Cruel Intentions (1999)

This is a Romantic Comedy of the very dark variety. Sarah Michelle Gellar plays one of the most wicked femme fatales (Kathryn) you will ever encounter on-screen. Reese Witherspoon portrays the typical all-American, virtuous midwestern girl (Annette). In between is a womanizer, Sebastian, played by Ryan Phillippe.

All of the characters in the movie are fabulously wealthy, but more than a few are deficient when it comes to matters of the heart. People who enjoy eye candy will enjoy some of the sets of this movie particularly the lavish indoor swimming pool @ the cottage.

Sebastian and Kathryn make a bet: can the suave playboy score on Annette? This, along with a web of insidious sub-plots form the core of the movie's plot. In each and every case, Kathryn and Sebastion outwit everyone else in the film in order to manipulate circumstances into their favor. Occasionally, they even dupe each other.

Over the course of the film, however, Sebastian's character begins to change, albeit slightly. Meanwhile, Kathryn remains the cold-hearted and sadistic wench she always was. It is a credit to the acting ability of Phillippe that the change in character becomes apparent and we're actually compelled to care for him by the end of the film.

To answer the $60,000 question on whether a sweet innocent girl can have a significant impact on a life-long playboy, watch the film. However, be prepared for one of the darkest comedies you will ever see. It's downright cruel intentionally so.

Cruel Intentions is certainly not the usual bubblegum teenybopper movie--a fair warning: unless they are extremely open-minded and relaxed about sex, language, etc., don't rent this with your parents; whether they enjoy it or not, it will not be a comfortable experience for you. But aside from that, this is a very entertaining movie. Sarah Michelle Gellar expands her range playing a bitchy sort of anti-Buffy. Ryan Phillipe's acting style, sometimes called soulless and cold, fits his (originally) heartless character perfectly, and he has good chemistry with Reese Witherspoon (small wonder, since they are now married), who does very well in the role of the proud virgin. Selma Blair is hilariously naive and ridiculous, and Joshua Jackson, in a rather brief role, steals the few scenes he's in. If you're looking for something in the teen genre but not so fluffy as the usual crop, and if you're not easily offended, check this movie out. The only reason I gave it less than 5 stars (I'd give it a 4.5 rather than a 4) is Sebastian's (Phillipe's) transformation from lascivious jerk to tender loverboy is a bit too sudden--the metamorphosis would have been more believable if it had been more gradual, but this is a minor point and doesn't really hurt the film in any way.

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It's probably better if you haven't seen Stephen Frears's Dangerous Liaisons (1989), starring Glenn Close, John Malkovich and Michelle Pfeiffer, or Milos Forman's Valmont (1988) with Annette Bening, Colin Firth and Meg Tilly. If you have, Roger Kumble's Cruel Intentions (1999), starring Sarah Michelle Gellar, Ryan Phillippe, and Reese Witherspoon, which is also based on the novel by the Frenchman Choderlos de Laclos, will seem to lack finesse. Kumble wrote his own screenplay as a kind of Les Liaisons Dangereuses in modern dress, whereas Frears and Forman relied more heavily upon the stage play by Christopher Hampton, depicting the aristocracy of 18th century France. While the two earlier movies sparkle with wit, insight and a cynicism to chill the fondest heart, Kumble's venture features a more prosaic brand of sexual humor adorned agreeably with young, nubile bodies.

But there is no need to make odious comparisons. Cruel Intentions can stand on its own, and there is plenty to admire, especially Gellar in a role to which she is perfectly suited, and Witherspoon as well. Phillippe is also good, especially when he's being funny, although his unconscious imitation of John Malkovich was a bit obsequious. He delivered some of his lines with the same deadpan expression and intonation. But being as pretty as he is, Phillippe's character is more like Colin Firth's. Selma Blair's narrow-eyed and dotty Cecile was pretty, sexy, and funnier than either Uma Thurman or Fairuza Balk, who played similar roles in the above mentioned movies, respectively.

The scene with the shrink to begin was very agreeable and should have been followed up somehow. We never see Sebastian quite so diabolical later on. Too bad. And seeing a little more of Swoosie Kurtz who played the self-centered, phony and hypocritical Dr. Regina Greenbaum would have enhanced the film.

The idea of making Sebastian and Kathryn step siblings was amusing and spicy, and the inclusion of a raunchy gay footballer was appropriate. Using a black guy as Cecile's harp teacher was kinky good. And being rather up-front about sex throughout without being overly juvenile was refreshing. The business with Sebastian Valmont's diary of conquests worked well both psychologically and as a plot device.

The main failing with Kumble's movie, aside from the general superficiality, was that Sebastian's "conquest" of Annette was a little too easy, especially with the goody-goody build-up she had been given. Consequently, her falling in love was more like a stumble. There was some physical passion, but nothing like the full-blown emotional passion required. Also I think the ending needed a little work. It seemed that a committee divined it, part of them wanting a "happy" love ending for Reese and Ryan, and the other half wanting to stay somewhat true to the spirit of the original, and so they came to a compromise, as committees will, and we got mishmash.

Incidentally, there is yet a fourth movie version of this tale, Dangerous Liaisons (1960), from French director Roger Vadim. I am looking forward to seeing it, if I can find a copy.

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Sarah Michelle Gellar playing the bad guy.....yummy. So used to her as the heroin and now to see her portray a sizzling and seductive character. In my eyes, she can do no wrong. And now, this tantalizing twisted flick hits the high-def arena, I jumped to see Gellar in all her glory. Sony's recent blu-ray releases are blessed with all the bells and whistles and spares no expense in providing them on dual-layer disks. The picture looks fabulous and included an uncompressed 5.1 PCM track to my listening pleasure. All I can say is, sit back and enjoy the ride.

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Cruel Intentions is a movie you have to see to believe. Sarah Michelle Gellar has never been more bitchy and Reese Witherspoon has never been more pure. Both of these beauties bring strength and humor to their roles and Ryan Philippe became a heartthrob after this movie was released, although he doesn't quite have much range as an actor then. This film is all about playing wicked games on the innocent which is Witherspoon's character, secrets come out and vengence is seeked. This film is sorta campy but very enjoyable. Can you say guilty pleasure? This is a must-see. Enjoy!

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The Black Pirate (1926)

To be thoroughly rewarded by enjoying a really good digitally restored classic like this, buy it. It was completely up to expectation and in it's brilliant original two strip colour technicolor. Certainly one of Fairbank's best swashbucklers and a full 90 minutes plus of superb entertainment.

Also on the blu-ray is the original re-released "talkie" version with Doug narrating the story with no intertitles ,from the thirties, although this version is in B/W. Plenty of extras with tons of extra footage that was not used in the actual movie.It amazed me that this footage has survived, although, again, it's unfortunately in B/W.

A remarkable buy and one that all vintage movie lovers will enjoy, especially those who love silent cinema as I do. Highly recommended.

Seen today, many of Douglas Fairbanks' films don't hold up too well, but his lavish 1926 swashbuckler The Black Pirate, shot in the still experimental, costly and time-consuming but here surprisingly impressive Two-strip Technicolor, works remarkably well. There's less of the camp prancing that marred his earlier Robin Hood (though the army of soldiers in swimming trunks and straps swimming to the rescue in the grand finale would look at home in any Gay Pride march) and less striking of heroic poses while manically grinning, with more genuinely exciting stunt work as he swings from the rigging or slices his way down billowing sails. Fairbanks is at his best here, not overacting or chewing the scenery as relentlessly as in some other films, perhaps because the film's revenge plot keeps him in check. The sole survivor of a pirate raid on his ship that cost his father's life, he swears to have his vengeance, bluffing his way into their crew by killing their captain in a swordfight and capturing a galleon single-handed only to risk everything for the beautiful princess they take hostage when some of the crew can think of better things to do with her than hold her for ransom.

Every pirate cliché in the book is faithfully presented, from buried treasure to walking the plank, though the pirates are especially brutal here: when one captive swallows a ring, they simply slice open his stomach to retrieve it (albeit off camera) or test the sharpness of a blade on a prisoner before disinterestedly wiping the blood off on his corpse. There's fine underplayed villainy and casual cruelty from former dentist Sam De Grasse (Prince John in Robin Hood) and comic relief from a one-armed Donald Crisp, though they're not quite enough to keep the film's pace from noticeably slackening somewhat in the middle. The most disappointing aspect is the undeveloped love story: beyond the necessities of the plot there's no real connection between Fairbanks and Billie Dove, so it's no surprise to find that in their final clinch it's actually his wife Mary Pickford standing in for her. And, while the sets are impressive even if the galleon is the size of a warehouse inside the model ships are never convincing. But there's more than enough here that does work, and works wonderfully well to forgive its shortcomings.

The real revelation is the use of color. Filmed on two separate strips of film one dyed red and orange, the other blue and green that were cemented together for exhibition, the Two-Strip Technicolor system was rarely very satisfying: good on burgundy, green, wood tones and navy blue but highly variable on flesh tones, what was a liability on most pictures actually works to its advantage here, with careful choice of color schemes paying off with what may well be the best looking Two-Strip Technicolor film. Thankfully the 1995 restoration does it justice, with the opening scenes of pirates looting and sinking a ship quite outstanding and the quality never less than good.

