Buck

Neither my wife nor I had heard of the movie Buck. We went to see it because it was close to our motel in downtown Grand Junction, CO. It was spellbinding. Both my wife and I truly enjoyed the movie. It was an unexpected treat. Though it may seem to be about horse training it is really about life though Buck's life in particular. It will appeal to a far wider audience. I hope this movie goes in wide distribution because I think this movie would be enjoyed by many more than might see it in the limited distribution theater network. This would be a good parenting movie. I plan on buying the DVDs for my kids who are in their 30s, and maybe a few friends. See this movie.

I have known Buck for over twenty years and had horses in my life for over 40 years. I work with horses and use them to help humans who have survived trauma, who have physical challenges, or those who simply want to learn to be around a powerful, gentle, sensitive creature. Horses are the mirror for the human condition. If you are unbalanced they will not choose to approach you. If you have good, calm, welcoming energy they will be drawn to that. If you are angry forget it, they will have nothing to do with you. I am delighted with the accurate portrayal of Buck. Kudos to Cindy Meehl and crew on a documentary well done!

If you are not a horse person, you will gain insight into how people can overcome. That old adage that, 'abusers grow up to become abusers' is simply not true. I have several friends that are in the mental health field and they love the film.

If you are a horse person you may find a new path to getting more done with your horse by doing LESS sooner.... ah, that old gem: prepare for the transition and the transition will take care of itself...

Buck is holding the bar high and hoping we can all aspire to finding softness and harmony; in ourselves, with our horses, and in life.

This film is a treasure, we have been invited into the lives of some very special people. Watch it, look in your "mirror" assess what is reflected there, change where you need to then go share. Pay it forward and the world will be a better place.

FYI I've seen this twice now with friends and would go again if asked while it's still up on the "big screen" every time I watch it I get something new.

Enjoy & happy trails

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You walk away with a better understanding of people, and hopefully more respect and understanding for living things than before you saw this film. And that is worth a lot.

So, don't think it's just all cowboys and horses, it isn't really that at all, only on the surface.

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Buck Brannaman is the "real enchilada", a man for whom it would seem the term, "cowboy" was coined. Enduring beatings from their abusive tyrannical father, Buck and his brother were professional trick ropers by the time Buck was 4 1/2. After their mother's death, authorities finally removed the boys from their dark home life. Through the love of his foster parents, Buck managed to leave his haunted past behind, though not without heavy scarring, on his soul as well as his body.

As one of the interviewees pointed out during the movie, perhaps "tortured souls", such as she calls Buck, have a special sensitivity to the horses they help that the average trainer lacks. Whatever it is, Buck's feel for the horse has enabled him to help thousands of horses with their "people problems", as he is wont to call them. "Buck" follows Brannaman as he takes to the road for nine months of each year, giving 2-day clinics all over the country. There is even footage of his daughter, Riata and her girlfriend, as they accompany him for part of the time, as well as Mary Brannaman, Buck's wife of many years.

Fans of Buck Brannaman will slurp this movie up like a kid eating ice cream on a hot day. But its appeal is far broader than just for those who love horses. Scenery is excellent, the music is catchy, and there are scenes of working cattle, Californios roping with Buck and Riata, and what most fans probably are looking for, Buck doing his thing with horses with issues. More than this, though, is the weaving of Buck's past through the film, along with footage of some of the Western horse world's greats, such as Tom Dorrance and Ray Hunt, mentors of Brannaman.

As if all this weren't enough, "Buck" shows how oftentimes clinics are about more than getting a handle on your horse. As Buck says, the horse is our mirror. Owners' issues are reflected quite accurately in their horses' attitudes and actions. And when Buck begins to pull threads on the horse, you can just about bet, one or two ends will be firmly attached to the owner. Tears and other emotions often rise to the surface, and people usually find they learn more than they'd imagined they would, at day's end. Sensitive he may be, but Brannaman pulls no punches when it comes to giving "tough love" to his clients. If they ask, he will tell them what they need to hear, which is many times far different from what they may want to hear!

"Buck" is nicely done; not too long, with just the right mix of lightness, humor, and drama to keep viewers' interest high. And ultimately, the scenes of Buck on a horse just shouldn't be missed. No one sits a horse like Buck Brannaman! See it; you'll be glad you did! I can't wait for the DVD!!!!

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This was a "no holds barred" documentary during which Buck candidly shares his thoughts on many subjects, not only those related to horses. Having had a troubled childhood, Brannaman matured into a really fine adult who has helped a lot of horses, as well as many people. The sequence near the end of the movie shows that some horses are actually beyond help. However, during most of the movie we can see how well he handles horses that others find to be problematic. He has real respect for the animals and, in most cases, they seem to appreciate it and respond in kind. This movie should appeal to more viewers than simply horse lovers.

Paul Baragona

Raleigh, NC

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Easy Rider (1969)

"Easy Rider" directed by Dennis Hopper, produced by Peter Fonda and written by Peter Fonda, Dennis Hopper and Terry Southern was a low budget film ($340 grand) that surprisingly became a box office smash. The story is about two hippys (Fonda & Hopper) who buy choppers with cash they've gotten from a drug deal. They ride cross country heading to Louisianna (to Mardi Gras) and on their way meeting different people, visiting a commune of hippys, ending up in jail, going to a brothel, taking acid etc. The ending was disturbing in 1969 and still is, even in these days of non-stop violence in our country. This 35th Anniversary Edition is identical to the regular dvd version of "Easy Rider" with the exact same bonus material "The Making-Of Documentary "Easy Rider: Shaking The Cage" (feat. interviews with Fonda, Hopper, etc.) and an audio commentary by Dennis Hopper plus production notes. The bonuses for this 35th Anniversary Edition are a cd which includes eight songs (do not confuse this cd with the actual "Easy Rider Soundtrack" as it is not). The songs are "Born To Be Wild" Steppenwolf, "The Weight" Smith, "Nights In White Satin" The Moody Blues, "Wasn't Born To Follow" The Byrds, "San Francisco Nights" Eric Burden And The Animals, "The Pusher" Steppenwolf, "It's Alright Ma (I'm Only Bleeding)" Roger McGuinn and "Get Together" The Youngbloods. The 80 page book "Easy Rider" by Lee Hill is interesting and includes all you'll ever want to know about the film. The bottom line is, if you already own the regular dvd of "Easy Rider" I'd pass on this 35th Anniversary Edition. Of course, if you don't own this classic film it may be worth the extra cash for the bonus cd and book.

The Plot: Dennis Hopper and Peter Fonda are two drug dealers from L.A. who get rich selling coke to Phil Spector(imagine that...). They celebrate by hitting the road on their choppers towards Mardi Gras. Among many of the kind Americans they run into along the way is the one and only Jack Nicholson, an alcoholic ACLU attorney who helps them out of jail. In return, they decide to take him to New Orleans with them and get him stoned in the process (the funniest scene in the movie--Nicholson offers an inspiring monologue concerning extraterrestrial intelligence). Enduring harassment and abuse from the rural locals, they arrive at Mardi Gras. Tony Basil(!) is one of the hookers they drop acid with in the graveyard (an unsettling psychedelic sequence only surpassed by the climax of "2001: A Space Odyssey"). Sounds great, doesn't it? It is. Despite its flaws and shortcomings, this is an American classic not to be missed.

Any fan of independent films will adore this movie (check out "Midnight Cowboy", too, if you like this one). The acting is amateurish but the script is inspired, and the cinematography and soundtrack are terrific.

This movie is a symbolic snuff film, and the American Dream is the victim in the spotlight. It foreshadows the paranoia and hostility that would later precipitate the War On Drugs and, now, the War On Terror. Ironically, the alcoholic lawyer played by Jack Nicholson is the only person that has a clear and sober idea of what is going on, and he is quickly silenced by the barbaric locals. The two main characters themselves have a vague idea of it, but are too caught up in their own hedonism to see it clearly. Near the end of the film, Peter Fonda grimly concludes: "We blew it." Ouch--the truth hurts; I wasn't even alive in the '60s and I'm still feeling it today.

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Easy Rider is a truly landmark film in the true sense of the meaning of the term. Produced on a very low budget and set in the late 60's it was, in my opinion, the first movie to really capture a particularly interesting moment in time. While many films sort of used the notion of the late 60's, drugs, sex, rebellion, idealism, as a means to make money, this seemed really the first film to accurately reflect a realistic image of the time period with an unflinching eye.

Peter Fonda and Dennis Hopper play Wyatt, or Captain America, and Billy, two free type spirits who, after a making quite a bit of money through a sale of drugs, decide to hit the road and drive cross country to Mardi Gras. Along the way, they pick up George Hanson, a southern lawyer, played by Jack Nicholson.

