Ong-Bak: The Thai Warrior (2003)

You like Jackie Chan films? Or remember Bruce Lee? If so, don't miss this one from Thailand, where the film industry is thriving more than ever. And remember the name of Tony Jaa, stunt-turned-actor (incidentally, he was a stunt in the second 'Mortal Kombat' film, and his then co-worker was Ray Park, 'X-Men') Jaa's martial arts skills based on Muay Thai (Thai-style fighting) are simply astonishing.

[NO STUNTS, NO CGIs] Strangely titled film 'Ong-bak: Thai Warrior' is, as the title says, an exciting Thai actioner starring Tony Jaa (real name Panom Yeerum), who plays the hero Ting living in an apparently sleepy country in Thailand. Not exactly, you soon see. In this interesting opening scene, you see these scantily dressed guys climing up one big tree, and during the fighting, they fall one by one onto the ground. This is actually a kind of festival, or ritual, of the hero's village, but what you should realize is, the film uses NO CGIs, NO WIRES ATTACHED.

[FORGET THE STORY] Story? Need one? OK, Tony Jaa's hero has to track down the theives who cut off and stole the head of the sacred statue in his village. With this mission, he goes to town, where he meets one middle-aged man George, and his friend (perhaps girlfriend) Muay. Before you know it, they all got in troubles for the thugs start attack them.

[ACTIONS] Then, actions begin, which are simply eye-poping. One example: in the cat-and-mouse chase scene in the market, running away from the bad guys, Tony Jarr jumps over the tables, stalls, and cars (!) with Jackie's comic timing. And look how he slides into UNDER an RV! To add to them, he leaps through a ring of barbed wires (real ones, I suppose), and comes out unharmed, never stopping a moment!

Himself a Muay Thai fighter, Tony Jaa (or his character) joins in several illegal boxing bouts. You might say you have seen this kind of bloody, bone-crunching fight sequences in the past. Not Tony Jaa's high-kicking that strikes the opponent at the speed of lightening. This sounds like cliche, I know, but it is true, his agile movement reminds me of the deadly power of Bruce Lee and the ultra-fast speed of Jet Li.

And that's not the end, for Jaa does many, many other actions, which I refuse to write about here, for you should see them for yourself in theatres. Again, I say, Tony Jaa uses no stunts, no special effects or no strings. Of course, he will not win the Oscar for acting the hero of this film, but when he can fight like Lee, Chan, and Li, who cares?

My advice: 'Ong-bak' is a must for any fans who love action films. Watch it, and be surprised.

I saw this movie recently at the Acadamy Theater in Pasadena, California. I was feeling a little under the weather. There were about 20 other somber people in the theater, including my five year-old daughter who I brought with me despite my concerns about the R rating.

Suffice it to say that about thirty minutes into the movie the entire audience was visibly activated and energized by this stone-cold classic-for-eternity. My health had suddenly returned, I was pumped up on massive doses of epinephrine. Folks, this movie succeeeds on every level. I'm not a huge martial arts expert like many of the reviewers, but I was a kid in the late 60's when Bruce Lee (and Jimi Hendrix) ruled the world, and rightly so. This is the only fighting movie which I've seen since which even comes close to one of the better Bruce Lee movies. I will even contend, with some reservation, that it surpasses the Bruce Lee classics: there is humour, dramatic and sophisticated tuk-tuk chase scenes, foot-chase scenes, splendidly convincing archeological sights, and obviously, absolutely SAVAGE multiple fight scenes where good defeats evil with satisfying Dirty Harry righteousness. The fight scenes in this movie are certified artistic masterpieces and deserve their own special place at the Smithsonian. And, even the soundtrack is good, with a pulsating techno-style music that really builds the tension. This movie delivers the goods.

Having been to Thailand several times and loving that country, I was very happy that this movie pays such a fitting tribute to their culture, the Thai kickboxing sport as well as the gentle and happy demeanor of the Thai people.

I should mention that by the end of the movie I had nothing but pleasure in having had my daughter watch the movie and share this unique experience. Goodness prevails over evil. Bad guys die a deserved death. Disciplined boy saves his village through courage, honor, persistence and skill. Wayward soul (Ting's cousin who has gambling debts and other character...flaws) is reminded of his roots through observing the integrity of his friend, and he finds spiritual redemption through his efforts at becoming a good guy once again.Boy returns to village having honored his family and completed the mission...I'm afraid Sesame Street could not teach a better lesson about life and its struggles.

This movie will almost certainly become more famous as time goes on and people outside of the martial arts community learn about it. I left the theater stunned and enthralled. Just awesome.

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From a small Thai village the statue of the revered deity Ong Bak is vandalized ... his head is stolen. The film shows how the eight moves of Muay Thai are executed by Ting, the best maritial arts fighter in the village who is sent to the city to find and return this sacred object. The local priest admonishes Ting to use only peaceful means because the moves can be deadly. Ting is given money and valuables by the villagers who aresimple and poor but faithful he will succeed ... He is advised to seek the help of a cousin, who lives in the city. Ting finds his cousin who is less than enthusiastic to receive a visitor from his village. The cousin is ashamed of his village roots, he has taken on an American name and has a girlfriend whom he likes to impress that he is "cool" ... unfortunately, he also has a gambling habit that has gotten him into deep debt with the underworld bosses.

After the cousin stole Ting's money and gambled it away, Ting ends up fighting goons sent by the local gangster to put fear into his cousin, essentially pay up or risk permanent injury. Ting's fighting prowess impresses his cousin who gets the idea to have him fight at a local arena against the best fighters where betting takes place. The cousin is certain he will recoup his losses ...Ting agrees on the condition afterwards his cousin will help find Ong Bak. While the story line is basic, the fighting scenes captivate and capture the viewer's attention and hold it throughout the film.

The scenes where Tony Jaa jumps over several produce carts during a chase in the city while knives are thrown at him is astonishing. Another phenomenal scene involves a huge number of three wheeled taxis which are driven by Ting's would-be captors as he fights them off while he is riding in a moving taxi. When they come to the end of the freeway there is an unexpected drop off ... like the edge of a cliff, the freeway is under constructed and incomplete. There is an explosive ending related to the capture of the gangster boss and the *surprise* location of an unprecedented number of Buddha heads which were stolen. This DVD has great extra features, such as a live performance of martial arts by Tony Jaa on stage in Paris during the opening of his film. It also has a rap music video which incorporates phenomenal martial arts performed by Tony Jaa. Some behind the scenes footage features the creation of specific stunts within the film. Erika Borsos [pepper flower]

Read Best Reviews of Ong-Bak: The Thai Warrior (2003) Here

This one is well worth catching at the big screen if it happens to be playing close by, the action is very well done. If you like Jackie Chan, Bruce Lee or Jet Li, than this action adventure flick with plenty of fighting scenes will not disappoint. The lead character, a young man named Ting, has to leave his village and go to Bangkok to try and track down a religious relic stolen from his village, when he gets there, he, as we might expect, gets more than he had bargained for running into a criminal gang.

While the production was behind our modern standards here in the states, and certainly wasn't as refined as movies like Hidden Dragon or other modern Jackie Chan flicks, it easily competes with early Kung Fu movies and is on the same level as earlier Chan flicks that were done in China.

The athletic abilities and grace demonstrated by the lead were very skilled, and while some of the action sequences were obviously influenced by some of Chan's work, including inventive use of props and adding some humor to action, there was a lot here that was original in its form, at least to my eyes, and I think there is a big future, perhaps in American films, for the star.

My five star rating is based upon its place in this catagory of film, some of the acting is a bit cheesy, and being subtitled hurts a bit, however, in this genre it's easily a five star flick and I highly recommend it to fans of marital arts movies.

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It may be uncut, but the 20th century fox version has much better picture quality and good subtitles too. The only thing you are missing out on is a couple mroe parts in the village. It is just not needed. If the story was actually good, it might matter. But the reason to watch this is the stunts. The fights are some of the hardest hitting stuff you will ever get but Tony Jaa's stunt work is second to none. If you are a fan of watching great action movies, check this out casue it is the best one that has come out in a while.

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Days of Heaven (The Criterion Collection) (1978)

MOVIE:

Terrence Malick is one of the greatest filmmakers alive, and after Sergio Leone he is my second favorite director of all time. In his career that spans almost 40 years he has only made four feature length films. What I love about Malick's films is that they are poetry; they break all the conventions of filmmaking. When you sit down to watch a Terrence Malick film you are readying yourself for an experience. The way he examines human nature in every single one of his films is extraordinary. Every one of his films also deals with man's impact on nature and he slowly erases the lines between sanity and insanity. His directorial debut was with Badlands starring Martin Sheen and Sissy Spacek; a haunting story of lovers on the run from the law. His next film is still undoubtedly one of the most moving pieces of cinema ever created, Days Of Heaven.

Days Of Heaven tells the story of Bill (Richard Gere) and Abby (Brooke Adams); two young people in love trying to make ends meet and find work. The two go around pretending to be brother and sister as to protect themselves from the outside world. At the beginning of the film Bill gets in a tussle at the steel mill and accidentally kills his boss. Now Bill, Abby and Linda (Linda Manz) hop a train to go work on a farm to harvest wheat. The story is told through Linda's perspective. Linda is the real sister of Bill and she is barely a teenager. It's interesting that Malick lets the story unfold through the eyes of an innocent child; I think it gives complex situations in the film a simpler point of view. As the story unfolds and they work on the farm Bill finds out that the owner of the farm is dying of a terminal illness. The farmer is played by Sam Shepard in his first major role. Bill hatches a plan for Abby to get the farmer to fall in love with her. That way when he dies he will leave all his assets to her and they will become rich. As can be imagined after a full year passes the farmer is still alive and tensions begin to grow that leads to an inevitable climax.

