Rosetta (The Criterion Collection) (1999)

I remember, at least half a dozen times, passing this movie by in the video store, gravitating towards it due to the legend "Winner Palm D'Or Best Actress/Best Picture" and the lovely face of Emilie Dequenne, then passing it by after reading the back. The summary of the plot bored me so immediately and intensely that I could not imagine actually sitting and watching the film. I eventually changed my mind, and thankfully so.

Rosetta is an absolutely driven character, almost an animal, single-minded in her goals. Those goals are mundane: find a job, lead a normal life. Her obstacles are mundane: rent, alcoholic mother, cramps. She asks questions, gets her answers, and walks away with no pretense of social grace. For most scenes the camera either points in the direction of Rosetta's POV, over her shoulder, or aims directly into her face. The shot rarely sits still: action and object are the same here. We see what she sees as she sees it and make judgments about people and situations alongside her, a process that usually reveals how silly normal people seem when viewed by someone with no tolerance for nonsense. She does not understand dancing leisure, or why people would indulge in it when other things need doing, is foreign to her.

Routine fills her existence, and when the routines of friendship and work cannot be found, she constructs new and even unnecessarily complicated routines: cross the road to find the sewer where she hid her boots, change out of shoes into boots to cross the mud to reach the lake where she's set up fish traps with bobbypins and broken bottles, every day. She doesn't even keep the fish. In that way she, like most of us, is completely neurotic but who has the motivation to carry out their designs with so much determination, in ignorance of those neuroses? Who completely ignores defeat?

I would recommend other Dequenne pictures, but apparently her only other role is alongside Mark Dacascos in the inscrutible Brotherhood of the Wolf. Stick with Rosetta and enjoy.

Rosetta,a film that deals with the struggles of a young woman who has just been fired from her job at a factory in Belgium,was an extremely pleasant surprise for me.Emilie Dequenne's performance in the lead role is riveting,realistic,raw,and energetic.If this were a film financed by hollywood,there's no doubt her gender would have been exploited,and she would have been some sexpot with boy troubles.Not so in this cinematic effort.The focus is almost entirely on her effort to secure employment just so she can get a meal and help her alcoholic mother with the rent.She doesn't have time to chase boys,she's only concerned with surviving.The most startling aspect of this film is it's avoidance of manufactured sentimentlity,complete with cheasy music,to get the viewer to sympathize with her predicament.There's no epiphanies,startling revelations,or some cheap trick ending tacked on for marketing purposes.The way the film is shot(16mm or digital video(i'm not sure),handheld tracking shots,what seems like natural lighting)gives it a powerful,frenetic feel.Some people are turned off by the camera movement,but to do it any other way would negate the spontaneous,out of control atmosphere(maybe it doesn't bother me because i spent almost 2 years out at sea without getting sick).The camera follows her every move,you'll feel like a peeping tom stalking this young lady.The supporting cast are all solid,but it's really Dequenne's show,it's the main reason to seek out this hidden gem.Highly recommended,especially for the art house crowd.My only complaint,and it's not with the film itself,is that,why can't more director's take chances with movies such as Rebecca.It's an example of what can be accomplished when you don't try to please the masses,and truly "reflect" grim realities(something hollywood portends to do).Croupier,Dark Days,Human Resources,Blair Witch,The Last Broadcast,and now Rebecca,it's been an amazing 2 years for independent film.I consider this another one of my all time favorites.

Buy Rosetta (The Criterion Collection) (1999) Now

Relentlessly downbeat. Heck, the sun doesn't even shine in Rosetta's world of despair. And the production values made me wonder if the Dardenne brothers signed the Dogme 95 pact. I now understand the controversy at the 2000 Cannes film festival when this dour film picked up the Palme D'Or. However, despite it all, I was moved by Rosetta's plight, and I rooted for her. No doubt this is due to Emilie Dequenne's amazing performance in the title role.

Read Best Reviews of Rosetta (The Criterion Collection) (1999) Here

Rosetta is a powerful film depicting a young woman, Rosetta (Émilie Dequenne), living in the cracks of the Belgian society. The crack in which Rosetta has fallen is a part of society where she has no social protection from the government where corporations exploit her without giving her any securities. Rosetta is considered a minor as she is in the years between adolescence and adulthood.

The initial scene is set in motion as Rosetta violently fights her way into the office at the company where she works. When she arrives to her desired destination it becomes evident that she has been fired. However, what would make someone young that upset for being fired? This is a question that is answered as Rosetta returns home to the trailer park in which she lives. Rosetta is a proud person who struggles with keeping it together for her and her alcoholic mother. The mother evidently has been neglecting her daughter for most of her upbringing as Rosetta takes care of herself in every aspect of life as she has done it for a very long time.

The young female protagonist of story lives a life where she strives for socioeconomic security through a job. This is easier said than done as she finds it very hard to keep a job as she lacks experience and laws that protect her from being exploited by small companies. Rosetta also seeks a home, a place where she can find emotional security, as she continues to hold on to her alcoholic and neglecting mother.

The struggle of Rosetta is not told through long scripted dialogues, but through the daily actions of Rosetta. These actions are captured through a handheld camera as it flows with Rosetta and her difficult journey, which enhance the realism of the film. The realism is soul tearing as the audience cannot escape the world of Rosetta, a world in which Rosetta attempts to find a spot.

Rosetta offers an intricate character study of the young woman through her struggles. Émilie Dequenne was awarded the prize for best actress at the Cannes Film Festival for her part. Besides the character study the film also offers a well-made socioeconomic drama that had an impact on the Belgian government. Shortly after Rosetta was released the Belgian government passed a law branded as "Plan Rosetta". The law protects minors from being exploited by being paid less than minimum wage.

Want Rosetta (The Criterion Collection) (1999) Discount?

Rosetta, the main character, is oppressed by life, not by men. Her mother is an alcoholic, and tries to get what she wants and needs--her drugs and some care--by trading her body for them. (Incidentally, Rosetta and her mother eke out some cash by a clothing reselling businesses of their own, requiring a good bit of industry and initiative.) The prematurely adult Rosetta sees that her mother is prostituting herself and does what she can to intervene. When Rosetta herself gets the opportunity (plot spoiler alert), she takes advantages of the friendship of a male friend to stab him in the back for his job. Suffering remorse, she tries to extricate herself from the web, but she's already perpetuated the cycle by her poor judgment (actually, by following the temptation to lie and use people for her own benefit). This is an excellent narrative of spiritual and psychological growth, of a girl negotiating opportunities and learning the ways of life. Betrayal and an underplayed if ambiguous redemption theme.

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The Gold Rush (The Criterion Collection) (1942)

Surprise came to this reviewer when he realized that the main feature on this DVD is the 1942 re-issue version of THE GOLD RUSH (with added music, narration, and sound effects) rather than the 1925 silent original. Fortunately, the silent version is available on the second disc as an extra. Seems like an odd decision to make though; I would have reversed that, as I much prefer the original. For one thing, the title cards are much more lyrically impressive than the rather strained narration. Pictures speak louder than words, and the images Chaplin created on the soundstage simply don't need a voice-over. And the rather drastic cuts (the original film runs 96 minutes, the later clocks in at 69) leave out a lot of good stuff. Still, both versions are included anyway, so I can't complain too loudly.

I watched a battered old VHS copy of this film many, many times as a child in the 1980s. It was a delight to get this film on DVD, not just for the impressive extras, but to have the picture looking crisper than ever. While I'll admit to preferring the musical score they used on that VHS release, the stunning restoration work more than makes up for it. Jokes that I had missed because of the fuzzy picture were suddenly revealed to me (I had never realized that the building that Chaplin inadvertently covers with snow is the town's jail). And although this has nothing to do with the picture quality (though it does come from seeing scenes that had been cut from my VHS copy) I also never really noticed how awful Georgia is to the tramp. Sure, she's a bit regretful about her pranks, but she never really apologizes or makes up for her behavior. I wonder if that was part of Chaplin's decision to modify the happy ending.

Watching this film for the first time as a child, I'll admit that it didn't quite live up to all of my expectations. But while I'm not sure that I'd place this as Chaplin's best films, it's still pretty damn good. His comedy is, of course, excellent -well conceived and extraordinarily executed. Yet his directing is also worthy of mention. I love they way he lets the camera linger. Look at the pan across the faces of the partygoers at the New Years bash inter-cut with the shots of the lonely tramp. It's difficult for a director to accomplish this without being corny, but Chaplin pulls it off successfully.

THE GOLD RUSH is a film made up of several now-famous set pieces. Most of the sequences are now so ubiquitous that people would recognize them even if they'd never seen a silent film before. The movie's successes are too numerous to mention. The dance of the dinner rolls, the Thanksgiving shoe, the cabin on the edge of the clip. These are all unforgettable scenes that deserve more than to be simply listed in an on-line review; they deserve to be watched by everyone. The "Chaplin Today The Gold Rush" documentary (quite good overall) shows a room full of young school children enjoying this film for the first time. They laugh at all the right places and stay glued to the screen throughout. Chaplin still has it.

I cannot agree more with "A viewer from Dallas, TX" -this 1942 version lessens the whole "Gold Rush" experience, even though the video quality is astounding. Having just watched "The Kid" and "City Lights", I found the commentary on this version most annoying and distracting from Chaplin's fantastic pantomime. While in the other films one becomes engrossed in the visual elements, in this version of the film it is impossible to become fully involved, as the commentary actually distances you from what is going on. It would be such a grave mistake if this version would be the only one available for today's audiences, so I urge and plead: Image, please release the original 1925 version on DVD too, please!