While watching this movie, you may get a sense that it is sort of a western, with the western landscapes and the main characters riding 'iron' horses. This was the intention of the filmmakers, especially the director, Dennis Hopper. One of my favorite scenes was at the beginning, right before Wyatt and Billy are about to embark on their trip, Wyatt removes his watch and throws it on the ground. This symbolized a sense of throwing off the constraints of the old world and an effort to embrace true freedom, if there is such a thing.

Nicholson tends to steal the scenes he is in, and gives a particularly wonderful piece about what freedom is, and why people are so afraid of it. He sort of represented to me one who has been fed many misconceptions about the individuals and movement Wyatt and Billy represent, but once in their company, finds that much of what he has been told may not be true. A sort of individual caught between the generations.

The film is dated, but that didn't detract anything for me. The only scene I really didn't care for was when Wyatt, Billy, Mary (Toni Basil), and Karen (Karen Black) drop acid in a Louisiana cemetery and proceed to trip for an extended period of time.

Along with wonderful performances, much credit must go to the cinematographer, as the landscapes are beautiful, especially the wide shots of the western scenery. They are truly breathtaking. And the music used was exceptionally good, fitting each scene and helping to create the proper mood throughout the film.

The movie presented here looks excellent, in anamorphic wide screen, and includes a commentary by Dennis Hopper. Also included is a wonderful 'Making of' featurette called Easy Rider: Shaking the Cage which really helps to illustrate all that went into making this film. The production, at time, often reflected the turbulent times of when the film was made, and helps to give more flavor to the movie, really enhancing the overall effect. All in all, Easy Rider is a wonderful slice of outsider Hollywood that captured the true essence of an exceptionally turbulent time in America.

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Easy Rider is definitely a movie for its period. There's no doubt that the film was a free-wheeling, pot-smoking, and other illicit drug type of movie that reflects the period that was the counter-culture, anti-Vietnam War, and anti-establishment 1960s that came from the age of baby boomers. Peter Fonda's "everything goes" production was effective in producing a spontaneous film that has allowed continued analysis by scholars and anyone interested in the tumultuous period that was.

The behind the scene commentary was interesting and insightful. Both Dennis Hopper and Fonda offered much discussion about the making of the film that reveals how difficult and how real the actors experienced what was happening in the southern part of the United States during the late '60s, which was much more intense -bigotry and animosity towards the hippie or "long-haired" culture.

The cinematography was excellent. The road scenes were just gorgeous, and the motorcycle drive through New Mexico was quite impressive. The most chilling scene was the ending with the panning out of the camera that gave a somewhat dark feeling that might depict a scene from war torn Vietnam. Or maybe a false sense of hope of a generation that fought for freedom.

Besides the film's look, one cannot forget the soundtrack of the movie. It included a diverse selection of artists, and who can forget the Steppenwolf's overplayed Born To Be Wild, which opens the movie? Other than that, music of The Byrds, Jimi Hendrix, and Bob Dylan captured the film.

The is a film that has survived the times and should be viewed.

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Sitting in a USC screening room with Peter Fonda, I remember seeing this iconic film before it was released. At the time, I was dealing with my application for Conscientious Objector status with the draft board. I was also being hassled by the FBI as an outspoken critic of the Viet Nam war.

The movie poster of Fonda as Captain America with a flag-embossed jacket riding on a big bike with the caption "A man went looking for American and couldn't find it anywhere" resonated with me. And at the end, when the redneck in the pickup with the bulging tumor shoots "Billy" and "Wyatt (Fonda and Dennis Hopper)" I was incensed. This was the same world I was in. The same prejudice. The same hate. Reel life was real life.

This film was the first big "youth movie" that perfectly targeted its already alienated audience. It was a bulls-eye. For me, it was a brave movie because I knew that the creative team of writer Terry Southern, director Dennis Hopper, actors Jack Nicholson and Peter Fonda truly believed what they put on the screen. This movie empowered me. I realized I was not alone in how I saw the world, the war and America.

As a film student, I was not just interested in film as propaganda, but also in how the film was shot. I knew it was shot for cheap less than $500K. And it broke the rules, like the law of "consistent screen direction" by having the bikes go in all directions. There was the innovative use of music I actually listened too. Wow, the Electric Prunes! How did they know?

I wondered if the dope they smoked on screen was real and I asked Fonda. He smiled and said, "Of course." I liked that. I liked the stoned "Freedom" speech from Jack Nicholson. I believed what Jack said. Those were my words too! This movie made Jack Nicholson a star, and with the perfect audience that identified with him from the start.

I still love the joyful, free, wide-angle moving shots of the bikes on the open road with Steppenwolf's "Born to be Wild" pulsating on the soundtrack. "Get your motor running..." Oh yeah.

Watching the movie today with the hindsight of alleged maturity(?), I now see an amateurish film. Indulgent and sloppy. Silly in places. But the core question of What Is America? rings truer than ever.

Look for ward-of-the-state, convicted murderer and former record producer Phil Spector as a dope dealer in the opening scenes. (R, widescreen, 95 minutes)

Fast And Furious 1-5 Limited Edition Collectors Box Set Blu Ray (2012)

I really love fast cars... And of course I don't quite appreciate speed limits... That's why I love these movies.... They can take me to a place where my dreams come true... Drive fast cars, without watching for speed limits and the best part: without the risk of accidents...(this only happens on movies and games, not in the real world).

The video:

This boxed set is full hd 1080p.... Which is really amazing for watching on a big flat screen. The action runs smooth, without ghosts, and other coded glitches. The colors are extremely vibrant and you can feel the speed.... The parties and explosions.... It's a sure 5 out of 5!

The sound:

The surround effects are really amazing.... You can hear the cars around you, you can really hear the engines roar.... That takes the experience to the next level. I always thought that the video is of extreme importance, but the sound that really creates the atmosphere for the different scenes.

The soundtrack for these movies really match the context... Definitely a 5 out of 5!!

The plot:

Some may say its lame! Some may say its a bad influence for real world drivers! Of course real-world drivers should not try to do those stunts while driving, but that's why it's a fictional work.....

I like the story of the series! I think there's a little bit of romance, a touch of friendship, a bit of trust and loads of fast-paced action!!! The story is very simple and I really think the reason is that these movies are only about cars and speed... The 5 movies also kinda relate to each other via some recurring characters. They are worth a 3 (maybe 4) star rating.

Overall:

Great video, stunning fx, extremely hifi audio and an ok plot. I'd give it a 5 star overall.

If you like fast cars, I know you'll love it. If you're a big Need for Speed fan, you'll love it for sure! Let the action begin!

Plastic was not meant to hold that much stuff. Like others who reviewed, upon arrival, the clips holding disks in the center fell apart. Now the big ol' box set has to be opened gingerly to ensure nothing falls out when I want to grab one disk. On top of the horrendous packaging (seriously, who's decision was that?!), I could not find one reference (aside from another reviewer who I should have read) that this was a UK copy. It's still functional but details like that SHOULD be shown somewhere on the product description page.

Buy Fast And Furious 1-5 Limited Edition Collectors Box Set Blu Ray (2012) Now

I love the 45 buck deal, but every movie came with a digital copy that, after putting the redemption codes in on iTunes, say they are only redeemable in the uk or Ireland. Kind've a rip off if you ask me. Why sell it in America if it doesn't work in America?

Read Best Reviews of Fast And Furious 1-5 Limited Edition Collectors Box Set Blu Ray (2012) Here

I would recommend this movie to everyone on the planet. It is a great movie and I love it. 5 stars is a perfect rating

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All movies were there and in great condition and they have one box holding all movies not one box with five boxes within like most.

Phenomena (1985)

PHENOMENA

(Italy 1984)

Aspect ratio: 1.66:1

Theatrical soundtrack: Dolby Stereo

Originally edited for US consumption and released under the title CREEPERS, the full-length version of Dario Argento's masterwork reveals the method in his madness. Whereas the edited version was a fast-moving collage of half-baked themes which evoked nothing of any significance, PHENOMENA reinstates the crazy-quilt pacing, whereby dream-like passages surrender abruptly to episodes of screaming hysteria, all of which is essential to any appreciation of the film's dark ambitions.

Romano Albani's sumptuous cinematography transforms the breathtaking Swiss locations into a fairy-tale landscape where monstrous eruptions of violence disturb the illusion of tranquility, and Jennifer Connelly drifts through the narrative in a state of near-hypnotic grace, allowing herself to become ensnared by the machinations of a deformed killer and his/her equally psychotic 'guardian'. True, the longer version is bogged down at times by lengthy dialogue scenes which hold up the plot, and the involvement of Donald Pleasence's chimp is no less misguided than before (its final act of retribution crosses the line into absurdity), but the set-pieces are magnificently realised, and the final 20 minutes are as hair-raising as anything in Argento's ouevre.

