Basket Case Trilogy 'Limited Edition Steelbook | Basket Case / Basket Case 2 / Basket Case 3: The P

This is a beautiful set from top to bottom. My friend found it and bought it from Kim's for $70 (and I would have done the same had they had 2). The next day, I ordered this set from amazon.co.uk, because, after conversion rates and shipping, it came out to just under $36 dollars. I suggest you all do that as well, because this set is worth it, and it's worth the 2 weeks wait to save $20.

Seriously, go out and buy this now. You won't regret it.

Well, here it is the ultimate "Basket Case" collectible. All three films on region free Blu-ray discs looking and sounding the best they ever have, plus a comprehensive documentary (almost 80 mins), a suite of extras collected from previous DVD releases of the first film (commentary, outtakes, trailers, photos), a look at UK horror movie posters and an Easter egg featuring an FX workshop tour all wrapped up in metal box with great new cover art. Wow-factor: 11 out of 10. The first movie is a genuine low-budget horror classic, and the glossier sequels make for cheerfully demented viewing. Plus, Belial fans should note that a potential "Basket 4" is hinted at in the documentary, so buy this now and stay tuned for more mayhem.

Buy Basket Case Trilogy 'Limited Edition Steelbook | Basket Case / Basket Case 2 / Basket Case 3: The P Now

Point of No Return / Domino / The Long Kiss Goodnight (Triple Feature) (2006)

I'm not going to review or rate the movies, that's what IMDB is for.

As far as the product itself: The quality is good. I like it that they take up less space in this format though it does make it harder to organize your DVDs. Even if you don't happen to love all 3 movies it's still a really good price.

The 5 stars is for the product, not the movies. (They would all rate differently, of course.)

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BluScenes: Coral Reef Aquarium 1080p HD Blu-ray Disc (2012)

This disc has one purpose to make your TV look like a fishtank. Other discs from this company make your TV look like a fireplace, etc. It's not a disc that is designed for you to sit and watch like a movie.

A few of the reviews here scored low because they said that the video did not amount to much more than a selection of aquarium tanks being filmed straight-on with a camera, which happens to be what I was looking for.

If you are not trying to literally make your TV look like a fishtank, look elsewhere. However, if constantly changing views annoy you and you want a stationary shot that makes you feel like you are looking at a fish tank, then this is a great disc.

I'll write this review in three parts, so that I can address the content, the picture quality and give some suggestions to some of the other reviewers who had problems.

1) The coral and fish: This is why I bought an aquarium Blu-ray disc, and it's also why I reviewed this disc very highly. You can tell that the habitats are in excellent health, and the fish and coral are very well lit. A little internet sleuthing shows that these tanks are also known as the "Pratt Reef," at Pratt Art Institute, and I'd have to say that those students are very lucky to have these tanks in their presence. I could never make my tanks look like that, so I have to experience them on my TV!

2) Regarding picture quality, some of the reviews seem to be all over the place. I tried this out on two TVs -one with a matte screen and one with a glossy screen. You owe it to yourself to view these with a GLOSSY screen. Only then do you experience the true color and contrast of the disc. Glossy screens allow for truer blacks, and if you think about it, aquarium tanks are always glossy.

These tanks are well-lit, and look fantastic in kitchen where I have very bright full spectrum lighting. If you are looking for darker, moodier tanks, this is probably on the opposite end of that spectrum, but the light serves the important purpose of keeping the coral healthy. There are some darker blu-rays like HD Moods Aquarium that use artifical coral inserts and have less fish. HD Moods is a bit darker and might be better in a darker room as it's harder to see in a bright lighting.

Each of the 3 Bluscenes aquariums plays in a loop, and it's done in such a way that its hard to tell where the disc is looping (Hint: the loop freezes for a fraction of a second while the laser moves back to the beginning of the loop. If you are not looking for it you will miss it. None of the other aquarium discs that I own have done that, and hopefully more will add it in the future).

