Hamburger Hill

As a combat medic who served in the 101st Airborne Division just three months after the events depicted in this film took place, I can tell you that it is absolutely the most realistic Vietnam war film to date. I cannot address the issue of the absolute truth of the way specific events are depicted in the film because I wasn't involved in this particular action, but I can say with no equivocation that the characters and combat shown in this film are absolutely realistic based on my experience. The fictional soldiers shown in the film talk like we talked, and all aspects of combat shown are much like my own experience. Some aspects of this film may seem cliched to some viewers (see below), but that is just the common reality of war and reveals the simplistic views of the times. Soldiers in combat were young and not especially astute in their views. We really did say "it don't mean nothin'." I cried on the way home after I first saw this film in the theatre, and finally achieved the catharsis I needed to leave Vietnam behind me. I am grateful to the director and producers for providing that. Someone finally got it right. "Doc" Cooper, B company, 2/502, 101st airborne division

I served three combat infantry tours in Vietnam, and this is the movie that best captures the realities of the U.S. military field experience there (the other movie that's worth seeing is the more recent "We Were Soldiers"). "Hamburger Hill" has the right music -the soundtrack is full of songs I never knew the names of, but tunes that I remember hearing in Vietnam and that help to bring back the world as it was then.

You see the ubiquitous helicopters, although no movie, including this one, has ever used anywhere near the number of choppers that were actually used in Vietnam. I've seen as many as 100 around a major operation, but it's rare to see more than a dozen at a time in a movie. I would guess that the cost is prohibitive for movie makers. War is an expensive proposition.

No movie can convey the smells of a place, but "Hamburger Hill" comes close with its images of field conditions, and it catches everything else -the sights, the sounds, the language, the cliches, the basic training knowledge common to all grunts, the attitudes toward those outside your unit -including higher command, Vietnamese, media people, and politicians -and even the social revolution that was rocking America while the troops, who fought for ground that would not be held, knew they would never be allowed to chase the enemy back to his lair, so next week, or next month, or next year you'd be fighting for the same hill again.

For those who were there, this movie takes you back. For those who weren't, this movie, better than any other, tells it like it was. There's a special place in heaven for writers and directors who make truthful art like this.

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This movie is billed as the most realistic war movie to come out of our experience in Vietnam. From the ping of mortar rounds leaving their tubes to the crump of their impact, I agree. Its heroes are Vietnam grunts who only want to survive, but who give it their all because their sense of responsibility to each other and to themselves demands it. There are no masterful generals, no crusading journalists, no anti-hero politicians -just a group of young men caught up in events they didn't control, probably didn't understand, and certainly didn't want.

There is no shortage of combat scenes. Hamburger Hill depicts in gory detail the action that spanned 11 days (May 10-21, 1969) during which the 3rd Battalion of the 187th Airborne (3/187th, the "Rakkasans" of Korean fame) tried and finally succeeded in taking what was labeled on their maps as Hill 937 (meaning it was 937 meters high). Hill 937 was actually one of several ridges that comprised Dong Ap Bia on the Laotian border in the A Shau Valley.

A series of coordinated operations was planned with the intended purpose to clear the valley, deny its use, and disrupt the enemy's plans. These operations would comprise ten battalions of US and ARVN troops that would move into various parts of the valley in a coordinated scheme of maneuver. The Rakkasans of the 3/187th and an ARVN battalion drew the prize: Dong Ap Bia (Ap Bia Mountain), occupied by two battalions of NVA -some 600 to 900 strong and probably reinforced during the battle.

The movie follows a fictitious infantry squad, along with the supporting medic, and their platoon sergeant and platoon leader. Focusing on a single squad subtly points out how combat in dense terrain becomes very localized. Their link to the outside world is through the platoon leader's radio and the disembodied voice emanating from it that keeps urging them on and asking for SITREPs (situation reports). You quickly understand that despite the frustrations of the war, the growing hostility at home, and the growing racism within the military, they understand that their individual and collective survival depends on each other. This binds them in a way that few other situations can.

The movie's real strength is its attention to detail. Everything has the right look, sound, and feel. From the crack of M-16 rifle rounds, the hollow resonance of the M-79 grenade launchers, and the crump of impacting mortar rounds, to the radio traffic, the banter, jargon, and slang, the locales and locals, the sandbags on the floors of the trucks, the mud, wooden ammo boxes and artillery shell containers littering the base areas, the red filters on the flashlights, etc. I was particularly thankful to be spared the hand grenades and mortar rounds that explode like giant balls of fire so typical of war movies.

The mistakes were few and minor. The biggest error was that there were not 11 assaults up the hill as the movie leads you to believe. May 10 saw the first contact. On each of the next three days (May 11, 12, and 13) the 3/187th conducted a "reconnaissance in force" (RIF) to find the enemy, probing for weak points. Deliberate assaults occurred on May 14, 15, 18, and 20. The days in between were either stand-downs for resupply or aborted assaults due to the inability of supporting ground units to get into position.

No company, thus no squad, was committed to each RIF and deliberate assault. The squad in the movie is a composite of all the squads engaged. The various incidents -the squad members' deaths, the NVA virtually rolling their grenades downhill on the attacking Rakkasans, the friendly fire, the torrential downpour on May 18 that stopped that day's assault, and so on -all happened. They just didn't all happen to the same squad.

Other than the platoon leader, the officer chain of command is never seen; rather, they are depicted as disembodied voices over the radio. This is misleading. The command structure at company and below would be on the ground with the troops; battalion command would be either on the ground or in the air, depending on where the battalion commander thought he could best control the battle.

The movie's anti-war message is apparent from the opening credits, which are interspersed with views of the Capitol and the Vietnam Memorial in Washington. The symbolism of our seat of government juxtaposed with the memorial to the fallen is heightened by the wintry sunset reflecting off the Vietnam Memorial.

Rather than a history lesson, the movie is a metaphor for the war in Vietnam: the relentless push to achieve ground of questionable importance despite the high cost in blood. Good men fought and died.

Was it worth it? As the fatalistic mantra among the grunts in the movie said, "It don't mean nothin'." That's a sad, angering attitude until you recall that shortly after the battle was over, we left the hill, as we did with so many other hills, and another NVA regiment moved in and retook possession.

Hamburger Hill doesn't glorify war, but it does show the best attributes of men caught up in war. In so doing it rightfully praises the American soldier. However, one has to conclude that the lives of the men who fought at Hamburger Hill -the deaths, the anguish, the exhaustion, the physical and emotional wounds -didn't matter if the capture of the hill didn't ultimately contribute somehow to victory. In the same way, the lives of the men and women who fought in Southeast Asia didn't matter since we didn't prevail in the war. Private Beletsky (Tim Quill) said it all with his silent tear as he surveyed the body-strewn, devastated slope from the summit of Hamburger Hill at the end of the movie.

So, the message is fight to win or don't fight. Make it mean something. That's what some came away from Vietnam with, and that's what makes this a movie worth seeing.

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From a reality standpoint, this film hits the mark. It is not at all atypical like "Apocalypse Now" (USO Show at night in unsecure area? Give me a break!) or "Platoon" (obsessed with potheads and war lovers). I speak as a veteran of the Vietnam War (May '67 to May '68). The guy who calls this film booring was either in another room or expecting a cartoon. At any rate, he misses the boat or has no experience. The main idea that drove these young soldiers was how to stay alive. The sounds of mortar and artillery explosions used in this picture were the most realistic I have ever heard in any war film. It instantly took me back to 1968 and the nightly mortar attacks we lived through in the central highlands of Vietnam. The characters were entirely believable and diverse. There was conflict between characters as well as conflict on the battlefield. Unfortunately, the film's dipiction of "friendly fire" though tragic was a fact of life at times. And to the guy who says there was no plot: What does he call the all out effort to take that miserable hill day after stinking day? For a typical and realistic rendition of what the war in Vietnam was like, I offer "Hamburger Hill" as the answer.

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This review is from;Hamburger Hill (20th Anniversary Edition)

"Hamburger Hill" is a Vietnam War movie that deserves to be a classic in its own right, but unfortunately it will always be not as highly recognized as the more popular movies of its genre including the highly regarded "Apocalypse Now", "Full Metal Jacket" and "Platoon" (all made by very revered directors Francis Ford Coppola, Stanley Kubrick & Oliver Stone, respectively). Director John Irvin's "Hamburger Hill" is gritty, action packed and straight to the point film about the 3rd battalion of the 101st Airborne Division's assault on hill 937 in Vietnam from May 10 to 20, 1969. A bloody battle that had nearly a 70% casualty rate. Although underappreciated I personally liked this movie, but rather than review this movie as many others already have under the original Artisan DVD release link, I just wanted to point out the features for the new "20th Anniversary" release. I owned the prior DVD by Artisan (from 2001) and I decided to splurge on the new, 2008 release by Lions Gate.

