Showing posts with label akira blu ray. Show all posts
Showing posts with label akira blu ray. Show all posts

Monday, September 29, 2014

Cold Mountain (2003)

Cold Mountain"Cold Mountains", one of the best films of the year (it's a crime it wasn't nominated for Best Picture), is beautifully crafted, stirring, poetic tale of love, loss, and the will to survive. Directed and adapted to the screen by the wonderful Anthony Minghella and boasting a stunning cast of Jude Law, Nicole Kidman, Renee Zellweger, Philip Seymour Hoffman, Natalie Portman, Giovanni Ribisi, Jack White, Brendan Gleeson, and Donald Sutherland, this film is truly a force to be reckoned with.

"Cold Mountain" tells the story of Inman (Law), a carpenter working in Cold Mountain, North Carolina in 1861 when the alluring, elegant, and well-educated Ada (Kidman) and her father, Reverend Monroe (Sutherland), move to the Blue Mountains from the city. Inman and Ada, in true Hollywood fashion, are instantly taken by each other and engage in restrained flirtation, Ada's preacher father and their different social classes being the bulwark from romance. Soon the Civil War begins and the entire young male population of Cold Mountain departs in eager anticipation of glorious battle. Inman and Ada engage in one fleeting, hungry kiss before he rushes off to join the departing procession.

During battle, Inman is wounded and, after reading Ada's numerous earnest letters imploring him to return to her, deserts the Confederate army and embarks upon an Odyssey-like journey back home to his true love. Meanwhile, Ada's father has died, leaving her helpless and alone on their 300 acre farm. Soon Ruby (Zellweger) arrives and offers Ada her services in exchange for food and shelter. Realizing that she simply cannot manage on her own, Ada agrees. The rest of this spellbinding film flashes back and forth between Ada, being "all that keeps Inman from sliding into some dark place" and Inman, being Ada's "last thread of courage". Though these two souls barely know each other, they both remarkably become the single thing in each others world worth living for, worth fighting for.

When boiled down to it, "Cold Mountain" is simply a beautiful testament of the human soul's fierce will to survive and, as corny as it sounds, the power of love. If it weren't for their love, neither Ada nor Inman would have found the will and courage to survive after their lives had been shattered by the brutalities of war.

The seamlessly intertwined music plays such a large emotional role in this film. From Gabriel Yard's haunting score to Alison Krauss' tender songs, the music in this films helps to create an absorbing atmosphere that sucks you right into the Civil War. In addition, John Seale's breathtaking cinematography complete with sweeping views of the snow-encrusted Blue Mountains makes this a film you simply must see on the big screen.

This has been a very difficult review for me to write. Upon first seeing "Cold Mountain", I was pleased with the film, but definitely not as taken with it as I soon came to be. That all changed in the weeks following. I simply cannot get this film out of my head. The hope, the sacrifices, the pain, the loss, the love. It really sticks with you. It's hard to put my feelings into words and I sincerely hope that this review has given you the incentive to go see this film, and by doing so, embark upon an unforgettable journey.

Cold Mountain is a beautiful movie set during the American Civil War. A North Carolina town of Cold Mountain has sent it's beloved sons to war leaving behind Mothers and Lovers. Our two main characters are Ada (Nicole Kidman) and Inman (Jude Law) two Cold Mountain residents dedicated to there reunion after the war, but the war drags on and there correspondence is the only thing that unites them in a terrible time of American History.

The movie tells of Inman's journey back to Ada and the parrallel story of Ada trying to survive on her fathers farm. Both characters take a journey in spirit and determination to survive the horror that has become there existance during the war.

I loved the intertwining of music and drama in this movie. Anthony Mingella did, as expected, an excellent job etching the powerful feelings of hope and dismay with haunting music written by Sting and performed by the clear voice of blue grasses own Alison Krauss. I am from North Carolina am familiar with the native music of the area and thought the music in the movie very similar and so wonderful.

Although, this is a Love Story more than a movie of the American Civil War it stirred the feeling of my Southern Roots. The movie did not contemplate the reasons for the Civil War but it was a vehicle for ours lovers seperation. I found the depiction of the Petersburg battle flawed not entirely accurate to history but then again the war is not the focus in the movie.

I was in aw of the cinemontography of this movie, magnificent. A gorgeous movie that needs to be seen.

Perhaps I am biased, since I am a North Carolinian, but I thought this movie excellent, bittersweet, wonderfully acted, and crafted by the best in the movie business today. I would recommend this movie.

I was so touched by the Lovers' correspondence between each other the quiet love between two people spelled out in words. You hear Ada reading her letters to Inman on his journey back to her and your heart aches for the both of them......sigh.

girldiver:)

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"Cold Mountain," Anthony Minghella's film of Charles Frazier's novel, is a mournful, beautiful and occasionally profound film about the futility of war, the persistence of love and the desperate attempts of people to survive in wartime. The quiet, delicately nuanced performances of Jude Law and Nicole Kidman in the lead roles are deeply moving, and Renee Zellweger brings much-needed comic relief as Ruby, a plain-spoken farm worker. The film's episodic structure may distract some viewers, but the vignettes are extremely powerful per se, and they allow for some wonderful supporting performances--by Philip Seymour Hoffman, Eileen Atkins, Kathy Baker, Donald Sutherland, Natalie Portman, Giovanni Ribisi, Lucas Black, Brendan Gleeson, Ray Winstone, Jack White, Ethan Suplee and others--to be placed strategically in the movie like jewels in a crown. "Cold Mountain" makes the sad but undeniable point that at times of national tragedy, all the survivors can do is pick up the pieces, rebuild their lives as best they can, and find joy wherever they can. With fine performances, excellent music (by Sting, Jack White and others), and exquisite photography by John Seale, "Cold Mountain" lingers in our minds and hearts long after the closing credits roll.

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"Cold Mountain," directed by Anthony Minghella, stars Jude Law as Inman, a Confederate soldier during the U.S. Civil War, and Nicole Kidman as Ada, the minister's daughter he loves and longs for when he leaves to fight. Renee Zellweger costars as Ruby, a feisty farmhand who works with Ada on the homefront.

This film is a period piece that has a true epic sweep, yet never loses an intimate connection with the main characters. The production design is full of fascinating and thoughtful details that make the film a joy to watch. But it's also often harrowing and graphically violent--Minghella does not flinch at exploring the injustice and brutality of humankind towards itself.

The performances are all superb. After having distinguished himself in a number of noteworthy supporting roles, Law really proves himself a great leading man here. Kidman brings both delicacy and steel to her role--a southern belle faced with daunting wartime challenges. Zellweger delivers a rich, earthy, zesty performance; she is a perfect foil for Kidman and their characters' relationship is one of the great highlights of the film. The three main actors are superbly supported by the rest of the cast.

"Cold Mountain" is often quite grim and brutal, but is leavened by earthy humor and irony. Ultimately I found the film to be life-affirming. It's a love story and a war story, but regardless of genre it's a superbly crafted and genuinely moving film.

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COLD MOUNTAIN by Charles Frazier is without a doubt one of the best books I have ever read. It is a heart-wrenching story about Inman, a soldier fighting for the South in the Civil War, his desertion from the war, and his subsequent journey home. But it is also about Ada, the spoiled and impractically raised preacher's daughter who is left to fend for herself after her father dies. It is touching to watch Ada grow before your eyes as she learns to work and take care of herself for the first time, and becomes selfsufficient. When I discovered they were making it into a movie, I was ecstatic. I recently saw it, and I give it 3 stars out of 4. It was a good movie, but not great-(let LOTR win this year!)

First, I wanted to write this review because **I feel as though everyone is missing the point of the story somehow**. Some have stated they couldn't feel sympathy for Inman because his character was cold, and it glorified a deserter in some way. Others felt Ada's relationship with Inman was superficial and trite. It's very important to understand Inman's motivation for leaving the war in order to understand Inman as a person, and his relationship with Ada.

In my opinion, Inman is one of the bravest and most human characters any author has ever written. In the novel, Inman's inner turmoil is more evident than in the movie, so readers will find themselves better able to sympathize with him than viewers. Frazier's novel shows Inman is becoming dehumanized by his experiences in the war. He has seen too much. He has watched his friends murdered, he has taken lives with his own hands, he has done what he can to survive, and it is not honorable. It reminds me of the Wilfred Owen poem "Dulce Et Decorum Est" or Randall Jarrell's "The Death of the Ball Turret Gunner", because those poems get across to readers there is nothing glorious about war. What the book gets across beautifully, and where the movie fell short, is the effects of war on the human soul. Inman's spirit is being BROKEN. There is a black place inside him he does not know if he can ever recover from. This is why he knows he must leave.

Inman doesn't know if he can ever recover from what he's been through. He has been irrevocably affected by what he's been through, this horrible tragedy that is war. He sees Ada as his salvation; she is the light at the end of his tunnel, the only possible chance for hope. Even in the novel, they didn't have much interaction before Inman left for war. It seemed as though there was much more left unsaid between them than was ever actually put into words. However, Ada and Inman saw something in each other that was enough to sustain them.