Dario Argento throws in all his trademarks in this horror/fantasy extravaganza.A plain crime story mixed with dream sequences, gore, state of the art camerawork, maggots, fireflies, broken glass, running water, beautiful young girls and a brilliant soundtrack. You name it, it`s all here !

Argento has made a lot of mediocre movies the recent years, but this 1984 movie is a true classic.

The film is presented in 1.66:1 with a DD 5.1 soundtrack. Both picture and sound is good, but nothing spesial.Anchor bay has also thrown in some extras, but nothing very interesting in my opinion. There is a dull commentary with Argento and three of his collaborators in very broken english, a trailer, two music videos,a lousy behind the scenes segment, and a ridiculous Argento interview from a Joe Franklin show. And don`t be fooled to believe that the 28 minutes that is restored in this UNCUT and UNCENSORED version is gore.It is simply the full european version, and all 28 minutes are plain story and character building.No doubt that this cut is much better than the "Creepers" cut, though.

It is the feature itself that makes this disc a must-have.They simply don`t make movies like this anymore ! (Neither does Argento, unfortunately !)

Now I can hardly wait for Anchor Bay to release "Opera" and " Suspiria."

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If you are reading this, you're already familiar with this classic masterpiece.

What I didn't know before I gambled and purchased the Blu-ray version of PHENOMENA (originally titled CREEPERS), I know now and would like to share with prospective buyers:

Yes, this is the extended version (110 minutes)

Yes, it plays on my Region 1 Blu-ray player

Yes, the picture is magnificent.

If you love this film, as I do, THIS is the copy to own.

Enjoy.

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This was my second dip into the Argento pool. I had recently watched "Tenebre", one of Argento's best from what I can gather. I was worried about a let down because I enjoyed that film so much. So I prepared myself. I read some reviews and took some advice. The results of my preparation were a mixed bag; some good, some bad. So, I appropriately lowered my expectations but hoped for the best. What I learned about Argento from watching "Phenomena" was that perhaps his biggest weakness is his clumsy story telling. Let me get to the point, hopefully quicker than "Phenomena".

-IF YOU WANT TO BE IMPORTANT, YOU HAVE TO LOOK IMPORTANT.

Argento has a knack for making everything look so important that you are glued to the imagery on the screen. "Phenomena" is full of long, stylish, detailed, seemingly important scenes. Every scene has a sort of leisurely pace to it. I began to assume that if I didn't pay attention, I would miss something. Eventually, this became a chore. After about 70 minutes, there had been 4 fairly unremarkable murders and yet we were no closer to knowing who the killer was. When it was finally over, I scratched my head and thought, "Did I miss something?" So I watched it all again. It turned out that I hadn't missed a thing. Most of the movie was not nearly as important to the plot as its treatment would have you believe. The result was an overly arduous, not particularly meaningful journey for a brief and crazy end.

-SO, WHICH STORY DID YOU LIKE?

Even though most of the movie was treated with overwrought and unwarranted importance, nothing that happened could be declared useless. But there were so many things that were given importance I wondered which thread of the story was the one that mattered most. How important was the generous time spent on the entomologist's theories? What role would the girl's talent with insects play? Why is the school so important? Does the hot but nasty teacher hold any significance? Was that time spent at the bank warranted? It turned out that all of the unique threads had very convoluted and somewhat ludicrous connection to how the film ended. I was forced to invest effort into all of the deceptive threads resulting in disappointment at their ultimate lack of importance. The worst part about it was that most of it wasn't particularly exciting or interesting.

-AT LEAST THE T-SHIRT IS OK. (Content could be interpreted as spoilers)

So I went through all this effort on stuff that varied in importance because I couldn't be sure what really mattered. My reward for all of this was an ending that bordered on cheating. It turns out the murders were committed by someone we never met directly or were never given cause to suspect until they are revealed. You could not possibly have deduced who it was because no meaningful clues were ever presented. Luckily, the ending has enough wacked-out moments and lively pacing that at least some satisfaction is achieved. However, that's only when compared to the rest of the films slogging pace.

-JUST BE YOURSELF JENNIFER.

Jennifer Connelly and Donald Pleasance are the big attraction here. Jennifer is very good at acting like Jennifer; a female Harrison Ford. Donald scrapped his usually wonderful British accent for a nearly undecipherable Scottish accent. There were other actors I won't mention though they were all capable for the most part. The chimp (Yes, the chimp) was actually an interesting figure whose function is clumsily jammed into place.

-SHE'S BRUSHING HER TEETH; CUE MOTORHEAD.

The music was wildly varied in style from scene to scene and just as wildly inappropriate in its placement. We often get scenes of someone walking slowly with some crazy guitar rock grinding away in the background. I can't say this had a big impact on me because I had bigger problems than the music to worry about. It didn't help though.

-SAY IT ISN'T SO!!

Some might be disappointed that there is no nudity and limited gore in this film. I don't mind those things but it wasn't a major sticking point with me in "Phenomena". I will say that a little more gore and nudity might have distracted me from the sluggish pace of the story. Yet, I think it would have had limited affect. Of course, the frenzied ending, which could be considered gratuitous, goes a long way to keep this from being a total loss.

-VENUS FLYTRAP.

As I stated before, Argento has a talent for giving drama to the most mundane event. Up to now, I really do like the overall feel of his films. They have a very inviting visual style. However, the enticing visuals could not enhance the plodding story enough to keep me interested or entertained throughout. He almost fooled me into believing that what I was seeing was always important.

-THE FLY ON THE WALL.

The fly on the wall knows the truth. In all honestly, I didn't like the way this story was played out. It was almost as if Argento had an ending in mind and then back-loaded the story to provide him all the pieces to construct his grand finale. The grand finale was pretty compelling but the back-loaded story was clumsy and those pieces didn't always fit too well. Why Jennifer's talent with bugs is important, why the chimp matters, why we spend so much time at school or in the bank and everything else was not nearly as important as the attention it was given. No matter how visually compelling things were, the events taking place just weren't that big a deal most of the time. Though Argento's talent is evident, the decent acting and visual aspects of this film were not enough to fix the convoluted story.

Story.....2 stars

Acting...3.5 stars

Visuals...4 stars

Music....2.5 stars

Average..3 stars

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I'm a big Dario Argento fan particularly of his output starting with "Bird with a Crystal Plumage" up through the ferocious 1987 film "Opera". While his films after "Opera" in my eyes saw a increasingly depressing drop in quality that unfortunately continues to this day, those films from BWTCP up through and including Opera are all great films that are just stunning to watch purely from a craft & filmmaking standpoint. "Phenomena" was released in 1985 to lukewarm reviews as the film was just so out there from a purely stylistic standpoint that many people didn't quite know to make of it. It also didn't help that in America almost an entire half hour was cut out of the film for its release under the alternate title "Creepers". You had a 13 year old Jennifer Connelly who could communicate with insects, Donald Pleasance with a pet monkey that was also his helper and a dwarf killer running around murdering young girls at an all girl school in Switzerland where the film is set to name a few of the delightful oddities that make this film so much fun. I can't neglect to mention the heavy metal soundtrack that plays along with most of the murder scenes too. The film is also puncuated with his trademark over-the-top graphic violence throughout. While I don't think it's Dario's best film, it is my personal favorite movie of his that I come back to the most.

Prior to this blu ray release, Anchor Bay had released the 110 minute Europeran cut of the film first in non-anamorphic widescreen DVD and then with a new anamorphic transfer that also preserved the film's original 1.66:1 theatrical aspect ratio. What some people didn't realize at the time was that there was still a longer Italian cut that was close to 116 minutes in length. For the film's blu ray release, Arrow Video decided to release the full 116 minute Italian cut. Since English dialogue hadn't been recorded for these additional scenes, the film occasionally switches back to the Italian language track with English subtitles similar to what Anchor Bay had to do with their DVD/blu-ray of Dario's classic film "Deep Red". It's not nearly as as jarring as it sounds.

A lot of people have taken Arrow Video to task for their transfers used on their blu-rays of Argento's amazing 1982 film "Tenebrae" and some of Lucio Fulci's great horror titles. There was also complaints about the transfer of Phenomena too. I find all of these complaints hogwash for the most part because even with the blu-ray's imperfections visually, it still blows the old DVD's away without even trying.

The complaint about Phenomena is that digital noise reduction was used to erase some of the film grain which gives the film a cleaner look than people would like. The DNR isn't overdone though and the cast never begin to have any waxy looks like when DNR is used egregiously like the ultimate hunter edition of Predator or Fox's initial blu-ray of Patton. Would I preferred for all of the film grain to have been left in, most certainly. But there is still a ton of detail that is a massive leap both over the older DVD's and the colors really pop in a way that it's truly like seeing the film again for the first time. The difference between this blu ray and the older Anchor Bay DVD is truly like night and day.