The 20th Anniversary release of "Hamburger Hill" was given a new, anamorphic widescreen transfer by Lions Gate. Although I thought the old Artisan DVD contained a decent transfer, there were some imperfections or spots on the film. Not much, but some. The colors on the old transfer also looked slightly faded and fuzzy. The new transfer on the otherhand, looks slightly sharper and more focused. The imperfections I saw on the old transfer are gone on the new one. Great clean up job! I'm not really an expert on sound, but the new DVD contains a digital 5.1 sound track which for the most part sounds almost identical to the Artisan DVD. Although this is not really a complaint, the scene selection in the old transfer had 36 chapter stops while the new transfer has only 16. This is probably irrelevant to most people, but I just thought I would take note of it.

The 20th Anniversary DVD now contains commentary tracks from the film's writer/Producer Jim Carabatsos and actors Anthony Barrile, Harry O'Reilly and Daniel O'Shea. Most of the commentary is from Carabastos. Some of the commentary is screen specific, but most of it is about the films' origin and production. The actors mostly talk about their auditions and boot camp experiences at Subic Bay, Philippines in addition to their own experiences on the film.

The new release now contains a couple of new featurettes. One is called "The Appearance of Reality" (16 minutes, 50 seconds). This is your standard behind the scenes, film crew & cast interviews with some film footage. We also hear from director John Irvin and writer/Producer Jim Carabatsos. The feature also covers the difficulties encountered while making the film in the Philippines. Watching this reminded me of some the difficulties encountered when "Apocalypse Now" was made which was well covered in the documentary "Hearts of Darkness". Some of the troubled moments during the filming of "Hamburger Hill" included an electrician that was electrocuted (and died) during filming, a typhoon, some local fighting during the Aquino revolution against the Marcos Regime and some sniper fire towards the actors' van at night (the van had to drive with the lights off and the passengers had to crouch down for safety to avoid the sniper fire!).

The other featurette is called "Medics in Vietnam" which is about medics (about 6 minutes). Although very short in length, I still think it's great that some well, deserved recognition is given to the medics in the battlefield and some basic, understanding about how vital they are as supporting units in the battlefield. We hear excerpts from actor Courtney Vance who played medic Doc Johnson in the film as well as a military historian Colonel Robert Tomlinson, book author Artur Wiknik Jr. and former medic Bob Rogers. I found it interesting that some of the medics that went to Vietnam had such distinct backrounds. Some were ex-infantry men and some were conscientious objectors that didn't want to fight in the war, but wanted to help in the effort nevertheless.

The DVD also has an interactive "Vietnam War Timeline" filled with interesting key dates and facts. The timeline has a sixteen different date menus in chronological order from 1867 (the French Colonization) to 1975 (the American withdrawal). When you select each date with your DVD player's remote, some text notes, map locations and/or pictures appear to explain what happened in that specific time period you selected. Neat!

The last features on the DVD are trailers for other Lions Gate films including "Reservoir Dogs 15th Anniversary" (and video game preview), American Psycho, 3:10 to Yuma and Rambo (the new 2008 DVD and the Rambo "Ultimate Edition" set). Note there is NO trailer for "Hamburger Hill" on the 20th Anniversary DVD, but if you have purchased the new 2008 "Rambo" two-disc DVD set, the trailer for "Hamburger Hill" (20th Anniversary DVD) is there.

My only, minor complaint about the new DVD is the absence of actor Don Chealde from the featurette and the commentary. Chealde became famous later for his many roles in other films such as "Hotel Rwanda" & "Ocean's Eleven". Although his role in "Hamburger Hill" is somewhat minor (a stepping stone for him at the time), I appreciated all of his work and I still would of liked to hear any of his insights about "Hamburger Hill" despite the fact that he has become a much, more acclaimed actor now than he was back then. Otherwise, I think this is a worthy upgrade for fans of the film who owned the prior DVD and a worthy purchase for new viewers. Improved picture and some interesting features made the "20th Anniversary" a good purchase for me and possibly for you?

The Good, the Bad, the Weird (2010)

Small wonder that after director Kim Jee-Woon's magnificent "A Tale of Two Sisters" and the terrific "A Bittersweet Life" that his next film would be so eagerly anticipated. "The Good, The Bad, The Weird" has won numerous awards in Asia, achieved box-office acclaim in South Korea and has been selected for the Cannes film festival. I've said before that an Asian western isn't exactly an original concept; there was a video game called "Western Samurai", the Hong Kong produced "Peace Hotel" and most recently, Takashi Mike's "Sukiyaki Western Django" from Japan. Well, it seems like South Korea won't be left behind and with Kim Jee-Woon at the helm, expectations are rather high and the man doesn't disappoint.

A two-bit bumbling crook named Tae-Goo "The Weird" (Song Kang-Ho, Sympathy for Mr. Vengeance) robs a train only to unintentionally make off with a Quing Dynasty treasure map. Everyone wants this map; the Japanese army, the Korean independence group as well as a lot of shady characters. On Tae-goo's tail is a relentless killer named Park Chang-Yi "The Bad" (Lee Byung-Hyun, A Bittersweet Life) who is also after the map and has a seemingly personal reason as to why he wants Tae-Goo's head on a plate. In hot pursuit for both of them is a bounty hunter named Park Do-Won (Jung Woo-Sung, The Restless) who can do nicely with the bounty for Chang-Yi's capture or the treasure itself. Now, these three men are on a collision course--who would win out in the end?

Kim Jee-Woon's "The Good the Bad the Weird" is an extremely well-made film and is a highly entertaining genre-busting affair. This chaotic period similar to the wild west in America, a Machuria-set "kimchi" western (as opposed to "sukiyaki") is a melting pot of all things awesome about westerns and looks like a homage to Sergio Leone's "spaghetti westerns". There's a train heist, lots of shoot-outs in a small town and cool characters. You'll see bits and pieces of "The Good the Bad and the Ugly" (so obvious with the film's title), "A Fistful of Dollars" and even Miike's "Sukiyaki Western Django". The film has a very large budget and it shows, the film is exquisitely shot and the superb style and camerawork reminded me of Ryuhei Kitamura (Azumi). Director Kim definitely knows his stuff in style and with the film's intriguing concept, Asian and Korean cinema fans have reason to see this film, and it is definitely something that a "solid" Asian film fan just can't miss.

The film's set designs and architecture maintain some of that "dynasty-era" Korean period but it does have a strong touch of the old west. It has some rather creative touches; there is some swordplay, knives used with brutality, there's a big guy with a huge hammer, a "sleeping Buddha" under construction, rifles with telescopes, motorcycles and jeeps, saloons and more--all these contribute to the film's "mixing of genres" style. Director Kim also seems to be having a lot of fun with the film, as he never forgets his touches of humor to help the film's pace and his stunning camerawork which proves to be the film`s showstopper. Explosions and gunfire are aplenty; highlights include a very cool town gunfight and a very long chase sequence with the ensembled cast supported by dozens of extras. I've read that Kim actually had cameramen hanging on wires to shoot the desert scenes--Kim Jee-Woon's talent shines through.

The action scenes are very exciting and exquisitely executed. It looks like director Kim took some pointers from Ryuhei Kitamura because they are just so full of "coolness" that can make action scribe John Woo a little jealous. Kim also avoids the use of CGI in the action and depends mostly on elaborate stunts and old-fashioned camera trickey; there is minimal use of CGI enhanced effects but only in the film's set designs. Ok, so some scenes required a large suspension of disbelief, I rather found Jung Woo-Sung's Do-Won's skills with a gun a little too over-the-top especially when he engages a large number of the Japanese army. He never even gets grazed by a bullet so either Do-Won is unbelievably good or these guys just supremely suck. But hey, this is a minor complaint, after all I don't think this film was meant to be taken seriously and more of a homage film. Hey, please take note that Kim doesn't hold back with the blood--and the way he executes it kept the film from having too much of that "comic bookish" feel. There is also a legend of a certain "Finger chopper" that gives some surprises and I felt that the screenplay played its cards well.

Song Kang-Ho's Tae-Goo arguably steals the show and proves to be the film's most interesting character--the actor also proves as to why he is one of South Korea's most sought after performers. The man can act in almost any film I've seen that further cements his reputation in versatility. Lee Byung Hyun does have the most intense presence onscreen, his character along with Song Kang-Ho's Tae-goo are the kind of characters that can elevate the film into "cult status". Jung Woo-Sung's "the Good" character feels a little too cool and lacks precision, but the actor does do the best with what he has. Still, the three popular actors mesh very well and has dynamic chemistry. Oh, the women are also great-looking and serves to titillate the male audience.

"The Good, The Bad, The Weird" is a very polished film that lived up to my expectations. The film's plot isn't too deep, but the film's "wow" factor is just so incredibly impressive that I can look pass the very simple plot which makes it essentially a chase film. It is a solid film, that exudes popcorn entertainment but its characters do carry much of the film's weight. It may be little too pre-occupied in becoming captivated with itself but its small flaws aren't really worth to nitpick. The film is an action-packed affair that action junkies will never become bored--as for the rest, they can find something else to like in the film--its characters, style and performers will definitely impress. I'm happy to say that Kim Jee-Woon's film lived up to the hype.