While the UK DVDs and some public domain releases are all black and white versions, Kino's Region 1 DVD is the 1995 Technicolor restoration with a full orchestra recording of Mortimer Wilson's original 1926 score, as well as a typically comprehensively informative audio commentary by Rudy Behlmer. Best of all, Kino's version comes with 19 minutes of revealing out-takes (sadly only in black and white, the color having completely faded), also with commentary. As well as the odd deleted snippet or mistimed stunt, there's footage of Fairbanks losing his temper after being nicked in a swordfight as well as detailed looks at many of the stunts that were shot in reverse. It's also interesting to learn that in an age before optical printers the film's lap dissolves all had to be done in-camera. Even better is Kino's region-free Bluray release, which includes an additional 29 minutes of outtakes and the adapted black and white "talkie" version of the film. All in all a terrific package just as long as you avoid the non-Kino releases.

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Having previously owned THE BLACK PIRATE on Laser Disc in the Technicolor version I find the Blu-ray to be a nice upgrade. Sometimes the 2-strip Technicolor is quite impressive and at other times on the washed out side. The thing to remember is that Fairbanks went to great efforts to recreate a pirate pallet and advanced the creative use of color greatly. In testing it was found that costumes and make-up photographed differently when shot under the lights of the studio then they did outdoors, so two sets of everything where designed to give the best possible color. The restoration improves the color but the early process is still limited. The Rudy Behlmer commentary on the feature and 18 minutes of outtakes is excellent. Well researched and quite informative. Having a newly recorded version of the original 1926 score along with Lee Erwin's organ score is a nice touch. If you are interested in Blu-ray versions of films from the silent era then Kino's release will be well worth adding to your collection.

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There is an improvement in image quality of this release, in comparison to the older Laserdisc and DVD releases. It has fairly good image quality, although the color is not as good as it was when this was originally released, due to the original negative being lost.

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Silver City (1951)

After the 1940s, Paramount Pictures concentrated on producing bigger budget "A" Westerns. During the 1950s the studio featured such stars as Charlton Heston (e.g., PONY EXPRESS, THE SAVAGE, ARROWHEAD), Alan Ladd (e.g., SHANE, BRANDED), John Payne (e.g., EL PASO, THE EAGLE AND THE HAWK), and Edmond O'Brien. Among O'Brien's several Paramount Westerns, Olive Films has licensed (thus far) DENVER & RIO GRANDE and SILVER CITY. SILVER CITY is fine Western entertainment, beautifully photographed in Technicolor, with solid production values, and good acting from a great cast. In addition to O'Brien, Yvonne De Carlo, Barry Fitzgerald, and Edgar Buchanan populate the action. This is thorough enjoyable Western entertainment.

Olive Films has licensed a number of Paramount Westerns, including RUN FOR COVER (Jimmy Cagney's best of the three oaters he made), PONY EXPRESS, THE JAYHAWKERS (with Jeff Chandler and Fess Parker), THE NIGHT OF THE GRIZZLY (Fess Parker), THE HANGMAN (with Robert Taylor) and perhaps O'Brien's best film prior to THE MAN WHO SHOT LIBERTY VALANCE, DENVER & RIO GRANDE (with its spectacular train crash scene).

Hopefully, Olive will continue to release Paramount Westerns. O'Brien's WARPATH is spectacular entertainment, as is FLAMING FEATHER (with Sterling Hayden). Let's hope they will see the quality release that Olive has given to SILVER CITY, RUN FOR COVER, and DENVER & RIO GRANDE.

Highly recommended; don't pass this one up.

A mining assayer (Edmond O'Brien) with a criminal past that haunts him joins forces with a miner (Edgar Buchanan) and his daughter (Yvonne De Carlo) to fight off a claim jumper (Barry Fitzgerald) and his henchman (Michael Moore). This rather ragged routine western, directed by Byron Haskin (THE NAKED JUNGLE), doesn't have much to offer though western junkies may find it agreeable. For the most part, it's the usual shoot 'em up but the most interesting aspect of it a subplot involving Richard Arlen as a man from O'Brien's past, now married to O'Brien's spoiled ex-fiancee (Kasey Rogers, STRANGERS ON A TRAIN). The barely suppressed marital tension between the two provides more conflict than the miners vs. claim jumpers plot. De Carlo is gorgeous in Technicolor but O'Brien needs a strong role to show off his acting talent. Without a good part, he's a cipher. With Gladys George and Myron Healey.

The Olive DVD is a spiffy colorful transfer in the proper 1.33 aspect ratio.

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i liked this movie very much the story was good and the actors were very good also

so again i recommend this western to all western movie fans buy it on line from

amazon.com

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The basic story of a love triangle plus good versus evil flowed nicely through the film, albeit this is definitely not a deep dark film by any stretch more of a Saturday matinee. The scenes shot in the saw mill were completely implausible as the automated equipment used within the mill certainly didn't exist in the Wild West a bit imbalanced that they didn't think the details better. No matter, though this isn't the big budget production, it is certainly enjoyable for anyone who likes westerns and who wants to mindlessly kick back for a spell and just watch a movie for fun.

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Actor Edmond O'Brien deserves so much more credit for a long, talented career. His skills bring so much to this film and others he appears in. A great actor who is still missed by his fans.

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Being John Malkovich (1999)

Don't get me wrongI loved American Beauty. I was shocked by The Sixth Sense. I was moved by Magnolia. But for me, the movie in 1999 that made me sit back and say "wow" was Being John Malkovich.

I am sure you know the plot, and words wouldn't help to describe how original (and ingenious) it is. The film works on so many levelsit is a screwball comedy, an existential discussion of the nature of existence, a study of sexual identity, and a satire of the modern desire to "escape" from life. On top of all of that, it is darn entertaining to watch!

The characters (played to perfection but Cusack, Diaz, Keener, and Malkovich himself) are all well-drawn, and the actors do a fantastic jobwait until you see Diaz, unrecognizable in frizzy hair and frumpy dress.

The directing is top notch as well. Spike Jonze (of Three Kings fame) has made a wise choicehe recognizes the script is the star and has directed a film without any flashy camera work, which would detract from the real focal point. That is not to say the work is pedestrianhe did everything that had to be done to make the film, and he did it well (note his Oscar nod for best director).

The production design is a big star here as well. The 7 1/2 floor is almost "Gilliam-esque"in fact, when I first saw the preview I assumed it was Terry Gilliam's (Brazil, 12 Monkeys) newest film.

The best word to describe this film is "giddy." I saw that because that is what I brought away from itI felt giddy watching it, and you can teel the cast and crew felt the same making it. The best thing I have read about the film was from a rejection letter from another studio, which neglected to option the screenplay: "I'm sure Being John Malkovich would be regarded as a work of genius on whatever planet it was written." If that doesn't make you want to see the thing, nothing will.

"Well, there's this guy...." That's all that some viewers could really come up with when asked to describe "Being John Malkovich", the latest film starring Cameron Diaz, Catherine Keener and John Cusack. Oh...and John Malkovich is in it, too. This movie is so original, I can't even begin to explain this movie, other than that it was intelligent, fascinating, and hilarious. Because of the originality, it is completely unpredictable: you are so completely in the dark trying to guess what is going to happen next, that you end up not even bothering to guess-which makes a great movie-going experience.

Cusack plays Craig Schwartz, a puppeteer who believes he is not just a puppeteer, but an artist. Diaz, in a wig that makes her nearly unrecognizable, plays Schwartz' animal-loving wife, Lotte. Cusack, upon the realization that he might not make it as a puppeteer, decides to get a day job, at a place on the seventh and half floor of a New York skyscraper. It is here at this odd office floor, that Cusack stumbles upon a portal to John Malkovich's brain-where he is allowed to experience what it is like to be a celebrity for 15 minutes, and then be spit out somewhere outside the New Jersey turnpike. Hilarity ensues, and metaphysical questions are asked.

This movie is like a dream-and not in the sense that it's an incredibly great movie, although it is. It's like a dream because of the way that the logic is formatted. Things that have seemingly little significance, have a large significance by the movie's end. We are whisked away from plotline to plotline, that soon the rhythm of the rapidfire plot becomes catchy. Things that would not make sense in most movies makes complete sense here. Being John Malkovich's intentional irrationality make this a dadaistic masterpiece, a trend that I am unsure if I would want duplicated, because perhaps then motion pictures would become a medium for the insane.

The writer, Charlie Kaufmann, is quoted as saying that he wrote it not thinking that it would ever turn into a film. In response, John Malkovich said that only a writer who did not think that their script could become a film would write such a script. I'd have an inclination to agree with Malkovich, unless it has become hip to produce scripts that are risky, odd, and seemingly drug-induced. This may well be the one movie that you should see this year. Josh Bob says check it out. Five stars.

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In case, you don't know, that's a line from an Oingo Boingo song.

Being John Malkovich is a movie about people. John Cusack is an unemployed puppeteer who gets a new job in a very peculiar place: the 7 & 1/2 floor of an office building. He soon discovers a tunnel into the mind of movie star John Malkovich.

That's the plot at it's most basic. Trying to summarize this movie is like trying to explain what color looks like to a blind man. It is a shockingly original, amazing film. It was truly robbed of an Oscar for best original screenplay: while American Beauty was good, it wasn't as good as Malkovich and not nearly as original.

The direction by Spike Jonze is strange and surreal. There aren't a lot of bright colors or beautiful shots, but the movie really draws you in with it's dark, strange atmosphere. As I said before, the screenplay is utterly brilliant. The movie kind of reminds me of Terry Gilliam's Brazil only it's not nearly as maddening to watch.

The performances are quite good, but really do serve the story. No one stands out in this movie. Not even Malkovich. One note: if you don't pay attention, the plot may confuse you a bit.

Being John Malkovich is a very rare kind of movie indeed: one that is stunningly original and incredibly well-done. Truly a must-see.

