Die Hard (Blu-ray / DVD Combo) (2013)

At the end of the Eighties the action movie genre, which had flourished throughout the decade, began to stagnate. Cinema goers had seen enough explosions and gunfights cloned from the same formula made popular by Arnie and Sly. Both of these men were moving in the direction of comedy and action movies needed something new.. something fresh. In stepped John McTiernan and Bruce Willis with DIE HARD. Willis, most famous at the time for the comic T.V. Series 'Moonlighting', made a perfect ordinary-man-in-an-extraordinary-situation action hero. He was believeable as John McClane and not immune to being hurt. He blead and felt pain, a first for the genre. And yet his cool confident delivery of a great wisecracking, intelligent script made him all the cooler. But most credit should go to Director John McTiernan, king of the sophisticated action flick. He made action movies slick, smart and full of pace and wit while never letting up on the bullets, cars and bombs front. Special praise must go out to Alan Rickman too whose performance as chief baddie Hans is to this day one of cinemas finest, moving convincingly from cool, calm and collected to desperate and nervous, never once seeming anything less than utterly ruthless and calculating. Die Hard is a great movie for a number of reasons but adding three dimensions to the action genre is this films finest achievement and anyone who has not sampled its delights before now would be wise to get a copy as soon as possible. But don't see it on T.V. oh no, because it is never without significant and completely unnecessary extra editing for violence and language. Enjoy it on video or DVD if you can, see it in all its original splendor, it is arguably the greatest action film ever made. And then go see the sequels.. they rock too!

Because of the fact that the new Die Hard movie is coming out, 20th Century Fox has discontinued the GREAT Special Edition DVD's of the first three Die Hard DVD'S, and are replacing them with newly-packaged one-disc versions with only half of those original DVD's features. This DVD, the Special Edition Steelbook, is the only DVD that Fox has just released worth buying, because it is a repackaged edition of the original Two-Disc Special Edition of Die Hard. Hopefully Fox will do the same thing with the other Die Hard movies.

Bottom Line: Forget the new Die Hard boxset, get this instead and wait for the other ones.

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When I bought the "Die Hard Ultimate Collection" set, I really didn't think they would be able to do much with the very first Die Hard. It's a pretty old movie. I really didn't know if they could do much to improve the picture and sound quality of the movie. Well, I thought wrong, for when I watched this movie, I was completely shocked and stunned. I said to myself, "I can't believe they made this movie better."

This has to be one of the best transfers I have ever seen. The picture is ten times more crisper and sharper than the older DVD version. When the terrorists shoot out the glass windows to trap Willis, you can literally see every single piece of glass landing on the floor. Also, the sound is explosive and very impressive, especially if you can watch it in DTS. When I watched this new version of "Die Hard", it was like seeing it for the very first time.

If you are not familiar with "Die Hard", here's the story: Bruce Willis is John McClane, a very short tempered New York cop. He goes to California, hoping to patch things up with his wife, who works at the Nakatomi Plaza. All of that changes when a group of terrorists, armed to the teeth with guns and explosives, decide to take over the building. Now, the only one who can stop them is McClane, and believe, he's not too thrilled with the idea, but he knows he's the only one who stands a chance against them. McClane goes on a one-man war, running around the plaza, taking out the bad guys, and trying his best to stay alive. As soon as he hears the first gun shot, McClane knows he's about to have a very bad day.

This is a must have for anyone who loves "Die Hard". I know some might be hesitant since they already have the first box set, but believe me, it is worth it. Filled with non-stop action and thrills, "Die Hard" is a classic, and should be seen by all who loves action films. Again, I must say this is one of the best transfers I have ever seen. An easy five out of five, without question.

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Die Hard Blu-ray far exceeds the Five-Star Collection version I own on DVD > I directly compared the two and the upgrades are incredible. The Blu-ray video is exceptional in almost every way. In my opinion the Blu-ray viewing exceeds the theatrical experience. The surround sound mix is sick > making great use of sub and back speakers. If you are a fan of the original Die Hard you will not be disappointed in the least with this release. Everybody knows Die Hard is one of the best action movies ever > highly entertaining and just as cool as it was 20 years ago. A classic flick given a great Blu-ray release > this is a no-brainer purchase. I highly recommend buying this Blu-ray.

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Off-duty cop (Bruce Willis) saves hostages and dispatches the sadistic bad guys against overwhelming odds; a simple plot, done many times since this 1988 thriller, but never done as effectively. The difference: This movie is well-written, well-acted, and well-directed. The script balances heart-pounding action with funny one-liners that always make me laugh out loud. Bruce Willis is wonderful as the Rambo-esque superguy who outwits, outplays, and outlasts the heavily-armed killers, and reveals just enough of his tender side to endear his character to the audience.

Willis is backed up by outstanding supporting players who add depth and surprises: Reginald Veljohnson is the sympathetic cop Willis talks to via radio during his ordeal. Alan Rickman plays the cruel, urbane gang leader with devilish flair. He is assisted by the talented Alexander Godunov as a ruthless killer.

The production values are top quality, the action never stops, and each stunt is unique and utterly stupendous. I heartily recommend Die Hard to those who love action films and those who just love excellence in film.

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The King's Speech (2010)

There always seems to come a time in every British actors career where they must play the role of a historical British monarch. Riding on the success of his career defining performance in "A Single Man" and sampling the glory of Best Actor nominations across the award circuits, Colin Firth comes storming back with another film, determined, this time, to take the all the prizes with him too. But is "The King's Speech" worth its pre-Oscar hype?

Set across the years between the First and Second World War, "The King's Speech" concentrates on the rise of King George VI (Firth) and his personal woes, including his infamous stammer and disdain for public speaking. Obviously being royalty, having an ability to engage the public in moving and inspirational speeches tends to be a necessity of the job. In attempting to overcome this disability, he's entrusted in the care of the eccentric and flamboyant speech therapist, Lionel Logue (Geoffrey Rush).

Over the course of the film, the two men of distinctly different social classes come to blows but ultimately forge a friendship which will last a lifetime.

Colin Firth's portrayal of George VI (or simply Bertie to his family and friends) was a fascinating insight into the king's troubled personal life. His tragic inability to speak, both in public and to his family, was also tender and, in a way, heart-warmingly humbling.

While Firth will deservedly get the plaudits for his regal starring role, it was Geoffrey Rush's witty, genuine, off-the-wall performance as Logue which personally blew me away, with immense comic timing and inability to be overwhelmed while in the presence of his most prestigious client.

The supporting cast was littered with enough real quality to make any award body take notice, and make most audiences marvel in delight.

The graceful and articulate Helen Bonham Carter gives a honest and loving performance as the late Queen Mother, Elizabeth.

Michael Gambon is sharp and somewhat intimidating as Bertie's father, King George V. Guy Pearce is arrogantly brilliant as Firth's brother and predecessor, King Edward VIII.

While the excellent Timothy Spall shone once again, in his second portrayal as the great Winston Churchill (his first was in October's god awful stop animation, Jackboots on Whitehall). It was also a pleasure to see the classy Jennifer Ehle who starred opposite Firth in, perhaps, his most famous role as Mr Darcy in the BBC adaptation of Pride and Prejudice as Lionel's wife.

Hooper should also be credited for making a visually engaging period drama, which never once felt tired or dull on the eyes, as a lot of these quintessentially British affairs can so often become.

The film's themes are also an uplifting and enjoyable treat for all; a story of friendship between essentially a prince and a pauper, a man's journey to overcome his own personal adversaries and become the king he was born to be.

Yes we won't lie, this isn't original by any means: these are classic tried and tested formulas that transcends cinema of the ages but rarely to this level of detail and panache.

Colin Firth and Geoffrey Rush's performances make "The King's Speech" an enthralling journey which is heart-warming, humorous and genuinely sincere.

Highly recommended.

Andrew Moore

**** 1/2

THE KING'S SPEECH is one of those rare films that rely on the brilliance of the actors to bring a story/screenplay alive. But the success of this extraordinary film does not stop there. This re-telling of history as written by David Seidler and as directed with enormous sensitivity by Tom Hooper, as captured on film by cinematographer Danny Cohen glows as a background for some of the finest acting before the public today.

The film opens in 1925 as King George V (Michael Gambon) is beginning to fail, leaving the heir apparent to the throne at the time of his death to be Edward VIII (Guy Pearce), a man more concerned with love with the twice divorced Wallis Simpson (Eve Best) than he is with the Royal Lineage. Once the now senile George V dies, Edward VIII takes the throne but soon abdicates to marry Wallis. This passes the throne to the tender but severely stammering Prince Albert (Colin Firth), a man terrified of facing his beloved countrymen because of his speech defect a defect that his wife Elizabeth (Helena Bonham Carter) has encouraged him to correct through a series of speech doctors. Elizabeth hears of Australian émigré Lionel Logue (Geoffrey Rush), a poor wannabe actor who gained his knowledge for correcting speech defects teaching returning WW I victims in Australia. Prince Albert (Bertie) and Logue meet and begin therapy by Logue's tough rules before Albert takes the throne. Through a series of rigorous exercises and lessons Logue helps the Prince learn to speak, finally accompanying him to the throne as a speech therapist and giving Bertie (now known as King George VI) the courage and strength to rise to the occasion of leading England through WW II.

