Life as We Know It (2011)

Hollie and Messer, set-up by best friends Allison and Peter, meet, share a disaster of a non-date and develop an intense hatred for each other. Then Allison and Peter get married and have a baby, forcing Hollie and Messer to be subjected to each other often. Glimpses of Hollie and Messer and their interaction flash on the screen as this relationship that ties them together unfolds. Finally, a laughing moment is shared at Baby Sophie's 1st birthday party where a picture is taken with "Godparents," Hollie and Messer, who don't understand exactly what that term means.

Fast forward several weeks and Hollie and Messer meet up at the police station to discover that Allison and Peter have died in a horrific accident and that Sophie needs them. They discover how much as the rest of the story unfolds.

I really liked this film. I watched it with four friends and we all agreed that it was worth the investment. The main characters are three-dimensional and well-cast. Though not laugh out-loud funny in most scenes, there is enough humor thrown in to make the subject matter less intense. Not pure comedy, or drama, also not pure chick flick. Enough deep issues and emotions play out that the movie grabbed my emotions and heart.

A few cheesy moments make their way into the movie...one in particular is a drug thread that ends up falling flat, though it likely supposed to play as a light-hearted moment. There are a group of neighbors that add annoyingly funny moments throughout the film. Language is minimal, the F-Bomb makes few appearances, the most memorable is a whispered fight. Messer is a new-girl-a-night kind of a guy so there are plenty of comments about his tom-catting ways, though the sex scenes are minimal and primarily off-screen. Hollie is an uptight business owner who's rigidity makes for a few annoying minutes throughout the film as well. But overall the relationship between them ends up being respectful of families and love and this one will end up in my DVD library.

From my wife Sarah: From the previews I expected a silly slapstick romance, but found that this was a drama, romance and comedy rolled up into one movie. It had surprising depth, character and story development. It was kind of a believable story. There were times I was touched enough to be tearful, and there was some decent chemistry between the leads. There were some laughs as well.

It was good, but was it fantastic? Not so much. Honestly, it wasn't strong enough for me as either a comedy, romance or drama to be terrific. Regardless, it was entertaining, moving and worth seeing.

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At first I watched it because of the casts. But as the movie flows, I really think it has some depths in it. Not just some other romantic/comedy, this one we can actually relate to (and finally for once no sexual context, well just a little maybe. Which I find it refreshing). How new parents are behaving and adapt with their first child, is sometimes funny to watch but also heartfelt. Overall, this movie has some laughs, tears, and of course love. Can't wait for the DVD to come out!

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This movie has received more than its fair share of bad press. I went and saw this movie when it was in my local theater last summer. I think the major reason people are giving it bad reviews is that they are expecting the whole movie to consist of a mismatched couples attempt to raise a child to yield roll on the floor laughing moments. However, to truely understand this film, you have to look deep for the hidden meaning. I found that when you discover that the movie truly revolves around a child who's parents are killed and is left to be raised by two different people who really didn't want to be together, much less raise a child together, then you get the true spirit of the film. Once you understand this point of view you will truly enjoy this film for what it is, a coming of age story.

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I've read the negative reviews here and I really don't understand them at all... to each his/her own I suppose. I really enjoyed this movie, yes it is similar to other romantic comedies of the same formula (girl and guy despise each other initially but love grows out of it), but sometimes having the same recipe isn't a bad thing. Its like enjoying a chocolate chip cookie recipe like your Mom used to make, you can have them over and over and you still love it. This movie still made me laugh and cry, and I will continue to like romantic comedies even if they use the same formula. If you want a sweet, endearing, funny and yet emotional movie, this is the one for you. The chemistry between Katherine and Josh is fantastic.

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Bye Bye Birdie (1963)

This movie is an excellent time-capsule for the end of the late '50's/early'60's rock n' roll era. (It came out in 1963, just a few months before the Beatles hit our shores & changed everything forever.)

It's got everything:

An Elvis-like rock n' roll sex-machine on a motorcycle, check!

Cold War political satire, check!

A spoof of middle-class American values, check!

Young, gorgeous Ann-Marget, check & check again!

I was born too late to experience this time period & I haven't actually seen the Broadway original from 1960 with Chita Rivera in the Janet Leigh role. But this movie is a fast-paced, witty musical-comedy. I know the 1995 version sticks closer to the original story, but I think that version plays too much into the whole "nostalgia"-thing....an element that was NOT a part of any show actually made back then. That version was also slow & not very funny.

This version is great! A lot has been said about the music, but the comedy hasn't got much attention. The humor manages to be suggestive without being vulgar. It's kind of like reading an old issue of MAD Magazine, but this is acted out!

If you want laughs every second, great songs & great dancing, as well as a humorous glimpse as to what American attitudes were like back then, then this 1963 version is for you!

It's "Honestly Sincere!"

I actually played "Kim" in my middle schools rendition of Bye Bye birdie, and since then, this has been my absolute favorite musical of all time I'm sure this is partly due to my great memories of being in this play, but regardless of that, the songs are great and I love the story line.

Bye Bye Birdie is about an Elvis-type guy who has just got word that he's being drafted into the army. Because of his popularity as a singer, they decide to run a contest where 1 lucky girl will be chosen to have "one last kiss" with him. Kim wins the contest, and will be given her kiss live on the Ed Sulliven Show (a show that was really popular in the 1950's).

Much of the story surrounds the excitement about Kim winning the contest & the fact that her father and boyfriend don't want the kiss to happen. Will they be able to stop it?

Then there's "Albert" played by Dick Van Dyke an on & off again songwriter, and his girlfriend "Rosie" who wants nothing more than for Albert to propose to her. Unfortunately, Albert is such a "mommas boy" that he can't seem to make any decisions for himself, and his mother is not about to suggest that he get married and leave her all alone! Will he ever step up and pop the question?

Overall, I would highly recommend this movie to anyone who enjoys musicals. It will remind you of a much simpler time with the music and outfits in classic 1950's style. A great movie for "family night"!

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I am japanese and can understand English a little.But I can enjoyed this movie very much.

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"Bye Bye Birdie" is a classic and refreshing fun movie for all ages. I am only a 14 year old male, but I have amazing respect and love for this movie. Most of you knocking the movie are probally teens also, and probally have just seen the movie recently. I was in LOVE with this movie when i was about 5 years old all the way untill now! The movie was my absolute favorite when I was very young, I can't remember how was introduced to the movie, but I was crazy over it, and my parent's bought me the laserdisk, and just this Christmas they got me the DVD! The movie is such a fabolous fun movie. I remember how much I loved the intro to this movie, with Ann-Margret singing the amazing title track "Bye Bye Birdie". I was always amazed with her Intro and Outro of this movie. I understand the movie is different from the play, and I know thats why most of you don't like the movie. I am also very big into drama and theather, but I have yet to be in a production or seen a production of "Bye Bye Birdie". A local High School around here is doing "Bye Bye Birdie" this spring, which I will love to see. My High school is putting on "The King And I" this spring, which is going to be fabolous, I will be in it. But back to "Bye Bye Birdie"....I feel this movie is just so refreshing, when I am in a bad mood, this movie can definetly make me feel better, the songs are fun and happy, the acting is also great. Ann-Margret's performance was just absolutely outstanding, and Dick Van Dyke, Janet Leigh, and Maureen Stapleton were also fabolous. If I ever have a chance to be in a production of "Bye Bye Birdie", my dream role would be Albert, Dick Van Dyke's part, I would love to play that part.

So, I just wanted to say, I am sick of seeing so many people knock this wonderful movie, and I know some of you are probally around my age, and just recently saw it. Like I said before, I have so much respect for this movie, because I've loved it since i was so young, And I know some of you might be shocked, because I am so young, and was not even alive in 1963, and I love this movie so much.

The DVD is great, and has some great features, So I suggest you check it out!

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George Sidney was a great MGM director who, in the 1960s, had the great fortune of stumbling across a new star, Ann-Margret, and managed to make her an international star right at the beginning of the "Youth Era" that dominated Hollywood in the 1960s. Of all the young stars, maybe Ann-Margret had the most winning combination of vitality and innocence. Her lush figure and dancers' sway, and that wild mane of red hair, made her almost too hot for the movie screen, but George Sidney knew hot to focus her charms so that she became not a threat to the viewing public, but an actress of enormous appeal. He made three films with her, this one, VIVA LAS VEGAS and the later, lesser, THE SWINGER, notable for its scenes in which a group of young hipsters swing Ann-Margret through a mass of body paint to make her into a living paintbrush.

In BYE BYE BIRDIE her dancing with an ensemble to the upbeat number A LOT OF LIVING TO DO is the highlight of the film. It is one of those rare screen sequences in which every shot, every beat is perfect. George Sidney had earlier made some great showcases for Kim Novak, but his treatment of Ann-Margret shows why he is the most gallant of all Hollywood directors. Okay, so he didn't do so good by Janet Leigh, who looks awful in her black wig and can't impersonate a Puerto Rican songwriter any more than I can. She's ludicrous and almost ruins the movie.

Titanic Collector's Edition (Four-Disc Combo: Blu-ray 3D / Blu-ray / Digital Copy) (Amazon Exclusiv

*** THIS REVIEW IS FOR THE "TITANIC in 3D" MOVIE on BLU RAY ***

Holidaying in Ireland, I happened on the preview day of James Cameron's "Titanic in 3D" at the new Odeon Cinema in The Point Area of Dublin's refurbished docklands (or "The Quays" as they're known locally). We caught the first showing on 5 April 2012 debuting on their all-bells-and-whistles "iSense Screen". "iSense" features razor sharp Real-3D imaging on a gigantic screen with state-of-the-art surround sound. So myself and the two kids popped along donned the crazy specs and started to watch. The sheer spectacle of what came next has prompted me to write this review...

I've seen about 10 films in 3D some like "Despicable Me" have impressed and actually met the hype the rest have either felt gimmicky or a downright hindrance or worse a crass monetary exploitation. Even the new Aardman Animation feature film "The Pirates..." which we'd seen some days earlier is not great in 3D (although it's a top movie and thoroughly recommended). But Cameron's complete reshaping of "Titanic" into a 3D realm is a different beast. It's incredible and at times I was genuinely gobsmacked. I saw the film on its original outing in 1997 (which was a cinematic experience to say the least) and I'd estimate that 65 to 75% of this version has been improved by the 3D process with the remaining portions varying between not changed at all or just slightly better but definitely better.

So what's changed? Scenes that were somehow 'ordinary' before are now 'dimensional' at times you feel you could reach out and actually touch them...