Buy The Gold Rush (The Criterion Collection) (1942) Now

This has been a long time coming but we now finally have Chaplin's 1925 original release in a form that does justice to what many feel is his masterpiece. Kevin Brownlow and the late David Gill have worked many years on gathering the material from archives and collectors that would allow for a decent reconstruction of THE GOLD RUSH as it was originally shown. In 1942 Chaplin prepared a sound release in which he removed the titles, added a delightful narration that he spoke himself (at least in the English language release) and composed a music score that is perfect for the film. In doing so he went back to his vaults and chose different takes that played better at the 24fps sound speed. In the process the original 1925 negative was partly used and the sound version became the version that Chaplin preferred. In 1942 audiences were delighted with the new approach as films from the silent era as a rule were not being reissued. Over the years interest in silent films has made a come back and there are many who regret not being able to enjoy THE GOLD RUSH as it was original shown. Now on the Criterion release we have a beautifully restored copy of both releases. Criterion has gone the extra mile with the 1925 version and removed scratches and dirt so that the film looks the best it has since its original release. Now thorough the efforts of Timothy Brock, who has reconstructed Chaplin's music from the 1942 release, we can watch the film with the music that it should be heard with. With the excellent extras, booklet and restoration there is no question that the Criterion release is one of the most important releases ever. While the Blu-ray is marvelous the DVD release will also be a big improvement over any previous release. And even if you are not a fan of the 1942 release you can use this version to introduce younger children (who do not yet read well enough for silent titles) to the art of Chaplin. I've done this and their response is wonderful. And yes there are some differences between the two releases. Take a look at the letter Georgia Hale writes after not showing up for the New Year's dinner that Charlie has worked so hard to prepare. And for my money the ending of the film works far better in the 1925 release. Judge for yourself.

Read Best Reviews of The Gold Rush (The Criterion Collection) (1942) Here

The real news here isn't the second video release of Chaplin's 1942 talkie reissue of the 1925 film, with narration in his plummy later voice detracting from much of the fun. What's significant here is on Disc 2-the first video release of a definitive version of the original silent classic, which has been restored by Kevin Brownlow and David Gill from Chaplin family material and is about 14 minutes longer and noticeably better quality than the best previous version, the Killiam print which had seen assorted releases on tape and laserdisc. The Chaplin family had previously refused to release that version, believing that the 1942 version represented Chaplin's final thoughts on the film, when what it in fact represented was Chaplin's best idea of how to make an old silent film seem relevant to Casablanca-era audiences. Now it's the '42 version which seems old fashioned, while the '25 one is timeless as ever. Be sure you get this new Warner/MK2 version.

Want The Gold Rush (The Criterion Collection) (1942) Discount?

The four stars goes to the DVD I give the original silent version of GOld Rush 5 stars, and the re-edited sound-era version 2 stars. This DVD edition lost a star for putting the inferior remake on the first disc. I am mainly writing this review to urge Chaplin newcomers, or anyone for that matter, to watch the original 1925 version first. The re-release has highly distracting and tedious narration throughout the entire film, as all the intertitles have been deleted. At times this narration comes across as bad dubbing, as the words are very roughly synced up with characters talking on the screen. Even though Chaplin himself did the narration, the effect is very cheesy and amaturish, and makes the film MUCH more dated, while taking away much of the emotional effect of the original film. I also prefer the slightly longer, more dramatic 1925 edit, and the original ending, which is just perfect. It seems like the 1942 re-release was more of a gimmick and a chance to make an extra buck than a serious artistic endeavor (kind of like the Star Wars "special editions"). Some would say that at least the re-release had Chaplin's own score. However I think the piano score for the silent version is excellent, despite reviews here to the contrary. First off, the score is based on the original cue sheets, so it is quite authentic to the time. It is played excellently, is well recorded, and is very fitting to the overall mood of the film.

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Randy Orton: The Evolution of a Predator (2011)

Randy Orton is one of the most popular superstars in the WWE, but he has never been the subject of a home entertainment release until now. This 3-disc set takes an in-depth look at WWE's Apex Predator from Elimination Chamber through the road to WrestleMania and Orton's brutal bout with CM Punk. Along the way, fans learn about the Viper in and out of the ring as he reflects on his career to date. Family and opponents contribute never-before-seen interviews about Orton's past, present, and future. In addition the set is packed with some of Orton's most memorable matches and moments from his career.

DISC 1 Documentary

I Am Randy Orton

The Road to WrestleMania Begins

Preparing for the Chamber

Embarking on a Path of Destiny

Training Days

The Elimination Chamber

Facing the Media

The Next Diamond

Signs of Trouble

Dealing with Injuries

The Legend Killer

The Man of Destiny

Punked Out

Coming Home

A Hard Lesson to Learn

Evening the Odds

The Mecca

The Price and Reward of WrestleMania

Making a Difference

Dark Days

Madison Square Melee

Randy's Redemption

Axxess to the Apex Predator

Legacy

The Day Has Arrived...

I Won't Be Your Hero

The Evolution of Randy Orton

DISC 2 Matches

Randy Orton vs. Slick Robbie D

OVW Christmas Chaos January 31, 2001

Randy Orton vs. Hardcore Holly

SmackDown April 25, 2002

Randy Orton vs. Shawn Michaels

Unforgiven September 21, 2003

Intercontinental Championship Match

Randy Orton vs. Rob Van Dam

Armageddon December 14, 2003

Handicap Tag Team Match

Randy Orton, Ric Flair & Batista vs. The Rock & Mick Foley

WrestleMania 20 March 14, 2004

Hardcore Match for the Intercontinental Championship

Randy Orton vs. Mick Foley

Backlash April 18, 2004

Intercontinental Championship Match

Randy Orton vs. Edge

Vengeance July 11, 2004

Handicap Casket Match

Randy Orton & "Cowboy" Bob Orton vs. The Undertaker

No Mercy October 9, 2005

DISC 3 Matches

Randy Orton vs. Kurt Angle

Vengeance June 25, 2006

Legend Killer vs. Legend

Randy Orton vs. Hulk Hogan

SummerSlam August 20, 2006

Texas Bull Rope Match

Randy Orton vs. Dusty Rhodes

The Great American Bash July 22, 2007

Triple Threat Match for the WWE Championship

Randy Orton vs. Triple H vs. John Cena

WrestleMania 24 March 30, 2008

"I Quit" Match for the WWE Championship

Randy Orton vs. John Cena

Breaking Point September 13, 2009

Hell in a Cell Match for the WWE Championship

Randy Orton vs. Sheamus

Hell in a Cell October 3, 2010

Randy Orton vs. CM Punk

WrestleMania 27 April 3, 2011

World Heavyweight Championship Match

Randy Orton vs. Christian

SmackDown May 6, 2011

BLU-RAY EXCLUSIVES Matches and Special Features

The Royal Rumble Match

Royal Rumble January 25, 2009

Stretcher Match for the WWE Championship

Randy Orton vs. Triple H

The Bash June 28, 2009

World Heavyweight Championship Match

Randy Orton vs. Christian

Over The Limit May 22, 2011

On the Road with Dad

Randy Orton's Championship Legacy

Randy's Motorcycles

Rhodes Stories

Photo Gallery

The Evolution of Randy Orton's Tattoos

The youngest World Champion in history...The Legend Killer...The Viper. So many alias go along with the third generation wrestler known as Randy Orton & here is WWE telling his story on his own DVD with additional comments from others like his farther Bob Orton jr, Arn Anderson, John Cena, Triple H, Batista, his wife Samantha, Cody Rhodes, Ted Dibiase, and Sheamus.

The documentary is setup differently than the usual sit-down interview about his career type that we normally get as it's similar to how Jeff Hardy's "My Life, My Rules" or similar Steve Austin's "Hell Yeah!" where it's based around following him with a behind the scenes look at him during a certain time period while also telling his story. It was the period between the Elimination Chamber & WrestleMania 27 PPV's in this case where we saw Orton on the road, backstage at events, at home with his family, and doing promotional work (radio, Axxess, ect.) while Orton recalls various flashbacks in his career. Orton beings to talk about how he was interested in getting into the business back in 1999 leading to going to OVW developmental territory the same time John Cena & Batista & Brock Lesnar were there along with him having a cocky arrogant attitude that makes Orton himself admit that he was an "jerk." This run in Evolution was discussed from how he was handpicked by Flair & Triple H leading to backstage jealously regarding his spot on the roster before talking about how his own bad attitude got in the way of his success. His successful run as the Legend Killer leading to becoming the youngest World Champion in history was discussed before going back in time to tell the story about how he didn't didn't originally want to follow in his dad's footsteps & the story behind Orton going A.W.O.L. from the military. Orton's drug problem was discussed in heavy detail next from his suspension to what was the one thing that made him turn his life around & how he incorporates elements of this period into his current "Viper" character before going into his run with Dibiase & Rhodes in "Legacy" to being seen as a locker room leader close out the documentary.

Matches Include

vs. Slick Robbie D The video quality here wasn't much as OVW was pretty low budget but it was a quick match to showcase Orton at the beginning of his career.

"OVW Christmas Chaos" Jan. '01

vs. Hardcore Holly This was Orton's WWE television debut that was pretty short & sweet but very impressive for a first showing.

"SmackDown" Apr. '02

[Best Of Smackdown: 10th Anniversary]

vs. Shawn Michaels The was the Orton's first singles PPV match & the beginning of Orton's run as "The Legend Killer." Orton kept getting shown up by Shawn in the beginning causing Orton to attempt to do it himself at one point with his own version of "skin the cat" to get an advantage only for Shawn to return it & gain the momentum back. Shawn ended up hurting his shoulder by hitting the post causing Ric Flair to get his shots in on the outside while Orton also used the ringpost along with working over Shawn's arm with hammerlocks, armbars, and even a single arm DDT. Both men went back & forth with Flair constantly trying to get involved only for Shawn to keep knock him down but unfortunately not out as Flair would get involved towards the end causing a bit of confusion which Orton was able to capitalize on.