Highly Recommended! [4 ½Stars]

There are two versions of the film. The International version (the one presented in Cannes) is arguably the better paced, leaner film that maintains a touch of mystery at the end. The Korean 130 minute cut has more development to Tae-Goo's character and an extended climax that answers a lot of questions. The official U.S. version is expected to have the original 130 minute version.

I love this film. I am admittedly a junkie for Korean cinema, and this is one of the better films to come from that country in the past few years. A really exciting, action-filled "eastern" that takes place in the early 20th century in Manchuria. There are some flat-out great gun fights and chases throughout the entire film. Actually, the movie is like one giant chase with ample set pieces. The camera work and pacing is excellent and the performances are quite memorable. The tone is comically light, but never cartoonish. If you consider yourself a fan of action cinema, this is a must-watch.

BUT, the blu-ray is 1080i!! Most of the time when Asian films get a 1080i transfer, it's because that's the only one available and the studio releasing the film is lazy/cheap. Like with some of the HK/Chinese blus. What that means practically is that there was pixellating in the image when the camera panned slowly. Also, in wide shots with lots of little detail, the image gets kinda blocky. This is a particularly unforgivable offense as there is another, apparently great 1080p transfer available in other markets. Very lame IFC. Sorry.

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Sergio Leone on a bender in 1930s Manchuria.

Almost non-stop action, most of it tongue in cheek but nicely choreographed, lots of color and pizazz, and above all an endearing sense of absurdity make this a pleasure to watch. Director Ji-Woon knows the genre well and delights in subverting it without mercy; the guy in the diving helmet was one of my favorites. Any movie that takes itself this unseriously yet also delivers thrills and humor is a success by any measure; that it's Korean and does Hollywood one better makes it all the more fun.

Some of the violence is a little overdone, but it's all rather comic-bookish anyhow. The real highlight for me were the many incredibly long, tight tracking shots, full of wild angles and unexpected twists and turns of the camera. Shots like that take great care and preparation and for so many of them to work so well is no mean feat (the extras docs show just how wild some of these set-ups were). To have it all be this wacky and light-hearted yet also so breakneck is a real achievement. Plus the acting is both gleefully hammy and surprisingly well done: I never once thought, "What a crappy take." Somehow it all just fits, once again in the spirit of the best spaghetti westerns.

It does go on a little longer than it might have, with too much time spent pontificatin' to no real end, but that and the occasional gratuitously graphic violence were my only qualms. I loved that there was no English-language dubbing (which is so often so bad), just the original Korean and good subtitles full of flavor and colloquial feel. This is how it should be done. All in all, it's an over the top shoot-em-up and delivers on that promise in spades, diamonds and treasure maps.

The blu-ray is very nicely done, not a flawless transfer but very good, and there are a bunch of solid extras, including various interviews and making-ofs; it's a nice package and will no doubt contribute to this film's inevitable cult status. There've been a few other Asian westerns but this one is in a league of its own, and the quality of the image along with the color and the humor make it a real treat to watch. And it's almost all shot outdoors in natural light, often in gloriously huge mountainous wilderness, so it feels very real even with all its goofiness, and the final motorcycle/horse/jeep battle is a true classic.

[A note to any surfers out there: when you see the sea in the distance at 1:18:02, check out those insane, endless tubes peeling off in a perfect set. Surf Manchuria!]

If you like westerns, Asian cinema, great cinematography, nutty genre humor, or/and just a good old-fashioned fun movie, Good Bad Weird is for you.

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n the surface, Kim Ji-Won's ("A Tale of Two Sisters," "A Bittersweet Life") 2008 film, "The Good, The Bad & the Weird," is clearly a homage to Sergio Leone's Spaghetti Westerns, but it also draws much inspiration, in terms of tone and temperament, from much more lighthearted fare like Steven Spielberg's "Indiana Jones" films.

Shot in Western China near the Gobi Desert, the film is set in a harsh, flat landscape that could just as easily stand in for the American Southwest circa 1860, as well as Manchuria in the 1930's. Into this inhospitable terrain has come, it seems, every Korean thief, gunfighter and gangster, all fleeing the brutality of the Japanese Occupation of Korea (1910-1945), including: a noble, if cold-blooded, bounty hunter Do-Weon ("The Good,") played by Woo Sung Jun (the heroic former slave in "Musa the Warrior,"); a vicious, if terribly insecure, urban gangster turned train robber, Park Chang-Yi ("The Bad"), played by Rom-Com hearthrob Lee Byeong-heon (who surprised many audiences with his portrayal of a young gangster in "A Bittersweet Life"), and Sang Kang-Ho (who has given great lead performances in lauded Korean dramas like "Joint Security Area," "Memories of Murder," and "Sympathy for Mr. Vengeance,") who carries much of the film with his comedic portrayal of Yoon Tae-Gu ("The Weird"), a doofus of a bandit, who kicks off the action by making off with a priceless Q'ing Dynasty treasure map.

It's the race for said map, by mercenaries hired by proand anti-Japanese forces, as well as local thieves and roving bands of bandits, that drives the story, as seen in lively, extended action-packed set pieces: a bloody train robbery, a crazed gun battle in a sprawling desert marketplace, and a wild horse-motorcycle-jeep & truck chase across miles of territory. There is very little depth here (which is a tad disappointing given the films huge budget and 130 minute running time), but on the whole, the film is an enjoyable ride, loaded with sharp, often funny characterizations, elaborate and intense action scenes, and a general good humor that lends a welcome bouyancy to the often crazed proceedings. The movie should easily sate the appetite of almost all action movie fans, prime yourself for a fun fast moving ride through shallow waters and you should do fine.

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This movie has everything! From the very first scene (amazing) to the very last (did NOT see that coming) I was enthralled. A South Korean film set in 1940's Manchuria, this film is the funniest action-packed western you'll ever hope to see. I watched it with my 8 year old son, re-rented it 2 days later at his urging and ordered it from Amazon the next day to save rental fees. With the unexpected soundtrack (I don't want to ruin it for you) play this movie loud. I can't decide if this or Inception was the best movie I've seen all year. The difference is I could watch this movie ten times and not tire of it. What are you waiting for? Click on "Add to Cart"!!

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Capricorn One

What a joy to see this movie again. I had forgotten how suspenseful it was, not having seen it since its theater release. Even O.J. Simpson can't ruin it. Of course, it pushes the limits of believability from time to time...but never far enough to make it unenjoyable.

Now for the bad part....this movie definitely deserves a better DVD than this. It is widescreen, but not enhanced as it should be. But worse...the picture has areas where it almost appears as if it is being projected against a dirty screen. Other areas of the movie are blurred...amplified when viewed in a large format.

I can't NOT recommend this DVD...only because it is the only one available of this film. But I sure wish someone would do the movie justice.

Suprisingly, I saw this movie for the first time just a few short days ago, even though I was old enough to have seen it when it hit the theaters. A shame I let it go so long.

At the beginning of this movie, three astronauts (played by James Brolin, Sam Waterston, and O.J. Simpson) are pulled from a space flight destined for Mars. There was something wrong with the life-support system. The director of the space program (Hal Holbrook) says that they can't afford for the flight to be cancelled, so the three astronauts are coerced through threats to go through with a fake landing filmed on a closed base.

A reporter (Elliot Gould) talks with a friend (Robert Walden) who claims there is something mysterious going on with the flight. Immediately after this revelation, the friend disappears with no trace of him having ever existed. The reorter begins a quest to find out what is going on.

Meanwhile, the now unmanned spaceship burns up on re-entry. This means that except for the three astronauts and few head people in the space program, everyone else thinks they're all dead. This leads to the exciting last half of the movie.

A similar conspiracy theory (held mostly by extreme nutcases) revolves around our own moon shots, but this movie makes the plot an extremely good way to pass a couple of hours.

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I love this flick ! from 1978, it's a thriller that stands up to many, many viewings, and it gets you thinking...could something like this ever happen ? It's a great one for "Conspiracy theorists", "Enquiring minds", or just plain old folks like me who distrust "The System".

It boasts a cast of actors that never quite made it big, all turning in excellent performances: Elliott Gould, James Brolin, Brenda Vaccaro, Sam Waterston, Hal Holbrook, Karen Black, Telly Savalas, you even get O.J. Simpson in one of his finest minutes.

I get a big kick out of films made in the '70's. The mens fashions were priceless. Those wonderful suits, ties, and haircuts ! What a hoot it all was.

A favorite scene is the one with Sam Waterston on the cliff, and the crop-dusting plane chase is fabulous. The Jerry Goldsmith soundtrack is terrific, as is Bill Butler's cinematography. Though there are lapses in the script, I give this five stars for being one of the most entertaining and best B movies out there.

