The Courier

The Courier is similar to "Transporter" with maybe a touch of "The Usual Suspects." The Courier(Jeffrey Dean Morgan) lives and works in New Orleans and appears to live well below his means. He does have a magic Hollywood watch that makes countdown noises only when a camera is on it.

The Courier is made an offer he can't refuse. He has 60 hours to deliver a case to Evil Sivle a notorious hit man people said had died and was brought back to life by voodoo so he can take back what was once his. His whereabouts is unknown. The Courier is aided by street smart Anna (Josie Ho) who is not his usual partner.

Mickey Rourke plays Maxwell a man connected to Evil Sivle, whose face is obscured for most of the film. Morgan comes across as scruffy Morton Downey jr.

As the plots develops and the body count increases, the Courier discovers this is not an easy task as Evil Sivle is "the last face that men see". Evil is just a state of mind we are told.

The ending is supposed to tie the mystery together. It does, but leaves you scratching your head like just watched the ending of "Smokin' Aces." The film had all the parts of a crime/action/mystery/thriller, but fails to bring it all together.

F-bombs, no sex, no nudity. Torture. 3 1/2 stars

Jeffrey Dean Morgan (`Comedian' of "Watchmen") is the Courier, a man with no name, who will deliver anything, anywhere, with no questions asked. One day a man in black suit (Til Schweiger) arrives and forces him to accept an impossible job: delivering within 60 hours a package to Evil Sivle, a mysterious man feared in the underworld. No one knows where he is, not even his face.

The Courier starts his investigation with Anna (Josie Ho), an adapted daughter of Stitch (Mark Margolis), a New Orleans boxing gym owner and friend of the Courier. But someone is not happy about this, sending out a professional assassin team, sadistic Mr. and Mrs. Capo (Miguel Ferrer and Lili Taylor). Mickey Rourke also briefly appears.

"The Courier" is a throwback to the 1970s-style action movies, with a lonely and vulnerable protagonist. You don't have a modern, upbeat, action-packed storyline here. "The Courier" literally means a transporter, but you don't see car chases or martial arts combats of Jason Statham movies. Jeffrey Dean Morgan's hero is more like a less charismatic version of Gene Hackman.

The moody photography by Antonio Calvache ("In the Bedroom" "Little Children") perfectly captures the atmosphere of New Orleans (where most of the story takes place). Also, acting is decent, but "The Courier" loses steam fast, heavily reliant on clichéd situations (hacking FBI database, etc.). Most supporting players are wasted, especially Miguel Ferrer and Lili Taylor, whose characters do not make much sense.

Finally, "The Courier" is directed by Hany Abu-Assad best known for Oscar-nominated "Paradise Now" (2005). Sometimes directors of critically acclaimed foreign language films are hired to direct English-speaking films, and the results are often far from satisfactory (Jean-Pierre Jeunet, for instance). This is exactly what happened to "The Courier," a bland and insipid action that wants to be a character-driven thriller, which it fails to be.

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We got to see this excellent film at the local art house cinema not too long ago. I found it enjoyable and action-packed from the very beginning until the end! Not for the kids, because of language and violence, but recommended for adult audiences that enjoy a great film with plenty of character!

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I adore the actor...a bit violent for my taste but I'd watch any movie with him or not, even though violent movies don't appeal to me, he sure does ....

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Interesting movie certainly worth purchasing. Excellent acting by Jeffrey Dean Morgan. The plot is an interesting one and also an interesting conclusion.

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Saw III (Unrated Edition) (2006)

I'm not even going to bother going over a synopsis of the plot. All you horror fans need to know is that this movie surpasses the first film, but in my opinion, it doesn't stand up to the second film in terms of suspense. Saw 3 is the goriest, most disturbing of the films. It seems like 2006 was the year of gore! First came Hostel, with it's torture and blood, then came The Hills Have Eyes, with it's rape, animal killings, parent killings and brutality, and now comes Saw 3...With it's flesh tearing, bone breaking, head twisting, gore splattered shock-fest. I have NEVER, in all my years of watching horror, had to actually cover my own ears and close my eyes while watching more than one scene in a movie before this one. The opening scene had me squirming in my seat with my lids tightly shut (after 15 seconds into the scene I had to mute the tv because I was so grossed out by the noises) and the scene involving a victim trapped in a device that "TWISTS" every limb on his body until the skin tears and the bones break made me want to literally vomit. But, still, the movie was very suspensful and horrifying. It kept you watching and interested. If you can stomach extreme gore and terror then you might enjoy this film. I have to admit that I REALLY hated the ending though. I can't even explain how upset it made me, but overall, the movie was very scary and disturbing. Better than the first, not as good as the second...give it a try...but do it on an empty stomach!!

Not being an avid fan of the first Saw and disliking a lot the second one, I nevertheless was very surprised in a good way about the third installment. Yes, it's utterly relentless and gory, I saw people covering their eyes with hands in a theater, even I winced a couple of times although I had seen many of the films alike. But what I liked the most here was not the brutal nature of Saw III (and it's quite important for the fans when a movie lives up to its R-rating, so that they can say money was spent wisely) and not even the intricate story-line that keeps you surprised and on the edge of your seat all the time. Not the final twist which was expected of course but surely you didn't know what it would be exactly.

The main merit of the third part is that it doesn't appear to be a usual stupid sequel that lacks ideas, it brings some new sense into the series, glues all the three films together making a perfect trilogy out of it which now can be watched as a one big 5-hour film. There's plenty of flashbacks here that explain a lot from the second and even the first part, and some things become clear that were not in the ends of previous series. It really takes talent to make a movie that not just stands alone, but adds a lot to the other parts and completes them. Guys that were making it are true professionals and real maniacs :)

And apart from being as it seems overly gory and graphic Saw III can boast of being rather thoughtful too. The evil genius of Jigsaw (and of the makers of the film) made the characters (and us along with them) think about rage and its manifestations, about revenge and people's insatiable urge to punish those who took their beloved ones. By quite simple examples inclusive of flesh-ripping, bone-crushing, joint-wresting etc. the killer himself shows us killing is bad. Those will survive who don't succumb to the desire of payback. Only forgiving can grant forgiveness for ourselves. And that's the rule for everyone, even for the evil manipulator's apprentice, and it can't be broken. Otherwise death awaits you as well as your victims. In this movie Jigsaw is seen not as an ordinary killer maniac, but as some kind of a teacher if you will. So this time his puzzles must be solved not only using strength, keen wit and will to live, but also by testing your own virtue and that's something new for this kind of flicks, don't you agree?

I don't know what they will do with Saw IV, because the third part wrapped it all very nice making a perfectly neat structure of a trilogy. I'd leave it like that. You can top previous parts in respect of blood and guts, but it'll be pretty hard to keep the same level of thoughtfulness the third part established.

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To start, let's review the film itself.

The Jigsaw Killer is back, and he's got new test subjects to toy with. With the help of Amanda, his new apprentice, she sets the stage for their two unwilling participants in his twisted game: Dr. Lynn Denlon and Jeff Reinhart. Before the night is over, one will have the chance at life, another will have a chance at revenge, and another will have the chance for redemption. There's not much else I can say without spoiling the plot, and since this review is geared towards why this 2-disc DVD treatment is superior to the previous versions, let's move on.

Saw III has more plot twists than you can shake a broken arm at, and this film doesn't have too many characters to bog down the action as in the previous film. With a running time of 120 minutes, the Director's Cut of Saw III has more gore and violence than the last two treatments. If you think the directors have run out of trap ideas, believe me when I tell you that there are plenty of moments that caused seasoned horror movie fanatics to cringe and wince at the tortures unfolding before them on the silver screen. If you have already been introduced to the 'Saw' universe, Saw III is required viewing.

As for the DVD treatment of the movie, it's common knowledge these days that the first version of a DVD release is typically not the one with the best features, or the most complete version of the film. The most complete version comes later. The best example I can think of is the Blade Runner (Five-Disc Ultimate Collector's Edition) I had to wait 25 years for that.

Thankfully, Saw III got the best DVD version (so far) within a year.

When you open the DVD, you're treated to a certificate allowing you to see Saw IV in the theaters for free. However, the ticket was only good until November 10th of 2007. Even if you buy this DVD after that time, the certificate makes a nice collectable for Saw fans.

When you put in the first disc, you have to wade through 5 movie advertisements before getting to the main menu.

At the main menu, there is an endless one minute loop of "Killer Inside-Messed Up World" playing in the background. It's my belief that DVD menus shouldn't have music playing, and this is a perfect example: The song is WAY too loud. I'm sure it was put there to direct viewers to the music video on the second disc but it's simply an annoyance.

Some of the features on the first disc include:

-Audio commentary by Leigh Whannell, the co-creator of SAW.

-Audio commentary by Director Darren Lynn Bousman

-Audio commentary by Tobin Bell (Jigsaw) and Shawnee Smith (Amanda)

There's one choice in the special features section for "D-Box, Mastering Motion" this is a shameless promotion for a company that offers a new way of experiencing motion in movies with special chairs/helmets/etc.

On the second disc, there's a mixed bag of special features.

First, we start with "Jigsaw's Plan", a trivia game that tests your knowledge of the three Saw films to date. However, the questions are not randomized and if you get one question wrong, you have to start all over; making the replay value of this feature almost non-existent.