Unforgiven '03

vs. WWE Intercontinental Champion vs. Rob Van Dam Mick Foley was not only the special referee in this match but also the co-General Manager at this time while also having his personal issues with Orton dating back months earlier when Orton attacked Foley at Madison Square Garden. RVD was in control during the first half of the match before he "crashed & burned" with a high risk move on the outside for Orton to gain control. Orton grounded RVD with moves like a side headlock before they began to trade momentum with impactful moves like RVD's spinning kick onto Orton on the ringside barrier while Orton later gave a DDT with RVD hanging off the middle ropes. This was a good match that got more competitive overtime.

Armageddon '03

w/Evolution (Ric Flair & Batista) vs. The Rock & Sock Connection (The Rock & Mick Foley) This was The Rock's first match in almost a year while Foley's first in over 4 years. This was just a fun handicap tag match that's not easy to summarize more than to just sit back & watch unfold as everyone here had their moments to look strong as Foley looked like he didn't miss a step, Batista heavily showcased his power, and the biggest highlight being the interaction between Flair & Rock to the point where both men were trading each other's taunts like Flair doing the people's elbow & Rock doing Flair's strut.

WrestleMania XX

WWE Intercontinental/Falls Count Anywhere Match vs. Mick Foley Foley came out under his "Cactus Jack" persona & tried to nail Orton with "Barbie" right away with Orton running for his life before Orton was able to took nail Mick with a trash can to the face multiple times before Orton eventually ended up taking one himself. They took the fight to the ramp where Foley was back suplexed before going back into the ring where more weapons came into play causing Foley to ask the fans if they wanted him to use either "Socko" or "Barbie" on Orton. Foley got more violent as he used "Barbie" to bust Orton open along with using that to give him a legdrop to the groin. Barbed wire boards, cookie sheets, thumbtacks were all used here along with a moment where Orton was thrown off the stage followed by the classic Cactus Jack elbow drop off the stage onto Orton. Foley in this match did what he did for Triple H in 2000 as he heavily put Orton over in his hardcore environment & showed that he can take some serious punishment that most wrestlers can't & still go while telling a good story in the ring as well.

Backlash '04

[Mick Foley's Greatest Hits & Misses: Hardcore Edition]

WWE Intercontinental Championship Match vs. Edge Years before the thought of "Rated RKO," Edge was on a mission to take out Randy Orton & end the longest I.C. title reign in over 7 years. This match had some dull moments (2-3 min. headlocks by Orton) but went back & forth between both guys with an interesting note here being how the fans were divided as half were cheering for Edge while half were getting behind Randy Orton despite being a heel in Evolution.

Vengeance '04

[Edge: Decade Of Decadence & History Of I.C. Title]

Casket Match w/Bob Orton vs. Undertaker As expected in a handicap match situation, the Orton's kept trying to corner & double team Taker while Taker's strategy was to hit & move when both of them were. Taker was able to focus on one man when the other was out of the way for a few moments such as using a chair on Randy while choking out Bob with the triangle choke. Bob resorted to desperate tactics like using a fire extinguisher to blind Taker while Orton was able to knock Taker out with a chair for a victory but it was the aftermath of the match that made the strongest impression on everyone.

No Mercy '05

[Undertaker's Deadliest Matches]

vs. Kurt Angle This was a rematch from the ECW One Night Stand PPV weeks earlier & for those who don't remember, Kurt Angle was part of the ECW brand during this time with WWE treating it as a separate promotion from WWE causing various biased commentary against Angle & ECW from Jerry Lawler causing Jim Ross to even get caught up in it from time to time. Angle outwrestled Orton early to the point where he almost delivered a german suplex from the apron to the floor before eventually just doing it on the floor. Orton attempted to ground Angle with his chinlocks & side headlocks but Angle kept coming with his various suplexes including one off the top rope, repeated belly to belly suplexes, and eight german suplexes in a row. Good match in their series that went throughout the year.

Vengeance '06

vs. Hulk Hogan There really isn't much to say here except this was the typical performance you would get from Hulk Hogan at this "attraction" stage of his career in that he was dominate for a majority of the match with Orton getting somewhat of an advantage by going after Hogan's bad leg for a while & even nailing the RKO at one point but you knew exactly what was going to happen afterwords & who was going to win so this match wasn't much but the politics behind this match (and last year's SummerSlam) also showcase why you hadn't see Hogan wrestle a match or really done much business with WWE since.

SummerSlam '06

Texas Bull Rope Match vs. Dusty Rhodes This was a very short match that served it's purpose in that Randy Orton beat another legend...in this case, the legend who created the event itself. Besides that & Cody Rhodes appearance after the match, nothing noteworthy here.

The Great American Bash '07

WWE Championship Match vs. Triple H vs. John Cena Before I get started, I liked Cena's entrance with the college band playing his entrance music. Well, this was the shocker of the night considering the winner of the match was the person nobody expected just based off 92% of WWE's own poll & a majority the comments in the reviews of Royal Rumble & No Way Out on Amazon itself. As for the match itself, it was your typical triple threat match in which it was non-stop action with each man having their moments at various times along with the various moments of one man stopping another from winning the match before Orton got the biggest win in his championship reign...and for those trivia fans who like to keep score of this type of thing, this was Cena's first WrestleMania loss & the fourth time a heel has walked out of WrestleMania a World Champion.

WrestleMania XXIV

WWE Championship/"I Quit" Match vs. John Cena Due to what happened at SummerSlam, the stipulation here was that Orton will lose the title if anyone get involved. This is one of those matches that's more about "putting over a character" more than actual wrestling quality because the actual physical part of the match itself (haven't seen their matches past this PPV) ranks below their previous two SummerSlam matches but above their other two PPV matches that were also setup to just further a storyline. This match heavily showcased Orton's "Viper" character as being cold hearted & calculating & merciless by just attacking Cena's head with the hanging DDT and weapons like a monitor & steel chair & the steps. Orton also at one point had Cena handcuffed and just beating the hell out of him & so obsessed with having Cena say "I Quit" that he even refused to allow Cena to "get out easy" & passout from the pain while Cena's character was pushed here too as he just kept taking a beating but refused to quit. I'll give credit in that I thought it was a creative way of applying the STF but the finish just came too quick to be believable. In the end, you have to look at this match for what it was in that it was more of a "character driven" match more than anything else.

Breaking Point '09

[Best PPV Matches 2009-2010]

WWE Championship/Hell in a Cell Match vs. Sheamus With their previous matches (Royal Rumble & SummerSlam) not having a clear winner due to disqualifications, this final encounter would determine a clear winner. The match got taken to the outside early with Orton being able to avoid Sheamus' attempt into using steel steps then ramming his back into the cell twice & using the steps on Sheamus himself before Orton ended up feeling the cell himself with Sheamus delivering a shoulderblock that knocked him off the apron into the cell. Sheamus targeted Orton's ribs including dropping him on the steel steps right on his ribs & even countering an attempted RKO with a knee into the ribs. Orton was able to recover with powerslaming Sheamus onto the steel steps & executing the hanging DDT from the apron onto the floor while Sheamus again focused on Orton's ribs using a chair & hitting Orton twice with the Crow Kick. Sheamus attempted a High Cross on the steps but Orton was able to counter with an RKO on the steel steps to finally prove he was the better man in what was definitely the best match in their series.

Hell In A Cell '10

vs. C.M. Punk Orton came into this match with an injured leg & Punk focused directly on it with various stomps, even kicked the steps into his leg when Orton was chasing him on the outside, a modified indian deathlock, and even doing a top rope kneedrop onto Orton who was hanging from a tree of woe. This injury did effect Orton to the point where he wasn't able to push off his legs when Punk had the anaconda vice & even was able to do his punt. Orton was on the defense for most of the match but was able to get offense including an RKO that was one heck of a visual. Good match between both men.

WrestleMania XXVII

vs. World Champion Christian Less than a week after winning the World Championship in a Ladder Match, Christian had to defend the championship here. Orton was in control early with Christian being able to regain control after an Orton clothesline that sent both men over the top rope to the floor with Orton's foot kicking Christian's head on the way down. Both men traded momentum pulling out all the stops as the match went on such as Christian's top rope offense of a missile dropkick & flying crossbody while Orton delivered his snap powerslam & hanging DDT before catching Christian in the middle of one high risk move too many. This was one of the best TV quality matches of the year (so far).

"SmackDown" May '11

(Blu-Ray) Royal Rumble Match This Rumble heavily made up for last years as we got a bunch of welcomed surprises here in terms of either performances or special appearances and at one point, we had the most wrestlers in the ring at the same time during the match that I ever remember seeing. Various highlights include the opening minutes with the young talents getting the spotlight for a while, Cryme Tyme's coin flip, how Mysterio re-entered the ring after being tossed out, the "Rhodes Family Reunion", Rob Van Dam's appearance & "no ring rust" performance including one awesome looking double team move he did with Mysterio at one point, Santino's Rumble performance, "Hi I'm Dolph Ziggler", seeing the 400 pound Big Show "skin the cat" at one point, and the dominance of Randy Orton's Legacy. Great Rumble match overall that delivered.

Royal Rumble 09

(Blu-Ray) WWE Championship/3 Stages Of Hell Match (Regular, Falls Count Anywhere, Stretcher) vs. Triple H Don't let the match "stipulation" fool you as this was really just a stretcher match as the first two falls went by really quick & could have been left out because that ended up hurting this match more than helping in the end. This was your typical Triple H/Orton brawl as it went in the ring, through the crowd, and made it's way onto the stage with a few nice spots with the stretcher with a nice story of Orton focusing on Triple H's bad leg throughout the match. Overall, just like how their WrestleMania match wasn't a bad match but it wasn't at the level you would & should expect for a WrestleMania main event...this was a good stretcher match but a horrible 2 Out Of 3 falls/3 Stages Of Hell match which was the match advertised.

