Alvin and the Chipmunks 2: The Squeakquel (Blu-ray/DVD/Digital Copy) (2009)

When Ross Bagdasarian Sr. created the Alvin and the Chipmunks, I often wonder if he knew at the time of how popular those characters, their music and the animated series would be for American pop culture.

Popular for the music, it was in 1961 when the three went from being puppets to an animated show. Bagdasarian using his stage name Dave Seville, the music composer and father/caretaker of three talented chipmunks who tend to get into a little mischief. The animated series "Alvin and the Chipmunks" is one of those animated series that has been part of the childhood of several generations. An even more animated series continued throughout the '80s and '90s.

And as "Alvin and the Chipmunks has been a part of the childhood of children for five decades, for this generation of children, they are now getting acquainted by Alvin, Simon and Theodore through their animated CG films. And what a remarkable success the first film had been for Twentieth Century Fox as "Alvin and the Chipmunks" made over $361 million worldwide (the budget of the film was $60 million).

Needless to say, "Alvin and the Chipmunks" earned their right for a sequel and before Christmas 2009, the $75 million dollar sequel "Alvin and the Chipmunks: The Squeakquel" made even more money than the first earning over $442 million worldwide and now, this popular film which introduces us to the female chipmunks ala "The Chipettes": Brittany, Eleanor and Jeanette and featuring more star-power providing the voices for the characters.

VIDEO:

"Alvin and the Chipmunks: The Squeakquel" is presented in 1080p High Definition (Widescreen 1:85:1). Immediately, the first thing that catches your attention is the wonderful CG animation of the chipmunks and how they flawlessly work with the real life backgrounds and props.

Many scenes are shot outdoors and with very good lighting indoors that a lot of the detail can be seen in the trees, the plants, outdoor areas to the pores in the skin of the humans and of course, seeing the fur of the chipmunks with such detail. The film looks absolutely vibrant and detail is very good for this film. Skintones are natural, blacks are nice and deep and I saw no problems with artifacts, DNR or blurring.

AUDIO & SUBTITLES:

"Alvin and the Chipmunks: The Squeakquel" is presented in English 5.1 DTS-HD Master Audio, English 5.1 Dolby Digital Descriptiive Audio and Spanish/French 5.1 Dolby Digital. The film is dialogue and music driven through the center and front channel speakers. But there are special effects such as Alvin tossing a Wiimote into the TV, a wheelchair falling off Toby's car and various sound effects like that. Surround channels tend to utilize the crowd ambiance much more in the film.

But since the film is primarily dialogue and music driven, dialogue is clear and understandable while the music definitely comes alive with the lossless audio soundtrack.

Subtitles are presented in English, English SDH, French and Spanish.

SPECIAL FEATURES:

"Alvin and the Chipmunks: The Squeakquel" features the following special features:

* Munking History: 50 Years of Chipmunk Mischief, Mayhem & Music (09:20) A special feature on the creation of "Alvin and the Chipmunks" and various clips of the chipmunks in animated format.

* Munk Music Machine Allows viewers to select only the music-based portions from the film.

* Meet the Chipettes (8:35) The Chipette voice talent Amy Poehler, Anna Faris and Christina Applegate talk about their characters and how and why Janice Karman created the Chipette's.

* Rockin' Rising Stars (6:20) A featurette about the inclusion of the band Honor Society and singer Charice Pempengco into the film and their experience of working on a film.

* Music Mania (9:02) The making of the music competition segment in the film.

* Meet the Stuffies (3:08) The cast and crew talk about their experience working with the "stuffies".

* Shake Your Groove Thing! with Rosero (8:59) Choreographer Rosero and crew show off choreography for the song "Shake Your Groove Thing!".

* Music Videos & Sing-Alongs Featuring sing-alongs for "Single Ladies (Put a Ring on It)," "We Are Family",

and "Shake Your Groove Thing".

* Music Videos "You Really Got Me" featuring Honor Society & "The Song" featuring Queensberry.

* A-l-v-i-n-n-n-n!!! Album Maker A feature that allows one to create an Alvin and the Chipmunks (or Chippetes) album maker. Your creations can be saved.

* Music In A Nutshell: Song Trivia While watching the film, viewers can watch the film with song trivia.

* The Chipmunks: Behind the Squeaking (9:40) A documentary like featurette about life outside of the movie. Talent and crew talk about their experience of working with Alvin, Simon and Theodore.

* A-NUT-omy of a Scene (2:39) How the stuffed animals are used for the choreography portions on the film to help guide the animators and the talent.

EXTRAS:

"Alvin and the Chipmunks: The Squeakquel" comes with a DVD and a digital copy of the film. The DVD is presented in widescreen 1:85:1, English 5.1 Dolby Digital, English 5.1 Dolby Digital Descriptive Audio, Spanish and French Dolby Surround. Subtitles are in English SDH, Spanish.

The digital copy works with portable Media Players and works with iTunes.

JUDGMENT CALL:

I grew up with "Alvin and the Chipmunks" and can easily remember watching the television series during my younger years and have watched a fair share of the anime series on DVD as well, introducing it to my seven-year-old son who absolutely loves the first film.

Sure enough, we watched "Alvin and the Chipmunks: The Squeakquel" and he was laughing and enjoying the film. As for me, I enjoyed the humor of the film and granted, I may not be the intended demographic for this film, but as a parent, watching my son and seeing him enjoy characters that I grew up with as a child was definitely a fun, family moment. In fact, he enjoyed the film so much that we watched it for a second time (along with the wife) and continued to laugh at the jokes and hijinks... "the dutch oven" joke was just hilarious!

I definitely enjoyed the picture quality of this Blu-ray release and how alive the lossless audio soundtrack (especially from the music) coming through my speakers. Needless to say, there are plenty of music featured in "Alvin and the Chipmunks: The Squeakquel" and again, watching my son bop to the songs, I have no doubt that this film will do the same for the children watching this film. Also, for parents, there are plenty of special features and fun sing-a-longs and if you are commuting, you also get a DVD and digital copy of the film as well.

Overall, "Alvin and the Chipmunks: The Squeakquel" was an entertaining film which I enjoyed much more over the first film. The addition of the Chipettes was pretty cool and definitely enjoyed the animation and overall storyline for this sequel. As mentioned earlier in my review, there is a good number of star power in this film and a lot of of music covers. Definitely interesting to see "Chuck" actor Zachary Levi in a more comedic role and also to see Filipino singer Charice Pempengco jamming on the film as well! But of course, the star power behind the voices of Alvin and the Chipmunks and the Chipettes did a wonderful job. For Amy Poehler, Anna Faris and Christina Applegate, the three did a wonderful job.

If you are a parent looking for a fun, family film...you can't go wrong with "Alvin and the Chipmunks: The Squeakquel" and if you are an adult who grew up with Alvin and the Chipmunks, you'll definitely enjoy this film as well! Definitely recommended!

With all the kid films that are unbearable for adults, it's nice to find films that you can watch with your children and actually enjoy! Both the original and this sequel are just such films. The stories are cute, but not so dumb-ed down that you can't stay interested in them. The chipmunks are adorable and they are funny with fantastic CGI work. This one isn't quite as good as the first film(what sequels are?), but it is certainly a very fun movie for the whole family. Too bad Jason Lee phoned this one in, it was certainly worth his time. I give this one 3 stars for adults and 4 stars for the kids!

Buy Alvin and the Chipmunks 2: The Squeakquel (Blu-ray/DVD/Digital Copy) (2009) Now

Alvin, Simon and Theodore end up in the care of Dave Seville's twenty-something nephew Toby. The boys must put aside music super stardom to return to school, and are tasked with saving the school's music program by winning the $25,000 prize in a battle of the bands. But the Chipmunks unexpectedly meet their match in three singing chipmunks known as The Chipettes. Though the Chipmunks are confident they have the songwriting skills to steamroll the competition, a newly formed singing trio dubbed the Chippettes promises to give them some stiff competition on-stage. Brittany, Eleanor, and Jeanette are indeed the real deal, and the closer the competition gets, the more Alvin, Simon, and Theodore realize that in order to win, they'll have to give it everything they've got. This is a great movie. If you liked the first one you will like this one. Your kids will love it and thats what the movie is for.

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It's a kids movie. My first grader liked it. That's worth 4 stars. Very high "cuteness factor." Lots of energy and silly antics, of course (isn't that expected from Chipmunks?). Appealed to her and she was happy w/ the experience. I thought it was a little long (7 yo got wiggly) and the story was choppy, but I'm an adult, so who cares? :) We saw it at a dollar movie theater, so I couldn't feel bad about the value. Might be worth adding to a kids video library, but it won't be a top ten favorite, in my opinion.

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I've seen the first chipmunk movie. It was okay, kinda cute. But I slowly began to hate it because it seemed like everywhere I went, the movie was playing! It got annoying, there are only so many times you can here the Chipmunk Christmas song.

