Predators (+ Digital Copy) (2010)

"Predators" is back to basics return for the "Predator" franchise, they have juggled the elements that made the first film successful but couldn't seem to get right for the sequel or the "Alien vs. Predator" movies. "Predators" starts with the original premise of the first movie. Eight people of different ethnicities (if not occupations) are thrown into a living green hell of a jungle except they all don't know how they got there or where they are. The only thing they're sure of is that they were involved in some war, they saw a light and the next thing they remember is waking up as they fell into the jungle.

As the eight get to know each and their surroundings, "Predators" relies on the camaraderie of the individuals and the stress of the situation for each character to reveal themselves to each other and the audience, and they discover every one may not be what they seem. There's also a nice bit of gallows humor to lighten the moments and was one of the things that gave the original "Predator" some of it's charm.

The predators have some new toys including the spiky dogs, and we learn there are two different kinds of predators, the standard one we're used to seeing is the smaller of the species and are hunted by the larger super-predator when no other game is available.

One bit of casting I was worried about was Topher Grace, the geeky Eric Forman of "That 70's Show," he seemed miscast or ill fitted for Eddie Brock in "Spiderman 3," and here he's the one element that doesn't fit, but he isn't supposed to, and he looks right for the part and delivers a role that at first looks like a straightforward but has some twists. Laurence Fishburne does a near-cameo as Noland, a soldier marooned on the planet and who may be from the Vietnam era, I think he hums a bit of Wagner's "Ride of the Valkyries" used to such great effect in Apocalypse Now.

I at first thought "Predators" was directed by Robert Rodriquez and that was one of the reasons I was looking forward to seeing the movie. I was a little disappointed that Rodriquez only produces, but this movie does incorporate some of the feel of a movie directed by Rodriquez but that may be because "Predators" is based on a screenplay Rodriguez wrote sixteen years ago . Directing is Nimrod Antal and he moves the movie tautly along never veering off course or too far off course, and he does add some visual artistry that hasn't been seen in any of the previous movies but gives us a sense of the alieness of the world the characters find themselves trapped on.

"Predators" is conscious of the events of the first "Predator" movie and the climatic battle is a tweaked version that is an homage to Arnold's battling of the predator while building on some of the inferred weaknesses of the predators. "Predators" is a good telling of a "Predator" story, using bits of the original and adding its own devices to the "Predator" mythology.

It has taken a string of awful sequels for someone such as Nimrod Antal to step up and take the Predator franchise back to its roots of gore, suspense and plain fear, but does it do these things well? "Predators" sets it story deep within the nostalgia of fans with a jungle setting similar to the original. We are introduced to an unconscious Royce, a hardened, ex-military mercenary played by Adrien Brody, free-falling from the sky over the jungle. After a warm welcome from fellow drop ins, the newly formed team of eight begin to make sense of their surroundings.

"Predators" builds the tension between the characters similarly to that of the original with fear and uncertainty clouding their minds. The eerie-ness and unfamiliarity of the environment and it's contents are also set just as in the first film. The building of this tension plays out smoothly and doesn't rush itself to get to it's point (the whole alien planet/we are being hunted/"If it bleeds, it can be killed" deal) Not until the end of the film does it feel rushed and out of balance with the beginning and midpoint. The chemistry between the characters doesn't bore at all, even with their backgrounds as "the most dangerous killers on Earth" the flow of dialect and development with each character is enough to hold the viewer's interest and move the story along realistic grounds. A very interesting note is how the characters explain their backgrounds and solidify their characters through the traps set within the film (theirs and others.) There are also many specific pieces paying homage to the original, such as the explanation of the Hunters and a few of the battle sequences.

Speaking very shortly about the gore, it plays its part in solidifying the harsh settings the characters are placed in and the brutality of the creatures they are faced against, (Most notably the campsite of the Predators and what every fan wanted to see, the taking of the "trophies.") unlike the past two sequels (*shudders*) where the first was devoid of nearly any gore and the second making it seem laughable and rendering it useless.

I have only two gripes about the film, one being the pacing near the end, (as mentioned earlier) after meeting with another survivor named Nolan (Laurence Fishburne) and the events leading to another encounter with the Predator creatures, the remaining survivors start to die off quite fast. Even though the plan made before the set chase is clear, I felt that the suspense kind of died after that leaving only one minor twist afterwards. Oh and Topher Grace (I think you will see him mentioned in many reviews to come for the movie) Didn't leave a strong enough impression. Without giving too much away about him, I believe that his character's motives could have been fleshed out a little better than the film made them.

Bottom line, "Predators" plants its feet in the ground and exclaims with confidence that "this is more than a sequel, it's a return to form." and a return very well needed. Even with it's numerous similarities, "Predators" is able to stand on it's own with a strong cast and a smooth mix of violence, gore, charisma and chemistry and screams possibilities of sequels to come.

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I don't get out to the theater much, so when my 9 and 11 year olds suggested we go to the movies on a hot and rainy Sunday, I thought it would be a nice way to spend the day with the kids. "So what'll it be boys? Toy Story 3? Despicable Me?" Their reply in unison: "PREDATORS!!!" Actually I wasn't at all surprised since lately they've been spending most of their video game time online with Aliens vs Predator. Truthfully I couldn't have been happier with their choice because that's really what I wanted to see most too.

In the end no one was disappointed. Predators is a great action movie that not only pays homage to the original, but brings the Predator franchise back to the brutal violence and fast moving story telling that made the first one a classic. Kudos to Director Nimród Antal and Producer Robert Rodriguez for not making any of the plethora of mistakes that were made with the sub-par Predator 2 or any of the AvP movies.

All the action looked real. All of the Predators (and other monsters) looked real. All of the acting is really good. Although I must say that I had a hard time swallowing Adrian Brody as the lead tough guy. Brody comes across as more of a softy to me. If I had to seek out a complaint it might be that Brody was a bit miscast, but not so much so that it took away from the thoroughly entertaining experience that I had with Predators.

The story is very similar to the first one. A group of mostly soldiers (or soldier types) are in a mysterious jungle and soon realize that there's a role reversal going on: they are no longer hunters, mercenaries or whatever; they are the hunted. And they are going to need a lot of firepower and strategy in order to walk away alive from the situation that they are in.

I guess if I had to "unEarth" another negative it would be that the storyline is quite familiar. But Antal and Rodriguez introduce enough new concepts and twists to keep this sequel pretty fresh looking and not as predictable as you may think. If you were a big fan of the 1987 cult classic like I was, I believe that you'll find that this 2010 reintroduction to the Predators will be a welcome one...like it was for me.

A few words of caution to anyone that saw my comment about bringing the kids to this movie: it is not a family film. It earns its R rating. I'm just a little more liberal when it comes to what I think will warp the little minds of today's youth. So use your discretion.

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I can only imagine someone liking this film if they've never seen the original, because it breaks no new ground in the franchise. It works double-time to copy the original's high points, right down to Adrien Brody and Alice Braga slavishly aping Arnold Schwarzenegger and Elpidia Carillo. I struggle to grasp so many creative people approaching such a popular franchise and producing such an uninspired product.

Eight people, mostly men, wake up in freefall over a bizarre jungle, strapped into chutes and packing heat, but with no idea how they got there. They are conscientiously multi-racial and multi-national, but they all speak English. Perhaps their captors checked their résumés. When strange critters with dozens of tusks attack, the humans realize they're trapped in an alien game preserve, and they're the designated prey.

First, the underrated Danny Trejo deserves better than this film gives him. Laurence Fishburne is wasted in Gary Busey's Predator 2 role. This movie offers a checklist of Unlikely Heroes Being Chased stereotypes. Adrien Brody makes a particularly unconvincing action figure. We scarcely see the shimmery effect that was so creepy in the first film. And since when does the Predator's battle cry sound like Chewbacca?

This movie does nothing to build tension. It never convinces me that these human characters deserve to live. The action scenes appear unmotivated, and the dialog sounds like it was written by a computer that ate the original script and spat back something passably similar. Robert Rodriguez is better than this, as is this cast. After interminable sequels, I wish they'd stopped after the first one.

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It's been twenty years since "Predator 2" showcased the monstrous hunter in a solo capacity. Finally, after all that time 20th Century Fox brings the hunters back to theaters with the recently released sci-fi action film, "Predators".

"Predators" follows a group of Earth's deadliest killers, led by a mysterious mercenary (Adrien Brody), who find themselves trapped on a strange world. As the group tries to find a way off the planet, they soon discover that they have been placed on this world for a reason...to be hunted. Now, they are locked in a deadly fight for survival with beings far deadlier than anything they've ever encountered.

You know, there's something about this series that's bothered me for quite some time now. It's nothing regarding the previous two films in the franchise, both of which were quite good in my opinion. No, what bothers me is why would 20th Century Fox, who owns the rights to the character, leave the series effectively dead for so long?

Sure the character appeared in the hit "versus" movie, "Alien Vs Predator" and its extremely disappointing sequel "Aliens Vs Predator: Requiem". But as a stand alone property the character proved successful, and the movies were extremely entertaining and profitable to boot. So, it's beyond me why the decision was made to shelve the property for such an extended period. Especially when so many countless sub-par horror franchises are allowed to exist long past their welcome. Anyways, I digress...

In charge of crafting a story that would serve as a hard-hitting return to the big screen for the character worthy of the original is screenwriter/director/producer Robert Rodriguez ("Sin City"). Robert's story brings the action back to a jungle atmosphere (albeit on another planet) harkening back to the first film, but ups the ante in every respect. The story is chock full of incredibly entertaining action set pieces, with a break-neck pacing to keep the momentum running full steam ahead from start to finish; however, if you're coming to this movie looking for in-depth character study, look somewhere else.