The sound is presented in two channel stereo which sounds fine. Cool extras include a 52 minute making of featurette, a little over 6 minute discsussion on the original music by Cladio Simonetti and an almost 19 minute Q&A with Sergio Stivaletti discussing the film's creature and gore effects. None of the extras from the Anchor Bay DVD have been carried over including the commentary track so completists will want to hang onto that old DVD.

The blu-ray is region free NTSC format including all of the extras so it plays perfectly in all US blu ray players. This is well worth picking up for fans of this criminally underrated film and a great upgrade that all fans should enjoy greatly.

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Secretariat (Two-Disc Blu-ray/DVD Combo) (2010)

This is a great film for everyone, especially if you lived at the time of SECRETARIAT. This was the first movie I have seen in about 2 years, and the first in a long time that I was excited about and truly wanted to see. In 1973, Secretariat touched everyone in this country. Just about everyone was talking about and rooting for this horse. But, in addition to telling the story of a champion Triple Crown winning horse, this film tells the story of just how implausible the events behind the champion were. While taking a few moments of dramatic license, it effectively tells the story of the background of this thoroughbred legend as was brilliantly laid out by William Nack, in SECRETARIAT, THE MAKING OF A CHAMPION. I have heard about and read reviews that this was more Penny's story than Secretariat's story, maybe so, but the truth is, without Penny, there would be no Secretariat. This is no different than SEABISCUIT, which was as much the story of the three individuals who brought immortality to that horse as well. In short, this is a must see film, and is thoroughly entertaining and enjoyable. For once you can see a movie and feel good about what you have seen; the story of a horse with a tremendous heart nurtured on by people with the heart to believe. HE IS MOVING LIKE A TREMENDOUS MACHINE,(from Chic Anderson's immortal call during the Belmont Stakes).

The story of Secretariat must be one of the pinnacles of American life in the last century. While watching this movie, no less than twice I might add, I reflected how the 1970s seemed the zenith of American civilization: the epic of Secretariat, Bobby Fischer's conquest of the world chess championship, the birth of the Star Wars saga in cinema, the birth of role playing and video games, and the genesis of the internet and personal computer were all products of this destiny-laden decade in the United States. Thanks to movies like Secreriat, we can immortalize in art the triumphs of yesteryear, making them into myth as the age sadly westers past its meridian. (cf. Lovecraft's "He" for the full details.)

Secretariat recounts the story of the horse's rise to win the triple crown. I guess the movie did not get better critical mention than it did because it seems to have been an obvious take off of Seabiscuit from a couple of years prior. I liked Secretariat better than Seabiscuit because the later movie conveyed a greater authenticity by including more realistic detail about the horse-racing industry. I also found the script more poetic and compelling, especially the thematic quotation from the book of Job. Most of all, Secretariat felt like a genuine, innocent story with none of the diseased and contrived tripe that other Hollywood movies purvey, like the movie Inception.

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I grew up in miraculous time. Jim Crow ended on one level. Muhammad Ali lived during the same time as Joe Frazier, Bob Beamon broad jumped past the olympic committee's ability to measure, and The US Olympic Hokey Team out-skated, outscored, and out endured the legendary Russians. But of all the things that lifted our spirits in the field of sports it was a horse that stole the The Show. Secretariat, was young, pretty, and just couldn't be beat. Check out this move. It tell the story better than I can. Believe me.

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I had the great good fortune to watch the 1973 Belmont Stakes race live on television, so my interest was piqued when this film came out on DVD. I bought it without any real expectations since I knew the ultimate outcome. I have to say I was most pleasantly surprised.

The first time I watched the movie, I wasn't that impressed as I felt there was a bit too much created drama, but the second time I watched it with my wife, she pointed out that the real story is full of drama. So I settled in and gained even more enjoyment the second time around.

Diane Lane is exceptionally good in the lead role of Penny Chenery Tweedy, and her husband's belated admission that she was able to give their children the lessons in life that he could never do was really a tender and telling moment. John Malkovich seemed near perfect in the role of the maverick trainer, and even his admiration for Mrs. Tweedy garnered some nice concessions along the way. Mrs. Tweedy never lost faith in herself or in her horse, and that is the real lesson of the movie.

Secretariat, or Big Red to those closest to the horse, is simply the greatest horse that ever raced (so far). Out of curiosity, I looked up some of the comparable Triple Crown records, and Secretariat clearly dominated those three races in 1973, and for all time. Some of the margins of vistory are stunning, time wise and in number of lengths. Of course, the Belmont stands out when Secretariat absolutely demolished a group of very good race horses by the unbelievable record of 31 lengths. I remember watching in 1973 to see if Secretariat could win the Triple Crown since that was the longest of the three races. I remember coming out of my chair watching Secretariat pull away in the back stretch and "pour on the coal", shouting and clapping. The movie captures this race particularly well, but for those of us who watched it live, it truly was reliving an extraordinary moment in time.

You don't have to be a horse race fan to enjoy this movie.

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I was unimpressed with this movie. The title character was more of a prop for the Penny Tweedy character. Penny Tweedy was Disneyized into something she was not; the reality is she was a woman of wealth who grew up in the horse industry, not a "simple housewife" who had a special bond with Secretariat. At the end of the movie, a beautiful black and white portrait of Eddie Sweat with Secretariat was shown. Theirs was the true story; Eddie's bond with this amazing animal was of the heart. A film honoring the Secretariat/Eddie story would have been powerful and inspirational, two things that this movie was not.

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NFL New Orleans Saints: Road to Super Bowl XLIV (Collector's Edition) (2010)

Based on an examination of the back of the box, through the convenient zoom feature, this is what Saints fans have been waiting for: The original Network rebroadcasts of four Saints' games, starting on Disc 1 with the week 13 game victory squeaker against the Washington Redskins.

Ah, but then it really gets good for the Who Dat Nation!

Disc 2: the divisional playoff blowout victory against the Arizona Cardinals. We brought the wood!

Disc 3: the overtime thriller against the tough Minnesota Vikings in the first NFC championship game played at the Superdome. "Pigs have flown! Hell has frozen over!" On to Miami!

Last, and of course not least:

Disc 4: Saints vs. Colts in Superbowl XLIV!!

Coming in at 479 minutes, just under 8 hours of ultimate ecstasy for any member of the Who Dat Nation, this is an essential purchase for any member of the most long-suffering and loyal fan base in the NFL. Better than pinching yourself to see if it's still a dream, we get to watch the Saints snatch victory from the jaws of defeat against the Redskins, steamroll the Cardinals (and Kurt Warner into retirement), watch the Saints gut it out against a gutty, yet error-filled, Vikings team led by Brett Farve, who took a heckuva lot of hits in his annual retirement game du jour. And the piece de resistance: Taking on one of New Orleans' favorite sons, Peyton Manning, in a Super Bowl classic, a game filled with daredevil playcalling and one mistake being one too many for Manning, as the Saints upset the applecart on the way to Peyton being enthroned as the greatest QB of all time, thanks in large part to SB MVP, Saints QB Drew Brees, and the often maligned Saints defense.

Well, don't just sit there watching this screen: order it now!

Every play of the games are on the discs. Every once in a while the time between the plays are edited, not too often though. I thought it could have looked a little better on bluray, but still looks great. Typical money hungry NFL. You need to buy NFL Super Bowl XLIV: New Orleans Saints Champions Highlight Video if you want the trophy presentation. Pathetic that they didn't include it on this disc as well. No NFC Champion Ceremony as well.

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If you are a Saints fan then this is for you. It's a chance to relive the unbelievable march to the Superbowl. I highly recommend it to any fan who has waited the long 43 years it has taken to get to where they are now, #1.

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Being from Europe, we dont know much about the american sports, especially American Football, I just love this Vid. Great Quality in the picture, great footage, and much more detail in HD. I strongly recomend this product. That Saints Defense is great.

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I gave this a four star because I wish more of the fan's celebration would have been shown. I would have gladly paid more if the DVD would have been longer after the Minnesota win and the Super Bowl win to show more of the Who DAT Nation celebration. An extra DVD showing the presentation of the trophy would have been worth the extra money, at least to every Who DAT out there!

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The American President (2012)

Okay, to weigh in on the key points of discussion that keep popping up with regards to this particular romantic comedy. First, I would have liked "West Wing" if I had never seen "The American President" and I would have liked "The American President" even if it was not a test balloon for "The West Wing." Second, of course a romantic comedy about the President of the United States is going to have a liberal in the White House. Conservatives are either (a) not that funny or (b) do not like to be laughed at, take your pick. Third, the part that bugs me the most is the "character" issue everybody keeps alluding to. I know part of the premise of this movie is "What is Hillary died and Bill Clinton was all alone in the White House and Chelsea was giving him dating tips?", but does that automatically mean we have to give all his sexual foibles to the fictional Andrew Shepherd? The man says he has only loved two women in his life and that it has been a long time since he has done anything sexual, so what is this character issue? Somebody explain it to me...like I was a six year old.