Nest, we have "Choose the Death" which allows us to view the scenes of 10 Saw traps from Saw 2 and Saw 3 with commentary from the director. Not a bad feature.

The next feature is "Looking Tortured" I'm not sure who came up with this idea, but it was a pleasant little surprise. 4 people are chosen to have makeup applied to emulate their 'Saw' counterparts. The viewer is shown from start to finish how to create & apply the makeup to look like the perfect Saw victim. Anyone who wants to spend $25 on a Halloween costume can watch this and make a better one themselves.

Hydrovibe offers us a music video of "Killer Inside-Messed Up World" with Shawnee Smith offering additional vocals. This video wasn't bad, but it felt like it was tacked on at the last minute. You'll probably find yourself saying "Hey, isn't this that annoying song playing in the background on the first disc?"

"Filmmaker Faves": This feature is totally unnecessary. Do you lay awake at night wondering about Leigh Whannell's favorite line/scene/trap of the Saw series? This is good for trivia night, but it's really not needed. Plus, the font of the lettering is hard to read here.

The last feature is a "Sneak Peek at Saw IV". This scene is mainly to wet the appetites of those folks eagerly awaiting the next Saw movie to come out on DVD, and they will not be disappointed.

The first batch of SAW III DVD's were out in January of 2007, The "Unrated Edition" and the standard edition. Both of these DVD's had features that did not make it to this version, such as some deleted scenes, commentaries, and trailers.

If you are looking for the longest running, most complete version of Saw III, this is the version for you.

Gift Card or Credit Card...make your choice.

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I am not usually attracted to this type of film...slasher/horror flicks, that is. I find most of them a waste of money and time, to be honest. This is why I was genuinely shocked at how I truly loved the first two "Saw" films, realizing they exercised absolutely brilliant examples of film-making, acting, and special effects. Both films had a genuinely awesome screenplay with well-written, realistically portrayed dialogue...and of course, forgetting the almost-too-intense amounts of suspense both films lavished upon its viewers would be criminal. Some of the scenes in those films brought on the nail-biting suspense I hadn't felt since Ridley Scott's "Alien." I remember being sick with jealousy after watching the first film that novice filmmakers James Wan and Leigh Whannell could create such a brilliant, intricate, breathtaking horror film that had just the right amounts of blood & guts mixed with a truckload of otherworldly suspense. I remember after watching the second film that Darren Lynn Bousman seriously has got a future on his hands with an exquisitely directed "Saw II." So, naturally, I felt more than compelled to view the third installation of the "Saw" franchise before the fourth film hit theaters. Described as "staggeringly violent" and "sadistically horrific," along with the true incidents of audience members vomiting and fainting in the theater, I felt less and less excited about the third Saw film, and began thinking it was nothing more than a Halloween horror film face-off between Saw III and Hostel to see which film could possibly be more sickeningly violent. In addition, I began to think "How could a third film possibly live up to the caliber of the first two?" After viewing the third film, I really wasn't sure what to think of the theory of the film being violent just to be violent. But here's what I generally thought of the third installation to the brilliant "Saw" franchise. The interlocking two-part story deals with a fatally ill Jigsaw capturing a doctor who must keep him alive for however long it takes for a man, who is psychologically insane with his lust for revenge for the drunk driver who killed his son, to maneuver through a series of Jigsaw's infamous "traps." Jeff, the man, is not actually in the traps, though--it's the people who he's been vengeful towards regarding the death of his son--for instance, the judge who locked away the killer for only a short period of time, and witnesses who didn't do anything. Jeff has the power to stop these traps--find it within himself to forgive them. Either that, or watch them get slaughtered in ways too shocking to write about in this review.

That said, Saw III is definitely a step up when it comes to the gore meter compared to the first two films. Some of the traps are so sickening you feel compelled to turn away from the screen. People vomiting in theaters, though, is a gross overreaction. I ate pizza while watching and I wasn't really nauseated or anything. Don't let that fool you, though--Saw III is extremely violent and the violence in the first two films is pale compared to it. There are plenty of moments where I cringed and thought to myself, "Holy crap, that's just wrong." While a part of me wants to condemn the film for being so excruciatingly violent, I can't help but think the violence was a necessary aspect to the story. You'd really have to see the film to know what I'm talking about here, but anyway, Saw III might've competed with Hostel for "most violent award" but the gore wasn't extremely over-the-top or too intense to watch.

Which brings me into my next point--the storyline. As I said in the first paragraph, the story lines for the first two film blew me out of the damn water with their brilliance. This is where the third film declines--and steeply, at that. The development of new characters is handled extremely poorly and in the end, you really don't give a flying crap who dies and who is left living (extremely unlike the second film). The acting is both up and down at different times. Shawnee Smith (Amanda) and Tobin Bell (Jigsaw) are absolutely top notch, as always. Smith's performance, especially towards the end of the film, sent chills down my spine and Bell never fails to disappoint. Yet, literally every single other actor/actress in the film didn't deliver, and that for me was major point loss.

I liked the directing, editing, and cinematography. Especially the cinematography, which reminded me immensely of the 2004 Denzel Washington action flick "Man On Fire," also dealing with the human spirit's lust for revenge at the loss of another. Fortunately, Darren Lynn Bousman's above-average skills as a film director manage to balance a close-to-falling Saw III and keep it shakily on its feet. Again, I blame this on the weak story. Yet, it is hardly fair for me to completely condemn the story. The screenwriters did a very good job incorporating flashbacks into the film, and explaining elements from the first two films that may have been considered plot holes in the past. This aspect to Saw 3 was immensely enjoyable and made for a good film.

Though, the ending was also very poor, in my opinion. It is very depressing, unhealthy, and unsatisfying like a Big Mac. You almost feel at a complete loss--the events building up from the beginning of the film (and, for that matter, the other two films as well) end up--like this? Bleh. Been there, done that. There also is no shocker at the end, unlike the first two films which each had shockers that pretty much blew the brains out of your ears and left you speechless and unable to move.

Still, though, Saw 3 is a decent film. But it should be understood that unless you are EXTREME fans of the first two films, as I am, you should stay away from this movie. You'll be revolted and disappointed, to say the least. But for hardcore Saw fans, it should be rather pleasing. I don't think "Saw 3" was a great film, But it certainly is decent and I've seen FAR worse. I have hopes for the fourth film that it may redeem the third film and restore the hopes of me and a million others that a great movie--turned into just a decent one--can be brought back to greatness.

3-Stars

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The original "Saw" was everything a horror film should be. It had gore both implied and explicit, twists and turns in the plot, and characters that the audience didn't particularly want to see die. Then came along Saw II, which ramped up the gore factor considerably, and while it had its moments, it was obviously only there to make money off of the success of the original. Now the horror genre has been graced with the third offering in the series, which is firmly in Friday the 13th and Nightmare on Elm Street territory. The series is now officially a parody of itself, and its continued existence is only assured as long as it remains a cash cow (which it will).

The main problem with Saw III is that Jigsaw and his apprentice Amanda are no longer believable villains. They exude no sense of terror or aura of fear, as they are creatures that simply could not exist in reality. Jigsaw has essentially become the God of the universe. He knows every minute detail of every person's life. He knows where everyone sleeps, how they take their coffee, how long it takes them to drive to work, when the best time to break into their house to plant cameras would be, how their relationships with their spouses and children are, what color underwear they buy, etc. Both Jigsaw and Amanda are also expert locksmiths, pharmacists, and engineers. With no funds at all, they can craft any torture device of any size in minimal time. These devices are also so expertly crafted that they can be deactivated and removed with one small padlock, even if the device is fully covering a person's entire body. These villains are no longer scary because there is obviously no hope of survival at all. No matter how physically strong or prepared a person is, they cannot avoid being captured by Jigsaw, and they have no chance of escaping his traps alive.

Jigsaw is portrayed as a sort of avenging angel in this movie. Out of all the characters, he is the most rational and detached from emotion. The overall tone of the movie almost implies that he is correct and that everyone should just submit to his will and change their lives according to his system of beliefs. The problem with this logic is that if Jigsaw's beliefs are applied to his own life, he should be the one stuck in a deadly trap. His whole point in capturing and torturing people is to show them that they have been wasting their lives and they need to start living and being happy with their lot. He states that one character was chosen because she spends her life doing nothing but trying to save the dead, while her family life is dying. However, this exact same sentence could be applied to Jigsaw. He spends his life trying to save others from emotional death, and this obsession has obviously killed him inside.

Even with all these problems, Saw III does have some merit. The gore in this entry of the series is simply out of control, and exceedingly well done. The tone of the gore has become even more sadistic than in Saw II. An early scene involving chains that have been run through a man's flesh, including his jaw, is absolutely stunning. Pretty much everyone will cringe or look away when he starts ripping the chains out of himself. The final major trap, dubbed "the rack", is one of the most diabolical devices put on film in recent memory. The script is also better than anticipated, and it neatly brings the series full circle, connecting several events that didn't appear to be connected before.

The parallels between Friday the 13th and Saw are occurring with increasing frequency. Jigsaw and Jason both kill in retribution for people not agreeing with their view of how the world should work. While Jason punishes those who do drugs or have pre-marital sex, Jigsaw punishes those who have squandered their lives. Both are unstoppable, invincible whirlwinds of death who can sneak up on anyone, no matter how implausible the situation. Like every Friday the 13th movie ever made, even though the ending of Saw III completely ruined any option for a sequel, Saw 4 is currently in production. Obviously Jason, I mean Jigsaw, will rise again to continue torturing those who don't agree with his world view.