Examples the front railings of the sunken liner at the bottom of the Atlantic at the beginning of the film, the unmanned sub that is filming it then making its way through the insides of the wreck you now feel the machine and its cables the space around it the bubbling of the water the barnacles and silt disturbed to the left and right. When the engine room ship-sized pistons kick into gear as the last boilers are lit their size and power; the drinks glasses on the table at dinner as Bruce Ismay pompously tells of how he arrived at the ship's name they have space around them and you feel you could almost lift them off the tablecloths. Even something as unassuming as Molly Brown's decorative hat as she talks to Jack (at a later dinner table setting) now reaches out of the screen into the aisles with extraordinary depth. Winslet's costumes are glorious too her radiant eyes and lustrous hair. The feeling of sea air and wind on the ship's gangways when Rose and Jack walk and talk and discuss art is accentuated more realistic.

But if I was to note just one scene that sums up how improved this version is it would be the one where Rose tries to kill herself by jumping off the back of the ship. As she steps over the railings and the camera looks down at the cold wash below suddenly the distance and the hugeness of the ship becomes 'real' looking downward and with that added depth you can 'feel' that fall...that freezing water below...

The sound is huge too groaning steel creaking wood the water crashing out of the screen right into your face as it floods corridors...

There were occasions where 3D didn't work where the effect was detrimental rather than an enhancement the boarding of the great ship at Southampton was one scene where too much was going on in the crowd sequences for the 3D to catch up. Other offences would be that one character on screen would be razor-sharp image-wise (usually the one talking) while those beside them or to the left of them would be slightly blurred. But these were rare.

What you also forget is what an incredible movie "Titanic" is. Like that other maverick filmmaker Ridley Scott ("Blade Runner", "Gladiator" and "The Kingdom Of Heaven") James Cameron isn't afraid of spectacle he embraces it. He brings it to the screen with bravado and a passion for 'detail' that few have matched. His new 3D rendering of "Titanic" is the same it seems like he's worked everything to give you the viewer as much as possible or at least more than you saw the last time. And when the actual sinking finally comes in the early hours of 15 April 1912 the horror and heartbreak still has the power to make your heart race and bring a tear to the eye. Captain Smith holding the wheel as the ocean crashes through the glass into the bridge area, the ship's funnel that breaks loose and collapses on the bodies below, the propellers rising out of the water, bodies bouncing off the ship's steel structures as the huge hull rises up and they slide downwards to their death the camera panning back as Rose emerges from the swell to an ocean of bodies flaying about in the agony of the icy Atlantic the guilty faces on the lucky ones in the boats that got away hearing their screams and cries for help yet not going back for survivors and knowing they should...

Cameron's version of the sad tale has heart too through all that technical excellence it doesn't forget to show and somehow respect the human cost. There's the rage and helplessness of the third class passengers locked into steerage below while the 'quality' on the decks above get the 'priority' placing in the lifeboats their tickets paid for the band unselfishly playing "Nearer My God To Thee" as the ship goes down by the head, the priest praying with terrified passengers trying to give them strength, the elderly couple holding each other tightly on the bed as the sea floods their cabin the Irish mum telling her two children of 'Tir na N'Og' the mythical 'land of the young' as the inevitable closes in around her beloved...

Then of course there's the cast Bill Paxton as the obsessed present-day treasure-seeker, Gloria Stuart as the elderly Rose recounting the tragedy to an enrapt crew, Jonathan Hyde as Bruce Ismay the White Star Line egotist who ordered the number of lifeboats to be reduced from 48 to 16 (compliant with Board of Trade laws at the time) so as not to clutter up the promenade decks for the first-class passengers and then once onboard practically ordering Captain Smith to open all engines to full speed ahead despite the danger (only to save himself in one of the last lifeboats an act infamous now in history). Frances Fisher is Rose's social-climbing mum, Billy Zane as Rose's manipulative and jealous boor of a fiancé, David Warner as his dastardly man-servant, Bernard Hill as the overwhelmed and ill-fated Captain Smith, 'new money' Kathy Bates as the 'unsinkable' Molly Brown all of them exemplary. Victor Garber adds huge gravitas too as the ship's architect Thomas Andrews a decent man grappling with his thoughts as it all falls apart around him (his dialogue titles this review).

But the movie belongs to its two young leads Leonardo DiCaprio and Kate Winslet as Jack and Rose a 17-year-old lady of art and means who falls in love with a 20-year old street-rat who paints to survive. While DiCaprio is good and couldn't go anywhere for a few years due to screaming girls (he was 22 at the time) it's Winslet who impresses the most. She is sensational in the role voluptuous, ballsy and humane. She also exudes an acting confidence that is staggering for a 21-year-old. In my book only Kiera Knightley gets this close to that kind of inner belief.

With regard to the 3D Film on BLU RAY (Sept 2012) it arrives in multiple versions a 2D Standard Blu Ray set, this 4-disc 3D version and a DELUXE BOX SET with memorabilia. There are 6 hours of extras, over 25 deleted scenes and endless in-depth interviews. It's a feast of detail. And there's also no doubt in my mind that Cameron has given '3D' a huge boost with this extraordinary rendering of his 1997 classic...

To sum up even if you don't want to see this film again and suffer through that dreadful Celine Dion schlock song at the end think of James Cameron's "Titanic in 3D" as sheer cinematic spectacle. My kids are 18 and 14 and given that their generation is so easily bored and their timespan for attention virtually nil they didn't notice the three-hours-plus playing time go by. In fact my son Sean announced at the end "...that was a great film Dad...really good." I could see it in his young face he was genuinely moved by what he'd just seen.

Praise indeed.

We all know the story so my review is for the quality of the blu ray (image quality) and 3D. The quality of the image is very impressive. The colors are vivid, a lot of contrast, very clear picture. It's hard to believe that this movie was converted from 2D to 3D because the 3D effect is one of the best I've ever seen. There was no noticeable ghosting. I had seen the 3D version of this movie in the theatre and thought it was good. However, it is even more impressive on my 3D TV (47 inch LG). The characters often appear to be with me in the room, they pop out of the screen. There is a lot of depth throughout the movie, which is also visable in darker scenes. The picture is amazing. You get the feeling that you are in the movie...when the boat sinks, you feel as if you're part of the action. I was very impressed with the quality of the 3D. I would recommend this to anyone who owns a 3D TV...worth every penny!

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Finally, the most successful film in the film history gets the dvd treatment it deserves, bringing much respite to the fans all the over the world. Previously available barebones edition dvd has been replaced with a 3disc collector's edition dvd set, loaded with all those great never before seen stuff.

Here's what one can look forward to in this edition:

New high definition digital transfer with the main feature spread over two discs to get the highest possible picture and sound quality...and thankfully it does include DTS6.1 ES track!!!

Never before seen footage (approximately 58 minutes, alongwith the main film but it will be available through branching option on the disc unlike LOTR EXTENDED editions!!)

All-new making-of featurettes which will include time lapse footage of the massive set and studio construction.

Incredible Alternate Ending "Brock's Epiphany"

29 Never-Before-Seen Deleted Scenes with Optional Commentary which include romantic moments between jack and rose and historical and action shots as well!!

Commentary by Academy Award-Winning Director James Cameron

Cast and Crew Commentaries by Stars Kate Winslet and Gloria Stuart and Oscar-Winning Producer Jon Landau and Executive Producer Rae Sanchini

Historical Commentary

Visual Effects Breakdown of the Unforgettable Stunts

Music Video "My Heart Will Go On" by Celine Dion

...and much more!!

Titanic collector's edition is a dream come true not just for all those titanic fans out there but it will be a jewel in any dvd collection!!

AND LAST BUT DEFINITELY NOT THE LEAST.......if you own a multi-region dvd player or watch dvds from all regions on your DVD ROM, then you have an option of buying from amazon UK where you can choose between the two disc and the four disc set!!

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Having garnered 11 Academy Awards in 1998, a reported production budget of over US$200 million (thus making news headlines in 1997) and earning over US$1 billion in box-office receipts worldwide (quite a percentage of those are due to repeated theatrical viewings), Titanic (1997) has finally been given the enhanced DVD edition many have been looking for.

Having "suffered" a mediocre vanilla (single) DVD release in 1999, the title has finally been given better treatment (better film-to-video transfer and extensive bonus materials) by Paramount Home Entertainment for Region 1 or regions using the NTSC video system and Twentieth Century Fox Home Entertainment (Other regions or regions using the PAL video system) before 2005 ends.

Paramount Home Entertainment will be releasing a single 3-disc Special Collector's Edition (SCE) for Region 1 (US) whilst Twentieth Century Fox Home Entertainment will be releasing 2 editions: 2-disc Special Edition (SE) and 4-disc Deluxe/Definitive Collector's Edition (DCE) for the international markets.

DVD Release Dates Table for the 3-disc SCE for Region 1 and 4-disc DCE for Region 2 / Region 4.

Region 1

Editions

3-disc SCE

Release Dates

25 Oct 05 (U.S.)

8 Oct 05 (Japan and Korea)

25 Oct 05 (Canada)

Region 2 / Region 4

Editions

2-disc SE

4-disc DCE

Release Dates

8 Nov 05 (UK)

21 Oct 05 (Mexico)

27 Oct 05 (Sweden)

28 Oct 05 (Italy)

11 Nov 05 (Brazil)

30 Nov 05 (France)

30 Nov 05 (Australia)

30 Nov 05 (Netherlands)

30 Nov 05 (Belgium)

1 Dec 05 (Germany and Spain)

On Disc 1 & 2 of 2-disc SE (R2/R4), 3-disc SCE (R1) and 4-disc DCE (R2/R4)

The feature film Titanic (1997) will be split onto first 2 discs (as per LOTR Special Extended Edition sets) when the enhanced DVD edition is release during the months of Oct Dec 05 worldwide due to the limitation of the DVD format.

For all editions of all regions, the feature film (HD transfer) is presented in 16 x 9 Anamorphic Widescreen (2.35 : 1) with the usual Dolby Digital Surround EX 5.1 soundtrack, there is also the DTS-ES 6.1 soundtrack included. Hopefully, the part of the feature film on the first disc ends on the appropriate scene for a short toilet/snack break.

note: the behind the scenes branching option means when you're viewing the film a little icon will appear at the bottom of the screen allowing you to jump to that part of the film to see how they done that.

