Strangers on a Train (2012)

"Strangers on a Train" is that rarity, an Alfred Hitchcock film concerning which one talks about an actor's performance almost as much as the director's. The actor, of course, is Robert Walker, presenting his remarkable portrayal of Bruno Anthony, the rich, unstable man who offers the hero Guy Haines a deadly proposition: he'll kill Guy's wife Miriam (played by the interesting Laura Elliott) if Guy will kill Bruno's father. Because they are strangers on a train who do not know their intended victims, there will be no motives, therefore perfect alibis. Guy doesn't take Bruno seriously, which turns out to be a fatal mistake. Bruno is a complicated part. Although he is obssessed with his own superiority, he can be incredibly petty (popping a little boy's balloon just for the meanness of it), not to mention prissy ("I'm afraid I don't know what a `smoocher' is!"). The character seems to overshadow the entire movie, which is appropriate, because Bruno casts a shadow over the easy, affluent world in which he lives. When he crashes the senator's cocktail party, it's like Satan has arrived, striding through polite society. And, no, Walker was not nominated for an Oscar. Neither was Joseph Cotten for "Shadow of a Doubt". Neither was Anthony Perkins for "Psycho". The Academy evidently had difficulty with Hitchcock's anti-heroes. Hitchcock originally wanted William Holden for the role of Guy Haines, but I think Holden was so savvy and macho, it would have been difficult to accept him as a psycopath's pawn. Farley Granger is atheletic enough to be convincing as a tennis champ, but he has a boyishness which makes the vulnerable aspects of the character believable. The film is filled with the touches one associates with Hitchcock. Some are obvious, like Miriam's strangulation reflected in her eyeglasses. Others are more subtle: After the murder, Bruno approaches Guy outside Guy's apartment house. At first Guy cannot tell who is calling his name in the dark. Bruno is standing near a large gate with wrought-iron bars; and, as Guy comes near him, he steps behind the gate -in other words, he's behind bars. Then, after he has told Guy about Miriam's death and Guy is absorbing the shock, a police car pulls up in front of Guy's apartment house and Guy himself ducks behind the gate. Now they're BOTH behind bars. Hitchcock was a genius, no doubt about it.I wonder how many viewers have noticed the odd discrepency near the end. Bruno has stepped off the train at Metcalf, holding the incriminating cigarette lighter he hopes to plant on the amusement park island, thus framing Guy. A pedestrian brushes by him and the lighter falls into a storm drain in the street. Bruno, frantic, tries to enlist the aid of passersby. However, he says (not once but twice) "I dropped my cigarette CASE in the drain!" Walker, of course, was in the process of drinking himself to death; but the mistake could easily have been corrected with a little dubbing. It's bothered me for years why it wasn't.Director of Photography Robert Burks began his long association with Hitchcock on this picture. He must have worked night and day to satisfy Hitchcock's demands, but his loveliest effect is the amusement park's neon lights against a glowing black-and-white sunset.The film's mood is enhanced by Dimitri Tiomkin's romantically mysterious score. It's particularly striking in the movie's"coda" when Guy is trying desperately to finish a tennis game (allegro) and Bruno is desperately trying to reach that damn lighter (adagio). Hitchcock and Tiomkin worked a couple of more times together but never more effectively than in thisdazzling masterpiece.

It's important to note two things about this edition of "Strangers on a Train." First off, the description on Amazon.com's page is incorrect. This DVD is not in widescreen. The second thing is, to you widescreen buffs out there (including myself) -Relax! This film was never shot in widescreen. In fact, prior to 1953 (The Robe), there was never anything bigger than 35mm! This is why this film (and you'll be surprised to hear), many, many classic films will never be produced in widescreen. They don't exist. You should buy this DVD because of the video quality and the extra "goodies." Gone with the Wind in widescreen? Nope, never was, even though it was blown up to 70mm and cropped horribly in the 1968 re-issue. What's out there on DVD on Gone with the Wind is standard 35mm "TV semi-square" framing, because that's the way it was shot. Wizard of Oz, Casablanca, Citizen Kane? Nope, never shot in anything greater than 35mm. It's a Wonderful Life? No again. Widescreen is limited to theatrical films issued for the most part, after 1953, when competition with television forced studios to come up with the "panoramic" gimmicks to bring people back into the theaters. This is period (1953-1963) when Cinemascope, Todd-AO, VistaVision, Super Panavision 70 and other widescreen formats were born -and the most extreme example was Cinerama, which used three cameras and is used to best effect in the DVD version of How the West Was Won. So don't fret, this DVD is good, crisp and clean and formatted as Alfred Hitchcock intended! Tomorrow's movies will be in IMAX (see Fantasia 2000, in selected theaters now).

Buy Strangers on a Train (2012) Now

"Strangers On A Train" should be rated as Hitchcock's absolute best.

To begin with, it features a perfect performance by Robert Walker, an actor who would be dead within a year after making this great movie.

Walker had previously played some wonderful roles, but he astounded the world with his acting ability once "Strangers On A Train" was released.

Aside from Walker's amazing performance, "Strangers On A Train" is full of half-hidden meanings which relate to the dual personality each of us possesses.

Hitchcock was a true genius, who not only understood both the dark and the bright sides of the human psyche, but who also knew how to depict that understanding by way of film.

I have watched "Strangers On A Train" a dozen or more times, and never tire of watching it yet again, each time finding something new that I had not noticed the time I watched it before.

But, the main reason I watch this film so often is to enjoy the exceptional , perfect performance by Robert Walker. Walker was only in his 30s when he died. He was a tragic figure in real life. He died much too soon, and we are very fortunate to be able to observe his wonderful talent, preserved in this movie, almost fifty years after his passing.

Read Best Reviews of Strangers on a Train (2012) Here

This review refers to the Warner Bros. DVD edition of "Strangers On a Train".....

Had I only been reviewing the film alone, there is no doubt I would go 5 stars for this great film. Five stars hardly covers it for this cinematic work of art, that defines the genius of Alfred Hitchcock. But alas, the transfer to DVD will be a big disappointment to Hitch fans, as it was not given the attention this treasure deserved.

First the story... Even if you didn't know this was a Hitch film, you will immediatley recognize this as a work from the master of suspense. All the tell-tale trademarks are there. As the film opens, the camera work brillantly shows everything in pairs. Two pairs of shoes, from what are obviously two very different styles of dress,two pairs of railroad tracks criss-crossing, and finally the two very different men that fill the shoes... have a chance meeting. Guy Haines,professional tennis player and an upright kind of guy, and Bruno Antony, a mysterious,slick fellow have a conversation. Guy, it seems has an unfaithful wife, who won't divorce him, so he can be with the woman he loves. Bruno has a deep resentment for his father.It is then we learn how really psychotic Bruno is. His idea...a "Criss-Cross"."I'll do your murder"..he tells Guy "and you do mine".Guy sluffs off this very chilling notion, but soon learns that Bruno is not going to let it go. Soon Guy finds himself as a murder suspect and must prove his innocence.

The story, with the screenplay by Raymond Chandler and Czenzi Ormonde, is suspensed filled and as in all Hitchcock films, we feel the need to warn the hero, but can only sit and watch with our hearts in our throats.The shadows, light, and expert camera work all add to the thrill of it all.Hitch as usual picks the perfect cast. Farley Granger as Guy has you in his corner all the way. Robert Walker couldn't be any more chilling. Rounding out the cast with wonderful performances are Ruth Roman, Patricia Hitchcock, Leo G Carroll, who appears in many of Hitch's films and always immaculate, and for a real treat look for Marion Lorne, the beloved 'Aunt Clara" from "Bewitched".The music by Dimitri Tiomkin is masterfully chilling as well.

Looking for Hitch....You won't have to wait long..about ten minutes in..more double trouble as Hitch boards a train with his 'double' bass fiddle.

Now for the DVD transfer. There's good news and bad news. The good news is that this disc contains the recently discovered British pre-release. This version has been edited differently in some places as Hitch felt certain scenes would play better in England, and some better in the states.You'll find some production notes included explaining the reasons. There is also an old publicity newsreel of Hitch promoting his film, and although there is no sound it is still fun to watch. There are subtitles in English, French and Spanish, and may be viewed in French as well.The bad news..as mentioned above the transfer itself. The black and white images, seemed dingy. Jump to almost any scene and you will see signs of age. It is scratchy and grainey. The sound is in DD1.0. Some enhancement would be a welcome addition(we want to hear every sound that Hitch intended).It really pains me to go three stars for this treasure..but I can only recommend the film and not the DVD.

This was a pretty intense film way back in 1951 and still is today! Unless you are as crazy for Hitch as I am(and feel an intense need to have everything every filmed by him), you may want to wait and hope for a better release(Warner Bros..are you listening?).If by some chance, you have not seen it though, and love a great film-noir..rent it, borrow it, do whatever it takes to see this classic.

It's a geat ride....Laurie

also recommended:

Best Picture Collection Epic Dramas (Casablanca/Gone With the Wind/Ben-Hur)

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

Want Strangers on a Train (2012) Discount?

Although there's no doubt that Hitchcock directed a number of classic films before "Strangers on a Train", it seemed as if this film somehow liberated him in some way. After "Strangers" he directed a string of classic films which have rarely been surpassed. The themes that always sprinkled his best work come to the fore in this terrific film. Although the narrative and the film has some minor flaws, they're easy to overlook given the power of this marvelous motion picture.

UPDATE FOR THE BLU-RAY:

Warner has done a nice job of transferring this film to Blu-ray. The film looks exceptionally good with a crisp, sharp transfer. The Blu transfer sports strong blacks. The film has very consistent grain except for a few scenes where it's clear that they might have had to use a different source and where grain is a bit rougher compared to most of the film. This happens in only a couple of brief sequences but, on the whole, the film looks marvelous. I didn't detect any use of edge enhancement.