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Being John Malkovich is one of the most thematically ambitious films of the 1990's. It delves figuratively and literally into the weaknesses and complexities of the human psyche through the self-revealing and often comical actions of the main characters. Through bizarre situations, a subtle but emotional soundtrack, and a tiny portal on the 7 1/2 floor of an office building, Malkovich investigates the multi-faceted aspects of human beings, and the troubles they face in trying to find themselves.

Each character in this film is aware, sometimes painfully aware, of his or her identity, and the extremes that they reach in trying to change, control, and manipulate their identities suggest that consciousness is perhaps more trouble than it's worth. Craig Schwartz, played by John Cusack, is a talented puppeteer, and therefore a master at adopting multiple personalities, but until he finds a real person to imitate, he remains in his workshop, alone and unsatisfied with his life. That is, until he meets the magnetic Maxine, who's confidence and boldness enchants Craig for the entirety of the movie.

It seems logical to assume that if Craig is unhappy with his identity, then he could be happier if he wasn't aware of himself at all. As Craig says, "Consciousness is a terrible curse I think; I feel; I suffer." Once Craig discovers the Malkovich portal in his office, people start lining up, literally, to partake in the life-altering experience; everyone, that is, except Maxine. Not once does she reveal the slightest interest in going through the portal. Maxine is comfortable in her own skin a quality which Craig, and pretty much everyone who meets her, greatly admires but it is not a comfort that comes from being ignorant of her own identity. Maxine is very aware of the power of self-assurance, a power which she uses to influence Craig, his wife Lotte, and Malkovich himself. While Craig proves that consciousness coupled with insecurity result in depression and desperation, Maxine exists at the opposite end of the spectrum, mixing consciousness with greed, and resulting in manipulation and callousness.

John Malkovich further reinforces the idea the consciousness kills; that "ignorance is bliss." Before he discovers Maxine's true intentions, he is blissful and carefree, with a strong acting career and a hot new girlfriend. But once he finds out, he becomes paranoid, frantic, and untrusting. When he consults his friend Charlie Sheen for advice, Charlie says, perhaps more revealingly than intended, "The truth is for suckers, Johnny boy." Indeed, it is Malkovich's conscience that steals his happiness.

If you've ever wanted to be someone else, or at least wondered what it would be like, then Being John Malkovich is a must see. A wry comedy that makes you think; an intellectual adventure that makes you laugh -Being John Malkovich is a non-oppressive, insightful, and captivating glance into the deepest of human desires and insecurities.

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One of the best films of the past decade is now available in a packed DVD that contains tons more than merely what the description states. I picked it up a week early and was so happy to see a beautiful animorphic image that presents the film exactly as I remember it on the big screen (for once, unlike "Eyes Wide Shut"), great digital sound, plus documentries on the real puppet master who performed for the movie, the 7th 1/2 floor docu and the Malkovich T.V. special in their entierty, the preview and tv spots, plus, and best of all, the hilarious "An Intimate Portrait of the Art of Backround Driving" and a Spike Jonze interview that defies description. A great special edition that doesn't overdo it, the best since the Criterion edition of "Rushmore."

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Michael Flatley Returns as Lord of the Dance 3D - REGION FREE - UK Import

To start off M.F. is up to his high standard of dance. He is totally rocking it once again! I have the original Lord of The Dance on VHS and the Feet of Flames. Sorry but Feet of Flames is the best out of the three it gets a 5 star! This newest production would have been awesome to watch if it wasn't for some of the camera angles and way too many cut a-ways at very integral moments in the dances. The slow motion shots are really annoying. It also seems to me that this is not just one show that was shot. If you watch closely you will see Bernadette Flynn on the stage left then all of sudden she is stage right before coming to dance in the middle. Also on the "Planet Ireland" performance she seems to be missing in some shots then back again. As I was watching it all the way to the end I was wondering where the "Siamsa" number was. I found out it is a DELETED SCENE! Why?! It is one of my favorite parts. For those who have never seen one of the Lord of the Dance productions it is a really good start. I encourage though to get the older ones too. Guess I have been spoiled with the previous ones.

It's impossible to review this video without referencing the original production of 20 years ago. I have watched that video many times, and have seen it live three times (once with Flatley, twice without); needless to say, I'm a fan. There is no doubt that the audio and video on this disk are both spectacular. And Michael Flatley certainly still has "the chops" to pull off the dancing; in fact virtually the entire company is flawless. Then why only four stars? The new production. There is soo much flash from the lighting effects, it's sometimes difficult to see the dancing. The costumes are also a bit strange (especially for the men) and, as with the lighting, distract from the dancing. Also, three scenes were cut from the main production (the two soprano solos and the "Siamsa" dance routine). These ARE included in a "deleated scenes" section, but I don't know why they were cut in the first place. Bottom line: I'm sure that I will watch this many times in the future but if they ever release a remastered Blu-ray version of the original, it will be my hands-down favorite.

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I am speechless (and breathless) after watching the latest reincarnation of The Lord of the Dance. Flatley is no spring chicken but is a cardiologist's dream in form and stamina. He dances with the vigor and precision of a 20 year old. The production is vibrant, colorful and endlessly inventive as it evolves from scene to scene. The direction of the film version seen here, the technical excellence visible throughout, the perfection of the dance and dancers; sorry to gush but as a long time fan of Flatley, I never thought I'd see the day when he would out-do himself. Dancers, actors, musicians, techies, rabid dance and theatre fans --order this today. You won't regret it. What a glorious experience!

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Id never really seen a full lords of the dance show and had only seen it being performed at gala evenings etc so i wondered how they were going to pad out a whole show. Wonder no more as the show was spellbinding from start to finish with excellent 3D and a scorchingly clear 7.1 audio soundtrack, i will watch this again and again as it gives goosebumps every time, absolute perfection!

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Fabulous. It's hard to believe how awesome this man is. This is my favorite version of LOTD. He cut out the singing, kept the violins, and jams hard on his flute. Bernadette Flynn playing Saoirse, the Irish Coleen is wonderful as usual (I miss her long hair, though), but I do prefer Gillian Norris over Ciara Sexton as Morrighan, the Temptress (possibly the long hair thing again...). I have seen the show live 3 times, watched the videos (river, LOTD, and flames) hundreds of times, and am very happy to have this new material. The songs are played a touch faster, and the more demanding speed of the steps is perfectly executed with every tap. Buy it now, and enjoy! Thank you Michael, you are the greatest.

Nicholas and Alexandra (1971)

One of the most beautifully crafted and moody epics to come out of Hollywood (or, to be accurate, Britain), "Nicholas and Alexandra" has never acquired the reputation it deserves. Released at a time when big budget spectaculars were considered passé, hostile contemporary reviews have shaped the film's reputation. While hardly perfect, the film nonetheless provides a reasonably accurate, if politically conservative overview of pre-revolutionary Russia and does an excellent job of individualizing the two monarchs.

The two central, completely convincing performances are by relative unknowns Michael Jayston and Janet Suzman. Several first-rate actors (Laurence Olivier, Eric Porter, Ian Holm, Alan Webb, Harry Andrews, Irene Worth, Jack Hawkins, Michael Redgrave, John McEnery, Curt Jurgens and others) support them in small parts and manage to make us forget their familiar presences to concentrate on their characters. The actors are cushioned by Yvonne Blake and Antonio Castillo's lush costumes and Richard Rodney Bennett's symphonic score in an elegant jewelry box crafted by designer John Box, cinematographer Freddie Young and director Franklin Schaffner.

The film has two major failings. First, it is just a touch *too* sympathetic to the monarchs. Quite apart from the lack of any evaluation of their short-comings as leaders, there are too many scenes calculated, presumably (and questionably), to demonstrate Nicholas "learning" from his mistakes. Second, in the effort to dramatize a complex historical moment, there is simply too much of it. We jump from the Russo-Japanese War to the 1905 Russian Revolution to Stolypin's reforms, to Rasputin's influence, to the First World War, the Februrary Revolution, the October Revolution, and on and on. In this rush to include everything, little other than the monarchs' lives is dealt with in any depth and the efforts to depict the revolutionaries are particularly awkward.

One of the most notorious scenes in the film, commented upon by more than one contemporary review, is a brief early moment when Lenin says to a journalist, "Pay attention, you're about to see the birth of the Bolshevik party." That's about the level of the political evaluation, and one can understand why the scene, along with about ten minutes elsewhere, was cut in subsequent theatrical and video release. (On the other hand, the characterization of Lenin as an intolerant prig, however uncomprehending of his political ideas, does ring remarkably true.) The DVD restores these excisions. The transfer is considerably warmer than Columbia's previous video releases, and is 16:9 enhanced.

I recommend the disc to anyone interested in the subject or the capacity of films to make history live for audiences. Apparently like several other reviewers here, I first saw "Nicholas and Alexandra" in its initial theatrical release and loved it. I immediately read Massie's book after seeing it, which was the first step in what has proven a life-long interest in the period. Despite its failings, it is a testament to the film's power that it can exercise this level of fascination over viewers' imaginations.

The unadulturated history of the Russian monarchy has produced more compelling drama than anything Hollywood could produce in its wildest flights: Ivan the Terrible's descent into madness; Peter the Great's violent childhood and adult retributions (including the murder of his son) as the backdrop for supreme political accomplishments; Catherine the Great's seizure of a throne from a madman and her emergence as the dominant monarch of her age; Alexander I's possible complicity in the assasination of his father, his defeat of Napoleon, and likely faking of his death to live out his life as a religious hermit; Alexander II's death at the hands of terrorists. And the curtain drops on the Russian monarchy much as the play ran -in pools of blood. The main difference in the Nicholas and Alexandra saga is that their predecessors created their own dramas, whereas Nicholas and Alexandra succumbed to the drama of events swirling around them.