There were many good points about the film. Beautiful scenery and cinematography....fabulous costumes...rich characterization. The two main characters were well cast with wonderful chemistry. After thinking back on Kidman in "Far and Away", I knew she could pull off Ada's character, which is supposed to be cold and somewhat haughty. Jude Law is a perfect Inman. I especially enjoyed the moments between them when they said nothing, yet you KNEW some sort of understanding had passed between them. Their love scenes were passionate and tasteful. I loved Donald Sutherland as Ada's father. Kathy Baker captures the stoicism and stalwart nature of Ada's neighbor Sally Swanger. I loved Giovanni Ribisi as the money hungry Junior, and Natalie Portman will bring tears to a few eyes as the lonely young widow trying to survive a hard winter with her baby. Philip Seymour Hoffman is an excellent Veasey, a priest Inman meets on the journey to Cold Mountain. When Inman meets him, Veasey is attempting to dredge up the courage to kill his pregnant lover--whom he has drugged and stolen from her home in the middle of the night-so the townspeople won't realize what a lecher he is.

There was one thing that threw the movie off for me. Renee Zellweger plays Ruby, a strong young woman who comes to help Ada gain control over the house (she's being terrorized by a rooster when Ruby shows up). Ruby becomes Ada's teacher in all things pertaining to country life and running a farm. Zellweger did a nice job getting across the conflicted way Ruby felt in regards to her father, the fiddle playing Stobrod, who abandoned her repeatedly when she was a child. Their relationship was touching. But while Zellweger provided some much-needed comic relief, her acting was COMPLETELY OVER THE TOP. She did not so much "steal scenes" as she hurled herself into them and shoved everyone else out of the way. I did see a few reviewers (a precious few-most people seemed to think she was brilliant and deserves an Academy Award) who felt less would've been more. The movie is not meant to be hilarious, and her scenes felt too contrived--every time she came onto the screen, people would start to chuckle, knowing something "amusing" was going to happen. To me, she wasn't amusing so much as just overreaching her role. I was especially frustrated when she RUINED the moment at the end of the film when Inman is finally expressing his feelings for Ada.

One of the most touching aspects of the film is when you think about the spirit of the characters in it. No one was rich; they all struggled to make it through a horrible experience with few resources of their own. Yet they were still willing to give food off their own tables (and out of their children's mouths) in order to keep some stranger from going hungry. That kind of attitude and camaraderie was simply unforgettable. Go see the movie, but don't miss out on reading the book.

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Saturday, September 6, 2014

Legend of Zorro & Mask of Zorro

Legend of Zorro & Mask of ZorroThis set contains both Zorro films! Each movie is wonderful with Antonio Banderas perfect as Zorro! I am giving this set 4 stars for the price, and for the transfers. A quick breakdown of each film is as follows:

The Mask of Zorro: 4 Stars! Zorro (Banderas) returns to action against Montero and his band of evil doers! After Spain is run out of California, the original Zorro (Hopkins) is locked away by his mortal enemy, Montero! To add insult to injury he takes his infant daughter Elena (Zeta-Jones) as his own. Now Montero has returned with a sinister plot to buy California for his own! It is up to the old and new Zorro to stop his sinister plot and teach Elena the truth about her past!

The Legend of Zorro: 3.5 Stars! Zorro (Banderas) is called by the people of California again to stop the sinister plot by Armand (Sewell) that will destroy the union. Zorro must also save his wife (Zeta-Jones) and son from his evil clutches as well!

NOW FOR MY BLU-RAY THOUGHTS: The Mask of Zorro looks good, but it could have been better. It certainly suffers a little from age, but it's the best it's ever looked. The Legend of Zorro looks fantastic! A beautiful picture with sharp contrasts and amazing color! Each film has very good audio mixes. SPECIAL FEATURES: All special features are carried over from each special edition DVD. FINAL THOUGHTS: As a box set, this is an absolute winner! Especially if you can get it for under $30. ABSOLUTELY UPGRADE!

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Monday, August 4, 2014

Black Rock Shooter OVA Limited Edition Set w/ Petit Nendoroids (Blu-Ray & DVD Combo) (2012)

Black Rock Shooter OVA Limited Edition Set w/ Petit NendoroidsThe Black Rock Shooter Limited Edition Set was amazing! Everything was awesome. But what they might want to include is the size of the droids. They were small enough to fit in the palm of your hand... either way they were still very well done and very cute. Everything was brand new and the box itself was very cool, the only problem I had was that my Dead Master figure had one of it's horns broken when I JUST opened the package. But it was an easy fix, all I need was super glue. Other than that, it was amazing! And the anime had subtitles for many languages. In my opinion, it is the best OVA I have ever watched. I would highly recommend buying this item if you love Black Rock Shooter, Huke, or if you are a hard-core anime fan.

I'd like to start by saying that Black Rock Shooter was an idea, a drawing, next was a song by Supercell, and now an OVA of epic proportions. [Burakku*Rokku Shu-ta-] is set in the year 2050 and the heroine is a young girl who became a living weapon and the last hope for mankind. Her weapons range from her fists or hands, black katana, and her black rock cannon, but the story has shots of another world with Mato Kuroi starting junior high school. She makes a great friend named Yomi Takanashi and their lives are good until the outcome of the two worlds collide and start combining before the two girls eyes. The music is awesome in this show because the majority of the tracks are recorded by Ryo who also recorded vocaloid songs for Hatsune Miku and the theme song for BRS is sung by Hatsune Miku. To end this without giving off the story, Black Rock Shooter is my favorite modern action/drama/fantasy animation of this generation and I will enjoy my collector box set and Black Rock Shooter THE GAME on PSP this September. I hope this review was helpful and informative.

If anyone want's further information regarding Black Rock Shooter feel free to ask me and I'll kindly get back to you.

Buy Black Rock Shooter OVA Limited Edition Set w/ Petit Nendoroids (Blu-Ray & DVD Combo) (2012) Now

The film is great, original animation and art and story. The plot makes you wonder where everything is going but it slowly but surely leads to the inevitable.

The story is basically: Mato is a high schooler who befriends the new girl Yomi. They become close friends but one day something happens to Yomi. From the start, as this is going on, two characters in an alternate dimension are fighting. The fighters look an awful lot like Mato and Yomi and the connection between the two worlds is the mystery.

This collection also comes with storyboards, two chibi Nendoroids of Black Rock Shooter and Dead Master, and some promo stuff.

Read Best Reviews of Black Rock Shooter OVA Limited Edition Set w/ Petit Nendoroids (Blu-Ray & DVD Combo) (2012) Here

This was a Christmas gift for my son and he absolutely loved it. It was shipped very quickly and packaged very nicely. Overall a great product.

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The "Black Rock Shooter OVA Limited Edition Set w/ Petit Nendoroids (Blu-Ray & DVD Combo)" is an amazing movie that beats record. I ordered it by the company "AOYAMA&CO. / bring JAPAN close to you!" and even received it 22 days before the estimate receive date! :)

Box including:

*Black Rock Shooter Nendoroid Petit

*Dead Master nendoroid Petit

*DVD n Blue Ray of the movie (7 language Sub)

*Frame Book of the movie (Japanese only)

I'm glade to have it and listening it over and over again.

the nendoroid petit are awesome, pretty a nice add to get those limited edition! ^^

the Nendoroid are pretty small but really cute too!

I know that it have Mato and Yomi Nendoroid Petit, so for those that want to continue the collection, it also have an other Black Rock and Dead Master Nendoroid Petit from the same compagny.

(little clue for completing a collection)

It also have the "Frame Book" of the movie in the box, but sadly I don't understand Japanese so... stuck at that point...

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Monday, July 7, 2014

In the Shadow of the Moon (2007)

In the Shadow of the MoonBy now we've taken the achievements of space for granted. In some ways our world, even our universe, has become smaller and bigger at the same time. What makes David Sington's `In the Shadow of the Moon' so wonderful is how it relaunches our awe for those incredible moments when a handful of men actually reached the moon. The film rekindles those memories when a few astronauts found themselves walking upon and discovering a completely different heavenly body as no time before or since.

Using 'The Right Stuff' they interview several of the astronauts who reached--or nearly reached--the moon from 1968-1972; the documentary is mesmerizing for its close-up shots from liftoffs to moon landings. Interspersed are relaxed and frank discussions by the aging men who brought our native satellite back home to the whole world. Unsurprisingly, their memories are vivid and detailed. Surprisingly, there's so much more terrain covered on this endeavor than previous movie visits. Some of the documentary shows the world's reaction to those marvelous moments.

Too many details should never be divulged, for that's an insult to the heart. But in general terms, we get recollections of how these men reacted to their experiences. Without deception or evasion, they recall palpable danger at every turn and the inner workings of fear, awe, and decisiveness which met their challenges. Putting things in perspective, Michael Collins reflects that the moon looked like an "inhospitable, hostile, scary, place". Many anecdotes fill us in on the behind-the-scenes drama at NASA. Even the mundane details are fascinating.

There are many advantages to seeing this film in the theatre, but it's still great for home viewing, especially for those with HD or widescreens. The close-up shots are ample and sometimes vertiginous. Philip Sheppard's often changing and rapturous score works like Sington's directing and David Fairhead's editing to bring the glory of the past all back home.

Reaction can be like one astronaut who relates that his father was born just days after The Wright Brother's flight, and he reflects his father couldn't believe we were going to the moon, while his young son was far less impressed. Maybe like Apollo 11 itself, `In the Shadow of the Moon' can reunite everyone of every generation and renew their perspective on a breakthrough that we all too easily and too often dismiss as passé.