Audio sounds quite strong with a very nice lossless mono track with dialogue close and clear.

Unfortunately the alternate cut of the film (an early preview version that was prepared for the UK but, evidently, was never shown) is presented in standard definition. A high def transfer of the alternate version could have been prepared for this edition. I'm unclear as to why a high def version wasn't included of this although it's a minor point (for others it might be a major issue).

The carried ove special features are in standard definition.

The Blu-ray is Recommended although a high def transfer of the alternate cut would have been appreciated.

2 DISC DVD EDITION:

Guy Haines (Farley Granger)a tennis pro wants a divorce from his gold digging wife Miriam(Laura Elliot aka Kasey Rogers). Turns out she doesn't want a divorce anymore now that Guy has a socialite girlfriend (Ruth Roman)who is the daughter of a prominent senator. Miriam (curiously, also the name of Janet Leigh's character in "Psycho")is pregnant with another man's child and wants as much as possible from Guy. On the train back to Washington D.C. guy meets Bruno Antony (the marvelous Robert Walker)a psychopathic killer in the making. Bruno engages Guy in conversation and Guy tells him about his wife. Bruno suggests that he can come up with the perfect murder; they swap murders and, since they don't really know each other, the police will not be able to connect the murders to them. Guy humors Bruno thinking nothing of it. Until Bruno follows through on his part of the "bargain" in a brilliant, stunning sequence reflected in the glasses of the victim. Now Bruno is stalking Guy insisting that he complete his part of the bargain.

THE DVD:

This deluxe two disc edition improves on the previous single disc dual sided edition of a couple of years ago. This set includes both the theatrical release and the preview release (mistakenly referred to as the "British" release on the previous edition). We also get a number of terrific extras on this two disc set including 4 short documentaries and an extra carried over from the previous edition of Hitchcock promoting "Strangers on a Train" with some local performers dressed in colonial costumes. Although this section has no sound and has no titles explain the action (it is explained on the previous edition however), it's a fascinating glimpse into the past. We hear about the Hitchcocks from their daughter and granddaughters. We also hear about the making of the film from Robert Walker's son, Patricia Hitchcock O'Connell, film critic Richard Schickel and others. The only short I felt was a waste of time was comments from director M. Night Shyamalan who sounds a bit like a drolling film student here. That would be OK but he doesn't make any observations that amount to anything.

The first disc contains the original theatrical version with a commentary track by "Psycho" and "The Outer Limits" screenwriter Josephn Stefano, director Peter Bogdanovich, Patricia Highsmith biographer Andrew Wilson, various cast family members and Hitchcock himself from an interview. The film has never looked so great before on DVD. The previous edition looked good but had signficant grain problems, analog artifacts and had a picture that tended on the soft side. The picture here is sharper with better clarity and richer blacks, whites and grays than the single disc edition.

Disc two contains all the extras plus the preview version which has a couple of minutes that were cut from the final version. In this version there's a bit more interplay between Bruno and Guy "suggesting" that Bruno is gay. Again, the picture here is a marked improvement for similar reasons. Evidently when Jack Warner saw Hitchcock's preview version, he agreed with the original ending that Hitchcock had in mind.

A great movie just got greater and the fact that this is in a plastic amray case vs. the cardboard snapcases is a marked improvement. Highly recommended for both Hitchcock fans and those interested in learning about the master of suspense.

Save 25% Off

Death Race 2000 (Roger Corman's Cult Classics) (1975)

So these are the words of Calamity Jane, a contender in Roger Corman's low budget farce, "Death Race 2000." It is interesting that Amazon paired Corman's film with Norman Jewison's "Rollerball" and for good reason: one movie is pure satire and played strictly for laughs while the latter is a far more serious and somber commentary on the media, America's love affair with violence steeped in what we call "sport," and the cult of celebrity. Both films explore these themes quite differently, yet both are entertaining as they are disturbing.

As a black comedy, "Death Race 2000" is more or less a cheaply made exploitation flick (budgeted at approximately $300,000), that never pretends for an instant to be anything more than a satire of the future and a parody of "Rollerball"--a far more ambitious, absorbing and expensive film.

Corman's film depicts a "game"--the Transcontinental Death Race--designed to cater to society's need to channel its aggression and hostile impulses as sort of a 21st century equivalent of the Roman circus offering spectators both entertainment and a catharsis in its more manic and kinetic moments.

Yes, the film is crazy--from the attack on Frankenstein by the French Air Force to Thomasina Paine (hilarious!) and her revolutionaries' thwarted attempts to assassinate "Mr. President" and end the Transcontinental Death Race once and for all. While the special effects in Corman's film are decidedly low-rent, save for some interesting matte paintings injected at the beginning of the film, the cars themselves, customized by car designer James Powers, are both creative and imaginative. The film, for the most part is amusing and very funny. The "Real Don Steele" is terrific as the commentator with one-liners that will leave you laughing.

While Carradine's "Frankenstein" looks utterly ridiculous in a plastic helmet and a vinyl body suit, a pre-Rocky, Sylvester Stallone steals the show and seems far more comfortable in the role of "Machine-Gun Joe Viturbo." Stallone would be a household name a year later with "Rocky" released in 1976. Before he assumed his US Senate seat representing his home state of Iowa, a bespectacled Fred Grandy, preceding his "Love Boat" debut on ABC, also manages some laughs as "Herman the German."

This DVD release with its extras and commentary is a vast improvement over the Digital Multimedia release that looks like it was pirated-off someone's VHS copy recorded in EP mode. For Corman fans, this would appear to be the release to shoot for. And according to IMBD, Corman is presently working on a big budgeted sequel due out sometime in 2008.

Finally, fans of Death Race 2000 can enjoy this satirical film in the original widescreen format (1.78:1). My compliments to Buena Vista Entertainment for making the effort to release this film in the format that originally graced theaters and drive-ins in 1975. Not only do the pulse-pounding car race scenes benefit from this, but also the "cramped" dialogue sequences between Annie & Frankenstein are loosened up. Paul Bartel's great direction not to mention the 2nd unit direction of the race sequences is really on display here: no longer hacked up in a full-frame format, it's really quite a slick picture. The widescreen presentation really pays off in the flick when the 5 racers initally split up (at about the 10:40 mark) and especially in Calamity Jane's bloodthirsty pursuit of Matilda the Hun (after Matilda's scoring of Jane's navigator). Of course, the explosions benefit immensely as well.

The 10-minute featurette with Roger Corman, Mary Woronov, Martin Kove, and writer Charles Griffith are enlightening, especially Kove's description of his effeminate depiction of Nero the Hero. What is obviously missing, though, are comments from Sylvester Stallone & David Carradine. I'd also have loved to have Roberta Collins' & Fred Grandy's take on the film (odds of that are no better than a snowball's chance in h***, but one can dream can't he?).

I recommend getting this DVD (the Special Edition, released 12-13-05) before it disappears. I have a feeling this may be the best edition we'll see of Death Race 2000 in the DVD format. Enjoy it for what it is biting satire that could have only been made in the 70's exploitation film days.

Buy Death Race 2000 (Roger Corman's Cult Classics) (1975) Now

Hey, what more can I add that hasn't already been said? When this first came out in lurid color on the Big Screen I loved it. And I love it today after watching it a hundred times. Carnivorous cars driven by caracature cowgals and gangsters, nazis with names like "Mathilda the Hun" and "Herman the German", and a mysterious champion named Frankenstein whose oft-rebuilt face is always masked, not to mention the Resistance, the French Air Force, and all the other "dear friends". Just don't get to like any of them too much. If you've never seen this sick, hilarious parody, get it now. Mr. President will love you for it.

Read Best Reviews of Death Race 2000 (Roger Corman's Cult Classics) (1975) Here

I was glad to get a copy of this today and was hoping for an improvement over my DMI Full Frame Copy. However, it appears this is another case where marketing has misslead the public once again. The Film was clearly shot in Full Screen and this 1:85 transfer is matted down, cropping out much of the top & bottom of the image. When Frankenstein Talks to Myra, you nolonger get to see her boobs as they are now out of frame. This scene was a memorable shot in the full screen version and those who chose the framing of the matting did us no favors here. I am a bit disappointed by this issue....

However,

The Image is a vast improvement, I just wish we had been given all of it. The sound is a slight upgrade but still 2.0 mono. I would still recomend a purchase if you are interested in this title but just be aware you are not getting a true widescreen film and are missing out on some great bits that are now cut out in this print. If you have the old Full Screen release of this DVD, you may want to keep it as this new DVD does not make it obsolete.

Want Death Race 2000 (Roger Corman's Cult Classics) (1975) Discount?

I took my younger brothers to see this when it came out and we had a great time at the show. It's low budget to be sure but it's more in keeping with the independent spirit of film making and the punk rock attitude that started circa 1975.

However I can't believe that no one has complained about the con job of the faux widescreen transfer. This edition is just the full frame version with the top and bottom chopped off to make it look like widescreen. My previous full frame edition has more information. Shame on Buena vista for lying to us.

Save 30% Off

Ladder 49

First and foremost, this is a drama, not an action film, about firefighters, with the focus on one firefighter in particular. The film tells the story about the life this one firefighter, whose life is revealed in flashback, when he finds himself in a bit of difficulty while fighting a fire and engaging in a rescue. That singular moment in time is grounded in the context of his life as a firefighter. While the film may be said to be somewhat formulaic and predictable, it does not take away from the fine acting, the great fire fighting sequences, and the poignant and funny moments that occur throughout the film. In many ways it is reflective of life itself, with some highs and lows, as well as a ready, steady core of reality in which all is grounded.