I'll be skipping that one.

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Nura: Rise of the Yokai Clan Set 1 (2013)

May we never get too old for Shounen Anime.

Rikuo Nura seems like an normal middle school student. After school, he hangs out with his friends in their special club a club dedicated to finding Yokai, Japanese Demons. Unknown to them, Rikuo is destined to be the head of the Nura Clan, and lead the night parade of a thousand demons. Though he vehemently denies his demon blood at first, pressure from his clans enemies push Rikuo to make a decision.

It's hard to judge a Shounen Anime, because the earliest installments don't usually reflect the series's full potential. These early episodes have simple plots somehow Rikuo's friends are being threatened by demons, and he miraculously transforms into his night form to save them right in the nick of time. None of his enemies try attacking at dawn after he's revered back to his human form. A cynical viewer might find it boring, but fans of the less flashy shounen series might appreciate the slow start. Almost reminds me of Rurouni Kenshin, where the bumbling wanderer Himura would "transform" into a skilled swordsman to save everyone at the end of each episode.

What's refreshing is Rikuo's character, he's a nice, ordinary boy (if you don't count the demon blood). He doesn't have a Punk attitude like Yusuke (Yu Yu Hakusho) or Ichigo (Bleach), and he's not dumb as a box of rocks like Goku (Dragonball) or Luffy (One Piece). His problem is somewhat relateable, "Are you willing to shoulder a lifelong responsibility? Because the alternative is watching the system fall apart without you?" And he behaves in a believable way.

What doesn't help are most of his friends from school: the two boys and two girls who add almost nothing every episode, except to need rescuing. The leader of the club, Kiyotsugu, is the most annoying character in the series. He goes on and on about Yokai like a broken record.

His real allies do help carry the series:

A few demons from the Nura Clan follow Rikuo around, an ice apparition Yukionna, and an demonic monk Aotabo.

A talented omniyoji, Yura Keikain, joins the Yokai Club in the third episode. Yura usually acts like the cliche' emotionless girl, but she does get into difficult situations that allow her to express herself, and that's when she becomes likable, instead of being a clone of Yuki Nagato (or Rei Ayanami).

Kana Ienaga is Rikuo's would-be girlfriend, who had feelings for Rikuo, but is in love with his demonic half, and like Lois Lane before her, she can't seem to put it together.

Overall, it's a good start for a shounen series. We get a good feel for the characters, and we get to see Rikuo's first steps towards becoming leader of the Nura Clan, and after this, it looks like world is going to start opening up. What keeps it from being perfect are:

#1. Rikuo's human friends are useless. Especially, Kiyotsugu, who is useless and annoying.

#2. There's no tension Rikuo's demon half usually wins without a problem.

#3. Hardly any special features. I like commentary tracks, and a cultural guide would have been nice. (Some people don't know what a omniyoji is.)

If you're curious, I think it's worth the time. It's a really great series to watch on TV, or watch Steaming. I don't know where the series is going, so I can't recommend an automatic Buy. But, it does look great on Bluray, so use your best judgement. I rate it a 4-out-of-5 Stars.

Before I begin this review I want to say that it is for the Blu-ray set only, and not the DVD release. Not that it makes much a difference, except for the quality... it will also be a review of the product and dub voice actors/features too. Not a review of the actual series for the most part.

When this series first released in Japan in the summer of 2010 I knew I wanted to try it out, but decided ahead of time that I'd rather see it dubbed. So finally, 3 years later, it is released here in the U.S. dubbed! It was well worth the wait for me.

What you get with this box set is not much to say the least. As far as extras go all you receive is the creditless opening and ending themes, color production art and a trailer for Viz Media's Neon Alley service (still more extras than InuYasha The Final Act got though). The case is the usual Blu-ray disc casing with the cheap recyclable packaging. The only insert that it came with was an advertisement for Neon Alley (all Viz releases contain this now.) As far as the cover art goes I'm personally not a fan of it. I wanted something with more action and characters on it, but it'll do until the series /hopefully/ gets a full set release, if it does that is. The disc art looks amazing though. It's so simple, but the illustrations of night Rikuo and Tsurara look great with the pink and blue colors behind them. For the quality of the Blu-ray release it is in the regular 1080i quality and looks fantastic. The colors look vibrant and very high quality on my flatscreen.

The dub voice actors and voice actresses all fit pretty well I think. I specifically feel that Rikuo (night & human) got a perfect voice actor for him. I would have liked his yokai side to sound a little bit older and darker/more mysterious though, but it definitely does fit and I can live with it. Other notable voice actors in this dub are Kana and Tsurara's voice actresses. Kana specifically sounds perfect for her character, and unlike most shonen anime series, her voice is not whiny and annoying which is really a plus. All of the other voices work good too though, none I've heard so far are unfitting.

Even though this set does not contain many extras or added material it was still worth the $35 dollars that I paid for it. If you're hesitant to spend $30-$40 on a completely new series then you can head over to Viz Media's official YouTube and view a 2 minute clip of the dub for yourself. Hulu (U.S. citizens only) can view both seasons 1 and 2 of this series for free with English subtitles on there. Viz Media's new Neon Alley PS3 subscription service also broadcasts this series first and second season dubbed as well, if you have a PS3 and would be interested in the 1 week trial they've been giving out.

Overallthe voices fit, dub is good, nice illustrations on the discs and the quality on the Blu-rays are absolutely amazing.

Buy Nura: Rise of the Yokai Clan Set 1 (2013) Now

Kind of reminds me of InuYasha. Nura, leads a night league of 100 demons. This first 3 disk set just gets everyone acquainted with the characters, and some of their abilities, but this is another nice series from Viz Media. Great job guys! I like it!

RDJ

Read Best Reviews of Nura: Rise of the Yokai Clan Set 1 (2013) Here

I've seen a good share of anime's in the past year and I must say this anime is not like the typical anime I have watched. I would say this anime is by far my favorite.

This anime has mystery and a little suspense in it. I found myself having a hard time turning it off and couldn't believe how easily I became hooked. Watching the first couple episodes, I wasn't expecting this anime to have any love connections in it but sure enough love is finding it's way in. Fortunately, it is not a love triangle like most anime's end up being (or at least not so far). Even though this anime may contain the typical anime plot, I find it interesting to see what decisions Rikuo Nura decides during the day as a normal Human and as a Yokai at night.

I've already pre-ordered my copy of Nura: Rise of the Yokai Clan set 2 and can't wait for it's arrival in August! I would recommend this anime.

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This anime is different from the average anime's I've purchased in the past. I must say that I absolutely love this anime and can't wait for the second part to come out. This anime has a mix of blood, fighting, mystery and love in it. Each episode seemed to pull me in further and further that it was hard for me to turn it off. I would recommend this anime.

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Saw II (Unrated Edition) (2005)

The film has shock value, suspense, gore and realism. I didn't have very high expectations for this film thinking it would be a typical slasher flick, but it really surprised me. I haven't been watching many horror films lately. Maybe there are quite a few good ones being made. Saw II definately delivers.

The film's plot has nothing to do with saws and I have not seen Saw I. Any horror film that gets me thinking is a good film and well worth the price of rental or maybe even purchasing for horror film enthusiasts. The main thing I got out of the film is that we all tend to conjure up our own realities and this can make or break us.

The diabolic Jigsaw is back in the follow up to the smash "Saw" which came out of nowhere to become one of the biggest grossing horror films of all time. Not content to rest on the mayhem he created in the first film, Jigsaw is back kidnapping those he deems unworthy of life, and forcing them to earn their lives back in a series of brutal and bizarre games, where death is all to often the result.

The sequel picks up shortly after the events of the first film where Detective Eric Matthews (Donnie Wahlberg) is investigating yet another victim. The fact that the victim is missing a puzzle shaped piece of skin leaves no doubt as to who is behind this killing, and Matthews and his task force set up their efforts to stop the killer before he can strike again.

A sudden inspiration leads Matthews and his team to a factory where they soon discover Jigsaw amongst all of his toys and traps. The frail Jigsaw is dying from a terminal illness, and he reveals to Matthews that he has a game underway, one where a group of people are trapped in a remote house filled with traps that are also filling up with a deadly gas. Only those who can survive the traps and decipher the clues will be able to locate the antidotes and survive the mayhem.

Matthews is even more determined to find the locale of the house as his son is one of the individuals trapped inside slowly dying from the poison. Matthews and his team can see what is happening in the house via a video monitor and while the team attempts to determine the location and save the individuals, Jigsaw (Tobin Bell), plays a dangerous game with Matthews as he attempts to interrogate him for information.

The film moves back and forth from the interrogation to the individuals trapped in the house and keeps the tension going. While not as claustrophobic or as gory as the original, "Saw 2"

benefits from an interesting premise and a rousing finale that sets the stages for the pending "Saw 3". Some may find a bit of issue with the pacing as it does not contain as the tension and scares are scarcer than they are in the first release.

Solid performances throughout makes "Saw 2" a cut above most horror films and is not to be missed by fans of the original.