The number one aspect of this film that garners so much attention is the cinematography. The story goes that Nestor Almendros started the picture but about a fourth of the way through he had to leave due to a prior commitment. Cinematographer Haskell Wexler came in and shot the rest of the picture according to Almendros's standards, but in the end didn't receive any credit on the film. Almendros went on to win the Oscar for Best Cinematography that year. All quarrels aside one can't deny the brilliance of the film's photography. Every frame is crafted with absolute detail that in some cases will give you goose-bumps. They shot most of the film during "magic hour"; that twilight period right before the sun sets. It creates a perfect backlight that if framed correctly can create haunting silhouettes. It seems as if there is always a ring of fire on the horizon that is slowly getting closer, which it in fact does. During the scene of the locust plague a lantern breaks in the wheat fields and the entire farm erupts into flames. It symbolizes rage in the characters as tensions mount, but I don't want to spoil anything for those who want to experience the film for the first time. All in all this film is a visual feast that will stay in your mind's eye.

Since the film is extremely light on dialogue it relies on two major elements. Cinematography being the first thing I discussed and Ennio Morricone's score being the second. Morricone's incredibly dark and foreboding score is a haunting masterpiece. It underscores the human conflicts being depicted in the film and of course has tragedy spelled out plain and simple with the tone right from the beginning. The first time I saw the film I cried because of the subtle power of this Oscar nominated score. The haunting elements of it will resonate with you for quite some time, and honestly this score is the major source of emotion in the film. It accentuates Malick's themes perfectly.

So, what is this film ultimately about? One could spend all their time writing about a Terrence Malick film and every word could be wrong and right at the same time. His films need to be experienced, because it is absolutely impossible to try to describe how his films affect you. In my head I saw this film as an exploration of love and how human nature is a flaw that can allow our emotions to consume our rational side. If you've seen The Thin Red Line, Badlands or The New World then you should have a good idea of what Days Of Heaven will be like. It's a surprisingly short film at only 94 minutes, especially if you compare how long his last two films were. Thanks for sticking with me for this entire review/analysis. I really like to do more than the average critique when it comes to important films like this.

SPECIAL FEATURES:

Audio Commentary:

Since Terrance Malick is the most elusive filmmaker ever (not a single interview ever?) the commentary track features editor Bill Weber, art director Jack Fisk, costume designer Patricia Norris, and casting director Dianne Crittenden. This is a fascinating track that really delves into just how much detail can be found in every single frame of the movie; a must for film enthusiasts.

Audio Interview With Richard Gere:

An interview conducted in 2007 just for this release. Richard Gere examines how he came to doing the movie. He discusses how he really wasn't into film but rather theater. However, he saw Badlands and was immediately interested if Terrence Malick was directing. He does ramble a bit, but he does offer some insight. The fact that it's a 22 minute audio interview set to stills and footage of the movie makes it kind of a bore to sit through.

Video Interview With Sam Shepherd:

This 12 minute interview from 2002 is an interesting look at how Malick got Shepherd into acting. He talks about how he was more into writing at the time, but he decided to do it just for the hell of it.

Video Interview With John Bailey:

Bailey was Nestor Almendros's camera operator and this is by far the most interesting interview on the DVD. It's a 20 minute interview and it is incredibly in depth. He uses a lot of lingo that may go over the head of casual viewers. He explains in detail all the techniques they used and it really opens up a lot. It's a really fascinating interview that uses visual examples throughout as he talks.

Video Interview With Haskell Wexler:

Wexler was the cinematographer who took over for Almendros and in the end received no credit for his work on the film. In this 11 minute interview he explains his relationship with Malick and how he came to take over for Almendros. It's a great first hand account from the man himself.

41-Page Booklet:

The booklet contains an essay by Adrian Martin and a chapter from Nestor Almendros's autobiography.

VIDEO:

When you buy a Criterion DVD you are paying for perfection. This remastered version was supervised and approved by Terrence Malick. The original 1.78:1 aspect ratio is maintained exactly with absolutely zero flaws in the transfer. The new high definition transfer was created from a new 35mm interpositive struck from the 35mm A/B roll original negative. Thousands of instances of dirt and scratches were removed and the resolution is magnificent because they mastered the DVD at the highest bit rate possible. I just wonder when Criterion is going to make the move to Blu-ray?

AUDIO:

A brand new Dolby Digital 5.1 surround track was created for this release. The old track was tossed and this new track was remastered at 24-bits from the original 4.1 magnetic tracks. Every effort possible was implemented to reduce clicks, hiss and crackle. This is fantastic, I love Criterion so much.

BOTTOM LINE:

Days Of Heaven is one of my favorite films of all time and I certainly think it's Malick's best. The film will overwhelm you with its visual power and you certainly won't forget it. Criterion has done a great service by remastering this film and I can only hope that Malick's other films will eventually get the same treatment.

How fitting it is that the best movie Richard Gere has ever done, and will ever do, is the one where he probably talks the least. Of course, dialogue isn't what's so breathtakingly beautiful about Days of Heaven, one of the forgotten greats of all time. It's the cinematography (maybe the best of all time, sorry I left this off my list, folks), the sad story that runs through the film, and the overwhelmingly aching tone that just resonates from every frame. Days of Heaven is a quiet, meditative film that flies under the radar in emotion and volume for most of the time. The film roams over the open fields of its locale, half-listening to conversations (even important ones) as maybe the watchful eye of God. I saw this movie once before and bought it on a whim, and am convinced more than ever that most great movies don't reveal themselves totally on the first, or even second time. On viewing #2, I can't get Days of Heaven out of my mind. It's a beautiful, sad little tone poem that resonates more than most explosive, violent movies of the '70's. You're missing out if this one isn't on your shelf. GRADE: A+

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A few years ago Paramount Pictures unceremoniously dumped Days of Heaven on DVD with a decent transfer and no extras save a theatrical trailer. While the folks at Criterion haven't quite given it their deluxe treatment, they have provided a brand new, Terrence Malick-approved transfer that is a revelation and a few, yet substantial extras.

While it was too much to hope for a commentary by the media-shy Malick, Criterion has provided us with the next best thing: a commentary by art director Jack Fisk, editor Billy Weber (both men have worked on all of Malick's films), costume designer Patricia Norris and casting director Dianne Crittenden. Weber talks about Linda Manz's inexperience as an actress and how she kept referring to Richard Gere, Brooke Adams and Sam Shepard by their real names. Fisk talks about the challenges of constructing sets with very little preparation time. They all talk about Malick's working methods and provide fascinating insight into the director's creative process.

There is an audio interview with Richard Gere that plays over footage from the film. The actor says that the filmmaker spent a year casting and this drove him crazy and he almost left the film. Gere candidly reveals that Malick didn't really know how to direct actors and this led to some frustration on their part.

Also included is a 2002 interview with Sam Shepard who mentions that Malick was shy and almost embarrassed to ask him to be in the film. Shepard also talks about the filmmaker's attention to detail and how in awe he was of nature and his desire to capture it on film.

Finally, there are interviews with camera operators John Bailey and Haskell Wexler. Bailey says that Malick made a classic, pastoral film but with an edgy, American New Wave style. He also talks about Malick's creative process and the cameras they used. Wexler took over when the film's cinematographer Nestor Almendros left due to a prior commitment. He talks about Malick's connection to nature and his working methods.

Read Best Reviews of Days of Heaven (The Criterion Collection) (1978) Here

Terrence Mallick's 1978 masterpiece is as strong today as when it was first released...or maybe even better now in comparison to the banal movies of today. The incredible cinematography and minimal narrative create a mood and feeling that very few films would ever even attempt...this is like a poem on film, but easily accessible and amazingly engrossing. Ennio Morricone's score is one of his best and most haunting ever. The entire cast is superb (Gere, Adams, Shepard), but the stand-out has always been young Linda Manz (who also narrates throughout in a subtle almost surreal authenticity)her low-key performance is absolutely incredible. The minimal narrative has been criticized by some, but anything more would have damaged the mood and emotion of the film. The tragic outcome of events is inevitable...so why clutter it with soap opera? Compare this film to anything else out there and you will see that it is truly one-of-a-kind. Seeing this movie again after almost 20 years reminded me how many great films came out of the 70's. It was a great period for modern cinema --maybe call them the "days of heaven" for movie-going --and Mallick's masterpiece stands tall to this day. This is a must see for any serious film buff. The only reason I give it 4 stars instead of 5 is that on the DVD some of the darker scenes are slightly murky...but overall it is still a Very Clean and Nice looking widescreen transfer. The DVD has the original kind of awkward trailer as well. Don't miss this film!

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The director, Terrence Malick, has made few films but his stature is legendary among film buffs and industry players (for different reasons). This film, which he wrote and which is possibly his best, is one reason why so many admire Malick. Winner of a well-deserved Academy Award for Cinematography by the late, great Director of Photography Nestor Almendros (who wrote a wonderful book about cinematography, by the way, called A MAN WITH A CAMERA), DAYS OF HEAVEN does nothing so well as perfectly evoke a place and time. By the way, a previous reviewer was incorrect -it was not the Great Depression, but pre-WWI. This is a film that does a lot with a little; and it is so beautiful and so well-told that one could turn the sound off and understand the whole story. Don't you dare, though: the soundtrack by Ennio Morricone and others (Leo Kottke, Doug Kershaw, Camille Saint-Saens...) provides perfect accompaniment to this spare and tragic tale.