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I have to confess I have always liked this film, ever since I first saw it and was too young to realize some of the more obvious errors. It was a little slow, as I was used to Star Wars type speed, and a little talkative but I loved the idea. Seeing it again, on widescreen, as an adult, I appreciate it a lot more.

The positives are the story, the acting (which is actually very good, especially Hal Holbrook and Elliott Gould, and a hilarious scene stealing Telly Savalas), great direction, superb chase scenes and a very nice score.

It may not be a perfect film, or as awe-inspiring as Close Encounters, but this is a very entertaining film and one of the more under-valued films of the 70's.

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I'll say this much, when ITC Entertainment Group focused more on motion pictures than television series(The classic Space:1999 series for example), they definately cranked out some winners. Films like The Eagle Has Landed, Satrun 3, Green Ice, and The Legend Of The Lone Ranger for example. However, the British Television and Motion Picture really brought out a winner in 1977 with the release of the classic science fiction/action adventure/political and conspiracy thriller, Capricorn One. Written and Directed by the great Peter Hyams, and starring an astounding cast of actors that consisted of James Brolin, Elloit Gould, Sam Waterston, Hal Holbrook, Brenda Vaccaro, Telly Savalas, David Doyle, Karen Black, and countless others. Nt to mention having an explosive soundtrack by Academy-Award winning composer Jerry Goldsmith.

I first saw the movie on NBC's Sunday Night at the movies, and it made me a fan of James Brolin for life. The movie tells the story of NASA's first mission to Mars, and how much NASA's future is riding on this major project. If the mission is a failure, then Congress will cut back funding on the manned space program. When the three astronauts are about ready to launch, they are immediately pulled out from the Apollo space capsule and are flown to an abandoned Air Force base in Texas. There, they are told by the cheif flight director of the project, that due to a faulty life support system, the mission would put the astronauts in peril. In order to assure the future of NASA and future space flights, they are told to fake the Mars landing on a very convincing soundstage. If they do not cooperate, their families will be killed. The astronauts have no choice nut to participate in the elaborate hoax. At the same time, one of the NASA technicians discovers that the transmissions from the space craft are not coming from the spacecraft. The technician tells a reporter friend of his, and the reporter begins to investigate. When the mission comes to n end, the capsule suddenly burns up in the Earth's atmosphere, due to a faulty heatshield, the three astronauts, knowing their lives are in jeopardy, escape from their captors into the Texas desert, hoping to expose the sensational fraud. From that point on, it becomes a game of cat and mouse for the astronauts and the NBC news reporter trying to solve the mystery and blow the whistle on the governmental conspirators involved.

Definately one of the best thrillers of the post Watergate '70's, and in some ways, much like the film Hanger 18 and The X-Files television series and movies. Not only is it entertaining, and has a very solid plot, it is also a movie that referes heavily back to the old conspiracy theory of a faked Moon landing. James Brolin, as always, shines as the lead astronaut who desperately tries to reach civilization and expose the conspiracy for what it is. Elloit Gould did a good job as the reporter, yet I think either Harrison Ford or Roy Thinnes could have done a better job. Karen Black was good as the other television news reporter, yet, I also think that former James Bond girl Lois Chilles would have been a better choice.

The action was really good, especially the helicopter chase sequence in the end. Definately some very good stunt work in that scene. Especially the astronauts escape from the abaondoned hanger. Sam Waterston was very humourous in his role. And as always, Hal Holbrook was good as the man caught in the middle of

the hoax. His character was not a villain, his character was someone who did not realize how serious the government agaents were in pulling the conspiracy off. Telly Savalas was really a hoot as the curmudgeony crop duster who helps Gould rescue Brolin in the desert from government asassins.

Definately one of my favorite movies. It may be controversial, but it still packs a whallop and delivers the goods. It would have been great if James Brolin had done more movies instead of television. He truly showed the audience that he could do movies.

Interesting side note, watch the ending of the film, and you'll suddenly realize that both Brolin and Gould have something in common. Gould is Barbara Streisand's ex-husband. And Brolin is currently Barbara's new husband. Coincidence? I'll let you decide.

The Bucket List (2008)

Selecting a category for this very fine film results in the all-encompassing label 'mixed media', for lack of a better term. It is smart (with an excellent script by Justin Zackham), addresses some important social issues, and it has moments of touching tenderness and equal moments of very sold comedy. AND it greatly benefits from the casting of Jack Nicholson and Morgan Freeman, two consummate actors playing out a theme that is unexpectedly a solid study of friendship and love.

Carter (Morgan Freeman) narrates the story: Carter gave up his dreams for a college education and major career to support his surprise child from his wife Virginia (Beverly Todd) and has worked as a mechanic to support his own family, including his son Roger (Alfonso Freeman, Morgan's son in real life also!). After his children have all become successful, Carter is suddenly diagnosed with terminal cancer. He is hospitalized for chemotherapy, only to be placed in the same room with the wealthy and cantankerous owner of the hospital, Edward (Jack Nicholson) who also has been diagnosed with terminal cancer and is also in the hospital for chemotherapy. Edward's only 'friend' (he has basically alienated the world through his behavior) is his assistant Thomas (an excellent Sean Hayes) who tends to his every need. Gradually the two disparate men grow into a friendship united by the common bond that they both must face impending death. Together they create 'the bucket list' things they want to do before dying, and because of Edward's wealth, they leave the hospital on a worldwide adventure of skydiving, racing cars, visiting the pyramids, etc. The manner in which these two elderly men bond casts a warm glow over the film without ever touching on the maudlin risk of communication. They simply grow in their appreciation of life as they learn from each other.

Freeman and Nicholson are in peak form here and the supporting cast is very fine. But special credit must go to director Rob Reiner for giving us yet another film about humanism that would enrich the lives of anyone who takes the time to watch this very fine film. Grady Harp, June 08

By what they've accomplished? According to soft-spoken cancer patient, Carter (Freeman), you measure a man's life by who measures their lives by yours.

Edward Cole probably was a lot of people's yardstick. He was wealthy, powerful, and he ran hospitals.

"We run hospitals--not resorts!" E. Cole (Nicholson)

If Cole hadn't been so mercenary, he'd never have been stuck with another patient in his hospital room. At first, the very wealthy Cole doesn't care for the soft-spoken auto mechanic, but as time goes on the two develop a friendship--and Cole begins to both share food and care for Carter.

When Edward sees Carter's 'Bucket List,'(a list of items he wants to accomplish before he kicks the bucket) he realizes it's something the two of them can do--and says they should. That's when the two cancer patients break out of the hospital and go on a world tour. Together, they write out a new bucket list and work to make each other's dreams come true.

"Bucket List" is sentimental, predictable, and yet more than my words can encompass. The film's not just about dying, but friendship, and finding joy to spread to others--even at the worst times in a person's life.

In my opinion, the three best aspects of this film were Morgan Freeman's outstanding narration and Sean Hayes' well-done portrayal of Cole's ever-present assistant (Thomas). Another nod goes to actress Beverly Todd, who played Virginia Chambers. Even the young girls in the film were exclaiming how amazing she looked and acted.

Warnings:

Bring tissue

If 'laugh til you cry' is on your 'Bucket List,' you can check this item off

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The Bucket List tells the sensitive and well thought-out story of two older men who are diagnosed with cancer so severe that they have six months to live--or maybe a year if they're lucky. Look for stunning performances from both Morgan Freeman as Carter Chambers and Jack Nicholson as Edward Cole. Beverly Todd also acts her heart out as Beverly Chambers, Carter's wife.

The action begins when Carter Chambers, a working class black man, and Edward Cole, super-wealthy self-made rich white guy who actually owns the hospital they're in become roommates in the oncology ward of the hospital. At first Carter and Edward don't exactly hit it off but it isn't long before they forge a friendship. When they each learn that by coincidence they have six months to a year to live, they embark on a trip to accomplish certain lifelong dreams and personal goals before they die. The list of things to do is called The Bucket List because it's a list of things to do before they "kick the bucket."

Of course, because Edward Cole is wealthy many scenes in this movie become almost miraculously possible. They travel the world by private corporate jet; and they live more in just a few weeks than most people ever do in a lifetime.

Of course, life has its ways of surprising just about any of us; so still the plot could go just about anywhere. How will Beverly, Carter's wife, react to all this? Will she understand and remain patient while Carter lives out a few lifelong dreams or will she want her husband home NOW? Will Carter and Edward be able to keep their cool when they are stranded in Asia during a monstrous snowstorm and they are not allowed to fly? What happens if one of them gets very sick along the way? What about Edward's refusal to make up with his daughter who disowned him long ago--will he ever decide to approach her or will he remain obstinate in his refusal to even meet with her? The results may surprise you. No plot spoilers here, folks--you'll just have to watch the movie to find out!

As a cancer survivor who is finishing my own chemotherapy soon, I will add that some of the side-effects of the chemotherapy they receive are exaggerated. However, I think director Rob Reiner added these elements to the film to make it somewhat more dramatic.