(Admirably, they keep the presentation tight, but the "Bonus Features" are excellent. Even when they're not essential, they're always interesting. There's over an hour of extra material [so it's not correct to say these are merely "Deleted Scenes"]. Besides a short interview with Ron Howard, there's a twelve minute segment on Philip Sheppard's creation of his exquisite score and plenty of other anecdotes to spare. Portions elaborate on the astronauts first role in The Cold War, and others continue to keep us marveling, especially Jim Lovell's testimony about the harrowing Apollo 13 journey. There are plenty of fascinating features.)

It makes such a refreshing change to see a documentary that is not out to make a scandal, reveal a conspiracy, or trick people into making fools of themselves.

This is a real treat, to watch a straightforward telling of the conquest of the moon, not from the technical perspective but from a very human perspective, using a combination of NASA photography, period newsreels, and most crucially, interviews with the surviving Apollo astronauts, with the exception of the notoriously reclusive Neil Armstrong.

There are no tricks being used here in the telling of the tales just fantastic lingering shots of the moon as seen by the astronauts, and their very personal memories, told with candour and warmth. We learn how human they felt the `right stuff' persona is taken off for a moment, and we see just how in awe they were and still areof what they were part of. This is all put in perspective of not just the space race of the 60's, but the Vietnam war which some felt guilty to be exempted from.

On a lighter note, we learn who was the first astronaut to pee on the moon, and the nervous moment when the moon land speed record was broken in the lunar buggy at a breakneck speed of 18 kmh...

It's hard not to be a little moved by the stories being told, and the iconic shots of earthrise and the surface of the moon will blow you away, as the unhurried pace draws you through the events leading up to and during the landings.

Highly recommended.

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I thought this movie was a wonderful introduction to the Apollo moon landings, really showing the human side of the experience and providing a wonderful general overview of the achievements. I saw it on the movie screen and highly recommend it.

I also really liked the book of the same title, by C. Burgess and F. French, that not only covers the early Apollo flights, but also delves into the preceding flights, and what the Soviets were up to at that time. In the book, I learned about the early lives and early flights of these astronauts, and what it was like to be in the moment of flying the missions. In the movie, I learned what these guys look like today, and how they feel reflecting back on their experiences. Both movie and book were perfect for their medium, and great accompaniments to each other.

Highly recommend both book and movie, and suggest experiencing both!!!!!

Read Best Reviews of In the Shadow of the Moon (2007) Here

The truth is, everyone should have seen this in a theater on a LARGE screen (IMAX would have been ideal). This film is so breathtaking and beautiful, replete with never-before-seen footage that will mesmerize you. I saw this with an audience that was cheering at the end!! It's that great, and will very likely be a staple of classrooms everywhere the filmmaking is first-rate and is probably the best work of its kind. The historical value of this project can't be overestimated since most of those who walked on the Moon speak warmly in interviews (looking into the camera) of what it was like. Don't think twice: buy this it is absolutely essential viewing.

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I was fortunate to be invited to preview this film in April of 2007 while attending the International Space Symposium in Colorado Springs. Buzz Aldrin, at age 77, flew in to introduce the film to an audience of space professionals involved with planning our manned mission to Mars. Buzz is full of energy, sharp, creative, and humorous and still an avid champion of space exploration. He is a true national treasure.

The film was remarkable! It was full of personal and never before told stories shared by our first moonwalkers talking directly to the camera with no scripted questions...just personal moments of their unique experience in Space. The film was entertaining, full of high quality film clips recorded years ago as historical documentation of astounding achievement. The editing of this natural and unscripted story telling by each of our most memorable astronauts flowed so precisely that I forgot it was a documentary. The high quality theatrical sound of firing red hot rocket thrusters and the sounds of fearful and critical life or death minutes at Mission Control had the audience gasping with relief when the exact moment of success and salvation for these dangerous missions were achieved.

I cannot say enough to convey the experience of this film. We all left the theater realizing that the moon landings were the greatest achievements of the American spirit in the Twentieth Century.

I was 19 years young when I first felt the pride of our first moon landing. I arrived home on leave from Marine Corps boot camp, at the peak of the Vietnam War, just an hour before Neil Armstrong stepped out of the Lunar Landing Module. I have a photo of myself standing next to our television and still dressed in my uniform as I did not want to change clothes and miss a moment of that moon landing. The live image of the moon landing can be seen clearly on the TV screen captured in my photo. Unfortunately I will be 77 years old, at the earliest possible date, to feel that kind of national pride again....when we put our first team on the surface of Mars. Our nation needs strong national leadership to make the first manned mission to Mars a reality...this film reminds us of all these things.

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Monday, June 23, 2014

The Misfits (1961)

The MisfitsIt's almost impossible to review this as just a movie, as it is, to movie buffs at least, such a curio piece. As everyone knows, the screenplay, written by Arthur Miller, started out as a tribute to his wife, Marilyn Monroe, but proved to be the death knell for their marriage. Though this looks like a "Western", it is far from it. It is an almost obscene look into the coming together of a group of lost souls who have nothing left to lose. This John Houston film was famously fraught with problems, many related to M.M.'s real life breakdown, and went over budget, and became, at that time, the most expensive black & white film to date, a dubious distinction. That Miller based "Roslyn" on Marilyn is now well known, a portrait at once flattering and brutally honest. If there's any doubt that Roslyn is M.M., watch for the scene when Marilyn opens a locker , in she & Clarks little "love cottage", there are well known glamour pin-ups of the real life Marilyn hung inside, which "Roslyn" refers to as "just some old pictures of me." Also the scene of M.M. & Gable, as they awaken one morning, and she is seen nude from the back, is one Marilyn fought for, wanting her breast, which was visible in the rushes, kept in the final film. This was unheard of at that time, and was cut out of the final print. At the time, M.M. commented: "I love to do things the censors won't pass, after all, what are we here for, just to stand around and let it pass us by?... Gradually, they'll let down the censorship, sadly, probably not in my lifetime ", a prophetic comment from a woman who was ahead of her time. Though she drove John Houston to distraction during the filming, he years later commented: "Marilyn was as fine an actress as any I ever worked with... she just reached down within herself and pulled her own emotions out, it was real." This film , aside from Clark Gable, also stars good M.M. friend Montgomery Clift, another real life misfit, also good M.M. friend Eli Wallach, both fellow alumni of The Actors Studio, and the fabulous Thelma Ritter, who seems to be the only one capable of holding it together. At the films release, during Marilyns now famous scene in the desert, where she lashes out at the brutality of "the men" as they capture a horse for slaughter, apparently many in the theatres laughed out loud at this unacceptable version of their Marilyn, which is very sad. I have always found this scene devestating, and only shows the struggle she had to face, in her attempts to grow as an actress, and not be confined by peoples limited vision of her. Contrary to popular belief, this film was not a total artistic failure, and received many positive reviews at it's opening. The New York Tribune: "Here Miss Monroe is magic but not a living pin-up dangled in skin tight satin, and can anyone deny that in this film, these performers are at their best?" New York Daily News: "Gable has never done anything better on screen, nor has Miss Monroe." The fact that Gable died two weeks after shooting wrapped, and that Marilyn never completed another film, only seals the legend surrounding this films making. In hindsight, it was truly the end of an era. If you want a fascinating read on the making of this film, try and get the long out of print "The Story Of The Misfits", by James Goode. Published in 1963, it's a day by day chronicle of the films making, and, though only a year after M.M.'s tragic death, handles her memory with total respect...the legend had already begun. This sad, but ultimatley hope filled little drama, filmed in the almost lifeless desert, is maybe not for the viewer looking for lots of excitement and action. But if you're a serious viewer who can appreciate brilliantly subtle performances, starring two of filmdoms biggest legends... in a movie steeped in Hollywood folklore, then you'll appreciate this film. How fitting that their final scene has them riding off, heading "for that big star."

This once nearly forgotten movie, the last film of Clark Gable and Marilyn Monroe is now coming forward in the lexicon of film history as an underrated gem. Universally misunderstood for the most part at the time it came out it is clear now that this film was at least five of six years ahead of it's time. It fits in more comfortably with films of the late 60's and early 70's.

The screenplay by Miller is one of his most striking works. A story of a group of people lost in the wide expanse of the West in search of the discarded souls of their misspent lives. The film's beautiful cinematography by Russell Metty stands out as superb artistry at the demise of the black and white era. It shimmers with the silver of the deep expanse of the desert and the flat grays and blacks of the distant mountains upon which the last act of the story plays. The music by Alex North is among his best work and gives a savage punch to the aerial scenes and the round up at the end of the wild mustangs.

Montgomery Clift, by now sliding into the last years of his life is touching in his performance of Perce. His broken cowboy with the broken heart is almost painful to watch. His phone call home to his mother is among some of his best work. Eli Wallach gives a strong deeply moving portrait of Guido who has lost his wife, his way, and his humanity. He shines in his scene with Monroe where he asks her to save him. When she can't to at least say "Hello Guido".

Thelma Ritter is, well, Thelma Ritter in yet another of her excellent character roles. Ritter is the master of the one line wisecrack but here as Isobel she laces the cracks with an underlying sadness and vulnerability.