The Bash 09

(Blu-Ray) World Championship Match vs. Christian Both Lawler & Cole left to get ready for their match leaving Josh & Booker to do the commentary. They did some nice early back & forth wrestling with Christian backdropping Orton over the ropes then dropkicking him through the ropes before Orton later came back with a giant suplex from the top rope that ended up hurting his own head in the process. Both men went back & forth with their counters & strikes coming so close with their near falls including one moment with Christian escaping Orton's hanging DDT to later execute a flying headbutt that I haven't seen done since Chris Benoit. The announcers tried to put it over that the crowd was split when you could clearly hear "Let's Go Christian!" as Randy Orton pulled out a new submission in the reverse Boston Crab (or Colt Cabana's "Billy Goat's Curse"). Both men kept blocking each others signature moves & turning them into counters such a Christian's double foot kick in the corner into a hanging DDT, Christian's attempted spear into a snap powerslam by Orton, Orton's punt into a spear, and going back & forth between the Killswitch & RKO. This was definitely the match of the night as these two meshed well together in one of those performances that have both men walking out with more credibility than they did going in as Christian was able to pull more out of Orton than others have been able to.

Over The Limit 11

I like the different approach to the documentary as far as following him on "The Road To WrestleMania" but in doing so, I felt like they didn't cover various & moments about his career like important feuds & things worth mentioning like working with his Dad back in 2005. As for the match selection, I know a bunch of people are upset that his World Title victory over Benoit wasn't on here but we know the stance WWE has in regards to Chris Benoit for the past four years & it isn't going to change so it's really pointless to argue about it but Orton's had close to a decade long WWE career so they aren't going to get every match he's done but some of the matches (Dusty & Hogan) were pointless & could have easily been replaced with more quality matches that haven't been released to a DVD set like the No Mercy '07 "Last Man Standing" match against Triple H. Past those things, I was satisfied with the release overall & it's something Randy Orton fans would enjoy overall.

Buy Randy Orton: The Evolution of a Predator (2011) Now

I don't usually buy WWE Superstar documentary sets these days, I stick to some PPVs thats about it. However Id been waiting to see a Randy Orton set for awhile so today I went to best buy and bought the Blu Ray set and Im in Awe of how good this set really is. the matchlist imo with the exception of missing his SummerSlam 2004 World Heavyweight Championship Match against Chris Benoit (we all know why) is very good but I loved this set for the Documentary part, it goes through all aspects his childhood, school years, Marine situation, early career, mid career, now. His family is on here and you get alot of good interviews with co-workers like HHH, Cena, I beleive Batista. Just a great great set, usually i ebay or trade in the newer WWE dvds these days however this set is an exception and will stay in my blu ray/dvd collection. I recommend Randy Orton the Evolution of a Predator to any WWE fan and Certainly any Randy Orton fan such as myself. In the end it's a good thing they waited until this point to make this DVD they went through his career which overshadowed events and issues he was going through in his personal life, for example when he was world champ in 2004 and could of had the world by the kahones but wasn't "ready" to take advantage of it, so again I beleive they waited until the right point in his life/career to make this set it feels complete. Again Great set and Enjoy.

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Anyone else think it's weird that the sticker on the front says 3 disk collection but its only 2 disks when you open it. Anyone else see this or am I missing something? I haven't actually watched the movie yet just opened it yesterday and saw it was only 2 disks not 3.

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Okay, so I am reviewing this DVD set after watching it yesterday. The documentary portion was well done. They had shown some behind-the-scenes footage of Randy's lives both at home and on the road with WWE. I won't get into too much detail for those of you wanting to find out more for yourself... but he brings up his childhood in the St. Louis area, meeting his future wife Samantha, and dealings with all things WWE. Randy does a good job of describing his feelings and actions at several points during his career (the good and the bad), which you can appreciate. Others connected to the wrestling business, such as Triple H, Arn Anderson, Cody Rhodes, and a lot more share their thoughts on where Randy has gone and where he has been. Very entertaining to see these guys break character and just be themselves for a change. Samantha Orton gives a very honest look at Randy and their relationship together over the past many years, which is another good peek at the whole look inside the world of Randy Orton.

I won't go match-by-match, but they are all very solid. Of course, they didn't show the match against Chris Benoit at SummerSlam 2004. That is a shame, but my memories are still very clear from around the time and if you want to see that one, just go look for it somewhere. The rest of them are very good and to me, clearly show the progression from the beginning and middle of his career. Hard to believe that he has been around almost 10 years now... all of us fans hope it will be at least 10 more.

So, I am still giving this RKO collection five stars and it is a must-see for all of WWE fans... not just those of Randy Orton. They did a great job in producing this DVD set and I can finally say it it was well worth the wait. I hope you all will enjoy this one as much as I did.

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Dangerous Liaisons (2012) (2012)

Classics never go out of style. You can take any one of Shakespeare's great tragedies and set it, say, in the Bronx Zoo with talking animals and still preserve more than the lion's share (pun intended) of the dignity, drama, and pathos that the Bard intended so long as it's done right. You'd have to cast the right zebra to play Juliet, and you'd be a fool to settle for the most magnificent tiger for the part of Romeo. It'd definitely have to be lit well, and you'd better not be too stingy with the checkbook when it comes to bringing all of it to life. No doubt if your heart and the animals are in the right place you'll introduce a whole new generation to one splendid work of sheer genius, all on a reasonable budget, and earn kudos from the critics.

(NOTE: The following review may contain minor spoilers necessary solely for the discussion of plot and character. If you're the kind of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

Those already familiar with this story need not worry as all of the major bullet points remain fully intact. Suffice it to say that the setting has been changed to Shanghai, 1931. Told against the backdrop of the impending Japanese invasion of China (though without all that much political ballyhoo or rhetoric), this DANGEROUS LIAISONS explores the devilish machinations of the socialite Mo Jieyu (played by the lovely Cecilia Cheung) and the dashing bachelor Xie Yifan (Jang Dong-kun at his sultry best). Vying for his last chance at her heart, Xie makes a wager that should he successfully seduce his distant cousin the lovely and chaste Du Fenyu (Ziyi Zhang) Miss Mo must fully surrender to him. Should he err and, instead, find love? Then Miss Mo stands to gain a sizable share of Yifan's property.

Those of you in the know realize LIAISONS has been done before (there have been no less than three significant productions of it in the last thirty years). Sadly, there isn't all that much that differentiates this version from the others except for the fact that this one was produced in China, a country rumored to maintain some of the most stringent content requirements in all the world. For much of these theatrical affairs, you certainly wouldn't know it, though the most aggressive scene Yifan's near sexual assault of Mo once she outright rejects his advances despite having bested her in their bet is relatively pale by comparison to how other countries would probably have handled the scene.

What LIAISONS does have to distinguish itself, however, is a trio of terrific talent in the primary roles. Jang Dong-kun embodies Yifan with an almost muscular sexiness, taking great delight in merely grazing the palms of ladies he considers his `lessers.' When required, Cheung practically ignites the screen as she smolders her way (and her wiles) across any male suitor she chooses. Zhang who has been noticeably absent from the screen despite her established international appeal brings unimaginable depth to Du Fenyu, a character that in my opinion was largely a two dimensional creation (either she's cold or she's very very hot) in other filmed adaptations. Any combination of `two out of the three of them' together elevate the story well enough beyond the good looks and dynamic settings chosen for the film; individually, their moments don't work as well, and, when they're paired with others for screen time, one could even make an argument that the film slows down noticeably. Thankfully, that isn't all that often because, otherwise, this picture could've gone another direction.

Gone or, at least, lessened are the sexual conquests of the ever sparring pretenders. Instead, this LIAISONS has dished up a visual feast for the eyes one cultured from a beast fed a diet of pure steroids as every frame is lovingly saturated with impressive colors, sumptuous hues, and erotic lighting. Director Hur Jinho has spared no expense in bringing this lavish, handsome interpretation to the screen but he may've spared more skin than necessary (or that Hollywood and audiences beyond China would've liked) in order to get this version past his country's censors.

DANGEROUS LIAISONS is produced by Easternlight Films and Zonbo Media. DVD distribution (stateside) is being handled by Well Go USA. As for the technical specifications, everything looks stunning consistently throughout the presentation (there are a handful of CGI effects that might appear obvious to the trained eye, but they're fleeting); the audio levels are terrific throughout. As for the special features, there are a few, including a fifteen minute `making of' short as well as three behind-the-scene minis focusing on each of the principle characters/actors. It's a solid collection all a bit short but much appreciated. For the sake of clarity, this is a Mandarin-spoken language motion picture with English subtitles.

HIGHLY RECOMMENDED. While it may not go down in history as the best adaptation of the famed French novel Les Liaisons Dangereuses, it certainly should earn marks for being one of the best looking. So very much of it looks stunning on the silver screen, and DANGEROUS LIAISONS utilizes three exceptional talents in performances that deserve recognition. Cheung and Zhang have always been stunning to look at, and Jang Dong-kun should be no sore spot for the ladies. Excellent period detail and sparkling cinematography fill out the picture, though the film does grind to a halt when not truly focused on the main characters and the illicit passions.

In the interests of fairness, I'm pleased to disclose that the fine folks at Well Go USA provided me with an advance DVD screener of DANGEROUS LIAISONS by request for the expressed purposes of completing this review.

The 18th-century French novel "Les Liaisons Dangereuses" by Pierre Choderlos de Laclos has had a number of interpretations within my lifetime. A brilliant tale of manipulation and sexual politics, the story basks in a gleeful unpleasantness that only hints at the possibility of moral redemption. It is a clear-eyed view of the power of gamesmanship and societal gender inequality with the two protagonists waging a war that will undermine many an innocent party. Who will be the victor? Who will be the victim? And is the ultimate prize even worth winning? The original story is as much about a time and a place, though, with its dissection of the decadence and debauchery of the French aristocracy prior to the Revolution. So, it may seem like a bold move to shift the action to Shanghai in the 1930s. But while the political climate of the era may not match up exactly, the opulence of the period more than compensates. And if you like the story, this relatively faithful adaptation has a lot to recommend it (even if it plays it a bit safe).