This movie is inaccurate in many details. For instance, the real Dowager Empress visited her son on his train only after his abdication, not in the weeks before the monarchy fell. Anna Vyrobuva, a signficant and unwittingly sinister player in the Rasputin debacle, is missing. And the loyalty to the Tsar professed by the other Romanovs in the movie glosses over the fact that there were serious family discussions about a coup to send Alexandra into exile and maybe even to remove Nicholas himself.

But these are nits. In a larger sense the movie compellingly captures the essence of the two fundamental issues that combined to bring the Romanov dynasty crashing down. The first had to do with Nicholas. He was a kind, gentle family man much more suited to the life of a country gentleman. When called upon to exercise real power to influence complex events, he fell into a pattern of posturing, denial, and a passive belief that he could just go with his reactionary biases instead of with disciplined examination of reality. After all, God had made him emperor, and therefore it must be God's will that he felt and decided as he did.

The other issue had to do with Alexandra. A shy, high-strung woman who was equipped neither by temperament, intellect, nor upbringing to ride herd on a decadent court or fractious nest of in-laws, she inclined to a mystical view of religion and monarchy that could rise almost to hysteria. It would have been a volatile situation in the best of circumstances. But Alexandra got dealt a very bad hand. Russia was opening up culturally and intellectually and looking to unshackle itself from unthinking political and religious orthodoxy. And she was failing in her principle purpose -to produce a male heir to the greatest throne on earth. Nearing menopause after bearing four daughters, she finally bore a son, only to find him cursed by the hoemophila that ran through her relations. She had offended God, and she had to know why.

Alexandra responded with a downward spiral into an increasingly bizarre mysticism that further clouded her husband's foggy view of his world and his role -and that ultimately opened the door to perhaps the most bizarre case of malign political influence in the annals of government: Rasputin.

While botching a detail here and there, the movie does a marvelous job of accurately portraying the salient aspects of how these things ate away at Nicholas' real power to replace it with a mushrooming fantasy of power as he, and Alexandra even moreso, perceived it. Although ruling one-sixth of the world's land surface, the couple's world view finally came to extend no further than the small circle of their tight-knit immediate family and their gilded enclave at Tsarskoye Selo.

When the revolution came -as Nicholas's fatalism and the insane yielding to Rasputin's interference in government made inevitable -Nicholas actually entered a few months of calm that on some level were the most peaceful of his life. Power scared and exhausted him. The shackles of jailers were light compared to those of a throne.

The fact that the revolution that deepened his country's enslavement actually freed Nicholas from those things he most abhorred illustrate just how far the Romanov dynasty had come to odds with the very purpose of its existence. In the end, Nicholas and Alexandra showed a grace and sanguinity in captivity and extermination that was utterly absent when they ruled the world's largest country. No scriptwriter could improve on this script, and the great art of this movie is that none tried.

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My beef about the film is that they took liberties in telling and condensing the story when it wasn't necessary. In Tobolsk the family lived in the Governor's Mansion not a log cabin in the woods. Yekaterinburg looked like some Spanish town rather a city in the Urals. None of the movie was filmed in Russia or Finland (for obvious reasons). The execution involved eleven people in the movie they cut down the number. Other scenes were outright inventions.

None of the church or religious scenes came off right. They seem more Catholic or Anglican than Orthodox.

Nicholas was taught English from the age of 8 by a Scottish teacher, Mr. Heath. He had an accent in English, but it wasn't identifiable as "Russian". They all would have sounded 'upper crust' so the accents were fine for me.

Suzmann and Jayston were superb. Suzmann was a little too glamorous and Hollywood looking for the role, but she pulled off the characterisation well.

I don't know if it's well known, but the Romanov family walked out on the premier because of the changes made to the story.

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I love "Nicholas and Alexandra." I read the book when I was a teenager and it helped start me on my lifelong interest in Russian history and history in general. I saw the movie when it first came out in 1971-72 and have seen it many times since. The VHS version is OK but suffers by being too obviously edited down and shortened. The DVD version is much preferable because we now get all of the original film. The parts which were edited from the VHS version were not crucial to the story, but they add so much to it. We see Nicholas and Alexandra in a tender moment with their newborn son, before they learn of his hemophilia, Lenin with his wife helping to start the Bolshevik Party, the Tsar's daughters in a moment of light hearted play, a sweet family discussion between the Tsar, Empress, and their children, and a tense encounter between one of the daughters and a prison guard in Siberia, plus several more scenes. Furthermore, the DVD version has a "featurette" narrated by the actress who played Tatiana. This gives us some interesting behind the scenes looks at the movie's filming. So, even if you already have the VHS version, by all means buy the DVD too!

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NICHOLAS AND ALEXANDRA is an epic and lavish production, deliberatly paced (almost to the point of boredom), rarely seen nowadays. The performances, particularly the leads, are excellent. The detail in costuming and settings are remarkable. The story of the last years of Russia's Tsar and family is depressing, somewhat like peering down a sprialing drain to an inevitable tragic end. A great deal of historical material is touched upon in this movie, making it difficult to keep the story on track withen 3 hours running time. The movie leads the viewer to want to read the Robert K Massie book, which is even better (and highly readable). The DVD is the best edition of NICHOLAS AND ALEXANDRA available to home audiences. The wide screen picture and sound (possibly mono)are excellent.The DVD restores aprox 15 minutes of footage not seen sinnce the movie's early roadshow presentations. Also included for the first time is composer Richard Rodney Bennett's great intermssion music. More chapter stops should have been included. A trailer and a bland "making of" featurette are included. Definitly worth watching, true fans of epic movie productions may consider purchasing this DVD.

Billy Elliot

Beginning with an exuberant title sequence, this charming, offbeat, coming-of-age story revolves around Billy Elliot (Jamie Bell), the younger of two sons of a widower coal miner (Gary Lewis) near Newcastle in Northern England. It's 1984, and the National Union of Mine Workers is engaged in a long, bitter strike, marked by street battles with riot police and protests against the busloads of scabs crossing the picket lines.

Following the family tradition, Billy is expected to learn boxing at the Everington Boys Club where, instead, the 11 year-old becomes enthralled by the girls' dancing class, led by a chain-smoking teacher (Julie Walters) who soon recognizes his raw talent. He loves watching Fred Astaire in old movies and is instantly drawn towards the ballet class, but when his macho father and rabble-rousing brother (Jamie Draven) discover he's taking ballet classes, they ridicule Billy "Lads do boxing and football and wrestling, not friggin' ballet!" forcing him to hide his slippers under the mattress and sneak off to class. Then come the auditions for the Royal Ballet School and Billy's defiantly joyful, foot-stompin' "I Want to Boogie" sequence.

What makes this heartfelt English import such a gem is the collaboration of screenwriter Lee Hall, cinematographer Brian Tufano ("Trainspotting") and former stage director Stephen Daldry ("An Inspector Calls"), who despite the simplistic predictability of the plot create eccentric, lovable characters and evocative imagery. One haunting sequences focuses on a little neighborhood girl dragging a stick along a brick wall, which dissolves into a phalanx of plastic police shields. Another involves the father grimly chopping up Billy's mother's beloved piano for needed firewood. While some of the authentic, heavily accented dialogue may be indecipherable to some, the musical soundtrack, combining classical and pop, is terrific.

In the title role, newcomer Jamie Bell embodies awkward determination, juggling grim reality with a surreal fantasy world, explaining, "Just because I like ballet doesn't mean I'm a pouf!" As Billy's father, Gary Lewis ("My Name is Joe") is tough-yet-tender, and Julie Walters ("Educating Rita") scores as Billy's crusty yet compassionate teacher. ("I feel like a sissy," Billy tells her. "Well, don't act like one," she retorts.) Jamie Draven and Stuart Wells lend strong support. Jean Heywood is touching as Billy's senile grandmother, whom he tenderly cares for and who repeatedly recalls, "I could have been a professional dancer."

While the bleak setting, in the 1984 miners' strike in northeastern England, is reminiscent of "The Full Monty," the energetic mood evokes "Flashdance" and it was a bit hit at both the Toronto and Cannes Film Festivals. On the `Lund Movie Scale' of 1 to 10, "Billy Elliot" is an exhilarating 9. Combining comedy and poignancy, it's all about being able to express yourself.

Jamie Bell is pure magic in this wonderful coming-0f-age film that tells the story of a working class English lad who takes up ballet as a way to hone his boxing skills. In the process, he discovers himself, learnes some valuable life lessons, and fills a deep void left by the death of his beloved mum. Despite his family's strong objections (and financial straits) Billy ends up studying dance from a local teacher (the effervescent Julie Walters, who won an Oscar nomination for her work here). Her lessons both technical and moral serve as the basis for a devastatingly real connection between Billy and his disgusted macho father. What ensues is a dramatic comedy that inspires us at every turn without condescension or pity. The heartening interaction that develops between father and son is truly evocative, especially so for anyone who ever followed (or didn't) their dreams despite their family's objections. Not only does Billy "Dance!!" for his supper...he befriends the local outcast gay teenager and copes with questions about his own sexual orientation heady topics for a movie about a dancing teen. All of this is handled in a mature, thoughtful manner, which makes the film a visceral, haunting experience. You can take or leave it's many messages, but theere is no denying its emotional core.