Though the above is a brief synopsis of the story, the real message of the film deals with the gradual building of a close friendship between Bertie and Logue or between royalty and commoner. The manner in which Colin Firth and Geoffrey Rush create this memorable relationship represents some of the finest acting in cinema history. The very large cast includes such luminaries as Claire Bloom as Queen Mary, Derek Jacobi as Archbishop Cosmo Lang, Jennifer Ehle as Logue's wife, Timothy Spall in a brilliant turn as Winston Churchill, Anthony Andrews as Stanley Baldwin, and Roger Parrott as Neville Chamberlain. Alexandre Desplat provides the original music allow heavy portions of Beethoven's 7th Symphony and Emperor Concerto (with Steven Osborne as piano soloist). This is a perfect film, well deserving to win the Oscars for every category for which it is nominated. Grady Harp, January 11

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Earlier this year when I started hearing raves about "The King's Speech" on the film festival circuit, I knew it was a film for me. I have eagerly awaited its arrival for many months and, as expected, it is a dignified and well scripted effort. Intelligent, adult entertainment of this sort only hits the theaters around awards time and there is no denying that "The King's Speech" is positioning itself perfectly for the year's biggest competition. In an unusual bit of bravado, David Seidler's screenplay is fashioned as a feel good underdog story. Yes, that's right--King George VI is a plucky survivor who must overcome adversity to win the respect of his family and his nation. It's an unusual tactic, really, but I think that's why so many people are responding to "The King's Speech" in a more personal way than past stories of regal history. The film humanizes this world leader in a very identifiable way.

The plotting of "The King's Speech" is pretty straightforward and most people will know the principle story through either history or the film's advertising. Colin Firth plays King George VI who battled with a bad stutter for most of his life. Trying to stay out of the spotlight, Firth has never worried about ascending to the throne as he has an older brother (Guy Pearce) who is in line for that distinction. However, Pearce ends up being more concerned with an inappropriate romance than with ruling a nation. Firth's wife (Helena Bonham Carter), meanwhile, has contracted an unusual speech therapist (Geoffrey Rush) that breaks all the rules. Insisting on equality with the future King, Rush and Firth form a tentative friendship. But as Firth takes his place in the monarchy just as World War II is imminent, he must unite the nation with his inaugural radio speech. Guess how it goes?

Obviously, you can't beat the cast of "The King's Speech." Bonham Carter is a delight--both haughty and approachable. Rush is as solid as always and Firth is terrific. Truth be told, I personally would have given Firth last year's Oscar for "A Single Man" and Bonham Carter deserved it for "The Wings of the Dove" many years ago. They will, undoubtedly, both be in the running again this year as will Rush. Despite Rush's classification in the supporting actor category, however, don't be fooled. It is clearly a lead role! Guy Pearce is particularly amusing as an elder brother as he is about seven years younger than Firth. And I like seeing Derek Jacobi as an archbishop (amusing because Jacobi also played a famous historical stammerer in the glorious mini-series "I, Claudius").

All in all, "The King's Speech" is both witty and touching. It's a well made and literate film, one that I admired a lot. It did, however, play out exactly as you might expect with little narrative surprise. But that's a small point that is definitely overshadowed by the many great attributes present in the film. KGHarris, 12/10.

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This isn't just another period piece or costume drama. It's a slice of history with a very real problem that many people deal with: stammering or stuttering. In this case, it's King George VI of England. He takes over after his brother abdicates the throne. George's problem is public speaking, and imagine just how hard it would have been for someone who had to make many broadcasts during his reign. He gets help from speech therapist Lionel Logue and from his loving wife as well.

Colin Firth, Geoffrey Rush, and Helena Bonham Carter are at their best here as the three main characters. The interplay between Firth and Rush is especially moving to watch. The two men end up becoming close friends, not just a king and his subject/therapist.

Excellent and highly recommended.

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The plot is simple enough. A loving but frustrated wife seeks help from a speech therapist for her husband, whose severe stammer has defied treatment by renowned specialists. The new therapist, who uses unorthodox techniques, manages not quite to turn the man into an orator for the ages, but to make him a comfortable private conversationalist and a credible public speaker.

Of course, the man will become the King of England, and his speeches will encourage and comfort a nation during an all-consuming war that shaped what it was next to become. That, perhaps, is what first packed movie houses for this small little British set piece.

And packed they should have been. This movie is a masterwork. It does take some forgivable dramatic liberties, though. When Lionel Logue first met the Duke of York, he was already more successful than the sets for his office and flat would suggest. And he worked with the Duke for more than a decade before "Bertie" became King George VI and the stakes of the game soared as the King tried to restore dignity to a crown that had been sullied by his brother's pro-Nazi shenanigans and self-indulgent involvement with Wallis Simpson.

No matter. Filmmaking just doesn't get any better. And in this one, it's all about the actors.

Colin Firth is an actor I have always liked but also found a bit disappointing in his choice of roles. He had settled into too comfortable a groove as a pompous twit whose humanity is slowly called forth by surrounding people and circumstances. True, he played some of these roles to near-perfection, such as Mr. Darcy in A&E's stupendous "Pride and Prejudice". But now I realize that God must have been using these roles to prepare Mr. Firth for this role-of-a-lifetime as King George VI. It is truly one of the finest performances I have ever seen an actor deliver on a screen.

Then there is Geoffrey Rush. As Lionel Logue, he strikes a perfect note as the Australian provincial who must force his way into a fortress of British snobbery and regal reserve to deliver his ministrations to a lonely, emotionally-abused man who is being forced onto a stage that terrifies him. Lionel Logue was a humorous, gentle humanitarian who used his fees from the British upper crust to fund his charitable work for the poor. The writers, director, and Rush take the more subtle tack of bringing these traits forward in the charming scenes where Logue stages a bit of theatrical horseplay with his sons and where he and the King press themselves against the wall to hide from a wife (played by the wonderful Jennifer Ehle) who comes home unexpectedly to find the Queen of England sitting at her dining table.

Then there is Helena Bonham-Carter who, as Queen Elizabeth, was spot on in portraying the remarkable woman who combined regality with compassionate earthiness to make her a rallying point for the British during World War II and a veritable cult figure to a later generation, who admired her heart, her humor, and, ultimately, her astonishing longevity.

I could go on, as the entire cast was beyond reproach. But I'll end now by saying just buy this movie. You'll wear it out before you tire of it.

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Do the Right Thing (Blu-ray + DVD) (1989)

In only his third film, Spike Lee created a classic that is both socially relevant and artistically accomplished. By focusing the actions at one location in one day, this film reminds us that race relation cannot be improved if we don't improve the way each one of us interacts with everyone else. The film's finale is notable for its echos of real events that occurred not long before the film was made, and its prescience of events to follow. It is an unforgettable movie scene that shows how intolerance can victimize everyone. Nevertheless, the apocalyptic vision of the final scene did not sit well with some critics. Is it a call to end violence or to start violence, they asked. In the film Lee seems to say there are no easy answers.

Somewhat overlooked is the fact that the film also makes keen observations of lives of American black underclass, especially in the portrayals of the "cornermen". Their exchanges are as amusing as they are trenchant in commenting the state of affairs of lower-class blacks. And through them, Lee takes the uncompromising position that sometimes the underprivileged can also be victims of their own mentalities.

Also, Lee subtlely shows the many faces of racial intolerance. While Sal's son Pino overtly hates blacks, and Buggin' Out is overtly intolerant of whites, but is the attitude of Sal himself really conducive towards racial harmony? Does he have a desire to get to know his neighbors, or does he simply want to "have no trouble with these people", as he puts it? By leaving this aspect ambiguous, Lee makes us think just what IS the right thing to do...

Despite all the criticisms against him, I believe Lee tackled the difficult subject as intelligently as any director could have done.

The Criterion DVD contains most of the supplements in the Criterion laserdisc released in 1995 -audio commentaries, cast meetings and screen tests, 'Making Of' documentary. New supplements include Lee's press conference at the '89 Cannes festival, video interview with editor Barry Brown, "Fight the Power" music video, and a video segment showing the filmmakers re-visiting the Bed-Stuy neighborhood.

The DVD's video quality is characterized by deep, rich, saturated colors which cinamatographer Ernst Dickerson so brilliantly captured in order to create a feeling of overwhelming heat (literally and figuratively). There is a Dolby Digital 2.0 audio track (Prologic-decodable to surround), and a PCM stereo track that actually sounds brighter and crisper than the DD track.