Now, that shouldn't come as any surprise to fans of the series, this franchise has never been about character development or engaging drama. It's always been about the hunt, and those who are unfortunate enough to become the hunted. I'm sure that some people (mostly critics that look down their noses at these types of movies) will view the lack of character driven drama as a weakness; if you ask me, the reason these movies work is because they never try to over complicate the situation. It's a monster movie plain and simple, and what the audience wants is to see great visual effects, incredible action, and some entertaining chase and/or fight sequences between the hunter and the hunted. In this, "Predators" absolutely nails it, and hopefully brings the series back into popularity.

On an interesting side note, Robert Rodriguez actually wrote the original script for this film prior to finishing up work on his first breakthrough hit "Desperado" in 1995. However, upon completion 20th Century Fox opted not to move forward with another sequel and shelved the project. I don't know if any of you out there really cared to know that tidbit of information, but I just wanted to throw it out there anyway. Moving on.

Assisting Robert in reinvigorating the franchise was the film's director Nimrod Antal. I wasn't sure how Nimrod would be as director for this long-awaited follow-up. I mean his previous directorial effort "Armored" was a decent enough action flick. Yet, it never really felt like it was anything great compared to any number of action movies I could find from Direct-to-DVD releases featuring the action heroes of yesteryear.

However, after seeing how Nimrod Antal handled "Predators" I have to say that he was undoubtedly the right man for the job. After all, he delivered a pulse-pounding thrill ride that blew his previous film out of the water with considerable ease. Not to mention, the previews didn't ruin every single plot point for this film, a problem that plagued "Armored" and probably led to my less than thrilled perception of the movie.

Leading the ensemble cast, and is probably the most surprising bit of casting I have seen for a movie in quite some time, is Academy Award® winner Adrien Brody ("King Kong"). When his casting was first announced, I was a little leery, as I'm sure many fans were, because Adrien didn't exactly look the part of a man that the Predator would find a challenging prey. Yet the more I read about how the idea was to distance this entry in some respects from what's come before by not going with a muscle-bound warrior, but instead utilize a more cerebral character, the more I became intrigued by the possibility he presented.

In the end, a somewhat bulked-up Adrien Brody created a believable adversary for the Predators. He blended together elements of Arnold's no-nonsense qualities with those of a keenly intelligent, semi-manipulative, world-weary individual that will do whatever it takes to survive.

Portraying some of the other collected prey for the titular characters are Topher Grace, Alice Braga, and Walton Goggins. As I stated earlier the story wasn't one that really challenged any member of the cast dramatically, granted that was never the intention. That being said, the cast didn't just slack off and phone in their performances either.

Topher Grace ("Spider-Man 3") played the kind of character that always seems to suit him perfectly, that of a sniveling weasel of a man, who always feels more important than he really is. Alice Braga ("Repo Men") as a tough-as-nails soldier was surprisingly believable in the role and helped to balance out the extreme machismo of Adrien Brody's character and most of the other cast members. Then there's actor Walton Goggins (TV's "Justified") as a convict that sets out as only being interested in self-preservation, but eventually becomes somewhat of a team player. As I said, none of them really had to stretch to flesh out their characters, but they all did well in the roles and sold them to the audience convincingly.

Making slightly extended cameo appearances in the film were actors Laurence Fishburne and Danny Trejo. Laurence was very entertaining for the brief time he was in the film as a soldier that has snapped with reality after being marooned on this planet for quite some time. Danny Trejo wasn't given a whole lot more to do in the movie than Laurence, and his role felt as if it had just been shoe-horned in to the film. This was a real shame, because Danny always delivers an interesting character every time he appears in a movie. This time though, his appearance was most likely due to the fact that he has acted in virtually every single movie Robert Rodriguez has worked on since "Desperado", so this one should be no exception. Thus, his character felt like an afterthought.

Well, after waiting so long for a third installment, it's nice to see that the "Predator" franchise hasn't lost its edge. Combining some of the best elements of the previous two films, taking the hunt off-world, plus some terrific action scenes and visual effects, makes "Predators" the triumphant return to cinema's that this series deserves.

"Predators" is rated R for violence and language.

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Happythankyoumoreplease (2010)

I'm not going to summarize the story. Plenty of that already out there. My thoughts about the movie are that if you like movies that focus on the characters and their relationships rather than a linear story, this movie is a rare treat. Extremely well thought out. Bad title almost kept me away. Glad I took a chance. I thought it was fantastic in all areas. Interesting relationships with likable people, many life lessons mostly well presented, good production value, score was beautiful, smart character studies, perfectly understated delivery by the actors. Found myself pausing to think about what was presenting at the moment. Clearly the best of the current bunch playing.

I think that it's become my mantra--"quirk is the curse of independent cinema." In an effort to be cutesy and/or clever, films have been systematically stripping away genuine warmth and humor by presenting character types and sitcom contrivances instead of mining what is really funny in our everyday foibles. It becomes a fine balancing act, then, because a good quirky film can be both hysterical and touch your heartstrings. However, one that goes over the top can be painfully unreal and hard to sit through. And, in my opinion, there is very little middle ground. Josh Radnor's (How I Met Your Mother) debut feature "HappyThankYouMorePlease" cues you in right away with its title to its eccentric feel good nature. But after a pretty painful beginning and one incredibly off-putting storyline, Radnor's film overcomes its cliches with a likable cast selling even its most awkward moments.

Radnor, who also wrote and directed the film, stars as a typical commitment-phobic man/child. A New York writer (who supports himself with absolutely no discernable source of income), Radnor engages in an appropriately zany new romance with a very appealing Kate Mara. In addition, he encounters a little boy on the subway that seems to have nowhere to go. While I won't divulge much here, what Radnor does with the boy is so outrageously improbable and illogical--it strains every notion of suspension of disbelief. As a central plot line, you have to give up all reason and just go with it. But it seriously almost completely derails the entire film. Much better are the other two story lines--co-workers Malin Akerman and Tony Hale beginning an unlikely romance and couple Zoe Kazan and Pablo Schreiber entering a new dimension of their life together.

Aside from Radnor, the other main characters seem much more grounded and relatable. As their relationships evolve, there is a tender believability that can be quite engaging. And Mara, despite the script's uneven tone, brings real warmth to her role as a struggling cabaret singer and waitress. But the film still relies on some unnecessary quirks to make it utterly irresistible (but trust me, I resisted!). Radnor is apparently supposed to be so winning that everyone forgives his eccentricities and irresponsibility, but he doesn't come off very well. Akerman's character has alopecia (isn't it wacky that she's bald?), but far worse is the fact that she has a party to lecture all her friends about her condition. What--didn't they notice when she lost her hair? Seems the subject probably would have been dealt with on an individual basis, but it's so much more eccentric to have a party! Of course, the soundtrack is also littered with expected indie artists delivering heartfelt songs that parallel the plot--Radnor really followed the play book. Yet, the film still had a sweet tone and some nice moments. For lighthearted escapism, it works fine. About 3 1/2 stars, I'll round up for the extended cast and two of the three central stories. KGHarris, 5/11.

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Sam Wexler is a lonely, struggling writer living in Manhattan. While rushing to make it on time to an interview with a publisher, he rescues a cute orphan boy, Rasheen, who is lost on the subway. The interview is ruined. To complicate matters, Rasheen won't allow Sam to take him to the police. Sam falls in love with Mississippi, a gorgeous waitress who is a struggling singer. Sam's best friend, Annie, has low self esteem because of an autoimmune deficiency that has left her bald; she is attracted to losers like a magnet but has been deflecting the advances of a successful, kind-hearted lawyer, Sam 2, who works in her company. Sam's other friends, Mary-Catherine and Charlie, who live together, are afraid of taking their relationship one step further to the marriage altar.

An evangelist once taught me that Christians should have an attitude of gratitude. In other words, we should always be thankful for what we have been given. When Annie once stepped into a cab, the Indian driver told her she had the potential to be very happy if she always said "Thank you" and followed it with "More please." Charlie once told Mary-Catherine that LA was a blank canvas that reflects one's attitudes. If you believe you're going to love LA, then you'll see it as the best city in the world. From watching "HappyThankYouMorePlease," I've learned that, in order to achieve success, love, happiness, and all the other good things in life, one must believe in oneself and have a positive attitude that one will obtain them. This is a spiritual concept that is prevalent in most religions.

"HappyThankYouMorePlease" is a sweet, quirky, uplifting film that is fun to watch. It will encourage the lovelorn not to lose hope in finding someone special and eventually having a family. I believe that Sam's reluctance to surrender Rasheen to the authorities is the product of his subconscious desire to have a family. He is pushing thirty and his biological clock (men also have them) is probably screaming for him to begin reproducing. As soon as Sam finds the adorable surrogate "son", he finds the adorable surrogate "wife", Mississippi. He barely knows her when he practically begs her to move into his apartment. Mary-Catherine and Charlie are close to the altar but are having commitment issues. Several surprises help spur them onward. I think Annie is extremely attractive (I love her wardrobe); unfortunately, she doesn't. She soon learns after dating the witty, sincere lawyer that true beauty comes from within.