Bonus Materials Include

Commentary with director Darren Lynn Bousman, Donnie Wahlberg and Beverley Mitchell

Jigsaw's Game Making-of Featurette

Bits and Pieces: The Props of Saw II

Bits and Pieces: The Traps of Saw II

Featurettes

Storyboards

4 stars out of 5

Gareth Von Kallenbach

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After watching the incredible SAW that graced our screens last year it was a given that I would see the MUCH ANTICIPATED sequel.

This film seems to have more of a story-line than the original... JIG-SAW is at it again and this time locks up 8 people inside an abandoned, creepy old house. They are trapped in the building and a lethal gas has been pumped into the house for a while. They have exactly 2 hours to each, find a room marked for their attention, crack the game needed to be played and won and inject the antidote into their systems. They also have the option to play each game a little "further and harder" in order to find a 2nd Antidote : perhaps for a friend they have made amongst the 8 strangers. Inevitably, going for the 2nd one may end in death.

To add an incredible dimension to the story, DONNIE WAHLBERG, who plays a cop in the film : catches JIG-SAW at the start of the film and then finds out that JIG-SAW has his son in he house. The race against time plays out awesomely in the film, as does the films running time and the fact that each and every character in the house is running closer to death from the lethal gas.

DONNIE WALHBERG is awesome, as is the cast of basic unknows. TOBIN BELL (JIGSAW) is incredibly creepy.

And finally : if you thought the original ending came at BREAK-NECK-SPEED... this one is going to hit you LIKE A SACK OF BRICKS TRAVELLING AT MACH 1...

As is the basic rule for sequels : THE BODY COUNT IS ALWAYS MUCH HIGHER... THE DEATH SCENES ARE ALWAYS MORE ELABORATE AND OH YES... THERE WILL BE BLOOD!!!

Read Best Reviews of Saw II (Unrated Edition) (2005) Here

I went to go see this movie in theaters the night it came out because I thought that the first Saw was really good. I was just hoping that the directors, writers, and producers were not just putting out some crap sequal so that people would see it. (You know, one with no plot, bad acting, and that is very predictible) However I was very, very, very pleased with this sequal. I enjoyed this movie just as much (if not more) than the origional. (And with all of the sequals that I've seen I have never been able to say that before) I felt as if the plot was pretty average (parents get divorced, the kid turns into a punk because of it, and he and his dad fight over it) However, as the story goes along, I realised something. In all of the movies that I have seen with that sort of storyline, this one was VERY different. So the plot gets an A+ in my book even though it is not that origional. Now what is origional is all of the twists and turns that the storyline actually go through. The ending totally blew my mind. I had no idea that was going to happen. (Don't worry I wont spoil it) Now some people are saying on here that this movie did not live up to the first one. I could not disagree more. If you were to take all of the acting, twists, gore, and even the death traps, then multiply them by 100 this is exactally what you would get. Plus, I mean how many horror movies have you seen that were this thought out? I say that because about 99.9% of horror movies that have been released recentaly have been just crap. Most of which I went to go see in theaters, and felt as if I had got screwed out of the money that I used to pay for the ticket. Mostly due to the fact that either the commercial was very diceiving, bad acting, or it was just some stupid college movie slasher. Either that or I felt like I could have crapped out a better idea for a movie. (Officially known as that turd of a movie titled "Hostle") Anyway, what I am trying to say is that for a horror movie (or for any type of movie out there) this movie has it all. Great acting, great storyline, great gore special effects, awesome villian, and one of the best endings I have ever seen in my life and in any movie. So, go out on February 14 (unless they change the date that has been anounced) and buy this DVD!!! I greatly recommend it and you will not be disappointed!

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Jigsaw (Tobin Bell) is back! this time he traps a helpless group of several people people (Shawnee Smith, Erik Knudsen, Tim Burd, Franky G, Emmanuelle Vaugier, Glenn Plummer, Tony Nappo) in a booby-trapped filled house conducted by Jigsaw and his sick twisted ideas. Detective Eric Matthews (Donnie Wahlberg) discovers Jigsaw himself for he must play the game if his son and the other victims can survive.

Enjoyable and fairly grisly sequel to the suprise instant new horror classic "Saw" has writer-and-director James Wan as executive producer. The acting is good in some places but there is some more memorable moments of torture and gore such as the now infamous cringe-inducing "Pit of Syringes" and the gunblast to the eyeball boobie trap, though nowhere as great as the original this is still a fairly watchable and violent sequel.

This unrated uncut 2-Disc DVD set contains the alternate unrated cut not shown in theaters with excellent extras like two audio commentaries, theatrical trailer, a fun "Play Me" set top navigation game much like the one on the "Nightmare on Elm Street" boxset, The making of "Saw II" multi-featurette, "Zombie" a short student film from the director of this movie, and "The story behind the story" multi-featurette.

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Strictly Ballroom (IMPORT - Region B)

Baz Luhrmann at his finest. This terrific film is really three movies in one. First, there's the tremendous dance movie whcih centers on Scott Hastings (Paul Mecurio) and his struggles to introduce 'new steps' to the sheltered world of Austrailian ballroom dancing. For dance afficiandos, despite the broad comedy that infuses the movie, the dancing is the real thing. Mecurio is a formally trained dancer and you simply can't fake, edit, or body-double the moves he pulls off in this film. Even if you're not a dancer, Mecurio's athletiscism alone is worth seeing.

The second movie is a Dirty Dancing-style, boy-meets-ugly-duckling tale. The story allows you to peek behind the covers of a first generation Australian and her awkward attempts to fit into a new culture while maintaining her European ties at home.

The third movie is what sets Strictly Ballroom apart from the field tremendously funny, broad caricatures squabbling around the periphery of Scott and his struggle to bring his 'new steps' to the Pan-Pacific Championships. Pat Thompson is hysterical as Doug's mother Shirley, and Bill Hunter is wonderfully over-the-top as dancing kingmaker Barry Fife ('There are no new steps!'). But attention first-time viewers keep your eyes on Barry Otto as Scott's father, Doug Hastings. This odd, seemingly shell of a man is actually the emotional core of the film. He provides the movies funniest moments (particularly as other reviewers have alluded to a flashback sequence so over-the-top hilarious that it defies description) and its most relevatory ones.

Play this film over and over again and you will never be disappointed.

This Australian gem is one of those rare films that entertains, thrills and pokes fun at an established activiity (in this case, a ballroom dance federation).

To take this film seriously is to miss out on one of the great moviegoing/ moviewatching experiences of the 1990s.

In a nutshell, an up-and-coming champion ballroom dancer gets bored dancing the same tired steps that everyone has danced in competition the past 50 years and wants to break out and do things his way. Of course, his way is the better way, but that causes all the angst, high drama, dashed hopes and utter hilarity that ensues as forces clash to prevent the young man from taking the ballroom dancing world by storm and up to a new level.

Of course, it's what we've all, always, expected: Things don't change in such events because those who judge and teach can only judge/teach that with which they are familiar.

The cast is perfect, from the dashing young lead embodied by Australian ballet principal Paul Mercurio to the shy, at-first clumsy female lead played by Tara Morice (who also lends her vocals to Cyndi Lauper's "Time After Time" in a stunning rooftop pas de deux as she starts learning how to dance with him).

Paul's mother -beautifully and hysterically portrayed by Pat Thomson -and his seemingly introverted, odd father -a wonderfully giddy Barry Otto -are perfectly realized, as are all the other roles, including Bill Hunter's terrifically change-resistant Barry Fife, president of the dance federation.

This is probably Baz Luhrmann's most mainstream movie, since it's more firmly grounded in the now than anything else he's done.

Be on the lookout for a stunning cinematic moment during an outdoor sequence at the girl's house with the lead learning from her father how to correctly dance the Paso Dobles. When it's clear he's gotten the hang of it, the camera does a closeup on him turning and then cuts to an oncoming train, that parallels the house, sweeping down the lower right of the screen. It's one of those Luhrmann touches that set him apart from most other working directors.

"Strictly Ballroom" is a wonderful entertainment that flows along so quickly..and has dramatic highs...and even more thrilling dancing highs...that most of you will be very sorry when it's over.

But never fear...it holds up very well on repeat viewings. It's one of my most-played videos.

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Okay, maybe that's an overstatement, but the first time I watched this movie, I checked it out of the library. I was a recently divorced single parent of two, struggling with a house note and bills I couldn't pay. On this particular day, I was fighting a bad cold, and feeling generally tired and unhappy. I took this movie out based only on the "Two Thumbs Up" recommendation of Siskel & Ebert at the bottom of the case. After viewing this film, I felt energized and full of good humor. I eventually bought it and have shared it with my mom, sister, kids, friends, and new husband. They all loved it! Where do I start? 1. The performances. Everyone in this movie is wonderful. They are believable and credible even though the material is completely over the top so much of the time. I love these people. 2. Then there's the romance. The main love story is very sweet, but all throughout the film, you feel like romance is literally in the air. It's also amazing how much sensuality is conveyed without any overt sexuality. 3. The dancing. I never gave ballroom dancing a thought until I saw this movie. Now, I love watching it. 4. The family relationships. They may seem unbelievable, but that mother is all too familiar to me. 5. Paul Mercurio--he's hot! Enough said.

This movie is funny, touching, and like nothing I've ever seen before or since. I can't even compare it to anything else. I'm happy to see how favorably other people have reviewed it.