The firefighter who finds himself in a quandary is Jack Morrison (Joaquin Phoenix), a firefighter at a Baltimore firehouse. The viewer sees Jack in his rookie days as he is initiated into the brotherhood of firefighters and begins the bonding process with his fellow firefighters, whereby they become "family". Some of those bonding scenes are quite funny, especially the one involving his initial meeting with the then Captain of the firehouse, Mike Kennedy (John Travolta). Others are quite serious and poignant, as the dangers of the job are brought home to the viewer, especially when Jack loses a member of the brotherhood that is near and dear to him. The film shows, as the years go by, Jack's progression through the ranks from rookie to respected firefighter. It is clear that it is a job that he loves, despite the ever present danger to life.

As the viewer sees Jack's professional life unfold, the viewer also catches glimpses into Jack's personal life, from the moment that he meets his future wife, Linda (Jacinda Barrett), to the moment of their wedding and the birth of their children, with the wife and children also becoming part of the larger firefighter family or brotherhood. The film also shows the tremendous pressure and stress that a firefighter's job can have on one's spouse and children with their ever present concern for the safety of that beloved firefighter. After all, firefighters go where others dare not, simply so that others may live. The film shows how firefighters and members of their families cope with this ever present sword of Damocles that hangs over their respective heads.

Joaquin Phoenix, who is one of the finest young actors of his generation, gives a low key, but poignant, performance as the salt of the earth kind of guy who wants to do the best that he can for those whom he loves, in a job that he loves, with those with whom he loves working. He gives a quintessential portrayal of a working class guy for whom firefighting and family are concepts at the central core of his being. John Travolta gives a humorous and, at times, affecting performance as Mike Kennedy, the firefighting official who clearly is not above playing a practical joke on his firefighters but who pulls out all the stops to ensure that none are left behind when fighting a fire. Jacinda Barrett is effective in the role of Linda, the concerned wife who does her best to allay her fears and, over time, become supportive of her husband's chosen career. The rest of the supporting cast is equally effective in their respective roles.

This is a film that those who would like to sneak a peek into the life of a firefighter will appreciate. It will certainly let the viewer see the everyday types of situations that may confront a firefighter, as well as enable the viewer to discern why firefighters form such close relationships with each other. After viewing this film, a viewer can certainly walk away with an understanding as to why firefighters are such a unique brotherhood and why they bond as they do. It takes a special person, indeed, to walk into a towering inferno. This film does firefighters proud, and my hat is certainly off to firefighters everywhere. It is with good reason that we, in The Big Apple, call our firefighters New York's bravest.

This is a simple story. It's about the brave firefighters in the Baltimore Fire Department. John Travolta is cast as the chief. Joaquin Phoenix is cast as the young fireman. Jacinda Barrett is cast as the young fireman's wife. The film spans a period of 10 years. During this time we see the young couple meet, marry and have some very cute children. We watch the time-worn cliché about how the wife worries about the husband and wants him to stop his dangerous life. Naturally, he doesn't change though and he just gets braver and braver. There's a lot of camaraderie and good-natured horseplay among the men. But they all respect each other and it's a tight-knit group. Eventually, our hero is trapped in a burning building with no way out. The plot is predictable. And the acting is adequate.

But this film is more than just about the plot. It is about the fires. And I must say I sat in that theater absolutely transfixed as I was thrust into what looked like the reality of it all. I've seen other films and also have read about fires. But this film brought me right there. I was inside all the burning buildings depicted in the film. I might not have felt the actual heat of the fires, but I did feel their unpredictability and the randomness in which tragedy can occur. I also have nothing but admiration for the work that firefighters do, especially when they have to actually go into the buildings when everyone else is rushing out. I don't know how the special effects were done and I don't really care. But I admire the filmmakers for bringing to the screen this story what the job of a firefighter is all about.

Buy Ladder 49 Now

I grew up in a neighborhood of rowhouses on the edges of Baltimore City. My father spent some 30 years with the Baltimore City Fire Department, and the single word I can use to describe this film is "authentic." I remember watching my father come home in that same blue work shirt with its black and gold patch proclaiming "Pride Protecting People." I remember going into the Engine House with him as a kid, tossing a football or a softball around with the guys and dreading the fact that any moment that bell could ring, that the dinners on the plates in the kitchen could go uneaten, that the baseball gloves could be dropped and the turnout boots thrust on.

This film places the emphasis on why these men party as hard as they do because every beer might be the last one, and it might as well be the best one.

Read Best Reviews of Ladder 49 Here

When I was 18 I joined our local volunteer fire service, and I have been doing it ever since. Every day people stop and ask why we do it. I never had an answer, but now I just tell them to go watch Ladder 49. This film is in my humble opinion, one of the best, if not the best, movie out there paying tribute to us lucky enough to be a part of the fire service in this great nation.

Granted, I am no Baltimore city fireman, nor am I a paid full-time fireman. But even in our all volunteer district of around twenty thousand or so, I can still say that this movie is as authentic as they come. I often laughed the first time I saw this movie, as I found it funny how similar we run things here in Western New York.

With it's authenticity and stunning cast (especially Travolta, one of the best actors out there), this film easily plays as one of the most powerful movies I have on my shelf. For those of you who loved Backdraft, even though it was not very realistic or authentic at all, you will love Ladder 49. For those of you who cried at the end of Backdraft, you'll ball at the end of this movie. Definately a must have for ANYBODY!

Want Ladder 49 Discount?

I watched this movie in the theater and was impressed at the reality of the scenes. I am not a firefighter, but a paramedic and nurse who oversees an emergency department and EMS service. The scenes are very realistic. The comraderie is what is experienced each day. Many of my friends and family saw this movie and realized a whole new expectation for what the folks who deal with emergencies go through. Every nurse, physician, firefighter, paramedic and police officer experience this reality each day. Their families experience it as well.

It's also very much about our mortality and the realization that events are capable of changing our life in a second. Every person who watches this movie should be able to relate. However, those who deal with emergency services should be able to understand that it takes just a split second to change everything. That is where this movie excels. I have been there, and have seen everything change in a matter of seconds.

Watch the movie, and enjoy good acting and a realistic movie.

Save 44% Off

Goemon

Goemon is a Japanese folk hero in the tradition of Robin Hood -fighting tyranny and robbing the rich to give to the poor.

So he was inevitably the subject of an action movie, simply called "Goemon." This sleek, stylized historical-fantasy movie looks a little like the ninja lovechild of The Adventures of Robin Hood and 300, but the mix of humor, romance and sharply-drawn action takes a shockingly dark turn in the movie's last third.

Goemon Ishikawa (Yôsuke Eguchi) is a clever master thief who likes to give his stolen valuables to the impoverished. But fifteen years ago, he was a loyal ninja serving the brilliant warlord Oda Nobunaga (Hashinosuké Nakamura) -and after Nobunaga was murdered by a traitor, the disillusioned Goemon became a wandering thief and friend to the poor.

That is, until a literal Pandora's box shows him that Toyotomi Hideyoshi was involved in his master's death -the very man who is taking Goemon's childhood sweetheart Chacha (Ryoko Hirosue) as his concubine, and preparing to declare war using Western weapons. Along with his old friend/rival Saizo (Takao Ôsawa), Goemon sets out to attack Hideyoshi... but they soon discover that this path only leads to tragedy.

"Goemon" is one of those movies that has a good-but-not-great script, paired with spellbindingly lovely visuals -explosive ninja battles on golden rooftops, waterfalls surrounded by glimmering fireflies, and sea battles full of blood and fire. It's a pretty wild ride, and the only problem is that a couple of the characters feel unnecessary (the little boy Goemon rescues).

The first two-thirds of the movie are a pretty steady stream of action, brief romantic scenes, and sepia-toned flashbacks of Goemon's childhood (and especially of the charismatic Nobunaga). But after that, the movie becomes much darker and bleaker, with innocent people being horribly killed and Goemon becoming a more hardened, dark person.

Egichi does a great job as Goemon, both as the rakish thief and the tormented ninja avenger -sort of like a Japanese Errol Flynn with a touch of Harrison Ford. He's funny, charming and eventually heartwrenching. Hirosue is decent, although she doesn't get to do much except wear enormous dresses and look sad.

But honestly, the title character often gets eclipsed by Saizo -this is a strong, tragic man who is torn between his old friendship, his intense love for his wife and baby, and his often nasty job. Osawa gives a beautiful performance full of raw emotion, which climaxes in an impassioned speech to the masses, apparently inspiring them to rebel.

"Goemon" sculpts a folk legend into a fun, thrilling and ultimately tragic adventure movie, and turns out a pretty good movie while it's at it.

Goemon a body guard to a princess turned thief after his lord Oda Nobunagas assassination chooses freedom over service but freedom as we know

comes with price. Stealing from the rich and corrupt and giving to the poor. during one of his heists he comes across a mysterious box that could

unravel a deadly conspiracy and tear Japan apart at the seams into a another civil war can Goemon put a stop to this chaos or will he be torn apart with it?

A beautifully done film with amazing special effects through green screen which most of the film is done in with plenty of emotional impact and crazy over the top action.I was truly impressed with this film on all levels and enjoyed it the beautiful done cgi scenery, the great action scenes through out the

film especially at the last 30 or so minutes of which is pure totally unrealistic but awesome action where he takes on hordes of enemies to enact revenge

for a loss of a friend and save Japan from yet another civil war and finally bring peace to a war torn land.

I highly recommend this film but if you have doubts about it then i would recommend renting it first. But if you like Japanese action films

with some history put in although changed for dramatic effect or if you simply like action films i say buy it, i did and it was truly worth it.

With my respect Thanks for reading my review

I hope it was helpful.