The bonus materials included in the first 2 discs of the DVD set (Applicable for all regions) are listed as follows:

3 AUDIO COMMENTARIES WITH

DIRECTOR, JAMES CAMERON (Run Time 194m 46s)

CAST (Kate Winslet & Gloria Stuart) AND CREW (Producer Jon Landau and Executive Producer Rae Sanchini) (Run Time 153m 47s)

HISTORICAL LOOK ON TITANIC BY DON LYNCH & KEN MARSCHALL (Run Time 194 min 46s)

BEHIND THE SCENES FOOTAGE VIA BRANCHING (Run Time 62m 16s) / Spread over first 2 feature discs.

POD 01 DEEP DIVE

POD 02 UPSIDE-DOWN WRECK MINIATURE

POD 03 ESCONDIDO UNDERWATER SET

POD 04 TWO ROSES

POD 05 SINKING SIMULATION

POD 06 1912 MORPH TRANSITION VFX

POD 07 SOUTHAMPTON FLOP

POD 08 A VIEW FROM THE PUB VFX

POD 09 LEAVING PORT VFX

POD 10 MELTING POT

POD 11 THE MILLIONAIRE'S SUITE

POD 12 THE ENGINE ROOM

POD 13 TITANIC AT SEA

POD 14 DIGITAL PEOPLE

POD 15 THE MILLION DOLLAR SHOT

POD 16 THE BIG EXTERIOR SHIP SET

POD 17 ROSE SUICIDE

POD 18 BIG SHIP SET VFX

POD 19 TUX STORY

POD 20 THE GRAND STAIRCASE

POD 21 COSTUME DESIGN

POD 22 FIRST CLASS DINING ROOM

POD 23 DINNER SHOOT

POD 24 THIRD CLASS PARTY

POD 25 A WOMAN'S PLACE

POD 26 THE ETIQUETTE KID

POD 27 THE BOILER ROOM

POD 28 FLOODING HOLD MINIATURE

POD 29 ICEBERG/DECK VFX

POD 30 BOILER ROOM FLOODING

POD 31 FIRST CLASS LOUNGE MINIATURE

POD 32 SHOOTING IN STEERAGE

POD 33 KATE'S ACTION COSTUME

POD 34 CRANE AS HELICOPTER

POD 35 LIFEBOATS 13 & 15

POD 36 FLOODED FIRST CLASS DINING ROOM

POD 37 STAGE 2 SINKING SET

POD 38 FAKING A TILT

POD 39 THE SINKING RISER

POD 40 SHIP EXTENSIONS

POD 41 FALLING FUNNEL

POD 42 GRAND STAIRCASE FLOODING

POD 43 MINIATURE HALL FLOODING

POD 44 JUMPING STUNTS

POD 45 TILTING POOP DECK

POD 46 DECK SLIDERS

POD 47 DIGITAL STUNT PEOPLE

POD 48 SINKING VIDEOMATIC

POD 49 SHIP SPLIT MINIATURE

POD 50 VERTICAL POOP DECK STUNTS

POD 51 THE TOILET PAPER SHOT

POD 52 FINAL PLUNGE VFX

POD 53 UNDERWATER GREENSCREEN

POD 54 INTERIOR TANK SHOOT

POD 55 BREATH SHOTS

POD 56 EXTERIOR TANK SHOOT

POD 57 ICE MAKEUP

POD 58 OPEN LIFEBOATS AND THE CARPATHIA

POD 59 CARPATHIA MEDAL

POD 60 THE FINAL SHOT

POD 61 MAKING THE MUSIC VIDEO

MY HEART WILL GO ON MUSIC VIDEO (Run Time 4m 42s)

ALTERNATE ENDING "BROCK'S EPIPHANY" WITH OPTIONAL COMMENTARY BY JAMES CAMERON (Run Time 9m 15s)

Bonus Materials on Disc 3 (R1) and Disc 3 or 4 (R2/R4)

note: The film itself was suppose to run for 5 hours and 20 minutes but over 147 minutes had to be cut down for pacing. The 29 deleted scenes + the alternate ending were originally meant to be in the final cut of the film. Unfortunately were deleted before its release.

29 DELETED SCENES (COMPLETE SCENES WITH FINISHED EFFECTS) WITH OPTIONAL AUDIO COMMENTARY (Run Time 45m 57s)

#1 I'LL BE THE FIRST

#2 ROSE FEELS TRAPPED

#3 BROCK'S DILEMMA/ ROSE VISITS THIRD CLASS

#4 ROSE'S DREAMS

#5 COME JOSEPHINE...

#6 EXTENDED SNEAKING TO FIRST CLASS

#7 EXTENDED ESCAPE FROM LOVEJOY

#8 A KISS IN THE BOILER ROOM

#9 WIRELESS ROOM/ THE CALIFORNIAN

#10 HOW 'BOUT A LITTLE ICE?

#11 FLIRTING WITH ICE

#12 THE FIRST S.O.S.

#13 ISMAY PANICS

#14 MOLLY BROWN'S ROWING SCHOOL

#15 IRISH HOSPITALITY

#16 IDA STRAUS WON'T LEAVE

#17 FAREWELL TO HELGA

#18 BOAT SIX WON'T RETURN

#19 RELEASE THE HOUNDS

#20 ROSE GETS A HUSBAND'S LETTER

#21 JACK AND LOVEJOY FIGHT

#22 GUGGENHEIM AND ASTOR

#23 I'M NOT GOING

#24 CORA'S FATE

#25 EXTENDED JACK AND ROSE IN THE WATER

#26 OUT OF THE QUESTION

#27 HOW DARE YOU!

#28 CHINESE MAN RESCUE

#29 EXTENDED CARPATHIA SEQUENCE

1912 NEWS REEL WITH OPTIONAL COMMENTARY BY ED MARSH (Run Time 2m 11s)

CONSTRUCTION TIMELAPSE SEQUENCE WITH OPTIONAL COMMENTARY BY ED MARSH (Run Time 4m 19s)

DEEP DIVE PRESENTATION NARRATED BY JAMES CAMERON (Run Time 15m 29s )

TITANIC CREW VIDEO (Run Time 17m 26s)

A SHIP'S ODYSSEY (THE TITANIC CREW VIDEO)

SHIP'S TOUR MONTAGE WITH OPTIONAL COMMENTARY BY ANDERS FALK (Run Time 7m 33s)

VIDEOMATICS AND VFX (Run Time 8m 38s)

VIDEOMATICS INTRODUCTION

SINKING SEQUENCE

DEEP DIVE

VFX SHOT BREAKDOWN: "ENGINE ROOM"

VFX HOW-TO FOR "I'M FLYING"

VFX HOW-TO FOR "FIRST CLASS LOUNGE"

TITANIC SINKING SIMULATION

STILL GALLERIES

TITANIC SCRIPTMENT

STORYBOARD SEQUENCES

PRODUCTION ARTWORK

PHOTOGRAPHS

KEN MARSCHALL'S PAINTING GALLERY

BY THE NUMBERS

BIBILOGRAPHY

BREAKING NEW GROUND THE MAKING OF TITANIC TV Special (Run Time 42m 50s)

TITANIC FEATURETTES ELETRONIC PRESS KIT (Run Time 18m 10s)

NEWSPOD #1: STORY FOCUS

NEWSPOD #2: ACTOR FOCUS

NEWSPOD #3: BUILDING THE SHIP

NEWSPOD #4: POPULATING THE SHIP

NEWSPOD #5: SINKING THE SHIP

NEWSPOD #6: JAMES CAMERON FOCUS

NEWSPOD #7: DEEP DIVE FOCUS

CONCEPT POSTERS AND ONE SHEETS

Bonus Materials Exclusive to 4-Disc (R2/R4) Release Not Applicable for Region 1 Release

HBO FIRST LOOK THE HEART OF THE OCEAN (Run Time 27m 30s)

TITANIC IN 30 SECONDS WITH BUNNIES (Run Time 0m 47s)

MTV MOVIE AWARDS TITANIC SKIT (Run Time 4m 21s)

TITANIC (1997) S.E. EASTER EGG SNL SKIT WITH BILL PAXTON AND JAMES CAMERON (Run Time 4m 47s)

TRAILERS & TEASERS IN WIDESCREEN OR FULL FRAME (Approximately 25 minutes)

TITANIC TV SPOTS IN FULL FRAME (Run Time 5m 26s)

DESTINY

OPPOSITE WORLDS

KNOW THE LEGEND

NOTHING YOU EXPECT

HEART WILL GO ON

SEE IT AGAIN:15

HONORED

TITANIC SINKING SIMMULATION

RTLT TV SPOT GERMAN

SOUND QUALITY

2-DISC SET 2.0 / 5.1 / 6.1 DOLBY DIGITAL SURROUND SOUND WITH DTS

3-DISC SET 2.0 / 5.1 / 6.1 DOLBY DIGITAL SURROUND SOUND WITH DTS

4-DISC SET 2.0 / 5.1 / 6.1 DOLBY DIGITAL SURROUND SOUND WITH DTS

PICTURE QUALITY

2-DISC SET WIDESCREEN ANAMORPHIC 2.35:1

3-DISC SET WIDESCREEN ANAMORPHIC 2.35:1

4-DISC SET WIDESCREEN ANAMORPHIC 2.35:1

SPECIAL FEATURES for the 2-DISC & 3-DISC & 4-DISC EDITIONS

TITANIC SPECIAL EDITION 2-DISC SET

The movie itself on disc 1 & 2

3 all new commentaries

POD Behind the Scenes branching option

"My Heart Will Go On" music video

All new nine minute Alternate Ending: Brock's Epiphany

2.0 / 5.1 / 6.1 dolby digital surround sound with DTS

2.35:1 Widescreen Anamorphic

TITANIC SPECIAL EDITION 3-DISC SET

The movie itself on disc 1 & 2

3 all new commentaries

POD Behind the Scenes branching option

"My Heart Will Go On" music video

All new nine minute Alternate Ending: Brock's Epiphany

29 deleted scenes with optional commentary

Production and special effects featurettes

"Breaking New Ground" TV speicial

Visual effects breakdown of the stunts

Construction Timelapse with Optional Commentary

Titanic Ship's Tour with Optional Commentary

Easter Eggs

Still Galleries

Visual Effects

Videomatics

Titanic Crew Video

Deep Dive Presentation

1912 Newsreel with optional commentary

2.0 / 5.1 / 6.1 dolby digital surround sound with DTS

2.35:1 Widescreen Anamorphic

TITANIC DELUXE COLLECTOR'S EDITION 4-DISC SET

The movie itself on disc 1 & 2

3 all new commentaries

POD Behind the Scenes branching option

"My Heart Will Go On" music video

All new nine minute Alternate Ending: Brock's Epiphany

29 deleted scenes with optional commentary

Production and special effects featurettes

"Breaking New Ground" TV speicial

Visual effects breakdown of the stunts

Construction Timelapse with Optional Commentary

Titanic Ship's Tour with Optional Commentary

Easter Eggs

Still Galleries

Visual Effects

Videomatics

Titanic Crew Video

Deep Dive Presentation

1912 Newsreel with optional commentary

HBO "Heart Of The Ocean" documentry

3 TITANIC parodies

15 trailers and TV spots

2.0 / 5.1 / 6.1 dolby digital surround sound with DTS

2.35:1 Widescreen Anamorphic

Want Titanic Collector's Edition (Four-Disc Combo: Blu-ray 3D / Blu-ray / Digital Copy) (Amazon Exclusiv Discount?