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Grand Prix (2011)

I saw this movie when it was first released in Honolulu at the Cinerama theatre in the true Cinerama format. I remember nearly falling out of my seat as the astounding race sequences played out before me. This is a truly organic race film, there are real drivers of the F1 era mixed in with the mostly European cast, though James Garner and Eva Marie Saint break the cross Atlantic barrier. This film is a wonderful technical masterpiece. It even has some fine dramatic moments in between the melodrama. Some might say this is the film's greatest short coming. That is true, but also where it really mirrors the emotional high that F1 has always worn on it's sleeve. F1 is a soap opera that is played out across the world, where the wealthiest mingle, though not too closely, with the proletariat for a few hours of high rev mania. Many of the courses in the film are still in existance, but they have been smoothed out and plundered of passion. Often the races held these days resemble a parade, but once in a while things go terribly wrong and a race ensues. And it is in capturing those glorious moments that the film really soars. You will feel the ripping of the air as a car tears through the streets of Monaco, and be stunned by the speed and savagery of a huge racetrack like The Spa in Belgium or the amazing high banked corners at the old track in Monza, Italy. The camera work is a virtuoso masterpiece of technical achievement. Many of the shots that we take for granted today on our live TV races were the brain children of the camera men who worked on the film. This film is the one all of that work we see on modern TV broadcast racing strives to emulate. You are in the race, in the cockpit, in the mind and the heart of the greatest racers in the world. And for those who know the history of the sport, the real greats of the sport in that era are on hand. Jack Brabaham. Graham Hill. Jim Hill. Bruce McLaren. Richi Ginther. Many of the great names that are featured in this film did not survive the harshness of the sport and succumbed to death because of failure of both man and machine. This film is a treasure. It may be out dated. It may be melodramatic. It may also be the greatest racing film ever, but some debate that the much more restrained, almost catatonic Steve McQueen film, Le Mans is the superior. I see them as equals, representative of the two types of mind sets in racing. The passionate, fiery visrtuoso who crashes as much as he wins, and the technician, the cool headed pro, who always finishes, and manages to win more than a few in the process. Which is better? You see these movies and figure it out for yourselves. I have.

"Grand Prix" is the finest racing movie ever produced. The story involves the pursuit of the Formula 1 World Championship by four men: Jean-Pierre Sarti (Yves Montand), an aging former champion who grows weary from the acute physical demands of the sport and team politics; Nino Barlini (Antonio Sabato), a brash, fearless young lion; Scott Stoddard (Brian Bedford), a man broken in body yet driven to match the legacy of his deceased brother; and Pete Aron (James Garner), a stoic, pragmatic American fighting to restore a faltering career. The Ferrari Team Manager comments during the film, "Everyone wants to win...there is no distinction in that." What distinguishes these four men from others is the sheer force of will each exhibits to overcome his personal demons and to achieve his final destiny.

The drama unfolds amidst many of the great racing circuits of Europe...the narrow, twisting streets of Monte Carlo; the rain-slickened expanse of Spa; and the tortuous, high, concrete banks of Monza. John Frankenheimer's inventive split-screen imaging and on-board cameras put you inside the cockpit where you sense the raw power and road-pounding vibrations from these sleek racing machines. You are at once deafened by the high-pitched whine of superbly tuned engines as they roar off the starting grid...and then mesmerized by Maurice Jarre's soft, eloquent musical score set to compelling visual images of cars rising, falling, and turning through the racing circuit in a ballet of speed, grace, and beauty. I agree with an earlier review that DVD would materially enhance the appeal of this production and I sincerely hope DVD will be forthcoming. Regardless, "Grand Prix" will forever serve as the quintessential racing movie.

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Although racing films in general have never enjoyed overwhelming commercial success Grand Prix stands alone as the best racing film of all time!

The storyline isn't brilliant by any means and there are a few `unexplained' bloopers such as Jean Pierre Sarte's mysterious helmet change from one race to the next which was due to John Surtees leaving the Ferrari team at mid-season and signing with Cooper for a bit before eventually signing with Honda but if you're a diehard Formula 1 fan this film is a true blessing.

I already own the Laser disc and still own one of the original programs that were sold at the movie theaters and I have been waiting for this film to come out on DVD for ages, simply in the hopes of viewing the treasure-trove of behind-the-scenes footage.

Although the film did not receive the critical success many felt it deserved the historic importance of this film should not be underestimated because it's the only clear color film footage available anywhere in the world where you can see; Graham Hill, Jack Brabham, Jimmy Clark, Dan Gurney, Phil Hill, Richie Ginther, Jochen Rindt, Bruce McLaren, Maurice Trintignant, Mike Parkes, Joakim Bonnier, Lorenzon Bandini, Chris Amon, Guy Ligier and even the great Juan Manuel Fangio together on the big screen and in their crowning glory. Be sure to watch closely during the Spa Francorchamps drivers meeting when Jochen Rindt playfully reaches out and trips Graham Hill (aka `Bob Turner') as he's trying to step past Rindt.

For fans and students of cinematography the camera angles and the technology invented to achieve many of those angles are a testament to the ground-breaking achievements that underscore the unique and visionary genius of John Frankenheimer. And of course there's a wonderful cast of outstanding actors including the great Toshiro Mifune, Brian Bedford, Yves Montand, Antonio Sabato, and of course, James Garner who was inspired by his role in the film and went on to enjoy moderate success as an amateur racer.

Grand Prix is a must have for every motorsports fan and required study for any cinematography student who someday dreams of shooting a film with cars of any type, let alone racing!

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John Frankenheimer broke new ground when he filmed "Grand Prix", putting cameras on single-seater cars and thus creating some of the most amazing footage ever shot of cars from that era. The movie is on the light side as far as the story development goes, and while James Garner is very convincing as an American grand prix ace, one has a harder time buying this sort of act from Yves Montand who plays the aging Ferrari driver. Eva Marie Saint is cast as a magazine journalist following the grand prix circus around Europe, trying to get a story a storyline that was recently successfully resurrected in "Driven". Her lovestory with Montand is not exactly hot, but the highly dramatic race action in Monte Carlo, Spa, and Monza (they still used the famous banking of the autodromo in those days!)more than makes up for that. The film features cameo appearances of some of the era's greatest drivers like Graham Hill. Letter-boxed on a larger screen is the only decent way to completely enjoy the breath-taking cinematography of this classic.

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I have high hopes for the quality of this new release, and greatly look forward to seeing Grand Prix again. It was a reserved-seat movie back in 1966, and in those days epic movies took their spectacle seriously. (Grand Prix is spectacular in a different way than Spartacus, which in turn is different from Lawrence, etc.)

Back in 1966, or '56 or '46, when actors drove cars in movies, even race cars, they were invariably back-projected. Seemed fakey then, though now it doesn't bother me. But Grand Prix was maybe the first movie to eschew back projection for actor-driving-car scenes. In GP, the 70mm camera that pans and tilts, is literally bolted on the cars. The scenery flying by is real. The actual actor, e.g., Garner or Ives Montand, is out in the weather driving his race car and driving pretty fast, and you're out there with him, two feet away. What a movie.

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Tenchi Muyo! War on Geminar, Part 2 (Blu-ray/DVD Combo) (2009)

Other than a few mentions and one flash of one the characters from the tenchi series, War on Geminar is a complete stand alone series. There is some character development but not much. However the story is solid, the characters are likable and memorable. This is a harem but the male lead is not some pathetic pushover that doesn't deserve a following. For only having thirteen episodes, though long, the series gets a lot done for story and plot progression. There really isn't a pointless episode. Every episode leads into the next smoothly and moves the story forward. There is fan-service but I would be hard pressed to find a harem anime without any. (One thing I am hoping for is Good English voice acting, and good packaging.)

Like with the other series Tenchi Muyo GXP while some of the characters will be familiar others are pretty much new to the Tenchi Universe namely the younger brother of Tenchi named Kenshi Masaki, though you'll of course have the usual hilarity and harem drama of the Tenchi plot the action and mecha fights are pretty exciting a little reminiscent of another series Escaflowne. While the info of the series shows only thirteen episodes remember that each episode is about forty five minutes so if you compare that with the usual length of anime episodes you get a twenty-six episode series. The animation and soundtrack fit nicely and the Japanese subbed cast did terrifically and as expected from Funimation the English dubbed cast did great in their character roles. While the series sets are somewhat pricey the overall enjoyment of the series for myself makes it worth it so if you're a fan of the Tenchi franchise or Ranma 1/2 or looking for a comedic/romantic/dramatic action anime with an endearing cast and good story here's one worth taking a peek at....

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You Did Wonderful Job!

I like This Anime!

You Did Execellent Job

Thanke You! Bye-Bye!

See-ya Later! Bye Angain! Adois!

Read Best Reviews of Tenchi Muyo! War on Geminar, Part 2 (Blu-ray/DVD Combo) (2009) Here

This is actually Isekai no Seikishi Monogatari Anime that consists of 13 Episodes in total. To split 13 episodes into two so called seasons is just wrong, BS and a WASTE of money!!!

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Rolling Thunder (1977)

I've loved this film since first seeing it in 1977 when its ultraviolent ending made viewers and critics cringe with shock and horror. Violence plays a significant thematic and on-screen role in this flick about war, horror, remembrance and revenge.

Briefly submitted, William Devane and young Tommy Lee Jones (before he hit stardom) are returning Vietnam war prisoners of war. Devane, an officer in the Air Corps, had spent time in the famous Hanoi Hilton prison and has occasional flashbacks of his torture.

Returning war hero Devane -whose wife took up with another guy during his lengthy absnece, adding real life drama and a soap operatic agenda to the movie -receives a generous local gift during ceremonies in his Texas hometown. Later on, a bunch of good old boys come to rob him of the gift. They torture him and off his family in the process.

The remaining 70 or so minutes of the film detail Devane's search for the killers and his revenge. He takes up with a lonely woman during the search while teaching himself to use a shotgun with his new mechanical hand (he lost the real one in the torture-robbery-murder back home.)

When he finds the killers, he looks up Jones, who is about to have dinner at home with his wife, dad and some other family members. What comes next is one of the greatest lines in all of macho male cinema:

"I've located the men that killed my family," Devane says. "They're in a whorehouse down in (Mexico)."

"I'll just get my gear," Jones retorts.

There's not much left to the flick after that except a few minutes of outright mayhem that was probably among the best of its type in 1977. I recall another Vietnam-murder-revenge film of the era, "The Exterminator", which did this one better; but not many movies provided the kind of high class mayhem that goes on at the end of this movie.

"Rolling Thunder" was, of course, the military code name for the U.S. bombing program that helped kill up to 1 million Vietnamese during our undeclared war with that nation circa 1962-75. The signature has both metaphoric and visual meaning for this movie, which is about a raid of another type that results in a lot of casualties.

Anyone that likes either of the main actors, high class violence, or revenge films will enjoy this movie, that is apparently not available on DVD. I've seen it recently on digital cable so I assume it will make an appeareance on DVD soon if it's not there already.