Buy Goemon Now

This movie caught my eye, as I have been trying to increase my Foreign Film collection. I have always been curious with anything that has to do with Japanese history (especially the unification period). It literally grabbed my attention in the first minute and a half, and never let go. The time period this movie is based on was one full of civil strife and unrest for Japan, with class and rank clearly defined and Feudal Lords constantly fighting for power to control the whole country. And while the movie stylizes the mood and scenery greatly in regards to these things, it still held some historical accuracy. Most of the main characters in the movie actually existed during this time period: Oda Nobunaga, Mitsuhide Aketchi, Hideyoshi Toyotomi, Ieyasu Tokogawa, Hitori Hanzo. I'm sure there are more, but those are the ones I caught.

Many of the reviews have brought up the utter beauty of the landscape and architectural design. Needless to say, I am on the same side of the fence. Scenes in the forest FEEL like a forest, scenes in a castle FEEL like a castle, and so on. Sometimes you DO feel like it's obvious you're looking at a green screen or floor. But it all seems integrated smoothly with the actors/actresses utilizing that space, so you don't end up paying attention to it that closely. The sets are busy; lots of extras wandering around and adding "life" to the background. The colors are vibrant and the sound is crisp and clear. My only qualm with quality is that the English dub track sounds a bit "goofy," whereas the Japanese track is emotional and feels more decisive. Also with the Japanese track, you get 6.1 surround instead of Eng 5.1.....not a huge difference if you don't have the extra speaker.

The action is frequent and fast! Obviously, as one can see from the preview, the scope of realism is stretched. But what good are action sequences that abide by all natural laws of physics?! Joking....but the action is good. Some shots are up close and a little cluttered, but others are even paced and use a lot of form.

To sum it up, this movie really took my breath away with an, albeit, LOOSE historical relevance, but historical nonetheless. The combination of action, drama, atmosphere, mood, and dialog progresses the movie fluidly and you may be surprised by how many times you catch yourself saying "ah" or "wow."

*on a side note* If you are looking for any literature regarding the subject matter of this time period in Japanese history, I HIGHLY HIGHLY HIGHLY recommend "TAIKO." It is a very detailed, and very long book (but worth the read) regarding the deep relationship between Hideyoshi Toyotomi and the majority of those listed in the first paragraph of this review.

Read Best Reviews of Goemon Here

Far from a perfect movie, but a great movie none-the-less as the whole rises above the parts. For me, it's the underlying historical themes about fate, personal choices, the lust for power and it's never-ending affect on the world that pushes it over the line. I truly enjoyed it. The plot was interesting and complex. Visually, if you accept the film on its own terms, it's stunning. It has the usual sense of duty and fate over-whelming personal lives so common in this genre, but with some hopeful twists thrown in.

An apt commentary on today's world, at heart, it can be enjoyed on many levels. Two thumbs up!

2011-08-11 Update -I think about this flawed masterpiece a lot and that's another indication of the substance and value embedded within it. I'm at 6 decades now, probably not in the target demographic, but I loved this highly original effort. It definitely struck a chord with me. Some of the visuals are quite memorable in and of themselves. Quite an interesting work.

Want Goemon Discount?

The movie seems to have the mask of being a "robin hood" themed movie but I found it to be such a small part of the movie to not even talk about it. Let's say maybe 5 minutes worth of the movie. Essentially Goemon goes by the "Greatest thief to live" but he started out as a ninja serving his master that saved him as a small child and taught him how to become strong so that nothing could be taken from him. His master/mentor then was assasinated in which Goemon then took on his "freedom" and went into stealing for a living.

Then his past comes back to haunt him and you begin to see how all of the main characters have such a deep history together and everything you thought was wrong.

In the end I would say this was a pretty good movie. It has some great fighting scenes but I will warn you that this is not a realistic action movie. It has unbeleiveable jumping and swordplay that go well with ninja movies.

Not sure if I will watch this movie again though. I would recommend a rent

Save 54% Off

Harry Potter - The Complete 8-Film Collection[Region Free] (2011)

I'm actually very pleased with this product! It's very cheap, and very good quality. There are, however, a couple of things that I feel I should point out.

First, the case that it comes in is a standard mass production case that most multi-disc sets use. Don't expect a lavish collectable case, especially for the price. The case is still very durable, and allows all of the movies to be stored in a small amount of space.

Second, the films in this set ARE NOT THE SPECIAL EDITIONS. They are standard edition, as if the first disc from each movie was put in here. While there are some special features, there are not a lot.

Next, the discs themselves appear to be great quality. All of mine worked extremely well, and there were no defects whatsoever, save one thing. The disc that I received for Deathly Hallows Part 1 is missing a cover. The disc is all black, and the title and copyright information are on there, but there is not picture. This, however does not in any way affect the viewing of the movie, and is only an aesthetic concern.

Also, the box that the DVD's come in is not the absolute best quality, but it is sturdy. It serves it's purpose, and it looks very nice!

PLease note, if you want something that's collectible, DO NOT BUY THIS SET. There are others out there that will better suit your needs. However, this set satisfies all of the casual viewers' needs. It presents the movies in an accessible, affordable manner, and is absolutely a great buy! I recommend this to all Harry Potter fans who wish to have all of the movies!

I like how a lot of fans are slamming Warner Brothers for offering up a box set containing all eight films in one compact package. They accuse how WB constantly does this for the Harry Potter franchise, and to be fair, WB has been doing incomplete Potter boxed releases for years, starting with "Prisoner of Azkaban" onwards. But when the WB actually makes a nice package with all eight films included, they still complain because there's hardly any bonus material. WB did this for their first four Batman movies before the glorious Batman Anthology came to be, so those fans have been waiting a long time that as well.

The set will just have a repressing of the initial releases, and the first three movies include their respective trailers, while "Deathly Hallows Parts 1 & 2" have deleted/extended scenes, so the "no extras" claim doesn't hold as much water. They have some, as opposed to none. Not to mention the quality of the past three Ultimate Editions' bonus features have declined to the point where I just stopped buying them (bulky packaging, no commentary and no extended editions are the deal-breakers). For me, I just want the movies, and this set allows that. For that alone it gets 4 stars. It's a no-frills package but worth it if you just want the movies and save shelf space.

If you want a comprehensive box set with tons of extras for each movie, you'll have to wait. Don't buy it if you don't want to.

Buy Harry Potter - The Complete 8-Film Collection[Region Free] (2011) Now

amazon.co.uk has the three different HP movies 1-8 sets

just go to the site and type in "harry potter 1-8"

ALLL BLU RAY CUSTOMERS can order, as these are region free and with HD media, there is no such thing as PAL encoding.

"Harry Potter The Complete 8-Film Collection [Blu-ray] [2011][Region Free]"

and "Harry Potter: The Complete 1-8 Film Collection Limited Numbered Edition (Blu-ray + DVD) [2011][Region Free]"

I live in philly, i ordered the regular set, its going to come to around 40 bucks i believe

the special edition version will be way less than 100 and far surpasses this version sold here

the dvd set is SUPER cheap but it is not region free and it IS in PAL. so most americans wont be able to see it

this is true for most of amazon.co.uk 's inventory. as far as blu ray, as long as it says region free, it will work in america, and it only takes a week to get here, and it is ALWAYS cheaper. and they have WAY more unique box sets and artwork.

Read Best Reviews of Harry Potter - The Complete 8-Film Collection[Region Free] (2011) Here

Nobody in their right mind should buy this. Seriously. If you don't have any of the HP films on Blu, go on Amazon.co.uk and buy the version from there. You get all 8 movies on Blu, same as this set, plus three extras discs that this set does *not* have, and it costs you about $30 less even AFTER shipping. You'll have to wait a few extra days to get it in your hands because they have to ship it overseas, but I think most people would probably rather wait than spend than the money.

Okay, the UK box isn't quite as spiffy-looking (or maybe it's better, if you're into Daniel Radcliffe). Is a better box worth a $30 price premium? The UK 1-8 box set is undisputably a better version, and it costs significantly less. Warners, why are you trying to sell us this? Anybody with a half a brain sees right through you.

**December 2012 edit**

This is STILL applicable advice, but in light of some of the comments I think I should clarify that I am ONLY talking about the Blu-rays, not the DVD set. The UK DVD set is Region 2 and will not work with most players in the US and Canada. Current price as of this edit is GBP 20.00, which works out to around $33 or so before shipping. Enjoy!

Want Harry Potter - The Complete 8-Film Collection[Region Free] (2011) Discount?

The reviews warning against this product due to a lack of special features are completely misguided. The title of this release is "The 8 Film Collection"; it is not called "Collector's Edition" or "Deluxe Edition" or "The Bonus Features Galore Collection". This is a nice little set for casual fans who simply want all 8 films on blu-ray. And considering this set is (currently) less than $80, how can you complain?

Yes, if you're a huge fan of the franchise and want extended cuts and bonus features, save your time and money and wait for a possible future release. But I find it silly that so many reviewers are "warning" others not to buy this release because it doesn't have all the bells and whistles.

You know what it does have? The films.

Gamera 3 - Revenge of Iris - Blu-ray (1999)

Shusuke Kaneko's Gamera III has all the best ingredients that make a great kaiju movie. This movie shows how it's supposed to be done. Having seen more than 25 Toho films (Godzilla series, Mothra series, etc), all the King Kong films, a few giant monster spin-offs made from all over the globe, not to mention the horrid 1998 American Godzilla and many other disaster movies, this one takes the cake. Gamera III outdoes them all with a solid, earthly story complete with humanity and heart. Also, the use of special effects is absolutely fabulous; they do not take over the film like the excessive CGI used in Hollywood. I must say that Gamera III has some of most exhilarating monster fights ever put to the screen.

Gamera III is a direct sequel to the first film in the trilogy, Guardian of the Universe. A girl lost her parents during Gamera's final battle with the last Gyaos, and garners a hatred for Gamera. She enounters a tentacle creature whom she names Iris, and it is eventually nurtured to become the monster who faces off with Gamera. What was striking about this movie was how surreal and poetic it was. The story flows brilliantly and sensibly, as the roles of human and monster come together so good. Gamera III is a movie all about personality, something that many monster movies lack. The human characters are wonderfully integrated in the story without their roles becoming too cheesy. Also, Gamera and Iris are enigmatic monsters with true character. They are not mindless, menacing beasts whose purpose is to execute showtime destruction.