The 3rd disc has 3 hidden easter eggs and here is how to find them:

SNL Skit: Go to Deleted Scenes and the last page with Chapter 29. Move the cursor so the picture for Chapter 29 is highlighted in an orange border. Hit the RIGHT cursor (nothing will happen) and then the DOWN cursor and the faint couple near the bottom will highlighted in a white border.

MTV Skit: Go to the Marketing Menu and highlight "Fox Special: Breaking New Ground". Hit the RIGHT cursor (nothing will happen) and then the DOWN cursor and the newspaper in the lower right of the screen will be highlighted in a yellowish border.

Titanic in 30 Seconds with Bunnies: Go to Special Features, then Still Galleries, then Production Artwork. Move the cursor RIGHT until "View Entire Gallery" is underlined. Hit the UP cursor TWICE until the blue arrow in the middle of the screen is highlighted.

These are really great and you will be very happy to see them!! :) :) :)

The Seven-Per-Cent Solution (Blu-ray/DVD Combo) (1976)

In my opinion, this is probably the best Sherlock Holmes film ever made, and one of only a couple that ring true as being faithful to the spirit of the original stories. This is no Hollywood butchery pitting Sherlock Holmes against Jack the Ripper or Dracula, but a truly excellent film.

The story centers around a cocaine-addicted Sherlock Holmes beginning to lose touch with reality, and the effort by Watson to save him from this fate by recruiting the aid of none other than Sigmund Freud. The three lead actors are thoroughly outstanding. This is especially true for Robert Duvall as Dr. Watson, who is really the lynch-pin of the film. It is a pleasure to see Dr. Watson portrayed well (a doctor and accomplished chronicler after all!) instead of nothing more than the stereotypical bumbling oaf. The story is compelling and entertaining with action and humor in just the right measures. Tennis, fencing, and high-speed chases (by train)!

I can imagine that some Holmes purist might take exception to film, but I think that this original flight of fancy is far better than anything out of Hollywood based on stories that Conan Doyle did write. And the film itself even takes a bit of a bow to the Holmes mythos and Doyle's own designs. I won't give it away, but just listen the last lines in the film as Holmes says goodbye to Watson.

As to the quality of the DVD, however, this one is unexceptional. Just try to let yourself enjoy this 5-star film and don't get too caught up in the media (still, to be fair, the DVD has too lose a star because of the DVD, even if the film itself is great).

This is an off-beat Sherlock Holmes film that rings true. If you're looking for pure fare, just the way Doyle wrote it, look for something by the BBC, such as the Jeremy Brett series of the past decade. If you like this film, try "They Might Be Giants" starring George C. Scott. It, too, is a bit of a 'strange' Sherlock Holmes film that nevertheless seems right.

This is the best Sherlock Holmes motion picture.

The plot, characters, acting, direction, production are all quite good. Nicholas Meyer wrote the screenplay for this adaptation of his very fine novel which resulted in a handsomely crafted and very engaging entertainment. Meyer remains faithfull in spirit to the Canon and takes us on an enjoyable and plausable adventure that moves along at a good pace. Highly recommended!

I regret to say, this early Universal DVD is NOT presented in it's theatrical widescreen ratio. Pan and scan is evident in a few scenes and the images feel claustrophophic. The sound is mono but I thought it was stereo back in 1976. There are no extras. Neither is this disk 16x9 enhanced.

This film deserves to be redone and reissued. And please, Universal, redo that cover. This IS a Sherlock Holmes story. Your theatrical poster art would be welcome here.

There are substantialy less than a handful of Sherlock Holmes films on DVD. Why this is so is a mystery. At the very least we should have Billy Wilder's The Private Life of Sherlock Holmes, Christopher Plummer and James Mason in Murder by Decree, and Basil Rathbone in The Hound of the Baskervilles.

Buy The Seven-Per-Cent Solution (Blu-ray/DVD Combo) (1976) Now

From the opening to the closing credits, filled with illustrations that originally accompanied Doyle's stories in the Strand, the details of the movie are painstakingly accurate when compared to those in the canon. This is one non-canonical Holmes story that exists in the same world as Sir Arthur Conan Doyle's Sherlock Holmes.

The movie takes the liberty of assuming that all of Dr. Watson's accounts of Sherlock Holmes are true, except for one. That would be "The Final Problem", in which the great detective supposedly dies at the hands of his arch-enemy Professor Moriarty. The movie suggests that this story is merely a cover up for a period in time in which Holmes was getting help with his cocaine addiction from none other than famous psychiatrist Sigmund Freud.

The settings and characters ring true to both Doyle's mysteries and the Sydney Paget illustrations that accompanied them. Sherlock Holmes' deerstalker and cloak, though never mentioned by Doyle, look more like Paget's illustrations than ever before, more rugged than in most film interpretations. American actor Robet Duvall, despite sometimes struggling with the British accent, portrays Watson as an intellectually and physically fit comrade for Holmes, not a bumbler. Laurence Olivier's Prof. Moriarty matches the vision of Doyle and Paget rather than the cliché mustache twirler of other movies. Only now, Moriarty isn't really a criminal mastermind. He's Holmes' childhood math tutor.

Alan Arkin depicts Freud as a man of intelligence, insight, and above all, honor.

The inclusion of lesser known characters like Mycroft Holmes and Toby is a plus. There are also references, both direct and sly, to canonical Holmes stories.

While Nicol Williamson's performance as Sherlock Holmes lacks the vigor and spark of Basil Rathbone or Christopher Plummer, Williamson succeeds in showing Holmes as a troubled individual rather than a god. The movie mixes drama, subtle humor, mystery, and even action, finally showing Holmes as the capable fighter he was in the canon. The end of the film strays from the books in order to explore the uncharted territory of Holmes' childhood, providing a deeply moving climax.

This may come truer to Sir Arthur's original vision than any other pastiche written for film so far.

Read Best Reviews of The Seven-Per-Cent Solution (Blu-ray/DVD Combo) (1976) Here

I own this movie on 12" laserdisc format. Unfortunately I haven't had the laserdisc player hooked up in a long time. I've always loved this film. Certainly far above average. I only wish Nicol Williamson would have finished the Granada television Holmes series after Jeremy Brett died. That was sort of a fantasy casting idea. He is superb as Holmes in The Seven Percent Solution. And what can you say about Robert Duvall? You know he's up to the task.

The DVD is out of print in the USA as of this writing (August 2009), and it costs an arm and a leg on the used market.

However, if you have a region-free player, I would check the UK amazon site. You can probably get a Region 2 PAL copy of this movie for about $8 plus shipping. It's also been re-released on DVD in Australia (which the site I'm looking at says is also PAL format -I don't know, I've never bought anything from Australia).

With most DVD players, you can find a little trick with the remote to make it region-free (Google is your friend). Wikipedia's article on "DVD Region Code" states, "Most freeware and open source DVD players, such as VLC, ignore region coding. Most commercial players are locked to a region code, but can be easily changed with software." Likely you could view it on your computer with VLC player. So, if you're a fan of this movie, and you don't mind a small technical challenge... it is available at reasonable prices. I think I'm going to get the import.

Update 10/2011: I did indeed buy the import, and the picture quality is fine. Since I only watch movies on my computer, it was no problem to convert it to a format that can be played with common software players. The movie appears to have been filmed largely through a gauzy lens -i.e. the focus is soft, there is not a lot of detail. I don't believe it is a flaw in the mastering of the DVD. That's just the way the original film looks. I'm very glad I bought this from amazon.uk, as it is one of my favorite films, the best non-canonical Holmes ever done.

Want The Seven-Per-Cent Solution (Blu-ray/DVD Combo) (1976) Discount?

It's the only Sherlock Holmes-inspired movie I have ever thoroughly enjoyed. It's funny, intriguing, clever and even romantic. It takes a lot of poetic liberties with the characters, both the fictional (Sherlock & co) and the real ones (Sigmund Freud), but it ennobles and humanizes them, so fans of both can have nothing to complain about.

The movie does something very interesting: Freud psychoanalyzes Sherlock and 'explains' him.If only it was that easy in real life...but you know that you can never walk away with a full proof 'explanation' to the conundrum that is Sherlock Holmes. Still, as the saying goes, if they did not get it right, they have made a very good point.

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Fargo (Two-Disc Blu-ray/DVD Combo in Blu-ray Packaging) (1996)

Of all the Cohen Brother's tremendously entertaining movies, this is the best. This is the one that they will be remembered for. William H. Macy plays Jerry Lundegaard, a man in a spot. He's a used car salesman that has been securing loans for cars that are not really in his lot. The bank is calling in the loans, threatening legal action, and he needs money fast. He forms a plan to have his own wife kidnapped, thereby splitting the ransom money between himself and the kidnappers.

It's a terrible plan, and it quickly unravels into a bloody mess of murder and betrayal. When bodies begin to mount, a local police officer, Marge Gunderson, is called in. Frances McDormand plays Marge Gunderson, and she makes the movie magical.

McDormand won an Oscar for the role, and this is one instance when the recipient deserved the award. She plays "Margie" with a huge dose of humanity. She is a character that sneaks up on you. When she is introduced, you wonder if perhaps she is just a small town officer in way over her head. She is pregnant, speaks in small town (Minnesota) idioms, and throws up from morning sickness when investigating the first brutal murders. She seems more like a nice, Minnesotan housewife than a cop. But early you get the feeling that there is something special about her.