The actual plot of "The American President" is as old as the hills: boy becomes President, boy meets girl, boys falls for girl, girl falls for boy, and the entire country has an opinion. But ultimately the story does not matter because we stop flipping through the channels when we come to this movie on television because of the snappy dialogue and the excellent acting performances. Somehow screenwriter Aaron Sorkin got from "A Few Good Men" and "Malice," to this choice piece of political drama. Michael Douglas turns in his best romantic comedy performance as President Andrew Shepherd while Annette Bening plays Sydney Ellen Wade, a paid political lobbyist who discovers she has more of the President of the United States than his ear.

But ultimately "The American President" features one of those ensemble casts that makes you sit and shake your head in wonder. Actually, it is rather depressing to think that the actual occupants of the West Wing are no where as smart or as glib as this crew: Martin Sheen ("Come, friends, let us away"), Anna Deavere Smith ("I think the important thing is not to make it look like we're panicking"), Samantha Mathis ("Sir, I don't understan?"), and David Paymer ("Well, I could explain it better, but I'd need charts, and graphs, and an easel"), and in my choice for the best performance of his career, Michael J. Fox ("Can I just state very clearly I can't be part of anything illegal").

Did I mention the dialogue is really good in this film? However, the film's only Oscar nomination was for Original Musical score. Go figure.

Personally, I do not think the American people would turn upon a widowed President who started dating. But then I have this pesky idealistic streak that refuses to go away. This is a witty, literate romantic-comedy that harkens back to Hollywood's golden age. Ultimately the film's political leanings have little to do with our enjoyment because we know nothing ever happens with issues like gun control and fuel emissions in the real world and Bob Rumson's problem is not that he is running for President but that he is trying to break up the romance between these two kids.

Most Romantic Lines: (1) "Well, first of all, the two hundred pairs of eyes aren't focused on me. They're focused on you. And the answers are Sydney Ellen Wade, and because she said yes." (2) "Perhaps I didn't properly explain the fundamentals of the slowdown plan." (3) "I've loved two women in my life. I lost one to cancer and I lost the other because I was too busy keeping my job to do my job. Well, that ends right now." Of course, these are not the best lines in the movie because those are all about politics more than romance.

If you like "The American President," then check out these other films on the AFI's list: #74 "Woman of the Year" and #31 "The King and I." Why? Well, because in the former you find how hard it is to mix politics and love and in the latter you have a leader whose position does not allow him to fall in love.

I have over 150 DVDs in my collection. This film, which is one of my Wife's favorite films, has been ruined by a bad transfer to DVD. This release is the worst DVD transfer of any film in my collection. Warner Home Video should be ashamed of themselves and re-call this DVD.

There is no doubt that a re-mastered edition of this movie will someday become available. Don't waste your money on this edition.

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This movie has long been my favorite. By the way if you're scanning this to figure out why I only gave this film four stars, it's because of the DVD format. No special features whatsoever. Hey Rob! Climb down off your wallet and do a commentary with Aaron. Annette, Michael, hows about a little interview or perhaps another commentary. Delete Scenes? Outtakes? I want to see Michael Douglas trip over the phrase "Upper Bi-cuspid Region." ::Climbs down off his soap box::

The title of my review says it all in a nutshell. If you're looking for Air Force One, Executive Decision or Thirteen Days, the buck does not stop here. This movie is a fairy tale. Think Ivan Reitman's "Dave." That movie starts with the Subtitle "Once Upon a Time." Exactly. It's Boy meets girl on a grand scale. It doesn't matter that President Andrew Shepherd is a Democrat, and Bob Rumsom (By the way, can you imagine "President Rumson?" Ick.) is a Republican. Rumson is the Antagonist (all good movies have one) period.

Richard Dreyfuss plays an exquisitely delicious villan, using President Shephard's new found love of Sydney Ellen Wade, for his own political gain.

Martin Sheen as Chief of Staff AJ MacInerney, now best known as President Josiah Bartlet on the West Wing, seems to be a fore-runner for the President Bartlet's own COS Leo McGarry (After all Aaron Sorkin [who is GOD] did write this movie and the series West Wing). Sheen is brilliant as Douglas' conscience and confidant.

Michael J Fox' character, Lewis Rothschild, and David Paymer's Leon Kodak, are Shephard's Prism. They show Shephard in Black and White, with no punches pulled, where he's at, where he's going and how to get there.

The other characters, while having lessor roles, are written and performed flawlessly, especially Wendie Mallick, Samantha Mathis, Josh Malina, and Anna Deavere Smith-the last two of whom are also West Wing Alums. Lastly John Mahoney, always the consumate actor round out this amazing cast with a stellar performance of the secondary or quasi-antagonist.

Buy this movie with no political Axe to grind. Buy this movie without your reality blinders on-Yes, I know it's a ridiculous premise, but so is the guy in a white suit with the crewcut sitting on a bench, and look what Zemekis got out of that one. It's a FAIRY TALE. It's FICTION. IT'S A MOVIE. Relax. Enjoy the film.

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First I liked the movie. If you like a romantic comedy then this is good one. You must put aside any idea that it has any basis in reality. It is the expected hollywood version of the US government. If you are a liberal than you are heaven sent and if you are conservative than you are a hellbound devil who's only interest is destroying the country and starving children and old folk. In this film, you have a ultr-liberal director and the only conservative voice in the film is a monster and played by Richard Dreyfuss who has never had a conservative thought. So if you can get past the extreme bias in the film and not take it too seriously, you might enjoy it. My rating is not about the movie, it is about the distribution of the DVD by Warner Brothers. They have released three verions of the film....kind of. The first version released ten years ago indicated the film was not in enhanced widescreen. It had a poor image but was that was very common as DVDs were first coming to the marketplace. The two followup releases have claimed to be ENHANCED FOR WIDESCREEN TV...BUT WERE NOT. One version had an outer sleave that claimed this, but the actual case did not while the most recent version puts ENHANCED right on the disc insert. Both of these version are the same old version previously released. I would like to believe that this is a mistake, but it occurs too often for this to be true. What is likely more accurate is the WB intentionally mislabels the disc packaging so that owners of the old disce will buy it again, and since once it is opened it cannot be returned....FRUAD profits for WB. WB lies about the product and we simply get ripped off.

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This is an all time favorite of mine and absolutely guaranteed to lift my spirits each time I watch it.

Michael Douglas plays somewhat against his usual type as a likeable, widowed, well-meaning single father who is also the President of the United States, Andrew Shepherd. He becomes romantically interested in an environmental lobbyist, Sidney Ellen Wade (Annette Benning) which turns out to cause a lot of problems for both of them.

These two high-powered actors manage to humanize their characters into ordinary, likable people who are just trying to fall in love despite unbelievable opulence of surroundings, ugly political maneuvering and living inside a media fishbowl of publicity. Along the way, there are plenty of funny, heartwarming moments including a couple of very funny telephone calls. (Imagine what YOU would do if you suddenly received a call from someone who claimed to be the President of the United States)

David Paymer, Michael J. Fox and Martin Sheen are excellent in their supporting roles as advisors to the President and Shawna Waldron is wonderful as the 1st daughter.

If you love humorous dialog, beautiful, nearly fairy-tale settings and happy endings, be sure to see this movie. You won't be disappointed.

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HIGH TIME (1960)

Fantastic film despite the naysayers....you can't go wrong with the Bingster....he does look a little old in this film, but his voice is still right on the money.... Many have tried to compare this to Back to School but there is no comparison.... As it was made in 1960, you cannot really compare it to films made today....but it is a wonderful film to watch even if it is highly improbable.... Der Bingle goes to college at 51 years old and easily becomes one of the guys, falls in love and climbs to the top of a 75 ft. high pile of wood....sounds like when I went to college.... The video is very good given the available print, and the audio is excellent....very enjoyable film....get it....

I had seen a long time ago on tv and loved it. Was very happy to be able to get it. Bing goes back to college. It shows all four years and friends he meets.

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This is one that I have been waiting on for a long time so when I saw it I made sure I snatched it up as quick as I could.There was only 3000 copies made so I made sure I got this one since I have liked this movie ever since I saw it on cable a long time ago.Its also one of the early Blake Edwards movies and it really is a delightful movie,made later as Back To School with Rodney Dangerfield but I prefer it over the remake.

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This is a very entertaining movie. Bing Crosby's personality shines through and the story has lots of excitement. It lets you experience a simpler time for a couple of hours.

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One of my all-time top 10 Bing Crosby movies. What more could you ask for great comedy, Bing singing, and all around good fun set in a college in 1960.

Of course it would be a Bing Crosby movie with out Bing signing. He introduces the song "The Second Time Around."