Read Best Reviews of Strictly Ballroom (IMPORT - Region B) Here

I skimmed through several reviews and kept seeing comparisons to Dirty Dancing. This movie can't even be compared to that!!! First of all, the dancing in SB moves the plot along, while in DD, it could be edited out and no one would know it was ever there. Secondly, this movie is the MASTERPIECE that DD is not and will never, ever be. Every thing about this movie is perfect--I especially love the chemistry between Paul Mercurio and Tara Morice. They really make Scott and Fran credible and believable characters. Being that this is a small movie, it really works--and that is probably why it is better than anything Hollywood has produced in some time. And charming extras to the movie-Tara Morice sings the TIME AFTER TIME song that runs throughout some of the movie. Paul Mercurio did his own dancing--including adding additional choreography. (He was a former ballet dancer before making this movie as his acting debut.) There are many others, but I'll leave you to discover them.

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The story is pretty conventional : since childhood Scott Hastings' parents have pointed him towards the Pan-Pacific Grand Prix Amateur

Championships. But in direct contravention of the rules and traditions of ballroom dancing (which have as much to do with the teaching of dance to

willing customers as with dance itself), Scott has recently developed a dangerous desire to dance his own "crowd-pleasing steps". When Scott's

partner leaves him, he's forced to audition new ones, none of whom are very satisfactory, until, improbably, the homely and awkward Fran, who

usually has to dance with another girl, demonstrates that she understands what he's aiming at. As Scott's mother and teacher try to find a more

acceptable alternative, Scott and Fran practice in secret, eventually receiving assistance from Fran's aforementioned father and her loving

grandmother, who does a mean rumba herself.

What follows is largely predictable but still endearingly romantic and exciting. Baz Luhrmann, who had directed a stage version of the story for some

ten years before turning it into a movie, brings a pulsing energy (which mixes soundtrack, color, and motion in fascinating ways) and an off-kilter

sense of humor to the film that make it quite distinctive. If you liked Mr. Luhrmann's Moulin Rouge but thought it was a bit over-the-top, you'll like

this one much better.

The best aspect of the film though is the way in which Scott, who when we meet him is totally self-absorbed, has to learn that for all his desire to

express himself in dance, he must do so together with his partner. He and Fran must communicate with one another, share themselves, and be able to

yield something of the personal in order to be true to their art. They must respect the conventions of ballroom dance, with its basis in the couple,

even as they expand its possibilities and violate the self-serving diktats of the corrupt elders who run the competitions. So much of modern art and

literature celebrates egotistical individualism unfettered by any restraint; it's unusual to find such a compelling story about the requirement of

submerging purely selfish concerns in order to achieve higher purposes.

One of the leitmotifs of the film is that "A life lived in fear is a life half-lived". Much of the atomization of modern life is a function of fear, a fear of

being hurt by those we open up to. Scott begins the film as only half of a couple, unable to share anything, even a dance, with his partner. He is

living only a half-life. But he becomes wholly human, begins to live a whole life, when he becomes a true partner with Fran. It's rare enough to see

such profound truth portrayed in film, but that it's done here such a joyous and exuberant fashion makes this a remarkable movie.

GRADE : A+

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Stuck (2007)

STUCK is one of those films that creeps up on you, teases you into thinking a comedy is in the making, then slowly reveals itself as what seems to be an exposé of our current manner of getting through life, of competing in the workplace, and of self absorption to the point of endangering those around us. The fact that the film is based on a true story as adapted by director Stuart Gordon and transformed into a bitingly satirical screenplay by John Strysik increases the impact of this well-crafted little low budget film. Watch it once for the gritty content of the story, then watch it again to appreciate all of the very dark (and very pointed!) humor in what at first appears to be a grisly tale.

Brandi Boski (Mena Suvari) works as a Nurse's Aid in a nursing home of senile elderly patients, giving some of the finest care for those entrusted to her talents. Brandi's compassionate work is noted by the supervisor Peterson (Carolyn Purdy-Gordon) who manages to trick Brandi into an even heavier work schedule by suggesting a raise in position. Excited about her possible promotion Brandi and her working partner Tanya (Rukiya Bernard) celebrate that evening with Brandi's boyfriend/drug supplier Rashid (Russell Hornsby) who gives Brandi a pill of Ecstasy and the mixture of the drug with the alcohol creates a mess of Brandi's mind.

The parallel story involves one jobless Thomas Bardo (Stephen Rea) who lives in a tenement, is evicted because of past due rent, and becomes a street person, treated with cold (but satirical) mechanical responses at the Department of Unemployment. Left to sleep in the park he is befriended by another homeless person, given a shopping cart, and makes his way toward a midnight mission.

Brandi cum altered thought processes drives home, hits Thomas who comes sailing through her windshield badly injured, and out of fear and distress Brandi merely takes the 'stuck' Thomas home to park him in her garage, knowing that her boyfriend Rashid will help her. Thomas is conscious, unable to climb out of the glass of the crushed windshield and begs for help. How the stranded and injured Thomas is treated by the desperate but self-centered Brandi, by the frightened but macho Rashid, and by neighbors who fear intervention because of reporting an incident that would encourage police intervention and threaten their deportation as illegal immigrants results in an ending that shows how 'justice' can prevail!

The cast is first rate especially Rea, Suvari, Hornsby and Bernard. The direction is tight and maintains credible characters in incredible situations and holds the audience attention every moment. This is a fine example of how a low budget film, in the hands of pros, can be more successful that the big budget, less thoughtful movies that crowd our marquis. Grady Harp, November 08

If you'd like to be disgusted, search for the name Chante Mallard. What you'll find is the story of a drug/alcohol intoxicated woman, who hit a man named Gregory Biggs with her car while she was driving home. After the collision she completed her trip, parked in the garage, and proceeded to callously let Biggs bleed-out (officials believe he would have lived if given medical help) while she had sex with her boyfriend and no doubt did whatever else her morally decayed black heart desired.

Since no audience would appreciate simply seeing a man slowly bleed to death while stuck in a car windshield, the makers of this movie took some liberties with the truth. I'm ecstatic they did.

Thomas Bardo (Stephen Rea) is down on his luck. Evicted, jobless, possession-less, he doesn't even have a place to sleep. When police wake him from slumber on a park bench, he's forced to make his way toward a mission.

Meanwhile, Brandi Boski (Mena Suvari miscast because Mallard is an obese black woman) is a soulless, selfish drug-abuser who is getting trashed and partying the night way. (Suvari really manages to pick out character roles that make me despise her) Many other reviewers may view her as "balanced", but since she's a drug-using drunk driver, and is a white girl with corn-rows which never looks good I'm going to go ahead and say that she's incredibly unbalanced and vile.

As if it were a surprise, she's blitzed out of her mind (thanks to X and alcohol), effing with her cell phone, swerving all over, and she blasts Bardo, mangling his legs and lodging him in the windshield. Drunk or not, people with a shred of humanity stop there and help the man. But not this intellectually, morally, and spiritually defective sociopath. Instead, she goes home and has the least appealing non-rape full-frontal nudity, sex scene in cinema history.

Ahh...the resolution. In real life, as I said before, it's boring. This movie, however, provides the resolution that Ted Kennedy sees in his nightmares. Brilliant. I won't ruin it, but the tight directing and believable acting accentuates Bardo's rage against the dying of the light.

Overall, I recommend this for people with mild tempers and no heart conditions.

COMMENTARY

Knowing the case beforehand, I watched the majority with a snarled lip. Such social apathy really brings out my misanthropy. This single instance serves as a harsh critical analysis representative of the insidious cultural decay that has wreaked havoc on the community, family, and morals of our society. It's an overtly sexual, me-first MTV-generation where every child is a precious little snowflake, nobody has respect for family, elders, or authorities, and selfishness all but negates personal accountability. People like Mallard are deserving of a special place in hell, and the fact that there is no doubt at least one person with sympathy for her only reflects society's decay. It's sad that the movie ending isn't the real ending, and that vile scum like Mallard are allowed to live, let alone be given the possibility of parole. With any luck (crossing my fingers), karma will make the rest of her life a horror movie.

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The setup for Stuck seems pretty ridiculous, but it's actually based on a true story. After a night of partying, the young Brandi (Mena Suvari) commits a hit and run on a homeless man (Stephen Rea). Such a tragic mistake, and here's the horrible kicker--the guy is wedged tightly in the windshield of her car! Quite a crazy predicament, and Brandi is of course stricken with panic.

So what does she do? Drives home, drops some more ecstasy and has sex with her boyfriend. Just leaves the poor guy bleeding to death in her garage? Well, I suppose we all deal with stress in different ways.

I can appreciate the dark comedy of this story and realize it might be a statement about the current mindset that seems to be prevalent in our culture. People having a reckless pursuit of personal happiness along with a selfish disregard for responsibility. It also plays other stereotypes out to comical effect.

But the humor eventually goes from being subtle (a cop unaware of the car passing behind him with a bloody passenger on the hood?) to extremely silly (death by a ball point pen?) (ah geez). Oh well.

Overall, this was somewhat entertaining and original. This movie includes profanity, violence, drug use, and nudity. Written and directed by Stuart Gordon.