The killings involve a traffic cop that was killed while issuing a ticket for a missing plate. In his log book, he was written DLR. When Marge's fellow officer says that he has run a search for all tags starting with DLR, Marge says gently, "I'm not sure I agree with you 100 percent on your police work there, Irv." She explains to Irv that DLR means that it was a new car, a dealer's car. "Oooh" says Irv, staring into space. Then Marge tells Irv a joke about the guy that couldn't afford a vanity license plate, so he changed his name to FGS1135. "That's a good one," says Irv, but it is clear Marge's wit has gone over his head.

The brilliance of the scene is that Marge is never cruel or condescending to Irv, never thinks less of him, and is not making fun of him. She is simply enjoying her own intelligence, and we can see the very private sparkle in her eyes.

Marge also has a core of steel. Watch the scene where she gets information from a menacing suspect by reminding him, with almost motherly concern, about all the trouble he has been in with the law, and the fact that he is actually in violation of his parole. She cracks him like an egg without ever loosing her smile.

All actors concerned give great performances. Steve Buscemi brings his pitch-perfect snide larceny to the table, playing one of the kidnappers; and Peter Stormare (who once played Hamlet in an Igmar Bergman production) utters perhaps 15 words in a terrifying performance as the other kidnapper. And, of cource, William H. Macey couldn't have played it Better. His Jerry Lundegaard is so full of stress and fear, you can't watch him without squirming.

I have read where this film has been criticized for making fun of the people of Minnesota, poking fun at their accents and manners. This is not true. The Coen Brothers grew up in Minneapolis, and this is their homage to their own people. The folks in Minnesota may talk funny to the reviewers watching movies in New York and Los Angeles, but this film in no way makes fun of them. At the end of the day, Marge and her husband are happily going to sleep in their bed, in love with one another and content with their shared life. How many other couples portrayed in a Coen Brother's film can make this claim?

How anyone can watch Marge Gunderson in action and think the Coen's were making fun of her is beyond me. Like Marge, they are simply enjoying their own intelligence.

Having owned Fargo both on laserdisc and DVD, watching the Blu-ray transfer projected onto a 200 inch screen is like experiencing the film for the first time at the cinema. If not reference quality (this was a low-budget, independant production), the picture and detail are vastly improved compared to any previous home video presentation the blood really gushes out of the screen. One can now actually see all the unsavoury goings-on in all the murky interior scenes. There is a lot of film grain visible, so thankfully little or no digital noise reduction applied here. The aspect ratio and framing are correct and the sound and dialogue are much clearer than on the very thin-sounding DVD. There are minor edge-enhancement gripes, as other reviewers have pointed out: halos around black objects placed against white backgrounds (see the opening titles, or the lamp posts in Gunderson's car lot) but this shouldn't prevent any film fanatic from shredding the DVD in the wood-chipper and upgrading to this version.

Buy Fargo (Two-Disc Blu-ray/DVD Combo in Blu-ray Packaging) (1996) Now

Whenever I rave about a movie I've recently seen, there's the inevitable question "What's it about?" With regard to this film, I recall responding that it's about a pregnant police chief who eventually solves a series of brutal murders somewhere in the Upper Midwest. (Brainerd, Minnesota? Fargo, North Dakota?) It is always a pleasure to observe Frances McDormand's performance in a role for which she received an Academy Award for best actress in 1996. The film was directed by Joel Coen who co-wrote the screenplay with brother Ethan. This film effectively combines some of the most dead-on (albeit affectionate) cultural satire of Scandinavian Americans in "Small Town U.S.A." with severe physical violence as when one victim is stuffed upside-down in a wood chip machine. (When I first observed "Margie" methodically gathering information, I was reminded of Colombo whose keen mind is also underestimated.) The basic story involves Jerry Lundegaard (William H. Macy), a desperate swindler. After his wealthy father-in-law Wade Gustafson (played by Harve Presnell whom I did not recognize) refuses to become involved in a real estate project, Lundegaard hires Carl Showalter (Steve Buscemi) and Gaear Grimstad (Peter Stormare) to kidnap his wife Jean (Kristin Rudrud) so that he can use most of the ransom to cover his debts and thereby conceal his crimes. Of course, his plan fails and several lose their lives as a result. As the film ends, the camera focuses on Chief Gunderson as drives her police sedan across the bleak winter landscape (think of the surface of the moon beneath three feet of snow and ice), with one of the two kidnappers in custody. She claims not to understand how anyone could behave badly in such a "beautiful" world.

Yes, this is a nasty film...at times severely violent. It also has a number of delightful comic moments, notably during Chief Gunderson's conversations with her husband Norm (John Carroll Lynch) as well as with Lundegaard. The acting by all members of the cast is consistently brilliant under Coen's crisp direction. After numerous viewings, what I still enjoy most in this film is McDormand's performance. Chief Gunderson may have a trusting heart but also a remarkably sharp mind. She wants so much to believe in goodness, to think the best of others, but she is by no means naive. As played by McDormand, she invests this film a warmth which is all the more remarkable, given the physical setting and time of the year.

Read Best Reviews of Fargo (Two-Disc Blu-ray/DVD Combo in Blu-ray Packaging) (1996) Here

I can't believe how many reviewers neglected the fact that part of the genius of this movie is the way it is passed off as a true story. Even the rumor that the cop was really a man just fuels the belief, although it is pure fiction. The acting is great all around, but Macy steals the show as the complex, pathetic Lundegaard, a spineless, wimpy guy who married the overbearing, egotistical boss's ditzy, innocent daughter. We never really find out why Jerry needs the money, although schemes involving a parking lot investment, insurance fraud, and a phony kidnapping are all backfiring as the plot unfolds. Perhaps he simply needs the money from the kidnapping and/or the investment to cover the auto insurance fraud screw-up when they call his loan back. It is never really explained, and to good effect. The impetus for the capers is irrelevant.

Macy's lies (very realistic for a used car salesman), private temper tantrums and loss of control, and lack of authority over his father in-law are perfectly played. The police interview scene in his office with Frances McDormand is pure genius, from the acting to the writing to the filming. This is movie making artistry.

Buscemi and Stormare are perfect as the not-quite-competent thieves hired for the project, with Stormare a cold-blooded and obvious sociopath and Buscemi an almost likeable lost soul.

This is a fairly realistic movie, other than the scene where Stormare fires a single perfect shot at over 100 feet into the back of a fleeing crime witness, who is running in deep snow and illuminated only by car headlights. It's nice to actually see a character in serious pain after getting shot, with lasting wounds, such as Buscemi's Carl Showalter suffers.

Not for the faint of heart, I recommend this movie 100%.

Want Fargo (Two-Disc Blu-ray/DVD Combo in Blu-ray Packaging) (1996) Discount?

Fargo is one of the best films of the 1990's. It revolves around a bizzarre kidnapping scheme that unexpectedly leads to murder. Filled with cold settings, quirky characters, and excellent performances, Fargo is an excellent film.

The central characters of the film are an overextended car salesman (William H. Macy), a pregnant police chief (Frances McDormand), and two kidnappers (Steve Buscemi and Peter Stormare). William H. Macy's character is not a good person, but Macy's excellent performance is able to make us feel his pain. Frances McDormand's character is well mannered, and strong willed, which is great to see in a female character. She definately deserved her oscar for her performance.

Steve Buscemi is great as always. His character is a criminal, but is somewhat likeable. Peter Stormare's character is underrated. His character is a psychopath who hardly ever says anything. His actions show his aggresiveness without even needing to say anything. I would rank his character as one of the best psychopaths, up there with Frank Booth from Blue Velvet and Tommy DeVito from Goodfellas.

The plot is pretty simple, but you still need to pay attention in order to understand it. Part of what I really liked about this movie is how the plot is simple, but the Coen Brothers managed to create a story of kidnapping gone wrong and murder without having an overly complex plot.

The score is very affective. It has a celtic feel to it and expresses the mood of the midwest perfectly.

The way the film is shot resembles Stanley Kubrick's style, as every shot is like a perfectly drawn picture.

I recommend Fargo at all costs. It has a wintry feeling that stays with you hours after you've seen it.

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Black Mask / Forbidden Kingdom (Two-Disc Edition) (2010)

great movies great price. I'm a Jet Li fan and i don't own many of his movies and they are not on netflix right now so 2 blue-rays for a great price was a no brainer

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Tristana (1970)

I read the warning here from another potential buyer complaining about the excision of certain frames from the movie's end-montage, so sent an email to the Cohen Group asking about it.

Here's their reply, which sounds very positive indeed, so I'll be ordering this new Blu ray

"Thank you for your e-mail. The version of the feature TRISTANA that we are releasing is exactly the same version that Criterion released on VHS and Laserdisc in the mid 1990's though the quality is far superior. Our scan is from an original negative, as confirmed by one of Criterion's lead producers (This restoration began with Criterion, but not completed before their license expired). We've checked the negative and there are no physical cuts to the ending montage sequence introducing new material. However, we were made aware that a few shots in the end montage differ from the version available in Europe. We accessed this ending and include it as an alternate ending.

Among other extras, we have included

a feature length audio commentary between Catherine Deneuve and critic Kent Jones,

a 30 minute visual essay about the film featuring Buñuel scholar Peter William Evans,

excerpts from Deneuve's diary entries written during production,

a new essay by Cineaste editor Richard Porton

a chapter on the film from scholar Raymond Durgnat's now out of print book on Buñuel, and

Spanish and English language dialogue tracks.

We feel that you will agree that this is the best looking version available anywhere."

Sounds pretty good ... and they only took one day to answer my query!

Note: Apparently, there is some discussion about whether the film ending provided here is the original as conceived by Buñuel. I can't answer that definitively as I was not at the film's premiere in Spain over 40 years ago. In any version I've seen, I personally find the ending a tad abrupt. However, this is the same ending that was on the Criterion LaserDisc release and those involved in both that release and this one maintain that this is the director's vision. The alternate ending provided in the extras was found on some circulating European prints and so it was provided as a Bonus.

Released in 1970, this late period Buñuel classic serves up exactly what you might expect of the master. With requisite jabs at government, religion, and class distinction, I've always felt like "Tristana" was one of Buñuel's most straightforward efforts. There is sly humor, to be sure, and surrealistic undertones that distinguish his style. But those touches aren't as overt as you might anticipate and we're left with a uncomfortable tale of obsession and shifting sexual mores. Nominated for a Best Foreign Film Oscar, this is also reputed to be one of leading lady Catherine Deneuve's favorite roles. Deneuve had worked with Buñuel previously on the iconic "Belle de Jour" (still the most classic Deneuve role, to my mind), but here she had the opportunity to really get into a complex and developing heroine. She starts as an inquisitive innocent, fosters resentment, gains independence, and shoots into vengeful villainy. This is really, at heart, a tale of one dysfunctional relationship that is a long standing battle for dominance. But when both parties try to get the upper hand, can there ever be a satisfying conclusion or victory?