As Gay Langland, Clark Gable gives what I consider to be the best performance of his career. It was a brave move for Gable to take on the role of what on the surface seems another one of his typical macho made to fit parts. But as the story unfolds from Arthur Miller's pen Gay reveals that beneath his gruff, not a care in the world, cowboy is a man in deep pain and despair at his losses. The world has left him behind. Abandoned by his children the drunken Gable breaks so violently it is a shock to watch the great man fall. This is Clark Gable at his finest ever.

Marilyn Monroe gives an astounding performance as Roslyn Tabler the newly divorced dancer. A damaged woman who finds in the company of these three men something to finally believe in, something to stand up and fight for, she finds life. It is a performance ground out in part from her own person and experience and in part by the director John Huston and the editor George Tomasini who helped a nearly destroyed Monroe create her stunning Roslyn. This, her last performance is her best and the true example of the collaborative creation that film really is. That Marilyn under the circumstances of her life at that time could be so good is a testament to her talent as an actress and a star. Watch her when she is listening to the other actors. This is where she shines; this is the true mark of a great screen actor. To be able to listen and draw you into the inner life of the character through that deceptively simple act of listening and reaction is her gift to the audience. Her scene with Monty in back of the bar, sitting on a pile of trash, her afore mentioned scene with Eli Wallach in the speeding car. These are but a few of the examples in this film of her great talent. In the 1950's and early 60's there were only a handful of great young actresses in film, Elizabeth Taylor, and Marilyn Monroe where at the summit of the small mountain.

Buy The Misfits (1961) Now

I have always suspected that there was more autobiography in screenwriter Arthur Miller's "gift" to then-wife Marilyn Monroe than even he may have realized at the time. Miller's (typically) depressing assortment of beautiful losers in "The Misfits" is rendered even more poignant by the real-life tragedies unfolding amongst the film's stars (Clark Gable's impending fatal heart attack; Monroe's suicide within a year; and Montgomery Clift's ongoing battles with alcoholism, mental instability and addiction to pain-killers). Morbid as this sounds,these factors probably "helped" Gable, Monroe and Clift to each give some of the most realistic and heartfelt performances of thier careers. Eli Wallach and Thelma Ritter (frequently overlooked for thier contributions to the movie) give equally skilled performances. A bit "stagey" at times, understandable with Miller's theater background. The irony of the movie's final shot, with Gable and Monroe gazing heavenward as they drive toward "that brightest star", is almost unbearably saddening, yet such a perfect swan song for two fine screen actors in (literally) thier final film scene. One of director John Huston's more absorbing dramas.

Read Best Reviews of The Misfits (1961) Here

Director John Huston had the vision, and his images were taunt, stark, choked in white dust, and bathed in high desert darkness. Arthur Miller wrote the screenplay, possibly as a birthday present for his wife, Marilyn Monroe; a panegyric valentine to salve the pain of her recent miscarriage. Regardless, Miller wrote a powerful tale, something trancendent. He was out to slay the myth of the macho western; creating three male characters named Gay, Guido, and Percy; men that bonded, and held their fears at arm's length. These men feared commitment, and they cherished their freedom at the sacrifice of everything and everyone in their wake.

In its day, this movie was the most expensive black-and-white film ever produced. Critics praised it and panned it equally, but all of them secretly viewed it countless times. It grows on you; like loving a plain woman. It becomes more beautiful, significant, and sensitive as you get to know it. It is multi-layered, and it was packaged magnificently. Russell Metty's cinematography was brilliant B&W; reminescent of the best of James Wong Howe. Alex North's score was colorful, touching our emotional core like the fluttering of angel's wings one moment, and then jolting us with a bombastic jazzy penetrating throb the next.

The cast has been called," Miller's beautiful losers ", and " Huston's heart attack ", and they were both of those things. Clark Gable gave a magnificent performance; sun-creased, visceral, raw, and unfettered. He played Gay, a malcontent that preyed on divorcees and wild mustangs, always looking for that free ride, and expending his entire supply of virility and youth in the process. It is fitting that this performance was the capstone for is career, because with this role he shared secret parts of his persona that previously had been unexplored.

Much has been written about Marilyn Monroe's performance. Her dramatic work in BUS STOP, and NIAGARA touched on her potential, but only in this film did she give an indication of her true range. Yet, sadly, it showcased her limitations as an actress as well. The role was written for her, and it fit her like a tight dress. Her " You are only happy when you can watch something die." monologue was bravuro, but forced. She could have used a few more classes at the Actor's Studio. MM's character, Roselyn was beautiful, vulnerable, lost, fragile, yet manipulative....all qualities MM could play in her sleep; but she was also geniune, sweet, loving, and real in a way we had never seen before. The chemistry between herself and Gable was a slow burn, but just rewatch the scene in the morning in Guido's house, observe the smooth sexuality and geniuneness of emotion. MM showed a naked breast in that scene. The censors snipped it, but Huston had filmed it. America was not ready for nudity in 1961, but Marilyn Monroe was.

Eli Wallach was a clenched fist as Guido, the tow truck driver, and sometimes pilot. It broke our hearts to watch his ragged yearnings, and to realize that he would never get the girl, and he would never finish building his house. Thelma Ritter was all wisecrack and wit, and deserved her oscar for her supporting role. She was a nice juxtaposition to MM's ice angel. James Barton was a wonderful drunk in the bar scene. Gable should have paid more attention to him. A later scene in which Gable is supposed to be enebriated, calling for his children, is the one false note in his performance.

Montgomery Clift as Perce, was one of the walking wounded, banged-up; a bruised soul. Much has been noted about his mental state during the filming, and his medical issues; but somehow Clift made it work for his character. The scene where he lies his head in Roselyn's lap is very touching. His effeminate weakness splashed hard up against the worn leather of Gable's face, and the raw power of Wallach's passion. It was the perfect counterpoint.

Nevada's high desert landscape was treated like another character, and filmed like one. We are haunted by images of the horse hunt. A creaky biplane herding them down out of the canyons, and pushing them out onto the salt flats, where the men and ropes waited. Short stocky spirited mustangs, desert horses, galloping hard, breathing their last few gasps of freedom before the men captured them, tied them down to old truck tires; preparing them for their final journey to the slaughter house, ending up as food for poodles and bull dogs.

The metaphors and symbols intertwine, men and mustangs, freedom, isolation, lonliness, and desperation. But the sadness permeating the characters within the story, was beautifully balanced out with the gentle stirrings of love. That slim chance that Gay and Roselyn will have a healthy relationship. We want it to happen. We hope it will happen, even though we fear that these character might backslide and pull apart. The fade out is very upbeat; a warm breath expelled with heads tilted up, still searching for truth amongst the stars of a clear desert night sky.

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I first saw this movie many years ago when I was in high school. I came into the movie about 20 minutes from its beginning, and that was a mistake. To understand and appreciate The Misfits, you must see it from the beginning with as few diversions as possible while watching. In my teenage years, I wasn't prepared to see a movie such as this, a movie to make me think as this has now done.

So if you are looking for a movie to entertain you, something really light, this may not be for you. On the other hand, if you want something of depth/intensity/masterful performances (something to lead your mind off in many directions)--this may be a good movie choice.

The actors and actresses gave incredible performances. With all the intensity of the themes running through the movie, Thelma Ritter adds a light and humorous touch to what would otherwise have been a very dark production. At the end of the movie, you may come to the same conclusion as I--we are all in some way misfits.

I highly recommend it...

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Wednesday, April 30, 2014

Anton Chekhov's The Duel (2011)

Anton Chekhov's The DuelSadly for me, The Duel is a film which looks good on the screen, but unfortunately is a badly directed adaptation of Anton Chekov's fine novella of the same name. The director, Dover Koshashvili, portrays Laevsky, the central character in the novella, as a nasty, brutish lout whose bizarre behavior is as unaccountable to the other characters in the film as it is to the viewer. He has left St. Petersburg for a small town on the Black Sea with another man's wife. He discovers that he does not love this woman, Nadya, and wants to leave her and return to St. Petersburg. He tries to borrow money from a local doctor, who in turn asks a zoologist, Van Koren, for the rubles. Van Koren hates Laevsky and tries to persuade the doctor to convince Laevsky to take Nadya with him when he leaves. When Laevsky comes to ask for the money, he insults the doctor and Van Koren uses this provocation to challenge Laevsky to fight a duel. Those that wish to see this film can discover the outcome of the duel for themselves.

As noted, director Koshashvili's mishandling and misunderstanding of the main character make it difficult for the viewer to make much sense of the story. All the other characters in the film have the same problem as the viewer; they watch Laevsky's antics with some astonishment, not knowing what to make of his behavior, and yet they tolerate him. Almost as confusing and equally unsatisfying is the treatment of Nadya, the woman who has left her husband for Laevsky. The director has little understanding of what motivates her as she interacts with Laevsky and the other characters in the film. In Chekov's novella, Nadya plays a small, but important role. In Koshasvili's film she is a central character and has many scenes unnecessary to the development of the story.

After viewing the movie I went back to Chekov's novella to determine if there was some confusion in his telling of his story and his treatment of his characters. The story, translated by the reliable Constance Garnett, is crystal clear and beautifully told. Laevsky and Nadya are complicated human beings. Chekov is so skillful and great a writer that we slowly begin to understand these truly unhappy and pitiful people. I recommend the novella, not the film.