Overall, The Bucket List is an excellent movie; and I couldn't have enjoyed it more. Jack Nicholson and Morgan Freeman turn in superlative performances that proves these guys can still act better than the vast majority of actors ever could. Beverly Todd does a great job as Carter's wife; and Sean Hayes also does well as Edward Cole's personal assistant Thomas. I highly recommend this film for fans of these terrific actors; and people comfortable with the subject matter will appreciate this motion picture as well.

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The Bucket List

A Universal DVD

This is a story that coveys the close relationship that develops between two utterly different men that must share the same hospital room after being both diagnosed with advanced terminal cancer. The first, Edward ColeJack Nicholsonis the CEO that runs the hospital and is a ruthless persona and the second is a mechanic, CarterMorgan Freeman-, who wanted in his youth to be a history teacher but life circumstances did not allow him to do so. They share the common adversities of the infirmity and they, ant the same time, share a long trip that will tie the relationship even further.

One day, Carter starts to write a "Bucket List" containing all the things that he would like to do before he dies and Cole finds it out. Afterward, they decide to write the "Bucket List" together and start going on marvelous trips around the world and sharing precious moments and becoming the best of friends. Two utterly different persons become the closest friends ever in the last months of their lives.

What really stroke me about this DVD was that it not only applies to two terminal cancer patients: What stroke me the most is its universality. If we think a little deeper, it could apply to two or more persons sharing similar adversitiesor joyfulness for that matterand relying on each other for comfort, understanding, and the sharing of knowledge and experiences.

The performances of the two principal actors are outstanding and make you laugh and cry at different times during the performance.

Highly recommended!!!

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Edward Cole (Nicholson) and Carter Chambers (Freeman) have terminal cancer. They are opposites, with Edward being a rich CEO and Carter being a car mechanic. They are sharing a room at the hospital, and share the same diagnosis: six months to a year. Carter begins making a "bucket list" things to do before he dies. Edward gets in on the list, and having the money funds their attempt to cross everything off that list. They see the Pyramids of Egypt, the Taj Mahal, and the Great Wall of China. The skydive and drive race cars. They share their stories and become good friends. Soon they realize returning home will help them more than traveling the world.

Nicholson and Freeman are always good, and "The Bucket List" is no exception. They give their usual standout performances. On the downside, this is a movie that sets out to make views shed a few tears. This gives the film a feeling of trying to be more important than it really is. If that could somehow be toned down, this would be a better movie. There are some good laughs though, and that is the films saving grace. As it is, it is a harmless diversion for just over two hours. I would probably recommend this one for DVD viewing.

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Star Trek VI: The Undiscovered Country (Remastered) (2010)

Let me explain

-Spoiler Warning-

The first version of the film was shown in theaters.

The second version was shown on all home video formats. This version includes a couple of additional footage to certain key scenes, and a few new scenes all together.

Spock has more Dialogue in the top brass meeting.

A scene taking place in the President's office where Col. West presents his plan to sneak into Klingon territory and rescue Kirk and McCoy.

Spock and Scotty checking the torpedo inventory before Valeris informs them that the Chancellor's Daughter is now the current klingon chancellor.

The klingon assassin at the climax of the film turns out to be Col. West.

The Third version of the film is shown on this Special Collector's Edition DVD. This version includes all the material from the second version, and a few minor changes to certain scenes and effects.

When Martia gets shot, a disruption sound effect is removed to make her scream more apparent.

Valeris's interrogation scene has been entirely reedited. There are now close up shots of Kirk and McCoy when they speak their lines instead of being in wide shots. When Spock and Valeris name a particular conspirator, the face of that person briefly appears in a flashback like style.

Do I prefer this version of the film? Sure. I personally believe that Valeris's interrogation scene is much more dramatic with the flashback shots. It really helps the viewers who aren't good with names understand who Spock and Valeris are talking about, and adds a little more tension near the end of the film.

I hoped this information helps you out in spotting what has been changed. If there is anything I missed, please feel free to contact me.

Star Trek VI The Undiscovered Country, no better way to finish the movies with all of The Original Series characters. In my opinion, this was the best of their movies. The writers and producers really did a wonderful job with this one. It was great to see Sulu become Captain Sulu and get his own ship. Which later helped Voyager do an anniversary episode with Lt. Cmdr Tuvok having been a member of his crew. Kim Cattral as a Vulcan. Michael Dorn (Lt. Worf), playing his grandfather. Rene Auberjunous (Odo) as Col West, a couple years before Deep Space Nine. Many other notable Star Trek names making appearances in this great movie. Everything was great about this movie, from the state dinner with the Romulan ale, to the search of the Enterprise for the assassins. The space battle was one of the best treks ever put on screen. If you're one of the ten or less people on the planet who've not seen this, buy it, rent it or borrow it. This is the finest example of what Gene Roddenberry intended Star Trek to be.

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Star Trek VI: The Undiscovered Country, released in 1991 a few months after the Silver Anniversary of the original television series and the death of Star Trek creator Gene Roddenberry, is a suspenseful and adventure-packed "final voyage" for Capt. James T. Kirk and the Starship Enterprise.

Coming on the heels of the less-than-stellar Star Trek V: The Final Frontier and the resignation of Harve Bennett as producer of the feature films, Paramount turned to actor/producer Leonard Nimoy and director/screenwriter Nicholas Meyer (Time After Time, Star Trek II: The Wrath of Khan) to save the foundering franchise and give fans something worthy of a 25th-anniversary celebration. After looking at various options, they decided on a Star Trek version of the end of the Cold War.

The Undiscovered Country (the title is a Shakespearean reference to death and was Meyer's first choice for the title of Star Trek II) capitalizes on the similarities of the U.S.-Soviet standoff to the long-standing not-quite-war between the Federation and the Klingon Empire. Fittingly, the film begins with a bang when, in a Chernobyl-like accident, the Klingon's main energy production source on the moon of Praxis explodes.

The explosion sends both literal and political shock waves across the galaxy. The physical subspace wave buffets the USS Excelsior, now commanded by former Enterprise helmsman Hikaru Sulu (George Takei). Capt. Sulu, in the tradition of good Starfleet captains, offers assistance but is rebuffed by the Klingon High Command.

Nevertheless, three months later, Sulu's former shipmates, including Capt. Kirk (William Shatner), Dr. Leonard "Bones" McCoy (the late DeForest Kelley), Capt. Montgomery Scott (James Doohan) and Cmdrs. Uhura (Nichelle Nichols) and Pavel Chekov (Walter Koenig) are summoned to a top secret level meeting. "The Klingon Empire," they are told by Starfleet's commanding admiral, "has less than 50 years to live." Praxis' explosion has depleted the ozone layer of the Klingons' homeworld and polluted the atmosphere. Heavy expenditures on weapons and bases has weakened the Klingon economy and the cleanup is beyond their means. A special envoy has been appointed by the Federation to begin negotiations with Chancellor Gorkon, leader of the Klingon High Council. To the shock of Kirk and his officers, that envoy is Enterprise first officer Spock (Leonard Nimoy).

And when Kirk is assigned to escort Gorkon's ship into Federation space for a summit on Earth with the Federation president (That 70's Show's Kurtwood Smith), he's shocked and angry. Not only are the senior officers due to retire in a few months, but Kirk is still bitter about his son's death at the hands of the Klingons several years before. But the good captain has been issued his orders, and like it or not, he will do his duty.

Little does he know that a massive conspiracy to undermine the peace negotiations is underway, planned by those in the Federation and the Klingon Empire who have a lot to lose if peace breaks out. And soon, Kirk and the Enterprise crew are caught in a web of deceit and intrigue that will place their lives in jeopardy....and shatter the last best hope for galactic peace.

The film features a fine performance by Sex in the City's sultry Kim Catrall as Lt. Valeris, Spock's full-Vulcan protege with a hidden agenda of her own, as well as a wonderfully over-the-top appearance by Christopher Plummer as a dastardly, Shakespeare-quoting Klingon general. The Undiscovered Country also acknowledges the legitimacy of Star Trek: The Next Generation, and with an appearance by ST-TNG actor Michael Dorn as Col. Worf (the grandfather, one surmises, of the Enterprise-D's Lt. Worf, Dorn's "regular" role), the two generations are bridged on the silver screen. ("Unification, Parts I and II," guest starring Leonard Nimoy, had aired a few weeks before the film's premiere and included a few subtle references to its storyline.)

Star Trek VI's home video, laserdisc and first DVD releases contain the longer edited-for-home-viewing version which includes two deleted scenes featuring Rene Auberjonois (who would later be cast as Odo in Star Trek: Deep Space Nine) as Col. West. Paramount has released a barebones DVD since 1998, but a 2-disc Collector's Edition is forthcoming.

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Wrath of Kahn is the quintessential Star Trek movie. The Undiscovered Country comes close at being just as good.