Spike Lee's 1989 film Do The Right Thing is among a handful of films that rise above the level of actual entertainment. It is thought-provoking, educational study of race relations. The film takes place during one extremely hot day in the Bedford-Stuyvesant section of Brooklyn. The neighborhood is predominately black, but the film centers around a pizzeria owned by Sal (Danny Aiello) who is white. All of Sal's customers are the black, but on his wall he has pictures of white film and music stars. This is a source of irritation to some customers, especially the radically minded Buggin' Out (Giancarlo Esposito). But Sal refuses to change and he goes about his business. Sal's two sons, Pino (John Turturro) and Vito (Richard Edson) also work at the pizzeria as does Mookie (Mr. Lee) who is Sal's delivery boy. Pino is highly bigoted and isn't afraid to let his opinions be know, while Vito is more sensitive and adverse to confrontation. Real life husband and wife Ossie Davis & Ruby Dee appear as the neighborhood elders, Da Mayor & Mother Sister who are constantly trading humorous barbs at one another while dispensing advice to the locals. Other interesting characters such as Radio Raheem, Sweet Dick Willie & DJ Mister Senor Love Daddy are featured throughout the film. Mr. Lee does a brilliant job of conveying the extreme heat that has overtaken the neighborhood. You can almost feel the heat while watching the film. Tensions also slowly rise through the film until the climatic riot scene where Sal's pizzeria is burned down, started by Mookie throwing a garbage can through the window. This is particularly devastating to Sal as he genuinely cared for Mookie and can't believe Mookie would do this to him. Mr. Lee's message in the film is that one doesn't know exactly what the right thing is. He illustrates this by the messages of Martin Luther King, Jr. and Malcolm X. Dr. King was for a peaceful solution to racism while Malcolm X said to fight for equality by any means necessary. Is passively sitting back right or is violence right? Mr. Lee never answers the question, which is exactly his point. Do The Right Thing was shunned at the 1989 Academy Awards garnering only a nomination for Mr. Aiello (which was richly deserved) in the Best Supporting Actor category. Ironically the film that won Best Picture was Driving Miss Daisy which was the stereotypical Hollywood portrayal of blacks as subservient workers and the type of film that Mr. Lee's pictures were the antithesis of. All in all, Do The Right Thing is a brilliant movie and one that deserves all the accolades that it received.

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I remember a female friend of mine telling me she watched this film, and at the end stood up crying and yelling, "stop fighting! " This movie provokes you in that way. That Spike Lee managed to get these severe reactions from his actors even the ones opposed to him onscreen is brilliant. I doubt anybody in the cast completely agreed with his final product, but that is what makes this movie so moving. I wish other directors/producers would have the guts to tackle any subject as faithfully as Lee has here. I have followed John Turturro's career since "Do the Right Thing", and I'm barely able after all this time to forgive him for some of the things he says in this movie. Yes, it's only a movie. And Spike Lee is only a genius. To my friend who shouted in the theater, I can only say I wish this movie didn't have to be made.

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In all likelihood Spike Lee's most important achievement as director, writer and actor (though to my taste Mo' Better Blues is just as good a picture) and one of the strongest films you'll see about race relations, `Do The Right Thing' looks dated at times, but it lost none of its impact and relevance. The movie takes place in a particularly hot day in a primarily African-American neighborhood in Brooklyn, and follows the various personalities who live there throughout the day; the center of the story is Sal's Famous Pizzeria its owners, some of the few white people living in the neighborhood: Sal (Oscar nominated performance for Danny Aiello) and his two sons (John Torturro and Richard Edson), and Mookie (Spike Lee himself), the black delivery boy. What starts out as a light, entertaining movie with some amusing characters and light humor, gradually builds up tension to the point of being unbearable, up to the dramatic and tragic climax. Spike doesn't put as much emphasis on the characters themselves as he does on the relationships and the tension between them; and in this image of a very specific and small frame in time and place, makes a strong and important message about racism and race relations in general.

The film is populated with many different characters, all of them very memorable and each one a representative of a certain belief, mode of behavior or state of mind on both sides of the conflict. From the uninhibited anger of Buggin Out (Giancarlo Esposito) and Radio Raheem (Bill Nunn) on one side and Pino (John Torturro) on the other side, to Jade (Joie Lee, Spike's sister in the film and in real life) and Vito (Richard Edson), who are trying to connect and live at peace with the other side, to Da Mayor (Ossie Davis), in his isolated but peaceful state of mind, living in complete peace with the world around him, and Smiley (Roger Smith), living in his own isolated existence. Then there's Mookie, who is stuck in the middle, torn between his commitment and responsibilities to both sides. Finally we have Mister Senor Love Daddy played gorgeously by the one and only Samuel L. Jackson, in one of his finest performances half active character and half all-knowing narrator who represents the voice of reason in the conflict, the reason which is bound, ultimately, to collapse. Each and every character plays an important part in the climatic and dramatic conflict to which the movie builds up, and though it's the radical ones Buggin Out and Radio Raheem who trigger the events that cause the tragedy, they are not necessarily the ones who finish it. It is Mookie and Sal, in fact, who ultimately play the main part.

Do The Right Thing is not an easy watch; it's a mesmerizing, tense, difficult film that breaks many taboos and slaughters many holy cows. But in the end of it hopefully you'll be wiser than you were in the beginning, and that's what Lee have always tried to achieve in all his films. Watch it to get a real view on racism that doesn't duck the difficult issues and isn't afraid to tackle the real problem, and to see a master director at work. It's one of the best films of its time.

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The first time I've seen Spike Lee's "Do the Right Thing" was at the theater and the movie refused to leave my mind for about several weeks. It just kept replaying itself constantly in my mind of the events and the turn a bouts of the story. The writing is so sharp and the movie is hilarious as well as the only movie to make Roger Ebert cry.

Deceptively open and simple in its presentation, this is one of the most complex and layered movies about human relationships that I have ever seen during that time. This movie is every bit as compound as its subject matter. I disagree with those who characterize the film as "preachy." Quite to the contrary, I think the genius of the film is precisely in the fact that Spike does not tell the viewer what to think he just compels you to think.

Spike spends most of the movie setting up his characters and their situations, some are comedic, some are dramatic, and some are both. The acting is naturally great, with John Turturro, Danny Aiello, and Spike himself standing out as the best played and most interesting characters. The movie looks very much "of the 80's" as far as fashion and things like that go but that doesn't take any power away from the movie. But the biggest question people seem to have after they have watched this movie is about doing the right thing and whether or not Mookie did it. Spike always only says that he's never been asked that question by a person of color. However my feeling on the matter is this: Did Mookie do the right thing? No. Did Sal do the right thing? No. From the time that Radio Raheem comes into Sal's at the end, not one person does the right thing. Not Mookie, Sal, Radio, Buggin Out, the cops, or whoever. Everything horrible that happens could have been avoided if one person had done the right thing, and yet nobody does.

I think that's why the movie stuck with me. Most movies would show everyone (or just the "hero") doing the right thing and everything turning out happily, but that's not what usually happens in reality. Too often people give in to their worst instincts. In here we have New York explodes over a seemingly little incident because racial tensions are always just below the surface. This film is truly a work of art and out all Of the Spike Lee movies I've seen this is one of his finest. "Do the Right Thing" is one of the signatures of an American classic.

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Bronson (2009)

Charlie Bronson/Michael Peterson is quite a character. I'm told that the events and details in this film stray a little here and there from the truth, but all in all it makes for a quite entertaining look at one of the most violent prisoners in the UK's history. Actor Tom Hardy, who got amazingly buffed-up for this role, brings the right amount of humor, pathos, and dangerous zaniness to the title role.

You can't help but cheer for Charlie Bronson, though you will be glad you are doing it from a safe distance.

Bronson the man has quite a story. "Bronson" the movie is a tour-de-force of bravura and playful acting by Tom Hardy, and deserving of all its accolades. No one I have spoken with who saw this movie failed to be entertained by it.

Buy it, rent it, I don't care. Just watch it. [Big grin]

To say that lead actor Tom Hardy is gonzo-brilliant is nearly as understating as the complete overlooking of his performance throughout award season. Director Refn's approach here is as viscerally punctuated and artistically daring as anything in his excellent "Pusher Trilogy."

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Everyone has heard of Charles Bronson. Well, THAT Charles Bronson anyway, the title character here is definitely a far cry from the hardened film hero of the same name. This Charlie Bronson was originally born Michael Peterson, who despite having a decent upbringing, grew up to be a criminal, and much, much more surprisingly. Known as Britain's most notorious prisoner, Bronson manages to capture the ferocity of the man with tongue-in-cheek humor and sheer unpredictable moments. Tom Hardy, who has been in quite a bit ranging from Star Trek: Nemesis, Layer Cake, and Rocknrolla among others, gives a star-making performance that should be seen to be believed. Besides undergoing a physical transformation in bulking up, Hardy's performance may very well be akin to what Eric Bana managed to do some years ago with Chopper, in which he ironically enough, played famous prisoner Mark "Chopper" Read. All in all, though it definitely isn't for everybody, Bronson is wholeheartedly worth your time, mainly thanks to the ferocious performance of Tom Hardy, whose stardom should most definitely (and deservedly) be on the rise.

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"Bronson" is based on the real life of a man often referred to as "the most violent prisoner in Britain". "Charlie Bronson" is a moniker the prisoner (real name: Michael Peterson) assumed as a sort of stage name. According to the film, Peterson desired to be famous and went about garnering that fame by perpetuating heinously violent actions against other prisoners and prison guards.