The great Fernando Rey (also a Buñuel veteran, most notably he went on to do 1972's The Discreet Charm Of The Bourgeoisie and 1977's That Obscure Object Of Desire) plays a nobleman who has position, if not exactly much money. When Deneuve's mother dies, Rey takes in young Tristana and becomes a doting paternal figure. However, he seems to have other designs as he molds the young girl to his specifications. Taking her as a lover, the two spend many years together. But as Tristana gets older, she wants to experience more of life and her feelings start to turn to resentment, than to indifference, and finally to vengeance. When another man (Franco Nero) comes into the picture, it might just be the final undoing of our central pair. But an unexpected third act provides a final showdown that perfectly captures the evolution of their relationship.

While "Tristana" isn't necessarily my favorite Buñuel, it is certainly an essential if you consider yourself a fan. Rey and Deneuve are both terrific, and the twists in the story are gleefully unpleasant. Ultimately, in one way or another, each of the central characters is obsessed with the other which makes the dynamic so interesting. Of special value are the bountiful special features. Deneuve and critic Kent Jones provide a commentary track. I was thrown off by what I thought were sync issues while watching the feature (which is in Spanish with English subtitles), but Deneuve explains it by saying her performance was actually shot in French. And with the complaints of prior releases being re-edited, the film has been restored to its original vision with the alternate ending as one of the extra options. Furthermore, the presentation looks terrific. A must for Buñuel enthusiasts. About 4 1/2 stars. KGHarris, 3/12.

Buy Tristana (1970) Now

Hello. I'm posting this review to let everyone know that the new Blu ray of Luis Bunuel's TRISTANA is excellent both in quality as well as being complete. There is an extra feature of an alternate ending in which a few shots are different, but contrary to an earlier post, the ending on the main feature is exactly the same as when I saw this film at the NYFF & also in theatres. The image quality of this Blu ray is very film like and quite beautiful. In fact, I would say that watching this Blu ray is for me a revelation, bringing out facets of the film I had never noticed before. The image is a touch darker in a few interior scenes than when this film was released, but I don't find this to be a problem. In fact, the difference is so slight as to be a non-issue.

In terms of the quality of Bunuel's film, rather than give my own opinion, I'll simply quote Alfred Hitchcock, who felt after seeing TRISTANA that Bunuel was "the world's greatest living director" and that he had never before seen "such brilliant direction of actors" in a film.

I also must say that the extras on this disc are themselves worth the price of admission, in particular, a film long conversation between Catherine Deneuve and Kent Jones, about her career, her methods of expressing the characters she has played, and her memories of the directors she has worked with. In addition, there is a half hour conversation with Bunuelian scholar Peter William Evans on the struggle of Bunuel to make TRISTANA for over a decade in Spain, and a booklet that includes an essay by Richard Porton, fragments of Ms. Deneuve's diary written during the production of TRISTANA & an excerpt from Raymond Durgnat's book on Bunuel.

Read Best Reviews of Tristana (1970) Here

Note: Apparently, there is some discussion about whether the film ending provided here is the original as conceived by Buñuel. I can't answer that definitively as I was not at the film's premiere in Spain over 40 years ago. In any version I've seen, I personally find the ending a tad abrupt. However, this is the same ending that was on the Criterion LaserDisc release and those involved in both that release and this one maintain that this is the director's vision. The alternate ending provided in the extras was found on some circulating European prints and so it was provided as a Bonus.

Released in 1970, this late period Buñuel classic serves up exactly what you might expect of the master. With requisite jabs at government, religion, and class distinction, I've always felt like "Tristana" was one of Buñuel's most straightforward efforts. There is sly humor, to be sure, and surrealistic undertones that distinguish his style. But those touches aren't as overt as you might anticipate and we're left with a uncomfortable tale of obsession and shifting sexual mores. Nominated for a Best Foreign Film Oscar, this is also reputed to be one of leading lady Catherine Deneuve's favorite roles. Deneuve had worked with Buñuel previously on the iconic "Belle de Jour" (still the most classic Deneuve role, to my mind), but here she had the opportunity to really get into a complex and developing heroine. She starts as an inquisitive innocent, fosters resentment, gains independence, and shoots into vengeful villainy. This is really, at heart, a tale of one dysfunctional relationship that is a long standing battle for dominance. But when both parties try to get the upper hand, can there ever be a satisfying conclusion or victory?

The great Fernando Rey (also a Buñuel veteran, most notably he went on to do 1972's The Discreet Charm Of The Bourgeoisie and 1977's That Obscure Object Of Desire) plays a nobleman who has position, if not exactly much money. When Deneuve's mother dies, Rey takes in young Tristana and becomes a doting paternal figure. However, he seems to have other designs as he molds the young girl to his specifications. Taking her as a lover, the two spend many years together. But as Tristana gets older, she wants to experience more of life and her feelings start to turn to resentment, than to indifference, and finally to vengeance. When another man (Franco Nero) comes into the picture, it might just be the final undoing of our central pair. But an unexpected third act provides a final showdown that perfectly captures the evolution of their relationship.

While "Tristana" isn't necessarily my favorite Buñuel, it is certainly an essential if you consider yourself a fan. Rey and Deneuve are both terrific, and the twists in the story are gleefully unpleasant. Ultimately, in one way or another, each of the central characters is obsessed with the other which makes the dynamic so interesting. Of special value are the bountiful special features. Deneuve and critic Kent Jones provide a commentary track. I was thrown off by what I thought were sync issues while watching the feature (which is in Spanish with English subtitles), but Deneuve explains it by saying her performance was actually shot in French. And with the complaints of prior releases being re-edited, the film has been restored to its original vision with the alternate ending as one of the extra options. Furthermore, the presentation looks terrific. A must for Buñuel enthusiasts. About 4 1/2 stars. KGHarris, 3/12.

Want Tristana (1970) Discount?

The quality of the blu-ray is impeccable; it really looks stunning and is amongst the most visually elegant and beautiful of Bunuel's films. Catherine Deneuve is transcendantly gorgeous, and Fernando Rey is enjoyably unctuous and loathsome. Familiar Bunuelian themes of cruelty, sexual degradation, transgression.

I hadn't seen the film in close to 20 years, though, and remembered the resolution as being more satisfying. It's not uncommon for Bunuel's films to end abruptly; this belongs to that genus. So, thoroughly enjoyable and sumptuous to look at but a bit of a curious ending. Still turning it over in my head a bit.

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Frankenstein (Import)

After disappointingly releasing James Whale's 1931 classic Frankenstein in two previous DVD editions, I had my doubts as to whether or not this edition would be any better. Would Universal give this classic horror film the treatment it deserved? To be honest, the previous DVD's special features were always great, like documentaries, audio commentary, ect.; but the one real issue that bothered me about the other editions was picture and audio quality. I can honestly say that, even after going as far as making a side by side comparison between the first release and this new edition, this new anniversary edition is the one to own. Much has been improved over the old versions, and I could not see any blemishes that exist here that did not exist before. The film now looks sharper, with significantly less dirt and dust, and the contrast of the expressionist photography has also been improved, with truer blacks and more subtle grays giving the film's cinematography the dark starkness it was intended to have, I dare say the film probably hasn't looked this good in years. And as a plus, they let the end credits fade to black like they were intended to, unlike in previous DVD editions when they strangely paused the end credits. As far as audio is concerned, it is good and loud, somewhat hissy, but not distractingly so. Extra special features also worth while. This new edition finally fives this classic the digital treatment it deserves and proves that even after 75 years, Frankenstein is still a fascinating landmark in early American horror cinema.

Although I have seen better prints of the film, this DVD issue of Universal Studio's famous FRANKENSTEIN is a magnificient package that is sure to delight any fan of classic horror. The film itself has been restored for content, and the Skal-hosted documentary--which traces the story from Mary Shelly's famous novel through its numerous film incarnations--is a delight, including numerous interviews with various historians, critics, and Karloff's daughter. The bonus audio track by Rudy Behlmer is also quite interesting, as are the various biographies and notes, and although the short film BOO is a spurious mix of footage from NOSFERATU, DRACULA, THE CAT AND THE CANARY, and FRANKENSTEIN, it is an enjoyable little throw-away. All in all, it doesn't get much better than this.

As for the film itself, the production of FRANKENSTEIN was prompted by the incredible success of the earlier DRACULA--but where DRACULA is a rather problematic and significantly dated film, FRANKENSTEIN was and remains one of the most original horror films to ever emerge from Hollywood. Much of the credit for this goes to director James Whale, who by all accounts was deeply influenced by silent German film and his own traumatic experiences during World War I--and who mixed those elements with occasional flourishes of macabre humor to create a remarkably consistent vision of Mary Shelly's original novel.

Whale was extremely, extremely fortunate in his cast. Colin Clive was a difficult actor, but Whale not only managed to get him through the film but to draw from him his finest screen performance; Mae Clarke is a memorable Elizabeth; and Dwight Frye, so memorable in DRACULA, tops himself as Fritz. But all eyes here are on Boris Karloff as the monster. Karloff had been kicking around Hollywood for a decade, and although he appeared in quite a few films before FRANKENSTEIN he never really registered with the public. But in this role, acting under heavy make-up, weighed down by lead weights in his shoes and struts around his legs, and without a line of intelligible dialogue he offered a performance that transcended the word "monster." This is a suffering being, dangerous mainly through innocence of his own power and the way of the world, goaded from disaster to disaster to disaster. Even some seventy-plus years later, it is difficult to imagine any other actor in the part.

Karloff would play the monster again in two later films, one of them directed by Whale, but although THE BRIDE OF FRANKENSTEIN is a remarkable film in its own right, this is the original combination of talents and the original vision. Truly a national treasure, to be enjoyed over and over again. Strongly recommended.

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I notice most of the reviews posted here are for a different DVD, the Legacy Collection of Frankenstein movies. But this 75th anniversary edition is only ONE movie, the original Frankenstein, along with some "making of" and interviews on the second disc. While this is a good version of the film it only costs a few dollars more to get the Legacy collection which includes Bride of ..., Son of ..., Ghost of ..., House of ..., Frankenstein's Second Cousin, etc.. Don't make the mistake of buying this version based upon these wrong reviews, especially when you buy it new paying full price.