As for this blu-ray version of the movie there is little I can say that is negative. My only gripe is that they changed the box art (although it makes sense for them as they are trying to re-image Star Trek). The video and audio transfer is near flawless. This disc is also loaded with special features. So far I have only watched the Farewell video to Bones as well as a few of the behind the scenes. It is really good to see that they tried really hard to make this blu-ray jam packed full of stuff for the fans rather than a rehash bare bones release. I have this movie on VHS, DVD and now blu-ray and each version has been worth every penny.

Get this movie and let your inner nerd take over!

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Following the disastrous critical and box office reception of Star Trek V: The Final Frontier, Paramount could have easily dropped the original cast in favor of The Next Generation. However, sentiment prevailed and Nicholas Meyer, who directed The Wrath of Khan (still the most popular film with most Trekkers) and who co-wrote The Voyage Home (still the highest grossing Trek film), was called in. He, along with Leonard Nimoy, fashioned a script which features most of what has made Trek endure through the years: a relevant story drawing on then current events (i.e., the lightning paced changes in the relationship between the United States and the then Soviet Union, which precipitated the end of the Cold War), with plenty of action, drama, humor (appropriate humor, not slapstick) and character development. Thus, the original cast would be able to exit the franchise with their heads held high.

The pacing of this film is much smoother than the earlier films (even Treks II & IV took too long to get moving) starting swiftly and accelerating to the pulse-pounding conclusion. The overall tone of the film is darker and edgier than any previous Trek (perhaps the filmmakers were taking a cue from 1989s Batman, which obliterated Star Trek V at the box office). The directing is fluid, with Meyer's camera swooping around the bridge (a notoriously difficult set to film in) and the other sets, and the editing is tight. Although the story primarily (and correctly) focuses the action on the triumvirate of Kirk, Spock & McCoy, the supporting cast is given plenty to do as well. Sulu, in particular--finally Captain of his own ship--has greater involvement. Guest star Christopher Plummer molds General Chang into Trek's best villain since Khan, and David Warner makes a lends an air of dignity as Chancellor Gorkon (the name is an amalgamation of Gorbachev and Lincoln). There are a few additions from the theatrical version which have appeared on all video versions: The Colonel West plotline was not in the original film (perhaps Paramount thought the parallel to Colonel Oliver North was too obvious). For this DVD, there are also few small alterations during the Spock/Valeris Mind Meld scene.

All of the charm of Classic Trek is here: a final needling exchange between Spock & McCoy; the occasional, almost improvised humor; characters being thrown every which way on the bridge during battle; Kirk kissing a beautiful female; one last bit of scenery chewing from Shatner, who holds his own against fellow hamosaurus Plummer; and, finally, a bittersweet ending.

The visual effects of The Undiscovered Country (a reference to Shakespeare) hold up well, with very little use of stock shots (three effects shots from this film would later be used in 1994s Star Trek Generations). The score by Cliff Eidelmann accentuates the activities on screen, without overshadowing them, and adds to the dark atmosphere of the film.

The transfer on this DVD is excellent, with the colors, especially the maroon uniform jackets, crisp & vibrant--an improvement over the previous DVD, and light years ahead of the VHS and LaserDisc editions. Since the film was shot in "matted" Super 35, rather than Panavision, the aspect ratio is not as wide as the other Trek films. The sound is detailed with plenty of punch.

The bonus features are the best of any Trek film so far, including featurettes on the evolution of the story, prejudice in the Trek universe, Shatner's "reunion" with Plummer (back in the 1950s, Shatner understudied for Plummer in Henry V), and a moving tribute to the late DeForest Kelley.

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Death Race / Death Race 2 Double Feature (2008)

Me and my family really enjoyed this movie. I really loved the first Death Race movie and I didn't know they came out with two or three. This movie is great if you love a lot of action.

Thee movies were great, lots of action, very gory. If you like shoot em up kill em up movies, then you need to have them in your movie library.

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I love death race and when they announce a 2nd film I doubted it would be good but when I saw it it was well awesome just like the first one

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Hi. This item is okay and I would be willing to buy more in the future if needed. Thumbs Up!

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Dirty Harry/Magnum Force (Double Feature) (2010)

"Dirty Harry" and "Magnum Force" are arguably the two best Dirty Harry flicks, although fans can argue about this endlessly. This double feature is too good to pass up and for the price is an outrageous bargain. The mastering/remastering here is very good, and fans will like having a Blu-Ray copy of these films in the library. "Dirty Harry" is a classic "Good versus Evil" film (has any villain ever been more evil than the villain in this film?) while Magnum Force, by contrast, warns of vigilantism and the danger of cops taking the law into their own hands. Messages aside, these are excellent, fast-paced films that entertain with humor, violence, and Eastwood's best acting ever. Highly recommended. RJB.

Had to wait till I saw both transfers before writing an opinion. First: what a great deal! I got these blu-ray movies for $10 at Wal-Mart. So, I had little to lose.

It's been so long since I'd seen the movies that I'd forgotten what was going to happen, and it was like watching them for the first time.

The transfers on both were excellent. There were a few grainy scenes in Dirty Harry, but I think it was the darkness of the scenes, and there are a bunch of those in Dirty Harry. I didn't notice any grainy scenes in Magnum Force at all.

As a musician, I was very interested in the audio. I went back and forth between 5.1 and True Dolby. There was a super difference in quality. The highs were more evident, and the lows became clearer, cleaner, and smooth. Great jazz soundtrack for Dirty Harry. Wonderful drumming (both with sticks and brushes).

Loved seeing some stars who became individual stars, David Soul for one. Robert Urich and Tim Matheson for others. You won't be disappointed for getting these films in a blu-ray package at a great price.

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The rating is for the value along with the excellent picture and sound quality. You like these films or you don't, that is up to you. But if you love them like I do, these editions are the best way to get them. They save shelf space and if you shop around you will find even better deals then seen here. The best buy(hint) I found was these two films along with the other double pack with "The Enforcer" and "Sudden Impact" for $20. That's only $5 per blu ray. They aren't stripped of their special features either. So you miss nothing. Collecting doesn't come any cheaper.

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I've always like Dirty Harry but only recently discovered Magnum Force, I actually think I prefer it to Dirty Harry in many respects

Both movies look really great, for some reason films of this era always seem to brush up better on blu-ray compared to 80's films for example

Really colourful, sharp picture and great audio.. I especially love the music on both movies

A real bargain for the price and nice to have 2 discs in one slim case

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This double feature blu-ray set is the cost effective way to add old movies to your library. I like that there is a disk for each movie. Some older DVD movie double-feature sets have a movie on each side of a single disk. Having separate disks is much better. "Dirty Harry" movies are classics. If you were expecting a review of the film, there are plenty of those to Google.

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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!

The Sun Shines Bright (1953)

A great quality picture and sound adds an even larger satisfaction to me.

This is for me personally the best film John Ford ever made. I love the portrayal of Judge Priest by Charles Winninger. All the other character actors in this film were perfectly cast. The storyline is very human and very emotional as well on the humourous side as on the sadder side. I've seen the film about ten times and each time it is as refreshing as it was the first time.

Famed director John Ford once said that "The Sun Shines Bright" was his favorite film, and it is not hard to see why. Basically, this is a remake of his much earlier, "Judge Priest," from 1934 (starring Will Rogers). Ford critics tend to favor that earlier film version of Irvin Cobb's delightful short stories of old Kentucky, but I have always believed that this version is superior, not the least because Charles Winninger's acting is actually sharper and the dialogue crisper. Certainly, Rogers was a superb actor, but too many times his dialogue seems to trail on and on, becoming nearly unintelligible. Then, again, filmmaking in 1934 was not the same as in 1953.

Winninger was an accomplished Hollywood role player; but in "The Sun Shines Bright" he demonstrates that he was no simple comprimario or "co-star." He alternately illustrates humor, wisdom, sadness, and wistfulness. It's a superb performance. Despite the inevitable criticism that may come regarding this film not being "politically correct" (it isn't!), Ford probes human emotions and character, irrespective of race or social status. And the old Judge Priest---"trumpeter little Billy Priest"---understands fully the reality of justice, which he metes out to all, white and black, decent people and prostitutes. Certainly he does so in a social context that some present-day viewers may find foreign to "modern" sensibilities; but, getting beyond that stifling veneer of PC thought, and enjoying "The Sun Shines Bright" on its own terms can be an immensely rewarding experience.

Ford was indeed correct; it may well be one of his best films. Co-stars include John Russell, Slim Pickens, Russell Simpson, Arleen Whelan, Milburn Stone (of later "Gunsmoke" fame), Jane Darwell, and Steppin' Fetchit.

I have the Blu-ray version, which is superb. My thanks to Olive Films. Recommended.

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Ford brilliantly captures the slow, leisurely pace of a small river town in early 20th century America. A wonderful character study!

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Remake of "Judge Priest" Stepin Fetchit reprises his role, but in this 1953 version he's toned down, has some real emotional moments. Nice to see Charles Winninger in a lead role. John Ford at his sweetest.