Now when I saw the teaser for the second movie with my family, we all laughed at it, and I automatically knew I wanted to see it. The first one may have been annoying at times, but this one was going to have the chipettes in it, so it should be a little bit better (I've always been a chipettes fan), and.... I was right.

This movie was way better than the first one. It had humor, action, and some good lessons about family and friends. And the chipmunk romance made me smile. I liked the songs too, especially the songs the chipettes sang. The song at the end, "We Are Family" was so catchy, I uploaded it to my iPod a week later!

I loved it, and if you need another reason to see it, my 7 year old cousin enjoyed it too. So, kids love it, and I (a teen) love it. If you need a good family film, watch this movie (I'm not sure about the original, although you should probably watch it before this movie so you aren't confused).

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The Edge of the World (1937)

Stunning 1937 film set in the Shetland Islands, and filmed on the North Sea isle of Foula. Director Michael Powell has been called "the British John Ford", and you'll see why when you watch this film.

Based on a newspaper article the director once read, "The Edge of the World" is a heartbreaking documentary-style look at a phenomenon that really faced island-dwellers off the coast of Scotland in the 1930's and 40s.

On Hirta, the ficticious isolated coastal island, the fishing is becoming impossible thanks to the mainland trawlers and their huge nets. The peat the islanders harvest and sell for fuel is almost exhausted. The youth of the island are leaving in droves.

As a result, the islanders face a harsh choice; try to go on with their way of life, or give up everything and ask the government to relocate them on the mainland. There is bitter debate among the inhabitants, with part in favor of leaving, others wanting to fight on, and still more who are uncertain what to do.

While the acting may occasionally seem a bit overdone today, the real winner here is the outstanding photography done on location. Hills sweep up and end abruptly with sheer cliffs. The pounding sea sprays the rocks, and clouds sweep over the expanse of the island, leaving telling shadows on all below. There is also a truly heartstopping race as two men climb the sheer cliffs to decide questions between them.

This is an amazing and moving film that focuses on characters, with their odd beliefs, their customs, their culture threatened, and their whole way of life hanging in the balance.

After one viewing, you will never be able to leave this film behind. Truly an overlooked work, it is indespensible to the serious film buff and student.

Cheers to Milestone, who copied the film's recently restored 35mm print for this tape (and in SP mode, no less!). Until a Criterion DVD edition comes out, this is the best version you're likely to find of this wonderful film, and well worth the price.

The tape includes the twenty minute documentary "Return to the Edge of the World" in its entirety, as well as the Powell WW2 short subject, "An Airman's Letter to His Mother".

The Edge of the World has outstanding cinematography and the acting is also very good. The plot moves along a bit too slow for my taste although as others have noted the scenery more than makes up for the way the film winds its way through the story line. The choreography was very well done and the quality of the print is pretty good except in a few places where it could use a little restoration.

The film begins on a Shetland island not too far from Scotland. We see a trio of explorers who come upon a tombstone at the edge of a very sharp cliff; and one of them tells the other two the story about the tombstone--and so much more. Thus the story is essentially a flashback; and this device works very well.

We first meet several principle characters: there are two family patriarchs, Peter Manson (John Laurie) and James Grey (Finlay Currie). They have a lot on their hands as the fishing and farming on the island of Hirta is slowly but surely dying. The larger fishing boats have been catching their fish; and the younger generation of the islanders is leaving to find a more prosperous way of life in Scotland or even elsewhere. There's quite a crisis when the islanders meet; and two of their sons, Robbie Manson (Eric Berry) and Andrew Grey (Niall MacGinnis) decide to settle the matter by running a race up a sharp cliff--without a safety rope. While Ruth Manson (Belle Chrystall) loves Andrew, she is also Robbie's twin sister; and she hates the idea of them running this race--she could lose both of them. However, Robbie and Andrew think that the race to the top of the cliff is the only way to settle the matter and reach a decision for all.

Unfortunately, Robbie dies when he falls off the cliff; but this doesn't settle the matter. Many islanders still want to stay although the outlook worsens when the peat begins to run out and their latest crop won't be good, either. Complications abound when Peter Manson finds out that his daughter Ruth is pregnant with an illegitimate child by Andrew. Andrew doesn't know Ruth is even pregnant; he himself has left Hirta to find work.

Will Andrew come back when he finds out that Ruth is pregnant with their child? What about Peter Manson--will he be embittered toward the Grey family after the tragic death of his son Robbie? How does Ruth feel about marrying Andrew after Robbie is killed in that race to the top of the cliff? No plot spoilers here, folks--watch and find out!

The DVD comes with a few nice features. We get a documentary entitled "Return to the Edge of the World" that runs roughly twenty-one minutes; and there's another excellent but unrelated featurette entitled "An Airman's Letter to His Mother" from the World War Two era.

The Edge of the World may not be the very best movie I ever watched; it moves too slowly for me although the cinematography is outstanding. Nevertheless, it's still quite a moving story about what life was really like for people in that part of the world at the time; and that's a big plus. I recommend this film for people interested in these themes and issues.

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It has been 10 years since The Shadow of Death fell on the outer isles of Scotland. This is the tale of Peter Manson, his family and the last days of inhabitance on the island called "Ultima Thule" The Edge of the World. You will come to identify with the inhabitance and their plight. But with all the triumphs and tragedies the worst for me was when they let the cats fend for themselves and the dogs (due to economics) drowned.

The filming was spectacular and there is a social statement. Many facets go into making this a first class movie. The film was shot by Michael Powell on the island of Foula in the North Sea. Michael Powell is the visiting yachtsman that hears the story.

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Considered by many to be British director Michael Powell's first true major motion picture, "The Edge of the World" is a 1937 film set on the small Shetland island of Foula, north of Scotland. The island's few inhabitants (six main families) descend back to ancient times and Nordic roots before the new world had been "discovered", and standing atop its towering sheer cliffs and looking west was felt by many to be standing on the edge of the world. Powell's fascination with heights (and falls) may have started here, as his longtime fans will instantly see some parallels to the scenery and situations from his later Black Narcissus (The Criterion Collection) [Blu-ray], and even sporadic touches in "The Red Shoes".

"Edge" is a fictitious story rooted in historical fact about the plight small island communities faced as their populations shrank and their young people were seduced away by greener pastures. It was inspired by the real life story of the island of St. Kilda, when its last 36 citizens were "evacuated", leaving their historical home and the fruits of their blood, sweat, and tears behind.

In "Edge", another community is facing the same problem. The weather is inclement, the work is hard, the routine is dull. But even for those who are stubborn enough to want to stay out of respect for ancestoral duty and tradition, or who don't want to make things worse for those left behind, another reality is hitting home. Few babies are being born, the crops are poor, and the peat is running low. The price they get for their wool is decreasing, while at the same time modern trawlers from the mainland come out and fish their waters, forcing them to go farther out.

The decision whether to stay or go is played out between two young men, each taking opposite sides and arguing for the hearts and souls of their neighbors. In an interesting take, each of their fathers respectively disagree with them, creating tension not just between the boyhood friends but also their families.

The father who is the leader of the island, and who has the strongest desire to maintain the status quo, is faced not just by a traiterous deserter of a son but also a twin sister, who is torn between the differing worldviews of her dad, her brother, and a lover. As one of the younger women on the island (and capable of having a child), who she ultimately could lend her voice to would have power. Whether she ever finds her voice is another matter.

It would not be a spoiler to say that the movie starts from the very beginning with a man standing in a windswept ghost town of rock and stone. The entire rest of the film is flashback, so while you know from the getgo what decision gets made, how they ultimately reach it, and its consequences, are the focus of the film and is fairly compelling. The battle lines are drawn, with the fate of everything at stake except for the island itself. Despite the chaos that sometimes goes on around it, the island stands tall and defiant, beautifully shot but entirely indifferent to the waves continually crashing upon it or the people scrambling on its cliffs.

I have only seen this bluray edition, so I can't comment on how much of an improvement it is over previous versions. I can say this, it is highly watchable and in my opinion true HD, with some nice shots that are fairly remarkable considering the age from when they were taken and the harsh environment the film faced. Conditions on set were dangerous, collar bones were broken, and camera men were fired for not keeping up. So in the end you can see that, there are times when you can tell the real grandeur just could not be captured, but it was not for lack of effort. It is also probably the reason that the next time Powell wanted to do a high altitude movie, the aforementioned Black Narcissus, that he did it on a studio lot employing optical illusions rather than filming on location.

The performances are sufficient but not great, most likely the result of 1937 acting standards. Probably the best performance is turned in by the lead father, played by John Laurie. While some is clumsy and heavy handed, it is evened out by a cast that is eclectic and interesting, including some of the real life populance of the island. Ultimately you end up caring for the characters, who seem believable, so everything works.