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All movies are dated. Some are more dated than others, of course. A film's dated quality can be its strength as well as its weakness. Much film criticism has surrounded the primitive techniques used in 1931's "Dracula" and "Frankenstein". Lack of musical score, obvious use of studio sets, theatrical acting, pedestrian use of the camera, etc. Yet I would argue that these qualities are what make these films unique and give them a dream-like, nightmarish quality, which the later, slicker and more polished sequels lacked. The sound of the Frankenstein monster's footsteps coming down the hall before his entrance, the thumping of the dirt being thrown atop the coffin in the opening sequence, all would be lost had they been interpolated in a musical score. The same goes for "Dracula"'s scattering rats, bats and night creatures among the clacking bones in the coffins. Granted, the later "Bride of Frankenstein" brilliantly used music and a far more sophisticated film technique to unfold its story, yet it was a completely different piece of art. It was much more operatic and complex and full of irony and satire as well as horror. Whereas "Bride" gave us thrills, "Frankenstein" gave us chills.

There is something magical about pre-code films. These are films made before 1935 or so, before the Hollywood moral police enforced their censorship rules on the studio system. Pre-code films have a raw quality, an edge, a wisecracking, bristling aura that code movies don't. Code movies tend to be slicker, polished, glamorous and more cautious in the their content. Just compare "King Kong" (1933), "42nd St." of the same year, "Public Enemy" (1931), as well as the aformentioned "Dracula" and "Frankenstein" to any film of the code era and you'll see what I mean.

"Frankenstein" is a raw frightfest that still has some scary moments: just watch Karloff's face as he tries to come through the door after killing Fritz, with Frankenstein and Waldman trying to keep it closed. His growls are enough to still send shivers up your spine.

And yet look at the desperation in his face after he throws Frankenstein off the windmill and the villagers decide his fate. It is a look of panic and helplessness.

You can't help feel sorry for him, despite all the terror he has caused. This is genius movie-making and still scary stuff after 3/4 of a century!

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OK...........well....I am exactly the sucker....err....I mean FAN...yea, FAN that Universal goes after with these multi-dip releases. I have just finished comparing the 90's release, Legacy box set, & this, the 75th Anniversary FRANKENSTEIN DVD's. BTW: If anyone reads my DRACULA comments, you'll see they are similar in my final opinions.

So, overall, YES.....I'd say there is a better picture quality to this transfer. But look.....when someone tells me a film has been restored, especially a film of the calibre of FRANKENSTEIN, then I expect to have my bolts knocked off with the transfer....ESPECIALLY AFTER BUYING TWO PREVIOUS RELEASES. I don't need to be told how old these films are and what to expect. Technology allows for many things these days and IF a company is going to toot their horn and say something is restored....especially a high roller like Universal....then RESTORE IT.

Now, if you have either of the previous releases, you'll know that the transfers weren't all that bad...not great, but definitely liveable (remember when it was just cool to get this on a disc?lol:-). In this one, the print STILL has a noticeable amount of speckles and murkiness as the other two. So to say this was the blingbling-anniversary-looked-like-we-gave-a-poop-release, well, it STILL comes up short as far as the cleanup. If this was the first time I'd ever seen this movie released on DVD, then I'd say OMIGAWD, this is amazing.....but compared to the last releases, this doesn't show me all that much difference in picture quality. Maybe if Universal spent the time and energy to do it right.....i.e. the definitive HD transfer and stopped this rerelease crap, I'd be more impressed. As it is, it seems to be more money gaining effort than an actual 'Anniversary' effort.

I did notice that on the LEGACY BOX SET (the green packaging), the sound had more of the fuzziness. I noticed this with DRACULA as well, that the 90's releases (poster art covers) SEEMED to have better sound than the LEGACY versions. But then this is at the same time picking the lesser of two evils in sound quality as none sound all that spectacular to begin with.

So let's see.....let's recap shall we:

PICTURE QUALITY: Better than the LEGACY BOX SET, though -that can be arguedin various parts of the film. If you NEVER picked up a DVD copy of this film, then this is the one to get. If you have the other two versions, I'd decide how much you like this film before dropping the cash for it. I mean really....only hardcore collectors are going to feel compelled to upgrade to get three or four less speckles per scene (well, that's an exaggeration, but you get the picure).

VALUE: If you are only marginally interested in the classics monster stuff, get the LEGACY SET. It at least has more films included as well as the same special features (minus the one new one added here) and definitely decent film quality. The first releases from the 90's might be cheaper to find used at this point though...and surprise! they have the same d@mn features...only back then, they really WERE special unlike now, when other than the new Karloff piece, they are recycled.

PACKAGING: So.....with this new release, we get cooler sepia toned box art. A nice touch. The packaging is nearly identical in construction as the LEGACY sets, i.e. it opens like a hardback book. Only here, it seems kinda skimpy. Whereas the LEGACY was this slicked cover housed in a window sleeve to protect the case. Well, here is a simulated 'leather'-ish cover with no gloss, and no case. I know this is minor to some, but hey, this will get scuffed & jacked up. And depending on where you buy this, for the price (in some places nearly 30 bucks) well, Universal could have at least given us a sleeve to put this in.

OVERALL PART 2: This releases is cool....but still gets a 50/50 for what we get packaged up.

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The Exorcist (1973 & 2000 Versions) - 2-Disc Set ( Exorcist (Extended Director's Cut & Original The

This is the 2010 _Region_Free_ U.K. 2-disc Blu-ray release. It's the same as the U.S. 2-disc digi-book without the book, just the two discs in a standard Blu-ray two disc case. Case cover and disc have European markings. The blue and read seals with numbers (18; minimum purchase and viewing age) are the Irish (Rep. of) and U.K. These are their government equivalents of the U.S. film industry's MPAA ratings; film is rated "R" by MPAA which equates to the Irish and U.K. ratings. The discs have these two seals plus a third, German one (minimum age in Germany: 16). Unlike European DVDs which usually cannot play properly in U.S. DVD players (PAL vs. NTSC encoding; an issue completely unrelated to region protection code "flags"), region free Blu-ray discs should play without any problem in U.S. Blu-ray players. Indeed they should play in *any* Blu-Ray player in *any* region (that's had its firmware updated/maintained properly).

The 2000 "Extended" version is on Disc 1 with some of the extras; 1973 "Theatrical" version is on Disc 2 with more extras. Both discs are 50 GB dual-layer. The 2010 transfer of both versions is excellent without jitter and containing superb detail with equally excellent restoration to eliminate any significant print damage. Color rendition looks good (to me). I did not see any DNR issues. It's not 100% perfect, but quite likely about as good as can be done transferring and re-mastering 37 year old print(s). Some difference in film stocks and shooting units (cameras ??) can be seen in the beginning that was shot in Iraq if one looks carefully at these scenes. In addition, film grain can be seen in places. This isn't the transfer, it's the original film stock used, and the cinematography units and their cameras. In short, on a 1080p HDTV, it's about as good as you'd get as an optical projection of a film print in a theater. Original audio was monaural (surprised me some for a 1973 film). It's been remixed to DTS-HD Master Audio 5.1 ES on the "Extended" and DTS-HD Master Audio 5.1 surround on the "Theatrical." Sounds very good with things still well centered on the "center" channel; remixing was not over-done. Fidelity is quite good considering its source is a 1973 era analog monaural recording (the kind of fidelity and bass thumping found in current films isn't there and never was). Mid-level and higher home 5.1 systems will deliver better audio with finer details to be heard than anyone ever experienced in any theater in 1973. Purists might complain that the transfer was reformatted to 1.78:1 (16:9 HDTV ratio) compared to the 1.85:1 aspect ratio as it was originally projected theatrically using a projection mask on the theater projector's film gate. This was NOT done by cropping anything from what was originally projected in theaters, it was performed by opening up the frame slightly top and bottom during the transfer. The full-frame original negative and work prints are 1.37:1 aspect ratio (~4:3). Cinematography was composed in-camera for 1.85:1 projection during shooting using viewfinder masks. (This was and continues to be an industry standard alternative to shooting and projecting for wide screen using anamorphic lenses.)

What's to say about the film itself? It's a well-known classic even those (adults) who have never seen it generally understand its content. Completely deserving of its R rating by the MPAA due to extremely strong language, a very disturbing scene with sexual content involving the girl (while possessed), and graphically violent death scenes. It is only one or two steps shy of NC-17 although the MPAA has gradually become much more tolerant with film content over the years. Like most thrillers, suspense and horror genre of its era, its pacing is slower than many current films in these same genre that launch immediately into non-stop action. Instead, it lays the character and story groundwork while gradually building the frequency and intensity of disturbing and horrific incidents until the climax at the very end. As I understand it, the "Extended" version is the 2000 Director's Cut which restored nearly all (if not all) the scenes that were cut by Friedkin after the studio execs reviewed the film. Blatty, the novel and screenplay author, was extremely upset with Friedkin for many years over this, in spite of the film's immense success and continued popularity. The "Extended" represents what would have been originally released had a studio exec not suggested these cuts, or if Friedkin had ignored that exec's suggestions. It's become a horror classic that has withstood nearly four decades of other horror film writers and directors chasing after its macabre presentation of pure evil . . . and this done in an era without any CGI and other modern special effects. It doesn't need the modern audio-visual shock methods as its terror preys upon the mind as much or more as it does the visual and aural senses. Few since are its peer. The ten Academy nominations including Best Picture, and seven Golden Globe nominations it received . . . unheard of for a horror film including being the first one nominated for an Academy Best Picture . . . should be telling. In my opinion it's a "must see" . . . either version . . . for those that like or study the horror and thriller film genre (although I recommend the Extended).

Note that even now, the writer and director do NOT consider this a "horror" film and never have. They have always characterized it as a (theological) "thriller." Put it into whatever genre bin you wish. It still ranks as one of the "scariest" films ever made. Various scenes have remained shocking even with repeated viewing and knowing what will happen next.

Infernal Affairs (2002)

'Infernal Affairs' is the biggest box-office hit in Hong Kong in 2002, and if you see it, you won't be surprised with that fact. The film's premises are very simple; it's about a cop who is actually a gangster, and a gangster who is really a cop. With this clever version of 'undercover' theme (that was previously seen in the films like 'Donnie Brasco'), 'Infernal Affairs' presents as much tension and humanity as was seen in that Johnny Depp/Al Pacino film.

Ming (Andy Lau, 'House of Flying Daggers') is a young mole in the Honk Kong police, whose real boss is Sam, head of the Triads. He has been in police force for nearly ten years, and starts to doubt his life while faithfully swears his loyality to Sam.