The film is bloody, violent, disturbing, and incredibly effective. Tom Hardy is a powerhouse in the role in every sense of the word. He's an imposing figure to start. His powerfully built wrestler's physique makes the improbabilities of his physical altercations believable. He captures the audience's attention in a stranglehold of a performance, playing straight a role that could have easily turned into an insane human cartoon. Instead we watch a credibly complex sociopathic character unfold who is apparently choosy about upon whom he will wreck his carnage (primarily the heavily armed and numerous prison guards). His mirthless laughter at the beginning of the film puts the audience off-kilter, not quite able to regain balance until some time after the end credits roll. You're never quite sure what Hardy's Bronson is going to do next. He's so pitch perfect throughout the film, it's hard to take your eyes off this living disaster.

The film is essentially presented from Bronson's point of view, which lends itself to some strange storytelling considering his sociopathic bent. Some self-narrated fantasy asides are at first quite bizarre as they're occurring with Bronson telling his story on stage in full makeup. There is a heavy dose of A Clockwork Orange-style cinematography, especially when Bronson is committed to a truly bizarre mental institution. Again, this could be interpreted as Bronson's views of the situation, not how they actually were. There's also an odd measure of homo-eroticism in the film -Bronson seems to attract the attention of gay men, albeit never has any semblance of romantic reciprocation -and you'll see more than one fully nude shot of Tom Hardy's man-bits including a scene where he commandeers a male prison librarian to give him a full-body butter rubdown to make him more difficult to handle in the upcoming fight.

I couldn't quite put my finger on whether or not director Nicolas Winding Refn finds Bronson to be a sympathetic character (a little off-putting in itself), but it's obvious that Refn is fascinated with Bronson's complexities. One can't help but feel that Bronson deserves every last brutal beating he receives at the hands, feet, and batons of the prison guards, as he is presented as the exclusive instigator of each outpouring of violence. The last image of Bronson, bloodied and confined in a solitary cage, whimpering like a wounded animal, is bound to stick with you for a while.

Bronson is brutal, but fascinating to watch, walking a thin line that dispassionately presents a violent life without glorifying the perpetrator. It'll most likely make you uncomfortable, but then again, how else would you portray a guy who wanted to get famous by fashioning the persona of Britain's most violent prisoner?

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The best way to begin this review is by stating the overall feeling I got from this movie. In the hands of any less an actor than Tom Hardy, and with any less perfomance form his supporting cast, this movie probably wouldn't have been very good at all. But fortunately, every person rises magnificently to the task of filling the story with its offbeat, sleazy, and sometimes criminally dangerous characters, and turns this from a self-indulgent gore porn to something fascinating, a trip into a broken from birth mind.

Bronson is insane, haughty, and completely in love with himself. And while this isn't a new concept in movies for an antagonist, the strange wonder of this film is that Bronson is our protagonist (anti-hero, whatever you want to call him). But the kicker is that when you delve into his mind the way this film does, you realize two things: first, that there is no deep-seeded reason why he acts the way he does outside of making a name for himself and the sheer jollies he gets from it, and two, you don't really hate him for it. In fact, you feel like all the character wants is for you to hear his story and know it, and not going beyond that makes you able to make a lot of decisions on your own.

The pacing is good, the story told linearly, but its bizarre. In a good way, of course, but very very bizarre and violent, and darkly comedic. Bronson is a complex character who seems unreal, but still gets grounded in his own humanity form time to time, especially as he ages.

This movie is a must-see for Tom Hardy fans, but is not for the feint of heart. If you do watch it, be preparred for lots of violence, lots of really foul (to the point that it makes you laugh then feel bad about laughing), and LOTS of seeing Tom Hardy naked. Lots of it.

All in all, if you can take the brutal nature of this film, give it a shot. Not for everyone, but it was definently a movie for me.

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Deja Vu (2006)

This was actually a film I was reluctant to see, mostly because I knew it had to do, in some part, with time traveling. Which is extremely difficult to pull off consistently and realistically, and most people fail when they try. In this movie, they didn't fail. They managed to make all the pieces fit together, and they made a very fun (albeit far fetched) enjoyable movie to watch.

Add to that the superb acting of everyone in this movie (Denzel Washington plays his role to a T) and it's one of the most solid movies I've seen in awhile. It's not *special* enough to be Oscar quality, but its a movie you can enjoy watching again and again without getting bored or tired of it. And that's worth a lot, in my opinion. :)

Déjà Vu is the perfect blend of science fiction and action film for the average movie watcher as well as the science fiction fan. At its core, it is a thrilling, well paced action adventure story about an ATF agent, Doug Carlin, investigating a terrorist bombing on a ferry full of US Navy sailors in New Orleans. 540 people are killed in the massive explosion, but one young woman's body washes up and doesn't seem to fit with the other victims; though it looks like a victim of the explosion, the body was discovered 8 minutes before the bomb went off. Other pieces of evidence regarding this victim quickly lead Carlin to roughly piece together where she fits in the puzzle; unfortunately, none of it is enough to provide leads to the perpetrator.

When Carlin presents his information to the FBI agents in charge, they are quickly impressed by his keen ability to size up a crime scene and filter out the noise from the pertinent details. They invite him to join a new test project that uses the latest technology to analyze a crime scene. Though the FBI and scientists involved try to hide the true nature of the technology, it doesn't take agent Carlin long to realize that there is more to it than advanced surveillance camera processing. This is where the science fiction weaves itself into the crime action drama film. While testing a new high-powered telescope technology, a way to bend the fabric of space/time is discovered, allowing the ability to watch the past in "real time" exactly 4+ days before.

What makes this film work so well is that the action mostly takes place in the present, but the technology leads to some very good storytelling and the most interesting car chase ever conceived. I had read in some positive reviews that as good as it was it didn't fully make sense...well they are wrong it complete sense just pay attention to the details along the way and the story comes together nicely. Yes, there are a few inconsistencies whose explanations probably were left on the cutting room floor to keep the film well paced but they are small. If you have a basic understanding of the physics and space/time you can piece them together yourselves; if you are not, don't worry and ignore them because they don't take away from this very film.

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MOVIE: Tony Scott is one of my favorite directors and it's too bad he has had some ups and downs recently. I was really looking forward to Deja Vu after I saw the travesty that was Domino. Then Ridley's movie came out and flopped hard. So I was in the mood for a good Scott film, thankfully Deja Vu is a sharp thriller that bleeds Tony Scott's ultra visual style. The plot is a bit over the top, but it's not so preposterous that you won't be able to enjoy the film. Essentially a terrorist blows up a ferry filled with navy soldiers on leave in New Orleans. ATF Agent Doug Carlin (Denzel Washington) is assigned with the case of solving the crime and motive for destroying the ferry. An agent played by Val Kilmer offers Carlin the opportunity to solve the case by using a technology that is able to see any event 4 days in the past, a wormhole if you will. Carlin tries to map out the terrorist's location by studying a young woman's accidental involvement. The terrorists is played superbly by Jim Caviezal and the young woman is played by Paula Patton. Doug Carlin decides to use the machine to throw himself back in time to prevent the act thus saving the lives of hundreds of people. If you can suspend your belief for 2 hours then this film is simply great action entertainment.

The script was written by first time screenwriter Bill Marsilii and Terry Rossio who has gained fame for co-writing the Pirates Of The Caribbean films. Tony Scott made this film his own and kept things really tight and focused. The scenes where the group of people are searching back in time to focus on certain locations for clues reminds me of the camera work that Scott used in Enemy Of The State. Scott's last two films (3 including Beat The Devil) relied heavily on his highly stylized exposures and quick paced editing. Man On Fire used this style to perfection while Domino was just a way for him to show it off some more. Deja Vu does have that same style but there is so much less of it, very similar to the way Spy Game was shot. He uses lots of close-ups, which make the movie really tense because we are always staring right into the eyes of the characters. Every time Tony Scott works with Denzel Washington it seems like a winner. Crimson Tide and Man On Fire were two extremely extraordinary action films. We also have Jerry Bruckheimer producing, which is great because he has such a great history with both Tony Scott and Ridley Scott.

One thing that I always look forward to when I see a Tony Scott film is the score by Harry Gregson-Williams. Harry Gregson-Williams is #2 favorite composer behind Hans Zimmer, and his electronic style matches Tony Scott's vision so perfectly. Tony Scott originally worked with Hans Zimmer and Zimmer scored Days Of Thunder, Crimson Tide, The Fan, and True Romance for Tony Scott. I guess Ridley Scott decided that he wanted Hans all to himself, so Harry Gregson-Williams was assigned the job of co-composer for Enemy Of The State and the two have worked together ever since. If you recall Spy Game's score and Man On Fire's score you could probably place your finger right in the middle of those two and sort of get a feel for the score for Deja Vu. Harry Gregson-Williams didn't go balls out like he did with Domino, but resorts to the piano and the occasional single trumpet to create tension. Strings back up the electronic parts of the score that has Harry Gregson-Williams written all over it. An interesting thing to note was that he used a unique technique of having the orchestra play the music in reverse and then forwarding it in the computer so as to create a unique feel for the central theme of Deja Vu. From what I can tell he only did that on the first cue during the opening credits where we see the logos. A terrific score that really enhances the film greatly.