3) Regarding reviews that say that this looks like someone just aimed a camera at an aquarium tank, that's what I was hoping for, so I am pleased. For me the closeups that are on some of the other discs, or pan-and-scan ruin the illusion of the TV being an aquarium. As far as those saying it's not colorful and then others saying that it is, I think that a lot of it has to do with your TV (and maybe partly based on whether your TV is glossy or not). It definitely looks hi-def though because you can make out the individual scales on the fish and also the pieces of gravel. It's very clear.

So anyway, maybe if you think it looks dull on your TV and you have a matte screen, you might be able to tweak the contrast a bit to darken the blacks a bit.

Buy BluScenes: Coral Reef Aquarium 1080p HD Blu-ray Disc (2012) Now

I absolutely LOVE this DVD. The picture is clear and sharp and the sounds are so soothing. There are different choices of aquarium background for you to choose. When it is playing, I find that people can't stop staring at it! Definitely worth the purchase! It's great as a background for a party, instead of a black widescreen TV screen in the room, you have a gorgeous, colorful and soothing aquarium with (or without-you choose) bubble sounds! And the best part? No cleaning or replacing of fish!!! :) I wish the creators of this DVD would create a Beach DVD, too! You can also get a sneak peek at this DVD if you look it up on YouTube (just search under BluScenes Aquarium), that's what I did!

Read Best Reviews of BluScenes: Coral Reef Aquarium 1080p HD Blu-ray Disc (2012) Here

Picture quality is amazing and stunning. I ordered my copy straight from Bluscenes who made this. Its awesome. You will be amazed on these 3 tanks that they show. I watch this on my 60 INCH Sharp Aquos 120 HZ. One review who gave this a 1 STAR said this "Fish are not realistic in their movements." I'm not a fish expert, but the fish sure did moved naturally to me. One reviewer "Booyah Guy" pretty much says it all.

Specs on the Bluray Disc

VIDEO: 1080p24

AUDIO: 7.1 DTS-HD MA (Music + Aquarium only), 5.1 Dolby Digital (Music only), 2.1 Dolby Digital (Aquarium only)

3 Tanks to choose from, play or loop as preference.

*************

The cinematographers at BluScenes combined the renowned coral reef tanks of Advanced Aquarist and Senior Editor of Reefs Magazine, Randy Donowitz, with the crystal-clear image quality of the RED One(tm) 4k camera to create the ultimate Coral Reef Aquarium Blu-ray Disc. Featuring three unique and colorful aquarium tanks, teeming with amazing fish dancing before a canvas of living coral. You can seamlessly loop each chapter and enjoy the speciallycommissioned ambient soundtrack with numerous surround and stereo audio options or experience the soothing hum of each aquarium tank.

Play a trick on your guests: At about 18:30 minutes into the first tank, we dropped a little bit of fish food into the upper lefthand corner of the tank. Set your watch alarm when you start the disc and tell your friends that it's time to feed the fish. Watch the fish, and your guests go crazy.

How else is this disc different from other aquarium discs?

1080p content shot on a RED One camera

The tanks and lighting were designed by an advanced aquarist, and look more like real coral tanks, because they are real coral reef tanks. Coral reefs tend to be very close to the surface and in sunny climates.

Interesting fact: While each tank appears very different under the aquarium lighting, the same type and number of lights are installed on each tank. The different corals and fish simply reflect the light differently!

**Taken from Company's website

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I bought the set of 3 from the website during a sale got all 3 for $15 shipping included.

The full set is Aquarium, Fireplace, Space (planets, etc.). All of them are high quality.

Just realize it is what it says it is..an aquarium it's not a documentary...it's a fish tank.

A beautiful, clear, clean fish tank with very pretty fish.

55" TV sets look great while you are watching them but when you aren't there's a lot of really black dead space in your living room. This dresses up the space while you aren't watching cable or a movie. It is very peaceful has music and bubble sounds that you can listen to or not. Options are Music + Bubbles Bubbles Music No sound at all.

I am very glad I got this particular aquarium screensaver.

It would also be perfect for a doctor's waiting room or business foyer.