I was hesitant to get the DVD as it is listed as an "all region" import. In the end it played fine on my region 1 Panasonic barebones Blu-Ray Panasonic DMP-BD75 Ultra-Fast Booting Blu-ray Disc Player. The extra features were nice, including a 25 minute documentary of sorts that highlighted Powell and some crewmembers going back many years after the fact. Many of the original people had passed away at the time, but it was nice to see the island both in color and with the benefit of some sweeping aerial shots that were not possible when the movie was first filmed. Audio commentary by Powell's widow, with Daniel Day-Lewis reading excerpts from the book "200,000 Feet on Foula". Also includes a very informative 25 page booklet.

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Based on the real-life exodus from St. Kilda, near Scotland, Powell's gripping melodrama was his first breakthrough before embarking on a fruitful life-long partnership with producer Emeric Pressburger. Combining documentary-like footage of ragged shorelines, craggy cliffs, and the rugged beauty of Foula (the film's actual location) with a simple story of economic hardship and romantic conflict, Powell concocted one of the most deeply personal and moving British films of the `30s. Sparse yet potent, "Edge" stands out for excellent performances--including John Laurie and Finlay Currie as the young lovers' squabbling patriarchs--and one thrilling sequence involving a treacherous foot race up Foula's forbiddingly steep cliffs.

The Devil's Rejects (Unrated) (2006)

Devil's Rejects is amongst my favorite films, for it's great mix of humor, action/violence/gore, and character development. Most people looking at this review already know all about this movie.

The Picture on this movie doesn't seem to be all that much of an improvement. I've seen VAST differences on Blu-Rays vs DVD (Unforgiven especially!!!), and this movie just doesn't seem to have all that much extra when watching it in Hi-Def.

There are no new special features in this release, so if you already own this title on DVD, I would advise against upgrading like I did.

It's the 1970s all over again. If you're obsessed with the 1970s, like me, especially 70s drive-in classics, like me, The Devil's Rejects is a must-see. It's probably the closest thing to a 70s drive-in horror flick that's been made since the 70s. This is either a good or bad thing depending on your perspective. If you hate tasteless, gory, low-budget B-movies, then you would do well to skip The Devil's Rejects. If, however, you are passionate about Ford Administration-era low-budget flicks, then don't hesitate: see this movie.

The Devil's Rejects is Rob Zombie's spin-off/sequel to his 2003 directorial debut, House of 1000 Corpses. That film was famously dumped by its distributor, Universal Studios, and then picked up by Lion's Gate. Then upon release it was scathed by critics, but not surprisingly, managed to connect with a cult audience. Personally I found it to be the most sensational, joyous horror film I had seen in ages. It reveled in its depravity and had the ability to be both hilarious and disturbing at the same time. The Devil's Rejects is up the same alley. Not as much of a horror movie as its predecessor, The Devil's Rejects is more of an action-horror-road movie. It looks like a 30-year-old drive-in movie. If you didn't know any better, you could swear that it was filmed on a shoestring budget in the late '70s. It captures that feel extraordinarily well. The movie gets it down from the start and never strays from it, right down to the soundtrack. The first song that you hear in the movie is The Allman Brothers Band classic "Midnight Rider". The soundtrack also features Joe Walsh, Terry Reid, James Gang, Elvin Bishop, Otis Rush, etc. Not to mention a very memorable use of Lynyrd Skynyrd's "Free Bird".

If House of 1000 Corpses was Rob Zombie's homage to The Texas Chainsaw Massacre, The Devil's Rejects seems almost like an homage to Tobe Hooper's 1986 sequel, The Texas Chainsaw Massacre 2. The similarities are certainly there. William Forsythe's Sheriff Wydell is not far from Dennis Hopper's Lieutenant Lefty Enright, who maniacally pursues the family of killers to exact his revenge. The whole film reeks of Tobe Hooper worship (but not in a bad way).

The Tobe Hooper element is certainly there, but another director sprang to mind as I was watching the film. The Devil's Rejects is almost like the horror equivalent of Kill Bill, Quentin Tarantino's retro-martial arts-spaghetti western masterpiece. Upon seeing the film a second time, I was reminded of the work of yet another director: Sam Peckinpah. I don't know if Rob Zombie was directly influenced by Peckinpah (it's certainly likely), but all thoughout The Devil's Rejects I was reminded of films like The Wild Bunch, Straw Dogs and The Getaway. The first time I saw it, all I really thought of was Tobe Hooper, however I now see that The Devil's Rejects may be a bit of a Peckinpah homage as well. This certainly gives the film an element of style and class to contrast the otherwise trashy material.

Rob Zombie, just like Quentin Tarantino, is passionate about this genre of film and tries to make the ultimate drive-in homage. Just look at the roster of horror film veterans that Zombie assembled: Ken Foree, P.J. Soles, Mary Waronov, Michael Berryman, and Steve Railsback. If you know who any of these people are, then you are definitely part of the target audience for this film. Not to mention Sid Haig and Bill Moseley returning from House of 1000 Corpses.

Ahh, yes... Sid Haig and Bill Moseley. This movie absolutely belongs to them!! Haig and Moseley own the screen! These two actors alone make the film a must-see. They are awesome! If you liked Sid Haig's Captain Spaulding character from the first film, you will be delighted to know that he plays a much bigger part in this one. Sid Haig is a devilish delight as the mad clown, Captain Spaulding. Bill Moseley simply rules as Otis! He is a bad M.F. These two awesome performances carry the movie. Also worth mentioning is William Forsythe who is excellent as Sheriff Wydell, the obsessed lawman who is trying to track down Captain Spaulding and his cohorts. Next to Sid Haig and Bill Moseley, Forsythe gives one of the best performances in the movie. However, I really miss Karen Black as Mother Firefly. Not to say that Leslie Easterbrook isn't good in the role, but I think she goes a bit over the top. Karen Black would have brought a graceful sensuality to the character, and probably a bit of restraint.

So, is The Devil's Rejects a good movie? Well, that's not an easy question. The short answer is probably "no, it's not". By the conventional definition, it would probably not be labeled a cinematic triumph. However, Rob Zombie does a fine job directing and his dialog is deliciously profane. For those who like this sort of thing, the movie is a blast. Finally, allow me to state a blunt warning: If you are looking for a good, scary horror movie, The Devil's Rejects is probably not what you're looking for. If you like horror movies like The Ring and The Grudge, The Devil's Rejects is DEFINITELY not what you're looking for. Simply put, if you like modern horror movies a lot, you will probably not like The Devil's Rejects. On the other hand if you recognize Ken Foree from his roles in George Romero's Dawn of the Dead and Stuart Gordon's From Beyond, and you know Michael Berryman as the "freaky-looking guy" from The Hills Have Eyes, then yes, The Devil's Rejects is certainly for you. If you treasure your copy of VideoHound's "Cult Flicks and Trash Pics", then yes, this is for you. If you're not too squeamish, you'll probably have a bloody good time.

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The Devil's Rejects, Rob Zombie's follow up to his surprise hit House of 1000 Corpses, is one of the few horror sequels that manages to not only live up to the original, but it also manages to surpass it. Influenced by the classic exploitation/horror films of years past (Last House on the Left, the original Texas Chainsaw Massacre), Zombie has given the Devil's Rejects a much grittier look than his last film, as the story picks up with the homicidal Firefly family on the run from the law. Captain Spaulding (Sid Haig), Otis (Bill Moseley), and Baby (Sheri Moon Zombie) are on the lam from a revenge driven and slightly deranged sheriff (William Forsythe) who plans to give the killers a taste of their own medicine. Along the way, the trio adds more to the body count, resulting in a climactic bloody showdown that is surprisingly well weaved. While it doesn't necessarily offer anything new to the horror genre, it doesn't try to, and the cast that Rob Zombie has assembled here does great work. Haig walks the line between frightening and hilarious as the clown faced Captain Spaulding, while Moseley is less over the top this time around as Otis, but he is all the more subdued and terrifying. Leslie Easterbrook (replacing Karen Black) as Mama Firefly is a bit overacted, while Moon is once again seductively scary as Baby, while Forsythe almost steals the entire movie. Zombie has again assembled a supporting cast of older horror film and cult favorites, including the original Dawn of the Dead's Ken Foree, Hills Have Eyes icon Michael Berryman, Danny Trejo, PJ Soles, Priscilla Barnes, Steve Railsback, and former pro wrestler Diamond Dallas Paige; most of which are pretty memorable. Pushing the limits of it's R rating, the Devil's Rejects is not for the faint hearted, and while it may drag a bit towards the end (you are guaranteed to never listen to "Freebird" the same way again), this is a real treat for older horror fans looking for a film that recaptures the unpredictability and tension of the genre.

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You would think that killing plus Rob Zombie, plus cool music, plus lots of long greasy hair, plus funky clothing and unshowered bodies, plus blood guts and gore would equal a pretty cool movie but in this case, it just equals a stinker!

The movie looks cool but it has NO PLOT! Sure, old slasher movies are violent (and had cheesy effects and didn't look as good) but they had more story and they were scary. This movie wasn't scary, suspenseful or eerie, it was just violent and relied so much on shock value that it failed to be shocking after a while. I would tell you fine readers more about the story but there isn't much to tell. Psychotic and sadistic killers go on a killing spree, there is lots of cool music and it's filmed like a music video, the end. Now maybe you won't have to waste your time watching it!