Speaking of destruction, Gamera III's fight sequences are some of the best you'll ever see. The special effects are such a huge improvement over the first two Gamera films in the trilogy. They also shame anything attempted by any Godzilla movie of recent times, even Shusuke's own GMK. Adding to the special effects is the showing of the human side of the fights. The battle in Shibuya is one to mention. I was in awe of such a brilliantly staged battle, and also how the film showed the human suffering coinciding with the destruction. Most monster movies sacrifice too much of one side for the other. Gamera III does not.

And finally, one thing that carries this film (and the rest of the series) was the character of Gamera himself. How can the population care so much for such a destructive monster? Does he do good or bad to the people? What constitutes which? After watching Shusuke's Gamera trilogy, you realize how much more personality Gamera has than Godzilla.

Gamera III is such a special movie for its genre. Along with the first two films in the trilogy, it shows that the kaiju genre is here to stay. It ranks up with the best of Godzilla such as Godzilla vs. Destoroyah and GMK: Giant Monsters All-Out Attack, perhaps even surpassing them. This is a true kaiju treasure.

Gamera III, directed by Shusuke Kaneko and visual effects by Shinji Higuchi. Gamera III set the high watermark for visual effects in Japanese cinema. With a budget of only 7,000,000 Dollars, they managed to create fantastic action sequences that are orchestrated flawlessly. Some of the SFX are better than the American Version of Godzilla (1998). The movie has this epic tone that makes it seem more than just a monster movie flick. I have seen this movie countless times and I never seem to get tired of it. I recommend this to anyone, not just fans of Gamera or Godzilla. You will not be disappointed. If you are disappointed, I recommend seeking some mental help.

Buy Gamera 3 - Revenge of Iris - Blu-ray (1999) Now

This, without a doubt, is a masterpeice of, not just the giant monster genre, but films in general. Gamera started back in the 60s with more horrible FX and worse storylines than the infamous later movies of the Showa Godzilla series. However, in 1995, Gamera was resurrected as his main competition died out (seemingly) in "Godzilla vs. Destoroyah." The Heisei Gamera trilogy was a fine example of how good japanese monster movies could be if time and initiative are put into them. This film is the best of the trilogy, and shows just how great it is to be able to enjoy kaiju. The SFX are nearly flawless, and even the monster suits portray believable movements, showing that suitmation isn't as terrible as it is so claimed to be. The story of this film makes sense, and one can actually care for the actors. It's a shame that the Shinsei Godzilla series (99-03) didn't take an example from this film. "Godzilla 2000," the reintroduction of the Godzilla series while Gamera was ending, was a major disappointment compared to this film. If you are unsure about the giant monster genre, watch the Gamera trilogy (in order preferably, or else some parts of G3 won't make since) before looking at the Godzilla and Showa Gamera movies (but don't expect anything better unless you are watching the original uncut Japanese 1954 version of "Godzilla").

Read Best Reviews of Gamera 3 - Revenge of Iris - Blu-ray (1999) Here

This movie is absolutely mind-blowing in so many ways. It wasn't until I watched the interview with the film's special effects director (I apologize for forgetting his name) that I developed my deepest love for Gamera 3. The cinematography is haunting, the special effects are incredible (and believable), and the story is fascinating. At the ripe old age of thirty, I have re-entered the world of having nightmares from watching a movie....and that's a great thing. I just can't stress enough how much I LOVE this film and the other two recent Gamera movies.

Want Gamera 3 - Revenge of Iris - Blu-ray (1999) Discount?

After rising the visual bar with Gamera: Guardian of the Universe, director Shusuke Kaneko surpasses himself with the third, and reportedly final, Gamera movie, Gamera 3: Revenge Of Iris. A young girl loses her family during the first movie when, in the midst of battle, Gamera slams into their building and crushes them. Filled with anger and a lust for revenge, the girl uncovers a new monster she hopes to unleash on the world's so called 'guardian'. One of the most impressive things about Gamera 3 is how it shows the horrible fates of the poor humans caught in the middle of the monster battles. The effects are stunning, the story solid and well mounted enough to deserve a theatrical release in America. Since foreign genre movies are usually mocked and ridiculed, it is no surprise that Gamera 3 went direct to DVD. Pity, for this would have looked impressive on the big screen. Kaneko is truly the Honda of today, every kaiju movie he has made has been an intelligently handled genre film, and Gamera 3 is the best of them. No fan of Japanese cinema should be without it. Highest recommendation.

Save 40% Off

Barbarella (1968)

You want classic Sci Fi with visionary special effects and mind-bending themes? Check out STAR WARS or 2001! You want a zero gravity striptease, costumes that fall off at a moment's notice, and a space craft with wall to wall shag carpeting traveling through a lava lamp? BARBARELLA fits the bill! This is the widescreen DVD version with no edits. Although I have heard rumors of a more racy cut somewhere out there, this is not the PG rerelease from the 70s. See the movie Jane Fonda wants you to forget! Too bad because she's sexy, funny, and beautiful here. Groove to the soundtrack of Phil Spector rip-offs, watch in awe as she seduces ... well... everyone in the film (incuding a female tyrant with a horn!). But still, it's pretty tame and innocent fun. I watch this when I want to be in a good mood. It's silly, fluffy fun! A pink bunny if you will.

This film, along with other stunning classics such as "Beyond the Valley of the Dolls," are sure proof that the age of really, really bad yet good films is behind us. Set in the 41st Century, the hypersexual Barbarella goes in search of the evil renegade scientist Duran Duran and manages to stumble across what must be the grooviest planet this side of "Vegas in Space." In her quest to find Duran Duran ("Pardon me, but do you know Duran Duran?"), Barbarella manages to shag half the planet and pique the prurient interest of the evil, yet uber-sensual bisexual queen ("hello, my pretty, pretty"). After demolishing the amazing Orgasmatron and getting herself locked into the queen's funky chamber of dreams, Barbarella saves the day with a bubble of goodness and some help from her blind angel friend Pygor. The unbelievably bad acting in this film is very well counterbalanced by the fabulous Pucciesque fun fur sets and amazing special effects (i.e. Everytime Barbarella has an orgasm her hair instantaneously perms itself!) It's impossible, given our current climate of cynicism, to produce good quality camp like this today. All attempts to reproduce a movie this overwhelmingly bad would just have to fail. Yet, I cannot recommend this film highly enough run, do not walk, to see it.

Buy Barbarella (1968) Now

Roger Vadim's sexy sci-fi opus starring his then wife Jane Fonda as the outer space adventuress Barbarella opens with the now famous strip-tease scene over the opening credits. Fonda peels out of her space suit accompanied by the sexy sixties pop theme song. She is totally nude but discretely covered here and there by her arm or a letter from the credits. You can still see her breasts anyway. Based on a notorious French comic strip character, this futuristic saga is more of a fetishistic ode by Vadim to Fonda's kittenish sexuality. Through all of her sexual escapades throughout the film, he focuses (like he did with Bardot) on her beauty and body whether nude or clad in skimpy "futuristic" costumes. What stuns me is this got a "PG" on DVD. It's too raunchy for a "PG". Parents should be cautioned before letting their kids see this. Although, older boys will find it a turn on like their fathers did---but it's very campy and a lot of the humor will be lost on today's generation. Still, it's a nice time capsule for what the sixties had going on and Fonda is beautiful.

Read Best Reviews of Barbarella (1968) Here

I can remember standing in a long line to get in to see this movie back in 1968, the year it was originally released. I was 12 years old, and my dad had dropped off me and my best friend, thinking that we were going to watch another juvenille sci-fi extravaganza, for which I had developed an extreme fondness. It was the dead of winter and there was snow falling, but we perservered, having heard that we would have the opportunity to see Jane Fonda buck naked, and, above all else, we wanted to be the first in our school to lay claim to that dubious achievement. However, the lady in the ticket booth had other ideas. Although we were 12 years old, we looked no older than 9 or 10, which didn't matter anyway, since we needed to be 16 to get into the movie. So, we didn't see "Barbarella", or Jane Fonda's flaunted nudity, and my father had to immediately turn around and make an 18 mile drive back to pick us up in falling snow, with my mom lecturing him, loudly, all the way home about "parental responsibility" and "pornography". And so it was that, 40 years later, give or take, I decided to order "Barbarella" from Amazon and find out what the fuss was all about and why I couldn't get into see this movie back when it first came out.

Well, for starters, there is nudity, for sure, but it's often fleeting and almost demure. There are breasts, a glimpse of buttocks, and...wait...was that what it looked like? Hard to tell and, at this stage, even harder to care. Jane looks good in the title role and she's funny; "Barbarella" may have been the last time that she was allowed to demonstrate any comic ability in a film for almost a decade. Sure, she was sensational in "Klute", perfection in "Julia" and "Coming Home", but she was a lot more fun in "Barbarella".

There's not much plot worth writing about. Barbarella is a sort of agent for the planet Earth, who drifts through the universe correcting wrongs and fighting evildoers. She travels in an outrageous spaceship driven by a computer that talks to her (not unlike HAL in "2001"). The always watchable David Hemmings is on hand as handsome Dildano, with whom she engages in a literal hand-to-hand sex ritual; hirsute Ugo Tognazzi engages her the old-fashioned way, leaving her sated and singing. And John Phillip Law is both blind and blonde as the angel Pygar, who manages to offend the Black Queen (Anita Pallenberg) by rebuffing her sexual advances, proclaiming, "An angel doesn't make love, an angel is love."