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Champion (1949)

Interesting that right around the same time--the late 40s--three different films were all released with basically the same theme and plot: The Set-Up (w. Robert Ryan); Champion (w. Kirk Douglas); and Body and Soul (w. John Garfield). Ryan's film is a very good piece of work while the Garfield film is, by today's standards, heavy-handed, thus dated. But the Kirk Douglas film is, in fact, the Champion.

The boxing scenes are realistic--in spite of Douglas' recent nose job, made during filming, preventing any of his sparring partners to hit anywhere near his schnozz. But more than anything else, it's Douglas' tremendous charisma and energy that raise this film above the norm. Douglas, as did Garfield in the earlier Body and Soul, plays a guy mired in poverty who sees boxing as a quick way out of the hole and, once initially successful, wants nothing but more: both money and success. And nothing standing in his way will prevent him from getting what he wants. But while Garfield's portrayal of selfishness is forced and, as well, entrenched in cliched dialogue, both Douglas' acting and the far more intelligent script make Midge Kelly's (Douglas) relentless quest for power tremendously believable.

Arthur Kennedy is Connie, Midge's brother whose leg was busted when he was a kid and now walks with a cane. The three--yep, count 'em, three--women in Midge's life add a lot of juice to the film and a nice touch is the casting of a brunette who's Midge's girl when he's poor and two blondes when he's rich and successful. Back in them days, blondes were IT. (Marilyn Monroe and Jayne Mansfield carried on the tradition).

Champion gives you a great view of life in the late 40s as well. It's also interesting that the director, Mark Robson, was part of the Val Lewton school of horror directors (which also included Robert Wise), so makes excellent use with his cinematographer of light and shadow. This is not exactly a film noir, but does have several noirish traits--camera lighting, and thematic corruption and desperation.

This is more a precursor to Raging Bull than Rocky; the latter character is always good, while DeNiro's character is akin to Midge Kelly--rising quickly from a life in the streets to attain fame and fortune, even if toes get stepped on and hearts gets smashed to pieces (Rocky would never do stuff like that).

A strong piece of cinema; recommended.

Kirk Douglas as the classic greek tragic figure: a hero with a fatal flaw.

Arthur Kennedy and Kirk Douglas play down-on-their-luck brothers (Connie and Midge Kelly, respectively) travelling west to take possession of their part ownership of a restaurant. When they arrive they discover that they had been scammed. Along the way out to the restaurant, Midge made a little money at a boxing exhibition where he caught the eye of a promotor. Midge and Connie work for a while at the restaurant, but Midge's single-minded pursuit of a better life and the respect he feels he deserves causes him to abandon his newly minted wife and head out to seek his fortune in the boxing ring. Midge is a single-minded character like none you've ever seen. This single-mindedness drags him down, extinguishing his humanity as he climbs his way upward. As with most tragic heroes, he finally sacrifices himself when he allows his misdeeds to finally engulf him.

Kirk is fabulous. The fight scenes are convincing and well filmed. The story hops along. This movie represents Arthur Kennedy's most accessible performance as the humane, crippled brother representing the greek chorus reminding the main character of his morality. This is an excellent movie.

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Kirk Douglas plays an emotionally bankrupt man driven by poverty and anger to become a champion prizefighter. His energy and confidence attract love and loyalty from people who contribute to his success but become hurt and disillusioned by his ingratitude and betrayal. The plot is fairly simple, but the film holds interest through its portrayal of a man devoid of self-understanding, whose ambition can never truly be satisfied despite his apparent success. The most intense scenes are in the boxing ring, where no amount of punishment can stop him.

Read Best Reviews of Champion (1949) Here

4.5 stars. I heard so much about this film for so long, so I finally sat down and watched it. At first I didn't think I was going to like it, because the lighting bothered me. But as the film progressed, the lighting fit. Douglas plays an ambitious boxer in the 1940s who like most celebrities get caught up and those around him are the first to get burned. I agree with the assessment that this film is like a Greek tragedy. i kept wanting for Kelly to snap out of it, but alas...

This movie a classic for a reason and if you haven't seen it, you need to do yourself a favor and check it out.