ACTING: When you have Denzel Washington as your lead actor it rarely means a bad movie. As I mentioned before, Denzel Washington has collaborated with Tony Scott and Jerry Bruckheimer many times before. You can sense that everyone feels like they are in their element because the cast and crew are close. Another tidbit worth mentioning is that there is one scene where we see the young woman played by Paula Patton babysitting a little girl. That girl is Elle Fanning, sister of Dakota Fanning who played Pita in Scott's Man On Fire. Anyway, back to Denzel, he creates a great character here. Jim Caviezal was actually incredibly good as the terrorist. The only downside to that role is that the guy is just mentally unstable and that's why he does everything that he does, which is not very original when it comes to bad guys these days. Paula Patton plays Claire and while she doesn't really craft a character in this film she does provide support for Denzel Washington's character. Val Kilmer enters in his middle-aged scruffy mode and isn't the main focus of the supporting cast, but his presence is nice and he adds some credibility to the cast.

BOTTOM LINE: Deja Vu may be a little farfetched, but I really liked it as a sharp and smart piece of action entertainment. It was tense and kept me involved all the way through. There were no slow pockets in the film whatsoever. The fact that the bad guy is just a man with psychological problems makes the movie a little unoriginal, but Deja Vu will entertain you and is worth the price of admission.

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`Déjà vu' released in '05 stars some of my favorite male stars active today; Denzel Washington, Val Kilmer and James Caviezel. Add to the roster the talented Adam Goldberg and the devastatingly attractive Paula Patton and you've got all the ingredients necessary to provide a truly great viewing experience. Unfortunately even with a cast of this caliber the film doesn't quite deliver all the potential it could have.

Time travel movies are always popular but could be a little tricky at times. I think the script handles the scientific explanation of time travel and warping space surprisingly well but some sequences are a little too unrealistic and you can ask an audience to suspend reality for only so long. I also found the ending to make no sense whatsoever so that definitely is a minus. On the positive side, the romantic angle works wonderfully and Denzel Washington's love interest Paula Patton is drop dead gorgeous. `Déjà vu' combines the futuristic vision of `Minority Report' (`02) with the romantic longing of the '44 classic `Laura'. Not too bad a combination don't you think?

Repeatability Factor: Well worth at least one viewing but that's about it unless you're watching just to see Paula again.

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This film is nearly three years old but still drawing considerable comment. That should tell you something. For all its flaws, this movie is an enjoyable, fast moving action thriller that's worth the viewing.

The "science" itself relies on a science fiction cliche which doesn't hold up in reality. If you know the real science behind wormholes, the plot device may bother you to the point that your enjoyment of the movie will be lessened. But if you can allow yourself the "willing suspension of disbelief", you'll have an enjoyable experience.

Denzel Washington is one of the finest actors of our time and he shows why in this movie. His character provides the moral center and action focus of this movie. Denzel's riveting performance makes this man come alive as you see the plot unfold from his viewpoint, drawing you in and keeping you focused.

Val Kilmer is a disappointment in the way he plods through the movie. He reads his lines, but that's about it. Paula Patton does a fine job, creating a believable, vulnerable character, such that you really care about her fate. The actor who plays her father has a small role but a key one. His scenes are small but crucial, and he does a fine job.

Tony Scott's ability to craft an action thriller makes the best use of Denzel's talents and the talents of all the cast. The story moves along, never dragging nor jumping too much, and the action sequences keep you completely engaged. Scott does a fine job of combining a good action film with a well done human story. For all his technical skill, he never makes the big mistake you see in other films such as the Bourne series. In those films, the director is always saying "Look at me! Look at how I use the camera, or how I x,y,z." Scott keeps the focus on the story, and uses his considerable skill to let the story tell itself.

It's not a great social statement by any means, but it's an enjoyable evening's movie viewing experience, even with the bogus science.

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12 Rounds (Extreme Cut) (2009)

If nothing else one has to give credit to the WWE for attempting to spread out further than the squared circle. While their attempt at a new football franchise failed, their diving into the world of film has done well for them. Some movies hit highs and some drop to lows but they're almost always entertaining. They also provide a jumping board for the careers of their wrestlers. Such is the case with John Cena.

Cena has starred in one film already, the well received THE MARINE. An action film seemed a natural leap for him and he did a fine job handling acting and action chores both with ease. The next step was finding a follow up vehicle and that came about with the new release 12 ROUNDS.

Cena stars as New Orleans policeman Danny Fisher who winds up by circumstance in the middle of an FBI hunt to track down a terrorist named Miles Jackson (Aidan Gillen). A chase follows and after he stops the terrorist, Jackson tells his girlfriend to run before he takes the time to notice an oncoming truck in her path. Blaming Fisher for her death, he swears they'll meet again.

Fast forward one year later and Danny is now a detective. He heads to work only to get a phone call. It's Jackson and he informs Danny that he's taken Danny's girlfriend Molly (Ashley Scott) hostage. Just to let him know he's serious, Jackson blows up Danny and Molly's house while Danny watches. He then tells him they're going to play a game with the life of Molly hanging in the balance. All Danny has to do is win the majority of the 12 rounds Jackson has planned for him.

Danny contacts his partner on the force for assistance and then heads out to take on the first round. Each one sets him up for a life or death situation for either himself or some innocent person who finds themselves involved in helping him. While he rejoices at the wins, he begins to feel guilty over the losses as they involve the death or injury of someone else.

Along the way the FBI become involved since they've been watching all along. Of course Danny's not to keen to work with them since they failed to notify him earlier of the prison break involving Jackson. Unlikely allies begin to work together to try and take down this mad man while saving Molly at the same time.

Steve Harris stars as Special Agent George Aiken, the main agent in charge of catching Jackson from the start. His concerns focus more on the recapture than on saving Molly. Of course this results in head to head conflict with Danny and his goal of saving the woman he loves. Agent Aiken has a personal reason for wanting Jackson caught as well but eventually realizes he may have put his personal interests above the life of this woman.

The clock is ticking and with only so many hours allotted for Danny to complete all of his tasks, he struggles to find a way to beat Jackson at his own game. Beaten down, battered along the way, the final showdown approaches. Only then will we discover who wins and who loses the game of 12 rounds.

Cena does a fine job here with only one problem. He's never given much chance to act. Perhaps that's the intention, giving him just enough moments to convince people of his sincerity but for the most part just jumping, running and fighting to reach the films conclusion. Cena can do a decent job of acting but unless he's given the opportunity, his chances of a long term career in film dwindles.

While the film does offer the requisite amount of action with minimal amount of plot, the twists and turns Jackson puts Danny through are original for the most part. But as I was watching this film I kept thinking I'd seen it before. It was only after I was reminded by a friend that I put it all together and realized that Bruce Willis was pretty much put through the paces of games that kept him running in DIE HARD 3. While this film is not an exact copy, the overall feeling creeps in at times.

That being said, it remains a fine piece of entertainment. The production values are well done and all the money spent to make the picture shows on the screen. Rarely has New Orleans looked this good and with the bad press of Katrina, it's nice to see the locale used once again.

All in all you won't do wrong by renting this film to watch. And for Cena fans, you'll want to add it to your collection. But let's hope that he gets the chance to stretch himself a little further in his next film. Only then can he hope to achieve greater stardom rather than find himself in the straight to DVD category.

The last time I watched a WWE movie starring John Cena... let's just say, I love my action hot and heavy and ended up VERY satisfied, haha.

So it's absolutely NO surprise to me that 12 Rounds is a classic.

So many things to admire about a movie like this... of course you can't take the good without the bad. The first 15 minutes were some of the most predictable and generic cheesiness I have ever seen in my life.

I was almost ready to turn the movie off after those horrible 15 minutes, but then... John Cena began the chase, and when the storyline finally kicked in, this movie completely blew me away.

Everything from car crashes to explosions to shootings... 12 Rounds does it all.

I can't imagine how difficult it was to film something like this. I can't imagine how much money it cost to waste all those vehicles! Actually the same thought comes to mind with ANY action movie. It must cost a fortune.

John Cena proves why he was chosen for this rolehis acting skills are almost as good as his performance in the ring. He truly has a career as a movie star when his wrestling career is over.

The storyline is about John Cena's character accidentally killing a woman. To make a long story short, he goes to arrest a bad man, the wife/girlfriend of this man happens to be hit by a car right in front of them, so the guy takes it personally and, one year later when he mysteriously gets out of jail, he decides to take his revenge against Cena.

His revenge happens to be a carefully orchestrated and elaborate set of rounds that Cena MUST follow, or else his wife dies.

This movie is highly recommended for those who love movies such as Speed. GREAT edge of your seat action.

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Great Action movie. Especially for all the John Cena fans. I found that this movie is better than The Marine.