It's all very silly and tastefully lewd, on a sophomoric, 60's-era, "Tonight Show" level (and don't get me wrong, I loved Johnny Carson and my dad was the "Tonight Show's" biggest fan). Despite the presence of some very big names of the time, it doesn't add up to much, and a certain degree of tedium creeps in after awhile. Still, the acting is tongue-in-cheek, the sets are wacky and colorful, and there is a sexy innocence about the whole enterprise that strikes me as being very much in context with the times; in that respect, though worlds apart, Antonioni's "Blow Up" has some of that same carefree attitude. Director Roger Vadim (Fonda's then-husband) seems to embrace the spirit of the '60's without ever imbuing his film with much substance.

The quality of this DVD seems variable, for some strange reason. There are scenes where the colors are beautiful and vibrant, and suddenly the scene is transformed into a muddy murk, before the vibrancy just as suddenly returns. It doesn't really interfere with the enjoyment of the film; "Barbarella" is much too slight to be affected by minor color distortions.

Was it worth waiting 40 years to see? For me, the answer is yes, but mainly as a curiosity piece more than anything. It's not great cinema by any means, but it holds a nostalgic place in my mind of a time that is so radically different from the world we're currently living in, as to seem almost inconceivable. "Barbarella" is my own proof that 1968 did, indeed, exist, that it wasn't a beautiful fable where people still had audacious dreams and the courage to pursue their beliefs.

Want Barbarella (1968) Discount?

I remember vividly the first time I saw that film. It was in 1978 and I was only 10 years old. I was trying to find something to watch on television and then, saw the first scene at the beginning where a woman in a space suit strips, ending up completely nude. The scene begins as the space "bubble" on her head gradually lowers, revealing Barbarella's face for the first time. Breathtaking is not strong enough a word. In my opinion, she was the most beautiful creature I had ever seen up until that time and I was instantly hooked.

The combination of the music, which is also a very strong element here, in total harmony with the highly satirical tone not to mention those cheesy sets are all dead-on perfect. Everything was put there to create a world where a highly sensual creature like Barbarella could flourish. Jane really knocked all my senses in terms of feminine beauty in this movie. She looks like some living Barbie doll, with breathtaking features and a gorgeous mane of thick blond hair: the perfect sex kitten always eager and ready for sex.

This is a truly wonderful performance from a great actress. She deliberately plays the character as a "bimbo" while letting the audience in on the joke. Here is this very intelligent woman playing some "nymphet" in the most convincing way possible. She ends up sleeping with practically every man she encounters even though the sex is only suggested through some clever images. And all the while, she lets the audience knows in very subtle ways that she's acting in parody mode. That is probably the most interesting aspect of her performance. Even with simple lines like "Oh", "But that's monstrous!", "That's nice", she succeeds in delivering them completely "straight" with just the right amount of tackiness as if to say "don't take any of this seriously, just have a good time...". There are countless classic lines here and I can admit I know them all by heart.

Roger Vadim who also transformed another former wife "Brigitte Bardot" into a sensation in 1957 with "And God Created Woman", did the same trick some 10 years later with Jane. "Barbarella" is an erotic comedy disguised as a bad sci-fi movie. Everything in it is tacky: the clothes, the sets, the plot, the acting... But the big difference between this and a truly bad movie is that it is tacky "on purpose". Therefore, it becomes a camp movie which defined itself as such before any critic could do it. Roger knew exactly what he was doing and succeded on every front.

I must say it is in my top ten list of my favorite movies of all times. I have seen it at least 50 times over the years and for some reason, the movie easily bears the repeated viewings. Sure, the story might seem quite silly to some but that's beside the point. If you view this on the first level, you will probably find it all quite ridiculous and farfetched to the extreme. But if you look at it closer, you'll realize just how well-conceived it is. I won't tell you about the plot as I feel it has been covered already in previous reviews. The plain fact is that the story mainly serves the purpose of displaying Jane as Barbarella in all her youthful glorious beauty in one skimpy costume after another.

I can not recommend this movie enough. If you like camp movies, you will love this one. And even if you don't usually enjoy fanfares created for no other purpose than to entertain the hell out of us, you can at least bask in Jane Fonda's beauty here seen at the age of 29. Just for the chance to stare at that perfect face and body is worth the price alone.

Save 40% Off

The Lady (2011)

The story of Burma's Aung San Suu Kyi has surely got to be one of the most compelling, fascinating, and inspirational tales of fortitude and commitment in the arena of international politics. Winning the Nobel Peace Prize for her struggles to bring democracy to her war-torn land, Suu Kyi gave up everything (including family and freedom) for a cause and a country. It is an epic ongoing tale, one that would surely make an incredible film. Luc Besson, perhaps best known for his flair for stylistic action, takes on "The Lady" and it is a real change-of-pace from his usual fare. The wisest decision that Besson made was casting Michelle Yeoh in the leading role. She brings a tremendous dignity to the proceedings and her calm AND gravitas make her quite believable as Burma's national heroine. "The Lady" doesn't play as a straight-up biography, though. The focus of the film is Suu Kyi's family. I think this is an interesting idea to explore, but also one that I didn't think truly worked. By splitting the plot lines, we end up gaining very little insight into Suu Kyi or the political climate of Burma. If you aren't intimately familiar with the story, you might question why Suu Kyi is so passionate to the cause and just what her specific contributions are.

The movie begins with a bit of back story. We see Suu Kyi's father (a hero of the independence movement) murdered as Burma is presented as a land ruled by force. We then fast forward to Suu Kyi playing the role of an average British housewife. She has a perfect family, her husband (David Thewlis) is an Oxford professor and her two teenage boys are vaguely interchangeable. When her mother back home in Burma becomes ill, she returns to her homeland. Due to her heritage, she is held up as a prominent face for reform. Soon she is being elevated to leader status, but the screenplay never really explains this process in any detail. One day she's just ready to take the mantle. I wanted to see more of what made this transition, get closer to the Suu Kyi character. But we remain somewhat distant throughout due to the split focus. While Suu Kyi is becoming a political power (mostly off screen), Thewlis struggles with cooking and laundry. Really? But "The Lady" is meant to be a more personal telling as the family is divided and threatened. Once again, though, some insight into these personal travails would also have been appreciated. Yeoh and Thewlis never waver from their convictions, display doubt, or wrestle with these hardships in any tangible way. They just accept them nobly and, thus, the love story also lacks a certain depth.

But it's hard to dismiss "The Lady" and, indeed, I quite recommend it. I just don't think that it is the great film that it might have been. Through it all, I couldn't take my eyes off of Yeoh and this is easily her strongest performance in years. Despite the gaps in the story, she made me believe that Suu Kyi would stand as a country's role model. I wish the story wasn't so muted in its political explanations, because really understanding Burma and its struggles would have made this a profound experience. With this woman of sacrifice and solidity, though, the movie still packs an emotional punch. More a love letter to a relationship than an in-depth biography, "The Lady" is a well made film for adults. But for me, it misses the mark to make it the unforgettable epic that it deserved to be. I'd love to see the subject matter explored again with a slightly different perspective. But, for now, "The Lady" and especially Yeoh have whetted my appetite to read up on the real life Suu Kyi. And that's something. KGHarris, 9/12.

this movie is an epic and an inspirational one story.... Anyone who believes in the spirit of human being will appreciate this movie... despite some people's supression, the lady came out as iconic figure who provides voice to her people....

Buy The Lady (2011) Now

This is a must see movie about love dedication and selflessness. The cast and the storyline was phenomenal.! was phSimply awesome

Read Best Reviews of The Lady (2011) Here

Michelle Yeoh is amazing, especially since this portrayal is about a living celebrity so recently in the global spot-light. As with all positive biographies, it's difficult to be objective but Luc Bresson and Michelle put the vulnerabilities, sacrifices and hard choices made on the table. Bravo!

Want The Lady (2011) Discount?

"The Lady," a biographical picture of Aung San Suu Kyi, is directed by Luc Besson, best known for his "La Femme Nikita," "Léon: The Professional" and "The Fifth Element." Michelle Yeoh plays the role of Aung San Suu Kyi, Burmese political and human rights activist. David Thewlis is her husband Dr. Michael Aris. (Thewlis also plays his twin brother Anthony.)

"The Lady" starts in 1947. General Aung San was assassinated when his daughter Aung San Suu Kyi was only two years old. About forty years later, Aung San Suu Kyi, now living in Oxford with her husband and two sons, receives a call from Burma. Her mother is ill and in hospital. Aung San Suu Kyi flies back to Burma, where, witnessing the student protests and the bloody suppression of it, she decides to stay and become a leader of the movement for democracy.

Yes, it's Luc Besson and his usual collaborators cinematographer Thierry Arbogast and composer Eric Serra. Unlike in most of his films (including his recent "Arthur" trilogy), his new film is not about a fantastical universe or underworld based on his wild imagination, but about a real-life person who is alive and in the middle of her political career. Actually, Besson made a "bio-pic" once, but I don't think historical accuracy was priority No.1 in making "The Messenger: The Story of Joan of Arc" for him.

While following her life as a political activist in Burma, Besson also tries to tell us a story of her relationship with her husband Michael Aris. In this way we get to see both her public and private face but despite the film's touching finale, "The Lady" suffers from its uneven pace that sometimes feels rushed. Most people other than Aung San Suu Kyi, and Michael Aris generals, soldiers or citizens, whether Burmese or British are relegated to caricatures or cyphers.

Acting is excellent. Michelle Yeoh plays the role of Aung San Suu Kyi with grace and dignity while David Thewlis turns in a moving performance as her husband supporting her even when he is thousands of miles away from her. Their strong bond is the driving force of the film, accompanied by the compelling photography.