I thought the ending fell flat and I just didn't care what happened to any of the characters. I am all for gore and violence but please, Rob (though you are awesome and talented) next time make it have a point! Personally I think Rob Zombie needs to stick to music and leave acting and screenwriting to people who can actually act and write. I might have liked this if it had more 'meat' to the story, I felt something was missing.

I know a lot of people liked this movie and I will say it has some visual elements which are pretty cool so I did give it an extra star for ambiance and appearance. It also had a fast pace and that was good. It wasn't my thing but if you like senseless killing, tons of gore and don't care about the lack of story, you might like this.

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In a film world overrun with "torture cinema," Rob Zombie's "The Devil's Rejects" both embraces this current trend and hearkens back to a more innocent time--the exploitation era of the seventies where films of this type found underground success. Following up the chaotic, and not very satisfying, "House of 1000 Corpses"--"The Devil's Rejects" continues the saga of the murderous Firefly clan. But where "House" was an amped-up, kaleidoscopic music video of carnage and macabre humor with no particular plot--at least "Rejects" has Zombie embracing aspects of legitimate film technique and story telling narrative. Much more accomplished than its predecessor, however, doesn't make it much more entertaining. To be clear, I am not one who thinks that violence in films is the end of our society. I have embraced many films within this genre for various reasons, I just happen to think "The Devil's Rejects" commits the greatest sin of all--it creates no suspense.

The film's plot, as if it matters, revolves around the Firefly family as previously mentioned. Their home, and the site of countless previous murders, is raided by the police in the film's opening moments. A close knit group, to be sure (especially for psychopaths), brother Otis and sister Baby escape and arrange to meet up with their father Captain Spaulding who runs around like a maniacal clown. First stopping at a desolate motel to murder and torture at random, and later moving on to a house of ill repute--mayhem follows this wacky bunch! Hot on their trail, however, is Sheriff Wydell--who has a personal agenda of his own.

I credit Zombie for effectively recreating the gritty feeling of a seventies exploitation flick. The setting and mood are spot-on. I, also, enjoyed some of the cameos from a roster of forgotten or B-movie stars that populate the picture. I think there was fun to be had here--I just didn't have it. The humor fell flat, the brutality felt familiar, and the lack of dramatic tension left me feeling nothing. A film of this type needs to generate suspense to be successful and through all the bloodlust, nothing approximating real emotional consequence evolved until the film's ending. I credit William Forsythe, as the sheriff, for this last minute reprieve of excitement. His performance hits all the right notes in an over-the-top spectacle of madness and revenge.

This endgame, only the final 20 minutes of the film, really does ramp up the tension. The sadistic retribution and raw power within this segment is so much more satisfying than anything that has preceded it--for the first time, the film connects at a visceral and emotional level. But, alas, it's too late to salvage the picture. A 4 star ending on a 1 star movie--I can only round up the overall score to 2. I know that this film has its admirers, I just didn't see anything particularly new. But more critical was the sense of apathy I had throughout--who knew that vicious serial killing could be so flat and uninvolving? KGHarris, 03/07

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Win Win (2011)

Tom McCarthy is a young gifted artist actor, writer, director who has gifted us in the past with such memorable small films as writer/director of 'The Visitor', 'The Station Agent', and as writer for 'Up'. He deals with simple people encountering complex problems and shows us how cooperative relationships make life OK. McCarthy both wrote (with Joe Tiboni) and directed WIN WIN and if there were two words that would best describe this film the title supplies them. It is real, touching without becoming saccharine, and populated by a cast of some very fine actors who deliver a very human story.

Mike Flaherty (Paul Giamatti) is a sown on his luck lawyer in poor economic times who deals with elderly people as clients. His loyal wife Jackie (Amy Ryan) keeps their small house in Providence, New Jersey (McCarthy's home town, by the way) in order, managing their two daughters, the funky Abby (Clare Foley) and Stella (Penelope Kindred), in tow. One of Mike's clients Leo Poplar (Burt Young) is entering early senility and the court wants him placed in a home. Discovering that Leo pays good money for a guardian Mike accepts guardianship but moves Leo into a rest home, keeping his house locked up. Mike discovers a young 16 year old kid on Leo's doorstep and learns that the lad is Kyle (Alex Schaffer), Leo's grandson form Ohio who has run away from home because his mother (Melanie Lynskey) is in rehab and Kyle has escaped the abuse of her boyfriend. Kyle is taken in to the Flaherty family (tough Jackie melts and insists they support him). What Mike discovers is that Kyle is a Wrestling Champion and Mike happens to coach the high school wrestling team with his law partner Stephen Vigman (Jeffrey Tambor) and Mike's buddy Terry Delfino (Bobby Cannavale). Kyle's presence eventually leads the losing team to a winning position: Kyle is sensitive to the nerdy loser Stemler (David Thompson) and boosts the entire team's spirit. Problems arise: Cindy comes to town to claim Leo (and get his money) and hires lawyer Eleanor (Margo Martindale) to meet her aims. Mike's finagling of Leo's money backfires, Kyle loses faith in his new family, Leo only wants to go to his home, and all things seem to fall apart until unexpected changes occur in each of the characters.

Some viewers will see this as yet another 'Blind Side' type movie and that is a Positive! Too few films deal with the sanctity of the family and the manner in which true family relationships can improve society at large. Tom McCarthy has managed to create a tender, humorous, realistic, and deeply touching film. Paul Giamatti and Amy Ryan once again prove they are among our finest actors, but it the surprise debut of Alex Schaffer, a 17 year old lad who has been a wrestler but has no prior acting credits, that makes this film glow. The cameos by Burt Young, Jeffrey Tambor, Bobby Cannavale, Melanie Lynskey, and Margo Martindale along with all the other minor characters are superb. This is a film to restore faith in human kindness a film that would benefit time together with youngsters and adults to observe how the world can tick. Grady Harp, August 11

This is one of my favorite movies. No special effects or exploding cars, just great acting in real-life situations. And it's its funny and sad too. Highly recommended.

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Paul Giamatti is probably the smartest actor in Hollywood. From "Sideways" to "Barney's Version", he chooses (mostly) very good roles that rely simply on smart acting and writing. "Win Win" is one of my favorite movies in a while, as it evokes the small town joy of "The Station Agent" with an original story that is accessible to all audiences. Having seen it twice in theaters, I look forward to owning it on Blu-Ray upon release. It's worth every penny. If the people giving awards at the end of the year forget this movie, they are to be shamed Giamatti, Amy Ryan, and everyone else involved did something special here, and you really should watch it.

Read Best Reviews of Win Win (2011) Here

OK, I am not really good about writing about films, but this is probably the best film I have seen in a couple of years.

First off, I love Thomas McCarthy's work. Station Agent is probably my all time favorite film. Paul Giamatti and Amy Ryan are also two of the best. This film is awesome.

I am not the kind of guy to over analyze stuff, I just like this film!

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I applaud Mr Giamatti for moving away from trite Hollywood fare to films with genuine character and substance. This is a well-written, superbly performed look into the struggles of real life. I'll avoid spoilers and the usual synopsis, but want to stress this isn't ham-fisted or angsty. Every actor is pitch-perfect, authentic dialogue, credible scenes...well done all around. Worth your time and money.

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Tooth Fairy 2 (2012)

This is a place to review the products not express an opinion against a celebrity that a person thinks is stale. For anyone that wants to know if it's a great movie for kids, my 4 and 5 year old love it. There is nothing offensive about it. It's not going to win any Oscars but I'm pretty sure the makers didn't expect a nomination. There is no violence and it's a cute story. Nothing about it you'll have to explain to your kids later. So for parents that just want 90 mintues of peace and quiet its worth the purchase.

I judged this by the same standards I would judge an adult movie:

Did it keep my attention throughout the film?

Was the story-telling original?

Was the sequence of events credible (within the context of the fantasy)?

Was the humor original and did I laugh spontaneously?

Were the casting choices and acting good?

I consider myself a harsh but fair critic, judging a work by its merit within its own genre. I thoroughly enjoyed "Tooth Fairy 2."

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My kids loved it that the "Head Fairy" was a kid. They know Larry the Cable Guy and his redneck ways, so the farce was complete. Total turn-around from the Rock version.

Read Best Reviews of Tooth Fairy 2 (2012) Here

I know everyone has their own opinions on everything; here is mine:

I LOVE Larry, he is so funny. This movie is nothing like the last one, except he is the fairy. There are all different actors, and frankly it is not as funny as you would think. I am sorry Larry, but the Rock has you beat on the funny portion. This could be due to the fact that the Rock is a wrestler and actor of a different type, so to speak. And knowing Larry is in the movie you just expect it to be hilarious, I don't know. I was actually disapointed in it.

As far as the person selling this, they did a fantastic job. The items was as described, a good price, and the shipping was fast, thank you.