It's rare for a movie to challenge social mores and values by focusing on the dominant male principals. But "Billy Elliot" succeeds on more levels than other underdog-come-from-behind flicks. First, its based on a true story and resonates with truth, integrity and spirit. And, Bell's brash, authentic portrayal is pure magic. His feet literally take over his soul...he dances in the street, mimmicking Gene Kelly, and in the process taps his way into your heart. The performance is so accomplished it's a wonder Bell didn't receive an Oscar nomination. Even Russell Crowe who won the 2000 BAFTA and Oscar for "Gladiator" admitted Bell deserved the BAFTA Prize instead. Having resisted "Billy Elliot" at the movies, I finally caught it recently on HBO and was taken in immediately. This is a film your entire family can and should enjoy...if they don't, perhaps a little side trip to an English coal-mining town will help them appreciate this wonderful heartwarming film. Seriously, in this day and age, every one of us could use more Billy Elliots and fewer Scorpion Kings. A keeper!

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If you love intimate, moving character films like Cinema Paradiso, you will love love love Billy Elliot. A small, rousing British film with cleverly written characters, this movie is both sentimental and expertly crafted. The performances, particularly from Julie Walters as the dance instructor, and that winsome, melancholy but excpetionally gifted boy as Billy, will truly steal your heart. The simple premise is instantly grabbing -an artistic boy, only 11, is unfortunately the most forgotten element in a fractured, sad little family, which includes a pre-Alzheimer's grandmother, an angry older brother and a defeated, sad and tense father. While Dad and bro are on strike, money is tight the year is 1984 at the height of British strike/tensions. Billy is sent to boxing lessons, where, by happenstance, he discovers a true vent for his budding creativity -and especially his joy in dancing. Filled with infectiously appealing pop and light-classical music, this film is part Rocky, part Hollywood musical, part Flashdance and part Cinema Paradiso. The chance that these disparate, unlikely approaches might actually add up to something compelling are unlikely, but you must experience this movie to understand how exciting, moving and intensely gratifying it can be. Painted in bold, creative colors and shot with a springy exuberance, Billy Elliot is terrific.

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My son dressed up like Beauty(Belle from Beauty and The Beast...not the concept of beauty) for halloween. He dressed like the Mother Superior when we took him to the sing-along Sound Of Music. The other day he got a superman toy and was putting a Barbie Shoe on it. I am living in the world of the unique child.And I know there will be a day where someone will try to change my son........ This is why I cried in Billy Elliot......This is a beautiful film about being different in an uncompromising world. It is a film about economics and society, and how art is developed through frustration and need...but with all that aside it is a truly entertaining and fabulous film. Stephen Daldry, the reknowned theatre director, makes his debut here. The direction is the thing that gives this it's guts. This is a much better film than it needed to be. And the performances....Julie Walters, Jaime Bell and Gary Lewis(such an amazing performance as the dAd)...Just check this out. The movie goes places that you don't expect, and thankfully, places you do. I have just been thinking about the end of the film, and how it is an ugly duckling story...the coolest thing about it is that more than Billy turn into a swan. It seems like the entire community turns swanish. Art and individuality can do that. I was the quasimodo of ducks before my som came along.

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Billy Elliot is an 11-year-old boy played by Jamie Bell. On his way to a boxing lesson, he happened upon a ballet dancing class. Soon he discovered that he was very good at ballet, and he then wanted to become a dancer despite his family's wishes. This is a really touching and inspirational film about achieving dreams that will leave you cheering!

This is easily one of the best movies I have ever seen, and I have seen quite a few considering that I'm only 14. "Billy Elliot" is very similar to "October Sky", which is another great movie. (Even the kid's dad is a coal miner!) But it is also very different in the way that it is much more complex and subtle. I have noticed that because this is a British movie, it seems to be a lot more daring than most American movies, with a lot of things that Americans might consider extraneous. But that's what I like about it; Every character is so well developed even if they have a very small role (e.g. Billy's supposedly gay friend). These little aspects of these minor characters add a really nice touch to the already powerful story.

Also, DON'T let the R-rating fool you. THIS IS A FAMILY MOVIE. This movie is NOT pornographic, or violent, or chock-full of coke-sniffing. It just contains some language that little kids shouldn't use. Even so, the profanity is used very maturely. It is never gratuitous or unnecessary, it's just how these British people speak. And the film never seems to glorify the use of such language.

This film was WAY overlooked at the Oscars. It's definitely better than "Gladiator". "Gladiator" may have cool combat actoin, but it's got a very straightforward plot which doesn't make you think. I have NO IDEA why Jamie Bell wasn't nominated for his act. He has a very auspicious start in his filom career with this movie!

If there's one thing to criticize about this movie, it's the fact that the dialogue is spoken with heavy British accents, making it hard to understand at times. But that's not enough to keep me from saying that this is one of the best movies I have ever seen! Watch "October Sky" first, to give you an idea of how an American movie tells a dream, then watch "Billy Elliot" for a more sophisticated British idea.

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Enter the Dragon (2007)

So here it is... more than 30 years since the original theatrical release of Enter the Dragon, Warner Brothers releases the definitive 2 DVD Special Edition. It's a fine offering, long overdue, and considering the reasonable price, really offers a lot of nice extras, though most of them have been available elsewhere and have therefore been seen before (at least by rabid fans like me).

To start with, there is of course the movie Enter the Dragon (ETD) Bruce Lee's magnum opus that was not released until after his unfortunate death in 1973, but sealed his immortality. The plot is simple enough Bruce is a modern day Shaolin monk who is somehow enlisted by the British/Hong Kong government to infiltrate the island of Dr. Han (Shieh Kien), a crusty old renegade Shaolin gone bad who holds a yearly martial arts tournament to recruit talent for an international opium and prostitution racket. Roper (John Saxon), or "Loper" as Bruce says his name, is the established Hollywood caucasian star brought in because of reservations about Bruce's ability to carry the film, while Williams (Jim Kelly) is the token blaxploitation character who, this being the 70's, is kind of a Shaft/Superfly ass-kicker and, in the spirit of horror movies, is the first to die at the hand of Han actually, at his artificial, interchangeable, iron, and oftentimes bladed hand. Even Jackie Chan and Sammo Hung, as young Hong Kong stuntment before they became stars in their own right, make infamous appearances as guys on the receiving end of Bruce's wrath. But the real point, or value, of this movie is that Bruce Lee shines throughout with his incredible fight sequences he once again casts Bob Wall as whipping boy, hitting him with lightning fast punches, an insane skip side kick, and a great groin shot that still makes me wince despite hundreds of viewings; he has some fantastic weapons sequences with staff, double escrima sticks, and nunchaku; and he more than lives up to his reputation as the "man with three legs" as he demolishes armies of scrawny Asian guys whose gung fu is pitiful in comparison (check out the guy laughing in the background as Bruce connects three successive roundhouse kicks to one sap's head in the final mob fight). This was totally innovative and amazing in 1973 as the first ever martial arts movie made in Hollywood and despite all the subsequent copycats and modern day wire-fu flicks, no one has ever matched Bruce's intensity, charisma, and moves. There are some classic dramatic sequences as well with Bruce speaking English in his own voice (unlike all of his Hong Kong movies whose English versions are horribly dubbed), such as Bruce teaching a student and rapping him on the head as he expounds some homespun Zen philosophy or Bruce poignantly asking "why doesn't someone just pull a .45 and settle it?" Incidentally, this is the uncut version of the movie with some extra scenes not included in the theatrical release basically Bruce talking quasi-philosophy (well, actually, it's someone else dubbing in Bruce's voice) with his Shaolin elder that he later recalls in the final fight sequence.

Of course, few people who buy this DVD don't know all this already, so what's new? Well, there is a commentary track by producers Paul Heller and Fred Weintraub there's some interesting tidbits, but overall it's disappointingly uninspired. Then there's "Blood and Steel: The Making of Enter the Dragon" a newly produced documentary short that includes some rare and new footage a clip from Bruce's Hong Kong TV appearance in which he breaks 4 dangling boards; an interview with John Saxon, Lalo Schifrin, and the kid who gets smacked on the head by Bruce in the movie (now apparently a well-known Hong Kong director); and several minutes of on-location footage shot with Ahna Capri's handheld Super 8 camera that has never been seen before (it's short of amazing, but it's new and therefore gold to diehard fans). On disc 1 there's also a soporific Linda Lee (Cadwell) interview, another "making of" featurette with on-location footage shot by the AD, John Little's short "In His Own Words" featuring most of the Pierre Burton interview, and some old black and white movies (with sound) of Bruce kicking his buddies and hitting his heavy bag in his Los Angeles backyard though these have all been previously available in one place or another (including the 25th Anniversary ETD DVD).

Disc 2 includes all of the TV and theatrical trailers for the movie (somewhat repetitive) and two previously released Warner Brothers documentaries Warrior's Journey, which captures and knits together the lost Game of Death footage (GOD) in its available entirety, and Curse of the Dragon, a George Takei (Sulu of Star Trek fame) narrated documentary released around the time of Brandon Lee's death. These are both decent films, with Warrior's Journey a real gem with the GOD footage the definitive way to watch Bruce in widescreen duel nunchakus with Dan Inosanto and try to deconstruct Kareem Abdul Jabbar's fighting style while sporting the iconic yellow and black tracksuit revived by Uma Thurman in Kill Bill Vol 1. Curse of the Dragon is interview heavy (Kareem, Taky Kimura, Paul Heller, James Coburn, etc.) but also includes clips from Bruce's childhood movies, his Green Hornet screen test, his appearance at Ed Parker's Long Beach Karate touurnament, and some backyard work-out footage with Coburn. But once again, these films have already been released before on their own, so while decent, they're less than revelatory.