I, however, was more than willing to settle in for another adaptation! It's been a while since anyone has taken on the illicit tale. Still probably the best known version of "Dangerous Liaisons" is Stephen Frears' piece based on Christopher Hampton's play (which was a working of the novel). This 1988 film was a major player at the Academy Awards and was quickly followed by Milos Forman's "Valmont" in 1989 and the modernization "Cruel Intentions" in 1999. Director Hur Jin Ho doesn't veer far from the source material with this version of the film, so those familiar with the plotting will know pretty much what to expect. Those with nothing to compare it to might be a bit more engaged as the wicked interplay is always a delight. And whether or not you prefer a previous version (Glenn Close will always be my ideal Marquise de Merteuil), this film is certainly a visual splendor. The staging, sets, and costumes are impressive and memorable.

Here, the formidable Cecilia Cheung plays the conniving mistress of this piece. An immensely complex character, her initial goals are surprisingly straightforward and petty. A man who has wronged her has decided to take a blushing virgin as his bride. Cheung enlists a charming lothario (played by Jang Dong Gun) to arrive at the scene first and perform the deflowering. While this type of contest is just up his alley, he becomes distracted from the mission by a virtuous woman (Zhang Ziyi) who seems immune to his powers of seduction. But still he pushes forward to please Cheung which begins a cycle of mischievousness and duplicity that has long range repercussions to all involved. As love, betrayal, sport and emotions become wrapped up in a convoluted ball for the major players, the results will not be pretty.

With such a strong concept and vivid villains, "Dangerous Liaisons" never feels particularly real. Most of the characters are fairly one-dimensional. For example, as much as I love Cheung, she never shows the inherent vulnerability beneath the polished veneer (something Close nailed in scenes as simple as her removing her make-up). But still, I enjoyed watching this version with the dazzling visuals of Shanghai and the gorgeous interiors. There may sometimes be more style than substance, but what a fantastic style it is. A literary adaptation for adults, if you like period drama--I'd certainly give this a look. It doesn't stand as the definitive "Dangerous Liaisons" for me, but it's well executed and fun. KGHarris, 2/13.

Buy Dangerous Liaisons (2012) (2012) Now

Omg!!!!!!!! This is one of her best performances

It was so worth me buying this movie... it made me fall in love and cry at the same time.

Read Best Reviews of Dangerous Liaisons (2012) (2012) Here

Tragic story. Beautiful scenes. Excellent acting. Every scene is a well thought out photograph. A very visual movie. Highly recommend it.

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In 1782, Choderlos de Lacios published his French epistolary novel "Les Liaisons dangeruses" (The Dangerous Liaisons). The novel would inspire several films including the 1959 Roger Vadim film, a 1988 Stephen Frears film titled "Dangerous Liaisons", the 1989 film "Valmont" and the 1999 Roger Kumble film "Cruel Intentions".

In Korea, the film would lead to a 2003 film titled "Untold Scandal" by E J-yong and in 2012, a Chinese film by South Korean filmmaker Hur Jin-ho.

Hur Jin-ho is known for his films about love. From his 1998 hit film "Christmas in August", his 2001 film "One Fine Spring Day", "April Snow" (2005), "Happiness" (2007) and "A Good Rain Knows" (2009). The latter film which would feature a Korean/China collaboration between their two main leads.

With his 2012 film "Dangerous Liaisons", Hur Jin-ho and screenwriter Geling Yan ("Xiu Xiu The Sent-Down Girl", "Forever Enthralled") wanted to do a film inspired by the original French novel but with the setting taking place in Shanghai during the 1930′s. And also continuing a collaboration between Hong Kong actress Cecilia Cheung ("The Promise", "Running on Karma", "Shaolin Soccer"), Jang Dong-Gun ("The Promise", "The Coast Guard", "The Warrior's Way", "Tae Guk Gi: Brotherhood of War") and Chinese actress Zhang Zi Yi ("Crouching Tiger, Hidden Dragon", "Hero", "House of Flying Daggers").

VIDEO:

"Dangerous Liaisons" is presented in 1080p High Definition (16:9 widescreen). The film looks fantastic in HD with skintones that are natural, detail on clothing, hair, vehicles that look amazing. But it's the close-ups that look stunning, thanks to the performances and style of shots that were taken. The film looks luxurious, the costume design captures 1930′s Shanghai thanks to the amount of research done for the film and the film looks amazing on Blu-ray!

AUDIO & SUBTITLES:

"Dangerous Liaisons " is presented in Mandarin DTS-HD 5.1. For a dramatic film with a lot of dialogue, as one can expect from this film, dialogue is crystal clear from the center/front channels. Especially the music, including Chinese performances played on stage are clear. There are moments of crowd ambiance through the surround channels but this is primarily a dialogue-driven film.

Subtitles are in English and Chinese.

SPECIAL FEATURES:

"Dangerous Liaisons " come with the following special features:

Making of (16:55) Interviews with the cast of "Dangerous Liaisons"

Behind-the-Scenes (4:57) Behind-the-scene profiles with each of the three main talents: Cecilia Cheung, Jang Dong-gun and Zhang Ziyi.

Trailers (6:56) Theatrical trailers for "Dangerous Liaisons".

JUDGMENT CALL:

Featuring a spectacular performance by Jang Dong-gun, Cecilia Cheung and Zhang Ziyi, "Dangerous Liaisons" is a film in which we have never seen these talents take part in before.

While the film reunites "The Promise" (2005) talents Korean actor Jang Dong-gun and Hong Kong actress Cecilia Cheung, the two go farther than they ever have in their performance as Jang Dong-gun as Xie Yifan must make the crowd believe he is the ultimate amoral playboy that would make women's hearts swoon and eventually conquer them.

Cecilia Cheung's performance as Mo Jieyu must portray the role of a powerful woman who never will be conquered. An amoral woman who loves to control situations and also a woman who knows that she has control over Xie Yifan, the man who has always lusted for her.

And while there have been a good number of film adaptations based on Choderlos de Lacios' "Les Liaisons dangeruses", the adaptation of 1930′s Shanghai with exquisite costume design, luxurious settings is a sight to be hold. Both Jang Dong-gun and Cecilia Cheung look as if they belong in that era and they sell the audience of the characters they are portraying, even though these two speak different languages and are from different countries, they make it happen.

For actress Cecilia Cheung, known for taking on comedic, fantasy or feudal-based films, the actress goes all out in playing the vixen. Even smoking all day literally (despite quitting smoking five years ago) in order to play the role, having watched this actress for well-over a decade now, I have to say this is her finest performance yet (considering I have felt her performance on "Fly Me to Polaris" as her breakthrough drama acting role).

And as for Zhang Ziyi, she has taken on many roles in her career over the last ten years, but this role required her to be reserved and later emotional, it was a different role for her to play but she also shines in this film.

But "Dangerous Liaisons" is a fascinating film for director Hur Jin-ho to take on. Always known for his love stories, "Dangerous Liaisons" is about a man who is the ultimate playboy because he can never have the woman that he really wants, but when he engages in a bet with that woman to conquer the cautious Fenyu, he realizes that he may have discovered his one true love. But at the same time, he's a man that has long lusted after Mo Jieyu. Which will he give into... love or lust?

And in an interesting juxtaposition, Mo Jieyu is a woman who doesn't want to love, enjoys being lusted over by Xie Yifan but also not wanting to lose him to any woman. These characters are fascinating and the way that Hur Jin-ho had ended the film, different from other adaptations, is appropriate and it works quite well.

As for the Blu-ray release, the Blu-ray looks amazing. Detail of clothing, vehicles to close-ups of the characters are full of detail. Colors are vibrant and many scenes are well-lit and for the most part, cinematography by Byung-seo Kim is fantastic. Lossless soundtrack is primarily center and front-channel driven as one would expect from a dialogue driven film with ambiance of crowds being heard in the surrounds when needed. And as for special features, there are a few, including a making-of that really shows how challenging it was to make the film for the talents involved.

A wonderful Chinese adaptation of the popular French novel, Hur Jin-Ho's "Dangerous Liaisons" is sexy, captivating and a fantastic film!

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Memento (2001)

--Quick plot synopsis: A psychological thriller about a man with short-term memory loss trying to track down his wife's killer. It does an excellent view of putting the viewer on the same level as the main character by showing the movie in reverse. ie. The first scene you see is the last one in the story.

--The folks at Columbia/Tristar really went all-out to bring the viewer into this movie. The menus alone give you a perspective on the story and main character not possible in the theater. This two-disc set gives you everything you'd expect from a special edition: director's commentary; trailers; production photos; mini documentary; 5.1 surround sound, etc. But wait, there's more... It's just hidden within the maze of questions in the psychological exam that makes up the menus on both discs. If you keep searching on disc two, you'll be able to watch the movie in chronological order, which is my reason for buying this special edition. (If they don't edit this out as a spoiler, just select the Clock form the main menu, choose answer "c" five times on the questions, then put the pictures of the woman fixing the flat tire in the order of 3,4,1,2.)

Brilliantly directed by Christopher Nolan, who also wrote the screenplay based on a short story by his brother, Jonathan Nolan, this film had to be a huge challenge for all. The word "memento" means "remember" in Latin, and the story is about Leonard, so traumatized by a blow to the head after his wife's rape and murder, that he has lost his short-term memory. He's out for revenge and is looking for the killer, but, although he remembers his life with his wife and who he is, he cannot remember anything that has happened since. He therefore takes Polaroid shots of everyone he meets and writes notes on them. And he also tattoos things he wants to remember all over his body. The role calls out for an exceptional actor and Guy Pearce certainly does rise to the occasion. I found myself drawn to him, identifying with his condition, and joining him in his struggle to relate to the world.