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Cute story and enjoyed the actress Brady Reiter who complemented Larry the Cable Guy. Great movie for the younger audience members.

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Full Monty (1997)

Please note that this is for the two-disc "Fully Exposed" edition:

If you're reading this you're probably already a fan or at least have read other reviews telling you how great the movie is, so I won't clutter the place with more of the same.

But it has to be said that after ten years of being stuck with a DVD that counts "Interactive Menus" as a special feature, I'm beside myself that there's finally some REAL special features to be had.

We get to see some of the history regarding the brass band featured throughout the film, development of the script and production, not to mention two different commentary tracks.

But the real gem, as far as I'm concerned, is the featurette "Translating English to English". It really exposes this bizarre paranoia that the American side of the production had.

Rewinding a bit, I started my Monty obsession with a VHS copy of the movie and always wondered why some of the words didn't match the facial movements of the actors. When the tape wore out I replaced it with the first DVD version, which had an "Original UK audio track" option. Playing that, I realised that they had dubbed some of the words for the US version and that's why it always looked so goofy.

Even funnier, it wasn't the weirder UK expressions like "Chuffing Nora" or "Don't get a benny on". No, they dubbed words like "DIY" into "how-to" and "tw-t" into "git". Tw-t into git?? How is "git" any easier for the supposedly confused American audience to understand?

So the featurette on the subject was just about as funny as the film itself and, for me, that alone was worth buying this version.

Definitely a must-have for any Full Monty fan.

Just about the time you think no one is capable of making a fresh and original comedy anymore, along comes something like The Full Monty, to surprise and delight you with wit and subtlety and insight.

The story of unemployed steel workers in Sheffield, England who decide to put on a male striptease show for one night to make some money is a simple premise that is beautifully realized because of the time the film takes to build our understanding of these men and their different plights and motivations. We come to know and care for them as they come to care for each other. The comedy grows from the characters and their personalities and their different reactions and situations. There is sympathy and sensitivity to their desperation: Gaz (Robert Carlyle), the ex-con hustler, desperate to keep a connection with his son; Gerald (Tom Wilkinson), the manager, desperate to hold onto his middle-class lifestyle; Dave (Mark Addy), chubby and insecure, desperate to hold onto his wife; and so on. Expertly played by these actors, new to American audiences in 1997, but now familiar, the laughter evoked is wry and humane and, in the end, joyful.

The film carefully builds the story with expert comedic setups (the auditions and rehearsals, etc.) of everyday men trying to do something they are seemingly unequipped and ill-prepared to accomplish, with touches of pathos as we see the troubles and strains in their personal lives. All this leads to the Big Night and a grand finale that is funny, heart-warming and beautifully filmed. A terrific little film with a lot on its mind, beneath the humor. Something to do with the dignity of work, of self-respect, and of the touching care one can find amidst people undergoing hard times. A gem.

Buy Full Monty (1997) Now

I brought "The Full Monty" home one evening when my boyfriend was not feeling well because I thought that a good laugh would cheer him up. His reaction to seeing the video box? "I'm already not feeling well. I don't want to watch a movie about a bunch of male strippers prancing around." And then we put in the movie and couldn't stop laughing.

"The Full Monty" is about so much more than male strippers. The film centers around out-of-work steelworkers trying to cope with life now that their mill is shut down. The movie realistically explores male friendship, men's feelings about failing their wives' expectations, devotion to family, coping with loss,... but in ways that do not become depressing.

The stripper plan comes about because Gaz (Robert Carlyle) needs to come up with money to bring his child support current so that he can continue seeing his son. The father-son relationship is one of the most touching aspects of the movie. Gaz's son, Nate, tags along with Gaz as he tries to put together a Chippendale-style show to catch up on his child support. [As an aside, "The Full Monty" and "A Thousand Clowns" with Jason Robards would be an interesting pair of movies to see together as a starting point for examining what makes a good father.]

The relationships between the dancers that Mark Addy and Carlyle assemble is fun to watch. Tom Wilkison (also seen in "The Patriot", "In the Bedroom", and "Moulin Rouge") is excellent as their former supervisor who turns to dancing to cover his wife's extravagant spending. Addy is equally good as Gaz's chubby friend who is struggling with his marriage: His wife wants him to take a job in a local variety store. He thinks she's having an affair because he's too fat.

To top it off, the soundtrack is awesome!

Read Best Reviews of Full Monty (1997) Here

This classic (albeit very modern) 1997 British film, which I have seen a few times now, is one of my favourites. The storyline is highly original, very funny, and hugely entertaining overall, but it's also heartwarming. The setting is Sheffield, England, world famous for its steel. Sadly Sheffield, like most of the North of England, has had to deal with massive unemployment; in Sheffield's case, it's a result of the collapse of the steel industry. Briefly, the story revolves around six unemployed men, victims of the times, who aspire to "putting on" a one-night-only "full monty" (British slang for "taking it ALL off") strip show to raise some much-needed cash.

The idea is actually the brain-child of one of the men, Gaz (played by Robert Carlyle (The World is Not Enough)), who is in arrears in his maintenance payments for his son (who lives with Gaz's ex-wife and her new boyfriend). Gaz is at risk of losing joint custody and fears he may lose his son altogether. His motivation (and indeed his desperation) in coming up with such an outrageous scheme is, therefore, both plausible and understandable, for the men stand to pocket a nice little sum of money if they can, quite literally, pull it off. The film, which is 95 minutes, also features Tom Wilkinson (Essex Boys), who plays the lads' former boss from the steel factory, and Paul Barber (Denzil from Only Fools and Horses).

In conclusion, I highly recommend this film to fans of British comedy in general, but I think its appeal is broad enough to be enjoyed by anyone looking for a thoroughly enjoyable comedy with a really good storyline. Just one thing: Viewers ought to be prepared for fairly thick Yorkshire accents. This may be a bit of a shock at first for the unfamiliar, but close attention helps and it is well worth the effort. It's a cute story that is superbly acted and very well presented. What's more, it's a film that can be enjoyed time and again.

Very highly recommended!

Want Full Monty (1997) Discount?

In the spirit of full disclosure, most of the films and literature on my "all-time favorite" lists are British, so there is definitely something about our cousins across The Pond that appeal to my sensibilities, although I am not of British descent, but "Monty" is special. Being from the Missouri Ozarks, the Yorkshire accents in the movie couldn't be further from what my ears are accustomed to hearing, but in no way did that interfere with my thorough enjoyment of this film. It is warm, sweet, a bit melancholy, and touching while managing to avoid being sappy...and absolutely hilarious.

The key is the situations in which the characters find themselves that are funny and not so much the characters themselves. The result is believability and dignity of each character, even while they find themselves in very undignified circumstances.

As a side note, The "translator" section in the Special Features is puzzling to me because they translate slang terms with which most Americans are already familiar, i.e., "DIY," "tw-t," etc., but leave out British oddities that are unknown in the USA, such as "chuffing Nora" "kit," and "taking the piss" and some terms that, after repeated viewings, still sound like gobbledygook to the average American. No matter. Everyone I know who has seen the film understood what was going on.

This film is not raunchy, tacky, or vulgar, so do not let the premise put you off. It is a lovely story about human beings discovering their dignity in the midst of very undignified circumstances. Highly, highly recommended.

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New York(Bollywood Movie / Indian Cinema / Hindi Film) (2009)

a great movie. taut direction, well made action sequences, good songs (especially the slow number tuune jo na kahaa). It doesn't take any sides (US Government or aggrieved muslims). both john abraham and neil nitin mukesh play their roles exceedingly well. the movie has some scenes of torture at gitmo, and violence, but none of the usual bollywood silliness like hero bashing the bad guys, rescuing his lady love, endless songs etc.

This is a good quality first Blu Ray from Yash Raj. Image and sound quality are up to snuff. As it should be with brand new films that had a digital intermediate which is the source for this BD. 2 negative points are present nonetheless:

Yash Raj logo superimposed for some seconds at the start of songs. Unnecessary and annoying. Logos don't belong on Blu Rays!

No subtitles for supplements so some Hindi sections are incomprehensible if you don't speak Hindi

A good first effort worth a purchase if you like the film.

Buy New York(Bollywood Movie / Indian Cinema / Hindi Film) (2009) Now

Fantastic cast, uniquely expert handling of terrorism this one's a winner. As the other reviews have noted, all three leads are flat-out fantastic. While John Abraham has garnered the most praise, Neil Nitin Mukesh is just right as the hapless pawn in an FBI operation launched in the aftermath 9/11 to track a sleeper cell. As truths are revealed, and the noose tightens, you can sense his character gasping for air reminiscent of Henry Fonda coming apart in Hitchcock's under-seen "The Wrong Man." All the characters in the movie, civilian and law enforcement alike, are wrong "men" at the wrong time. Structurally, "New York" is obvious and Abraham's flashback sequence threatens to fall apart more than once. Someone like Scorcese would have filmed the whole gripping story head in sequence, making us feel the layers of despair and betrayal chipping away at the promise of American dreams. Regardless, "New York" is powerful Bollywood with the courage of its human and laudably humane convictions.