The soundtrack is excellent. Much of the music, provided by singer/songwriter Jaymay, contains lyrics that complement the film's drama. The DVD contains a short featurette that focuses on Jaymay. Also, the DVD has deleted scenes that further explain what is transpiring in the film; they are essential viewing. They include one disturbing scene in which Rasheen kicks and beats on a boy who purposely walked into him. When Sam scolds him, Rasheen asks him if he's going to beat him. This scene hints at the abuse the little boy must've suffered at the hands of his foster parents and why he doesn't want to return to them. Without this scene, the film does not contain any violence. Neither does the film contain graphic depictions of sex. There is only the frequent use of the four-letter "f" word, which gives it an R rating.

Anchor Bay Entertainment has provided an excellent presentation of "HappyThankYouMorePlease" on DVD. As mentioned before, it has a featurette on Jaymay and deleted scenes; it also has a theatrical trailer and audio commentary provided by Producer/Writer/Director/Actor Josh Radnor (star of the hit television series "How I Met Your Mother") and Producer Jesse Hara. The film is presented in its theatrical aspect ratio of 2.35:1 and has English and Spanish subtitles. Thank you Anchor Bay for providing subtitles for those of us who are hearing impaired.

"HappyThankYouMorePlease" is not a raunchy, hormonally driven sex comedy. It is an emotionally uplifting, inspirational, teary-eyed romance that gives people like me, who've been single for a very long time, hope that there is someone out there for them. Though it is not totally realistic, it does, however, provide excellent advice on having a positive attitude towards one's self image and self worth. In order to be loved, one must first love oneself. Remember Whitney Houston's hit song, "Greatest Love of All." The greatest love of all is learning to love oneself. How very true. In conclusion, I must state that this film has made me very Happy. To Josh Radnor, I must say, "Thank You." Furthermore, I beseech him to please make more movies like this one. "More Please."

Joseph B. Hoyos

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This movie has a "little engine that could" feel about it: it wants to be better than it is. And it's trying very hard. The actors are talented, the script has potential, but the characters could be more interesting than they are allowed to be, and somehow it never quite pulls together.

A slice of life movie, there is no great plot twist or even much of a character arc-it's just a few days in the lives of young adults finding their way in New York City. Which is part of the problem: too many other (better) films of this genre come to mind. This film adds nothing new to the genre. And the ultimate fate of the characters is just too neat and nice.

Even though parts of the film really made no sense (the main character doesn't seem to have much of an income yet maintains an apartment alone in NYC; he essentially kidnaps a child, but that's somehow OK because he means well-even though he leaves the child alone in his apartment?) there's an overarching sincerity about the production that makes it hard to completely dismiss.

The supporting couples played by Zoe Kazan and Pablo Schreiber, and Malin Akerman and Tony Hale are actually more interesting than the lead couple, Josh Radnor and Kate Mara. The movie would have been better if those characters could have been developed more.

The movie tries hard. I suspect director/writer Josh Radnor learned a lot while making this film, so his next effort will be even better.

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"What if you don't know whats best for you?" After struggling writer Sam Wexler (Radnor) takes in a small child who is left behind on a subway he begins on a course that will change his life. Stuck in a posisition of what's more important between the kid, his book or love life, Sam is left trying to find out who he is. This is the type of movie that I have talked about before, a movie that because of no CGI and small budget gets forgot about by the studios and does not get the advertising it deserves. This is one of the best movies of the year, and will continue to be one of the least scene. Very dissapointing considering more people have seen and will continue to see movies like "Drive Angry". Taking away the fact that Radnor both wrote and directed this, Malin Akerman is a huge surprise in this one. Much like Milla Jovovich in "Stone" she is the definate break out acting star in this one. In a drastic change from her usual choice she far and away steals the movie and proves that she is a joy to watch even with her clothes on. Besides Akerman, the acting all around is excellent, but the fact that the budget is under $100,000 and no comic book hero or a car that becomes a robot this will not be seen by the audience that it deserves. This is the type of movie there needs to be more of, but because of greed the studios refuse to take a chance on interesting movies like this one in favor of the next comic book hero, or the next sequel that doesn't seem necessary. Overall easily one of the top ten best movies of the year so far. I give it an A.

Would I watch it again? Yes, I would.

*Also try Garden State & Jolene

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Defiance (2008)

One wonders why it took so long to tell the story of the three Bielski brothers, who managed to save the lives of 1200 Jews during the Nazi Holocaust in World War II. My personal answer is that they didn't have anyone near the caliber of Daniel Craig to play the part of Tuvia.

The story opens with the Bielski brothers Tuvia (Craig) and Zus (Liev Schreiber) returning to the family farm to discover the Germans killed their parents. They find their younger brother, Asael (Jamie Bell) hiding from the slaughter in a cellar.

They decide to go to the forest to hide out. It's initially pure happenstance that they run into other refugees, but as the story progresses, they have a community from philosophers to warriors.

It's fascinating to see the community grow and the harsh realities of living under the Nazi radar. The images in this film will haunt me as strongly as the original newsreel "Let my People Go" did when I saw it in junior high.

In my opinion, "Defiance" is one of the top films of this year and I hope it earns the awards it deserves. The film is excellent for students of Jewish history, psychology, and community development. It's well worth full price in the theatre and adding to your collection.

Rebecca Kyle, February 2009

**This review contains spoilers**

By necessity, one must focus on the survivors if one wishes to create a workable film about the Holocaust. For its only through the eyes and ears of the survivors (and their tales of suffering) that we can appreciate the enormity, the scope of what occurred to the victims of the Holocaust. Paradoxically, the tales of the survivors are nothing more than anomalies--which may give the wrong impression to the uninformed that the Holocaust was an ennobling event--that these tales of survival were somehow the rule rather than the exception.

Defiance is one such anomalous tale. Some critics have likened it to a critique of Jewish passivity--that the overwhelming majority of Jews went to their deaths without putting up a fight. And certainly that reputation is reinforced in 'Defiance' as the protagonists, Tuvia and Zus Bielski, stand out as Jewish outsiders who aren't afraid to fight the Nazis as opposed to the majority of the Jewish 'intellectuals', mostly freshly minted refugees from the ghetto, who end up as part of the Bielski 'community' within the Byelorussian forest.

But there is an excellent scene in Defiance, where Tuvia sneaks into the ghetto and confronts the head of the Jewish committee there, that demonstrates that the average Jew was not passive--simply bewildered and overwhelmed. Can you really blame the head of the Jewish committee when he doesn't believe Tuvia's tales of genocide? He says, 'yes, we've heard these stories, but who can really believe them?' Reports of atrocities reached the United States during the War but they were not really appreciated until the actual newsreel photos of truckloads of emaciated bodies were seen being bulldozed into ditches at Bergen-Belsen after the war was over.

The opening scenes of 'Defiance' are testament to the brutally swift nature of the Nazi genocide. In most cases, there was simply no time to think about resisting (or escaping). The Nazis came in, along with the help of the local authorities in the occupied territories and murdered the Jews in the blink of an eye. We see this very effectively illustrated in 'Defiance' after the Bielskis find their parents murdered on the family farm.

One of the picture's strengths is that it also illustrates the role of the local collaborators who assisted the Nazis. In a dazzlingly effective scene, Tuvia takes revenge by shooting the local police chief and his sons after they've murdered his parents. The collaborators aren't seen as monsters--quite the contrary, in a humanized portrait, the police chief begs for his life and insists he was forced to act at the bidding of his superiors in the Nazi occupation force (in an earlier scene, the police chief comes to a farm looking for one of the Bielski brothers who hides in a barn after attacking a group of Nazis--here the police chief is much more crass and arrogant--but still all too human!).

Nonetheless, Zwick, the film's director, should have had another scene involving the collaborators to balance out the 'sympathetic' portrait. The truth of the matter was that there were other of these local collaborators who were outright sadists, capable of incomprehensible, monstrous acts of brutality. Similarly, Zwick shows us a group of Jews in the forest who end up savagely beating a captured German soldier to death (despite his cries that he has a wife and children). While such acts of revenge did occur, it's hard to appreciate the context for their actions (it would have been better if Zwick had actually shown the Bielski parents, for example, being murdered and not merely the aftermath).

A good deal of 'Defiance' explores the conflict between the two brothers. Tuvia is the pragmatic one who comes to accept his role as a new 'Moses', leading his beleaguered group of 'intellectuals' to safety through the forest. At first he has only contempt for his fellow Jews who he regards as cowardly and passive. But as time passes, they earn his respect as they all become more proactive. Zus, on the other hand, wants to take direct action against the Nazis and joins the Soviet partisans as one of their fighters. I thought that the characterization of the Russians was one of the strongest parts of the movies. They are depicted sympathetically--shown both for their courage and brutality (Zus eventually leaves the partisans after he can no longer tolerate their anti-semitic stance).

A good part of 'Defiance' is taken up showing life in the forest camp. The characterizations are a mixed bag. Some of the characters are standard 'types' (the debate between the 'intellectual' vs. the 'spiritual' Jew is one such example). There are some good scenes depicting the malnourishment that the community had to endure along with a few obligatory romances. One scene I had a hard time believing was when Tuvia kills one of the food hunters who insists that his group gets extra portions of rations. Did that really happen? I'm not sure but it made for good drama.

I like Daniel Craig in this role a lot more than as James Bond; he gives a solid performance as an unlikely savior for his people. And Lev Schreiber is excellent as the tough as nails partisan who eventually reunites with his brother after a fractured relationship.