Read Best Reviews of Stuck (2007) Here

So, this is what is life in America? Joking aside, this is a terrific look at the consequences of the "culture of success" permeating the United States. Which is in fact no success at all, but mostly submission to bosses, bureaucracy and money. It is the law of the jungle in "Stuck", but when Stephen Rea, a victim of downsizing, gets stuck in Mena Suvari's windshield he seems still incapable to understand that his society no longer functions, and waits for her to get help. That never comes. I don't see this film as a black comedy but as an indictment, a suspenseful look at the effects of a socially inept landscape in some individuals fighting to maintain their status in the ranks of the low class (they are... stuck!). More insight and this could have been masterful. As it is, it constitutes a very enjoyable action film.

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A relatively low budget but searching and fascinating film. Our 'heroine' is Brandi who is presented as an attractive and caring young woman who works in a nursing home, sensitively taking care of elderly and senile people many of whom can no longer control their bodily functions. Not surprisingly, her somewhat smarmy supervisor tells Brandi that she is 'under consideration' to become the supervisor of other nursing assistants.

Next scene, however, shows her in a rather seedy cub where she meets and passinately kisses a guy who looks like he's a pimp and drug pusher. High on alcohol and drugs, Brandi leaves the club only to cell phone her pimp-looking 'friend', inviting him to come over. Brandi is clearly not attentive to her driving and hits a newly-homeless man who becomes stuck halfway in her shattered windshield.

Rather than stop and call 911, the cops or both--she incredibly drives into her garage with the moaning man still stuck in her windshied. 'You should have watched where you were walking.' She complains to her helpless victim, and goes into her house to call her pimp-looking friend for help.

The rest of the movie you've just got to see. It turns out that cute little Brandi is just about as selfish and self-centered as a human being could possibly be. She allows herself to be seduced by her pimp-drug pusher with the suffering, probably dying, victim only a few feet away. Later she yells at the bloodied man impaled in her windshield, 'Why did you do this to me?' and hits him in the head with a 2 X 4.

This movie is a scathing indictment of the 'ME' generation. Obviously Brandi is an extreme example of a generational model, but sometimes extremes make the point better than averages. Brandi is a good nursing assistant because such an occupation meets her talents and advances her cause. Brandi, at the very same time, is ruthless and completely uncaring about anyone or anything that disrupts the flow of her life.

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My Bloody Valentine

Remember those heady days in the late 1970s and early 1980s when films like "Halloween" and "Friday the 13th" attained stellar success at the box office, resulting in a slew of holiday themed copycats? Movies like "April Fool's Day," "My Bloody Valentine," and "Graduation Day" arrived on the scene and dropped off the radar just as rapidly. Thanks to the appearance of DVD players, these films are reappearing with a disturbing rapidity. Unfortunately, the movies aren't much better than they were when they first came out. This is especially true for Paramount's release of the 1981 slasher film "My Bloody Valentine." At the time, Paramount demanded a mountain of cuts from director George Mihalka in order to avoid a dreaded 'X' rating for graphic violence. That's acceptable for a theatrical release, but a DVD version should reinsert all of the gory footage. Well, this release is the boring old 'R' rated version, and to make matters worse Paramount technicians included nothing else with the movie: no stills, no commentaries, no behind the scenes stuff, and no trailers. Get with the program, Paramount! The customer who will buy this movie on DVD is a genre fan; they want to see all of those gory killings you lopped off with indifference.

"My Bloody Valentine" takes place in a little mining town called Valentine Bluffs. We don't really know the location of the town, but the accents of the some of the characters hint at a Canadian setting somewhere near Quebec. Some years before a terrible mining accident resulting in the deaths of several miners caused Harry Warden to snap. Warden went on a killing spree through the town on the night of the Valentine's Day dance. Ever since then, the authorities in Valentine Bluffs banned parties on Valentine's Day, ever mindful of Harry Warden's threat to wreak bloody havoc on the town if they held another dance. Harry Warden, for the record, was one of the survivors of the mining accident, an accident caused by negligence on the part of two of the supervisors. After his murderous spree, Warden ended up in an insane asylum and the town slowly forgot his grim threats.

Now it's the present (or at least 1981), and the mineworkers want to have another holiday party. The authorities, which include a neurotic mayor and a police chief who looks like Steve McQueen from a distance, are willing to go along with the idea of a celebration. Then the valentines start showing up, one of which contains a bloody human heart. The mayor and police chief initially try to keep the threat hush-hush, but a few more murders persuade them to cancel the dance. The young people in town throw a fit, deciding that they will still have a party but hold it at the mine instead. You can guess what happens from this point on: bodies drop like flies as a madman in mining gear (gas mask, helmet, black clothing, and pickax) works his way through the group of bubbleheads. As the chief desperately attempts to track down the whereabouts of Harry Warden, a group of especially idiotic partygoers head down into the mine for a few yucks. The last twenty minutes of the film take place in the darkly atmospheric mine, as the killer picks off several of the kids in the quarry. There's a twist ending that achieves only a moderate level of interest, and then the whole thing ends.

"My Bloody Valentine" is a major rip off of other slasher films. This movie even has its own version of "Crazy Ralph" from "Friday the 13th" in the form of a testy bar owner who continually spouts stories about Harry Warden and the foolishness of throwing another party. You just know this guy is going to get his, and he does, but I kept wondering how he got any business. Who wants to go to a place where the proprietor keeps talking about gruesome murders? The other characters fall into typical slasher movie typecasting as well: the two guys fighting over the girl, the ineffective police chief and mayor who try to ignore the warning signs until it's too late, and the omnipresent killer. When it comes to original and engaging characters, "My Bloody Valentine" doesn't offer much except stereotypes with bad haircuts. Horror movie buffs should take note of Ray Sager's name (as first assistant director) in the credits: Sager played Montag the Magnificent in H.G. Lewis's "The Wizard of Gore."

At first, the gore seems to promise that "My Bloody Valentine" is a step above your typical slasher film. The heart in the box is gruesome, but after that initial shocker the movie steps back into rather banal exercises in the sauce department. The heavy handed editing is to blame here, as nearly every murder that takes place either happens completely off camera (the idea of it!), or cuts away before the serious bloodletting starts. There are places where you can discover what Paramount removed to get that all-important 'R' rating, and it's obvious that this film would have been much better if we could have seen the full effect of the killer's actions. A boiled face, a hook through the head, and a body in a laundromat dryer sound great on paper, but the execution suffers horribly because we never get the full, grotesque effect. It's the equivalent of watching a Richard Pryor concert with all of the profanity bleeped out. I pray Paramount comes to their senses and finally releases this film, along with the first eight "Friday the 13th" movies, in uncut formats. "My Bloody Valentine," as it stands now, falls squarely into the "rent, not buy" category: an interesting film with great promise, but an ultimate failure due to circumstances beyond the control of the cast and crew.

I recently compiled an Amazon list of the Top 10 Slasher Films Before the 90's. I placed MY BLOODY VALENTINE in the #7 slot. Upon watching it again, I realize that I should've placed it higher. Several other titles were ahead of it, including TERROR TRAIN, PROM NIGHT, and APRIL FOOL'S DAY. Those were all very good examples of the slasher genre, but I don't think any of them rival MY BLOOD VALENTINE for sheer fright, excitement, and novelty.

Start with an interesting setting. Rather than a college campus or high school, we have a bleak, blue-collar mining town. Instead of free-wheeling students or teenagers we have working class twentysomethings pushing thirty. Then add a creepy backstory: a mining accident that entombed and killed all but one of a handful of miners. That survivor, Harry Warden, had to resort to cannibalism until he was rescued, messing him up for eternity and a day. The next year, on Valentine's Day, he returned (in full miner's garb with pick-axe) and brutally murdered the two supervisors who inadverdently caused the accident. He then cut their hearts out and sent it to the dance with a warning never to have another Valentine's dance.

Flash forward to the present. The townspeople are contemplating the first dance in twenty years. Naturally, a series of murders begin, with the victim's hearts cut out. Alarmed, the police decide to cancel the dance. Undeterred, the young folk decide to have a secret party (at the mine's cafeteria). And that's when the real fun begins. Some highlights: a dude's face scalded in a huge pot of boiling water, and his cut-out heart being thrown in with the franks (yum), a girl getting her head impaled on a shower head (no repetition intended), and the local drunk becoming the victim of his own practical joke.

Of course, no film (slasher or otherwise) would be set around Valentine's day without having a romantic supplot, and MY BLOODY VALENTINE is no exception. We're introduced to Axel and T.J., two former friends now duking it out for the affections of Sarah (Lori Hallier, in the film's best performance). This triangle could've been more fully developed, but it was sufficient enought to keep the audience interested. Who will get Sarah? Axel or T.J.? And as the murders multiply (and intensify) the question becomes "What does Harry Warden want?" Is it even him? Or someone else?

Watch this flick and find out. There's a great final act set in the darkened mine, with an extended cat and mouse chase scene between the killer and T.J. and Sarah. This last half-hour rivals anything in HALLOWEEN. Scary last scene, too.

Bottom line? Craftsmanship-wise, MY BLOODY VALENTINE is no HALLOWEEN, but in some ways, it's scarier.

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At last! Slasher fans will finally get the opportunity to see this excellent slasher film completely RESTORED AND UNCUT.