Read Best Reviews of New York(Bollywood Movie / Indian Cinema / Hindi Film) (2009) Here

Some may be offended by a film that has you feeling sorry for a man like Samir. However this film is about more than just friends caught up in 911. I find the director and writers did a satisfactory job of showing the perspective of an Indian in this 'war on terror' versus an Arab. This film is about three characters from India who find themselves at a univeristy in New York. They become friends and find some popularity. Two of them, Samir and Maya would end up married. But after 9/11 one of them; Sam, becomes involved in an investigation surrouding terrorism. He is detained, questioned and held for about 6 months. The waterboarding scenes show you how the US got answers from Sam. Upon his release, Sam is distant and tortured by what he went through. His old school friend Omar visits him to find Sam to be a changed man. What happens is that the FBI uses Omar spy on Sam. Why? Sam is suspected of plotting terror activity. Omar of course feels quite ashamed at what he is doing behind his friend's back. At this point the audience cannot decide whether Sam is innocent or is indeed seeking revenge for what was done to him. Sam's wife Maya is seen as someone with questionable ties (involving herself with detainees after 911). During the film I admired the relationship between the three. I thought this film would be about harassment the three would get from the public...boy was I wrong.

I will not reveal who Samir was or what happens to him, but will say the film had the right amount of suspense for a 2 1/2 hour viewing. Of course the was dramatic. I give a thumbs up to the flow and directing in the film. One is able to follow each chapter even though flashes of information is given at times. I couldn't stop watching.

N.B Facts about US detainees were given at the end of the film regarding that the methods used on detainees failed to lead to the arrest of about 1000 men.

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John abrahams best in my opinion.

The emotional depth to that character deserves major props, and the supporting actors equally deserve accolades.

Yashraj produces hits!

So if you like suspense , and a story that moved in this is the 1 for you . go on go to New York . the world in a city

Kuroneko (The Criterion Collection) (1968)

[KURONEKO aka BLACK CAT (1968) Directed by Kaneto Shindo Widescreen Presentation] From the director of 'Onibaba' and 'The Island', this genuinely creepy, atmospheric (and somewhat obscure) classic finally gets a stateside release; even more blessed are we that it's getting the Criterion treatment. Riding the critical wave after 'Onibaba' was released, Kaneto Shindo, along with Kiyomi Kuroda, whose award-winning cinematography sets the tone for this film, brilliantly delivers the chills with an underlying tragic story of lost love and revenge, and its Chiaroscuro/Noir visuals are nothing short of breathtaking.

In feudal Japan, a warring group of marauding Samurai seeking food emerge from the dense forest when they come across a house that should have what they require. Upon entering the house, they find it indeed has what they want and a whole lot more...it has women as well. The inhabitants, an elderly woman and her young daughter-in-law are both subjected to continuous sexual assault as each Samurai takes his turn while others plunder the women's food stocks. After the Samurai have satiated their appetites, they leave the women, now unconscious, for dead and set fire to their home as they flee. When the fire eventually burns out, all we see are the burned and battered bodies of the women amid the ruins and their vulnerable black kitten as it licks their charred bodies, a dark and grisly moment captured purrrfectly.

Later on, one night a Samurai approaches on horseback and is met by the spectral vision of a woman, who tells him she is too frightened to make her journey home because she has to pass the Bamboo Grove, which is a known haven for bandits and highwaymen. The Samurai agrees to accompany her to her home, where he is plied with sake. The woman then proceeds to seduce the Samurai before brutally attacking him, devouring his throat and sucking his blood...for we then learn that the two women are in fact Bakeneko, newly embodied catlike vampire spirits of the dead women murdered by the Samurai, who have made a pact with the evil spirits, granting them restored life on the condition that they murder all Samurai who pass their way. These nightmarish acts continue until a young man victorious in war is hired to hunt down the vampires, but he soon realizes to his horror that these creatures are the vengeful souls of his mother and wife who died while he was off at war. He is now torn between his lord, who orders him to rid the forest of ghosts or else he will be killed, and his mother and wife's ethereal forms whom he loves and couldn't possibly fathom killing.

Though it may not sound like it, this film is rife with indelible, grotesque imagery that will stay with you forever, yet maintains a Kabuki play arthouse quality right through to the tense final moments. The swamp location is a perfect setting for the film to take place and director Shindo takes full advantage of it, especially during the scenes where the younger of the two women is leading the stray, egotistical Samurai to their inevitable deaths. If you enjoyed 'Onibaba', 'Kwaidan', or even the more recent 'Kaidan' (a modern retelling of this type of flick), you're certain to appreciate this one. Let this 'Black Cat' cross your path and your luck's bound to be good...

This is a film I have only seen on a crappy foreign bootleg copy --the picture was washed out and even muddy in patches and the sound was boxy, but the shortcomings of the poor transfer (from who knows what sources) were soon forgotten as I was immersed in the masterful storytelling and lovely atmospheric world of the filmmakers. This is a classic, old-school, Japanese ghost story, told at a measured pace and more creepy than shocking (which means it may not hold the attention of restless viewers who demand a rock'em-sock'em, CGI rollercoaster ride, and OMG --it's in black & white!), but it's just my cup of tea. I look forward to seeing this film decently presented, and you can always count on Criterion to get the job done.

Buy Kuroneko (The Criterion Collection) (1968) Now

I was blown away by this film.

I have really enjoyed films by Akira Kurosawa and wanted to branch out to other Japanese Director's work.

I bought this on a whim.

Its a haunting story that is tragic and romantic. Its also very sexy in its own way.

if you want to take chance and watch something startling and unique please give this film try.

Read Best Reviews of Kuroneko (The Criterion Collection) (1968) Here

Previous reviewers have justly praised this film at length, and I'm glad to add my praise to theirs. Simply put, this Japanese tale puts modern attempts at horror to shame. Filmed in gorgeous black & white, utilizing the most basic of special effects, and suffused with a powerful erotic & psychological current that strikes to the heart of the viewer, it draws you in deeper & deeper until the eerily still & silent end.

What makes it so memorable?

First of all, it offers strong characters with powerful, contradictory emotional drives. Torn between family, honor, religious & social demands, they recognize the trap they're in, one determined by outside forces they've internalized. Yet they're unable to resolve those contradictions & save themselves. This sense of the inexorable only grows stronger as the story progresses.

So our young farmer-turned-samurai is faced with the bloodthirsty ghosts of his wife & mother, who have vowed to destroy all samurai, but retain enough of their memories & humanity to want to spare him. For his part, he relishes his rise in social status, yet desperately wants to be reunited with his wife & mother, partly out of guilt for not being there to save them.

Then there's the cinematography & the bold direction of Kaneto Shindo, making superb use of dense masses of shadow & sudden pools of unearthly light. There's a minimum of gore & gratuitous shock; instead, the emphasis is on atmosphere & tension, brought to a slow & almost unbearable boil. It has a dreamlike quality, one that can turn from haunted beauty to outright nightmare in an instant. In a way, I'm reminded of Cocteau's "Beauty and the Beast" -there's the same sense of some ancient folk tale retold in strangely intimate terms -but where Cocteau properly brings his film to a deserved fairy tale conclusion, Shindo ventures into darker & more ambiguous territory.

As with his previous "Onibaba" (which is the perfect companion to "Kuroneko"), Shindo's sympathies are with the women. For all their visual beauty, his films don't glamorize the samurai, or men in general. His concern is more with those who have to suffer the consequences of living in a world shaped by masculine hungers; thus even his historical films speak eloquently to the present.

Most highly recommended!

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It has been a long, long time since I have seen a film and became so enthralled with it that I chose to watch the same movie the very next day.

The film begins with a view of a forest as white fog glides through the trees. A kodo drum beats furiously...this changes to the sound of a cats' claw on a brick wall, then the sound becomes an eerie rattle. A quiet cottage by the edge of a bamboo glade is a scene of peace. Very silently, we see twenty poor samurai who emerge from the bamboo, drink like beasts from a spring, then discover the cottage, Inside the home are two peasant woman who farm for a living. After stealing their food, gang raping and leaving the females for dead, the warriors maliciously burn the cottage to the ground. Only a black cat remains, licking at the womens' bodies.

These two women, a mother and her daughter-in-law, become cat spirits who can shape shift into their former selves, albeit with strange cat eyebrows. In the next world, they pleaded with the god of evil to let them live as vampires so that they could wreak vengeance and bring death to all the samurai. Their aim is to lure the warriors into their forest home, seduce them, then tear out their throats. When victim and victim pile up, the cat spirits discover that the newest samurai they have targeted turns out to be the older woman's treasured son and the younger woman's dear husband. Alas, alas, he has been given the difficult instruction by his lord to rid the land of the cat ghosts. How can he do this?