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Even the worst John Ford is better than most and this is not the worst. Very nicely done.two words more

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Vanya on 42nd Street (Criterion Collection) (1994)

I remembered loving this "small" film when I saw it in the theater, so I knew I'd be happy with the DVD, whether it had any extras or not (it doesn't). Although Julianne Moore has made it big since making Uncle Vanya ("Boogie Nights," "Nine Months," "The End of the Affair"), and her lovely face dominates the DVD cover, "Uncle Vanya on 42nd Street" is truly ensemble acting at its best. Wallace Shawn as the title character does a powerful job of holding the viewer's interest, even though his Vanya is riddled with smugness, envy, self-pity, and lethargy. There are things about his performance that make you wonder if Louis Malle wasn't thinking of "Uncle Vanya" as a sequel to "My Dinner with Andre" (especially since Andre Gregory plays the director who has gathered his troupe of actors to rehearse Uncle Vanya in the falling down New Amsterdam Theater in New York City). In both movies, Shawn plays a man facing a mid-life crises, plagued with self-doubt and floundering around, looking for reasons to go on.

What struck me on my recent viewing of the film was how timeless Checkhov's story really is. Like Jane Austen, he has a great ability to find the universal in the pettiness of highly-controlled domestic life. In comparing Mamet's rendering with Paul Schmidt's excellent recent translation, it seems Mamet did a good job of crafting speakable lines. He modernized the play without wrenching it from its original time or setting. Since the performance we see is a final run-through, not a dress rehearsal, we receive no visual clues as to when the play within the movie actually begins. Malle's light hand in this regard only reinforces the dubiousness of the distinction between theater/art and reality (a much discussed subject in "My Dinner with Andre").

The decision to film "Uncle Vanya" in the decaying New Amsterdam Theater was an inspired one. When Dr. Astrov (Larry Pine), the play's most forward-looking character, bemoans the cultural and spiritual devastation caused by deforestation and human indifference to the environment, one can't help but think of the plight of 42nd Street itself. The New Amsterdam's resurrection--thanks to Disney dollars--as the current home of "The Lion King" is not without it's ironies. As all of the characters in "Uncle Vanya" are painfully aware, our futures are always purchased at a very high price. And the losses we are likely to experience as we move towards those futures may be greater than any of us will be able to bear.

"Uncle Vanya on 42nd Street" is one of those great works of art, like Eugene O'Neill's "A Long Day's Journey into Night," that makes you stop and take stock of your life.

Director Louis Malle, a decade or so after My Dinner with Andre, teamed once again with Andre Gregory and Wallace Shawn to create Vanya on 42nd Street, and the second film is even more brilliant than the first. To help actors keep up their acting chops between jobs, Gregory staged recurring performances of Chekhov's Uncle Vanya in a decrepit, abandoned Broadway theater (since renovated by Disney to accommodate The Lion King) and inviting selected guests to witness the proceedings. As filmed by Malle, this performance comes as close to smashing the barriers between film and theater as any films ever made (even Olivier's films of Henry V and Hamlet didn't succeed quite as well). Although the performances of Wallace Shawn, Julianne Moore and other New York actors are uniformly impressive, the standout is Brooke Smith, an actress of whom I know little (save for a guest shot on "Law and Order"). This movie shows us what a genius we lost when Louis Malle died, much too young.

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This film removes the old stigma surrounding Chekhov and allows audiences of all ages and backgrounds to access the brilliance, pain, laughter, and humanity of his work. It may even motivate some viewers to seek out more of his writings. The direction by Louis Maller, the translation by David Mamet and all of the performances are the most gripping, realistic, entrancing I've ever seen of "Uncle Vanya". It shows what can be achieved with no set, no costumes, just great actors, with a great script, doing what they do best.

SEE THIS FILM!

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If anything in life is certain it is that if you didn't like Louis Malle's "My Dinner with Andre" you won't like his "Vanya on 42nd Street. But even this cannot be entirely depended on, because if you have matured as a movie viewer since seeing "Andre", you might find yourself unexpectedly able to appreciate "Vanya".

Both films are superficially minimalist, relying on script and acting talent to entertain, although Malle's shot selection is also an important element of Vanya. The only real effect is a recorded voice-over sequence for Julianne Moore's character Yelana. As the voice-over plays Yelana's thoughts, the camera is tight on her face and Moore's facial expressions must subtly mirror her thoughts. This is a routine "film" device but in this stage-film context it provides Malle an opportunity to simultaneously utilize the best of both mediums. Acting for camera is different than acting for the stage, particularly in the degree of expression dimension. In this sequence Moore must act for the camera while pretending to be acting for a theater audience. I think this was the best sequence in the film, tight shots like this are an area where the film performance is more demanding than a live stage performance.

The opening scenes of "Vanya on 42nd Street" suggest "My Dinner with Andre", as each member of the scattered ensemble makes their way through the crowded streets of Manhattan for a rehearsal at the rundown New Amsterdam Theater. Once inside they exchange casual conversation and before we realize it the play has started. The lighting has been subtly altered and a large table on the stage has become a sitting room on a rural estate in Russia. But this is not a dress rehearsal and the cast performs in their street clothes.

The subject of Anton Chekhov's late 19th century play is what use should we make of our lives? The deeper subject is the moment of introspection when one confronts the fear that they have wasted theirs. Some complain that since the play is a translation from Russian and is over 100 years old, it reflects a culture too foreign to be of relevance today. While they are correct about regular reminders that the setting is not contemporary, you just as regularly find yourself surprised that Chekhov's subject and theme are so universal and timeless.

During Sonya's long monologue to close the film (perfectly handled by Brooke Smith who literally glows from the moment you see her in the first crowd scene) I was reminded of Virginia Woolf's likewise introspective "Mrs. Dalloway"-written 30 years later in England. Sonya closes the play by expressing her hopes that while we can do nothing but endure in this life, at least we may find a perfect mercy beyond the grave. Clarissa Dalloway looks through a bookshop window to find the passage "Fear no more the heat o' the sun/Nor the furious winter's rages".

Then again, what do I know? I'm only a child.

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This statement belongs to a clever dialogue between the doctor and Vanya's niece in the middle of the night. Few directors along the history of the cinema have been able this brilliant and enviable opportunity to express with major solemnity, supreme conviction and admirable honesty, his last creative Op. like Louis Malle, a very prominent director who adapted the powerful, incisive and even neo existential play of Chejov around a crumbling and abandoned theater in Manhattan, where Malle accents and carves in relief not only his profound love for the actuality of this work; he makes a true tour de force around the lives and times of these personages where every one has something to hide, miss and love. Nobody is happy because there is not any innocent happiness. There `s a lot of issues to be considered, analyzed and scrutinized that you will have to watch several times to taste, delight and enjoy it due its single grandness. Filmed with outstanding realism, wondrous angle shots, suggestive illumination and supported by a formidable cast in which nothing is out of control. Marvelously made and one of my twenty top films of the Nineties.

In case you just have only heard about it, get close and convince by yourself. This is a masterpiece, under any possible angle.

A must-see for the students of acting and formidable evidence the theater may be conveyed to the cinematic stage, with pristine elegance.

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The Ultimate Gift (2006)

Jason Stevens (Drew Fuller) is a trust fund baby--he's eaten from a silver spoon his entire life. At his grandfather Red's funeral he makes a showy (and late) entrance, perhaps punctuating his low opinion of the man. But from his grave Red (James Garner) has words for his money hungry relatives at the reading of his will. No one gets what they expect, including Jason.

In a closed conference room with only his grandfather's trusted attorney (Bill Cobbs) and secretary (Lee Meriwether) in attendance, Jason is advised by Red via a video recording that he's being given a series of gifts. The catch? He isn't told what the gifts are, only that he's to arrive at the airport and await further instructions. Is this his grandfather's form of a joke, or is Red Stevens trying to reach out and teach him things he never learned from his materialistic family?

Based on a novella by noted motivational speaker and author Jim Stovall, the filmmakers endeavored to preserve the heart of his story while still producing a relevant movie. Says screenwriter Cheryl McKay in an interview conducted by Rene Gutteridge who wrote the novelization of the screenplay, "The biggest challenge was figuring out how to handle all the gifts and not come off with a movie that felt episodic. We had to blend a couple of them together and de-emphasize a couple of them because twelve is a lot to cover in a two-hour movie."

Winner of the Heartland Film Festival's Crystal Heart Award, The Ultimate Gift features an Oscar worthy cast. Drew Fuller (best known for his recurring role as Chris Halliwell in Charmed) pulls off Jason's cockiness and spoiled brat ways, but also believably portrays his transformed self. His facial expressions alone made me laugh out loud a few times. Abigail Breslin (Little Miss Sunshine, Signs) could easily have over played her character Emily, but she doesn't, and she wins our hearts in the process. Ali Hillis (Must Love Dogs) is another notable cast member as Jason's love interest and Emily's mother. No one hits it out of the ball park, but you can still win a game without home runs, and The Ultimate Gift is a winner.