The story unfolds backwards, an unusual narrative technique that is tricky to use. We see a scene and think we understand. And then there is another scene that has happened prior to it, and it totally changes our perception of what is going on. Purposely, it is confusing. And purposely, there are moments of clarity where it all fits together only to become even more confusing in the next scene. Carrie Ann Moss plays a femme fatal and, as we get to know her, we are not quite sure what her motives are. Joe Pantolino is cast as in the role of Leonard's buddy, and we are constantly confused as to whether he is friend or foe.

I sat there fascinated as this complicated plot unfolded, enjoying the mastery in which the director led me down different avenues of thought and also introduced questions about the moral issues involved. By the end, I was absolutely sure of nothing at all, except that I had been traveling on a roller coaster of an experience that didn't have any easy answers. While I tend to want films to have a beginning, middle and end, and a story line that is easy to follow, this an exception to the rule. I definitely recommend to those who are willing to explore this unique film, which is certainly one of a kind.

Buy Memento (2001) Now

The only film that I can think of that comes even close to the ingenuity of Memento is The Usual Suspects. Like that way underappreciated classic, Memento gives you the ending immediately, and then spends the rest of its time showing you how it got there. Each scene offers clues and various revelations--Leonard's tattoos, why he writes what he does on Natalie's and Teddy's pictures, what happened to his wife, Leonard's job before "the incident"--each of which are thrilling mini-narratives in themselves.

The acting is first rate. Guy Pearce, best known as "the one who wasn't Russell Crowe in L.A. Confidential", is Leonard, a character who will intrigue you, engage your sympathy, and might even scare you by the end. Joe Pantoliano's Teddy will have you debating his intentions towards Leonard for days afterwards. The real acting coup, however, is fellow Matrix alum Carrie Anne Moss--her performace as Natalie will make you love her, hate her, and make you fiercely protective of her.

The movie can only be watched on DVD. Keep the remote handy as you'll want to pause every now and then, if only to read Leonard's tattoos for various clues. After watching the movie, be sure to check out Otnemem in the Special Features section for newspaper articles, pictures, journal entries, and psychiatric reports on Mementos intriguing characters. They will help confirm what you think happened in the movie. DVD also offers the playful option of choosing to watch the movie backwards (or would it be watching the movie forward?). You will definitely consider the option after watching the movie. I haven't done it yet, but I can't wait to see the effect that it has on the movie.

This movie is worth the critical hype. If you enjoyed movies like The Sixth Sense, The Matrix, The Usual Suspects, Seven, Fight Club, and Dark City (some of my personal faves), then Memento will be the crown of your DVD collection!

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This review will only deal with the features found on the "Memento Limited Edition 2 Disc Set", and not the merits of the movie proper.

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My only qualm with this DVD edition is the packaging. Wrapped in a tight-fitting but flimsy cardboard box, designed to look like Leonard Shelby's case file, it's almost impossible to get the discs out on first try. I find that I have to open the back to push out the innards, which tends to warp the shape of the box. Found inside are several loose sheets of paper, which look like psychological tests, notes from the case history, and, as you will soon see, the DVD's on-screen menus. The whole thing is ostensibly held together by a little plastic paper clip, whose only real purpose, I've deduced, is to get lost behind my TV set.

The first thing one notices once Disc 1 of the DVD loads is a psychological test, asking the viewer to commit to memory a list of words that will go flashing by on the screen. Don't be alarmed. Although Chris Nolan and Co. have set up the DVD to look like a series of tests, you really don't have to read through or pay much attention to everything on the screen. However, because sometimes they can be quite entertaining, I suggest you do. "Why are these people laughing at you?" asks one question. "We know you did it," ominously states another. This edition can get trippy if you let it.

After the memory flash, you are then asked to select from a list of words the ones you didn't see. Like I said, this isn't really a test, but an ingenious way to present the disc's main menu.

Selecting WATCH plays the movie. Selecting READ allows you to choose between English or Spanish subtitles, while LISTEN allows you to hear the movie in either English or French, 5.1 Dolby Digital or DTS 5.1 Surround Sound. CHAPTER sends you right to the scene selection option. And COMMENTS turns on Christopher Nolan's Director's Commentary track.

In my review of the commentary track for "Following", Nolan's first movie, I called his delivery "monotone... somnolent at times" but that he's "so smart and precise about what he's saying you can easily overlook that and become engrossed in the content." I can say pretty much the same thing here. Except that, in some ways, it's a less effective track. Nolan spends a lot of time analyzing the story, deconstructing the main character, his motivations, the structure, etc. They are the kind of out-loud thoughts a screenwriter might use when figuring out his screenplay, but serve little purpose for a viewer watching the film (okay, I suppose prospective screenwriters will get some value out of it). It is thrilling to see how Nolan's big brain works, how he's thought through every situation, and has a reason for including everything in the movie. But it's just one note played over and over for an hour and a half. If Nolan had mixed things up a bit, included more anecdotal information, or behind the scenes goodies, it would have been a stellar track. As it is, it's got a very narrow appeal.

Disc 2 begins much the same way that Disc 1 did, except this time you are asked to view a series of pictures, and then are asked to select which picture from a list wasn't shown. This is, as I'm sure you have guessed, the menu for the additional material features.

Selecting the COMPASS shows you a behind-the-scenes photo gallery, as well as pages from Leonard's Journal. The BOOK allows you to read Nolan's script while listening to the audio track of the movie. You are even privy to the notes he made in the margins of the script, offering further thoughts on how scenes might be filmed. The GLOBE brings forth a whole mess of international promotional material, while the BINOCULARS give the option of viewing the international and North American theatrical trailers.

Selecting the SKULL starts a featurette, produced by the Sundance Channel, called "Anatomy of a Scene". Nolan, his editor, composer, producer, cinematographer, and one actor (Joey Pantoliano) discuss the whys and hows of the production. Particular emphasis is given to the opening few scenes, detailing how they were set up to gently bring the audience into the aesthetic of the film. Overall, the 25-minute segment further cements the notion that Nolan is an intelligent filmmaker, in full control of his cinematic palette.

Although not listed in the features on the DVD box, the much-ballyhooed 'Chronological Version' -playing the scenes in the order in which they happen rather than back to front -is here. Trust me. I just watched it. I'm not going to tell you how to find this version, for I think that would be a spoiler on par with giving away the end (beginning?) of the movie. But I will say that this information is available in several places online, so those of you who get frustrated with the puzzle should easily be able to obtain the answers (if not, drop me an e-mail). And I must say, "Memento" is still quite a gripping tale when told this way. But it does make Nolan's reason for telling the story his "gimmicky" way quite clear. The problem with this feature, however, is that it doesn't offer you the option of fast forwarding or jumping from scene to scene. So unless you can watch the whole movie in one sitting, you better not press 'stop'.

If you enjoyed "Memento" because it was a complex puzzle of a film, than I suspect you will enjoy this equally complex and even more puzzling DVD version. I'm almost positive that there is more to this edition than the features I've listed above. And I look forward to hunting for them in the future... or is that the past?

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Alfred Hitchcock was the master of Cinema's Rule One: 'Do not tell. SHOW.' Director/screenwriter Christopher Nolan takes that philosophy a step further in this film noir masterpiece by controlling not only the viewer's visual sense but their perception of time as well, reconstructing the protagonist's attempts to make sense of his world by reading the clues he leaves for himself (and us) and deciding who to trust in order to understand not only what occurs, but why. In effect, Nolan has rewritten the rule: 'Do not show. EXPERIENCE.'

The cast is exceptional, Guy Pearce in particular, and traditional film noir elements are executed very well, with haunting music, taut cinematography, smart dialogue, effective voiceover, and a constant search for motive. Humor is used sparingly and effectively. This is really an editor's film, and Dody Dorn deserves an Oscar nomination for editing this gem.

As for the DVD edition, it is a mixed bag. Though operationally a bit buggy, cinematically and artistically the special features are creative and fun. For instance, interesting scenes run behind the menus, and many film clips appear framed as Polaroid camera shots, both fun to watch and relevant to the film's concept. The original idea for the film was supplied by the director's brother Jonathan, who wrote a short story based on the same idea and designed the film's web site; information rendered from outside the time frame of the film, viewable on the DVD as newspaper clippings and notes by Guy Pearce's Leonard, are adapted from that web site. Also included are Jonathan Nolan's short story, an Independent Film Channel interview with Christopher Nolan, trailers from Memento and an earlier Nolan film, cast and director biographies, subtitles in English or Spanish, and a tattoo gallery (which looked interesting, but I couldn't get it to work on my Power Mac G4). I wish more DVDs would incorporate this kind of material.

I was disappointed because I'd heard that on the DVD you could watch the film as if it was shot running forward but that is not here, unless you count running the chapters in reverse from the Chapter Selection feature. I would also have liked to have seen behind-the-scenes footage, especially storyboards.

This is a great film to watch with a group (as long as they don't talk during the film) so you can talk about it afterward. Nolan and crew can be proud of this fine film. The DVD extras could have been better, but they are still fun to play with.

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Blue Streak (1999)

Blue streak was a good film, funny, good action scenes and a good cast. Martain Lawerance is always good in the films he's been involoved with, from House Party 1&2, Bad boys and Nothing to lose. This is not his best movie (as Bad boys would take some beating), but is one of his best and a lot better than Nothing to lose. Blue Streak is a solid film. Extra on the DVD lok well worth the purchase inluding an HBO First Look Featurette, music video's and the trailer.