Warner Bros. does a good job with their on demand DVDs and I was hoping for the same level of quality from MGM. Unfortunately, I was disappointed with the "Rolling Thunder" disc. MGM did a sloppy job when they prepared this movie for DVD. This is most apparent in the interior (low light) scenes when flickering horizontal lines follow the actors as they move. This is distracting and certainly not what you would expect from a home video released by a major studio. Also, the DVD cover art looks like it was Xeroxed at Kinko's. I hope that someday Criterion or Blue Underground will give this movie a proper DVD/Blu-ray release.

Bottom line: "Rolling Thunder" is a great movie, but this DVD is not worth $17.99.

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looking back at this movie now is like going back in time for us who lived in the 70's. Rolling Thunder is a bleak movie that was made in the mood of the time and looks even bleaker now. Thunder is a no nonsense movie with no humor. It has sadness, rage against things that are beyond human control, and no promises of a bighter future. Devane never was an action type actor. A very good actor but not one who looked like an action star. However for those you who are new to the 70's movies or were not born then, that is the point the director was trying to make. Devane was every GI who came back fron Nam to a "hero's welcome." The people cheered for a minute then stopped and left you alone. People didn't understand what the war did to person. The movie shows in muted colors that no one comes home the same as they were as they left. It is sad that this movie,in hind sight, shows how love ones stopped loving and ran from the returning GIs. This is the saddest part of the movie, especially having know many who had this happen to them. The hand in the sink scene has not lost any of its grumsome violent effect on the viewer. You don't see it but you feel it. If you can detach yourself from the movie, watch Devane's change back to warrior as he prepares to go to "battle." It is cold and chilling but not flashy. I can not say enough about Tommy Lee Jones in this small part in this movie. He has the very same problem that Devane's character has and has felt what Devane has felt, yet his charcter is not a copy of Devane. The viewer is treated to two actors working together as one to create a mood and to honestly gilve dignity to two characters that could have been protrayed as psychos. That is the strongest part about this movie, the characters have honor, dignity, and are show in an honest light. They are not pure nor are they flawless. The viewer cares about them but doesn't want to be them. The action scene in the Mexico is was brutal when I first saw it back then, now is still seems realistic and brutal today. There are very few low tech special effects. The director does not want you to cheer for the two GIs, no this is not a glory moment nor a "redemtion moment." This is just two men doing what they know because they don't know how to do anything else. There is no happy ending, no getting the girl, no clearing away old ghost, chance of normal future, no nothing but livng the next day and not knowing what will happen next.

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I am a huge movie buff and if you are looking for a raw, powerful, gritty movie experience, definitely check out this movie, which remains one of my all-time top three. I personally like this film better than "Taxi Driver", but if you liked "Taxi Driver" then you will definitely like this film, because it was written by the same guy and the themes are similar. I was blown away not only by the performances (particularly Tommy Lee Jones in a startlingly forceful role), but by the amazing amount of action. There is definitely more violence and action than there is in "Driver" and that's why I like it. Some people criticize the violence, but with the powerful storyline, disturbing violence is almost necessary. Definitely see this film. Along with "Driver" this film will awaken you to the horrors of the Vietnam War.

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Hands down one the most underated movies ever made. I had it on videotape for sometime and I had freinds begging me to sell it to them but there was no price that I would sell it. Two years ago it vanished from my apartment. Now I've been waiting and waiting for it to come out on dvd. But still no word of a release. Screw.

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Rambo: Two Pack (First Blood II / Rambo III) (2010)

man, this's the greatest combo/two pack movies EVER!! it also the two greatest Rambo movies too. the first blood was slow and the 4th one was kind of lame. this 2nd and 3rd films features stallone in his prime when he's in incredible shape. it's actioned packed. the story is simple to understand ( hahah ) most important both of this films set in my home country, well part of, Thailand. so perhap U.S government should've sent stallone to vietnam instead the rest of troops. lol

To be honest I got this so that I would have the collection. It is classic 80's action/revenge movies at their very best, but in my opinion the first will always be number 1.

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2 blu ray discs for these 2 movies. EXCELLENT blu ray transformation with nice 5.1 sound tracks on both movies. These are 2 movies done when Rambo is at his peak condition physically. Not the current 2013 aging grey hair version of old man jokes. In the movies, you can see the green jungles and Rambo in his top shape (career-wise & physically). RECOMMENDED! Excellent 2 movie pack!

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Great double feature for my collection of Rambo and Stallone movies. Just watched all of the Rambo movies in sequence...even better all together

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Aladdin Blu-ray (Region Free) (1992)

When Disney's Aladdin was released on videotape and laserdisc for the first time in October 1993, it debuted with a PC alteration, immediately into the film, as a line from the opening song was changed because of concerns over Arab stereotyping "Where they cut off your ear if they don't like your face" became the neutral "Where it's flat and immense and the heat is intense".

As the film makes is debut on DVD later this year, prepare for more changes, albeit subtle. Just like they did with The Lion King, the Disney team is not using the original theatrical presentation of the film, but a re-issue created for IMAX theatres, which featured some redrawn sequences, supposedly necessary because the original footage in question was problematic on the giant IMAX screen (Examples of the changes to The Lion King can be easily found on the web). The difference this time around is that no one ever saw it. The IMAX presentations were financially unrewarding to Disney, and Aladdin was never shown.

The original release had wonderful color composition, especially in the opening scenes introducing Jafar and the Cave Of Wonders, and Pixar's digital images of The Cave's exterior would foreshadow their upcoming quality feature work that Disney would distribute. As far as casting, it sounds like Robin Williams and Gilbert Gottfried had a great time cutting loose in the studio.

With few exceptions, this film is a delight from start to finish. The low rating comes from the fact that the original theatrical version will not be used, but the redrawn IMAX version. It deserves to be part of your collection, but not like this...

Aladdin" continued Disney's hot streak of family friendly but witty animated classics that broke box office records. Unfortunately, the magic was to last for a couple more movies. No small part of the success of "Aladddin" can be attributed to the songwriting team of Alan Menken and Howard Ashman. Menken and Ashman (who also wrote the winning songs for "Beauty and The Beast" and "Little Shop of Horrors"). Also, the witty self assured direction, like that of "Beauty and The Beast", helped define a hip, new Disney that had something for everyone.

So what's the difference between the "Special Editon" and the "Special Edition Gift Set". Plenty but as to whether it's worth the extra cost depends on how much of a fan you are of the film. The "Special Edition" comes only with the DVDs (the featurettes and documentaries are discussed below). The "Special Edition Gift Set" comes with all that plus six original illustrations on heavy stock of characters from the film. You also get a deluxe book that's housed in a slipcase. It's very nice, indeed. Now, if I were Disney I also would have included the soundtrack and also made this edition a numbered, limited edition. While it might grow in value until the next generation of disc players come out and this is re-released yet again for Blu-Ray discs, it would have been better for fans to do a limited numbered edition. Oh, and I forgot the film frame from the original movie.

"Aladdin" looks great on DVD with sharp, clear images and bright, vivid colors. I didn't detect any analog or digital blemishes worth noting. The Disc looks even better than the laserdisc version issued nearly a decade ago and worlds better than the VHS with crisper, clearer sound and a much cleaner more vivid (and colorful)picture. The "Disney Enhanced" 5.1 soundtrack actually improves the dialogue and songs giving them better clarity and added presence.

The extras are a mixed bag but most of them are well worth having. There's deleted scenes presented in rough pencil animation, deleted songs highlighted by the terrific "Proud of Your Boy". Clay Aiken sings a version of the song for a music video. We also get "A Whole New World" performed by the dipsy duo of Nick Lachey and Jessica Simpson. The two hour "A Diamond in the Rough" is a fascinating glimpse behind-the-scenes of this marvelous movie. We also get to see scenes from the deleted storyline for the film. Pop-up trivia facts can also be programmed to play on the DVD player as well. The two audio commentary tracks feature the directors and producer of the film while the second has some very funny commentary from the various character animators involved in the film.

"Aladdin's Magic Carpet Ride" is the best of the extras included here. It's actually not a game per se but a magic carpet ride that's best experienced on as big a TV as possible with the lights out. It's as close to a thrill ride ever presented on home video. "Inside the Genie's Lamb" is a mildly interesting and entertaining glimpse into the Genie's habitat. We also get "Genie World Tour". This bit of whimsy is fun and Disney directors actually entertained the notion of putting it on during the end credits at one time. It's clever and a witty short. "3 Wishes Game" might keep little ones entertained once or twice although some little ones will need help operating the DVD remote to play the game. Parents stay close by so the kids don't throw the remote at the TV in frustration. You can also select your favorite "Aladdin" songs with onscreen lyrics to help you sing along (God save your neighbors if you're a bad singer).

All in all a terrific package well worth picking up. "Aladdin" is a funny, charming and entertaining movie with the Disney team at their peak. The "Special Gift Edition" is truly for the hardcore Disney fan that collects everything Disney. The two disc "Special Edition" is more for the casual fan or those that love the movie but just don't collect Disney stuff. I had some reservations about the DVD release as I was afraid they might screw it up but they didn't. The only thing missing is a discussion about the original song lyrics that were changed for home video release due to concerns about their anti-Arab sentiments. Also, we don't get any new footage of Robin Williams but we do see some vintage stuff from his very funny recording sessions.

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Aladdin is one of the last great animated films from Disney, and a lot of the credit is owed to the bad guys. The voices of Jafar and Iago are dead-on perfect for their characters and when combined with Robin Williams in a role where he can really cut loose, they create movie gold.

In a classic poor-boy-makes-good story, it would be easy to ignore the villian and concentrate on the "heart of gold" and love-interest storylines, but directors Clements and Musker gave plenty of screen time for the wonderfully sneering and arrogant Jafar. The interplay between him and Gottfried as Iago is nearly as fun as listening to Williams's wide selection of impressions and verbal explosions (my favorite is Bill Buckley with "restrictions and quid pro quos").