At the same time, Yan (Tony Leung, 'In the Mood for Love') is an undercover cop, who has been in Sam's Triad for ten years. His superior officer Wong (Anthony Wong) is the only one who knows his real identity in the police, and Yan is also getting fed up with the life based on lies.

As the poilce force confronts the Triads, both Ming and Yan attempt to help their side anticipate the moves of the other. Finally, both sides realize that there are moles among them, and investigations and revenges make these characters lives more complex and unbearable.

DO NOT EXPECT the martial arts or so-called actions. This is a noir, and that means that it is the characters that matter, or their lives. I know, though the story is simple, it needs leap of faith. But the portraits of the people, and the pains of keeping on pretending what they are not, are vividly presented that the audiences will be sucked into the turmoil of their emotions. And the results are often nerve-shattering.

ANd the acting is all top-notch. I hear the talk of Hollywood remakes, which, I am afraid, is a tough work to do. Lau and Leung are both perfect, but more fantastic are Anthony Wong as police inspector and Eric Tsang as Triad boss. Their performances are so magnificient, even sublime at times, that you will stop caring which side would ultimately win.

Helped greatly by the moody camera (Andrew Lau and Lai Yiu Fai & 'visual consultant' Christopher Doyle, 'Rabbit Proof Fence'), 'Infernal Affairs' tells you that without John Woo Hong Kong movie industry can still produce excellent films with a touch of reality.

'Infernal Affairs' is part of trilogy, and you will see 'IA II' and 'IA III' sooner or later. 'Infernal Affairs' is the one you are watching now; 'Infernal Affairs II' is a prequel to it; and 'Infernal Affairs III' is a sequel to the original. But remember, the series is not the usual Hollywood commercial tactics to cash in on the hit movie, for some say '2' is better than the original. That's the only reason I don't give 5 stars, which 'Infernal Affairs' certainly deserves.

There are some very good reviews already posted about "Infernal Affairs", although they got some minor facts wrong (such as which actor played which role). This review will look at differences between this film and "The Departed"--for Scorsese fans who enjoyed his version and now wonder if they should see the original.

Yes, they should see the original.

Scorsese did a remake which followed the original storyline closely. Scorsese's style, as always, is marvelous. His work is more controlled than usual--no digressions into extended violent scenes (as in Casino, although "The Departed" film is much more violent than "Infernal Affairs"), no plot diversions into draft riots during the Civil War...etc.

However, the Scorsese film--which I enjoyed and was his best film in years--left me unsatisfied, while "Infernal Affairs" was extremely satisfying. Both films are tragedies, but the drama is far more deeply felt (for me) in "Infernal Affairs" than in "The Departed".

Why?

The answer lies in the difference in approach between the film making cultures of Hong Kong and Hollywood. Between what each culture feels the audience wants. Between the pressures of a higher budget and bigger stars. Scorsese, whether the actors asked for it or not, clearly felt a need to give the principal actors meatier roles. The film brothers who made the Hong Kong original only wanted to get the job done--a crisp story that did what it needed to, and then got out.

The Hollywood version takes a lot of time to provide additional detail to the story to flesh out the characters and give them showy scenes. "The Departed" runs about forty minutes longer than "Infernal Affairs". It adds a love interest (which really goes nowhere) and a lot of character details. Probably worse...

SPOILER ALERT SPOILER ALERT

...the Scorsese film attempts "justice" at the end. It is perhaps an American need to tie up loose ends, to make things right. Maybe it is the pressure stemming from a bigger budget, and needing to satisfy a larger audience. But dramatically, the Hong Kong version had it much better.

REALLY SPOILERS, REALLY! DON'T READ IF YOU HAVEN'T SEEN THE DEPARTED!!!! STOP!!! WHAT'S WRONG WITH YOU???

In the Scorsese version, an additional character, played by Mark Whalberg, is added to create justice--someone, in the end, to bump off the Matt Damon character. The problem with this is dual. First, it creates a huge plot hole--if Whalberg is around, then there is someone to prove that the DiCaprio character is really a cop, so much of how the film ends simply makes no sense at all. DiCaprio does not need to get Damon to prove he is an undercover cop if Whalberg is around. And, why does Whalberg remain in the background instead of going directly to his superiors? Why does DiCaprio not seek out Whalberg?

No, sorry Marty. None of it really works. Whalberg is only there to kill Damon in the end.

But this is very misguided. I personally felt a lot of involvement with the DiCaprio character. When the bad stuff happened to him, I felt the tragedy, but when Whalberg bumps off Damon, I felt cheated.

If the movie was going after justice, why not just have an ending with DiCaprio living? But this is the big budget American idea of entertainment, I guess--a more or less happy ending, even if it completely screws up the story.

So while I enjoyed the film, I walked out unsatisfied.

Then I watched, a few days ago, the Chinese original. The ending is far more cynical, and as a result works a lot better. There is no Whalberg character, no big plot hole. In addition, the film was faster and cleaner, much less showy. No bigger role for Nicholson to strut his stuff. No extraneous love interest. Not as much explicit violence to give the audience a cheap thrill.

Less Hollywood over the top and pandering to the audience was what makes "Infernal Affairs" the superior film--and one worth buying, as you'll never see it on tv.

Oh well, guess this means Scorsese will send Joe Pesci after me!

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Infernal Affairs begins as young police cadet named Chan Wing Yan (Tony Leung) is being groomed by the highest ranks of the Academy to eventually become an inside man for the police. His keen eye and steady dimeaner makes him the perfect candidate to infiltrate the Triads, who have taken control of Hong Kong's streets and are peddling massive amounts of drugs to it's citizens. At the same time, a different road is laid out for fellow Academy officer Lau Kin Ming (Andy Lau). Although we aren't witness to the actual path he takes, Ming becomes Yan's counterpart in the film, as he uses his position within the higher ranks of the police department to keep Triad Boss Sam a step ahead of any police actions. Sam is deftly played by Eric Tsang, who gives a highly effective, authentic performance here. What follows is one of the best table-turning, catch-me-if-you-can cop stories ever put to film.

Often compared with another great epic, Heat, Infernal Affairs is quicker, brighter and goes down in 40 minute less time. It's apparent why this film became a smashing success in Asia and in turn, exploded onto the world scene. Spawning a sequel (which is actually a prequel) and then a third installment.

Returning to the story; Yan, after leaving the Academy and subsequently earning his chops

on the street as a Triad footman for 10 years, becomes a member deep in Sam's inner circle. Yan continues to work directly and exclusively with Superintendent Wong (played by Anthony Wong) feeding him information that Wong puts to good use. He brings that information to his most elite police team led by Officer Ming, who unbeknownst to Wong, relays it back to the Triads. Ming showcases his moxie and stealth inside an active command center, feeding police channels and locations to Sam in real-time, within five feet of fellow officers. Yan, at the same time, finds a way to keep Wong informed. A brilliantly scripted Felix Chong & Siu Fai Mak screenplay lends weight, tension and gravity to even the simplest scenes. Finally, Wong is able to get Sam brought in to be interviewed, but by that time, they both know that each has an undercover man inside their particular camps. In a Pacino/DeNiro-esque face-off, Wong and Sam smugly challenge each other to find their respective moles. The rest of the film is yours to enjoy.

One aspect of this film that gets as much attention and kudos as the characters themselves

is Chan Kwong Wing's stellar, powerful, moody soundtrack. The original score begins the

film along with sweeping, abstract visuals that flow gracefully across the screen, accompanied by the undulating score. What stuck with me in particular (as a first time listener to his work) was the alternately light, then heavy drum tracks as they scurried from front to back, left to right, left-rear to right-rear and diagonally back; washing the entire room with energy and life. The mood shifted from forceful grandeur to intricate suspicion and back again. The perfect audio preview to what was to follow. Deep inside the film is a heart-wrenching female vocal track that seems to signal the true beginning to Yan and Ming's respective gambits toward finding out each another, and when she sings again, yet another chapter begins to take shape. It's brilliant in depth and scope. Never a track out of step with the film and only the most appropriate volume and energy. So rarely does a soundtrack fall into line and dance so well with a film. So rarely does one set the tone for a film.

Infernal Affairs is loaded with subterfuge and intrigue. We're privy to both sides of the proverbial infiltration equation from the start, but this formula gets more complex with near misses and natural character evolutions, even as the story itself appears to begin it's resolution. At least that's what I found. There is a touch generic cop vs. cop to it (if I must find a flaw), with a couple classic stand-offs, but very little mano a mano conflict. The film's confrontations are wholly group against group; good against bad. That can't be ignored. The beauty of the film is in the interaction. It has all of the elements of many crime dramas, but Infernal Affairs is genuine and sophisticated like none other.

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This is one of those movies you want to tell people about, coming from someone who's not really a Hong Kong film aficionado.

It has a simple but ingenious plot, first-rate acting, nice dollops of suspense and gunplay and a satisfying ending.

Simply put, a Triad boss places a young, up-and-coming gangster in the police academy to become a mole. Simultaneously, the police pull an up-and-coming cadet OUT of school, to become a Triad mole.

Ten years later, both moles still exist, and are entrusted by their respective bosses to, bluntly, find themselves.

The two scenes where the good guys and the bad guys dizzily interlace during attempted crimes are real corkers...as good as anything I've seen in years.

You can't watch this film and NOT think of Michael Mann's "Heat"...the cinematography, the urban gun fights, the two mercurial leads...and the rumors of a Scorsese remake only add to my fascination with this movie.

The thing keeping this from a five-star experience is that there are a few peripheral characters that feel like they should be more important, but they're not. There were a few characters who appear once or twice, but are all given these meaningful shots at the film's conclusion...

Maybe if I had seen more HK cinema, I would understand more...but I'll tell you, this is a great movie period, whether you think you like "foreign films" or not.

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I decided to check out Infernal Affairs after it got a lot of positive word of mouth at the Denver International Film Festival a couple years ago. I was not disappointed. The storyline is immediately engaging, as the police and a major crime gang each place an undercover member into the opposing organization. From that point on, the groups race against each other to find the mole that has infiltrated their ranks. The storyline's twists and turns keep the viewer guessing until the very end. The movie is fast-paced and suspenseful throughout.

Martin Scorsese is currently shooting a remake of this film. The American version will be called The Departed. I question whether a remake is necessary, since Infernal Affairs easily stands on its own, and as it is it should be accessible to American audiences. However, since Scorsese always puts his own stamp on his works, I'm eager to see his take on this fascinating thriller.

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