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In his film debut, The Marine (2005), John Cena played a character trying to save his abducted wife from danger. A similar theme is the driving force in his second film, 12 Rounds (2009), where Cena is a cop trying to keep his girlfriend alive, by completing a series of harrowing tasks. Set in New Orleans, and directed by noted action specialist Renny Harlin (Cliffhanger, Die Hard 2), the film features some solidly executed action sequences, tied together fairly well, by an elaborate storyline.

At a routine traffic stop, officer Danny Fisher (Cena) and his partner Hank Carver (Brian J. White) cross paths with Miles Jackson (Aidan Gillen), a big time jewel thief, and murderer, and his girlfriend Erica (Taylor Cole). Fisher runs down Jackson, and makes an arrest, but in the process, Erica is hit by a truck and killed.

Approaching the one year anniversary of Erica's death, Jackson abducts Fisher's girlfriend Molly (Ashley Scott), and blows up the house she shares with Fisher. In order to save her life, Danny must complete twelve rounds of challenging tasks. Taking place within a single day, the tasks build up in intensity. In one round, Fisher drives a fire engine through heavy traffic, crushing anything in the way. But Fisher does not always succeed, as in another round, a man falls to his death, before Fisher can pull him off the top of an elevator car. Also actively involved in the pursuit of Jackson, are FBI special agents George Aiken (Steve Harris) and Ray Santiago (Gonzalo Menendez), who have been tracking him for some time.

The game appears to be nearing a tragic conclusion, when a lead that Carver was following, causes Fisher to reexamine the day's events. Like a magician, Jackson has been using misdirection, while setting in place the pieces of a grand scheme, where Molly's skills as a pilot, will play a key part. These events unfold very quickly, and feel somewhat rushed. The final action sequence involving a helicopter, features Cena's only real fight scene, and with a dizzying number of quick cuts, it does not play that well. After being a prisoner for most of the movie, when given a chance to shine, Molly doesn't exactly impress with her flying skills. The ending lacks realism, and puts a goofy topping on what was a film with a generally serious tone.

Although there are certainly weak points, the storyline has some clever aspects, that with a little more polish, and better pacing, could have resulted in a much stronger film. Rushing things at the end, and not giving the audience a chance to appreciate what Miles Jackson was trying to do, seems like a wasted opportunity.

Some may feel that John Cena should stick with wrestling, but the man definitely has a future in films. His screen presence stronger, and his acting is much improved, and working with Renny Harlin, was a big step up. If Cena can land a role with more variety, it might be interesting to see what he can do. A commentary track by Harlin, and a second with writer Daniel Kunka and Cena, provide an abundance of information about the production of the film, and such things as Cena's favorite beer, and fear of heights. Both the theatrical PG13, and unrated versions of the film are included.

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This was an exciting, gripping movie. The action and FX were gripping. Which, to me, is what it's all abount!

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Sin Nombre

Sin Nombre (Cary Fukunaga, 2009)

It was early in the year when some critics (most notably Turner Classic Movies daytime host Ben Mankiewicz) started proclaiming Sin Nombre the best film of 2009. (I just checked Huffington Post for his year-end list, and yes, it's still at the top of the list.) And Sin Nombre, the first feature-length film from Cary Fukunaga, is a very good film, but the best of 2009?

The story focuses on two teenagers, Honduran Sayra (Never on Sunday's Paulina Gaitan, a Mexican actress) who comes to Mexico to be reunited with her father, and Mexican gang member Willy (Provocacion's Edgar Flores, a Honduran actor--see what they did there?--in his second film role). Sayra and her father want to hop a train to America to start a new life, while Willy and his friend Smiley (Kristian Ferrer, recently of Days of Grace) are just trying to get along gettin' along as members of the infamous Mara Salvatrucha. Or they are until an incident of shocking violence leads Willy to reconsider his place in the world.

The film's trailers, and many of the reviews, focus on the train journey, which is a bit disingenuous (and something of a spoiler), since the train journey occupies, at most, the final third of the film. Sayra and Willy's stories don't come together until then, which gives the first part of the film something of a disjointed feel. Not bad, mind you, just disjointed, as the movie ping-pongs back and forth between them. It's all very well-done, very solid filmmaking with a compelling pair of stories and a lot of heart, but I can't help comparing it to Cidade de Deus, which did much the same thing with a much smaller budget and a stable of amateurs. Again, it's not that Sin Nombre is a bad movie in any way. In fact, it's a very good movie. It's just not Cidade de Deus, though it comes close. *** ½

First time director Cary Fukunaga rode the rails himself in preparation to tell this heartbreaking story of a family on their way to the United States by hitching on top of a dangerous train. The narrative flows between the life of Mexican gangster Willi, whose secretive relationship with a city girl puts a rift between him and his "homies," and an introduction to Sayra, whose father has just been deported from the U.S., and plans to take her back with him to the family he has in New Jersey. A series of tragedies bring them together and force them to go on the run from Willi's former gang. The pacing is intense, and yet in the editing there is ample exploration of the setting, of the atmosphere and flavor, and a very strong sense of the wide variety in the geography and local culture encountered on the trek from the southern border of Mexico to Texas. It is beautifully shot, and brilliantly cast. The lead actor in the role of Willy (Edgar Flores) does such a remarkable job that it is hard to imagine he is playing a part -even more astonishing given that this was his very first role in film. Paulina Gaytan as Sayra is equally convincing and compelling. This is a very impressive debut film -and I have every expectation that we will continue to see excellent work from director Cary Fukunaga in the future. Highly recommended.

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A lot of gangster movies are romanticized or just over the top. This was not one of them. A simple, wonderful, and horrifying gangster movie about the issues going on in Mexico and South America. Watch it watch it watch it.

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What a powerful story. A window inside the lives of people who are trying to make a better life for themselves, and of those who have no respect for life at all. Tender moments take over, and love and bonding defeats a harsh and dangerouse world. Unforgettable acting performaces!

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I was interested in purchasing this movie due to the fact that I had seen previews at a theater and it looked quite captivating. When it was released in video, I tried renting it for 2 months and it was never available so I just assumed that it was a popular movie. I decided to purchase it and the movie was different than what I had expected. It was a love story but moreso it had a twist that was quite a realistic plot about gang life of the MS-13 El Salvadoran gang and the gang culture and about what happens when you try to leave the gang. It also depicts the illegal immigrant way of life and the dangers encompassing their escape to the U.S. The story ending was very sad, almost depressing, but it leaves the viewer with the hope and anticipating that the young lady will be able to start a new life of freedom and opportunity.

The Stranger (1946)

When looking for a good DVD edition of "The Stranger," it's difficult to tell from among all the copies floating around which one is a quality transfer from an actual print of the film. The problem arises because "The Stranger" has fallen into the public domain. That means any basement-dwelling hustler can legally download it for free from some site like Internet Archive, slap it onto a blank DVD, print a label for it, and sell the slapdash product as "remastered" or some such. And a lot of these customer reviews aren't much help, reviewing the movie itself instead of telling you what you really want to know, which is the quality of the image on the disc. So there's no way to tell what you're getting until after you've ordered it. Well, I'm more than happy to tell you exactly what you need to know.

Bottom line: if you're looking for a good copy of this movie, The Stranger (MGM Film Noir) is the best available edition. It's manufactured by MGM, and bears the studio logo when the DVD starts up. The image itself is a quality transfer from a good master from a consistently clear print, fully intact. That's important, because some of these extremely messy public domain copies are missing the "Independent Releasing Corporation" banner before the credits begin, a sure sign that worse things are to follow. Though this edition has not undergone a frame-by-frame digital restoration, it's sharp, with rich blacks and good contrast, with enough detail to reveal the flaws in the source material, the ordinary marks of age such as scratches in some spots, which I noticed only because I was viewing it so critically. Otherwise, these flaws are negligible. The important point is that, while it's not perfect, it's a studio transfer from a good master of a preserved print, free of jumps or jiggling from bad splices, and no cracks or pops on the soundtrack. And even more satisfying, when upconverted on my HDTV, soft natural grain was visible, which demonstrates just how accurate the transfer is. I was very, very pleased by this edition. VERY pleased.

A couple of weeks ago, I ordered the trashy Triad edition because of the claim that it was "remastered." It was expensive enough, so I believed it. It was an out-and-out fraudulent claim, and I immediately returned it and bought this one instead. It doesn't matter that it's not remastered, because whatever master they're using meets the studio standard, and manufactured with regard for customer satisfaction. Perhaps one day we'll get a fully digitally restored edition, but for now, The Stranger (MGM Film Noir) is the best edition on the market.

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Orson Welles' The Stranger is one of my all-time favorite films. But it's been in the public domain for years, so you could get waylaid on your way to the market if you're looking to buy a good copy. As an actual Amazon customer who bought this Triad edition of this DVD, I have some very specific information I can share with you, and it'll be my pleasure.