Some of the extras are snooze-inducing, but the commentary is engaging, especially if you've seen the film a few times. This is definitely worth the upgrade from your old VHS copy.

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Disney's Platinum Editions are rapidly becoming a must buy not only for the Disney enthusiast, but also the general film buff. The annual release of the Disney top titles with a whole new set of extras spanning over two discs is now a real date-for-the-diary. The latest for the Platinum treatment is Aladdin one of Disney's biggest hits of the 'Golden Era' (now sadly ended).

The film deserves it's fame and success. Beautifully written,designed and animated, the studio should now look back at it and see how it should be done. The songs by Ashman and Menken (with help from Tim Rice post Ashman's death)are excellent without a weak link among them. The same can be said for the vocal talent on display. Although Robin Williams' Genie has always received the most praise and attention, my personal favourites are Jonathon Freeman's witty Jafar and Gilbert Gottfried's abrasive Iago.

The extras, looking at the line-up, don't seem as exhaustive (and exhausting!) as Lion King or Beauty and the Beast's but there definately seems to be an emphasis of quality over quantity. The main attraction on these discs is always the never-before-heard songs. Unlike the previously mentioned films, Aladdin will not have the songs intergrated into the film. This is probably due to the fact that the main deleted song (Proud of your Boy) was originally to be sung by a character that did not survive into Aladdin's final scipt Aladdin's mother. The reprise (Humiliate your Boy) was to be sung by Jafar which seems to point to both versions being replaced somewhat by Prince Ali and it's Jafar sung reprise.

A commentary by the Disney artists is always welcome and the Howard Ashman tribute should be another highlight. A lot of the extras seem to be depressingly child-friendly (hopefully this won't alienate the buffs) with the Magic Carpet Ride sounding like a carbon-copy of the poular Timon and Pumbaa Safaris available on the Lion King releases. An in-depth making of sounds wonderful but I for one could have lived without the pathetic padding that is the 'All New Music Video'.

With Bambi apparently the next for the full platinum treatment and 101 Dalmations, Jungle Book and Little Mermaid to follow (one per year and just in time for Christmas!) Disney shouldn't need to worry just yet that they are running out of decent movies to polish. I just wish they'd start making them again. In the mean time we can indulge ourselves in past glories and buy this DVD!

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Disney's "Aladdin" isn't as spectacular as some of it's other films like "Beauty and the Beast," but it's proves itself to be worthy entertainment for adults and children alike. The dazzling animation and animal characters will provide hours of mockery and cheers from children, while the superb comical talent and witticism of Robin Williams will be a sheer delight to both sets. The movie tickles my fancy in new ways; I loved it.

The story centers around a "street urchin" named Aladdin, who'd give anything to live within the walls of the Sultan's palace. One day in the marketplace, he meets a girl who turns out to be the princess, but he is soon arrested at the hands of Jafar, the Sultan's advisor who has a thirst for the throne. Jafar takes Aladdin far into the desert, to a place known as the Cave of Wonders, where he ventures inside to find a magic lamp containing a giant blue genie with a flare for comedy. Aladdin uses the lamp to make himself a prince, in hopes that he may win the heart of Princess Jasmine and finally live in the palace. But Jafar has different plans. Spurned by the princess and annoyed by the Sultan, he makes it his life's goal to retrieve the lamp and become master of the universe.

While this movie doesn't have the grandeur and magnificence of Disney's spectacle pieces, it's clear that it doesn't need that look or feel to make it work. This movie is basically a Disney comedy, possessing a simple story for children while the dialogue will appeal more to adults as well. It's not a very serious film, which makes it even easier to enjoy the comedic lightheartedness it brings with it.

That comedy rests on the shoulders of Robin Williams, who provides the voice of the Genie. Some of his best work is done in this film, and he brings some of the funniest one-liners and gags ever to a movie that works well with them. And since his character is one of animation and not reality, then the possibilities are endless. You'll laugh until you cry watching Williams in action, as he switches many different forms, voices and attitudes.

Everything else for a typical Disney movie is right in place: there's the setting, the Arabian town of Agraba, overlooked by a palace complete with dome-topped towers and sparkling white walls, all with a certain Disney touch. There's the main protagonist, Aladdin, who hopes for a better life and then gets one. There's Princess Jasmine, the maiden whom everyone wishes for their own. And there's the villain, Jafar, complete with talking parrot Iago, who provides comic relief in the midst of his master's evil doings.

I wasn't expecting much from "Aladdin," which is why I liked it so much. Perhaps people expected a bit too much out of it, being a follow-up to "Beauty and the Beast," but in order to enjoy it, you just have to sit back and relax and let it roll over you. The comedy is the best thing about it, and Robin Williams succeeds beautifully at bringing a warm and funny nature to the picture. "Aladdin" is laugh-out-loud funny! I loved this movie!

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Step Brothers (2-Disc Unrated Edition) (2008)

I don't understand how people didn't like this movie.... I take that back. I expect that people didn't like this movie because they expected something smarter. For the record, don't expect this to be an intelligent comedy. It's not. At the same time, I think it's absolutely hilarious. I'm a firm believer in setting our own expectations. If you expected Twister to be some amazing, epic film, then you were probably disappointed. If you expected it to be a movie about a tornado, you were most likely entertained. The same applies to this film. Don't go in expecting an artistic masterpiece. It's crude, rudimentary comedy, and it's nice to be spoon-fed ridiculously "insipid" humor from time to time. I. Loved. This. Film. It's ridiculous, just don't expect too much.

This movie is a real sleeper. The first time I watched it I thought it was funny, but after watching a few more times I think it is great. These two portray the base element of every man. The "forever 13" humor that almost all men love, even if they don't like to admit it. Mary Steenburgen is also hilarious. Some people who are too uptight to laugh at juvenile humor will trash this movie, but it is funny. The casting throughout was perfect.

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This movie was one of the funniest movies I have ever seen in a long time. These two actors are great together, they pack a laughter punch like no other. I'm definitely buying this movie.

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OMG, this is soooo funny right from the get go. I hadn't heard of the movie and wasn't prepared. This is the kind of comedy that you just have to sit back and let it hit you full on. ;-)

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regardless of what some people might think...this movie was BRILLIANT...it was hilarious and cute and silly. not to mention when you get these two together , hilarity ensues....it has what i like to call OLD SCHOOL humor...because that was another gem by ferrel but this one is just so outlandish and witty...its worth watching over and over again..if u love to laugh...GO BUY IT! i am for sure :)

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Mummy Trilogy Box (2009)

This review is for the Blue Ray collection. Picture: Pristine. Sound: Great. Movies: I & II Grand Entertainment. Universal successfully resuscitated it's venerable monster genre and transformed it into bigtime Tentpole event movies and produced two very good action adventure rides to take with the kids. III Phoned in. Brendan collects huge paycheck and goes home. Rachel wisely stays away in the first place. Kid being groomed to carry on the poor man's Shia (and I didn't think much of him either). Jet Li stony and morose. Story is flat. Use of China as a backdrop secondary and poorly executed (nothing new or breathtaking here). This truly is the sin we're actually IN China for heaven's sake and there is no grand vista, no expansive shots to dazzle us with the landscape. In watching the nightclub scenes I kept expecting Kate Capshaw to step out and start singing it's that derivative. Everything else is CGI. No overall quality to raise it to the level of the other two. But the kids will like the ride none-the-less...and yet...Worth the upgrade? YES for the first two alone.

This set appears to have been intended for sale in Europe one of the ratings labels on the cover appears to be for the Irish Film Censor's Office. Being that I live in the US and was aware of the regional coding issues present with a lot of DVDs, I was a little nervous about buying this. I read up online about region coding on Blu-Rays and apparently it's used a lot less than in the DVD era and one source indicated that Universal doesn't region code their Blu-Rays at all.

I decided to try this set out due to the price difference between this version and the US labeled one. I use a PS3 for a Blu-Ray player and the discs work perfectly. I have a TON of language choices I'll only use one, but that may be helpful to others out there. Other than that, absolutely no difference as far as the movie content and special features.

I'm glad I took the gamble.

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I love the Mummy movies. A trilogy box set was perfect....as long as they don't make a fourth. After watching ' The Mummy; Tomb of the Dragon Emperor. they better not. The action was great in the aforementioned movie, the chemistry was not as good, and some of the acting weak....but hey it was still fun. If you love the Mummy movies and don't have them all, this is a great deal for the price.

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I have loved the original 'Mummy' since it came out, and have had the dvd since its release. I have been waiting for the new movie and the blu-ray versions to become available, and have not been disappointed. This was a great package deal for an awesome trilogy!!

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When I bought Van Helsing which had the monstrous trio of Dracula, Frankenstein and the Werewolf, I realized the Mummy was missing from the monster squad. So when I had the opportunity, I bought the Mummy trilogy blu-ray boxset. I wasn't disappointed as the 3 films provided thrilling entertainment with the highest audio-visual quality. The 1080p high definition graphics brought out the sharpest and minutest details. For example, you can see the fine sand particles blowing as the Mummy transforms himself into sand and then disperses at will. Each film also comes with plenty of extra features, showcasing the movie-making processes, special effects secrets and deleted scenes etc. All 3 films are encoded with DTS-HD audio which brings the action sequences to life with booming bass.

Amongst the 3 films, my favourite is Tomb of the Dragon Emperor. Probably because it was the latest in the franchise, the visuals and audio are the most pristine. This movie also transplants the Mummy mythology into other civilizations (in this case, terracotta warriors) and takes the audience out of Egypt for a refreshing change. The Yeti monsters were very well done and animated; the avalanche scenes were breathtaking; the Dragon Emperor was probably more fearsome than Imhotep had ever been.

I highly recommend this blu-ray boxset to HD movie buffs. Although the franchise is very heavy on CGI (not surprising, being Stephen Sommers films), each film offers 2 hours' money worth of entertainment for the action-adventure fan. Until Universal Pictures makes the 4th film, this boxset offers the best collection of Mummy adventures money can buy,

Live Free Or Die Hard (Blu-ray / DVD Combo) (2013)

Like many other people nervously anticipating Len Wiseman's debut as DH4 director, I could only hope that he could live up to, at the least, Die Hard 2. But he has done a fantastic job with McClane, that lives up to the previous trilogy. In fact, I'd rank LFoDH just behind the first Die Hard movie. No one can top Alan Rickman! The small touches, e.g. Gennero/McClane, Agent Johnson, helicopter flying, are subtle, but add greatly to the movie.