Defiance's final scene focuses on the community battling and defeating a large group of Nazi soldiers backed up by a tank. I'm told that this is what actually happened but the way the whole thing is staged seemed a little hard to believe. Nonetheless, Defiance is a film that will keep you absorbed from the opening credits. As a little known history lesson, it does its job. And certainly it was a worthy project to commemorate the deeds of the heroic Bielski brothers.

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Story about Jews fleeing Nazi death squads in Belorussia who fight back against their occupiers and survive for years in forest hideouts. Very moving story and quite well-acted. The R rating is mind-boggling. I've seen PG-13 movies with more graphic violence. The profanity is sparse and never gratuitous. An excellent history lesson for teenagers, but the rating will keep many of them away (along with some adults). In the current climate of rising anti-Semitism and holocaust revisionism, this movie is unlikely to win awards, but it should.

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Belorussia in 1941. Germans and local collaborators hunt Jews. The Bielski brothers, in civilian times apparently not really choir boys, escape into the forests and attract followers, other refugees, who are desperate for help. A camp in the forest, an unsteady symbiosis with Russian troops nearby. Raids for food can't avoid getting noticed by the German army, whose attacks follow; the camp has to run. The refugees find another location for a camp. Apparently based on true events.

The film is about big subjects: strategy, leadership, discipline, solidarity. No surprises,just basic constellations and human conflicts. Wonderful cinematography. Solid work by Mr.Zwick (who apparently has a personal relation to the real Bielskis; family?). Good show by Mr.James Bond as Tuvia Bielski; the other actors do well too (but I don't know them).

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There is a myth, long-standing, that the Jews of Europe submitted passively to their fate at the hands of the Nazis and their willing helpers during World War II. According to this myth, Jewish resistance to the Holocaust did not exist, except perhaps in the Warsaw Ghetto, an anomalous, dramatic exception to a nightmarish reality in which Jews blandly climbed on board trains to be taken to unspeakable places to face an unspeakable fate.

Fortunately, that myth is being exploded sixty years after the fact, and DEFIANCE, the story of the Bielski Partisans, is part of that process. The Bielski Partisans were led by the brothers Tuvia, Zus, Asael and Aron, Jews from White Russia (now Belarus), who took to the woods after their village was targeted by the Einsatzkommando "B", an SS killing corps.

Many Jews, in fact, fled to the woods, and Jewish Resistance arose in many places throughout Europe. The Bielski experience in the dense Naliboki Forest is paradigmatic. The Jews of city and town, often tradesmen, small business owners, or scholar/intellectuals, were generally ill-equipped for the rough life of forest-dwellers. In this regard, the Bielskis, whose father had been a countryman, were peculiarly suited to lead. Having grown up in and around the woods and with a familiarity with tools and weapons, they became not only protectors but teachers in the art of survival.

Tuvia (Daniel Craig) became the leader, quiet, intense, sincere, and often in a quandry both moral and practical. How does one lead men, and care for women and children in conditions of deprivation? How and when does a leader lead or let himself be guided? How does a leader, as an authority, assert that authority?

Tuvia "would rather save one old Jewish woman than kill a dozen Nazis," but he is no milquetoast. He takes vengeance on the local Russian officer responsible for killing his parents. Nazis paid a bounty to those who betrayed their Jewish neighbors. Jews were worth 500 rubles a head, a small fortune to many starving peasants. Much later, he settles a challenge to his leadership from within by executing the mutineer.

Craig, known for his role as James Bond, really shows that his talents are wasted as the suave British spy. As Tuvia Bielski, he shines, an ordinary man called upon to do extraordinary things.

His younger, bigger, tougher brother, Zus (Liev Schreiber) is a firebrand. Although the Bielski Partisans engage small "hunting parties" in firefights, Zus believes the battle can be better fought on a larger scale, and joins the Red Partisans. Unfortunately, anti-Semitism within the Soviet ranks makes him an outsider, and he eventually returns to his brothers.

Schrieber, whose physical presence is imposing, plays Zus by tapping into some deep reservoir of anger within himself. It's an impressive performance, by far the strongest in the film.

Asael is younger, as is Aron, and both younger brothers dedicate themselves to forming a structured community for the growing forest community, establishing schools for the children, an infirmary for the ill, workshops for non-combatants, where they repaired rifles, loaded cartridges, sewed clothing, and built shelters and bunkers, and foraging parties that collected (by hook or by crook) food, tools, and other necessaries from the locals.

There are a number of large-scale battles between the German Army (supplied with tanks, machine guns and half-tracks) and the woefully underarmed Bielskis, which the Partisans, impossibly, win. Most of these battles have been "amplified" by the screenwriters for dramatic impact.

In all, some 1,200 Jews survived the war with the Bielski brothers. Asael Bielski was not among them. This film sheds light on a little-known chapter of the Holocaust, a chapter which had its counterparts in and around Kovno, Vilna, Warsaw, Lodz, Kiev, and in Western Europe as well.

This story, though it took place in Belarus, was filmed just across the border in Lithuania due to political reasons. As my father was a survivor of the Shoah from Lithuania, I was particularly interested in experiencing the views of the Lithuanian countryside this film provided.

The Rundown (2003)

Option BI MAKE YOU go see The Rundown.

The Rundown marks the arrival of Dwayne Johnson, A.K.A. "The Rock" as a bona-fide movie star. As Beck, a "Retrieval Expert" who longs for a simpler life as a chef, he displays for the first time on film the humor and charisma that won him "Millions....and MILLIONS!" of fans in the WWE. Dispatced to the South American town of El Dorado (Called Hell Dorado by the locals) to fetch Travis Walker (Seann William Scott), the wayward son of his shady boss, Beck gets more than he bargained for. He finds Travis easily enough, but getting him home might pose more of a problem. Not only does Travis not WANT to go home, but local land baron Hatcher (The hilariously nutty Christopher Walken, at his eye-popping best here) won't LET him go...At least not until Travis finds a mythical golden idol for him. The Rock vs. an army of gun-toting slave-drivers......Place your bets!

As I said earlier, The Rock is awesome in his role, bringing a mix of self-effacing humor and quiet strength to the mix, balancing out the potentially irritating Scott's whiny character. Walken is, as always, a joy to watch. His diatribe about The Tooth Fairy is worth the price of admission alone, and hearing him say "Oompa-Loompa" is sure to go down in history as one of my all-time favorite movie lines. Director Peter Berg shows himself to be equally comfortable with comedy and action; He keeps the film moving along at a brisk pace, and the action scenes are simply stunningNot only are the fights choreographed beautifully, but the action is easy to follow, with none of the choppy editing and shaky photography that has ruined many an action movie.

The Rundown is just what it portrays itself as: A fun buddy picture. I had a blast, and so did everyone else in the theater. If you're in the mood for action, The Rundown is a sure bet. If you smell what I'm cookin'.....

Well, I wasn't expecting a great deal from this film. In fact, I probably wouldn't have seen it at all if it hadn't gotten surprisingly good reviews. The Rock was pretty forgettable in 'The Scorpion King', although not terrible, but he puts in a great performance here. Tasked with the retrieval of a wayward son, he ends up in a three (or four) way hunt for a mysterious golden idol, along the way enountering everything from homicidal gold miners to jungle rebels to packs of angry monkeys. It is one funny movie, and the action scenes are great. Most importantly, the cast has both charisma and quality, and the dialogue isn't nearly as stilted as you'd expect in a typical action film. You can tell they all had fun making the movie, perhaps because it was actually filmed in Hawaii. Regardless, you should check this out even if you have doubts about it, because it will win you over.

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This movie is truly Rock-solid; the inimitable pro-wrestler turned actor admirably struts his stuff here in terms of sheer muscular star power and heavyweight charisma, and proceeds to turn the Amazonian jungle upside down in the process. This is certainly no dramatic masterpiece, but all of the cast are excellent in this incredible action movie, especially Christopher Walken, doing a turn as a witty yet egomaniacal villain who simply isn't prepared for the consequences as `Beck' (the Rock) arrives on his doorstep in his part of the jungle to retrieve the errant son of a gangster he is indebted to. The murder and mayhem that ensue make up two hours of first class entertainment as we find Rock against the world, and the world getting the worst part of the deal.

The movie is wonderfully photographed, and the comic moments flow from the opening sequences, when Beck step into a crowded bar to retrieve a debt from a pro football player. The ensuing madness is so well choreographed and played out that it is entirely believable despite the fact that it is strictly super-heroics that the character Rock plays has to deliver to punch, elbow, and drop-kick the whole offensive line of a pro football team in pursuit of his man. Likewise, the bar-room fight scene that sets up the rest of the movie once Beck arrives in Brazil is a study in athletic make-believe, so far out it is both fun and amazing to watch, as long as you can suspend your critical faculties long enough to not laugh out loud at the silliness of some of the supposed stunts. But the Rock never disappoints, and he always entertains!

Indeed, like some of the better early Schwarzenegger movies (e.g. `Predator'), the wit and winsome qualities of both the characters and the plot are indeed quite entertaining despite the fact we all know who is going to win, and thus have very little doubt as to how things will progress as the tale spins along toward its conclusion. Also, one can see that Rock is rising very quickly to fill the action hero void once held by Arnie and Sly Stallone. He has a lot of screen presence, and is a joy to watch in action. What's more, he seems to handle himself very well, and is quite believable on the screen, which is no small feat given the cartoon-like aspects of the story line. All in all, a great action flick, and one you will likely want to include in your video library. Enjoy!