A great all around movie that everyone is sure to enjoy. Hard to believe it has has been 52 years since it was introduced

The Hangman (1959)

The Hangman was Robert Taylor's first independent film after leaving MGM. In later years, he would describe it as one of his failures. Like many Taylor movies, it's an unusual twist on a familiar subject. Mackenzie Bovard, a Deputy Marshal, is famous for his ability to catch criminals who are later hanged. Bovard is cynical and world weary with a poor opinion of his fellow humans. Pursuing a robbery suspect, he meets the young and lovely Tina Louise. Through his relationship with her Bovard gradually regains his faith in humanity and becomes a much warmer and more likeable person. This is far from a typical western--no fight scenes, no gorgeous scenery, no evil villains. As another reviewer noted, it's a drama set in the old West. It's about responsibility, right and wrong and personal development and growth. Taylor is excellent, as always, in his understated way. Tina Louise is good as a young woman who changes from a drab loser to a confident woman. Mabel Albertson is wonderful as a middle-aged woman who has the hots for Taylor (who can blame her?). Fess Parker, post Davy Crockett is effective as a town Sheriff and his laid back persona makes a good contrast to the driven, more intense Taylor. Perhaps not a classic but definitely worth watching and owning.

In addition to having a fine cast with a fine array of character actors, the script is uttertly marvelous. Tina Louise shows us what she could have done had she not been put into the sexpot roles that ruined her. What's utterly fascinating about the film is that although this is a hunt for justice, there' no 'bad guy,' with the exception of the outlaw jailed in the first minute of the film. A fascinating thing to see in a Western. If Johnny's an outlaw, then he's one we like, so do we really want to see him captured? This one was included in my recent book 'Head `Em Off At the Pass! 94 Westerns You Should Watch.'Head `Em Off At the Pass!: 94 Westerns You Should WatchWhat If Arnold Stang Played the Part?: Recasting 108 Classic MoviesHead `Em Off At the Pass! 94 Westerns You Should Watch

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Had never seen this western before.I was not disappointed.Great story,great cast,great acting.You just cant go wrong with a cast of stars as this movie has.Pedro Gonzalez Gonzalez(yes twice),Mickey Shaughnessy,Robert Taylor,Fess Parker,Jack Lord,Gene Evans,Lorne Greene,and the beautiful Tina Louise.87 minutes of western pleasure.....support your favorite atrists.

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loved it it was a great movie, funny and action packed and enjoyed it very much i would recommend it to anyone

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Love the old westerns, thanks for a great movie, I will be buying as they are provided from this source.

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Soldier (2011)

Soldier is a rare experience that is far more than the plot, which has been outlined by the editorial comments. This is a journey taken by a strong warrior into his own humanity. I cannot even count the number of times that I have watched this movie, but I know it is more than twenty. I see more each time.

Kurt Russell's extraordinary and powerful acting skills make Sergeant Todd real. Successfully creating a character without dialogue is an art -and he mastered it. This movie provides insight into today's violent world as well.

Todd has known nothing but war or training since he was born. He was conscripted in the hospital; he never knew love, or laughter, or how to play. He obeyed orders and did not speak unless spoken to. The perfect soldier could not have emotions. If the only way to kill an enemy was to kill innocent victims, then he did what was required.

Todd is the best soldier of the "old timers," and he has been bested a new, genetically engineered soldier. One of the most poignant scenes is on the world where he was dumped for dead. The survivors that created a life on Arcadia are nervous to have a soldier in their midst, and ask Todd why he is there alone. He stands, no expression on his faces, and says, "I was replaced by a better soldier, Sir."

Although he acknowledges that he is no longer good enough to be a soldier, as his body heals he works to grow stronger and returns to the training rituals that have ruled his entire life. As he sees the interaction in the group that saved him, he is conflicted by emotions that he never experienced. When asked what he thought about, he says, "Fear. Fear and training."

It is extremely painful for him to be exiled from these people because he is too strong, and his violent training is too dangerous. He does not understand what he feels. This is my favorite scene. He is alone in his exile, sitting in a concrete drainpipe with tears running down his face. He wipes the tears away, and with the skill of a great actor, Russell shows that he does not even know what they are.

The arrogant commander of the new soldiers considers Arcadia the perfect first "war." Anyone on the planet was considered hostile. Three soldiers attacked the small group, killing without provocation. They have no hope until Todd returns and saves the group. When he is asked what he would do, he says, "Kill them all, Sir." He will not let the group help him because "A soldier deserves a soldier."

Good writing means that the hero must have an enemy equal to his abilities, and this has great writing. In facing the final soldier, Todd's intelligence wins the battle.

I am passionate about this movie. The acting, plot, special effects, and depth earn five stars.

Victoria Tarrani

This is one of the great, unsung science fiction films of recent times. The story revolves around a future where soldiers are segregated and trained from the crib to be merciless, killing machines. Kurt Russel, in a great performance, plays one of these soldiers who are soon to be replaced by a genetically enhanced new breed of soldier. Sgt. Todd 3465 (Russel) is believed killed in a training exercise and disposed of like yesterday's garbage on a waste-disposal planet. He survives, finds refuge amongst a colony of planet refugees, and tries to fit in.

This is, on a very rewarding level, a tremendous action film. Russel's nemesis in the film, Sgt. Caine 607 (played by Jason Scott Lee) is an imposing presence, and the fight scenes between the two are excellent and convincing. The special effects and battle scenes are impressive as well, and really transport you to a harsh, bleak, metallic future.

On another level the film is about the discovery of emotion in the highly trained soldier as he tries to fit into a more normal society. Russel is simply outstanding in the roll, doing an incredible acting job. He speaks a total of about 20 words in the whole film, but his internal struggles are always clear and very moving.

This "learning human emotions" trick is one several science fiction films have attempted, and most are embarrassing and painful to watch, dripping with sugar and sap. "Soldier" excels in this department as Russel makes the shift from killing machine to feeling man in a subtle, believable way. The film is just very, very well done and well written. The acting is fine all the way around, and the dialogue is completely absent of those wince-producing moments films of this nature often have.

Over time, this has become one of my favorite movies. I have watched it several times with increased enjoyment each time. I have quoted dialogue from this movie on more than one occasion, particularly the moment when Sgt. Todd tries to express his feelings, and all he can verbalize is "fear . . . discipline."

This movie is carefully crafted, intelligent, and hugely entertaining from the opening credits onward.

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It's a 10. Superb acting by Kurt Russell; directed by Paul Anderson, genius behind _Blade Runner_. He captured the essence of dictatorship and its opposite: individualism. Initially the protagonist, Todd, follows orders, used as a means to the ends of the State, a fighting machine who's then discarded. But Todd survives being dumped on a heap of refuse on a desert planet, to make his way to a small settlement of free people. There he learns what it means to have selfish values and to love a woman. When the totalitarians return to threaten her, only Todd can destroy them. Fight scenes and interpersonal dynamics were masterfully done. This is not a simplistic action movie with bullets flying everywhere. This is action melded with intellectual strategy, melded with a deep philosophical message. A sci fi classic, right along with Blade Runner.

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Here's another movie that was marketed to the wrong audience and therefore died at the box office.I found Soldier to be a profound meditation on violence and beauty. Kurt Russell delivers yet another exemplary-but-unacclaimed performance. His Sgt. Todd is an Everyman who does his duty, no questions, and is tossed out with the rest of the garbage when the next new thing comes along.From that point, Russell's facial expressions combine with the sensuous camerawork of the cinematographer to provoke the questions: Do I deserve love, beauty, and community? and: When, if ever, is violence necessary?This is a flick I'd recommend to the content guardians who are knee-jerk haters of violence. Soldier uses violence appropriately, intelligently. It is a film for grown-ups. Then again, censors rarely get that point.Bottom line: When you watch this film, you have to watch everything that is going on. It's not just another action flick.

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I cant imagine why anyone wouldnt like this movie. I recently discovered it didnt do well in the box ofice. that was a surprise to me, I've liked this movie since the first time i saw it on TV and I think with creativity a sequal could be made. If you agree say this review was helpful to you.

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Things We Lost in the Fire (2013)

Few films released last year have the quiet sensitivity in writing (Allan Loeb), direction (Susanne Bier), cinematography (Tom Stern), and acting (Berry, Del Toro, Duchovny) as this gem of a movie. Taking on a subject of grief after a sudden traumatic death and the way it affects family and friends would seem like a tedious subject for a two hour film, but THINGS WE LOST IN THE FIRE proves again that care and devotion in telling a difficult story with restraint and tenderness is far more compelling that many of the 'big' movies that fill the theaters with more superficial topics.