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Kirk Douglas was marvelous in creating a signature role in his portrayal of boxer and eventual champion Midge Kelly in the hard hitting, gritty 1949 flick "Champion". Based on a story by the revered author Ring Lardner, the movie chronicles the rise and inevitable fall of Kelly.

Hitchhiking to the west coast with his crippled brother Connie played poignantly by Arthur Kennedy, Douglas gets briefly introduced to the world of boxing but rejects it. The brothers are headed to California to take over a diner in which they purchased a share. Realizing they'd been swindled by the rightful owner Lew Bryce played by Harry Shannon when they arrive there, they take a job in the place.

Douglas and Shannon's daughter Emma played by Ruth Roman fall in love, but a hastily arranged shotgun wedding spoils things and Douglas runs out. He seeks out boxing trainer Tommy Haley played by Paul Stewart who he'd met previously. Stewart takes Douglas under his wing and under his tutelage and supported by his brother Douglas becomes a seasoned and tough boxing contender.

Unable to get a deserved title shot he dumps his trainer and signs on with a high rolling and connected trainer Jerry Harris after being seduced by bad girl Grace Diamond played by platinum tressed Marilyn Maxwell.

Douglas commences to foresake all those who care for him as he climbs his way to the top eschewing his brother, manager, mother and estranged but still caring wife. His whole personna becomes altered to mimic the beast he becomes inside the ring. He begins to see the error of his ways on the eve of an important title fight, bringing his closest allies back into his life. The seeds of tragedy have already been planted however and Douglas faces an ignoble future.

Mark Robson crafts this flick like a Shakespearean tragedy and Douglas demonstrates great skill playing the doomed and destructive pugilist. This fine flick won an Oscar for film editing and well deserved nominations for both Douglas and Kennedy.

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Music and Lyrics (2007)

Sure. Why not? The first question in assessing a movie's merit is does it do as intended?

With "Music and Lyrics," what it intends is nothing extraordinary. It aims to be a fun, romantic, sweet comedy of a man meeting a woman and falling in love, with a poke at pop culture. It accomplishes this. I saw this on February 14, Valentine's Day, and wanted exactly as delivered.

Paul McCartney asked in the 1970s what the world needs with another silly love song. "Music and Lyrics" is, in film, a silly love song.

Hugh Grant plays Alex Fletcher, a has-been pop singer from a defunct duo similar to Wham!, struggles to find his way as his audience stops caring. Realistic, he knows what he is capable of, but is unsure what his next step should be.

When Cora, a pretentious form of Britney Spears-Shakira-Christina Aguilera of sex-pop, offers him an opportunity to write a song, he runs into trouble. He is a melody man, not a lyricist. His lyricist from his old band, Pop!, is long gone.

In walks Sophie Fisher, played with charm by the ever-sweet Drew Barrymore. She's Alex's temporary plant watering person (and not a very good one), with a penchant for delivering peppy lyrics under her breath. Despite the scorn of fill-in wordsmith Greg Antonsky, Alex takes a liking to her style. Greg's angst-style, hopeless lyrics seem off kilter with Alex's personality.

Embittered from a broken affair with an engaged man, Sophie is uninterested. It is one thing to hum a tune, and it is another to commit to writing a song. However, Alex only has a few days and pressures (begs, really), Sophie to help.

She acquiesces, and tries to write. Alex and Sophie clash, as he understands the profession of music, and is desperate, and she is still stuck on the failed affair.

Both are living in the past, and both need to move up into 2007 to survive and thrive.

Finally, lyrics are written, and Cora loves them -with a few changes. Cora's version is laced with faux spirituality and tramped-up seduction. Sophie's artistic sensibilities are insulted, and pulls the song much to Alex's chagrin. They argue, break-up, and now, Alex is stuck trying to fix a song.

Can he fix the song on time? Will they figure out how to live in the present day? What about love (this is a romantic comedy, remember?).

A fine self-mocking performance is put on by Kristen Johnston as Sophie's older sister Rhonda, making jabs at her own weight-loss campaign. Brad Garrett as Alex's agent Chris Riley is right on the money, as he is both a manager and friend.