What you need to know is this: this Triad edition came straight out of the public domain. I bought this back in December, at which time Triad was promoting it as The Stranger (Remastered). This was a false claim, and they eventually changed the affix to "enhanced," which was equally as false, but less specific. The Triad on-demand DVD-R transfer lacked the studio banner at the start of the film, so it jumped right into the opening credits with stuttering, plangent sound. The image at first would not remain centered, swinging from side to side, as if it were transferred to video by a hand-held device while at sea. The picture was very murky, a heavily damaged print with extremely low resolution, with faded blacks. I think the source was a video tape, the copy identical to the one you can download yourself for free at Internet Archive. I was outraged. Thanks to Amazon's return policy, I immediately got a refund and ordered MGM's The Stranger (MGM Film Noir) instead.

After I got the refund settled, I returned to the Triad page and wrote a scathing review. By the quickly tallied "yes" votes, it was very successful in warning customers away from it and steering them toward a legitimate studio release. Eventually Triad quit manufacturing the DVD, but it looks like they've returned with a whole new package. This new design, with a noirish still from the film, looks classier than it did here, The Stranger (Enhanced). But the quality of the DVD will be the same, since Triad is not a studio and does not have access to a print. It'll be that same public domain copy from Internet Archive (google it; you'll find all sorts of interesting stuff there for the taking), the only copy they have access to.

As for MGM's edition of The Stranger (MGM Film Noir), they restored the studio banner at the beginning of the film, and the image is sharp and crisp, obviously transferred from an actual print, and recently enough that it looked good upconverted from my Sony BDP to my 47" HDTV. The blacks were rich and the sound was clean. The print and transfer were so good, fine grain was visible in spots, with no glitches or dropped frames. Some minor scratches were infrequently visible, which I noticed only because I was looking so closely. As a noir classic, this film truly deserves a frame-by-frame restoration. Until then, The Stranger (MGM Film Noir) is the best edition available. Even at this point, it's a very good transfer. And infinitely superior to this Triad edition.

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First of all, concerning the DVD edition of THE STRANGER -the version I own and am reviewing is the Hollywood Classics release. This is the one that comes with the 30-minute documentary on Orson Welles and the (rather frightening) introduction by Tony Curtis. The picture and sound looked quite adequate to me though there is an annoying "Delta" logo that appears occasionally in the bottom right-hand corner. I had never seen the film before and purchased this DVD in a 3-pack of Orson Welles films. For the low price, the value is excellent and the video quality is quite good, though I'm sure it isn't as clear as the more expensive version. The customer will have to decide if they want to pay three times the price to get a cleaner version or get a serviceable copy for the lower cost.

Now moving on to the film. This movie is much more straightforward than the other Orson Welles films that I've seen. We have a standard good guy and a standard bad guy, and each character is set up in his role almost immediately. Edward G. Robinson plays the Nazi-hunter who has been tracking Orson Welles' character since the end of the Second World War. Welles' plays a Nazi who has gone into hiding and is now living in small town America as a schoolteacher. The acting from the two leads is spellbinding -as good as any of their best work, with Welles in particular stealing the show. Welles triumphs in the difficult task of playing a man who has successfully integrated himself in a community, yet allowing the audience to see him as the villain that he is. The viewer never questions why the outlaw has been able to fool his friends and neighbors for months but can also pick up on the same clues that Robinson's character does.

The story is not overly complicated and this allows us to pay a lot of attention to the different characters in the movie. The townspeople, without exception, are all given their own motivations without slipping into repetition and the silly catchphrases that movies set in small towns tend to give to their characters. There are also some excellent shots that could only have come from Welles' keen directorial eye. The German's obsession with clocks is an interesting metaphor for the Nazi mindset, but this is kept to a minimum and never becomes overbearing.

I highly recommend this interesting film for anyone who enjoys good acting and intriguing storylines. The documentary included on the DVD is very superficial and most of the 30 minutes are taken up by trailers of films, some of which barely feature Orson Welles himself. It's not something that the Welles fan is going to get too much out of and it does not contain enough information for the casual viewer. The introduction by Tony Curtis is frighteningly odd.

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My rating is not for the movie (which I like very much *****), but for the lack of HD quality. Although I was very much looking forward to watching this movie in the upgraded Blu-ray format, I was extremely disappointed in the picture quality. This Blu-ray version is extremely soft and overly bright, and lacks HD image depth throughout. Bottom line because there is no noticeable upgrade in picture quality, if you already own MGM's 2007 release on DVD there is no need to purchase this Blu-ray version. Let's hope Citizen Kane & Magnificent Ambersons Blu-ray releases will be better!

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For those who are going to buy this copy, beware. The transfer is a disappointment and there is a logo which pops up on the screen throughout the film. The logo is "Delta"--whatever that is. It's not the name of the company, so I can't quite figure out what it is. Perhaps if you have a "S" cable connected to your DVD the film might be a lot clearer. At any rate, the "Delta" logo is a real travesty and since this is the only DVD version that is being printed, die-hard Orson Welles fans are forced to buy it for their collection. If you have time, you might want to look for a different version of "The Stranger" in a Fries Electronics or wherever they sell DVDs. Of course, the film is brilliant--especially when you think about what other films were being done at the time--but it would be nice if the company who transferred the film gave it the respect it deserves.

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Young Guns

Warning: This film's blu-ray video transfer is critically flawed!

Somehow this film got past Lionsgate's quality control. It suffers from "jaggies," resolution issues and other HD mastering artifacts. The disc is nearly unwatchable and looks far worse than the most recent DVD versions, even without up-scaling.

Do not take my word on this, please google the issue.

I really enjoy this movie, as it takes me back to my youth and all those great brat-pack films. Which is why the Blu-ray version of this film was such an incredible disappointment. Stick to the DVD version until these issues are resolved.

This is a review of the blu-ray transfer. It is just terrible. It's the worst in my collection of over 140 discs. There is stairstepping on everything. It's just awful. I don't know why Amazon insists on sticking reviews of DVD in with the blu-ray reviews.

I just want to warn people that this is not worth an upgrade. There was some sort of serious error in the conversion process. I wish I could get my money back!

Buy Young Guns Now

Emilio Estevez, Charlie Sheen, and Kiefer Sutherland are just a few of the all-star cast who fill out this film about outlaws set in the old west: The story of Billy the Kid & Co. Aside from the fact that its historical accuracy is more than highly questionable, the movie was more than entertaining.

Emilio Estevez plays William H. Bonney, a.k.a. Billy the Kid who was a runaway and an alleged murderer, who was taken in by Mr. John Tunstall, an English cattleman. Tunstall was murdered by a rival cattleman, a Mr. Murphy, played by Jack Palance. The movie goes on from there with a killing spree of those who were responsible for the death of Tunstall. The acting was great. "Dick," played by Charlie Sheen, was very good and one of Sheen's better roles. Lou Diamond Phillips was absolutely amazing as the Mexican Indian: Jose Chavez y Chavez. Charlie, played by Casey Siemasko, was a great and devoted friend, to Billy, and to the rest of the "Regulators."

It is said that Billy the Kid was no where near as arrogant, nor as trigger happy as the film portrays, but Estevez was rather impressive in his skills both as an actor and a gunslinger. Sutherland's "Josiah `Doc' Scurlock" was an admirable man; full of character and class given the circumstances. Terrance Camp's role as "John Tunstall" was short-lived but excellent.

This movie is highly entertaining. I recommend it to anyone who likes a good Robin Hood story (who isn't terribly concerned of historical accuracy). It is fun to watch, and the cast is second to none.

epc

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I purchased the Blu-ray debuts of Young Guns & First Blood together to beef up my collection of "guilty pleasure" titles. As both of these are Lionsgate propety, they share similar layout and content. Young Guns, while a decent performer, doesn't seem to have the breathtaking image transfer I was hoping for. If you already own the "Special Edition" standard DVD that was released no so long ago, you would be fine not to upgrade to this, particularly if you have a decent upscaler (albeit, for $19, this BRD is a bargain). The picture seems slightly better defined than the standard version with the most notable improvements being in the blacks (which should be expected in hi-def). Since I don't have a DTS-HD capable setup, I can't really review the audio on this disc other than to say that the standard DTS track sounds just like the one from the standard DVD which isn't a negative. The BRD also features the the same extra features from the DVD, which aint much. The "trivia" track is kinda cool much more graphically intensive than before and gives a decent insight into the making of the film as you're watching it. As with First Blood, the pop-up menu is annoying in that is takes up half of the screen, but it's still functional and better than having to exit the film to play around. If you already own the Special Edition DVD, this may not be the upgrade you ar hoping for... it is better than the standard DVD, just not by much. First Blood has a much better transfer.

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"Young Guns" has been dubbed by Many a Critic as the "Brat-Pack Western". Well... Yes, it does star a few of the so-called Brat Packers, does that make it any less of a Classic Western... I think Not. "Young Guns" has All the Requirements needed for Classic Western Status, and in My Books, it's Up there with the Best.

Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips and Charlie Sheen lead the charge as "The Regulators", a Group of Young Cowboys out to Settle some Scores. Emilio plays Billy the Kid, the Self-Proclaimed Leader of the Regulator Posse, and he plays it Well. He is Tough, Likeable and a Natural Born Leader. If Billy the Kid Was really like this, I'd follow him to the Ends of the Earth. (remember, I said "If") Kiefer Sutherland and Lou Diamond Phillips give the Best Supporting Performances, in this one and in the sequel. Charlie Sheen isn't given as much Screen time, but he uses the time he has Very Well.