Any adaptation from a much-loved work of literature is bound to disappoint, or puzzle, on certain levels. Some succeed and some fail miserably. This "interpretation" of Chekhov's novella is faithful, esthetic, respectful perhaps almost too respectful to work as a film on its own, if the viewer has no prior knowledge of Chekhov's often strange and certainly vanished world. I do think this is a successful interpretation of Chekhov's intent, however; it is well-written, well-acted, and immaculately produced, with gorgeous scenery and music, and it renders well the atmosphere of the original. Not a film for anyone expecting "action" from the duel of the title, but certainly rewarding for those who are still looking for a visual poetry from the cinema, or a questioning of the human heart.

Buy Anton Chekhov's The Duel (2011) Now

It is a wonderful interpretation of the famous Chekhov's novel with a new approach and deep examination of the novel's main characters. The direction of the film and the photography are second to none. Considering none of the actors were of Russian background their ability to study and recreate that "Russian" soul is really commendable. It felt authentic Russian through and through. It was a real treat. My mother-in-law, an old English lady fell in love with the film. I felt so proud! Definitely recommend buying it and keep on your library shelf for returning back to it again and again and then passing on to your kids. It is worth it.

Read Best Reviews of Anton Chekhov's The Duel (2011) Here

Chekhov's THE DUEL, an astounding novella that will change your mind about what a short work of fiction can do, has been faithfully, thoughtfully, affectionately, and intelligently transformed into a movie that has all the wild energy and deep psychological pathos of the original work. Don't miss it. Everything about it is wonderful, the actors, the direction, the setting (shot in Croatia which is stunningly beautiful), and the script. Can't recommend highly enough.

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Thumbs up. If you're an Andrew Scott fan, you'll like this one. (It's so beyond Scott's other roles and he shows himself as a versatile, quality actor in this one. I'm not familiar with Chekhov at all but doesn't matter here. None of the story is obscure as you'd expect from a classic writer. The story was done more like a stage play but most frequently outdoors. More like a series of vignettes with the same characters. The cast did a good job to go with Scott's exceptional acting. The scenery in The Duel was worth watching if just for the sea scenes. I wanted so much to NE there. The costumes were not overwhelmingly period. I am SO glad they used their own British accents instead of trying to do Russian accents. It's worth watching more than once. (Now that Scott's won the BAFTA award, I'm hoping to see him in more movies!)

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Saturday, March 29, 2014

Fast Times at Ridgemont High (1982)

Fast Times at Ridgemont High"Fast Times at Ridgemont High" Is a strong contender for the best teen movie from the eighties.

The case for the movie is easy to make: It is written by Cameron Crowe, who wrote Jerry Maguire, Say Anything, and Almost Famous. It is beautifully filmed and directed. (Director is Amy Heckerling, who apart from being awefully cute has made such wonderful movies as Clueless.) It is funny and real. And it has a magnificent cast of young actors who where unknowns then.

The surfer/stoner is famously played by Sean Penn in one of his first roles, and he is awesome. Jennifer Jason Leigh is perfect as the young innocent fifteen-year-old. (Amazingly she was about 20 when she played it, but you'd never know it.)

And Phoebe Cates... As Amy Heckerling says in a featurette: The boys just loves Phoebe... the rental cassettes always track a lot around the place where she takes off her top, they've been freeze-framed so much..." Which is as good a reason as any to get the DVD version, they slow-mo and freeze-frame a lot better... But seriously, Phoebe is a wonderful actress who has been woefully underused by Hollywood. And she is also just stunningly cute to boot. Even if this film had nothing else going for it, get it for her. (She is also excellent in the later film Princess Caraboo, and she is buck nude in the light "Paradise", which I hope they will put on DVD soon.)

Eolake

I can't believe the director of this movie keeps standing for the out and out censorship of this! It's (at least) the third release of it on DVD, and this latest (Nov. 2004) try is still a dud. The big problem remains the scenes which they only include in the cable TV versions of this, but keep cutting from the DVD. Why the heck do they?

One of the missing scenes is a very cool safe sex/birth control scene in the mall, for instance. Fast Times sticks out as one of the very rare films that this odd censorship has been performed on. In fact, out of thousands of releases since DVDs started in 1995, this is almost the only one this has ever happened to!

So again we can only ask why? WHY?

Buy Fast Times at Ridgemont High (1982) Now

One of the classic high school movies, Fast Times spawned a slew of teenage talent on the big screen, but no one was more memorable in this movie than Sean Penn as Spicoli. Amy Heckerling cuts out a slice of Southern Californian life from a San Bernardino high school that shows both honor students and misfits alike. While the signature moments belonged to Spicoli, there were many other great scenes such as the ongoing burger war in which Judge Reinhold finds himself on the short end of the spatula. Meanwhile his little sis, a seemingly innocent Jennifer Jason Leigh, experiments with dating and sex with an amusing pair of misfits, Brian Backer and Robert Romanus. Phoebe Cates tries to set her young prodigy straight but to no avail. Forest Whitaker even has a significant moment in this movie as the bruising defensive lineman who takes out the destruction of his prized car on the opposing team. Little did he know that Spicoli had a hand in it. But, it is the hilarious relationship between Spicoli and Mr. Hand (Ray Walston) that steals the show. Fast Times may appear a bit dated, but it hasn't lost any of its humor.

Read Best Reviews of Fast Times at Ridgemont High (1982) Here

Fast Times At Ridgemont High is Cameron Crowe's first foray into the movie industry. He started out (as chronicled in Almost Famous) as a teenage reporter for Rolling Stone. After he left the magazine, he posed as a high schooler in a Southern California high school. The result was a book that was turned into this movie. Mr. Crowe wrote the screenplay and Amy Heckerling directed. The movie follows several different students and is one of the funniest movies ever made. Sean Penn stars as the stoner surfer Jeff Spicoli who only goal in life is to find some tasty waves and keep a cool buzz. His history professor, Mr. Hand (played with menacing glee by the late Ray Walston), provides an adversary for Spicoli to go up against. Judge Reinhold & Jennifer Jason-Leigh play brother & sister, Brad & Stacy. Brad is a senior who seems to have it all, cool car, good job at a burger joint and a perfect girlfriend. All of this collapses on him as his girlfriend breaks up with him, he's fired from his job and is forced to work a couple of embarrassing jobs. Stacy is a freshman and works at a pizza place in the mall (which is the center of alot of activity in the film) with the world wise Linda (played by Phoebe Cates). Linda is constantly giving advice to the naive Stacy. She meets an older guy and in one of the more poignant moments in the film, loses her virginity to him in a baseball dugout. Mark Ratner works at the movie theater in the mall and has a crush on Stacy. His friend, Mike Damone (played by Robert Romanus) is a hustler who scalps tickets to concerts and he, like Linda to Stacy, gives advice to "Rat". Stacy and Rat eventual go out, but Damone ends up sleeping with Stacy. A whole mess ensues, but in the end, every one makes up. The movie was a springboard to the careers of Mr. Penn, Ms. Cates, Ms. Leigh and Mr. Reinhold and is riff with future stars in small roles including Nicholas Cage, Anthony Edwards, Eric Stoltz & Forrest Whitaker. The movie has a great soundtrack and is a perfect snapshot of the fashions, trends and lives of teenagers in the early 80's. But throw away the different hairstyles, clothes, slang and music, the situations that the kids get into are the same for any generation and we can all relate.

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While the film itself is a bona fide classic, and the transfer is crisp and clear, this DVD production is sorely lacking. The extras are slim, and the bonus soundtrack featuring commentary from directory Amy Heckerling and writer Cameron Crowe is unenlightening. The original trailer (showing how the studio sold the film to audiences), and the documentary (including contemporary interviews with several of the players) are nice bonuses.

Like other seminal teen films (e.g., American Grafitti), so many imitations sprouted in their wake, it's hard to remember the ground that was broken with the original releases. But this was a truly groundbreaking film in its attitude and perspective on high school life. Crowe's undercover study yielded a dead-on portrait, and Heckerling's direction makes the most of it.

As a DVD production, though, the enhancements are disappointing. The additional soundtrack, featuring the director and writer in conversation is incredibly insipid, repetitive and sycophantic. 90% of it is taken up with Heckerling complimenting Crowe, Crowe complimenting Heckerling, and Heckerling and Crowe drooling over Sean Pean. Very little of it concerns the actual filmmaking, and, surprisingly, given the lucidity with which Heckerling and Crowe are able to commit their thoughts to film, they shed very little light on the film itself.

Even more maddening is that Heckerling and Crowe often speak of alternate takes and extra footage included in the TV version of the film, yet none of it is included on the DVD.

Move: 5 stars. DVD production: 2 stars.

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Saturday, February 22, 2014

Hachi: A Dog's Tale (2010)

Hachi: A Dog's TaleAs a grown man not prone to crying, by the end of this film I was a blubbering mess, and I've probably not shed a tear in more than ten years. Anyone who loves dogs, I imagine, will be in the same state after witnessing the amazing loyalty displayed by one selfless canine.