The black and white photography is moody, sensual, abstract, expressionistic...and absolutely sensational. The contrast between pitch black and silver light creates a sense of the otherworld a technique perfectly suited to a ghost story. But this film is really NOT a horror film it is closer to a Kabuki theater piece or perhaps a morality play. The difference between good and evil is ambiguous.

Consider just one scene the ghosts' first victim is a samurai who had earlier been one of the men who raped and murdered them. As he enters their magical home, the trees surrounding the house move as if on a round carousel. The breeze creates ripples of sound rustling leaves and whispers. The director recreates a Grimm's Fairy Tale translated to Feudal Japan.

This one is a keeper...a film I wish to study for its magnificent effects. (Given the choice, DO select the Blu-Ray version).

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Capitalism: A Love Story (2009)

"Capitalism" opens with disclaimer from some old film, and then segues into scenes from police videos of people robbing banks and convenience stores. Moore likes to make comparisons. In this case he wants to show us who the real thieves are, and they don't tend to be desperate drug addicts wearing hoodies.

To me that's what Moore's latest film is: a cinematic treatise on crime. Moore uses his excellent skills as an editor to piece together films in a manner that makes you want to scream "Where does he find this stuff?" to paint a telling picture of what America is: a plutocracy. And yes, Mike uses that word and wants us all to learn it, even providing a definition straight out of a textbook.

What Moore also excels at is humanizing crises and the class war by showing us just who's affected by these forces and why. We're shown people, real people being thrown out of their homes, being pushed out of their jobs, being paid meager salaries to do dangerous, complicated work, and being informed that companies profited from the deaths of their loved ones through something called "dead peasant insurance."

He even speaks to various clergy to try and find any sort of modern moral justification for capitalism. He can't. One priest even goes as far as to state flatly that "Capitalism is radically evil."

Yeah.

Speaking of all things radical, Moore puts himself on the line by trying to raid the offices of financial institutions, implores us to do the same, and backs that strategy up by showing current examples of how dissent and popular revolt can turn the tables on the gluttons in power, even if those victories are as small as one family being allowed to stay in their foreclosed home and window factory workers given severance payments after a long sit-in.

However, what "Capitalism" isn't is a mere bleeding-heart piece that is all emotion. Mike tends to do his homework. And that's what makes him a firebrand. The evidence is laid bare for the viewer to see.

There are some who would call Michael Moore and his documentaries "anti-American." He's even told by one Wall Streeter to "stop making movies" when trying to get an accurate definition of what are called "derivatives." Although I would definitely call Moore a subversive, I challenge anyone to find an ounce of hatred towards America in this piece. No, Michael Moore loves America, but his America is made up of those who toil and have little or nothing. His America is being looted by people that can only be described as white-collar sociopaths who would be selling heroin or whoring out young girls had they not been brought up in wealthy families.

You also get a generous serving of Michael's trademark humor to make it all go down easier. It has been said that the best way to take the powerful down a peg or two is by poking fun at them, and Moore doesn't just poke at them, he runs them through with swords of bitingly comedic steel.

If I had one gripe about "Capitalism" it would be that there was so much more ground that could have been covered. That's why I feel that a sequel is in order as well as a prequel since Moore rather glosses over earlier American history. But I suppose that's what he have Howard Zinn for.

Yes, this is a paramount polemic against capitalism and dare I say FOR socialism. Even Bernie Sanders gets some facetime.

As someone who has been identifying as a socialist for years, I can say that it only reinforced my belief that the free market is unsustainable, as if my personal experience as an American worker hasn't been enough to do so. Demons lurk in the details though, and Moore not only shines a light of veracity on them, he also splashes them with holy water, as any left-leaning Catholic such as Moore would.

Christ wasn't a capitalist sympathizer, something Moore also shows us, and neither is Moore himself. So why should you be? It's not in your best interests to be one. Think of this as an intervention by way of motion picture for your friends and family who are thoroughly in love with an abusive spouse that is all take and no give.

Talk about a great candidate for an ABC Sunday Night Movie. If I could hold screenings for "Capitalism" I would. It needs to be seen by far more people than any action/adventure blockbuster.

Thanks for makin' the devils hiss, Mike. And for making socialism taste so good.

Once upon a time people were "taught" to think the King spoke for GOD and that was that. Today we are "taught" Capitalism is the "natural order of things" and "works better than any other system". Both arguments were used to uphold the divine right of Kings. Some things never change. People want leaders. Why,is beyond me. Even the Old Testament tells Israel you may have your King but it will not make you happy.Great movie, Mike. Your best yet. Problem is, people do not have a vision of how to live in a world without "Leaders". Without a vision of non-hierarchical power structures people are clueless to what replaces them. Democracy was started into play in America,in a small way--but became still born by the 1840's. Since then it has just been a tool of power for the wealthy to steal from the poor.I really wish Michael Moore had stayed with and backed Ralph Nader. President Obama is going to break his heart.You told a great story, Mr.Moore. A true story. If you make a wonderful romantic comedy in which everyone turns out HAPPY! HAPPY! HAPPY!!! in the end with great wealth due to the wonders of Freedom and the Free Market you would make a ton of money. I bet the folks that ran the Colosseum in Rome made a ton of money also. Thanks for the effort. In your "Love Story" you told the truth. People want the pretty lie. I loved how you re-cased Jesus as Milton Friedman,genius. Give my love to the good Fathers in your film. I really mean that. I have lived so long that the Roman Catholic Church has become less hierarchical than my government.More just also. Will go back and see the movie again and buy the DVD as soon as possible. Hope we meet in the streets someday. Now that would be change!!!!

Buy Capitalism: A Love Story (2009) Now

This movie is absolutely wonderful. It is funny from the beginning to the end, yet "delightfully serious" at the same time (note the paradox). It is very unfortunate that this movie did not get the acclaim that it should have. More people should see it. It opens our minds and our hearts to the fact that capitalism is at the bottom of all this. Right in front of our eyes "capitalism" says that profit is more important than human need. How could this be? Is it more important for someone to make a profit or to give a needed operation to a sick child? Moore's attention to fundamental Judaic-Christian-Islamic values ultimately, that emphasize duties to one another and to "do things to the least of these" is noteworthy and refreshing. It is as if such fundamental spiritual wisdom has become lost. How unfortunate! It is a very moving film, especially toward the end when he has President Roosevelt give his famous Four Freedoms speech. In the mid 20th century, the US was such a moral leader. What happened? The movie could have been enhanced if Mr. Moore then spoke about the Universal Declaration of Human Rights, which to a large degree is a legacy of Roosevelt's Four Freedoms. The Universal Declaration, which includes rights to worship, rights to work, health care, adequate shelter, and security in old age, is now increasingly referred to as customary international law, which all nations must abide. In any event, this movie will definitely give us something to think about.

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The short list of what can be considered documentary film classics has yet another wonderful addition by legendary filmmaker Michael Moore. It is a visual spanning of the history of corporate influence over our political leaders and how this has poisoned the entire establishment nearly beyond repair. I will never forget the segment of a presidential speech, showed roughly around the beginning of this film, of a man standing behind president Reagan who leans in and says angrily in his ear: "HURRY IT UP; WE DON'T HAVE ALL DAY!" The camera then freezes on Reagan's shocked face as the narrator simply asks, "Who speaks to the president like this?" It graphically shows you how much influence is measured by the corporations over our political leaders. This film in particular strikes higher notes than Moore's previous films in that it takes you back to the roots of earlier documentaries and brings out more ample and articulate forms of evidence in support of the general thesis. Capitalism: A Love Story seeks to expose the corruption of our varied form of greedy Capitalism, and to replace it with a more democratized base system, typically referred to as Leftist-Libertarianism or Libertarian-Socialism.

People in the United States generally speak of Socialism as something awful, pointing to Russia and China as examples of the dangers of far leftist thought. But if they would simply take the time to read into some of their literature of political theory, they would realize that there are branches within the movement which are infinitely distinct from those totalitarian nations. It is a category mistake to assume that socialism entails totalitarianism, as if what you see in Russia and China were totally across the board. To any of you interested in getting a thorough education on this subject, I would recommend you checking out the following books: Anarchism: From Theory to Practice Chomsky on Anarchism

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Cut away the pro-union, pro-New Deal mushiness and Michael Moore's "Capitalism, A Love Story" has a vital core worth considering. Twenty years after "Roger and Me," Moore shows he still has pop on his filmmaking fastball. At every point where I was ready to write off "Capitalism" as a fruitcake leftist screed, the writer/director/actor dug up a fresh angle I couldn't ignore. Unless you're on the board of Goldman Sachs, director of the George W. Bush Presidential Library, or both you'll likely conclude that "Capitalism, A Love Story" is a balanced movie.

The film is testament to Kevin Spacey's 2009 comment about the arts being a necessity during a time of economic crisis. Hundreds of newscasts don't register on the mind and soul the way Moore's art does in minutes.