Brian Burke (David Duchovny) is a generously warm man to his beautiful wife Audrey (Halle Berry), their son Dory (Micah Berry), and daughter

Harper (Alexis Llewellyn) as well as to his longtime, childhood friend Jerry Sunborne (Benecio Del Toro) who is constantly struggling with an addiction to heroin. Brian is suddenly dead as the film opens and the friends are gathered at the Burke home for the funeral. Audrey is devastated by the abrupt loss and quietly bears her shock in order to be present for her children. During the reception Audrey suddenly remembers she has not informed Brian's best friend Jerry of his death and sends her brother to fetch him for the services. We meet the wasted Jerry, the shambles of his heroin-addicted life obvious in his tiny apartment, and yet when Jerry hears the news of Brian's death, he is profoundly shocked: Brian is the only friend he has. Jerry makes himself presentable and attends the funeral and despite the fact that Audrey had always considered Jerry a 'weight' on Brian, the two offer each other a zone of connection that cannot be filled by any other. Slowly Jerry becomes part of the Burke household and his role in offering love to the children and solace and protection to Audry results in changes in Jerry's life that provides one bit of evidence of the redemption that can occur from shared grieving. 'Things', such as those items lost in a fire at the Burke's in the past, are simply 'things': interpersonal connection, hope, and the 'light from within' are what truly matter.

Berry and Del Toro give finely nuanced performances in these difficult roles, further establishing their credentials as being two of our finest actors in film. But the entire cast of this film is pitch-perfect and under the direction of Bier communicates powerfully with the viewer. The extraordinary camera work concentrates on extreme closeup views of eyes, hands, lips and tears and allows the viewer an intimate relationship with these characters. Johan Söderqvist provides a subtle musical score that underlines the story without calling attention to itself. For this viewer this is hands down one of the finest films of 2007. Highly recommended. Grady Harp, March 08

I really wanted to like this film as I'm a huge fan of Halle Berry and the storyline just looked so compelling on paper. However, the delivery of this story just falls flat.

The story is told in present tense, but cleverly spliced in flashbacks fill in the background. Halle plays Audrey Bruke, a mother of two, whose husband Brian, played by "X Files" David Duchovny, is killed (I won't spoil the story by stating how, but we are told he's killed early on). We learn via the flashbacks that his childhood friend, Jerry, very well played by Del Toro, with whom he is still close is now a heroin addict and that Brian is the only friend he has left checks on him regularly and buys him food much to Audrey irritation as she worries about him going to see Jerry in the very bad neighborhood in which he lives.

Perhaps as a way of hanging onto her dead husband's memory or simply out of a selfish need for company, Audrey invites Jerry to "recover" from his addiction at her home in the garage that was made into a studio apartment after a fire in which she recalls endlessly complaining about "what we lost in the fire", but to which her husband Brian always used to say "but we didn't lose each other and that's the important thing in life", hence, the film's title.

Audrey's character is complex to say the least as she makes demands of Jerry that are inappropriate and selfish, like helping her fall to sleep at night by rubbing her ears the way her Brian had at bedtime. The whole scene screams false and contrived to begin with, but add to that that she invites Jerry to kind of be a part of the family and then resents his closeness to the kids later. Again, she's a complex character, but numerous moments stretch credibility when juxtaposed to more credible moments. I have no problem with her bringing home her husband's best friend as that makes sense to me for someone who just lost a spouse and may want to hang onto his memory somehow or continue his work so-to-speak in helping his friend, but the silly and contrived scene of him getting into her bed, on her husband's side (I think would be scared place to her), and have him give her an ear massage like her husband did is over-the-top corny and diminishes the impact of other more believable scenes.

The acting by all is quite good, however, the dialogue struggles from the weight of someone who may have watched too many Dr. Phil episodes and concludes with . . . drum roll, please . . . "we must live one day at a time." I kid you not; that is a direct quote from the film. This is the depth of the psychology in this film that I feel treats its subject matter far too superficially. I found myself greatly insulted by this kind of cliché-ridden lecturing. Even the children are given silly supposedly psychological lines to say when the one daughter yells at Jerry for leaving "after you tried to take my father's place." I'm sorry kids just don't talk this way and I've witnessed my fair share of broken families personally and as a veteran teacher. It is the way people THINK others will speak in such situations and it creaks and groans under it's own contrived weight.

In addition to a seriously faulty script at times (there are some very good moments in the dialogue), the direction it appears was also lost in the fire. Danish director Susanne Bier seems to think that extreme close-ups of eyes makes her film somehow artsy or clever or important, but both my wife and I kept scratching our heads wondering what was with these long drawn out eyeball close-ups. They made no sense, there was no symbolism in it, and they didn't advance the story any and act only as a distraction. The story also seems to meander around too much in which some better editing and trimming of the film would have made some difference. The best compliment I can give to the director is that she allowed her talented actors to just do their thing with little control over them (perhaps why she resorted to bizarre shots in order to put her "stamp" on the film) and she did cleverly insert the flashback scenes at appropriate times and they were quite telling and compelling.

I still give this film three stars as the acting is quite good, the topic is touching, and Audrey, as played by Halle Berry, is a complex character and I enjoy those when I can get them, but the script, direction and editing take their toll on a film that could have and should have been so much better than it was. Overall, it wasn't a "bad" film, it was just one in which it was disappointing because it could have been so much better. Remember, that three stars means a film is good and I do recommend this one with some reservations as there are some glaring problems with this film that could really agitate some (and some may dismiss them as no big deal).

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There are many things that happen in `Things We Lost in the Fire;' so many that it has an immediate impact that keeps a flow through the whole film. While most of the movie contains dialogue that makes the movie move so slowly, it saves itself from becoming a trivial soap opera by making every movement deliberate and absorbing.

Brian (David Duchovny) and Audrey (Halle Berry) Burke start the deliberations as a loving, mixed racial couple. He's a successful businessman, and they have two lively and likable children, Harper (10) and Dory (6), who look up to dad, even though he's a bit rough when teaching the timid Dori how to swim. Not a perfect family, but love and prosperity pervade their home. Instantly, we make a connection when Brian tells Dory she is like a fluroscent light, glowing from within.

Creating friction is Brian's best friend from childhood, Jerry Sunborne (Benedicio Del Toro) who is a heroin addict on the mend and attending Narcotics Anonymous Meetings. In contrast to Brian's well-furnished dwelling, Jerry lives in an apartment that looks like the living space of a cheap motel room. He finds different ways to be on the mend, but as The Velvet Underground's "Sweet Jane" reverberates through his headphones, we start to get an idea of the draw. (And those well-edited time frames that nervously jump to the near future give one a close observation of the mending consciousness of an addict.) Audrey resents how much time and effort Brian puts into their relationship and notes that he is the giver and Jerry is the benefactor with little room for give and take.

Then during a self-less act I won't go into here, Brian loses his life. Both friend and wife are shell-shocked, beyond belief, and Audrey must pick up the pieces as she tends to her emotional ship-wrecked life with two children to bring up by herself.

True to heart, both Audrey and Jerry try to fill the void in their lives. She looks at him in a new light, but as they get closer together, his knowledge of Brian creates some friction as she realizes he had some missing pieces of her late husband she never had when he was alive. Both characters have setbacks and breakthroughs that reveal a lot of truth emotionally about how much heartbreak can effect people in their daily lives.

Audrey finds herself fixing up the garage where a fire destroyed many of their stored possessions, and it is here that Jerry is given a chance to help the family and find an inviting place to stay. The children are taken by him, but Audrey again finds some resentment that resurfaces during his stay. Objectively, Audrey's brother, Neal (Omar Benson Miller), and Brian's closest work associate, Howard (John Carroll Lynch, 'Memento'), are able to bridge some objective realizations in both parties' lives. Further, fellow NA member, Kelly (Allison Lohman) provides some badly needed support for Jerry.

Whatever complaints of plodding development, 'Things We Lost in the Fire' answers quickly by creating an emotional appeal that works early and often throughout the film.

Read Best Reviews of Things We Lost in the Fire (2013) Here

This movie is absolutely amazing! It took 4 tries for me to fully understand the film, but there's so many hidden meanings, and i love that. You can take so much from the movie. All the actors/actress were definately talented and you could really believe what was happening to them. So many films these days feel cheap, but this one is organic...WHATCH THE FILM, SERIOUSLY, IT CAN CHANGE YOUR PERSPECTIVE ON LIFE. It changed mine.

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I was really suprised by this film. The acting is strong and obviously well directed. Del Torro, Duchoveny, and Berry really shine here. Berry has chops that she seems to not get credited for very often. This film explores very profound issues and themes like grief, friendship, addiction, and our fleet and seemingly fragile existence on this planet. How do we relate to our loved ones, the people we don't really like, and strangers, and how those relationships evolve in the face of some of these themes/issues? It's that rare combination of the material asking the right questions with the right performers and performances. It seems very real to me, and I'm very critical of that realistic element of a film. Do I buy what this character is saying, and is this situation real enough to warrant the investment of my attention? I think this production warrants anyone's attention who appreciates it when they're seeing more than just a walk through, or even a good try. This film just about nails it.