Blue Streak is a great comedy/action movie. The movie stars Martin Lawrence (from Bad Boys) as Miles logan, a supergenious when it comes to crime. When his group decides a huge diamond from a bank that is worth $17 MILLION! One of the guys truns on them and makes the plan go wrong. Miles is the only one who gets arrested but before he did, he hid the diamond into a construction across the street. After two years of prison, Miles was finaly let out but things did not go so well. One, his girlfriend dumps him and the building that the diamond was hidden in became a police station. Now Miles has to break into a police station which happens to be the one place you would actually want to break in. Miles gets a fake ID and poses as a cop so he can retrieve the hidden diamond but it instantiousely partnered with a rookie cop, Carlson (Luke Wilson). Logan ends up having to do stuff with police department and seem to fit time to get back the diamond. One thing was for sure, Miles knows how the criminal mind works and manages to solve cases like a pro. Soon Miles has a biig case that involves finding missing drugs. Logan other problem is that he knows his old friend Deacon(Peter Green, the guy who turns on him in the beggining) is still after the diamond and knows Miles is too. Miles has to worry about things.

Overall, I think Blue streak is a good comedy that you will love. Buy it cause I know youll love it.

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I admit, I'm not a very big fan of Martin Lawrence. I don't find his type of humor very funny and do find it crude, unoriginal, and rude. Unlike, say Richard Pryor, there is no wit in Lawrence's comedy. He goes for the lowest level of humor and does not seek any depth or to grow.

However, I was pleasantly surprised by BLUE STREAK. The film stars Lawrence as a jewel thief named Logan who is sent to jail when a heist goes sour. He hides the jewel in a building under construction, but when he returns to the site two years later after serving his time in the pen, he discovers the building to be the site of a new police headquarters. So, he goes "undercover" as a cop to get his "baby" back and along the way nabs crooks and impresses the rest of the force.

The premise of the movie has been done before, but for the most part works here. However, the movie works best when Lawrence is interacting with other actors. When left by himself, the action halts and the film loses continuity (like in the pizza delievery scene). Nevertheless, the movie does have a few moments and rises above it's major flaws.

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Martin is just to funny in this movie. This is the perfect role for him. Nobody could of done a better job in this movie. You'll laugh hard... so be careful...

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Martin Lawrence once again stars in a outstanding comedy, the plot is already interesting and the movie itself is very easy watching and pleasant, the actors are all great and Martin is just too funny. You won't get borred one minute.

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Indiscreet (1958)

Indiscreet is one of my favorite Cary Grant movies of all time!

Ingrid Bergmand & Cary Grant are at their all time most charming selves in this light-hearted romantic comedy. Bergman, who has shown her talents in suspenseful thrillers such as Notorious, is surprisingly outstanding in comedy! Will Anne (Bergman) who plays a famous stage actress and Phillip (Grant) an international financier get together? In the course of finding out, you will be delighted with the amusing interactions & banter which so accurately characterize men & women in romantic relationships. Ingrid Bergman is stunning and stylish and her apartment is to die for. Grant is debonair and charming as always. The lines in this movie are timeless! A favorite scene includes watching Grant dance with Bergman at a ballroom type function. This is a movie you can watch again & again and love even more each time.

From the first frame of the opening credits it was clear that the transfer was from a poor quality master and that no restoration had even been attempted. The picture is morbidly dark throughout. The sound level is atrociously low I had to turn up the amp nearly to reference level to understand the dialog. The soundtrack was harsh, with strings braying like castrated trombones. The picture popped out of focus at least a half-dozen times, and on at least two occasions large black blobs sullied the picture. Republic/Artisan pat themselves on the back BOTH before and after the movie, for what I do not know. The announcement following "The End" startles, since it and it alone is recorded at the proper level.

I just A/B'ed this DVD with the "35th Annivesary" widescreen VHS and except for sharpness (which is lost in the darkness anyway) the Video wins hands down: the sound is at an appropriate level, and the vividness of the (Techni)colors is astounding.

This one's definitely going back, and I'm afraid to open the copies of Operation Petticoat and The Grass Is Greener which were released at the same time as installments in the "Cary Grant Collection". BTW, none of these are marked as anamorphic so I'm assuming they are not.

Republic/Artisan: what the heck were you thinking?

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I just bought this because it is one of my favorite movies and my VHS tape was kaput after so many viewings. DO NOT BUY THIS DVD!! It is supposed to be widescreen, digitally remastered and close-captioned. It is NONE OF THESE THINGS!! The film is full of lines, snow, etc. No re-mastering here. The menu only contains scene selection and play movie. If I thought I could get my money back, I would send this one back. It is most definitely NOT as advertised.

Read Best Reviews of Indiscreet (1958) Here

'Indiscreet' from 1958 is the 2nd of four films Cary Grant made with the very talented director Stanley Donen and his 2nd film go around with Ingrid Bergman. For Cary Grant fans (of which I am one) this film is a must own. Yes, this film is a product of it's time and many younger viewers may think it is a pointless bit of fluff. Even so, it is still as good or better than most of what now passes for "entertainment"! Showcasing Cary at his debonair and comic best , 'Indiscreet' while a slightly uneven film for some, has all the elements of a classic and Cary Grant's personal favorite from all of his 77 films. It isn't mine, but Cary Grant IS my absolute all time favorite and as such this film holds an honored place on my shelf.

The five stars I award are not for the transfer, but for the overall value of the package. For many it would be worth even more after the price drops in a month or so. With that said, this review will focus mainly on the video and audio quality, plus any extras included in this Blu Ray package.

Let's cut right to the chase here. How is the picture quality of this release and is it a worthy upgrade from your VHS or DVD copy? Picture quality is "ok" with the transfer faring much better in the last half of the film. Olive Films has done an admirable job here by NOT adding any edge enhancement or DNR. ON the other hand, they have not done any color correction or noticeable restoration. (If only Robert Harris could have got his hands on the original film elements,then we would be talking about a different transfer altogether) Also it is noteworthy that Olive Films encoding of 'Indiscreet' appears top notch. No actual transfer problems that I could detect , so while not much was done to clean up and restore this title to it's former glory, it has not suffered any new abuse.

If you have seen 'Indiscreet' lately on HD cable, then you have seen this transfer. Of course it doesn't suffer from the compression artifacts of cable TV (I have Verizon Fios which is very fast but still very compressed) and you get 24 frame motion rendering. Colors go from very nice, to faded and back again. Ingrid Bergman is shot in soft focus for much of the film and things suffer somewhat as a result. There are scenes that look abysmal, and other scenes that look top notch and sometimes they go back and forth during the same scene. If you were hoping for or expecting a top notch rendering of this film on Blu Ray, it sadly is not the case.

One glaring issue I have with this transfer is we are given the first few minutes (the title cards) in the original aspect ratio and then, as with the HD cable TV transfer , the film is cropped on the top and bottom and zoomed to fill your 16:9 HDTV screen. This not only gives us the wrong aspect ratio and messes with the directors picture composition, it also cuts into some of the resolution by zooming an already substandard picture. ON my Oppo BDP-95 I am able to use "Under Scan" to slightly shrink the entire picture area and improve resolution. I also have the option to shrink the picture size IN HALF and when I do that the PQ is REALLY great but the movie is "window boxed" and annoying to watch that way. Oh well, I assume the file Olive Films released was sent to them this way and that is how they had to put it out for us.

However, this IS the best 'Indiscreet' has ever looked for the home video market or is likely to EVER look unless someone decides to invest heavily in a full restoration. I enjoyed watching it from start to finish once I accepted the limited quality of the source materials Olive Films had to work with. It could have been a LOT worse and honestly it isn't all that bad. Just don't purchase this expecting anything close to perfection. ON a scale of 1 to 5 I would give it a 3 to 3.5 for video quality although it occasionally reaches up into the 3.75 range. I own far worse transfers and since this is Cary Grant I had no choice but to purchase and force myself to overlook any shortcomings on the video front. For comparisons sake, the Blu Ray Criterion transfer of 'Charade' is much better. For now, 'North by Northwest' and 'To Catch a Thief' remain the very best Cary Grant titles on Blu Ray, at least in regards to picture quality. (honorable mention to 'An Affair to remember' but "CinemaScope Mumps" keeps that off the top of my list)

*****I want to add that the Blu Ray case is NICE and solid and NOT one of those dreadful "Eco-Cases" that are more air than plastic! Your investment will be well protected in the case provided and for that I am grateful.

How about the sound? Thankfully the included DTS-HD Master Audio MONO track is just fine. Nothing special but it is uncompressed with no annoying buzzes or ground loop hums. You can hear the dialogue and there is no need for any surround activity. (which is fine since you won't be getting any! Ha Ha )

There are NO special features on this disc.

'Indiscreet' sits firmly between such films as "To Catch a Thief' and 'North by Northwest'. I'm not quite sure WHY Mr. Grant loved this film so much, but I do enjoy his dancing and mugging and there are a few choice lines he delivers that only Cary could get away with. I have looked at various screen shots posted on the web of this release and I can tell you it looks MUCH Better in motion than any screenshot would suggest. This is a worthy upgrade to previous versions of this film and if you are a Cary Grant or Ingrid Bergman fan (or Stanley Donen for that matter) then it is a no brainer and a must purchase! Recommended for fans!

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Although this is not one of my all-time favorites, it is still a funny and charming film. In many ways, it is not as good as many of Cary Grant's earlier screwball comedies...but that can also be a matter of personal taste. The script is not as witty and frantic as the screwball comedies, but the movie is more romantic and is given a real sense of warmth by the affectionate behavior of Cary Grant and Ingrid Bergman.

Essentially, Indiscreet is the story of a romance between actress Anna (Ingrid Bergman) and diplomat Philip (Cary Grant). There are several surprising twists and turns, and to explain anything more would be to give too much away.

Anyhow, one reason Indiscreet is such a nice film is that the real life friendship and warmth between Cary and Ingrid comes though very well, and they are very believable together! Indiscreet also has several funny scenes, especially the one in which Cary does a hysterical tap dance at a fancy ball. The two stars seem to be having fun, and you will too while watching them. This film is good for the whole family, and is very enjoyable: highly recommended.

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Tsotsi

It's so great to finally see a major feature film that shows Africa from an African perspective, as opposed to through the prism of Western eyes. Another recent well-deserved Oscar winner (Best foreign language film) I just had to have in my collection; this is a violent and uncompromising look at life in a Soweto township.