And so, what we have here is by far the best available version of ETD that now exists and probably ever will, complete with a lot of nice extras, most of which have been available elsewhere. It's nice to have it all in one package (there's no apparent need to sell Warrior's Journey as a standalone product anymore) at a reasonable price. On the other hand, Lee worshippers will no doubt wish that there was more why not include the complete Green Hornet screen test, or a Jim Kelly or Jackie Chan interview or commentary track, the complete James Coburn training session footage, all of the Ahna Capri film, more ETD outtakes, or maybe even "Kentucky Fried Movie," a parody of ETD released many years ago... but what can you do Bruce died 31 years ago and this is the legacy he left behind.

I recently watched Enter The Dragon on the Voom HD Kung-Fu network, and it looked relatively good, but not great.

The Blu-Ray version obviously got a lot more attention, care, and cleanup. It is by far the best looking and sounding version I've ever seen of the movie. It sounds like the bass was tweaked quite a bit, because whenever Bruce would hit one of his signature punches, my subwoofer put out one heck of a thump. It sounded great, if not a little over the top.

Some of the signature grain of the original is still there, but the images are much more crisp and sharp than any other version.

Definitely worth it for the Bruce Lee fans out there.

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I recently purchased a Playstation 3 and an HD LCD TV, and this is the first Blu-Ray disc that i have bought. Ive seen this movie dozens of times on TV, VHS and DVD and i thought i knew every fight scene back to front. Since seeing it today, i discovered how much i was missing in those old video formats. There really is that much more detail and smoothness in the images. Its a great showing for a 30yo movie. There is also a great deal of documentaries and extras if you dig that kind of stuff.

As for the movie itself...its a classic action movie with fantastic fight scenes, a convincing bad guy, funny bits, armies of dumb henchmen, hot chicks and Bruce Lee in his prime! What more could an action film lover want?

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I've watched the recent HD DVD version of this movie and found the picture quality excellent. The colors are richer and the overall quality appears to make the picture jump out at times when viewed with the Toshiba A x1 player.

I don't think it is fair to give the movie a low rating, as one reviewer did, based on the fact that it is an older movie. Comparing any older movie to modern day production values is misleading and inaccurate. Following this comparisson, one would have to give a low rating to all movies not done in the past few years.

Enter The Dragon was innovative for its time and utilized production methods that were top quality for its time.

The transfer itself is the citeria that the review should be judged on, which in this case is done quite well.

As for the comparrison to the 60's James Bond movies, the HD version of You Only Live Twice is superb. Yes, the fashion, music, dialogue,... are not modern day; how can a film escape it's own time period. However, the Connery Bond movie screenplays far outweigh the childish, comic book portrayals in the curent Bond films with only protracted stunt sequences to amuse a child like mentality.

It is interesting that for an "outdated" film like Enter the Dragon, it's character depictions, plot and fight choreography are most often duplicated by today's style of martial art movies.

Have today's "highly evolved" movies no original ideas other than replacing Lee's actual fighting skill, speed, gracefulness and charasmatic screen presence with acrobatic clowns whose abilities are enhanced with wire work.

The picture and sound quality of the HD Enter the Dragon is most striking when viewed on the Toshiba player. It is certainly more entertaining then watch a highly detailed HD version of the inane Pitch Black or recent Jackie Chan, Jet Li films whose silly plot lines and poor acting are to be ingnored just to impress friends coming over to view how amazingly life like the picture quality is!

Once the novelty of watching films on the superior HD DVD passes, classic movies will always stand on their own merit.

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This movie is a classic of any genre. It has such a great dated fill to it like other classic sixties and seventies films such as Goldfinger, Deliverance or Dirty Harry. I love the cast and their interaction. A Chinese, African American and white guy all fighting together like there's nothing out of the ordinary about it, which is how it should be. These days you would have to have some joke where the Chinese guy makes some "innocent" crack about the 'hood or the black man calling the white guy cracker. In this film everyone is treated with equal respect. It seems to me this is something that was more common place in films in the early seventies or maybe it was the influence of Bruce Lee's own philosophies. Whatever the cause, it's nice to see three different races represented as equals.

The plot is a cross between a James Bond movie and the standard Kung Fu pictures. Bruce Lee is recruited by a shadowy government organization to infiltrate a mysterious island as a participant in a Karate tournament. This is basically a character and action driven movie because there isn't much suspense. It's pretty much a given that Han is up to something.

Where this movie shines is the martial arts action. I originally saw Enter The Dragon as a double feature at the drive in in the early eighties. I remember thinking as I watched the first feature (Kill Or Be Killed) that the fighters were fast. That is until Bruce Lee came on. I had never seen anyone move that fast before or since. The final fight in the house of mirrors holds up well and is every bit as thrilling as any fight scene of today.

As for the bonus features, the trailers are interesting if for no other reason then it's amusing to see how far commercials have come. The interview with Bruce Lee is particularly poignant. It makes you wonder what would be next. He had a powerful personality and very definate views on fame and movie making. I think his films would have only gotten better and may have even brought equality and better roles for minorities to the movies decades sooner.

Rebecca (1940)

A sumptuous film version of Daphne du Maurier's Gothic suspense novel. Brilliant direction by Alfred Hitchcock (his first American-made feature), dazzling cinematography by Oscar-winner George Barnes, and splendid art direction by Lyle Wheeler underscore impeccable performances by the entire cast. Laurence Olivier is excellent as the enigmatic Maxim, whose brooding ambivalance masks a dark secret; Joan Fontaine hits all the right notes as the confused and insecure Second Mrs. de Winter; and Judith Anderson (made up very much like Gloria Holden in Universal's "Dracula's Daughter") is chillingly repellant as the malevolent housekeeper Mrs. Danvers. These three Oscar nominees are ably abetted by George Sanders playing Rebecca's cad of a cousin, and Florence Bates as the vitriolic social butterfly Edyth Van Hopper. In what must have been an incredibly close race, this film beat out 20th Century-Fox's landmark "The Grapes of Wrath" for the 1940 Best Picture Oscar.

The Anchor Bay DVD offers a fine video transfer of this classic mystery. The picture is sharp and clear with excellent contrast throughout, and the soundtrack is clean and crisp. Although the package doesn't mention it, the DVD does offer Chapter Search (always a welcome plus). There aren't any bonus materials like theatrical trailers, cast biographies, photo galleries, etc., but this is still a worthy edition of a genuine film classic.

Joan Fontaine stars as a miserably shy and awkward lady's companion who meets the sophisticated and recently widowed Maxim de Winter in Monte Carlo. They seem an odd couple, yet after a few short weeks they marry and come home to his imposing English country estate, Manderley. The young bride is overwhelmed with her new, lavish lifestyle and is especially intimidated by the forbidding housekeeper who keeps her first mistress' memory and influence alive. Maxim reveals a terrible secret which forever alters the couple's life, and affects the very existence of Manderley.

This wonderfully atmospheric tale, complete with swirling fog and spooky organ music, will take you away to a world where little Cinderella really does marry the handsome prince and lives in the mysterious castle, but things have a nasty habit of going bump in the night. Joan Fontaine gives a breathtaking performance, convincing us she really is crippled with feelings of inadequacy, despite being a flawless beauty. Judith Anderson is the sneering, contemptuous housekeeper whose devotion to her former mistress turns to madness. Laurence Olivier makes a properly snobbish and mysterious Maxim and manages to be the hero despite a fatal flaw. The title character, Rebecca (the first Mrs. de Winter), is never seen but is a powerful force, as is the imposing house of Manderley. If you like gothic romances filled with 1940's elegance and lots of creepy atmosphere, you'll enjoy Rebecca.

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This review refers to the Anchor Bay DVD release of Rebecca.....

What do you get when you have a great work of literature by Daphne Du Maurier, combined with the cinematic skill of Director Alfred Hitchcock,combined with the extrordinary acting talents of Laurence Olivier, Joan Fontaine, George Sanders and Judith Anderson? You get pure perfection on film. Combined that with the technology to take a movie made 62 years ago and make a transfer to DVD that looks as if it was made yesterday, and you have 2hr and 10 minutes of movie heaven.

The story begins in the South of France where a young, introverted woman(Joan Fontaine) meets wealthy widowerMaxim de Winter(Olivier) His wife,Rebecca, had recently died in a drowning accident and often he seems to be pensive and far off. They fall in love, marry, and go back to his home, an estate called Manderly. She is overwhelmed by the palacial grandeur, the huge staff of servants but mainly by the very prim but chilling head housekeeper Mrs. Danvers(Judith Andersson). The first Mrs. De Winter still seems to have a presence in the household that Mrs. Danvers keeps alive.

To say anymore will be giving away too much of this hauntingly chilling love story/mystery.However I must talk about this DVD.

Although not the more expensive version with all the extras(don't look for any with this one) this one gave us a beautiful picture, and great sound. Everything was bright and clean I saw things I had never seen before, and I have watched this movie dozens of times. The sparkling of the sequins on a woman,s gown,

the way the sun shone and the rain fell. This is a great transfer of a great film(Academy Award best Picture 1940). I personally didn't need all the extras for this one, I just enjoyed the film. There is another version by criterion with lots of goodies if you are interested in that though.