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Praise for The Rock's performance in this film is not overrated. He has come into his own in this film and established himself as a true actor and not just a muscle-bound cretin. The Rock plays Beck, a polite leg-breaker for a low-life loan shark with big-time "clients" such as NFL super stars. In a business where violence is his back-up when diplomacy doesn't work, Beck loathes guns and has a deeper desire to run his own 5-star restaurant and leave this knuckle-busting life behind him.

His boss gives him one last assignment before he cuts him loose and gives him the restaurant of his dreams... the mission: bring back his son Travis (Seann William Scott). His father has pulled his son's butt out of a sling so many times, he is reeling him in to face the music.

Beck heads to South America to retrieve Travis in what he believes will be a quick grab and flight back to the U.S. Unbeknownst to Beck, Travis is seeking a priceless golden idol and a local slave driver (Christopher Walken) is keeping tabs on Travis so he can steal the treasure from him as soon as he finds it. Hatcher (Walken) runs a gold-mining operation, employing the local populous at disgustingly pitiful pay and slave-like hours and treatment. It's a real shanty-town, but filled with sophisticated cameras and other surveillance equipment and gun-toting thugs.

There is non-stop butt-kicking and far-out choreography through-out the film. So many scenes are so proposterous, it borders on insulting your intelligence, but things happen so fast and you get such a good laugh along the way, you really just sit back for the ride. There are a couple of scenes involving monkeys that are real gut-busters for laughs but they used African baboons for these scenes not animals you'd ever encounter in the western hemisphere. Anyone who watches the Discovery Channel even once in a while will roll their eyes at these scenes, but still laugh.

A local bar-keep named Mariana (Rosaria Dawson) adds an additional twist. Is she just a bar-keep, or is there something else going on... and how does she keep her hair looking so nice while running for her life in the middle of a humid rain forest?

Seann William Scott has proved that he is much more than the "Stifler" character in the "American Pie" series... he is a talented actor and can portray a range of characters and emotions. This film will probably be his launching pad into more serious roles in the future.

There is some language, but nothing beyond what you'd see on NYPD Blue on TV, limited in-your-face violence... just butt kicking, and no sex scenes so the movie is fairly family-safe.

On the overall first-time-viewing enjoyment meter, I'd give this film 5 stars, but on the "would I ever want to see it again" meter, I give it half a star.

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I enjoyed this movie on DVD and it is even better on HD DVD. Great picture quality with the lush jungle scenes and lots of bass in the soundtrack.

The movie is also very entertaining with lots of action and humor. The Rock plays a goon that has been sent to retrieve his bosses son played by Seann William Scott (a.k.a Stiffler from American Pie). The interaction between them is hilarious. The great Christopher Walken plays the bad guy and he is his classic self. His awesome dialogue (I wonder how much was ad-libbed?) and his pants pulled up to his drooping breasts add the finishing touches to this terrific movie. I think this is the Rock's best movie and a sequel must be made!

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Watchmen: The Complete Motion Comic (+ BD-Live) (2009)

I have to admit that I have never read `Watchmen'. More specifically, before I saw the teaser for the film last summer, I don't think I'd even heard of it. The only two comic books I really cared for when I was younger were `Superman' and `Batman', having more to do with the movies, cartoons and TV shows than the actual comic books themselves.

I decided to pick up the Blu-ray of the `Watchmen' motion comic as an alternative to reading the graphic novel in preparation for going to see the movie because I thought it was an interesting concept.

I must say I was stunned.

I won't get into the story and characters as most of you who are reading this are probably well versed already. Let's just say that I can see now what all the hoopla is about. Instead, let me talk about the actual presentation of the "motion comic".

The Blu-ray image is outstanding. Each image on screen is composed of a single panel from the comic complete with the dialog bubbles. The colors are vibrant and the lines are crisp. Many of the images seem to jump right off the screen at you. The score is quite good as the music helps to set the mood of what is going on. Having heard some excerpt's from the film score I have to say as of right now I think the `motion comic' score is more suiting to the story. The sound effects are also well done.

The voice acting is excellent for being performed by one person. Many of the reviews I have read seem to have a problem with a man reading a woman's part. Having listened to many audio books on the road or at work, I can say that I did not find it distracting in the least. Having said that, if this "motion comic" format becomes popular, I think having an actual voice cast would be a wonderful idea.

The pacing is deliberate and maintains a somber mood as the entire 12 part story unfolds over a period of 5 hours and 25 minutes, including opening and closing credits for each story. Getting through the entire disc in one sitting may be difficult but it may be more difficult to turn off.

The extras are minimal. They include a 3 minute mini-doc illustrating how the look of the comic influenced the look of the upcoming film, and a 10 minute look at the new `Wonder Woman' animated feature. I found the inclusion of the latter to be a "filler feature" as it was released the same day as this `Watchmen' motion comic and it was included with the previous release of `Batman: Gotham Knight'. A look at how they created the `motion comic' would have seemed a better choice but I'm not going to complain about things that aren't. Also, exclusive to Blu-ray is a `WB Live' sneak peek at the `jailbreak' scene from the upcoming feature film.

I have seen all of the recent Warner Bros. Animated features and I must admit that this is my favorite. The `motion comic' is an excellent concept and was pulled of quite well on this first attempt. I hope this format catches on as it would be great to see some of the great graphic novels like `Batman: The Long Halloween' or `Arkham Asylum' or any number of others come to "life".

As for this release, it's probably more geared to hardcore fans but I found much to enjoy and couldn't imagine a better way to experience this spectacular story.

Highly recommended.

The most compelling aspect of this release is that Gibbons' artwork is used. The frontpiece and endpiece quotes are also included (which will likely not survive the movie adaptation). Another excellent choice is the inclusion of the speech bubbles. Moore's text has delightful little nuances that can only be appreciated in the READING of the text. For the most part, the voice over exactly matches, but there are some VERY minor exclusions that must have been trimmed for timing.

There simply is no other way to experience the visual "harmonies" employed in the comic book in a live action movie. Zach Snyder is passionate, but he's already taken quite a few liberties with his production design. Ozymandias is horribly miscast (too bad, Jude Law didn't work out).

A perfect example is the iconic blood splash on the Comedian's "smiley" button. That splash motif is echoed throughout the 12 issues, effectively bookending the whole series. Snyder has "a" splash, but not "the" splash.

The voice work is initially off-putting, but he's a good actor, and his performance pulls you into the story. The background music sets the mood without overwhelming.

Despite the loss of Moore's chapter addenda ("Under the Hood" excerpts, Rorschach's psych eval and Journal entries, etc.), I like to think that he would enjoy these motion comics... at least a little. I'm confident that most fans of the comic will feel the same.

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This motion comic is a must have for Watchmen fans. This is exactly like the comic except for a few minor dialogs that have been removed because they would have been unnecessary for the motion comic since the narration adds the emotion in the characters dialog (you'll understand if you read the book along with watching the motion comic). The motion animation and added transitions are just amazing and I just loved the music, I mean really loved the music!! The narrator did a great job for even doing the female voices, but it wouldn't have hurt to have gotten a female narrator because it took some getting used to a man give out a feminine tone as I laughed the first time I heard it. A must have for fans especially if the movie doesn't do to well, but to me the movie looks great. I also agree with the other reviewer that Matthew Goode was terribly cast for the part of Andrian Veight/Ozymandias. I mean why did they choose that scrawy guy for the part and I dont know what the hair stylist was thinking giving Andrian that hair for the movie. Anyways the motion comic really brings the book to life and recommend you BUY THIS!!!! IT JUST RELEASED TODAY!!!

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Originally available to download through iTunes, Watchmen: The Complete Motion Comic is now available on DVD. Whether you are a longtime fan of Alan Moore's revolutionary comic or are a newfound follower thanks to the upcoming Zack Snyder adaptation, you'd be better off checking out a single episode before laying down the cash for this DVD set. As you probably already know, there is only once voice used throughout The Motion Comic, as actor Tom Stechschulte provides the voices for everyone, including the female characters. Saying this is just plain weird to hear at first is saying it lightly (especially if you're not expecting it), but all things considered, he doesn't do as bad a job all around as it could have been. The panels and dialogue of the comic are followed to a tee, and making Dave Gibbons' artwork breathe is a sight to behold. Still, Watchmen: The Complete Motion Comic isn't without its flaws, especially considering that the DVD itself has zilch for extras, of which there could have been a great deal. In the end, Watchmen: The Complete Motion Comic is an interesting endeavor, but is really a worthwhile trip for die hard fans only, if only for the fact that nothing beats actually reading the comic. That being said, there are worse distractions to find as old and new fans alike wait for Zack Snyder's take on Watchmen to hit theaters.

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I loved this from the first few seconds into it; after the credits had finished rolling! The music creates a powerfully interpreted atmosphere, and the directing is perfect. The only thing I hated was that there were no female voices. One actor narrated the whole thing, doing all the voices, and altering his tone and inflection slightly for each character. While he did an excellent job on all the male characters, I think the best approach for this would have been a two-person team of a guy for all the male voices, and one female for all the female parts. If this had been an audio book, the one actor approach would have sufficed, since in those cases, the actor merely provides vocalization for the dialogue, and it doesn't matter what gender it is rendered in. But in an Illustrated Graphic Novel, you actually See the characters, and one never loses the disconcertment (I checked; that is actually a word) of "seeing" a male voice being uttered by a female character, especially the Same male voice. I hope that they redo this one day soon, with that in mind. If they do, I will buy it again, that is how much I liked this. By the way I still own my original copy of the Watchmen, bought from Bud Plant's Comic Art, many many years ago now. To me, this was just as powerful, and I would highly recommend it. I watched the entire thing in one sitting, even though it took several hours, that is how entranced I was.

