funny film for adults, though, do NOT pick it up for the little ones. KGHarris, 5/13.

Buy The Rabbi's Cat (Blu-ray and DVD Combo Pack)) (2011) Now

The Rabbi's Cat is a truly charming animated film. The story follows an elder Rabbi and his daughter living in the Sephardic Jewish community in pre-World War 2 Algeria. The eponymous cat develops the ability to speak upon devouring the Rabbi's prized Parrot and proceeds to cause no end of mischief for the family and the surrounding community.

For fans of the graphic novel by Sfar, the film stays absolutely loyal to the look, feel, and theme of the original. The film has cut some plot-lines and characters in order to fit within the standard length of a two hour movie, but this hurts the narrative much less than one might think.

The Rabbi's Cat is ultimately about identity, religion, and ethnicity and how the contradictions within those boundaries ultimately define us as people. The fim is targeted at adults with the religious and historical that are too complicated for younger children. Overall, a great film from beginning to end.

Read Best Reviews of The Rabbi's Cat (Blu-ray and DVD Combo Pack)) (2011) Here

This is a beautifully animated version of Joann Sfar's graphic novel series. The world is incredible rich, full of Jewish and African lore... both mythology and history. I would have liked the film to be longer the pace can be a little frantic, and they try to cram too much plot into a short running time. I wish the Odyssey of Africa towards the end had been done as a stand-alone sequel. Oh well, it looks good and it has got more heart and imagination than most movies. And I guess it reflects how the images and creative ideas just seem to POUR out of the mind of Joann Sfar.

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The French have a well deserved reputation for off-beat works of genius and this is one here. I will not say a word about the extraordinary plot but the typical close-to-the-nerve Jewish humour is hilarious. The animation and music is exceptional. I loved it! Treat yourself. The English subtitles move a bit fast if you do not speak French and they are a bit on the small side but I found that no impediment to a wonderful night at the movies.

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A Christmas Carol (1984)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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