Which ever version you choose- Enjoy "Rebecca" and the splendor of Manderly--Laurie

also recommended:

Hitchcock's Notebooks: An Authorized and Illustrated Look Inside the C

The Woman of the Port

Alfred Hitchcock Double Feature Volume One Sabotage / The Man Who Knew Too Much

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Rebecca achieves greatness. Nothing is off in this film. You'll never forget Judith Anderson's sinister portrayal of the obsessed housekeeper, or George Sanders' cold and cynical charm as "Rebecca's favorite cousin." As for Lawrence Olivier and Joan Fontaine, they will never be seriously challenged in any remake of this tantalizing and psychologically molten story. It is their film from start to finish, though one fine character actor after another comes and goes with perfect pitch and perfect proportion. The black and white photography has a porcelain gleam to which color could bring nothing. Like Bronte's great novel, Jane Eyre (in which Joan Fontaine also starred), Rebecca is a seminal tale following an old pattern that has been imitated ad infinitum. But nothing can detract from this pure and innocent effort. I first saw Rebecca when I was a little girl, taken by my mother to a small theatre in New Orleans famous for showing foreign films and artistic films, and what an enchantment it was this world of Maxim de Winter and his great house and the crashing sea -and finely controlled voices with English accents speaking so carefully but with such feeling. I've seen the film a dozen times since, and it has lost none of its silvery luster. There are times when I don't want to do anything except make a cup of hot chocolate and go in and watch Rebecca. Highly recommended. Add it to your collection.

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Note: Get the Criterion DVD before it is too late! (It's supposed to go out of print on the 31st of December, 2003). While Hitchcock's masterpiece is still stunning after all these years, the DVD I watched, published by Anchor Bay, is pretty weak; the Criterion Collection DVD of "Rebecca" has much more in the way of extras and special features, which is half the appeal of getting a classic on DVD.

Anchor Bay's DVD only has a chapter selection and "start" on the menu. Not even closed captioning, which makes this DVD inaccessible to older or deaf fans.

Still, even a weak DVD presentation can't take away from such a beautiful film. A TV presenter recently introduced "Rebecca", by saying that Joan Fontaine was too pretty to be believable in the role of a plain girl. Missing the point! "Rebecca" is a story from the point of view of a scared, insecure heroine who believes the worst of herself and is always waiting for the other shoe to drop. Like the heroine of "Northanger Abbey," perhaps the gothic atmosphere here is really created out of her hopes and fears "Rashomon"-style where each person sees a different thing. The book "Venus in Spurs" has most of a chapter devoted to "Rebecca," and how much this film and book relate to women who struggle through insecurity, despite being loved. (To say more might ruin the movie for first-time viewers).

Fontaine is, of course, very good, as is Laurence Olivier, who has scarcely *ever* been more handsome and commanding. Among the strong supporting cast is George Saunders and Dame Judith Anderson. While Anderson's usually singled out in reviews and hindsight, her obsessive maid could hardly be that malevolent, if the audience didn't feel so sympathetic towards Fontaine's sweet, mild Mrs. de Winter. Really, Fontaine needed Anderson in this performance to really pull it off; and the reverse is equally true. I also think Florence Bates adds quite a bit here as the bitchy and bossy Mrs. Van Hopper, also providing a strong showing in another wonderful film, "A Letter to Three Wives," which, come to think of it, is also about wives and their suspicions of their husbands... and Bates' character sets up trouble for one of the "Letter" wives with her thoughtlessness in that picture, too.

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From Paris with Love (2010)

From Paris With Love was an entertaining ride, with plenty of "edge of your seat" moments, humor, and lots of action. The plot kept twisting and turning, bringing one surprise after the other, which made it really interesting. Travolta was dynamic, fun and believable as a seemingly crazy but very able operative/spy. Jonathan Rhys Meyers was excellent in the role of the newbie operative who was fairly innocent and very inexperienced, but still smart. It was a far cry from the authority and power he exudes as King Henry in the Tudors series, which means to me that he's a capable actor.

There were short periods when the movie seemed to lag a bit, though once things got going, the exciting parts more than made up for anything less than exciting. There was a lot of killing going on with plenty of blood, but despite this, none of it was very graphic or terribly disturbing. Regardless, this is not a movie I'd bring the kids to. It's definitely an adult flick for a mature audience.

I'd recommend this movie for those who enjoy action or spy thrillers. I think it would even be a DVD worth owning.

I confess right here, right now that I loved "From Paris With Love"! John Travolta is the reason why!

For the sake of simplicity, here are my reasons:

1. After the initial, necessarily slow set-up to establish back story with Jonathan Rhys Meyers' character, the action is non-stop!

2. John Travolta! He plays a commando-type sent on secret mission assignments and allowed to act without protocol! He is the reason for the action.

3. Jonathan Rhys Meyers is the spy wannabe, the complete opposite to Travolta--refined, debonair, rule follower, diplomatic assistant.

4. Weapons in cans!

5. Fighting scenes! In fact, these scenes remind me of Matt Damon's films. There's a big difference though: Matt Damon's fights are carefully choreographed with the entire fight (seemingly) shown, whereas Travolta's are shown in snippets. Why? Because John Travolta is too old and over-sized to actually fight. Note: These snippets are in my plus column. Even though he is not actually fighting, the illusion is there (for those who want to see fight scenes) that this old guy is really capable of defeating so many opponents.

6. Bad guys (drug dealers, pimps, and terrorists) are no match for Travolta's character at any time! Hero played Large! (Hero from my point of view as American, potential-victim-of-terrorism, along with delegations from all over the world)

7. The unsuspected terrorist agent!

8. Watching the diplomatic assistant gradually become spy worthy.

10. An action-oriented Big Play Hero who also plays chess!

What I didn't like about the movie:

1.

What a great summer movie, exactly one kind of summer hits: fun, engaging, entertaining, action-filled (nonstop), heroic-but-unconventional characters, violence so unbelievable that the viewer knows it is not real but pretends it is for this movie, and satisfying ending. (Oh, the other kind? Romantic and tame!)

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FROM PARIS WITH LOVE is not without merit because it does have the gift of a great performance by John Travolta who can play Edna in HAIRSPRAY and turn around and play bad mouthed, gonna put a hole in ya' Charlie Wax in FROM PARIS WITH LOVE. It also has constant action, and if you like that sort of thing then you'll be rewarded with a movie that holds your interest.

Yet, when its over, you won't need to watch it again, because it isn't that kind of movie. You can't help but think throughout the movie, that some scenes were missing. Either that or Luc Besson scraped the typical plot of most action movies and decided to focus his screenplay on a subplot.

While the movie is about stopping terrorism, most of the movie is about the relationship between Charlie Wax (Travolta) & James Reece (Jonathan Rhys Meyers) & whether or not Reece has it in him to kill. Also, most of the movie is taken up by chasing down a drug ring. Eventually, toward the end of the movie, we discover the true reason why we're watching. A terrorist target.

The movie is 90 minutes of mayhem, bullets and Travolta putting holes in people or just finding creative ways to send people to the hereafter. If you're looking for a story, it is vague and you can't help but wander that Luc Besson intended that. Yet, because of that, it's a movie that is and will be easily forgotten.

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"From Paris with Love" with J.T and J.R.M. is fantastically sophisticated for a fictional spy movie. Finally, a fun, funny, flamboyant and fictionally factual movie where the terrorist bad guys aren't white but the heroes and the white girl (played by Kasia Smutniak) isn't rescued but is a liberal sympathizer for...Islamic terrorists. Oops exposed a plot twist. Now; the only reason I wrote the ethnic thing is because I've read a lot of comments from people who found the movie offensive, down talked it, and gave it one star was because they didn't like that non-white ethnicity were being presented as the bad guys (except for the confused French girl) and getting killed...plus the white male American Ambassador wasn't somehow corrupt and evil while the white female political American dignitary was portrayed as being stupid and arrogant. Boo-hoo. A lot of us are getting tired of Hollywood's typical politically correct social engineering game in movies and not trying to offend anyone except the usual suspects in the current terrorist environment. "From Paris with Love" is a fresh change of pace in contemporary Spy movie making ~ distinct as the "Bourne Identity" series (of which I really enjoyed even though that 3 movie series was far fetch fun fiction). I can't wait for the next installment..."From Bahrain with...

I also really liked watching Spies, Spooks and Special Ops: Life Under Cover in the Special Features of this DVD and listening to former CIA agents speak about their personal experiences and the realities of the Spy war and how dangerous the current counter Islamic terrorism fight is. And just because Bin Laden is dead...thank God, doesn't mean its over and mission complete.

Oh and by the way, there is no logical argument in Islamophobic or Islamophobia just like there is no logical argument for atheists to be Godophobic or have a Godphobia...or is there.

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Travolta MAKES this movie work as an absolute WILD RIDE & I LOVED IT!! Too many spy thrillers and even action flicks get so hung up on "the story" nowadays that you end up missing out on most of the FUN and just going, "Huh???" in the end (e.g. the first Mission Impossible). But don't worry...Except for an anemic first 15 minutes that seemed like it would never end, this movie doesn't simply stop periodically and try and TELL a story. Instead, the convoluted but interesting story DEVELOPS as the movie just shifts into high-gear and keeps moving at break-neck speed with jaw-dropping action alternating with over-the-top humor! It works so well because Travolta plays an off-the-chain near super hero spy with Jonathan Rhys Meyers playing the "straight guy" who also happens to be the wannabe super spy. And become a super spy he does on Travolta's Fast Track Plan!!