There were a few things missing from the theatrical release, of course. Most noticeably, the lack of swearing, McClane's trademark yippee-kai-yay being truncated. The violence was all there, but it just wasn't intense enough. Fear not fans! The unrated version fixes all of that! It's fantastic, McClane is back in all of his mf-in' glory!

**Spoilers ahead, so read at your own risk.**

--------------------------------------------

I was hoping for some more dialogue from Timothy Olyphant in the unrated version, but unfortunately, he is still a bit one-dimensional. Run-times of the unrated vs. the theatrical are about the same, surprising considering that the unrated does add extra scenes.

What the unrated version includes:

Many more f-words and MF-ers.

Extra dialogue between McClane and his captain, Clevino.

Longer opening intro scene to Matt Long typing to the warlock,

listening to rock music.

Extra banter when McClane and Matt first meet.

More intro shots at the FBI command center.

Shot of the National Transportation Center losing control of their

traffic grid.

More shots of false anthrax alarm evacuation.

Thomas Gabriel's hodgepodge of video of Nixon/Bush/Clinton speaking is

longer.

Blood spurts!!! More gore, though not significantly more.

More McClane-isms. When John is driving the police car in the tunnel

towards the helicopter, Rand shoots the engine, which lights on fire.

McClane quips, "Well the car's on fire, that can't be good."

When Matt runs to his side after McClane destroys the helicopter,

McClane adds, "100,000 people are killed every year by cars. What's

another 4?"

Quick shot of dead guards in power plant.

When Mai dies in the elevator explosion, McClane screams a profanity

laced tirade at her.

McClane flying (and landing!) helicopter scene much longer.

The guy getting crushed in the giant blades scene doesn't have much

more blood.

Yippee-kay-yay mf-er is said in full!

Die Hard is considered by many film buffs as the greatest action movie ever made. There is just something about the character of John McClane that attracts movie goers. Is it his spunky attitude or is it the fact that he is known for having really bad days? It's both. There have been action franchises that have run out of steam in the past, but all three Die Hard films were great fun. Usually I'm not a fan of dipping into the well one too many times, but if Batman Begins and Casino Royale were able to re-spark the magic then why not give Die Hard another go?

Live Free Or Die Hard takes an old fashioned cop and throws him out of his element, which leaves room for a supporting character. Justin Long steps in as McClane's frazzled and tech wizard sidekick. Timothy Olyphant plays a cyber terrorist who decides to shutdown the entire nation in order to systematically collect hundreds of millions of bank account numbers in order to show the government that the system can in fact be broken. Now it's up to John McClane and his sidekick Matthew Farrell to save the day.

What follows is high octane action that one expects from a Die Hard movie. An important thing to point out is how director Len Wiseman stayed true to the Die Hard style and kept CGI to a minimum. Die Hard movies were great because they did action using real stunts and real explosions. The one thing I was afraid of was that this new Die Hard would go with the trend and use CGI as a crutch when in fact it used it as a tool. There are plenty of stunts that are real sets and real explosions. A few scenes fallback on CGI, but only because doing them for real just wouldn't work. Bruce Willis also keeps the spunk that is John McClane. You'll laugh at the one-liners and the witty remarks that Willis adds in the tensest situations and of course Justin Long is just great with sarcasm. They make a great on-screen duo. I also think that the humor in the Die Hard series is what makes it such a great action series. It's the fact that the filmmakers realize they are making an action movie; a movie in which nothing could ever happen in real life. Lots of action movies take themselves too seriously and they become laughably bad, but Live Free Or Die Hard keeps that spunk that makes it laughably enjoyable. Don't get me wrong though; there are some amazing action scenes that will make you tense up. This is by no means a comedy. The elevator shaft scene was one that stood out and reminded me of the trailer hanging off the cliff in Spielberg's The Lost World.

Moving onto the score this brings up Marco Beltrami. I can state here that I am not a Marco Beltrami fan. The only score of his that I liked was his score to The Three Burials Of Melquiades Estrada. I always feel like he never does anything thematic at all and which is why I was worried when he was selected to fill Michael Kamen's shoes. Michael Kamen was the composer of the first three Die Hard films, but sadly he passed away in 2003. He was a greatly respected composer and his work on the first three Die Hards were iconic. Thankfully Marco Beltrami rose to the occasion and did a wonderful tribute with his score to Live Free Or Die Hard. He touches on some themes that Kamen wrote and gives it that Die Hard feel and atmosphere.

Overall this movie was great. I had a great time watching it and felt like it was better than most of the high budget stuff I've seen this summer so far. Sometimes we need to go back to the basics to remind us why we love what we love. The reason why we love action movies is because of Die Hard and it was great fun seeing McClane back in action.

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The three stars is for the PG-13 version thats on this blu ray.Live free or Die Hard I think is the best one yet.As for the PG-13 version first its more than just a couple curse words Its more like 25 curse words.Second if your a fan of Die Hard you know that profanity is part of what John McClane is,I think the movie loses a little bit of that raw edge without it,come on this is DIE HARD.I first bought the blu ray version at midnight at wal-mart,I thought oh well so its not the unrated version.I thought the unrated version was probly just a curse word or two maybe some extra violence.After watching the blu ray two things hit me the first was that the blu ray does look really good and sounds great but I also thought it may have lost a little bit of that rawness from the previous films becouse of the PG-13.So today I bought the unrated DVD version

and yes it makes a big diffrence on the movie it has the crazy,raw John McClane like we are use to.Just get the unated version now they'll release an unrated blu ray soon enough.I guess the studio thought they would lose some money if teenagers with Playstation 3 couldn't buy this so they left the blu ray PG-13.Thats to bad

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The DIE HARD franchise isn't a thinking man's dream. It belongs to the wannabe action hero inside every red-blooded American male. And to the women who love them. Any misapprehension that these films are going to take themselves realistically or seriously should be checked at the door.

LIVE FREE OR DIE HARD opened Wednesday of this week just in time for the Fourth of July celebration, and to take advantage of the extra-long weekend at the box office. It's the fourth film in the franchise about New York Police Department Detective John McClane, absolutely the toughest cop Hollywood has ever created. In my opinion. Nobody bleeds like McClane bleeds. Or limps. Or talks to himself, delivering a humorous, self-deprecating monologue on how he got into the whole mess he is in.

There was some hesitation about whether or not Bruce Willis could pull off the franchise character again. There was no hesitation about the fact that if Bruce Willis could not play McClane, no one else could. Willis the actor and McClane the character are too tightly-knit to allow to anyone else to intrude into the franchise. Maybe other actors can play James Bond and win over a whole new audience, but I can't see that happening with this one. Not as long as Bruce Willis can still walk and talk.

After seeing the movie, there's no doubt that Willis and McClane -are back in a big way. For a while, Willis swore he'd never play the character again. He wanted more serious roles and a chance to stretch as an actor. He's made some good films, and some not so good films, since DIE HARD WITH A VENGEANCE with Samuel L. Jackson. And while the McClane role is somewhat limiting Willis pulls it off with zest. Maybe he was born to do other things as well, but he was definitely born to be John McClane.

Now all the fans are going to be waiting for the next Die Hard movie, although there hasn't been any talk of such. We can only hope.

The movie starts out with a bang, the way these things always do. A group of cyber-criminals utilize code and algorithms written by blackboard computer hackers to get into key Federal government installations, including the Federal Bureau of Investigation. They're operating under a man named Thomas Gabriel, who has used enough players in his operation that none of the computer hackers know who they are working for or what they are truly doing.

As soon as Gabriel is certain that he's into the computer networks he wants to be into, he gives orders to start the elimination process of all the computer hackers involved. The action turns violent and bloody. Matt Farrell (played brilliantly by Justin Long) is the only one who escapes his fate, and that's only through the direct intervention of McClane.

It's been twelve years since the last DIE HARD movie. Those twelve years are reflected in the latest release. McClane has gotten older and his life has moved on. His wife finally left him for good and he's estranged from his son and daughter. He's introduced breaking up his daughter's latest date in a fairly humorous scene.

One of the things that was awkwardly handled in the movie was Lucy's McClane's daughter -sudden change in feelings about her father. Viewers knew it was coming, but it came without true motivation from within. That part felt particularly scripted.

When McClane gets the call to go pick up a known computer hacker, the tension immediately ratchets up. In a move that was also very scripted, McClane arrives at Matt's house just in time to keep him from being blown to smithereens. (And you have to wonder why the bad guys simply didn't walk into each of the hackers' houses/apartments and simply shoot them when they were done with them. The explosions were just to give the special effects crew a warm-up for the action that was coming.)

The cat and mouse game begins, with McClane alternately fighting to stay alive and chasing the bad guys. The action sequences are pure dynamite, fueled by adrenaline and testosterone on part of the characters and the audience. Viewers that are totally into the McClane experience are hard pressed not to hoot and holler in support of their hero's actions and one-liners.

Those fans understand that there are glaring plot holes and things that make no sense and in the real world things wouldn't function the way they do in the movie. For instance, the cell phone systems would go down almost immediately as emergency services took them over to use for their own operations. McClane uses a cell phone a lot in the beginning of the movie, as do the terrorists. Those would be the first things shut down. Security on major important network sites, like the eastern seaboard utility control area, would be immediately entrenched in military personnel if the United States government believed it was under attack.

But that's beside the point. This film is about action, not about reality. Reality would be much slower paced.

As always, McClane ends up being the guy involved in the investigation who gets all the key pieces as to what's really going on. It wouldn't be a DIE HARD movie if he didn't.

The concept of the "fire sale" in the realms of cyber-terrorism is a real thing. There are a lot of checks and balances to keep it at bay, but it is one of the things the United States government constantly guards against. The movie sells the idea very well.