"The Lady" puts more focus on the relationship between Aung San Suu Kyi and Michael Aris, than her political career, for better or for worse. As a love story it works, thanks to the strong performances from the leads; as a biographical picture of Aung San Suu Kyi as one of the world's most iconic figures, perhaps we should wait for another film to be made, or read books.

Save 47% Off

Airplane! (1980)

A clever, funny parody of disaster movies (bad melodramas such as "Zero Hour" and "The High and The Mighty" along with "Airport" were the prime targets here), "Airplane! The `Don't Call Me Shirley' Edition" manages to combine silliness, puns and with topical humor in a style that recalls something out of an alternate off-kilter universe. Filled with melodramatic, over-the-top music, deliberately bad acting and every cliché about plane disasters you can imagine, "Airplane!" aims wildly and accurately most of the time taking the wind out of the sails of bad (and some good ones, too such as "Jaws")movies everywhere. Evidently the writing/directing team of Zucker, Zucker and Abrahams (who wrote "Kentucky Friend Movie" for director John Landis and later went on to crate "The Naked Gun" films) caught "Zero Hour" on TV and realized that this overripe melodrama was just right to be plucked and served up as comedy (something it verged on anyway).

Robert Hays plays Ted Striker(the name of Dana Andrews' character in "Zero Hour!") a former fighter pilot who is now afraid to pilot planes since a disastrous mission years before. Striker books a seat on the flight of his girlfriend Elaine (Julie Hagerty) in hopes of working out their relationship. When the crew and passengers are brought down by food poisoning Ted has to overcome his fears to pilot the plane to safety.

While the film looks very good (and better than its previous edition), I was a bit disappointed by the amount of dirt and debris. I thought that a deluxe edition like this would have a nearly pristine print and that Paramount would have the film digitally cleaned up. Overall the film looks good but could have been tweaked more for this special edition. The soundtrack sounds pretty good overall and is presented in Dolby Digital 5.1 and 2.0 with dialogue clear and little distortion.

The extras are where this edition truly shines. "Airplane! The `Don't Call Me Shirley Edition" doesn't have any of the conventional special features you'd expect. There's no "making-of" documentary or featurettes on the film per se. The "Long Haul Version" allow you to watch the film with frequent detours into comments by the actors (Hays is present but Julie Hagerty curiously isn't), writers/directors and other production crew. We also get deleted scenes in the "Long Haul" section that are quite amusing in many instances as well. Included in the "Long Haul" version are clips from the movie that inspired the Zuckers/Abrahams "Zero Hour". We also get the theatrical trailer and a clever menu that presents some of the classic scenes from the film as if you're watching an animated version of those horrible safety/disaster cards they place on airplanes drawn in the same style. This is like watching the movie, deleted scenes and a documentary at the same time. It's a great conceit and works pretty well here. There is also a subtitle track that features trivia about the movie and points out visual mistakes, etc. throughout the movie.

There's a good commentary track featuring the directors sharing stories about the production of the movie. This sounds like the commentary track from the previous edition. The commentary track provides a lot of amusing stories, trivia and background about the movie. Many of the comments are also echoed in the extended branching edition of the movie so listening to the commentary track really can't compare to watching the seamlessly branching edition.

A classic comedy that still works amazingly well, this special edition of "Airplane!" is well worth it for the fans of the movie. Although the image quality could have been cleaned up a little bit more for this presentation, it's a pretty minor issue really as the "special features" make this edition worthwhile for fans of this classic bit of madness.

Anyone who has ever seen one of a host of abysmal 1970's disaster flicks could have predicted that they were ripe for a satire, but I doubt anyone could have predicted that "Airplane" would have set the gold standard for the spoof. In addition, since it appears on TV so often, seeing it on DVD is almost a new experience because all of the scenes that were cut for content seem like new jokes.

I can't imagine anyone is unfamiliar with the plot (such as it is), but by way of a brief summary, a passenger jet is in trouble when the entire flight crew, and many of the passengers, fall ill from the in flight meal. It's up to Ted Striker to bring down the plane safely; but there's just one problem, he hasn't been able to fly since his last abortive raid during "the war". Oh, and his estranged girlfriend is one of the stewardesses. However, where a disaster film would turn this into an overwrought melodrama, absolutely nothing, and I do mean nothing, is taken seriously in "Airplane".

In fact, it is almost remarkable how much is packed into this film. Literally every scene contains a joke or a sight gag or a double entendre. There's so much going on that in spite of dozens of viewings, I still find something new more often than not. Eve the sound effects are a gag, as all of the exterior shots of the plane (which is a model that is so fake it's hilarious) feature the sound of a prop plane even though it is obviously a jet.

The DVD doesn't have much to recommend it other than the film, but that's to be expected from an older, relatively low budget movie; and those who have seen it would agree, there can't have been much left on the cutting room floor to make up extra features. The image and sound are fine, if not spectacular, but then neither needs to be. However, having the film in widescreen is nice because some of the wide angle shots now contain people that weren't visible in the fullscreen version familiar to TV viewers.

In the end, "Airplane" may very well be the king of movie satires. From start to finish it is a non-stop joke reel, and the amazing thing is that they are all still funny years after the first viewing. Fans of the movie will find this DVD to be adequate, as the transfer and sound are fine, but don't count on any new material or amazing extras. However, as I said before, I don't think this is a movie that needs a lot of extras, and the film alone is well worth the very reasonable price.

Jake Mohlman.

Buy Airplane! (1980) Now

Like many fans of this movie, I'd waited for this bells & whistles edition then quickly snapped it up on the first day of rerelease. Well....though it's nice to see this film again, it did come with it's lil' bit o' surprises.

The Print: Most rereleases that I've seen tend to have a newer transfer...at least one that outshines the previous and doesn't make us feel we're watching an 'OK' print. This one here has a liveable, but still noticeable amount of scratches and mystery objects that appear in the frame. I was expecting a bit better considering this is the day and age of restoration. Here, they didn't seem to do much of, if anything to the print, so we're left with one that is slightly better than a good TV quality picture. Hardly a 'special edition' copy of this film.

Features: I noticed immediately when I played the film alone, that it stopped or sputtered in the framerate at times. I'd stopped counting at about five, but still managed to finish the movie fine despite these annoyances. Well, I come to find out, as others have pointed out, the ballyhoo'd special features are chopped up and mixed into the movie (you enact this in the setup menu). Well, after looking at where these special features popped up when enacted, then going back to watching the same scene with them off....bingo....the sputtering I was seeing was exactly where these parts would normally come in. My point being....BEWARE......on some players this will cause a jittery film experiance at times if your just trying to watch it straight thru. My Apex & Koss Players refuse to play the film without these jittery spots, but my Playstation 2's both play the film normally. So just be informed, and keep this in yer back pocket. I'd took my first copy back for an exchange thinking it was defective, then got the replacement and it did the same. This is my first film of hundreds that I can only play on the PS2...lol....and the film.... what can I say that hasn't been said....unfortunately packed into a good intentioned, but rather lamely executed DVD Release. Was this an intern's project? Where's the menu for the special features to see them seperately instead of thru that grating pause so the disc can switch layers or dresses or whatever it does. Gaaaah!

But yea....AIRPLANE: 5 stars.....SHIRLEY PRESENTATION: 3

Read Best Reviews of Airplane! (1980) Here

Airplane! was recently called "One of the top ten funniest movies of all time." This is very well deserved. Airplane is a film that keeps throwing gags at us and we all keep laughing so hard that by the time we've finished the movie we have to catch our breath. A absoloutley hilarious joke comes, we laugh, we start to stop laughing, and another one comes that's even funnier than the one before it and we laugh before we can catch our breath! It takes strong comic talent for a movie to keep us laughing like that! Let's explore this classic spoof film.

Flight 209 is heading to Chicago. It's March 5th and Elaine Dickenson (Julie Hagerty) has just run away from her ex-boyfriend Ted Striker (Robert Hays). However, Ted comes home early, finds her note, and speeds to the airport to stop her before she gets on the flight and intends to change her life in Chicago. His attempts to get her back fail, so he follows her on the plane, haunted by flashbacks of his expierience in the war, where he lost most of his squadron while on a foolish attack. Bad luck takes the day when all the pilots become very ill courtesy of food-poisoning in the fish. Even more bad luck comes when passengers start getting sick for the same reason and now it's up to Ted to land the plane with the help of his ex-girlfriend, a doctor (Leslie Nielson), stewardess Randy (Lorna Patterson), a loony air-port controller by the name of McCroskey (Lloyd Bridges), and and old friend (?) from the war, Rex Cramer (Robert Stack).

It may sound serious, but not one thing is meant to be taken seriously in this unbelievably hilarious film. Every shot (yes) has something funny in it, whether it is subtle (the air-plane makes a propellor blade noise) or some very out-in-the-open ones I will not give away. Let's just say, watching this movie may be the most hilarious expierience of your life.

All the actors are right on. Delighfully acting serious amidst all the slap-stick things going on, it's pitch perfect. Robert Hays is swell as paranoid Striker, and Hagerty is good as his ex, but those who deserve special recognition are surely Leslie Nielson (Don't call me Shirley!), Lloyd bridges (Look's like I picked the wrong week to quit smoking), Robert Stack (No, that's just what they'll be expecting us to do!) and Steven Stucker as the clueless Johnny (Oh, it's a big pretty white plane with red stripes and curtains in the windows and wheels, and it looks like a big tylenol). But this an excellent cast.

The directing is handled by the now famous Zucker brothers and Abraham, whose only previous film was The Kentucky Fried Movie. The directing is very Zucker, Abrahams, Zucker, which means HILARIOUS. Knowing what they're doing, they're the ones who wrote this beautiful script!