There's bodies piling up by the dozens wherever these guys go, a car chase that rivals anything you've ever seen in The Transporter series and gunfights/explosions galore. The tongue-in-cheek humor prevalent throughout the film shows that it never takes itself too seriously. For example, in one scene, Travolta tells his partner to stay a floor down while he goes up a spiral staircase after the bad guys. Every few seconds you hear a couple of muffled silencer shots and the bad guys literally start falling from the sky! Just brilliant and hilarious film-making!! Now, don't laugh too hard...But From Paris With Love reminds me quite a bit of Live Free or Die Hard. There are more than a few similarities: super hero-type playing off an inexperienced newbie; a bald Travolta and a bald Bruce Willis; both duos hunt down terrorists; special effects that look both real and unreal at the same time. But unlike Willis and his ever-present bloody shirt, Travolta's character never gets a scratch. I'm also impressed that he did so many of the stunts in this flick and didn't end up in the hospital! He moves around pretty well for a guy his age...

There's a Special Feature on the DVD where former real spies claim there really are Special Ops guys like Travolta's character in the real world! Too bad there isn't a reality show that follows them around...In fact, this is EXACTLY the kind of movie I wish someone would turn into a weekly TV series! I'd watch it every week...

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The Shawshank Redemption (2008)

It has long been my contention that it is the moviemaker's task to hold the viewer's attention, not to burden him with his self-indulgent, difficult-to-follow symbolisms.

That having been said, I find it difficult to find another movie I would recommend more highly than The Shawshank Redemption. Without any high-adrenaline action sequences or steamy sex scenes (two sure-fire ways to get the vewer's attention), this film somehow has the power to make you sit through all 142 minutes without for a moment getting bored. And I challenge anyone who has seen it to delete any scene, even any minute, from the final edit. The fact is, you can't. Because every single scene is an essential element that contributes to the final result: a masterpiece that captures the drama of enduring friendship and resiliency of the human spirit more powerfully than any other film ever made. Even those who normally do not watch movies with a critical eye will find themselves so drawn into this experience. I really can't say enough about this film. Suffice it to say that this is certainly the Greatest Movie Not to Win an Oscar. (Since Citizen Kane, at least. )

Actually, I can forgive the Film Academy for not honoring this film with the Oscars I firmly believe it deserved. But when the American Film Institute in 1998 put together their list of The 100 Greatest Movies of all time (covering the period from 1896-1996), and so myopically overlooked Shawshank in favor of such titles as Rocky, Dr. Strangelove, Network, and Jaws, well, I thought that was absolutely ridiculous.

I wouldn't hesitate to put it in the top five of all time.

Every so often, a certain type of movie comes along that deeply moves anyone who watches it. This movie is grand in scope and scale, its character portrayals so moving and so real, that you cannot help becoming completely engrossed by it. I believe that the Shawshank Redemption is one of these movies. Often times, movies based on books are sub par, with the common complaint being, "The book is better." Well I, for one, have read the book and watched the movie, and I assure you that the movie is not a let down at all, but rather a triumph of modern cinema. The DVD disc itself is a little thin on features, but at an average price of about $15, anyone with a DVD player and a taste for Drama(or anyone who simply likes excellent movies) should own this movie on DVD. Now, on to the movie itself. The Shawshank Redemption saw career-defining performances from many of its cast members,including Tim Robbins, who became a top star after his incredible performance, and Morgan Freeman, who added to his already impressive list of accolades with his perfect supporting role. Robbins plays Andy Dufresne, a Maine banker who is unjustly convicted of killing his wife and her lover after he discovers that she is having an affair. Andy is a true outsider in the bleak world of Shawshank prison, an educated man not used to violence and despair that are an everyday part of prison life. Robbins plays this part to perfection, showing emotional vulnerability, as well as the stregnth to overcome the greatest adversity. Freeman plays Red, "The man who can get it all," a prisoner serving a life sentence for murder, who befriends Andy. Red adapts to his life in prison by becoming a source for bringing outside goods to prisoners. The interplay between Robbins and Freeman is one of the highlights of the movie, as these two wonderful actors test each other's limits. James Whitmore plays Brooks Hatlin, a man who spends his entire life in Shawshank as a librarian. Once released,as an old man, Brooks finds that he would rather die that live another day in a unfamiliar world. His character is a tragic example of how the human mind can become so attached to its circumstances(even the blak setting of a prison) that it simply cannot let go of them. Bob Gunton takes a memorable turn as Bible-quoting Warden Samuel Norton, whose facade of morality is merely a mask for his depraved behavior and illegal activites. Frank Darabont, who wrote the screenplay and directed this movie,is a master of skilfully portraying human emotions. He deserves all the credit he gets for helping to shape this memorable movie experience. Stepen King's brilliance shines through, as his ability to create complex and memorable characters is evident in this movie. The bottom line is this: The Shawshank Redemption is a monumental achievement in motion picture history. It is defined by a memorable story, engrossing character performances, and one of the most truly gratifying endings I have ever seen in a movie. This is truly one of the greatest movies ever made.

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The Movie:

Every so often in everyone's life, they walk out of a movie that they consider perfect. A movie where you don't sit through it and think to yourself how you might have done it all differently had you been the director. I have a couple of movies like that, and "The Shawshank Redemption" is one of them. I still remember clearly walking out of the theater in 1994 and thinking that I've just seen one of the best movies that I'll ever have the pleasure of sitting through. A movie so elegant and emotional that is perfect in its way of storytelling. A movie that is about how hope can never die. The movie earned several Academy Award nominations that were certainly well-deserved, but it left theaters all too quickly. Over the years though, it has gained a strong cult following.

The movie stars Tim Robbins in one of his very best performances as Andrew Dufresne, a quiet man who is convicted of the murder of his wife and is sent to Shawshank prison. It's there he meets "Red", a convict played by Morgan Freeman who gets things from the outside for a price. He first sees Andy as he's lead into the prison and predicts that he won't last long inside the prison walls. Over time though, he's suprised that the young man is able to survive and soon, the two become friends with respect for each other. Andy is not a man who "fights the system". He spends his days in his own quiet world, a courage that the other prisoners don't quite understand at first. Robbins has built this character in a way that we the performance is not showy, but subtle. The result is that we want to know more and when we do begin to understand his ways, that only makes us want him to succeed that much more. I won't go into much more in the way of detail about the movie; if you haven't seen it, I don't want to ruin any of the enjoyment of the movie; if you have, I'm sure you already have your feelings about the movie. This is a movie that's not depressing; it has a lot of life to it and I think that when they look back at the 90's, they will see that this is one of the best pictures that was released during this time.

Yes, Warner Brothers has proven to made an error in judgement about their way of going about putting this DVD out. There was an announcement over a year ago, I believe; then previous announcements came later after the first delay promising a director's commentary, then a Morgan Freeman commentary, then, in the final moments before the DVD is released this week...nothing. It's a shame, as "Shawshank" is a film deserving of much more. I suppose part of me is happy with the fact that this film is finally on DVD, although if this is the final product, there is no reason in my mind that this couldn't have been released a long, is an excellent looking image. One of the best cinematographers in the business (Roger Deakins"Fargo") did the filming on this picture and the pale colors are represented well throughout the picture, mainly browns and greys. Like the movie, there is an elegance to the visual style on this picture that is apparent in every movie that Deakins has worked on. Images are clear and crisp throughout; sharp, but not overly sharp for a "smooth" feeling that looks very film-like.

There are few problems, and none of them are terribly distracting at all. There is a slight shimmering in a scene or two and some very small instances of grain. Other than that, this is an excellent looking image that will certainly beautiful sound mix. It's also a newly remastered 5.1 mix. It's not flashy or showy, nor does it need to be. It does however, do what it needs to do best very well. The score by Thomas Newman is absolutely wonderful and it sounds clear and crisp throughout the picture. Surrounds are put into use occasionally, but always in a subtle way that is right for the picture. What I was pleased about most though, was how rich and clean the score sounded on this DVD. Dialogue is clear and without problems as well. Again, Non-animated main menus that have the score playing in the dissapointment of this DVD; all that's included is the trailer and some production stills.

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Final Thoughts Although it's unfortunate that this isn't the special edition that it should have been it is a must for any collection. I'm happy the film is finally being realized by more and more people as a classic piece of filmmaking, which I've always considered it to be.

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The Shawshank Redemption is a character study in which the audience can develop a healthy and well-earned respect for a man whose spirit will not be crushed. We get to know these people, and writer and first-time director Frank Darabont is able to make us care for them in a way that makes the relatively slow pace of the film more than bearable. Shawshank transcends its genre much the way Cool Hand Luke did all those years ago, but while Paul Newman's Luke was a smiling, hardened con, with a longing for escape, Robbins, in a superb performance, makes Andy's intellect and imagination his salvation. It's a beautiful film that is able to portray the power of hope through the eyes of a rich and rewarding character. A man brutalized but not beaten by a corrupt system.

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The Shawshank Redemption is by far, one of the greatest movies of all time. It is ultimate story of how hope truly never dies, and how good things finally happen to good people.

Tim Robbins, in his finest acting job to date, plays the wrongly convicted Andrew Dufresne. He is sent to Shawshank Prison for killing his wife and her lover, and there he meets Red, played by the ever talented (and one of the best voice-over voices of all time) Morgan Freeman. The chemistry between the two is so amazing throughout the entire movie, and you can clearly see it flow.

You really begin to feel for Andy and his quiet demeanor peppered with subtle emotions. Just when you think the movie is going a certain way, the plot takes an incredible turn that leaves you sitting there with your mouth open. From this point, just when you think the film is heading towards its almost certain climax, it twists another way, leaving you sitting there, not being able to control your giddy smile.

The film is wonderfully written, and the actors were superb. It has a beautiful flow to it, and you can't help but enjoy the masterpiece that you are viewing. You will definately be pleasantly satisfied. This film is an excellent addition to anyone's video collection.

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