Also, though the franchise isn't known for being cutting-edge or high-tech, there's a lot of the emerging computer technology and integrated systems that are nationwide and international in the film. Justin Long's character introduces all that technology and the concepts behind it in bite-sized chunks that the audience can keep track of in the midst of car chases, gunfights, and serious explosions.

I found myself as enthralled by the computer attacks as I was by McClane's usual physical action and banter. There was something so inherently cool about watching the terror-geeks and Matt Ferrell at work on computer systems even though much of it was fake. The idea that it was all possible and would be done in such a way was amazing.

But the action that's the key to every Die Hard film. There's plenty of it in this movie. Is it over the top? No doubt about it! No one but no one could walk away from all the damage that McClane takes while doggedly pursuing the bad guys. I lost count of the number of bodies left behind, the number of vehicles that were destroyed in wrecks and explosions, the number of buildings that were leveled, and would have to guess that the number of bullets fired must be in the millions.

The most over-the-top sequence in the film is the scene where McClane is driving an eighteen-wheeler through a system of elevated highways while being pursued and fired upon by a military attack jet with hover capability. There is simply no way this could ever happen, or that a truck could suffer that much damage and still keep going. Much less without the driver getting killed.

If they do a video game on this movie as they have some of the movies in the past, you can see this sequence being part of the game. It's ludicrous. It's impossible. And yet, it's so McClane. And that's what puts the butts in the seats, folks.

Maggie Q plays possibly the most lethal lady McClane has ever had the misfortune of crossing paths with. She absolutely tears him apart for a while. And that leads to possibly the second-most over-the-top sequence in the film when the action spreads the elevator shaft. Still, if anybody was gonna do it like this, it has to be rogue cop John McClane.

Make no mistake. This film isn't for posterity. This film isn't even close to Academy Award material except maybe for special effects.

What this film is, and where it succeeds so admirably, is an action film starring one of the best action heroes ever invented or portrayed, and played once more by the only actor that could do that character justice. This is superhero action without the cape and the mutant abilities. And this is a hero who's fallible yet impossible to beat.

Treat yourself to a summer delight over the holidays. Buy a ticket. Invest heavily in a willing suspension of disbelief at the door. Find a good seat. And prepare to cheer on John McClane one more time as he goes up against impossible and, admittedly, wildly improbable odds.

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After having temporarily staved off a vicious assault, Justin Long's character shakily asks his savior if he's done stuff like that before and if he's killed someone before, to which John McClane's laconic response is "Not for a long time." And, indeed, it's been 12 long years since DIE HARD WITH A VENGEANCE. John McClane is now older, balder, grumpier, and, saddled with a PG-13 rating, not as profane, but he still cannot stay out of trouble. This time, he's assigned the seemingly mundane task of escorting in young hacker Matt Farrell (Justin Long), who's wanted for questioning. But the situation quickly sours as, within moments of meeting Farrell, McClane begins to hear that oh-so-familiar melody of automatic gunfire directed at their noggins.

Both McClane and the frail but side-of-the-mouth funny computer geek speedily realize that Farrell's fringe involvement is merely the very tip of the iceberg, and that the stakes are much, much higher. Turns out that the contractor who'd hired Farrell to do a simple, innocuous code work is scheming to hold the entire nation hostage with his own paralyzing brand of cyber terrorism. Soon, the systematical shutdown of the American infrastructure is underway as, basically, all things computerized become compromised. This includes the targeting and usurping of key establishments such as the FAA, Amtrak, the stock market, and our satellite communications system. But, for Los Angelinos like myself, the most insiduous act commited may have been the subversing of *gasp* the street traffic lights.

For the now grizzled John McClane, nothing much has changed. He's a Lieutenant Detective now, so he's kind of moved up in the world. And he still has those perpetually pursed lips. But his personal life is predictably very much of a mess. He's alone again, divorced (with his ex-wife Holly gone back to using her Gennero surname) and estranged from his children. The start of the film has McClane pathetically attempting to keep tabs on his wilful and sullen daughter, Lucy Gennero (Mary Elizabeth Winstead). But she wants none of his reconciliatory gestures. Not to mention, McClane's an anachronistic type who clings to classic rock music and who is computer unsavvy. Good thing he's got a hacker in his custody.

It's such a treat to watch Bruce Willis again be in his element and playing this iconic role. Not that Entertainment Weekly has the final say, but I do agree with the magazine's listed assessment of Die Hard (Widescreen Edition) as being the top action film ever (ALIENS was number 2, RAIDERS OF THE LOST ARK was number 3). Nowadays, Willis, at 52 years old, is not as spry or free with the smirks. But his physicality, even at this stage, can't be questioned as he suffered bruises and scars in the making of this film. As McClane, he still trounces bad guys with the best of 'em. But, more so than McClane's penchant for arse whoopin', what draws the audience to him is that aura of reluctance, world weariness, and doggedness which he exudes so naturally. We relate to this ordinary, blue collar cat who, time and again, becomes stuck in the wrong place at the wrong time and is forced to angrily muddle thru because there's no one else to do the job. Although LIVE FREE OR DIE HARD portrays McClane as more of a supercop this time, who can go one on one with an F-35 fighter jet and murder an assault chopper with a car, I still fondly remember the first film, in which McClane passed muster as a very likable everyday guy barely keeping it together in Nakatomi Plaza. John McClane has built up so much good will that I'm able to easily forgive and even celebrate the high octane and wildly improbable excesses here.

Justin Long, dubiously best known as the Mac guy in the Apple computer ad campaigns, gets his number called for sidekick duties, and he does a good job, although there were times where his trembly act got to be too much. His Matt Farrell may be a borderline computer felon but his heart's in the right place. Long gets to make the brunt of the wisecracks while McClane tersely motors along (he says to some fellow geeks who'd just blown his cover, "Good luck at the Bad Timing Awards."). One failing of the film is the lack of a charismatic villain. Timothy Olyphant is unmemorable as former Homeland Security computer whiz Thomas Gabriel, whose mission is to digitally teach the nation and his ex-bosses a lesson while garnering sinful financial amounts. There's nothing fresh or arresting about Olyphant's acting performance, which basically consists of a whole lot of staring really hard. But, admittedly, it's fun to witness Gabriel's ever growing exasperation as McClane persists in surviving. Maggie Q does better as the evil hot Asian babe who's also a formidable martial artist. Her character Mai proves to be pretty resilient (but, ultimately, not resilient enough). Writer and maverick director Kevin Smith gets a chance to mug for the camera as the Warlock (or Freddy, to his mom), a jedi hacker whose base of operations is in his mother's basement. Bonnie Bedelia, by the way, is sorely missed, and the film would've benefited with more scenes between McClain and his surly daughter.

LIVE FREE OR DIE HARD is primed to be a colossal summer blockbuster, and, as such, it has certain criteria it has to meet. Director Len Wiseman (the UNDERWORLD films) comes strong and full bore with great visuals, a relentless pace, implausible action sequences, and crazy pyrotechnics. And all this performed at raucous, senses shattering decibels. The stunts are mindblowing, keeping in mind that CG effects were kept to a minimum. These are flesh and bone stunts being done here. But, still, at the heart of the loud thrill-a-minutes, there is Bruce Willis keeping it all together with his signature McClane-isms. I still get a vast kick out of his un-PC chortling whenever he causes yet another bad guy's demise (oh, that poor, agile-as-a-monkey French dude). As always, to me, his mockery of death, in a way, adds a layer of realism as this has become McClane's way of ackowledging his vulnerability and celebrating his surviving yet another harrowing scrape. LIVE FREE OR DIE HARD is PG-13, but the film finds ways to circumvent the rating as the ever resourceful McClane continues to cuss (but minus the "F" word) and ad-lib his way to amassing an impressive body count. Yippee-ki-yay, futhermucker.

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Delicatessen (StudioCanal Collection) (1991)

"Delicatessan" is simply one of the funniest films I've ever seen. Directed by Jean-Pierre Jeunet, who also gave us the equally quirky and delightful "City of Lost Children," the film begins in a post-apocalyptic and dying world in which nothing grows and ends in a reborn one where blue skies and fruitful earth has returned. The action takes place in a half-ruined apartment building whose residents are kept from starving by the Sweeney Todd-like practices of their landlord, a butcher. But the butcher's daughter, wonderfully played by Marie-Laure Dougnac, and the ex-clown who comes to work for her father, put an end to the nefarious practice.

The visuals of the film are incredible. To underscore the theme of butchery and meat-eating, the very walls of the apartment building, in both color and texture, look vaguely like meat. Long drainage pipes, which the camera frequently follows from the inside, look like esophagus and stomach passageways and intestines.

The visual surreality is matched by the surreal characters: a rich resident named Aurore whose Rube Goldberg-complicated attempts at suicide all end in failure; a resident who lives in the basement, regularly floods his dwelling to cultivate mold, slime, and snails, which he then devours with gusto; two roommates who make those little cans which, when turned upside down, emit a lugubrious "moo"; a family with demon kids and an aged grandmom who eventually gets turned into pate; the butcher himself who loves his work; the clown who cames to dinner; and a bunch of revolutionaries who call themselves the Troglydites and are as inept as a bunch of Keystone Cops.

An incredibly rich, hilarious, satisfying film. Easily 5+ stars.

You probably know him best for "Amelie" and "A Very Long Engagement," one an adorably surreal little love story, and the other a sepia-toned story of a girl looking for her lover.

But Jean-Pierre Jeunet did an entirely different kind of comedy in "Delicatessen," a wicked black comedy that deals with... um... er.... cannibalism. As in, people eating people. The resulting movie is a truly twisted, dark story populated by the strangest, oddest characters that the writer could possibly have imagined -cannibal butchers, rebel vegetarians, and ex clowns. And hoo, is it funny!

It's the postapocalyptic future, where food is so scarce that grain is used as money, and meat is completely gone. The setting is an apartment building run by a local butcher Clapet (Jean-Claude Dreyfus), who feeds his tenants in an unusual way: he hires assistants, then turns them into tomorrow's din-din. His newest assistant is the gentle vegetarian ex-clown Louison (Dominic Pinon).