I'd actually heard the story many times. A loyal dog returns to train station to meet his master even after he dies. But the film really brings the point home following the entire life span of the dog. But what I feel makes this film stand out is how it shows the perspective of the dog, a great reminder that "Hachi" is the protagonist in the film and giving insight into the emotions he felt. Additionally, the dog was portrayed as a dog, not a human character in a dog suit capable of impossible feats and acts, which for me, made the story so much more enjoyable and made the dog so much more believable.

Please disregard the one-star rating given by the Akita breeder in Nevada who didn't really rate the film so much as criticize peoples tendency to purchase dogs because of movie influences. It should also be noted that the Japanese Akita as a breed would have most likely disappeared had it not been for the original Hachi's popularity in Japan during the 1930's when the story was popularized by local newspapers of the time.

I would rate this as probably the best dog movie ever to come out of Hollywood. If you've made it so far as to read reviews, you really should just buy it. I can't imagine any dog lover being disappointed in this magnificent film.

From Tokyo, where the film has just opened: In Japan, most people know about Hachiko, especially in Tokyo; his statue is a popular meeting place in the Shibuya shopping area. The true story of Hachiko is just as well known here in Japan. In this review, I assume that you know the basic story outline. Still, if you wish to avoid what you may consider a spoiler concerning a turning point in the story, then avoid reading after this paragraph, as I discuss a central plot point--but not one which really gives too much away, any more than it spoils the movie "Titanic" to know that at some point, they hit an iceberg. Still, I wanted to warn you just in case--someone who never heard of the Titanic before might enjoy the whole iceberg twist.

The story: a faithful dog comes to meet his master at the train station every evening when he returns home, and when the master, a college professor, dies at his school and does not return, Hachiko continues to come and wait at the station every day for nine years to wait for his master's return. The very thought of such a loyal, sweet animal being so, well, doggedly committed to finding his master is bound to bring tears to most people's eyes--and it didn't fail here, with there being a considerable amount of sniffling and eye-dabbing in the theater. "Not a dry eye in the house" comes to mind. If you like schmaltzy tearjerkers and cute fuzzy dogs, then this is your kind of movie.

The basic story remains the same as the actual one, but builds up a new human dram around the dog story--which succeeds in not detracting from the central story at the same time. You never stray far from the dog, it's clear that Hachi is the protagonist and at most we spend three minutes away from him at any one time. Nevertheless, the characters are fairly well developed for what they are--supporting roles. Joan Allen does a good job as the wife reluctant to allow another dog in the family after the last one left them. Jason Alexander has a bit of fun as the self-centered station manager, and recognizable character actor Erick Avari does an excellent job as a hot dog and coffee vendor outside the station. Cary-Hiroyuki Tagawa did surprisingly well as the Japanese expert at the college. But the dog is the star, and does a good job of keeping our attention.

I contrast this with a movie from last year in Japan, "The Tale of Mari & 3 Puppies," about a Shiba Inu dog owned by a family when a large earthquake hits the region. The movie, billed primarily as a dog movie, mostly focused on the family and featured more than a little over-acting from the supporting cast, and failed to show us the cute doggies so much. In "Hachi," it's the reverse--you get lots of dog time, but also a nicely-rounded drama with good acting all around.

A few things were overdone, but not to bad effect. At the movie's outset, we see Hachi as having been sent, unattended in a bamboo cage, all the way from Japan--not just Japan, but from a Buddhist temple in Japan--only to be lost on the last leg of his journey when he falls off of a handcart at Gere's train station. That (a) the person pulling the cart could be so careless and (b) that whatever local person paid so much money to have the dog shipped and then never inquire as to what happened to him, well, is kind of pushing it. It feels as if Gere wanted to put in a nice Buddhist reference and have Hachiko's tale be a bit more dramatic. You kind of roll your eyes at all this, but it doesn't get in the way of the story. None of the overdone bits go so far as to really distract from the story, and they do work well at the emotional level. In the end, what you have is a fun little drama about an adorable, faithful dog with a tearful ending; the movie does very well being what it is supposed to be.

A bit of background: the story of Hachiko is not completely without controversy. There are some who claim that the story was deliberately popularized in fascist pre-war Japan as a means of inculcating loyalty to the emperor and to the state--the idea being that Hachiko's utter faithfulness up to the bitter end was a model that the government wanted the people to follow in supporting the state. Of course, Gere's film does not come close to this; there is even a specific reference to loyalty as pertaining to those one loves. Other detractors of the story contend that Hachiko was not being faithful to his owner, but had simply become addicted to the treats given to him by shops and vendors near the station (interestingly also included in the new film).

A small note: Hachiko, both in reality and in most of the film, was an Akita, but in this movie, Hachiko the puppy was played by a Shiba Inu, a smaller, related breed whose main difference is in their size and temperament. Despite being regarded as a "goof" in the IMDB database, this was an intentional choice by the film's producers, who decided that a Shiba puppy would be easier to handle, easier to train for what was needed--so says a book released in Japan concerning the film.

Buy Hachi: A Dog's Tale (2010) Now

"Hachiko: A Dog's Tale" is directed by Lasse Hallstrom (The Cider House Rules), and is based loosely on the real life story of a dog, named Hachiko, who was born in Odate, Japan in 1923. His master, Dr. Eisaburg Ueno, was a professor at the University of Tokyo who died in 1925. Hachiko returned to the Shibuya train station the next day, and every day for the next nine years until he died in 1934. Today, outside the Shibuya train station, where Hachiko waited, is a bronze statue of Hachiko.

In this particular movie we have a similar story, only the dog is in transport to the United States, where he escapes, and ends up in Parker Wilson's (Richard Gere) possession. Parker eventually decides to keep the dog since the owner cannot be found. Hachiko, or Hachi, as he is usually called here, at one point breaks free of his yard, and follows Parker to the train station. Eventually Hachi is allowed to accompany Paker to the train station everyday. But at one point Parker never returns to the train station, since he has died at the university.

The movie then becomes a tale of a loyalty that reaches far into the bonds of memory. Hachiko never realizes that his master has died, and even though he never sees his master again, he never forgets him. What is Hachi's purpose now that his master has died? His purpose seems to be to wait for his master who will never return. It is at once moving and heartrending, as it is a tragedy of sorts, and one that is only resolved once Hachiko also dies. This is a beautifully told tale that makes one think about the things that are important for us to go on living, even after those that we have loved have died.

Read Best Reviews of Hachi: A Dog's Tale (2010) Here

As the owner of an Akita for almost 12 years (now at 'The Bridge'), I have been anxiously waiting for the Hachiko Monogatari, 1987 Japanese production, to be adapted for the American audience. I was so pleased that they kept the story simple; one of a man and his dog, of forging bonds of unconditional love and devotion. And, even though I knew the story very well and, prepared myself in advance, the tears were inevitable.

Going straight to DVD, this film will not be a big money maker, therefore, I consider it a timeless gift and treasure, from all involved with the project. It was not easy, taking a year to complete, clearly becoming a labor of love. Watching Gere interact with the dogs, you can tell he is truly in his element. The joy on his face makes you believe that Hachi really is his devoted companion. I truly thank and respect Gere for joining such a challenging endeavor and I can't think of anyone more perfect for the role of the sensitive Professor.

Throughout the film, it was made fairly clear, that Akitas are not typical dogs. This was further evidenced in the 'Making of the Film.' The trainers thought they had met their match, when two months into the project, the dogs simply would not perform. They found that Akitas are no trick-ponies; they are stubborn and don't suffer foolish tasks. With much patience, the project was eventually successful. You will also find a comment following the credits about how Akitas are NOT for everyone. I consider these additions to the film to represent responsible education regarding Akita ownership, and, I applaud them for the inclusions.

I must add, that although I dearly love Akitas, they are not the only breed with histories of bravery and devotion. Given proper training and bonding, some mixed breed dogs that we unfortunately see chained in backyards, might show the same call of duty. It's not so much about the breed, but creating the connection---opening one's heart, and truly letting that furry creature in, which Gere lovingly demonstrates in the film.

I think Hachiko's story is a good reminder, that ALL dogs have thinking, emotive minds; that they are, family, not something to be possessed. That said, Hachi will continue to educate us from the grave, for generations to come. I can't think of a more profound legacy.

This is a beautifully rendered, family film---one that, once watched, will never be forgotten. It is destined to become a classic. I can't recommend it highly enough; just have tissues at hand.

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This brilliant film, full of magnificent performances, does not preach, but will pierce the hardest heart.

I extend my deepest appreciation to Mr. Hallstrom, Richard Gere, Joan Allen, and the Akita trainers for bringing this unforgettable story into my home, where it will be enjoyed again, and again.

My wife, who NEVER comments on a movie, said "That was one of the best movies I have ever seen."

Our 14-year-old Beagle usually rests in one place for ten minutes and moves to another spot in the room. While we watched HACHI, she remained between us on the sofa for the entire movie. She sensed our contentedness and rose only to lick our faces during the film's powerful emotional scenes.

Kudos to Mr. Gere for his diligence in making his relationship with the dogs feel genuine...and for the most amazing death scene I have ever witnessed portrayed in a film.

Since the real HACHIKO died in 1934, this film was long overdue, but more than worth the wait.