Moore succeeds for the opposite reason that Tim Geithner fails up (fellow followers of the Mises/Austrian School see our exposition of the state and its purchased intellectuals affirmed by Moore in his take on Obama's Treasury secretary). Moore refuses to tell us what we want to hear or see. His brand of social criticism reminds me of one of Hillel's dictums in Judaism's Ethics of the Fathers (2:6) "...A person excessively involved in business cannot become a scholar and where there are no leaders strive to become a leader."

The artist is trying to put his finger on a big problem. While the moral poverty of the wealthy is a major issue it's far from the whole story. Moore's viewpoint is a blue-collar critic animated by Roman Catholic sentiment. After slogging through the beastly jungle to give us a new vantage point, the filmmaker ends his production with an appeal. This made me think that Moore wants "Capitalism, A Love Story" to fire people up and get them talking. If so, kudos to Moore.

Yet anecdotes and a rich-vs.-poor mindset will take us only so far. These things are emotionally compelling yet they can mislead. For example, Moore opines that one of the main reasons that Americans suffer the inequities of capitalism is because most want some day to be in that top 1 percent income bracket. This is a thought I've long harbored and I'm glad an artist of Moore's stature has put it out for public reflection. But this is far from a sufficient explanation and the film points toward that. When the Countrywide mortgage executive says "If I didn't do it someone else would have" we glimpse something of the enormity people aren't just morally lax; they desire to keep their jobs because of fears of letting their families down and losing the wealth that they have. This is not lost on Moore because elsewhere in the movie, in commenting on the 2008 pre-election bank bailout, he well surmises the power of fear.

Moore's shorthand in labeling economic and social injustice "capitalism" is likewise too simplistic. To call people losing their homes to foreclosure "capitalism" is like calling the mass murders under Hitler, Mao, and Stalin "socialism." The terminology is imprecise. These situations are social crises.

The filmmaker is right to see that business has gotten too big and impersonal. Although he's somewhat critical of government, Moore implies that big government (through more regulations and FDR-style proclamations of additional rights) will arrest the march of crony capitalism. His interviews with Roman Catholic clerics imply that big church might stop the raging bull of Wall Street. Funny that Moore begins his film comparing ancient Rome to modern America and leaves us with the impression that the form of Christianity bequeathed to us by the old empire is going to stop the slide of the United States. I'd like to say stranger things have happened but I can't think of anything stranger than this prospect.

Moore will come much closer to the truth by reviewing his movie and realizing that bigness is inherently corrupting. America's Protestant culture and heritage must also be taken proper account of. What will right America is a block-by-block revolution in thinking and action that prizes communal mindedness (to use a term from a teacher of mine, Rabbi Mayer Schiller), humility, and brims with an ethos of "small is beautiful." May this come soon in our days. If and when it does Michael Moore's "Capitalism, A Love Story" will be regarded as an important road sign on our journey there.

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Harold & Kumar (Harold & Kumar Go to White Castle / Harold & Kumar Escape from Guantanamo Bay / A V

My husband loves the Harold and Kumar movies, so when I saw that there was a Blu-ray edition out with a collectible metal case, I was thrilled! He had them on DVD and is slowly swapping his movies from DVD to Blu-ray. I bought this for him for Christmas and it he loved it! My only problem is that the metal case was slightly dented... but that probably happened during shipping.

i love this movies harold and kumar are so funny and this box set is great. so happy i found it

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Hysterical to say the least. The 2 stoners are back for more adventure. I met Kal Penn a long time ago but he was so cool it's not even funny. So I guess you could say I have a connection with the Harold and Kumar series. I enjoyed every minute of it.

Plus the hot girls in it didn't hurt LOL

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Election (1999)

This is by far the funniest movie Hollywood has produced in years, probably the best in my opinion since "Get Shorty."

Reese Witherspoon plays Tracy Flick, an over-ambitous student with desires to be elcted to her student council. Tracy Flick is the kind of person I think we've all met before. Driven, ambitious, very bright, but at the same time she really has no discernable personality. The fact that she is driven and involved in everything is what's getting her by. She has very few friends and is, if anything, made fun of routinely.

Matthew Broderick plays her teacher. He's a very regular man, teaching a dull course, leading a fairly boring and repetetive life. When he finds tracy's ambitions threatning he sets out on destroying her.

Election is far more hilarious than most movies because of its extremely bitter nature. Many people will find the story cold and sterile but if you get past that it is a hugely entertaining film.

All the performances are first rate and if you compare it to the other "teen" comedy of the year, "American Pie" it is evident that this is light years ahead. While "American Pie" settles on cheap belly laughs and a feel good ending, "Election" opts for exactly the opposite. In fact this is really a very adult film performed by teenagers.

"Election" is a cynical, bitter, vicious movie that is also the best comedy in years.

"Election" is one of the most intelligently-written, original and well-acted films to come out in years. The storytelling is never predictable or conventional, yet everything that happens feels honest and correct. The characters are far more fully-developed than those in any recent Hollywood film I can think of. In the beginning, you expect Broderick to be the hero and Witherspoon to be the villain, but the former does some despicable things, and the latter proves to be somewhat sympathetic. Although "Election" is a comedy (and a very funny one at that), it makes more valid and honest observations about human nature than most "serious" films.

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Election was not popular in America, and it's mainly because it viciously attacks everything the USA holds dear. This is exectly why this is such a brilliant black comedy, but if you're the type of person who prefers 'comedies' like American Pie then this is definitely not for you. It ridicules everything the sexual pysche of the wounded male ego, high school hierarchy systems, the teacher-pupil relationship whilst at the same time satirising American politics. Payne's commentary on the DVD is informative, but it would have been nice to have a feature on the making of it of or an analysis of the intentions of the script from people involved. Hell, a trailer would have been good, but buy the DVD for the film, a classic of American cinema which doesn't need to be in your face to make its point. Well worth your money.

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At the start of "Election," Jim McAllister tells viewers how well his life is going. He's a dedicated and popular social studies teacher at Carver High School in Omaha, with a loving wife and a best friend on the faculty. By the film's end, Jim has been fired from his job, become a national laughingstock, been divorced by his wife for infidelity, and moved to New York City. Why? It all starts with Tracy Flick.

Tracy, played in career-defining fashion by Reese Witherspoon, is a running for student-government president at Carver. She's an odd mix of youthful naivete; barely suppressed resentment at slights both real and imagined; and a pure Machiavellian drive to succeed. She's also having an affair with Jim's math-teacher best friend Dave, whose extracurricular activities get him fired early in the movie.

Concerned about the effects of Tracy's reckless ambition and bitter over his friend Dave's firing, Jim develops an unhealthy obsession with her (the scene where Tracy appears in Jim's head while he's being intimate with his wife is one of the most consistently funny in movie history). Determined to halt Tracy's rise, Jim decides to recruit popular ex-jock Paul Metzler to oppose her in the election. Paul, brilliantly portrayed by Chris Klein, is everything Tracy isn't: innocent, wide-eyed, naive, and slow-witted, with a penchant for vacant stares and extremely stupid comments. Paul's lesbian sister Tammy also decides to enter the race, bitter over her brother's theft of a girl's affections.

What follows is one of the most brilliantly satirical movies I've had the pleasure of seeing. Although the central event of "Election" may be a high-school election, it might as well be a presidential race. Carver High becomes a microcosm for the world in general, with the election as the backdrop for a sordid tale of lust, betrayal, power, ambition, and resentment. Jim (is there any doubt that this is Matthew Broderick's best role?) may sound idealistic at the start of the movie, but by the end he's gotten dirtier than anyone else. In fact, out of the principal characters in the movie only Paul really comes out clean.

"Election" is, without a doubt, one of the most well-crafted comedies of recent years. Much like "The Simpsons" in its prime, the movie is brilliant in its vulgarity and unpredictability. The main characters are fully realized and realistic, and the actors (Klein especially) can wring laughs out of even the tiniest facial expression. The humor is often off-color, but never in a stupid teen-movie sort of way. "Election" is a reminder of how funny a movie can be when it relies on little things like wit and creativity. I try to be pretty careful with my five-star ratings, but "Election" would get a hundred out of a hundred from me.

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Election is truly one of the most clever and probably the funniest movie to come along in the past couple of years. I've watched it several times, and each time I'm drawn back in, amused, dismayed and, most importantly, laughing out loud at the plot, the details and the whole package.

Reese Witherspoon is a revelation as Tracey Flick, the perfect student running unopposed for student council president. What could have been such a one-dimensional character is given a great deal of depth through her performance. And it is nice to see Matthew Broderick playing a grown-up, albeit a disturbingly immature one. The supporting players are just as amazingly cast, and act their roles superbly. The details, too, of the Nebraska setting, from the meal Broderick shares with his wife, to the trips to the mall, to the basement band... this is one well-crafted movie.

I highly recommend this movie. I've passed this movie amongst friends and family quite liberally and everyone has enjoyed it enthusiastically. Of course, we all love satire, and this is one of the best to come along in a looooong time.

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