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Annie (1982)

Well, I think this is a really swell movie. Albert Finney and Carol Burnett crack me up, Aileen Quinn is exactly what Annie should be, and Sandy is perfect.

But WHY OH WHY is this not being offered in a widescreen format? I have yet to see all of "It's a Hard Knock Life" and I know those girls are knocking themselves out offscreen. I've seen this movie on three different media. All were pan and scan, and all three showed different parts of the picture! The worst was a VHS release. (...)

I don't know which is more frustrating about this anniversary dvd, the fact that it doesn't offer widescreen, or the fact that the dvd menu and the special features show the movie clips in widescreen, teasing me with those brief glimpses.

There is no reason that dvd manufacturers shouldn't at least OFFER a widescreen version. Let's get with the 21st century already!

You cannot beat the cast in this movie. It has some of the greats, like Carol Burnett, Bernadette Peters and Tim Curry. That is part of the reason why the Disney version could never compare to this one. Also, Aileen Quinn makes such a great Annie. She really looks spunky. She can look really sweet, but also tomboyish. She can look threatening, like all the times she raises her fists. The girl in the Disney "Annie" looks too sweet. She isn't as convincing when she tries to fight. If you want to watch Annie, this is the version to get.

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I can't help but wonder if ALL the widescreen prints of this movie were destroyed in a warehouse fire. Why would you bother to master another "Special Anniversary Edition" with a new DTS soundtrack and not include a Wide screen version? Especially with more and more widescreen TVs on the market. It is going to look pretty silly in a few years showing this pan and scanned musical on your widescreen TV. While not my favorite movie musical, I would still buy it if they ever have the sense to release it in it's original format! Until then...forget it!

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Many people pass off ANNIE as a children's musical, when in actuality it has one of the most sophisticated scores and the book is of a higher standard than of many other shows. It still holds a record of something like the 8th or 9th longest running show on Broadway, and it is a delight among theatre-goers.

This new Disney version stays faithful to the stage score and script, not like John Huston's rambling version back in 1981 (refer to my review for this), and it is a delight to watch. It has that 'theatrical-style' feel to it.

The esteemed cast, the bulk of which are seasoned Broadway performers, include Kathy Bates as Miss Hannigan, Alan Cumming as Rooster, Audra McDonald as Grace Farrell, Kristin Chenoweth as Lily St Regis, Victor Garber as Daddy Warbucks and the lovely Alicia Morton as Annie. Making a cameo in the 'NYC' number as ''Star To Be'' is (oh happy day) the original Broadway Annie Andrea McArdle.

The cast is sensational, and while I will not bring down the 1981 performers of Carol Burnett, Bernadette Peters and Ann Reinking, they are far more believable in their interpretations.

You must buy this new version of the Broadway smash ANNIE!

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"Annie" is the original movie based on the highly successful Broadway musical, based on the highly popular comic strip character little orphan Annie. I'm going to refrain from reiterating the story herein, because I have already reviewed the previously issued DVD. Herein, I am taking the opportunity to lambast Columbia Home Video.

TRANSFER: IT'S NOT WIDESCREEN. Enough said! You can't squeeze a 2:35:1 aspect ratio image into a 1:33:1 t.v. screen so you get what film buffs, such as myself, have been screaming about for years a chopped up version of the movie (affectionately known as pan and scan)that in no way captures either the scope of the image or the director's original intent. This short coming alone leads me to fail this DVD on all accounts. That the cropped image is quite often blurry, at times hopelessly out of focus, and truly a weak transfer for its color balancing, contrast and black levels, is inexcusable. I'd really like to know why Columbia decided to re-release this movie on DVD. Certainly, no updates to the image quality have been made and worse still the film is missing 50% of its picture. Misguided doesn't even begin to sum up Columbia's blunders on this disc. Also, the audio remains the same strident mix as before. No audio clean up or noise reduction leads to dialogue sounding way too forward and unnatural, while the songs screech, rather than sing, across your speakers.

EXTRAS: Some, but not enough to make you forget that "Annie" is just about the most miserable looking DVD experience you've seen in a long while.

BOTTOM LINE: To Columbia executives: get a clue! Get a 'really big' clue. To the consumer save your money!

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The Painted Veil

Co-produced and co-starring Naomi Watts and Edward Norton, W. Somerset Maugham's novel comes to life in living color. Beautiful cinematography and symphonic music embellish a wonderful, heart-warming story of love and forgiveness.

Kitty (Watts) is getting older. Living in 1920's London, her parents have more to say with impunity about her suitors. Quick to pursue her, Walter Fane (Norton) pushes himself for courtship against her wishes, but the timing leaves her no choice but wedlock. Interrupted in their social life, they become a foursome with Charlie Townsend (Liev Schreiber) and his wife. Charlie, a virile alternative to her drab, doctor husband, tempts her into adultery. In such an arrangement, women didn't have the freedoms they do now. So when Walter is assigned to treat a cholera epidemic in Shanghai, he's privy to her affair and can blackmail her to come along or face the scorn of divorce. Since her lover is a playboy who abhors attachment anyway, she again has no choice.

Life in China at first offers nothing more than disease and disenchantment. Bored with her life and keeping in seclusion to avoid cholera, her husband spreads nothing but flinty resentment toward her unfaithful presence. Besides a stunning landscape, she discovers a convent where a wise, old mother superior charms her heart and inspires her to do at first repellant work with the orphans. Besides the dangers of disease, the locals are slow to warm up to any foreigner's presence, even one that may offer a solution to their health crisis.

More moving than its beautiful cinematography, Norton's and Watt's splendid performances work well with a captivating story of lust and love, betrayal and forgiveness, and selfishness turned to self-giving. While some viewers may find some of the old-fashioned elements of the film languorous in places, I feel the picture clocks in just right for the state of affairs. Superbly crafted, 'Painted Veil' is complete with a heart-melting beauty for the soul as well as for the eyes.

Don't let my 5 stars fool you into thinking that I think all will love this film; however, I did.

This film is not to everyone's taste, but I found it extraordinary. This kind of film typically attracts those who like films like The English Patient (which I hated) and The Horse Whisperer (which I loved). This is a period piece that doesn't need its period to be relevant. This is a location film that doesn't need its location to be believable. This is a slow-moving story that doesn't need action to be engrossing. This is a masterpiece that doesn't need improvement.

The story is both simple and multi-layered. Naomi Watts, totally unrecognizable from her The Ring and King Kong films, is basically a spoiled brat who would prefer to live off her father's money than to buy into the trappings of marriage (as she sees it). In a moment of spiteful rage against her mother, she intentionally marries a "civil servant" (one viewed beneath her), extremely well-played by Edward (American History X) Norton who equally disappears into his role as a shy man who is rather infatuated with Watts but respectful of the fact she doesn't love him, but hopes she will one day over time. This is a time when arranged marriages were common and for a husband to be as respectful as Norton's role is refreshing. He never forces himself on his wife and she does eventually warm up to him, but considers him a terrible bore.

No spoiler here to mention that the first interesting man that comes along, Liev Schreiber who is effectively self-centered, she beds in her own home. Later, to her surprise, her husband is not only not a blind fool like she thought, but is keenly aware of how people react to situations and has a better understanding of the more base emotions than his self-centered wife. For all her so-called worldly wisdom, she can't read emotions or people very well at all and has little understanding of the consequences of her own actions as she blames the man she willingly married (to spite her mom) for her own affair because he wasn't interesting to her.

In what appears to be retaliation for his wife's callous indiscretion, Norton, who has been quiet and respectful, comes down hard on his wife and volunteers to become a doctor in a remote town in China where they are dropping like flies due to an infectious illness. He knows it may spell certain death to both of them. He offers her the choice of an ugly discrediting divorce for infidelity, which will bring down her politician lover, or go with him. In this time period, that is no choice at all. She goes with him and, at first, we believe him to be incredibly cruel in doing this until we see him at work.

We identify more with Watt's shock at going to this deadly village and are appalled that Norton would do this as "punishment" regardless of the terrible thing she did to him, but we gradually learn that he is actually motivated to save others even at great risk to himself and he had been planning this for awhile and at a time when he might have been able to trust his wife to not have affairs. In addition, either intentionally or unintentionally, we are never sure, Norton gets his wife to see something admirable in him. He may have seemed initially cruel to his wife and he may well have intended this trip as some kind of punishment to both he and his wife, however, he is a multi-layered character who consistently surprises us (and his wife). So much for being "boring."

To give away more would spoil the story, but this is a memorable film that is touching and honest in how it deals with our basic human emotions of love, hate, jealousy, and personal desires. I highly recommend this film, but I'm aware that this kind of story may not appeal to everyone. Even if this is not your typical genre, give it a try. You have nothing to lose but two hours of time and everything to gain by having your deepest emotions touched.

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Some stories portray life in many shades and make all the shades look equally remarkable, even though some shades are bright and some are truly gloomy. The Painted Veil is an outstanding example of such a versatlie story. The movie brilliantly narrates the lives of a couple who marry to pursue conflicting goals and end up uniting in every way. Ed Norton and Naomi Watts deliver one of the best performances of their lives and leave the audience spell bound in a movie that boasts of nothing dramatic and yet is a drama in the purest form. Set in England and China of 1920's, this movie depicts the love, the lack of it, and again the love between a couple whose pursuits were different but led them to one goal. To sum it, The Painted Veil is a sedate, sober and yet stunningly beautiful movie that will engage and enthrall you.