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Wednesday, February 12, 2014

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

Here Comes the BoomKevin 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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Wednesday, January 1, 2014

American Gangster (2007)

American GangsterThis viewer rented the DVD form of AMERICAN GANGSTER, having passed it by in the theatrical run, thinking that it was yet another 'crime and corruption in New York' genre film. It was surprising to discover that this very long film (just under three hours in the Unrated version) is completely riveting and in a way far different than the usual gangster film: this story, based on real people as outlined in an article by Mark Jacobson (transformed for the screen by Steven Zaillian), and while it has its share of grisly killings, it seems more concerned with the issues of integrity in the face of police corruption as embodied in the character of Richie Roberts, the etiology of the heroin use escalation following the Vietnam War, and the presence of a 'Black Mafia' lead by one Frank Lucas. It is delivered with compelling gusto and intelligence by director Ridley Scott and has some of the best acting of the year. In other words, this is not a film to be lightly dismissed as a Hollywood retread, but instead it is a tense drama with many very fine points.

Frank Lucas (Denzel Washington) follows the footsteps of his idol Bumpy (Clarence Williams III) who 'ran' the Harlem streets, and when Bumpy dies, Lucas inherits his mantle. Lucas is wise, cunning, a gentleman, a powerhouse of ideas, and quickly finds a way to bring the best uncut heroin from the Far East to the streets of New York at a price that undercuts the other mobsters' product. To establish his control he enlists his family, including his brother Huey (Chiwetel Ejiofor), and rapidly becomes the kingpin of the streets.

Simultaneously within the NYPD we meet Detective Richie Roberts (Russell Crowe) whose personal life is a mess but who, with his partner Lou (Ted Levine) discovers corruption in the NYPD and more particularly the Drug Enforcement sector of the police: Detective Trupo (Josh Brolin) works with the existing drug lords, grabs their drugs and money and then recycles both to his benefit. During a particular drug bust, Richie and Lou discover a stash of nearly a million dollars and turn the money into the police a deed that makes the duo seem foolish and lose the respect of their fellow cops but establishes Roberts as a man who is committed to being a good detective.

From these two separate studies the film weaves the development of each character and the interaction between Roberts and Lucas we know will take place. The end result may be known to those who followed the story as it developed in the 1970s, but for those for whom this true story is new information, the resolution of the film is fast-paced, thrilling, illuminating, and just plain fine cinema. Both Washington and Crowe are in peak form, as are those in the many small roles (Ruby Dee, Chiwetel Ejiofor, Josh Brolin, Lymari Nadal, Carla Gugino, Cuba Gooding etc). This is more of a drama than an action film and while many may feel the final moments of the movie are weak, they do reveal the true ending of the story and say a lot about the narrow line between crime and criminal investigation. This is one of Ridley Scott's most successful films and one that will be around for many years as a model for the medium. Grady Harp, February 08

(2008 HOLIDAY TEAM)American Gangster 2-Disc Unrated Extended Edition

In American Gangster Ridley Scott has created the perfect storm of an American movie masterpiece. An amazing group of actors, headlined by Denzel Washington and Russel Crowe, produces a very convincing period piece of 1970s New Jersey and New York and the crime culture that existed there. It's hard to feel anything but shame watchig this movie. This movie is both believable and tragic, and it startles me that neither Crowe nor Washington received nominations for two incredible performances.

The Story and the Script

The story is supposed to be based on the real life exploits of Frank Lucas. Movies like this usually exaggerate. The fact that this movie is so believable makes it all the more tragic. There are no black and white characters and we are left to choose between murdering drug pushers and crooked cops.

The writing and the story structure are both excellent. The plot is developed slowly and masterfully. While there is less shooting and action than one would expect from such a tale, the movie is filled with drama and suspense.

Cinematography

They have managed to create a period piece here that is beautiful, gritty, real and romanticized. The framing of the actors and the skylines are beautiful. Much of the scenery and shots are darkly lit. This is most often used in the scenes with the police in their shadowy research rooms, clearly to juxtapose them against the Lucas empire, almost always shown in the light.

The first disk in the unrated edition is in a beautiful widescreen. Don't know why they list this as full-screen, perhaps because there is a full screen version available on the other side. The

Acting and Direction

I don't know whether it's award winning acting or directing that makes the end result so good, but I would be willing to guess that it's both. Denzel is steady and appears to be taking on a similar persona in his recent films. Crowe is more fantastic than even his normal performance, portraying the troubled police investigator caught between a crime ridden New York / New Jersey and the even more criminal Special Investigative Unit.

All the acting is great, and this movie could easily have won for best ensemble cast. Josh Brolin is solid in a limited though well executed part. The directing is textbook mastery.

Bottom line, this movie should have gotten nominated for best actor, best supporting actor, best direction and best picture. It probably should have one a few of those categories. Michael Clayton, Eastern Promises? Give me a break.

The nominations for art direction and for Ruby Dee as best supporting actress in a very limited role were not enough compared to the strength of this movie.

Features and Extras

The unrated extended edition has an entire disk of special features. The making-of extra is not just a featurette, it's a feature-length documentary. You get an in-depth look into every aspect of the film's creation.

There are also three in depth "case-files" on film research, script adaptation and police techniques.

The deleted scenes include an alternate opening sequence. Finally, the theatrical trailer includes writer and director feature commentary. A very nice set of extras indeed.

Conclusion

This is absolutely a masterful , one of the best this year. This DVD needs to be added to your collection.

Enjoy!

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we've been here many times before. This film offers nothing new to the genre, but it is still a terrific film.

Ridley Scott is an already proven director who is well overdue for an Oscar, but just what attracted him to this story is something of a mystery. Perhaps being a diverse director with films like the first Alien and Gladiator he wanted to add another genre to his credits and that is admirable (more admirable than Martin Scorsese who keeps making the same film over and over again and then wonders where the Oscar is). However, Scott could have selected a gangster film that didn't include so many tributes to better films in the genre (The Godfather, The Untouchables and Serpico come to mind). In this regard the film disappoints even though Scott directs his great cast in both subtle and stylized fashion. He deserves kudos for his efforts if not for the end result.

Speaking of the cast, it is hard to criticize Crowe and Washington, however, their roles are not very original and Crowe, while good, pales in comparison to the ever-charismatic Washington who is simply playing a variation of his Oscar-winning character in Training Day. Crowe is simply playing a more subdued version of Al Pacino's Serpico role of the honest, but conflicted cop up against criminal elements both within the police force and outside of it and it takes its toll on his personal life. I know much has also been made about Cuba Goodling's cameo role in this film, but there is seriously nothing great here. It's a whole lot of news about nothing really. I do not see Oscar nods for anyone in this film as solid as they are; they just never reach that level of excellence. In fact, I don't see Oscars for this film at all as the plot and characters are too familiar, the film needed editing/trimming, the photography is too often murky (even out of focus at times), and the music was often monotonous or just plain forgettable.

Okay, Steve, then why give four stars to a film in which I have so many negative things to say? Well, as I've said this before in other reviews, just because a film has some significant flaws doesn't mean it isn't entertaining. I greatly enjoyed this film. Washington, while not giving an Oscar-caliber performance this time around, is always compelling to watch. Crowe is sympathetic and believable as the cop out to bring down Washington. In addition, he story does have its clever moments and plot twists and just as Brian DePalma wisely had few scenes in his The Untouchables wherein Eliot Ness (Costner) and Al Capone (DeNiro) actually face off, this film follows in that same vein. Washington and Crowe share very little screen time and in this kind of story that approached worked for which the writers and the director deserve praise. Lastly, while Ridley Scott does nothing boldly new with his entry into this genre, he is a top-notch director who is only a little off his game with this film.

I don't think many will be disappointed with this film if they go into it with lower expectations. I enjoyed it very much and look forward to purchasing it when it's released on DVD. It has good repeat value and I hope the DVD has extras that include background on the true story on which it is loosely based.

Warning: As a parent of a 15 ½ year old and an 11 year old, I'm careful about what my kids view, but I have been known to let them see some R rated films on rare occasions, but only at home where we can talk about what we are viewing. I've recently started seeing some R films with just my son as he is extremely mature and is obviously growing up and out of many PG and PG-13 kind of films. His first really "mature" film was the recent Michael Clayton with George Clooney and he loved that. It's mature in that its both R rated for language and adult content, and is story/character-driven and not propelled by mindless violence and sexuality. This film, American Gangster, was his second mature film. He is a huge Denzel fan and he loves mobster films, so this was a "must-see" for him. While there is no nudity in the brief sex scene in this film, there is considerable nudity as Denzel's character has nude girls make his drug packages. They are nude so that they can't hide any drugs on them. The scenes lack any sexuality to them, but it is nudity just the same (and there is quite a bit of it). As a parent of a middle teen, I was okay with it and my son handled these scenes maturely, but I thought it fair to mention this to other parents who may be in the same boat as myself raising maturing teenagers.

With Respect,

Steve

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There's little new in director Ridley Scott's "American Gangster." However, the emphasis on characterization over violent action is refreshing. Denzel Washington gives a compelling performance as real-life Harlem drug lord Frank Lucas, with Russell Crowe equally impressive as New Jersey detective Richie Roberts the man determined to bring down Lucas' heroin empire. An excellent supporting cast features standout portrayals by Josh Brolin and Oscar-nominated Ruby Dee. Regardless of the predictable outcome, Scott manages to keep the pot boiling for 157 minutes. "American Gangster" does not rank with the classic crime epics, but remains a solid achievement.