Initial rumours peristed the gore footage would be as a bonus feature not spliced back into the film, HOWEVER, this it has been confirmed by Lionsgate that the movie will be released with the gore restored in its correct place.

Lionsgate have done what Paramount should have done several times before. Slasher fans could do with a company like Lionsgate to get their hands on the Friday The 13th series so we can see those uncut too but i'm dreaming of course paramount will never sell the rights to those because it makes too much cash for them.

So at last MY BLOODY AVLENTINE TOTALLY UNCUT, REMASTERED AND RESTORED, IN WIDESCREEN! What more could a slasher fan ask for don't hesitate BUY THIS NOW!

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The Canadian slasher, "My Bloody Valentine" received a theatrical release in 1981. However, due to its violent content, the MPAA severely butchered numerous scenes. Fans of the horror genre grew extremely outraged. Nevertheless, it became one the best, most underrated 80s horror films. For years, it earned a large cult following. Quentin Tarantino also labeled it as his favorite slasher film of all time!

In 2002, Paramount released it on DVD. To everyone's dismay, it was still the original, heavily edited theatrical cut. As a result, fans screamed for an uncut version. But Paramount refused. Fortunately, Lionsgate bought the rights to the film, and (finally) gave us what we wanted. This is the COMPLETE, UNCUT version that the censors wouldn't approve. Most of the deleted footage has been re-inserted back into the film (including the infamous pickax-through-the-eye scene). In addition, you can choose to watch the footage separately, or as part of the film (for those who cannot handle the gore, the original theatrical cut is also included). The Special Features include:

"Bloodlust: My Bloody Valentine and the Rise of the Slasher Film": A 20 minute documentary on "My Bloody Valentine". This includes interviews with the cast and crew of the original 1981 version and the 2009 remake: "My Bloody Valentine 3D".

"Bloodlines: An Interactive Horror Film History": Chronicling various kinds of horror from the past to the present.

"Deleted Footage with Director, Cast and Special Effects Designer Introductions": All of the uncut footage, which you can view here OR as part of the film!

...And there you have it!

While inspired by earlier productions, such as "Halloween" and "Friday the 13th", the plot is not the most original. However, while those films took place in the suburbs or at a camping site, the setting for "My Bloody Valentine" takes place in a small mining town (located in Nova Scotia, Canada). Also, instead of teenagers, all of the characters in this movie are adults. These factors make this gem slightly more unique than the usual slasher. Horror fans (both old and new) and gore hounds alike will appreciate this movie, finally released in all its gory glory! The only downside: the picture quality in most of the uncut footage is not that great. But this hardly detracts from the movie, as a whole. It's also understandable that this footage might've been difficult for Lionsgate to fully restore. Regardless, this Special Edition is one that you won't want to miss!

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I saw this when I was a young teen after sneaking into the theater and it scared the socks off me now over 20 years later, I put in the DVD of MY BLOODY VALENTINE (hey, I guess that's where the shoe-gazer band got its name, huh?) and...of course...it's a typically lame, gutless Paramount DVD release. WHY BOTHER?! The answer? PURE STUDIO GREED. If you're going to re-release MY BLOODY VALENTINE on DVD, WHY leave out the best parts, i.e. the GORY KILLINGS we are teased with, but never get the opportunity to WITNESS in all their full, twisted glory I mean, the laundromat scene has potential, but then just a quick glimpse of the corpse popping out of the dryer...just a hint of a the dead girl hanging on a hook with water pouring out of her mouth...the slightest suggestion of a pick-axes impaling chests...we all know there are several MINUTES of GRAPHIC FOOTAGE that Paramount HACKED out to get the almighty "R" rating, but everyone knows the real market in DVD is the UNRATED, UNCUT DIRECTORS CUT why not here to please the fans? Without the explicit, creative blood-letting, this is a bit of a snooze, but still gets over on pure 80s fond nostalgia and unintentionally campy atmosphere, not to mention some of the worst acting in horror film history. If you look at a new flick like HOUSE OF WAX that's able to show fingers being chopped off, heads decapitated, and a spear through Paris Hilton's forehead, you'd think they could do THIS slasher classic justice. Oh well, maybe next time. But don't count on it. C'mon, Paramount, not even a trailer?! That is CHEAP!

Over America Deluxe (2010)

I was really pleased with the quality of the camera work displayed in this series. As a pilot and flight instructor, I was hoping to see on film what I can see from my plane, but this was even better. The amazing detail of 1080p HD combined with very low level flying has resulted in a work of art! I would even consider buying additional copies as gifts for my pilot friends.

We live in a beautiful country but most people never get to experience this beauty except from a ground level view from an interstate highway. Add the third dimension and you have a totally different perspective. I showed the "Over Alaska" video to my friends over Christmas (to show off my new Panasonic 58" plasma TV) and every one of them was very impressed. Buy it and see for yourself.

The video itself I felt was very good in all areas of quality. The video was a blessing. The music was very loud and somewhat brash guess they were trying to impart a feeling of excitement. I would have much preferred relaxing music to go along with it. The music was my only complaint.

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I had just asked for a full refund by e-mail on the basis of the poor resolution in this blu ray.

The resolution of this blu ray is worse than DVD and is totally unacceptable for blu ray. All the screens flicker and are aching / hurting the eyes. "Dog teeths" on all building edge, coastlines, rails, etc. Even screens of crop fields view and building view flicker.

There are not much verbal narration. Over 85% are background music.

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I was awestruck at the quality of the visuals, just stunning. The only flaw was that the " Over America" episode didn't show Florida, the Great Plains, the Dakotas region, and the northwest, and i think the New England region. Other than that,it's definitely worth buying. I don't regret the purchase.

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muito boa defiição de imagem .boa seleçao de vistas aereas.não é cansativo de se ver.a musica é muito boa e precisa.paisagens variadas dão numa boa visão geral dos eua

In Bruges (2008)

Martin Mc Donagh's "In Bruges" proves at least one thing once and for all: Colin Farrell is a thoughtful, emotionally open, soon to do very great things on the screen, actor...something that anyone who has seen "Tigerland" and "Home at the End of the World" already knows despite evidence to the contrary: "S.W.A.T," "Alexander," "Miami Vice," etc. etc.

'If I'd grown up on a farm, and was retarded, Bruges might impress me. But I didn't, so it doesn't" says Ray (Farrell) to his fellow hit man, Ken (burly Brendan Gleeson): both sent to Bruges, Belgium to cool off after a bloody hit that unfortunately went woefully wrong.

This is McDonagh's first film as Director/Writer and it is evident that he has a great eye for detail both in the sparkling, smart-*ss dialogue as well as with the stunning visual vocabulary of movies. Bruges is a beautiful city: ancient, redolent of the many lives lived there with its cobblestone streets, masonry buildings and outdoor plazas. As such, staid, old lady of Belgium Bruges stands in vivid contrast to the Irish duo of middle-aged, seen-it-all, supposedly Gay, interested in the sights and history of the city Ken and the emotionally over-wrought, painfully sensitive Ray: nervous, anxious, wanting to party, sporadically breaking out in sobs...literally an open emotional wound desperate for succor, blatantly remorseful, seeking redemption in all the wrong places.

"In Bruges" roils over with goofy, silly dialogue (mostly spoken by Farrell who proves very adept at delivering it in droll, wry, ironic style) and profanity, violent bursts of gunfire, and jokes at the expense of dwarfs and Americans. Screenwriter McDonagh steers his odd couple Irishmen through a series of strange/odd situations in which questions of honor, friendship and mortality are mulled. The older Gleeson also proves to be the grounded one: good at what he does (that is kill people) and able, by his very presence to calm Ray down.

Ralph Fiennes is also on hand here and plays Ray and Ken's boss, a mean-spirited bloke who talks in Michael Caine-Cockney cadences and arrives in Bruges to make sure that a hit, assigned to Ken is carried out without fail.

"In Bruges" shares many of the surface traits of such films as Tarantino's "Pulp Fiction" but, though great as "Pulp Fiction" is, it doesn't have the heart and soul of Mc Donagh's "In Bruges": a film that satisfies the thriller/action genes of us all but also digs very deep below and reveals the true natures of its very conflicted, ultimately very human characters.

How to describe this deceptively simple film is the hardest place to begin. The plot's fairly simple: Two Irish hit-men, Ray (Colin Farrell) and Ken (Brendan Gleeson), are sent to Bruges (in Belgium) to wait out the consequences of an assassination gone terribly awry.

The younger of the two, Ray, is bored and angtsy with the whole place. He's got a guilty conscience, having been the bloke who totally screwed up the hit. Ken, older and more sanguine about the whole matter, is the total opposite. He's enjoying the sights and quiet cadence of the city, seeing it as a brief respite from what he knows is a powder keg about to blow up in both their faces.

Without giving away key plot points (all brilliantly revealed as the beginning of the end begins to play out toward its tragic conclusion), all I can say is WOW! Though I have never been a huge Colin Farrell fan, I found the actor to be an absolute revelation. The man can actually act, excellently conveying Ray's guilty conscience with a manic, twitchy angst that practically sets the screen on fire. When Ray's mistake is finally revealed in all its heartbreaking glory, Farrell manages to portray Ray's guilt and attempt at redemption in a scene that awes as well as chills the viewer. This is definitely an Oscar caliber performance, and one would hope the actor will continue to make such smart choices in future roles. The fact that Farrell gets to use his actual Irish accent is definitely a plus for the character. His Ray is a charming, annoying, childish, totally screwed up nut about to crack.