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Lift not the painted veil which those who live

Call Life: though unreal shapes be pictured there,

And it but mimic all we would believe

With colours idly spread,--behind, lurk Fear

And Hope, twin Destinies; who ever weave

Their shadows, o'er the chasm, sightless and drear.

"The Painted Veil" is old school, not just because it is based on W. Somerset Maugham's 1925 novel, but also because this 2006 movie has sensibilities more akin to the Hollywood of the 1930s (when the movie was first filmed with Greta Garbo and Herbert Marshall), than of today. There was a story in the news this week about a controversial and racy billboard in Chicago that proclaimed "Life's short. Get a divorce." The billboard was taken down after a week, over the objections of the two divorce attorneys who put it up, but there is no denying that divorces have become a lot more popular since Maugham's day (the high water marked was 1980 in the U.S. when the divorce rate topped out at 41%). I bring this up because "The Painted Veil" is about two people who do not get divorced, and not because they are staying together for the sake of the children, because there are not any children. It is a love story, but one of the most unromantic ones that I have ever seen, which is, rather surprisingly, not a bad thing.

Kitty Garstin (Naomi Watts) is the daughter of an unambitious solicitor whose inflated idea of herself has seen her reject all possible suitors. But when her younger sister marries and her mother (Maggie Steed) asks pointedly how long she intends to live off of her father, the confluence of events compels her to accept the marriage proposal of Walter Fane (Edward Norton), a young bacteriologist who is heading off to China. This is hardly the foundation for a marriage and in Hong Kong the bored Kitty ends up having an affair with Charlie Townsend (Liev Schreiber). When Walter discovers the affair he agrees to let Kitty divorce him if Townsend will divorce his wife and agree to marry Kitty. When Townsend refuses Kitty is stunned, and with nowhere else to go she follows Walter as he volunteers to deal with a cholera epidemic in the interior of China. It is there that the husband and wife find themselves changing.

The title of "The Painted Veil" is taken from a sonnet by Percy Bysshe Shelley, the opening sestet of which is quoted above, and I find it insightful that Maugham's characters do not take the poet's advice. Almost of as much interest as what is happening between Walter and Kitty is the way he comes to understand that all of his scientific and medical knowledge is of no value if he cannot persuade the locals how to deal with the epidemic. This is a minor part of the story, and it is the omnipresent threat of cholera that is of more importance to the way things work out in "The Painted Veil," but still a nice little critique of the arrogance of Europeans in dealing with the Third World in the screenplay by Ron Nyswaner ("Philadelphia").

Director John Curran ("We Don't Live Here Anymore") was able to film the entire movie in China, but the beautiful vistas shot by Stuart Dryburgh ("The Piano") serve as the setting for the story and never overwhelm it the way that usually happens in a David Lean epic. The performances by the main characters, including Toby Jones as Waddington and Diana Rigg as the Mother Superior, are uniformly understated in keeping with the cultured reserve of their characters, and that may well explain why my appreciation for the moment of mutual redemption for Kitty and Walter is more intellectual than emotional. Of course, back in the day this story was probably as much of a stiff-upper lip tearjerker as you were going to find in literature.

Final Note: The only extra you will find on this DVD is a trailer for the movie, but unless I have gone completely insane this is a different trailer than the one I saw on other DVDs that inspired me to check out this movie. This one gives away specific details regarding the characters and plots that I do not remember seeing in that other trailer, which is why I was able to get into this movie with no expectations beyond that indicated by the presence of Norton, Watts and company that this film was going to take the high road (Update: I found that other trailer on another DVD and, indeed, it gives away very little of the story, which is much more effective than the one accompanying the actual movie).

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If you like a story that deals with the basics of human experience---what love is and what it is not... you will enjoy this film. If you want lots of noise, speed and sensation, rush down to your local Cineplex where you'll find lots of trash that will satisfy your taste.

We see how the main characters are thrown together by circumstances and how their decisions shape their lives. I didn't read the novel so I can't comment on how well the film adapts it but I found it to be very complete and satisfying, which is not always the case when a screenwriter has to cram hundreds of pages into into a two hour script.

You can tell that this was a labor of love for Ed Norton, whose performance as the repressed doctor is perfect. His character is awkward and shy, more at home in a laboratory than at a party. He is hardly attractive and so is powerfully attracted to his opposite--a beautiful, careless socialite who has nothing on her mind other than disliking her dreadful mother. Her mother forces her marry, or be cut off from support, so having no other option in sight, she accepts the proposal of this hapless doctor.

A recipe for disaster! They go to China, where she is temporarily distracted, by another expatriot, a charming, married fellow, who possesses all the excitement that her poor husband lacks and they soon fall into something like love. When her husband discovers her affair he forces her to accompany him to rural China, where cholera is ravaging the population. Wow! If she thought life back in London was a bummer, this brings misery to a whole new level!

Besides cholera, there is political unrest, so danger presents itself on all sides. She and her husband soon detest each other and she tries to contact her ex-lover to rescue her. Alas! she learns that she was only one of a string of dalliances that this cad had indulged in.

I won't divulge the rest of the story. See this and enjoy it for yourself!

Naomi Watts' performance equals Norton's and they are fascinating to watch as each of them evolves. The shots of China are lovely without being overwhelming. This is a perfectly satisfying movie on all levels.

Jazz Singer (2013)

Almost immediately after Warner Bros' huge financial gamble premiered in Oct 1927, other studios' concerned bigwigs frantically ordered their studios to immediately equip themselves to do sound movies. New careers were made -and shattered -overnight. If you haven't seen The Jazz Singer, considered the first "talking movie" (even though there actually were some earlier sporadic experiments) this is a video worth not only seeing but OWNING for several reasons: a)You see Al Jolson at his height. He was one of the first half of the 20th century's biggest stars and some of his stage charisma comes through in this movie's songs. Most of the flick is actually silent except for the songs. Originally he was only supposed to sing, but he ad libbed a few lines and the response was absolutely electric when audiences heard and saw him say these few words on the screen. b)The story's value: a Jewish religious leader's son, torn between tradition (using his voice for religion and following in his dad's footsteps) or to please the masses (as a jazz singer in vaudeville). Follow family tradition or national culture? c)The historical show biz value: the Warner brothers put everything they on the line in doing this flick and if it had failed sound movies would have been set back about 10 years (or more) -and maybe Bugs Bunny wouldn't have been invented. d)Technical show biz value: The Warners used Vitaphone, which was basically sound on disks synchronized to the film's action. You also get a nice zippy period musical score throughout the movie. f)American history historical value: Note long shots of the Jewish ghetto. They were actual shots of a New York street taken through a window -NOT extras on a movie set. And the theater in which Jolson sings was the Wintergarden, a theater in which he often performed. g)Cultural historical value: even though Jolson's belt-em-out vocal style (effective in theaters without mikes) is part of the reason you don't hear about him anymore, a MAJOR part of his vanishing public historical profile is because he did some of his stage act in "blackface" and minstrel shows were viewed a bit differently in those days. You will SELDOM EVER see this film aired on television due to the fact that blackface is so obviously politically incorrect (understatement!). Does this hold up? YES, it is corny but it is also deeply touching and Jolson's stage pizazz reaches across nearly a century on most numbers (one or two now are almost "camp" but weren't back then). Advice: it won't be available on video forever as the 21st century advances. And you might not find it at your local rental store. Get it now. It's the movie that forever changed Hollywood -and it's still entertaining.

This is one of my all-time favorite movies. I watch it at least once a month and each time I see it, there's something fresh to savor. Al Jolson is just one of the major attractions of this part-talkie, part-silent. You've got this powerful, knock-out film score that enhances tremendously the intense emotion of this drama. I don't know if this score was the one first heard by movie-goers in l927 but if it was, one can only imagine the extraordinary impact it had, along with that new-fangled invention called "Talkies." Throughout this gripping drama, the musical score soars and throbs, nearly sobbing and then laughing with each scene. Eugenie Besserer is unforgettable as the Jewish mother who never gives up loving her Jazz Singer. Besserer specialized in playing mothers during the silent era. As far as I can tell, she never appeared in the talkies so perhaps her voice didn't measure up. You hear just hints of it when Jolson is singing "Blue Skies" to her. In his memoirs, he said that Besserer helped him out tremendously in this--his first full length film. When he felt exhausted and despaired, Besserer came and cheered him up. I get so terribly sick of these politically correct reviewers who harp and whine about the scenes of Jolson wearing black face. This was l927, you idiots! Minstrel Shows and black face were an accepted theatrical institution during this era. It was meant as homage to the great black musicians and performers and was never intended to be a slap in the face to these artists. So view this classic in the framework of the time it was made. This movie can be maddening because just when you're enraptured by hearing the actual voice of Al Jolson, then the sound stops and the music begins again. This is a fascinating journey back into time, when singing jazz was the hottest thing to do in the Jazz Age!

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In 1926 Sam Warner of the Warner Brothers decided to invest in the Vitaphone sound system. Don Juan was their first Vitaphone film, but it only contained music and sound effects. In 1927 Warner adapted the Samson Raphaelson Broadway hit The Jazz Singer into a movie and, this time, they incorporated vocal musical numbers in what was still a silent film for all but twenty minutes. Contrary to popular belief, audiences had heard music on film before, and they had heard dialogue on film before. What they had not heard or seen before were either of these things being particularly entertaining. When Jolson sings "Blue Skies" to his mother while adlibbing humorous comments, it all came across as so completely natural that people suddenly realized that sound on film could be entertaining and not just some novelty act. Despite its many shortcomings, including the predictable storyline, The Jazz Singer was a box-office success and a cinema milestone.