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The Stunt Man

The Stunt Man has always been one of my favorite movies. It contains some of the best work of Peter O'Toole's, one of England's great actors. A young Barbara Hershey is, like the candy bar, good enough to eat and Steve Railsback delivers a great performance as the paranoid fugitive/stunt man. When this movie first was released, it was one of the most unique films I had ever seen. A rare blend of action/adventure, comedy, satire, and love story, it defied simple categorization. Although today we are much more knowledgeable about movie making techniques and thus can shoot a few more holes in the story, "The Stunt Man" holds up pretty well to the test of time. After watching it countless times, I still marvel at the witty dialogue and clever plot twists. It is not your typical Hollywood formula movie.

Perhaps the most enjoyable parts of this new DVD are the special features. The director's audio track and the companion disk "The Sinister Saga of the Making of the Stunt Man" finally shed some light on the trials and tribulations that Richard Rush encountered while making and releasing this film. If you loved the movie like I did, you must see this recent (2000) look back by the director on his greatest movie accomplishment. It includes recent interviews with many of the stars. It is interesting to hear how this project affected them and their careers. If you have never seen "The Stunt Man", you owe it to yourself to do so. You won't be disappointed.

There are just some movies in your life that really speak to you--that connect to you on some emotional or intellectual level in a very special way. "The Stunt Man" from director Richard Rush is such a film for me. Released in 1980, this ode to movie making is a challenging, intelligent, incisive and fun film that very few people saw upon its initial release. After a 10 year preproduction struggle by Rush, a tumultuous shoot, and no support from a studio that didn't care about the film--it was essentially dumped with no fanfare. Even star Peter O'Toole has commented, "The Stunt Man wasn't released, it escaped." But with amazing clarity and foresight, the film was surprisingly awarded with three major Academy Award nominations--Best Actor for Peter O'Toole, Best Director for Rush, and Best Screenplay for Rush and Lawrence Marcus. In the years that have followed, the film has attained a cult status and a legion of faithful fans (myself among them). In fact, I have seen this film probably 15 times and it was the first (really!) VHS tape I ever bought--now that's dating me!

To relate the plot of "The Stunt Man" in a concise way is to deny the subtleties and intricacies that really distinguish this as a bold and unusual work of art. But here's a brief synopsis. The film begins as a convict, played by Steve Railsback (Charles Manson in "Helter Skelter"), makes a break from the cops who are transporting him. Fleeing into the neighboring seaside village, he stumbles onto a film set where a tragedy that will likely be investigated has just struck. To avoid police intervention, the film's director (Peter O'Toole) embraces Railsback and identifies him as the company's stunt man who was just involved in an accident. It seems an ideal setup, as Railsback needs a new identity and the film production needs to account for the missing stunt man. As the film progresses, Railsback learns about movie making, becomes infatuated with the leading lady (Barbara Hershey), and starts to suspect that O'Toole has sinister ulterior motives.

The beauty of "The Stunt Man," which may be one of the most delightfully "inside" films about the industry ever made, is that it works on so many different levels. You could aptly describe the film as a drama, a comedy, a thriller, and action picture, a romance, a satire of filmmaking, and a study of truth versus illusion--what is reality? Seriously, it is successful in every one of these fields. Add breathtaking action sequences, a wickedly funny and literate script, and bravura performances--and this mini-masterpiece truly stands the test of time. Hershey and Railsback are terrific, but O'Toole steals the show as the megalomaniacal director! Anyone who loves movies, and the art of filmmaking, should find much merit in "The Stunt Man." But make no mistake, as much as I will defend this as a great film--you, in no way, have to be a film snob to enjoy it. This film is deliriously entertaining and a wild ride!

This film carries my highest recommendation to movie lovers of all ages. While maybe not one of the 5 "best" pictures ever made, it is easily one of my 5 most enduring "favorites." Check it out. KGHarris, 02/07.

Features (some old, some new) for the newest 6/7/11 2-disc Special Edition DVD set):

* Audio Commentary With Writer/Director Richard Rush, and Stars Peter O'Toole, Steve Railsback, Barbara Hershey, Alex Rocco, Sharon Farrell and Chuck Bail.

* The Maverick Career Of Richard Rush Exclusive New Featurette

* Peter O'Toole Recounts The Stunt Man Exclusive New Featurette

* Devil's Squadron Exclusive New Featurette With Steve Railsback And Alex Rocco

* Barbara Hershey On Nina Franklin Exclusive New Featurette

* The Sinister Saga Of The Making Of The Stunt Man Feature Length Documentary By Richard Rush

* Theatrical Trailers

* Deleted Scenes

Buy The Stunt Man Now

There are just some movies in your life that really speak to you--that connect to you on some emotional or intellectual level in a very special way. "The Stunt Man" from director Richard Rush is such a film for me. Released in 1980, this ode to movie making is a challenging, intelligent, incisive and fun film that very few people saw upon its initial release. After a 10 year preproduction struggle by Rush, a tumultuous shoot, and no support from a studio that didn't care about the film--it was essentially dumped with no fanfare. Even star Peter O'Toole has commented, "The Stunt Man wasn't released, it escaped." But with amazing clarity and foresight, the film was surprisingly awarded with three major Academy Award nomination--Best Actor for Peter O'Toole, Best Director for Rush, and Best Screenplay for Rush and Lawrence Marcus. In the years that have followed, the film has attained a cult status and a legion of faithful fans (myself among them). In fact, I have seen this film probably 15 times and it was the first (really!) VHS tape I ever bought--now that's dating me!

To relate the plot of "The Stunt Man" in a concise way is to deny the subtleties and intricacies that really distinguish this as a bold and unusual work of art. But here's a brief synopsis. The film begins as a convict, played by Steve Railsback (Charles Manson in "Helter Skelter"), makes a break from the cops who are transporting him. Fleeing into the neighboring seaside village, he stumbles onto a film set where a tragedy that will likely be investigated has just struck. To avoid police intervention, the film's director (Peter O'Toole) embraces Railsback and identifies him as the company's stunt man who was just involved in an accident. It seems an ideal setup, as Railsback needs a new identity and the film production needs to account for the missing stunt man. As the film progresses, Railsback learns about movie making, becomes infatuated with the leading lady (Barbara Hershey), and starts to suspect that O'Toole has sinister ulterior motives.

The beauty of "The Stunt Man," which may be one of the most delightfully "inside" films about the industry ever made, is that it works on so many different levels. You could aptly describe the film as a drama, a comedy, a thriller, and action picture, a romance, a satire of filmmaking, and a study of truth versus illusion--what is reality? Seriously, it is successful in every one of these fields. Add breathtaking action sequences, a wickedly funny and literate script, and bravura performances--and this mini-masterpiece truly stands the test of time. Hershey and Railsback are terrific, but O'Toole steals the show as the megalomaniacal director! Anyone who loves movies, and the art of filmmaking, should find much merit in "The Stunt Man." But make no mistake, as much as I will defend this as a great film--you, in no way, have to be a film snob to enjoy it. This film is deliriously entertaining and a wild ride!

The Limited Edition of the DVD also contains the feature length documentary--"The Sinister Saga of Making The Stunt Man." This is a fascinating look at the trials and tribulations of getting "The Stunt Man" to the screen by a writer/director with no intention of compromising his vision. I recommend this edition while it's still available, the journey of this film is a tremendous and impressive story! And Rush is easy to admire and like.

This film carries my highest recommendation to movie lovers of all ages. While maybe not one of the 5 "best" pictures ever made, it is easily one of my 5 most enduring "favorites." Check it out. KGHarris, 02/07.

Read Best Reviews of The Stunt Man Here

Peter O'Toole, Barbara Hershey and Steve Railsback are superb in this movie. Railsback is a Vietnam vet who accidently kills a copy and stumble upon a WW I movie being shot by O'Toole, who plays the director. After his stunt man is killed, O'Toole blackmails Railsback into becoming his stunt man, and Railsback thinks O'Toole is trying to kill him.

Barbara Hershey as Railsback love interest looks gorgeous. O'Toole is amazing. Not your usual, predictable Hollywood plot. A very special movie worth owning for repeat viewing.

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An image so vivid that unlike any previous blu-ray I have purchased to date, I had to dumb-down my monitor from "vivid" to "standard" to compensate, which is a good thing as the reduction in contrast subdues the occasional film grain which is evident quite often but short-lived, such as when Director Rush presumably zoomed in on the film negative for a close-up in post-production as an afterthought rather than having done so 'in camera' during the shoot. Though the original mix was mono, discrete surround sounds are quite evident from time to time. After enduring the poor print quality of the laserdisc pressing it's good to see Rush's beloved film get its due on blu-ray, both of which are well worth the upgrade if you're a big fan like myself, but if you're not and already have the two-disc Limited Edition, you won't find enough of a difference to warrant this upgrade to blu-ray.

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