Gleeson, too, is equally convincing in his quiet, calm portrayal. His Ken, world weary and tried of the whole business of death, nevertheless knows he's got to pull back his shoulders and soldier on--even if it means he has to face the bad end of a gun himself from mob boss, Harry (an excellent Ralph Feinnes channeling an evil more vicious than even Lord Voldemort). Harry's riff on the Uzi he is offered by a gun supplier is hilarious, as is Ray's in run with a racist dwarf, among others as he ambles through Bruges seeking a solace neither drink nor drugs, or even a pretty girl, can offer.

The end for these three men is tragic, but totally fitting. I thoroughly enjoyed In Bruges and watched it several times just to soak in the early subtle clues leading up to Ray's mental meltdown. I admit that I had to watch the film with English subtitles on as I couldn't understand the actor's thick accents, but that wasn't any distraction or detriment.

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Two hit men, Ray (Colin Farrell) and Ken (Brendan Gleeson) are on a sort of makeshift holiday in Bruges, Belgium after a hit gone wrong. While awaiting word from their boss, Harry (Ralph Fiennes), Ken is interested in sightseeing and the history of the place, while Ray couldn't be more unimpressed and can't wait to escape.

After hearing so many wonderful things about this film I was absolutely prepared to be let down. Movies rarely live up to the hype for me, but I am happy to say this one did and then some.

In Bruges had me laughing out loud, hard and repeatedly, as the political incorrectness and the way Ray and Ken play off each other is hilarious. It had me sobbing big ugly girly tears as the emotion that pours from Ray, his guilt, his sadness, is absolutely palpable and heartbreaking. This movie had me gasping at the violence, on the edge of my seat and on an emotional roller coaster from one minute to the next. It was great.

The performances are grand by all three main characters and the supporting cast lends equally wonderful and interesting performances. I found this to be a multi-dimensional and complex film filled with irony, humor, action and sadness. I was really stunned at the power behind Colin Farrell's performance. He goes from a sort of spazzy, funny, slightly inept and combustible sidekick to a sensitive, deeply tortured soul in about 2 seconds and every facet of his character is believable and brilliant.

In Bruges is one of those quotable films with a billion awesome one-liners and moments. This is easily one of my favorite movies this year and definitely upon my list of all time favorites. I loved every fricken minute of it.

5+ stars

Cherise Everhard, August 2008

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Much like a comedian, "In Bruges" is a film that uses humor to mask pain. It tells jokes and we laugh at them, but it's by no means a comedy; the story is deadly serious and at times downright shocking, and we're ultimately left in limbo about what we should and shouldn't find funny. This is actually one of the film's greatest strengths, simply because life itself is often hilarious in the face of tragedy. Writer and director Martin McDonagh seemed to know that all too well, which is good because it made for a unique and surprisingly engaging film. But be aware that not everyone will be this receptive: the subject matter is anything but light; most of the characters inhabit that massive gray area between decency and amorality; the ending is appropriate but definitely unconventional, leaving us unsure as to whether or not everyone got what they deserved.

The film opens with two Irish hitmen--Ray (Colin Farrell) and Ken (Brendan Gleeson)--arriving in Bruges, a Belgian city that's known for being the most preserved medieval village in all of Europe. They were sent there after a job in England went horribly wrong. I won't say what happened, but I will say that Ray is now an emotional wreck, unable to forgive himself for what he has done. Anyway, both men are told to wait in Bruges until further notice. In the meantime, they might as well enjoy a little sightseeing, and indeed, Bruges is a beautiful, picturesque place. While Ken is more than willing to take everything in, Ray behaves like an immature teenager, shooting his mouth off about how awful Bruges is. He even gets into hot water with tourists, especially the American ones--it seems he's still bitter over the Vietnam War and the murder of John Lennon.

But it's much more likely that the past few days have taken their toll on him, with the incident in England weighing heavily on him. His only outlet is beer, cocaine, and Chloë (Clémence Poésy), a young woman working with a film crew. They share a fascinating if odd relationship, him being a hitman on the brink of suicide, her being a drug dealer and occasional robber. It's through her that Ray meets Jimmy (Jordan Prentice), a dwarf acting in the film being shot in Bruges. They, too, share an interesting relationship, not only because both are pent up fountains of anger, but also because of how they express that anger. Here's an example for Jimmy: there's a scene in which he's high on cocaine, ranting about how there will eventually be a race war between the blacks and the whites, and he feels that every ethnicity from the Vietnamese to the Pakistanis will side with the blacks. "What about black midgets and white midgets?" Ray asks. "Yes!" Jimmy emphatically responds. "Now there's a movie!" chuckles Ray, who quickly notices how offensive Ken is finding this conversation.

After a few days, Ken in finally contacted by Harry (Ralph Fiennes), who gives specific instructions that I won't reveal. I will say Harry is probably the film's only evil character, despite the fact that he has strict principles about who and who not to kill. He apparently first saw Bruges when he was only seven years old, and he loved it so much that he wanted both Ken and Ray to experience it. Bruges is like a city in a fairy tale, Harry says, and woe to those who don't feel the same way--one gets the sense that, in his eyes, disliking Bruges is akin to disliking the air we breathe. As irrational as this line of thinking is, Ken goes along with everything Harry says and always obeys. But then the next hit is ordered, and at that point, Ken reconsiders the life he leads and why he leads it. This, in turn, forces Harry to come back to Bruges.

All this paves the way for the final sequences, which are cleverly written to say the least. They serve as brutal counterparts to many earlier scenes, many of which have Ray and Ken discussing the existence of heaven, hell, and purgatory. They also wonder what it means to be a truly good person; Ken feels that he's generally a nice guy, yet he's well aware that he has killed people. He also asserts that, with one exception, his victims were all bad people who deserved to be killed. This begs the question: Where is the line drawn, since justified murder is still murder? Ken and Ray grapple with this, knowing perfectly well that their feelings could mean the difference between life and death.

There's a scene that sees both men in the Basilica of the Holy Blood, which displays a fragment of cloth said to have been soaked with the blood of Jesus Christ. Ken wants to see this cloth while Ray is desperate to leave, and that's an interesting duality since both men are sinners and unsure about what the hereafter has in store for them. Ray believes that hell is an eternity in Bruges, which is the only reason why he doesn't want to die there. Ken eventually believes that his purpose is to send Ray off to find his own purpose. Both have a lot to pay for. Whether or not they actually do pay, I'm not sure; much like the film's overall sense of humor, the ending of "In Bruges" is ambivalent, leaving us in a thick fog. But at the very least, it's a lovely, almost magical fog, much like the one shrouding Bruges every evening.

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Another delightful little British black gangster comedy. Think of: Sexy Biest (w Ben KIngsley). Snatch (w Brad Pitt, Benicio dT ...). Layer Cake (w Daniel Craig). These guys have figured it out. Usually high class actors (here R.Fiennes, who is much more convincing as a bad guy than otherwise, and the quite capable Colin F., who had been a bit overrated for a while, but he really is quite talented).

A basically simple plot (a hit man has screwed up, causing collateral damage; the boss needs to remove him, orders the partner to get it done, which turns out a problem...) runs into obstacles because the protagonists develop unexpected attitudes. Slapstick with guns.

(Disclaimer: let me add that the headline is not my opinion, but a quote from Colin Farrell's character Ray, who thinks that Bruges is a s-hole; I fully disagree with that crass opinion, Bruges is as nice a place as you are likely to find in the whole of Belgium. On Tottenham I am not an expert.)

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The Painting (2011)

Just brilliant. The visual style is unequalled: hand drawing and wet media meet computerized rendering in a uncommonly successful merger. The social message is about tolerance at many levels, to the point that skin color is the least of the issues. Characters have some depth (maybe not all that much, but some) and really make you want to like them.

But, at least one serious irony inflicts itself, and in multiple ways. The Alldunns, the self-proclaimed higher caste who identify themselves by their fine rendering, elevate themselves above the mostly-finished halfies, and everyone abhors the loosely-drawn Sketchies. Well, declaring yourself superior based on some trait over which no one has any control is human enough. In this case, though, the loose and painterly style even of the Allduns looks like kindergarten scribbles compared to the hyper-realists of the 1970s and 80s, or even to the oil masters of every century up until this. For them to declare degree of finish to be degree of value simply devalues themselves, when taken in the wider context of what painting can be.

And, in a second irony, I think of Rembrandt's etchings. Central characters appear in passionate detail. Just a few inches away, minor character fade out to circle faces, dot eyes, and lines for mouths if that. Rembrandt used degree of finish as a way to direct the viewer's attention "Here, this matters, there's a lot to look at." The more loosely drawn characters don't detract from the composition, they define it. They are equal members in Rembrandt's compositions, and I do not feel qualified to dispute Rembrandt's judgement in creating effective imagery. I do feel qualified to defend every level of detail in his renderings loss of any would be a loss for all.

So, I love the imagery (except for some of the motion, but I quibble). I like the in-your-face message about equality, even if Dr. Seuss's Sneetches said it more directly. And I like the rich visual style. I find a few points not so much to my liking, but that's just life. My highes recommendation, for anyone who wants a bit more from their animations.

-wiredweird

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