The Ultimate Gift is a predictable film you somehow want to be predictable. Its PG rating allows for a few mild swear words and tense thematic moments, but this is really a movie the whole family can enjoy.

From the vast acres of a Texas ranch to the wilds of a South American jungle, Jason's assumptions about his grandfather, and himself, will never be the same. And even though you'll most likely guess the film's ending, it's the journey that matters. We're taken on an exciting one with Jason as he discovers not only the ultimate gift, but what type of a man he's truly capable of being.

--Reviewed by C.J. Darlington for TitleTrakk

The Ultimate Gift' is a fun and surprising inspirational gem. Not knowing quite what to expect, the movie quickly develops an emotional and entertaining core. Often funny, sad, mysterious, and uplifting in different measures, the film pulls out a unique bag of tricks. Sort of like the `Willy Wonka' of spiritual cinema, `The Ultimate Gift' is more than a "Hallmark" Christian experience.

It all begins after the death of oil tycoon, Red Stevens (James Garner) who has left videotapes for his family. Gathered around the conference table in his lucrative company headquarters, all members wait on pins and needles to see what they will inherit from him. Crassly, the greedy family can't help but commiserate over the lack of possessions he's bequeathed to them. As his custom, Jason (Drew Fuller), his black sheep grandson, comes late to the proceedings, fully expecting nothing, but wanting to make sure nonetheless. What he gets is a treasure hunt. If he performs a series of feats for the edification of his board of trustees, he will win "the ultimate gift". Heading that board is fellow associate Mr. Hamilton (Bill Cobbs), who anchors the whole deal as a living negotiator. If Jason flubs on any one of the "assignments," he loses the gift.

A lot of the proceedings depend a great deal on Red predicting what Jason will do next during the videotape. It works admirably and there's enough good humor to smooth out the edges of our disbelief. Events are often unpredictable, and the acting ranges from genuine to genuinely good. Particularly noteworthy is Abigail Breslan (Oscar nominated child prodigy from 'Little Miss Sunshine') who gives another fine performance as Emily, a sick girl with a sharp tongue, but a good heart. Reflecting on God and heaven, she sagely says, "He paints every color of a butterfly with His fingers."

The movie also brings the welcome return of Brian Dennehy as Gus, his relative from Texas. Some of the funniest parts are taken from his Southern mansion. One scene where he is rudely awakened by an electric cattle prod left me in stitches. Sometimes the relatives become caricatures, but that's few and far between. At one holiday dinner, an argument ensues and one woman tartly states "Money's just as green from Manhattan." The pace is wonderfully edited with the last portion slightly too languorous in places--even if the film needs to stop and reflect awhile. With these minor objections out of the way, the movie is wonderfully nourishing for the heart and soul.

Some controversy remains for the spiritual nature of the film. Glancing over some reviews, I found some critics becoming defensive for any favorable take on the movie. Christianity is sprinkled throughout. During work "Gotta Serve Somebody" plays from Dylan's Christian era, and a romantic dinner scene "Lord of the Dance" is cleverly piped in with acoustical guitars at a fancy restaurant. At the hospital, Emily frequents the chapel where Jason tells her the Sacred Heart statue shows Jesus' open arms to embrace her. Critics apologetically (or defensively) say that Jesus is only mentioned once in the whole movie. I don't personally think anyone should have to defend a movie for being overtly Christian, Jewish, Muslim, Hindu, or whatever. "Pain is your teacher," says Red to Jason on the videotape before going to the great beyond. This could be said in an Asian movie. 'The Ultimate Gift' is overtly Christian, but inclusive. Another objection may come with the points of wisdom provided at the end. While I enjoyed the elaboration, some may find the lesson condescending--an unnecessary Sunday school highlighter pen review.

With all my lowered expectations, 'The Ultimate Gift' is a surprise. The comedic timing is great, the mystery is fun, and the emotional trek is worthwhile. (Based on a novel by Jim Stovall.)

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I'm not up on the latest movies, so when a screener of a film called The Ultimate Gift arrived in my post office box on Tuesday morning, I didn't give it much thought. I hadn't heard of the movie when it was released in theaters, but was reviewing the screener for potential review at the request of a colleague. The fact that one of my favorite young actresses, Abigail Breslin of Little Miss Sunshine fame, was involved did pique my curiosity.

Imagine my shock two hours later when I came to the stunning conclusion that this film now ranks in my top five favorite movies of all time. The Ultimate Gift is based on an inspirational novel by author Jim Stovall and tells the story of one young man's life transformation from a spoiled rotten trust fund leech into a loving philanthropist. The main character, Jason Stevens, must navigate a series of twelve tasks/gifts given to him posthumously by his paternal grandfather in order to earn a mystery inheritance. The "gifts" are designed to teach him a series of life lessons and become progressively more challenging and life wrenching. Jason comes from the most despicable breed of wealthy snobs you've ever seen and is nursing a lifelong grudge against his grandfather. He launches into the challenge with one sole goal in mind: getting the money. It's his assumption that more money will equate to happiness. Happiness appears to be one of the only commodities that's sorely missing in his life.

I won't give away the ending of this remarkable film, but I do challenge you to get to the conclusion without feeling your own heart grow three sizes and reaching for the tissue. The Ultimate Gift is a movie to be shared and discussed with family members of all ages for the wonderful life lessons it shares. Entertaining performances by a talented cast lend to the charm, but the true value of this film is in the "gift" it gives to the watcher. You will be inspired to look around your own life and to pursue your own path of gifts on a journey towards making your world a better place. For those seeking support and encouragement along your path, check out The Ultimate Gift Experience website for discussion guides and inspirational ideas for helping your own family grow closer.

Read Best Reviews of The Ultimate Gift (2006) Here

Although I often dislike "message films" I found this one to be inspirational, educational, practical, and even spiritual to some degree.

Amazon and JP's Picks in the Spotlight Reviews have done a fine job at discussing the plot of this, so I'll dispense with that here in my review. I found this to be a rather profound film that discusses the connection between wealth and happiness. The film is faulty in that it is pretty much preaching to the choir as most of us know that money in of itself does not bring happiness. Just ask Lindsey Lohan and Brittany Spears for the truth in that. However, it is the journey of the main character to discover that truth that is touching if not improbable at times. This film, in spite of its beautiful message, is not without its flaws.

The coincidences and contrivances within the plot are rather annoying but fortunately forgivable. For example, we get ludicrous scenes like the one in which the main character becomes a kidnap victim of a drug lord while doing "community work" in Peru as part of his numerous "gifts." This was supposed to be a lesson in learning and giving, but ultimately (and conveniently) teaches him the value of human life. However, the scene is rather silly and improbable and serves as a great distraction from the film's greater message. It just doesn't fit the film and looks like a scene from another film and a needless stretch. This is all rather forgivable though as the main character continues his journey in learning what is really important in life.

The various "gifts" that he learns serve as a wonderful teaching tool if you watch this with your family. I often would stop it and ask my kids what "gift" is he receiving at a given point in the film. The ending replays the various gifts just in case you missed any, so don't shut it off at the credits.

Some of the acting is spot on and some of it less so. This film was a wonderful return for Brian Dennihey[sp] who has been absent from the screen for far too long. James Garner is wonderfully insightful in his limited role. He is as funny, sarcastic and tired of life's crap as he was in his series The Rockford Files, and tender and emotional in a way we don't often see him on film. Drew Fuller as the main star is just okay. He plays the role fairly well, but it seems to be no great stretch for him. It's the kind of role Michael J. Fox would have played on a Hallmark Hall of Fame TV-movie in his early career. Ali Hillis is both wonderfully beautiful in that girl-next-door kind of way and very talented as she gives a solid performance here as the mother of a cancer-stricken child played by Abigail Breslin (Signs and Little Miss Sunshine) who actually does not give us one of her better performances. I honestly felt she was over acting a number of times, but to be fair, her role was not that well written. Bill Cobbs and Lee Meriweather lend fine support as the trustees of Garner's Will and lend much needed credibility to the film.

This film is both profound and simple, touching and overly sentimental, nicely acted and too pedestrian at times, well-intentioned and manipulative, and, lastly, predictable and happy to be so. In spite of it's flaws the film is very enjoyable and heart-warming. I intentionally noted the flaws as when I recommend a film, I do like to be honest and not fool folks in thinking that a four or five star film is perfect and this one isn't by a long shot, but it is a still wonderful experience in spite of its flaws and well worth your viewing.

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Go and see The Ultimate Gift.

Don't walk run to the theater. The only forewarning I will bestow upon you is to bring tissues. Lots of tissues.

The Ultimate Gift is well scripted, well directed, and well cast. Its premise and resolution are quite predictable; nevertheless, it's quite enjoyable to watch the characters develop and overcome obstacles.

Unlike Little Miss Sunshine

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