Presley Cheweneyagae plays the lead, a Johannesburg small-time gangster whose nickname Tsotsi means "thug". I read somewhere that Presley was discovered playing Hamlet in a Soweto theatre group. He's a find in a million, as his performance is mesmerising.

Tsotsi finds a baby in the back of a car he's just jacked off a suburban black woman as the woman waited for the security gates outside her home to open. He doesn't do the expected and simply dump the baby at the side of the road surprisingly, he decides to take it home and care for it. He hasn't a clue how to care for a child of course and he turns to a local woman who makes decorative mobiles from glass. She's a nursing mother herself, and under the threat of death, mind you Tsotsi gets her to look after the child while he goes back out there to do his thing.

It's an interesting study of how complex life is for people who don't have much and while the movie doesn't make excuses or descend into sentimentality at any point, it's engaging to gradually see the heart of the man called Tsotsi a man who at first glance seemed utterly heartless emerge for all to see. It's a great story, based on the novel by South African playwright Athol Fugard, and the final scenes had me (literally) on the edge of my seat the first time I watched it. Gavin Hood makes good use of Johannesburg's urban setting and the natural beauty of South Africa. I strongly recommend this movie. For anyone who might not know and who may have an interest, this is an authentic slice of African life.

TSOTSI is a jewel of a film, well deserving the Academy Award for Best Foreign Film of 2005. Though set in Johannesburg, South Africa, the story is unfortunately so universal that the film could have been made in any country in the world: the lost children of abusive parents who survive life by relying on crime fill the streets of the poor neighborhoods of all major cities. TSOTSI is a tragedy but it carries a sense of hope and redemption that makes it a powerful statement indeed.

Tsotsi translated, means 'Thug'(Presley Chweneyagae) is an amoral youth who heads a gang of four: Boston (Mothusi Magano), Aap (Kenneth Nkosi), and Butcher (Zenzo Ngqobe). The gang steals and in general leads a life of dangerous existence, a life that abruptly alters when the gang robs and kills a gentle older man on the subway. They are on the run now and Tsotsi isolates himself further when he brutally beats Boston. He descends further into the abyss when he steals a car in the wealthy neighborhood, shooting the woman driving, and then discovering that in the back seat is an infant. His childhood flashes before his eyes and he finally shows a degree if buried decency when he takes the child with him as he abandons the stolen vehicle. Young and inexperienced in child care (his own childhood was riddled with hate and abuse), he seeks help from a young woman Miriam (Terry Pheto) who has an infant of her own (with no father) and serves as a wet nurse for the child. The manner in which Tsotsi gradually reconciles his bad life with his nascent response to recognizing kindness and salvation advances the story to its conclusion.

There is far more to the story than this short synopsis would indicate: there are levels of probing into the mind of the youthful criminal and the making of a gangster and the interaction among thieves and the changes that situations can alter that are beautifully written by Director Gavin Hood based on the Athol Fugard novel. The script is terse and much is left to the physical expressions of the characters, each acted to perfection by a stunning cast. The outsider living situation of these people is filmed with tremendous atmosphere and creativity by cinematographer Lance Gewer and the musical score by Paul Hepker and Mark Kilian serves to support the mood and action well. This is a tough movie to watch because of the reality of the issues: this is a superlative film to experience for the message it offers and for the wholly unforgettable acting of young Presley Chweneyagae and Terry Pheto. In Zulu, Xhosa, and Afrikaans with English subtitles. Highly Recommended. Grady Harp, August 06

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Though "Tsotsi" is set in South Africa and the milieu, to the American eye, is as exotic as a film set on the Moon, the concerns are Universal: the loss or disconnect of ones parents, the longing for a parent's love and caring, a governments lack of concern for a citizens civil rights.

Tsotsi (Presley Chweneygae) is a hood, a young man who kills and steals without any apparent concern for what he is doing and why he is doing it. His face and eyes radiate mostly hate and disdain. He is psychically and emotionally detached and removed. Then, one day he steals a luxury car, shoots the woman to whom it belongs and realizes, once he drives the car away, that there is an infant in the back seat.

This beautiful, innocent child forces Tsotsi ( really named David) to face the loss of his Mother, the uncaring, drunken non-concern of his father and the deep seated, mostly ignored or glossed , psychically ignored feelings with which he hasn't been able to deal.

Director and screenwriter Gavin Hood (adapted from a novel by Athol Fugard) has fashioned a traditionally structured film and peopled it with non-traditional characters and it works because we can all relate to Tsotsi's dilemma. And it doesn't hurt to have Presley Chweneygae as your lead character. The first time we see Tsotsi on screen he looks at the camera with his huge black eyes: eyes that are filled with superiority, despair, disgust and hurt. When he first sees the infant his eyes and face fill with wonder and awe at the utter helplessness and innocence. It is this disparity and friction that makes the film crackle with fire and well observed life.

"Tsotsi" is not a revolutionary film like say the similarly themed "Children of God" but it is a very emotionally effective and socially aware one and Presley Chweneyagae's performance is so natural and truthful that it makes you wince with recognition and empathy.

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Tsotsi is one of the intense films I have ever seen. In every moment an emotional explosion is in the making. The story concerns a young, ruthless, petty gangster in the poor settlement of Soweto on the outskirts of Johannesburg. Without giving too much away, the movie begins with a senseless and brutal murder and Tsotsi is introduced as a vicious thug without a trace of remorse. But, when he accidentally acquires a baby, a wellspring of memories of a tortured childhood open up for him.

The young man playing Tsotsi is not a professional actor, but does a superb job in the role. Another star of the show is the ghetto of Soweto with its patchedtogether houses, long lines at communal wells, drugs and drink -in short a mass of seething humanity. A redemptive feature of this environment is a young mother Tsotsi meets who is decent, pleasant and will probably slowly make her way out of the worst of ghetto life. The prospect is not one of unrelieved pessimism.

White people play little role in this movie. A police inspector on the trail of Tsotsi is the only major white character. Tsotsi and his colleagues prey on their own kind, who appear for the most part to be "colored" in the racial parlance of South Africa. "Tsotsi" is beautifully made, with not a wasted moment. The atmosphere is one of steadily building tension toward an nail-biting climax.

Smallchief

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***THIS REVIEW MAY CONTAIN SPOILERS***

Many movie reviewers view foreign language films with a smidgin of contempt. There's an underlying current of the "why do we have to put up with these things" type mentality, especially from U.S. reviewers. It's not entirely self-evident when reading these reviews, but you get that feeling deep down that American film makers, producers, marketers, and reviewers swallow these foreign film pills with a hint of displeasure. I'm sure much of that discomfort comes from the fact that some of these films drain a certain percentage of money out of their deep pockets. Personally, I say "More power to `em!"

The reason I bring this up is because TSOTSI is one of those films that could've taken off in the American mainstream had it had a significant marketing budget. It did, after all, win multiple film festival awards, snagged the American Film Institutes Audience Award and Grand Jury Prize Special Mention, as well as picking up an Academy Award for Best Foreign Language Film. But because of the mentality of movie makers in the fabulously wealthy Hollywood arena, marketing of these vitally important foreign imports often gets hamstrung in favor of such film dregs as DATE MOVIE and THE 40 YEAR OLD VIRGIN. I don't say these things without any source. Go up and ask your average young adult or teenager about TSOTSI and they'll more often than not simply stare at you as if you'd just requested they give you the mathematical equation for nuclear fission.

There's something to be said for these low-budget films (although I'm not sure what TSOTSI's shooting costs were, I feel confident it didn't come close to the two dregs I mentioned above). These little-known gems give us stories that go beyond our normal film viewing range. And TSOTSI is one that I'm proud to say I watched with joy (this is a also disturbing and I'll tell you why in a moment).

Tsotsi (Presley Chweneyagae) is a thug in South Africa. He's your typical amoral gangster who doesn't have a shred of "decency" in his young body. He also has a group of stragglers who follow him around like puppies, putting pressure on Tsotsi to come up with their evening's entertainment; they steal, they rob, they kill. But one day, when Tsotsi decides to do a job by himself, he makes a moral mistake (and I mean he makes a mistake according to his own moral code, which is to say he causes something good to come out of something terrible). He shoots a woman after stealing her car and drives away with a new BMW. But as he travels awkwardly down the road (he doesn't drive very well) he hears a cooing sound in the backseat. Startled, he turns around and discovers a baby in a carseat. Initially unsure of what to do, he takes the baby home with him and nurtures the child as best he can (which isn't very good). He soon learns that he has to watch the baby closely; ants attack the infant, and it gets hungry and poops constantly and needs to be bathed. Tsotsi forcibly procures the assistance of a widowed neighbor who recently had a child. He convinces the woman -at gunpoint -to breast feed the child and threatens to kill her if she tells anyone about him and the baby. A strange relationship develops between these two as the film progresses.

Torn by his own poor upbringing, Tsotsi has to decide what to do with the child when he learns that its mother is still alive. The police, too, are closing in on him and his gang of thugs have disbanded. Tsotsi's choice to care for the child has put him on a path of physical destruction, but has also led him to deeper choices, those of compassion and morality.

In the end, Tsotsi battles his internal demons in order to make the right choice for the baby, and it's a startling realization. We watch a person we absolutely loathed in the beginning of the film turn ever so slightly into a "decent" young man, and it's disturbing as a viewer (for me, at least) to empathize with someone initially devoid of humanity. But that's where TSOTSI succeeds and so many American films fail. American movies want you to see most things in black and white ("Here's the good guy and here's the bad"). But TSOTSI brings us into these lives and does so without spoonfeeding us what's right and what's wrong. The gray areas are sweeping and uncomfortable, something that packs an emotional wallop at the end of the film (I was bubbling like an idiot as tears streamed down my cheeks).

TSOTSI deserves the little notoriety it's received. In fact, it deserves much, much more.

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