The DVD for the film is a cut above most Paramount features, but still seriously lacking, especially for such a classic film. There's a commentary by the director's that runs out of steam after about half an hour (it's one of those commentaries where they say they're gonna talk about a certain thing and never do). The commentary was a big dissipointment for me, because I expected info on how a lot of gags got thought up. Nothing like that here. A trailer is also included, but it's very long and ruins a lot of the funniest moments by putting them along with stupid music and making the movie look very unfunny.

The presentation quality of the film is actually very good, though. The picture is not bad at all, much brighter than the mushy presentations of previous video and TV incarnations of the film. The grain has been very reduced to a minimum and the quality is very good for a 22 year old movie. The sound is a new remastered 5.1 surround that gets the job done admirably. After videos that would go from LOUD LOUD LOUD to quiet quiet quiet, this new sound is great. Well-balanced and with the music well-placed and the voices clear, you'll love the new sound (why Paramount's Friday The 13th movies are getting treated with Mono soundtracks is beyond me).

However, a complaint I hold against this DVD the most iswhere are those TV scenes? When the movie plays on TV, it includes some cool extra scenes that extend the running time and add some more laughs. They include more scenes with the little kids acting like adults and more scenes with Kareem Abdul Jabbar, Robert Hays and Julie Hagery, as well as Robert Stack and Lloyd Bridges. They are nowhere on this DVD. BIG dissipointment. I don't think Paramount quite get the point of DVD. They re supposed to be movies on disks with superior picture and sound quality as well as interesting behind the scenes features and DELETED SCENES. Anyway, that's the big thing missing on this DVD.

Airplane was followed by a sequel, Airplane 2 The Sequel which failed to keep the laughs the original had going and usually recycled stuff from the first film with new actors. Also, it missed a lot of great characters from th original. Leslie Nielson, Robert Stack, Lorna Patterson, a lot of people missing from the sequel. That movie is good fun, there are some good laughs, but the original will always be the best. Period.

Want Airplane! (1980) Discount?

i once owned this film airplane on vhs many years before the "don't call me shirley

edition" was officially released on dvd. with seven to eight minutes of footage

omitted from it(all the DISASTER humor is GONE!). the true original IS 95 minutes

in length! and made in 1980 not 1997 not 2002 not 2004 and not 2007, thats four times in a ten year copyright span. when this film is FINALLY released probably

as a directors cut print and/or as the "true original" i will finally buy a copy.

but let it be known I AM NOT FOOLED Mr. Jerry and David Zucker and Mr. Jim Abrahams

NOT FOR ONE SPLIT SECOND!

Manilow Live

Can't say that I was a big Manilow fan. Bought this DVD because I enjoy all kinds of music, and the other reviews sounded good. The surprise for me, was how many of the songs I knew, but had forgotten. The quality of the DVD, both sound and video is very good, and Barry Manilow does put on a great show! Almost felt like I was at in Vegas. I recommend this one highly. If you're over 50 you can't go wrong. If you're younger take a listen, and enjoy someone who really does know how to "write the songs that make the whole world sing."

Save 10% Off

Summer Hours (The Criterion Collection) (2008)

This elegiac French film concerns the passing of one generation to the next in a family of three siblings left with the complicated inheritance of a mother whose country house is filled with the memories and belongings of a great-uncle who was a well-known artist. Richly detailed, Proustian evocation of a moment in time where past and present meet before time moves on.

This is a multi-layered film, interested in the interconnections between overlapping lives, while taking on many themes from the meaning that possessions assume in our lives to the responsibilities we owe to the past and to the memories and wishes of our forebears. It raises issues of lasting vs ephemeral values, esthetic vs practical, monetary vs sentimental, materialism vs intangibles like loyalty, respect, passion, tradition. It tantalizes with the expectation of family secrets that are never quite revealed. It luxuriates in the languor of French countryside at the height of summer.

While the dilemma what to do with the the art collection of a dead artist suggests a kind of high-culture perspective on the subject, the film keeps bringing us down to earth with its interest in the conflicts that might exist between any family members left to sort out the belongings of a dead parent, while needing to get on with their lives. The closing scenes are a brilliant coda to the way the dilemma is resolved the central characters are left behind as we follow the next generation teenagers invading the abandoned country house for a last weekend of partying, their attention focused completely on the present and the beckoning future.

This is a wise and thoughtful film especially for older adults. See it with someone who has lived a good deal of life, and the two of you will have much to reflect on and comment about.

I agree with most of what the other reviewers have said about this film. This is a wonderful film full of insights about humanity, family, Life and Love.

However, I think this film has much more to offer than just insights about memories, or generations, or possessions . . . .

It is the second in a series of films produced by Musée d'Orsay, after The Flight of the Red Balloon. Flight Of The Red Balloon [DVD] WS, Juliette Binoche

This film is a "map" of modern human consciousness.

It starts with a French family gathering in the provences at their family home. The aging mother, now 75 years old, played by lovely and charming French actress Edith Scob, has gathered with her children for a birthday. Her children have come from their careers, all over the world, to be with her. During the course of the celebration, they begin exchanging memories, sentiments, the realities of fulfilling careers in a modern global economy, and, the importance of their love and sentiment for each other.

In the wake of the mother's demise, the family explores the values that they hold most dearly. As all of us must face, in our modern lives, they make compromises so that they may continue with their careers, their global pursuits, and their relationships outside of the family. The denouement arrives when they decide to sell their mother's considerable estate, and, donate many of her objets d'art to the Musée d'Orsay.

The film witnesses the resolution of their grief, fears, hopes and dreams, as they gradually let go of the art that their mother had collected, and, which had surrounded them when they were children.

Juliette Binoche (as a blonde) is no less than brilliant in this performance. In many ways, it involved another enactment of her extraordinary, and award-winning, performance in "Bleu", in the well-known and respected French trilogy Bleu, Blanc, et Rouge, by Kiezlowski. Three Colors Trilogy (Blue / White / Red)

This film exlplores all of our feelings, spirit, and thoughts, as all of us now struggle for identity in a global conscioussness, fast becoming smaller, and smaller, and smaller . . . .

Buy Summer Hours (The Criterion Collection) (2008) Now

There are few films that capture the authenticity of life quite like `Summer Hours', a small and intimate portrayal of family life in all of its various stages yet confined to a simmer. The film moves rather languidly, floating in and out of `moments' that capture a whole far grander than many films concocted in recent years. This film is touching, moving and ultimately reassuring for it understands the intricacies that make the finale so profound.

Anti-climactic can be far more climactic than we give it credit for.

`Summer Hours' delves into the lives of three individuals; Frederic, Adrienne and Jeremie, shortly after the death of their mother. As they all gathered together for her seventy-fifth birthday, they are told that once she passes they are free to do whatever they like with her belongings, including her beautiful estate. Once she dies, differences in her children start to creep into the way they wish to dispense of their inheritance of sorts. Their values, their futures, their ideals are all called into play as they discuss and compromise with one another over the belongings their beloved mother left behind.

But this film is so much more than that.

This film is far less about `things' and more about people and the way they affect our lives. As her children are left to sort through all she left behind, it is less her belongings and more her legacy, while barely mentioned, that makes the strongest impact. Lives move so quickly that our actions can be deceiving, but there are beautiful moments that pick up on the subtle hints that chip away at the truth behind the eyes of these newly orphaned adults. By the film's end, one is brought to a sharper realization of the importance and enriching fragments of life itself, and one can beautifully grasp the sincerity of every frame.

With fine performances from the entire cast, Olivier Assayas directs a modern masterpiece; a stunning piece of cinema that comes full circle in its own message; closing out with a sequence that says so much about the core of this film and where `life' is headed.

Read Best Reviews of Summer Hours (The Criterion Collection) (2008) Here

A beautiful sad profound film shot with clarity, empathy and understanding of the complexity of civilized living. Quality of life means being embraced by family ghosts, stories and secrets and by objects given life through those stories. Objects that are murdered when placed into a museum.

The film acknowledges that modern life can disconnect yet makes it obvious that there is a common denominator, that of authenticity bestowed by one's inner life. Eloise touching the flowers in front of the emasculated house. Eloise watching her patronne wilt after the departure of grandkids. The Paris couple adjusting to life with grace and humor; the girl's sadness upon realizing that she has just lost a priceless part of her childhood. It seemed to me that the expat siblings were missing something essential as if cutting links to their old home and country diminished them subtly, irreversibly. The film wasn't easy to watch, my grandfather had a similar grand old house & garden etc. And I now live far away.

Films like this make us sad, but also make us more real.

Want Summer Hours (The Criterion Collection) (2008) Discount?

Yes, this is an "art" fillum and it is French so it's not for everyone, but bear with me on both scores. The art in this movie is actual art that three siblings inherit along with their family home after their mother dies. The French part shouldn't dissuade those of you who hate subtitled flicks or artsy fartsy European fare--it's really a poignant, loving portrayal of a family yet one based in the reality of what one has to deal with when a loved one dies and you're left with their memories (in this case their valued objects and home).

If this story was done by Hollywood you'd have shrill voices screaming and fighting over the valuable art. As it was done by the French, it's done in a way that seems natural among two brothers and a sister over how to dispose of a family estate in a way that brings honor and dignity to the family name.

There are some great scenes that show up museums and the "coldness" of the way they do business and subsequently display other people's memories where all context and love of art is pretty much lost once removed from its original owner's homes.

The dialogue is first-rate and so natural. The story is also so modern and speaks of the globalization of our modern world and how a culture can be chipped away just by family members moving away. I won't ruin that aspect of the movie for anyone but you'll see how profound the effect is and yet in the end the grandchildren show all is not lost for France when its citizens move abroad.

The movie also looks fantastic. You actually feel as if you are in a wonderful jumbled French country home that actually feels like a home and the art pieces are alive (i.e., one famous vase gets used constantly for flowers rather than just being a display behind a glass case).

(Kudos also for the choice of the Plasticines' song near the end of the movie to showcase France's punk pop of today.)

Save 50% Off