The Climactic Standoff is one worth Waiting for; it's Stylish, Original and Violent... It's a Classic Showdown. The film is Full of Tense Gunfights and Violent Shootouts, and as the Characters have been Well-Developed, the Audience is on the Edge of their Seats Throughout. "Young Guns" Will one day be rated up there with the Best Westerns, it is a Beloved film by many and it Will be Remembered by All who see it.

The Karate Kid I & II (Collector's Edition) (1984)

Few films defined the 80's more than The Karate Kid. Like Star Wars before it, and very few after it, the film transcended beyond a mere teen flick and became part of popular culture. The crane, "wax on, wax off", and the seemingly millions of blue and white bandanas that appeared overnight simply became part of our lives. While the second film never captured the charm of the original, it was (as intended) wildly successful and gave us a more in-depth look at the character that lifted the first film to classic status: Mr. Myagi.

Like all the classic "sports" films out there, The Karate Kid is not about Karate. There is an underdog story at its core(something the director John G.Avildsen knows a thing or two about, having directed the original Rocky). The film works because the hero, Daniel is not the "wimp" we are so used to seeing in these films that suddenly become supermen. He is kind of cocky and has an attitude. His reaction to the new world he encounters in California gets him branded as a troublemaker. In fact, the transformation he endures at the hands of his friend and teacher Mr. Myagi is not about becoming a martial arts phenom but rather about maturing as a human being and dealing with his problems.

And speaking of his teacher, Noriyuki "Pat" Morita simply hijacks this film and refused to give it back. Morita did not earn an Oscar nomination for this role as some sort of token. Mr. Myagi is one of the most complete, flesh and blood characters in the history of cinema. With absolutely no offense to Ralph Macchio, who plays Daniel as if The Karate Kid was his own life story, Morita is the heart and soul of this film. Every scene he is in is memorable. From Daniel's first encounter with the weird handyman trying to catch flies with chopsticks, to the now iconic image of the Myagi smiling at his student with obvious pride at the end of the film. (An image they tried to recreate in the later films with diminishing effect) How big was Morita's role in the film. Take this into account: For the next film (Part II) the writers decided to focus on him instead of Daniel. In the sequel we travel to his home in Okinawa and Daniel's story revolves around Myagi's story arc.

And now these two films arrive on Blu, ready to be enjoyed by a new generation and bring warm, fuzzy memories to the previous one (myself included) Despite some flaws, these films deliver in HD.

The main problem with these HD transfers is consistency. There are moments in the film where the picture quality is downright glorious. Then there are others were I was screaming for the VHS version(almost!). What happened? It could be number of factors but it comes down to this: The scenes filmed at night look awful while the daytime scenes shine. The beach scene where Daniel sees Myagi doing the crane for the first time for example looks pristine and full of color and detail. The scene where Daniel shares an intimate moment with a drunk Myagi has so much grain it looks dirty. I'm for grain by the way, so long as it was the director's intent (Saving Private Ryan comes to mind) but here it's just noise. My main issue with this night/day thing is that most of the film's classic scenes take place at night or in the dark. The scene were Myagi taches Daniel how to trim a bonzai. The one were Myagi saves him from 5 Cobra Kai nearly killing him, the emotional center of the film where Daniel gets fed up with Myagi's "training" and nearly quits, the infamous kiss at Golf n, Stuff... All take place at night. All have picture quality issues. All this makes me think they simply couldv'e done better on this release but then I see the day scenes and think:they really did their job here. Scenes like the one on the lake where Myagi throws Daniel off the boat is a perfect example. It looks awsome. So does the one where Myagi teaches Daniel to punch among others. Looking at the film as a whole it may be a case of them not being able to fix it. At least, I hope that's it cause I would hate to double dip on another "improved" edition of the films.

However, in the end I must stress (as I often do in these reviews) that these flaws beccome evident when you are watching the film looking for them(to prepare for this review for example). The fact is these two films have never looked better. In fact, having seen these films at theaters in the 80's I can safely say they look better than they did back then. You will enjoy them all over again and will enjoy showing them to your kids. I highly recommend this one.

PS

The special features are awsome in that the first film has an amazing retrospecctive documentary on the making of the film that is worth the pricce alone. Great interviews with the director and main cast members.

No need for me to say much about these 2 movies, as everything has already been said by the millions of people that have seen the movies...

They are both Iconic movies of the 80's decade!

With the above being said, the blu ray editions of these movies are simply AWESOME...

Very crisp, clear, beautiful picture...

Sound is great & the special features are nice too...

Get this set, you will enjoy for years to come!

Thanks...

Buy The Karate Kid I & II (Collector's Edition) (1984) Now

I knew as soon as Karate Kid 1 & 2 was announced for Blu-ray! They would be mine.

My wife and I watched them back to back on a relaxing Sunday evening and they really impressed me how well they hold up as popcorn entertainment.

I should point out that the scores are given based on BOTH films. In my opinion Karate Kid is a 4.5-5star movie and the video/audio package are better in this blu-ray collection.

The movies themselves...

Karate Kid is the 'Rocky story' told from the teenage perspective. The story was original at it's time but showing it to your teenage son would seem old hat and done before. That being said Karate Kid really pushes the envelope with a great cast, situations and soundtrack. It is these three variables that make this an enjoyable movie now 26 years later.

Mr. Miyagi steals the show in every scene from humour, sadness and confident teacher. You understand everything clearly and there are so many wonderful lines describing the way people should be it really makes someone think how bad society has gone over the years.

The second film continues right where the first ends and right away answers the question of how the 'evil' sensei handles the loss. I didn't remember as a child not having that conclusion after watching part 1. What I do remember however is how it turned out in an iconic and comical conclusion.

The scenery in part 2 should be more memorable and the little village Miyagi is from should have impressed more but I thought the camera views in part 2 just didn't capture what it really should have. I also feel due to the clothing and atmosphere part 2 doesn't hold up as well as part 1 and it really does feel '80's'.

The other thing that bugged me in party two that I never remembered is the conclusion. I am not going to spoil it for you but it all felt rushed and a few questions unanswered that really make it for a frustrating finish. All-in-all it was still an enjoyable movie but as my wife said 'The first one was a lot better'(it was her first time watching either movie).

Karate Kid 5/5

Karate Kid II 3/5

Picture Quality -

The first movie shines in a very nice rendition of the movie I remember. Facial detail, blacks and color are represented very well for such a catalog release. There isn't the 'pop' you would see in a newer movie however there wasn't that pop when it was watched in theaters either. I don't see this movie looking much better than it does. One key scene when the KK is training by himself with the ocean and sunrise really make for impressive visuals. I also found it really interesting to see a young Elisabeth Shue in such clarity. She really looks great in her breakout role(I am sure better in Adventures in Babysitting though).

The second movie wasn't as stellar. I am not sure if i had expected more due to the locale or if I was just used to how it was all looking from watching the first. I mean the detail is still there as I could see dirt detail on the ground and facial blemishes quite clearly but it just didn't have that 'pop' I was hoping for. I know I just mentioned not expecting a pop but with the locale, the higher budget and focus on surroundings really should have faired slightly better.

Karate Kid 4/5

Karate Kid II 3.5/5

Audio Quality -

There isn't much to say about audio as really these aren't movies that would blow you away in the soundscape. The dialogue is crisp and clear in both films. I will say however that Karate Kid soundtrack is FAR superiour to the 2nd part. Cruel Summer, You're the best and others are so clear and resonate as they should in the key scenes. I didn't get that moment of satisfaction in KK2.

Karate Kid 4/5

Karate Kid 2 3/5

Extras -

I only took a brief look in this area and I must say I am excited to take the time and go through it all. I think the package comes with enough to satisfy fans of the film.

Overall -

I can't deny that Karate Kid is much better than the 2nd although overall they are both enjoyable.

Karate Kid 4.5/5

Karate Kid 2 3.5/5

Read Best Reviews of The Karate Kid I & II (Collector's Edition) (1984) Here

I know what you're thinking. How can an 80's movie look great just because it's on Blu Ray? It wasn't shot using digital photography techniques, so it can only be cleaned up so much right? Wrong. I have NEVER seen an 80's movie look as good as this set does. The images are so crystal clear they look like they were shot with a handicam. The audio is superb and has had the levels balanced much better than the dvd release in which the music tracks were overpowering the dialogue most of the time.

If you are a fan of the series or of 80's movies in general, this is a must have. You'll feel like you are seeing these movies for the first time because even if you saw them in the theater during their original release, you've NEVER seen them like this I guarantee it!

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These are the best of the trilogy, IMHO. The picture is sharp and the sound is 5.1 DTS! It is better than the regular DVD which is only 2.0 stereo. The story line is wonderful and the acting is great. I highly recommend this duo. I purchased this combo at Target for $19.99 on 6 September 2010.

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