This new 80th Anniversary Edition of the Jazz Singer due in October 2007 contains three discs of extras and appears to be just as much a tribute to the birth of the talking picture as a fully digitized release of the Jazz Singer. Disc 1 is dedicated to the film itself, and includes a commentary track. "A Plantation Act" is also included. This is a 1926 Vitaphone short also starring Jolson. Disc 2 is dedicated to the silent to sound transition and includes a documentary on this subject along with shorter featurettes. The real jewel in the crown of this disc is the excerpt from "The Gold Diggers of Broadway". That was the top-grossing picture of 1929 and is an example of a very good all-Technicolor musical of the pre-Depression era. Unfortunately, it was considered lost for years and only a little over two reels (about 20 minutes) survive. Disc 3 contains almost four hours of Vitaphone shorts. These films run the gamut from musical theater legends and vaudeville acts, to dramatic vignettes and classical music performances from the most prestigious artists of the era. Most of these were shorts considered lost for decades, until a consortium of archivists and historians joined forces with a goal to restore these time capsules of entertainment history. Up until now, contemporary audiences have only been able to see these shorts via rare retrospective showings in a few large cities, or through the limited release of a restored handful of the earliest subjects, which were part of a 1996 laserdisc set. This new collection will finally make these films available on DVD. The actual Vitaphone shorts are included in the product description. Seems like a must buy for anyone interested in the film itself or the dawn of sound.

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First, ignore the old comments in this string that refer to the old VHS release and have nothing to do with this truly awesome new 3 DVD set. The content is awesome. Even if you have no interest in the feature (which has been completely restored with sound direct from origina discs and a new print). The fact this set contains 26 early, never on DVD (most never on video) Vitaphone vaudeville and music shorts from 1926-30, a new feature length documentary on the coming of sound, a dozen more shorts, and loads more extras ---for less than $30 on Amazon --makes this a must have for any film buff.

Recognize that NO other studio is releasing this kind of early talkie material, nor shorts. WHV is to be congratulated for assembling a first class package in a first class way. Please spread the word on this set. If it does well, perhaps more early stuff will emerge from the vaults!

Producer George Feltenstein deserves special recogition for sticking his neck out and producing a stellar set. Thanks!

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Many others here have eloquently extolled the virtues of this incredible DVD release. I echo their laudatory comments. Jaw-dropping is the right word to describe the overall presentation.

I always thought THE JAZZ SINGER was a 'good' film, but not a masterpiece of cinema. The amazing energy of Jolson, and knowing its place in film history earned it my respect and admiration. My assertion was likely due to the limited quality of the image and audio. The resoration here takes the movie out of the gauze and lets you appreciate the film in a way that people couldn't even in 1927. The projection quality and the speakers back in 1927 couldn't even deliver the amazement that you see in this DVD restoration.

The film gets a sterling commentary from two noteworthy scholars who impart enormous background on the making of the film. There are many rare shorts featuring Jolson, the Lux Radio Adaptation, a Jolson trailer gallery, and the great Tex Avery cartoon parody I LOVE TO SINGA.

But wait a minute, wait a minute, you ain't heard nothin' yet.

Altough the restored feature and the supplements alone are worth the very reasonable price (along the Criterion level, and with equal, if not superior presentation), there are TWO more discs, stuffed with amazing things.

Disc Three has two dozen (24) rare VITAPHONE shorts. Incredible glimpses of vaudeville performers, mostly forgotten, who hopefully will now be remembered.

Disc Two has a myriad of vintage shorts, but its highlight is a terrific feature-length documentary called THE DAWN OF SOUND: HOW MOVIES LEARNED TO TALK. This documentary is not recycled, and was not made for TV. It was made for this release... No one has ever made a definitive documentary on this period, and now it's been done, and done beautifully.

Now, we get to the packaging. The gorgeous sturdy box opens to reveal a beatiful three-disc layout with an original theatrical release one=sheet poster as its centerpiece. How cool is it that Warner Bros. re-created VITAPHONE DISC labels for the DVD labels. Only WB would know to do that!

Inside are numerous rarities, still reproductions, and a copy of the original souvenir program.

I'm buying a bunch of these to give as gifts. This is an overwhelming release, and it's the pefect gift for anyone who loves motion pictures

A DVD release like this 3 Disc set for THE JAZZ SINGER shows that the current Warner Bros. staff respects its company's history. A rarity these days. That's why they are the best company in the industry.

Bravo, Warner Bros., Bravo!

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Here Comes the Boom (+ UltraViolet Digital Copy) (2012)

Kevin James fills that niche. The one that his pal Adam Sandler surrendered years ago when he opted for those loopy roles. Kevin James remains very much down-to-earth and relatable. He's that likable everyman. HERE COMES THE BOOM is all kinds of predictable. It strives to mash-up two of cinema's most enduring narratives: the plight of teachers under duress and the inspirational underdog sports story. I was ready to roll my eyes a lot at this film. I walked out of the theater grinning. HERE COMES THE BOOM follows convention, does it ever. There's no earthshaking plot twist. But the film's expert execution of those tropes and Kevin James' warm, committed performance won me over. And there are enough laughs. And I'm a devoted enough sports fan. And I'll always root for endeavors that promote educators and expose the disadvantages that hinder them from doing their job. That Salma Hayek is in the movie doesn't suck, either. Her character's name is Bella, and I'd be hard pressed to think of something else more appropriate to call her.

Once upon a time, 42-year-old high school biology teacher Scott Voss (James) won the Teacher of the Year honors. But that was a decade ago, and he's since lost his spark. Today Scott Voss is an indifferent cog in Boston's educational system. But when budget cutbacks threaten to eliminate the school's extracurricular activities including his friend Marty's (Henry Winkler) music department Scott Voss is galvanized impetuously into action. Except how do you now raise $48,000, especially in the face of a looming deadline?

Once upon a time, Scott Voss was a Division One collegiate wrestler, a pretty good one, never mind that that was two decades ago. Scott arrives at the deranged idea of competing in the mixed martial arts circuit to drum up money for his school. You'd think the fact that he doesn't know much about the MMA sport would give him pause... Anyway, early on, anticipate scenes of Scott's getting harshly beat down.

By the way, I like that his ring walks are serenaded by a Neil Diamond track. Makes me smile.

Oh, most critics will hate this film. They won't take into the equation that there's a sweetness to this story, that there's heart and warm sentiment nestled in that gauntlet of cliches. Thankfully, the story isn't too sanitized. There's some bite to it. There's even a moment in which a debate surfaces regarding the validity and morality of resorting to violence, even if it's only in a sporting venue, in order to resolve a school's financial dilemma. I'm not sure that the film adequately addresses that. But let's not get too mired in deep moralizing. This movie isn't trying to change the world. It's trying to entertain you. There's a time and place and a mood for these kinds of films. There's a time for navel-gazing, and a time for popcorn and twizzlers.

To my surprise, Kevin James and Salma Hayak manage to ignite a few sparks. I'm not saying they replicate that heat between Richard Gere and Debra Winger, but, after a while, I bought into James' character actually having a shot with Hayak's school nurse, never mind that she'd already rejected him the fifteen times he'd asked her out. But there's a nice, easy rapport in their interactions. Note that, this time, Hayak's sexy nurse isn't singing back-up or possessed by a malevolent creature from outer space.

I suppose the presence of MMA fighters and personalities lends credibility. Fight commentators Joe Rogan and Mike Goldberg play themselves. MMA fighter Krzysztof Soszynski (not playing himself) squares up with Scott in the Octagon. But Bas Rutten turns in one of the best performances, playing Nico, an outlandish, scene-stealing former MMA fighter who trains Scott in exchange for getting tutored as he bones up for his coming U.S. citizenship exam.

I don't know if, like I heard in a Bas Rutten interview, Kevin James had trained for 14 months going into this film, but I'm happy to say that he doesn't embarass himself. Kevin has got that unsvelte, bearish figure, but he did get into a decent enough shape, considering. And it's not like his character is playing this elite gladiator, anyway. Scott Voss's clumsy, amateurish style is based on his playing defense and getting lucky with a strike. His chances of winning rely more on his perseverence thru sheer gumption and an ability to absorb punches and a stone-cold reluctance to disappoint his students. It makes you root for him all the more. So set aside the artsy-fartsy mindset, assemble the homies, and check out this feel-good show. In the face of impending ridicule, I'm rating HERE COMES THE BOOM 4 out of 5 stars. I really enjoyed it.

Finally a movie where I don't have to worry or cringe every other minute from vulgar language or sex scenes. There is the violence in the fighting scenes but I wasn't bothered by it since it is in the ring. We found this movie to be humorous and uplifting and just a great movie for family night. Finally...not an animation movie!

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I was not expecting this movie to be as good as it was. I was expecting a regular comedy with a sports theme but I was wrong. This movie is actually one of the best underdog stories I have seen in a long time. The comedy of the movie just adds to it but it is not the main selling point. Kevin James did a good job actually looking like a mma fighter. I definitely recommend this movie to anybody who likes mma or even just sports underdog stories. You will not regret it.

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Finally, a movie we can sit and watch with the kids. Language is acceptable, innuendo is there, but not excessive. Always fun to see Henry Winkler as well!

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All around great movie. Good for any age group. Very good story line and theme to the movie. Would pay to watch more than once.

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