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'American Gangster' is the story of Frank Lucas (Washington), the Harlem druglord who began as a driver and bodyguard for the notorious Bumpy Johnson, and ended up controlling a multi-million dollar heroin empire in his peak. Most of the film takes place during the Vietnam War, and without giving too much away, this circumstance plays a major role in Lucas' success. In fact, some may be shocked by the nefarious actions revealed by this aspect of the film. And of course, what's a good gangster flick without the righteous yet down on his luck cop, played here by Crowe, serving as the determined antagonist to Lucas' dreams of grandeur? There are also plenty of crooked cops to go around, and this plays an important role in the story as well.

It is a very well-crafted film, and Washington and Crowe put on remarkable performances as usual, but unfortunately the film doesn't really offer anything new. At bottom, it is just another glamorized rendition of a ruthless criminal figure (who maintains a veneer of respectability) who has claimed his piece of the American pie through crime and brutality. Take Goodfellas, throw it into a pot with New Jack City, add a dash of Serpico, and voila; you have American Gangster. Also, the film is apparently only semi-true, as many liberties have been taken with the story. All in all, a well made film that gangster/cop film buffs will enjoy, but those looking for something deeper will probably not find much here to write home about. 3.5 stars.

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Monday, December 16, 2013

Frontier Horizon (1939)

Frontier HorizonRepublic Pictures presents "NEW FRONTIER" (10 August 1939) (57 mins/B&W) (Fully Restored/Dolby Digitally Remastered) -The series was based on a series of western novels by William Colt MacDonald, which began with "Law of the .45's" in 1933 --The Three Mesquiteers is the umbrella title for a series of 51 western B-movies released between 1936 and 1943, including 8 films starring John Wayne --The name was a play on The Three Musketeers, and each film featured a trio of stars --The series blended the traditional Western period with more modern elements, which was not unknown with other B-Western films and serials --Towards the end of the series, during World War II, the trio of cowboys were opposing Nazis --The Three Mesquiteers series was extremely popular at the time of its release --The series was the only one of its kind to be specifically named and ranked in contemporary polls of the top western film stars --For example, from 1937 to the end of the series in 1943, The Motion Picture Herald consistently ranked the series in its top ten, reaching a peak of 5th place in 1938, when a pre-Stagecoach John Wayne was the series lead

Under the production staff of:

George Sherman Director

William A. Berke Producer

Betty Burbridge Screenwriter

Luci Ward Screenwriter

Reggie Lanning Cinematographer

William Lava Composer (Music Score)

Tony Martinelli Editor

Our story line and plot, Our heroes Stony Brooke (John Wayne), Tucson Smith (Ray "Crash" Corrigan) and Rusty Joslin (Raymond Hatton) members of the Three Mesquiteers convince a group of settlers to exchange their present property for some which, unbeknownst to our goodguys, is going to be worthless --They are captured before they can warn the ranchers --When the New Hope Valley ranchers learn their land has been condemned for construction of a new dam, they decide to fight --When they delay the construction, Proctor suggests they relocate in a desert valley that will be irrigated by a new pipeline --The dam is then completed but when the Mesquiteers check on the site, they see there was no intention of building a pipeline --first attempt at film stardom for Phyllis Isley, age 20 at the time, whose name was changed in 1942 to the better known, Jennifer Jones, at the request of David O. Selznick, her mentor and later husband --John Wayne said farewell to the Three Mesquiteers film series and to the character of Stoney Burke he had played in them. The Mesquiteers would continue on without the Duke as they had before him. Herbert J. Yates and Republic finally decided that Wayne had become too big a star to continue him in B westerns. His next film after this was a loan out to RKO, Allegheny Uprising --In fact there was another change in the cast, Max Terhune left the series even before this and was replaced by Raymond Hatton.

the cast includes:

John Wayne ... Stony Brooke

Ray Corrigan ... Tucson Smith

Raymond Hatton ... Rusty Joslin

Jennifer Jones ... Celia Braddock (as Phylis Isley)

Eddy Waller ... Major Steven Braddock

Sammy McKim ... Stevie Braddock

LeRoy Mason ... M.C. Gilbert

Harrison Greene ... William Proctor

Reginald Barlow ... Judge Bill Lawson

Burr Caruth ... Dr. William 'Doc' Hall

Dave O'Brien ... Jason Braddock

Hal Price ... Sheriff

Jack Ingram ... Henchman Harmon

Bud Osborne ... Henchman Dickson

Slim Whitaker ... Rancher Jed Turner (as Charles Whitaker)

Bob Burns ... Jailed Rancher

Fred Burns ... Fiddle Player

George Chesebro ... Deputy

Special footnote -The 32 year old John Wayne was fortunate enough to have talented writers around him to write novels that could be adapted into vehicles for his career, as well as short stories and screenplays that would immortalise him as the American hero --This film is one such example --When you watch this film you're not watching it for the story (like you would do in 'Rio Grande' or 'The Man Who Shot Liberty Valance'), you're watching it to see John Wayne in action --He is the romantic embodiment of what it was like for the settling community to live in the post-civil war era --Despite the fact that most of these westerns distort history, what Wayne delivers gives you access to his humanity --That's what we like about him.

BIOS:

1. John Wayne (aka: Marion Robert Morrison)

Date of Birth: 26 May 1907 Winterset, Iowa

Date of Death: 11 June 1979 Los Angeles, California

2. Ray 'Crash' Corrigan (aka: Raymond Benard)

Date of Birth: 14 February 1902 Milwaukee, Wisconsin

Date of Death: 10 August 1976 Brookings Harbor, Oregon

3. Raymond Hatton (aka: Raymond William Hatton)

Birth Date: 7/07/1887 Red Oak, Iowa

Died: 10/21/1971 Palmdale, California

If you crave action, drama and plenty of adventure check out other western double features --Ask Amazon.Com to carry the volumes as they are not available on Amazon as of yet --you can order and pick up your copy now from VCI Entertainment

THREE MESQUITEERS WESTERN DOUBLE FEATURES FROM VCI ENTERTAINMENT

VOL 1 -GHOST TOWN GOLD & COME ON COWBOYS (VCI #7215)

VOL 2 -HIT THE SADDLE & HEART OF THE ROCKIES (VCI #7218)

VOL 3 -THE THREE MESQUITEERS & ROARIN' LEAD (VCI #7254)

VOL 4 -PURPLE VIGILANTES & PRAIRIE PIONEERS (VCI #7277)

VOL 5 -OUTLAWS OF SONORA & WEST OF CIMARRON (VCI #7290)

VOL.6 -CALL THE MESQUITEERS & RIDERS OF THE WHISTLING SKULL (VCI #7310)

VOL.7 -GANGS OF SONORA & PIONEERS OF THE WEST (VCI #7321)

VOL.8 -CODE OF THE OUTLAW & OKLAHOMA RENEGADES (VCI #7330)

VOL.9 -GAUCHOS OF EL DORADO & OUTLAWS OF CHEROKEE TRAIL (VCI #7332)

VOL.10 HEROES OF THE SADDLE & THE KANSAS TERRORS (VCI #7337)

VOL.11 RIDERS OF THE RIO GRANDE & SHADOWS ON THE SAGE (VCI #7339)

Hats off and thanks to Les Adams (collector/guideslines for character identification), Chuck Anderson (Webmaster: The Old Corral/B-Westerns.Com), Boyd Magers (Western Clippings), Bobby J. Copeland (author of "Trail Talk"), Rhonda Lemons (Empire Publishing Inc) and Bob Nareau (author of "The Real Bob Steele") as they have rekindled my interest once again for B-Westerns and Serials --If you're into the memories of B-Westerns with high drama, this is the one you've been anxiously waiting for --please stand up and take a bow --all my heroes have been cowboys!

Total Time: 57 min on VHS/DVD ~ Republic Pictures ~ (1/01/2004)

New Frontier was the original theatrical title for this film. Frontier Horizon was the title used for TV syndication to distinguish the 1939 film from Wayne's earlier, 1935, film of the same title. They are not the same story, but Republic occasionally reused titles for different scripts. This film has location work at the movie ranch, now a public park, once owned by Ray Corrigan. If you know the film, you can go to the park, which is in Simi Valley, and spot the locations. The big rock with the hole in it is there, but the hole is covered with brush. The film material is very good. For fans of the early Wayne films at Republic, grab them while they are available in new transfers.

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John Wayne, Ray Corrigan and Raymond Hatton are one of the best trigger trios ever namely the Three Mesquiteers. The print is good and sharp and there are lots of riding, fighting and shooting. Some seconds of the action and stunts are fill-ins from older movies and that's a bit irritating but one can live with it. It is always a pleasure to see great actors like Leroy Mason, Eddy Waller, Jack Ingram and many more. Billed under her real name Phyllis Isley, you are witness to the film debut of Jennifer Jones. And then it is a bit funny to think that this b-western is from the same year that Wayne starred in John Ford's Stagecoach.

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Another excellent John Wayne "B" movie, one needs to like J.Wayne plus being able to enjoy the early movies, they are poor qulity compaired to today's hi-tech movies. It is cute to watch these early producers and how they slip in some special effects.

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