But the butcher's plans get thrown for a loop when his cello-playing daughter Julie (Marie-Laure Dougnac) falls for Stanley and (unsurprisingly) wants to save her love from a fate worse than entrees. So she contacts the vegetarian resistance -the sewer-dwelling Troglodytes -and tricks them into invading her father's house, on the night when he plans to slaughter Louison. Then things get really weird.

Okay, let's get this straight: cannibalism is not funny. It's sick and evil and grotesque.

But comedies about cannibalism CAN be very funny, if done well -and "Delicatessen" is done very, very well. It manages to be a funny comedy in the tradition of Terry Gilliam, with the warped direction, surreal direction and strange settings, as well as some deeply, horribly funny characters. What was later precious in "Amelie" is weirdly ominous here... not that that's a bad thing. It's quite suitable, actually.

It's also a challenge to create such a dark, bleak setting and somehow inject lots of dark, offbeat comedy into it. For example, one sex scene is juxtaposed against various activities (carpet beating, cello playing) -all in the same rhythm. It's a moment of pure comic skill. But at the same time, Jeunet slips a bittersweet love story into the middle of the strangeness, relying on Pinon and Dougnac's strong chemistry and relatively innocent characters.

The oddities of the characters in this little hotel are what take this dark comedy to the next level: a tough postman, a pair of brothers who make "moo" boxes, and an aristocratic old lady who goes to great -and unsuccessful -lengths to kill herself, Rube Goldberg-style. Julie and the innocent Louison are the bright spot of normalcy and love, but the Troglodytes are a bit over-the-top. Really, must they be THAT dumb?

"Delicatessen" is an acquired taste. Okay, now that I've got that out of my system, here's the real end of the review: Jean-Pierre Jeunet's dark comedy is a bit hard to swallow at first, but the wickedly funny characters and offbeat script will win you over.

Buy Delicatessen (StudioCanal Collection) (1991) Now

You probably know him best for "Amelie" and "A Very Long Engagement," but Jean-Pierre Jeunet did an entirely different kind of comedy in "Delicatessen," a wicked black comedy that deals with... um, cannibalism. It's a twisted, dark story populated by the oddest characters that the writer could possibly have imagined -and man, is it funny.

It's the postapocalyptic future, where food is so scarce that grain is used as money, and meat is completely gone. The setting is an apartment building run by a local butcher (Jean-Claude Dreyfus), who feeds his tenants in an unusual way: he hires assistants, then turns them into tomorrow's din-din. His newest assistant is the gentle vegetarian ex-clown Louison (Dominic Pinon).

But the butcher's plans get thrown for a loop when his cello-playing daughter Julie (Marie-Laure Dougnac) falls for Stanley and (unsurprisingly) wants to save her love from a fate worse than entrees. So she contacts the vegetarian resistance, the Troglodytes, and tricks them into invading her father's house, on the night when he plans to slaughter Louison.

Okay, let's get this straight: cannibalism is not funny. But comedies about cannibalism CAN be very funny, if done well. And "Delicatessen" manages to be a funny comedy in the tradition of Terry Gilliam, with the warped direction, surreal direction and strange settings. What was later precious in "Amelie" is weirdly ominous here... not that that's a bad thing.

It's also a challenge to create such a dark, bleak setting and somehow inject offbeat comedy into it. For example, one sex scene is juxtaposed against various activities (carpet beating, cello playing) -all in the same rhythm. It's a moment of pure comic skill. But at the same time, Jeunet slips a bittersweet love story into the middle of the strangeness, relying on Pinon and Dougnac's strong chemistry.

The oddities of the characters are what take this dark comedy to the next level: a tough postman; a pair of brothers who make "moo" boxes, and an aristocratic old lady who goes to great -and unsuccessful -lengths to kill herself, Rube Goldberg-style. Julie and the innocent Louison are a bright spot, but the Troglodytes are a bit over-the-top. Really, must they be THAT dumb?

"Delicatessen" is an acquired taste. Okay, now that I've got that out of my system, here's the real end of the review: Jean-Pierre Jeunet's dark comedy is a bit hard to swallow at first, but the wickedly funny characters and offbeat script will win you over.

Read Best Reviews of Delicatessen (StudioCanal Collection) (1991) Here

Delicatessen (comedy, romance, fantasy)

Directed by Marc Caro and Jean-Pierre Jeunet

Starring Dominique Pinon, Marie-Laure Dougnac and Jean-Claude Dreyfus

Lionsgate Films | 1991 | 99 min | Rated R | Released Sep 14, 2010

Video:

Video codec: MPEG-4 AVC

Video resolution: 1080p

Aspect ratio: 1.85:1

Audio:

French: DTS-HD Master Audio 2.0

German: DTS-HD Master Audio 2.0

Spanish: DTS-HD Master Audio 2.0

Subtitles:

English, Dutch, Finnish, French, German, Japanese, Norwegian, Spanish, Swedish

Discs:

Single 50GB Blu-ray Disc

The Film 4/5

Delicatessen is an unusual film. If you have seen any of Jean-Pierre Jeunet's other works, you'll have an idea of what to expect. There are no jokes, but there is a lot of weird visual humor. It's like meeting a French version of Quentin Tarantino or David Lynch.

The plot, such as it is, is set in an apartment complex above a delicatessen. The butcher, Clapet, hires people to do odd jobs. We are never told what year it is, but the action takes place in a post-apocalyptic world where food is scarce. Clapet's motive for hiring people is to kill them and feed their body to the building's inhabitants. The movie's opening scene shows one such murder.

A new man arrives to apply for the now vacant position. He's Louison (Pinon), an ex-circus clown. He has no money so pays for his taxi with his shoes, and then wears clown shoes for the remainder of the film. Clapet hires him. Pinon has appeared in every Jeunet film in the past 20 years and seems perfectly at home with the director's quirky style.

The building is falling apart and Louison has plenty of work. He is generally well-liked and soon attracts the attention of the butcher's daughter, Julie (Dougnac). An unlikely romance blooms between the two and she begs her father not to kill Louison. She wears glasses and can barely see without them, but takes them off for her first date with Louison. The results are hilarious. She tells him that people in the building get eaten, but he has fallen asleep and misses the warning.

If you have seen the trailer, you'll be familiar with a sequence in which the butcher has sex on a squeaky bed. We are shown various odd characters engaging in weird activities, and they all synchronize their actions with the sound of the springs squeaking. I don't think I have seen anything else like it.

Sound travels through the building's pipes and is used to develop parts of the plot. In an early scene, the camera takes us through a pipe to show where it leads. Very Lynchian.

Jeunet is original, creative, weird and genuinely funny, in a dry sort of way. The overall mix is unique. The film plays more like a series of vaguely connected scenes than a fluid story, but each element has something interesting. I couldn't take my eyes off the screen.

Video Quality 4.5/5

The world of Delicatessen is filled with mist and grime. Outdoor scenes are deliberately murky and the image looks a little soft and noisy, but such scenes are infrequent. Detail is strong in the remaining scenes and shines during the frequent close-ups. Jeunet's films have unusual color palettes too. For example, Amelie is full of greens and reds. Delicatessen has a reddish-brown tint and it fits the atmosphere well. Apart from the few misty shots, the overall quality is excellent for a film with such a low budget.

Audio Quality 4/5

The French DTS-HD Master Audio 2.0 mix does its job well. Dialogue is clear and it's easy to hear frogs croaking and water rushing, as well as the unusual musical duets performed by Julie and Louison. The score has a distinctly French feel to it and adds something to the overall mood. Subtitles are displayed in white text and appear inside the frame.

Special Features 4/5

There's plenty of background information to be found for those wanting to know more about the film:

Making of: Fine Cooked Pork Meats (13 minutes)

Trailer and Teaser (4 minutes)

Main Course Pieces (65 minutes)

Audio Commentary (Jeunet's comments in French with optional subtitles)

Jean-Pierre Jeunet's Archives (9 minutes)

What is Delicatessen? Is it a comedy? A romance? Fantasy? Horror? It's a wonderfully unique mess served up as only Jeunet can. If you are already a fan of his work, this fits right in. For those new to it, this is a good place to start. I prefer Amelie and A Very Long Engagement, but Delicatessen has a lot of replay value and I'm happy to have it in my collection. Give it a try if you don't mind foreign language films.

Overall score 4/5

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This is it! As delirious as Amelie made me, as visually stunning as City of Lost Children was, this was the first Jean-Pierre Jeunet (and Marc Caro!) movie I ever saw and it's still my favorite. Darker in tone than any of his other films it's still packed with hilarious moments and every scene is impeccably and sumptuously shot with colors so luminous you're TV will thank you personally for buying this movie.

The central joke in the film, that others seem to miss, is that the characters aren't driven by hunger. Yes, it's set in some undisclosed time of bleak social collapse where meat is very, very scarce. Yes, an enterprising butcher uses certain tenants to do little jobs around the apartment building he owns before chopping them up and selling them to his other tenants (who are all in on it by the way). But the tenants buy the meat with dried grain and corn and beans. Not just a handful of grain, but quite a bit. More grain than meat. Think about that for a second. They're not starving. They could easily use that grain to make a myriad of meals, but instead they use it to buy meat. Not because they need it, but because they want it. Then, out of the swirling ever present fog, stumbles an unassuming, down on his luck ex-clown looking for work and everything goes to hell. Well, mostly everything.

I can't recommend this movie enough. If you're tired of the bland Hollywood fare at your local Cineplex and want something with a little more... flavor... check this out. You won't be disappointed. And don't worry, it may seem like I've given away quite a bit of the movie in this review, but I haven't. You learn everything I've mentioned in the first five minutes or so of the film. The rest of the movie just sort of careens wildly out of control from there.

Oh, this is just a review of the film by the way; I haven't seen the region 1 DVD of the film yet (because it wont be out until May) so I don't know what it's like, but if it's as good as the region 2 DVD, it'll be well worth the cash.

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