Drew Barrymore shows she's more than the girl next door, but has a kind of Lucille Ball, Jenna Elfman, Meg Ryan mix going on.

Hugh Grant is perfectly cast, and is the better side of himself. He never overplays the role, and yet, does not fall into the 'stupid Englishman' persona he occasionally does.

I fully recommend "Music and Lyrics."

Anthony Trendl

editor, HungarianBookstore.com

"Music and Lyrics" is a hoot: witty, bright, beautifully performed by the luminous Drew Barrymore (as ditzy, charming, beautiful Sophie Fletcher) and the dry of wit, Hugh Grant (as the less famous half, Alex Fletcher of a hot 80's duo, "Pop" obviously patterned after "WHAM") and briskly paced by director Marc Lawrence.

The story is light and airy: Fletcher needs help writing a song for a Britney clone, Cora. A song that could maybe bring him back to prominence after twenty years of playing store openings, amusement parks and nostalgia concerts. Sophie, though a partner with her sister in a Weight Loss clinic, is a whiz at writing pop lyrics: presto...match made in heaven!

The interplay between Barrymore and Grant is spot on and the dialogue and story are almost up to their excellent timing but they both work hard, though not too as that would negate the comedy, to make this work and in most scenes it does.

"Music and Lyrics" is as light as a crepe filled with caramelized bananas and topped with whipped cream and as such don't expect more from it than a huge smile and the delicious satisfaction that comes from eating something you have no business consuming.

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Really good romantic comedies are few and far between. 'Music and Lyrics is one of the good ones! Reminiscent of 'The Wedding Singer' with it's parody of the 80's pop scene and also co-starring Drew Barrymore, this smart and funny film features a believable chemistry and relationship between the two leads and not too sappy an ending. The 80's in-jokes are clever and keep this movie from falling into the same traps most bad romantic comedies do. Hugh and Drew are as likable as they ever have been in this romantic musical comedy! The fact that they acually sing the songs in this film make it all the better.

Read Best Reviews of Music and Lyrics (2007) Here

This is a movie that you'll love forever. Hearing any snippet of the score will give you that happy, sappy feeling that only a great romantic comedy can.

Drew Barrymore is precious as only Drew Barrymore can be, and five minutes into the film I forgot that I never really considered myself a huge fan of Hugh Grant!

Music and Lyrics is everything that a romantic comedy is meant to be and then some. This DVD belongs in your collection!

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From the opening credits, "Music and Lyrics" bounces along and for ninety minutes draws you in to what has to be one of the most charmingly appealing films of the last few years. Everything seems to work here beginning with the simple premise that a has-been songwriter is given a deadline of two days to write a new song for an up-and-coming pop queen...only to discover that he needs a lyricist. And boy, does he find one!

Hugh Grant plays Alex Fletcher, the aging star of the musical group "Pop". With that song deadline looming and down-and-out about his success in completing it on time, in walks Sophie Fisher (Drew Barrymore) to water his plants. What happens from here on out is pure magic as Alex discovers Sophie's natural talent with lyrics. The film sails along, never letting down, as they work together and discover each other.

I've seen "Music and Lyrics" twice and liked it even better the second time. The supporting cast with Brad Garrett as Alex's tortured manager, Kristen Johnston, as Sophie's neurotic-driven older sister and Haley Bennett as Cora Corman, the new pop sensation, are all terrific. The songs are evocative of another age and work well in support of the film. But it is really the chemistry between Grant and Barrymore that wins the viewer over. Perfectly cast, she plays foil to his gentle, persuasive humor and the end result is sheer joy. I highly recommend "Music and Lyrics". It's a refreshingly funny, witty and wonderful film.

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Tess of the D'Urbervilles

That haunting song has been stuck in my head ever since I saw this four-part BBC miniseries. It was a stroke of genius to incorporate this folk tune into the soundtrack (composed by Rob Lane), which sums up the mood and aura of this tragic tale of a young woman wronged so unjustly by two men. Gemma Arterton is wonderful as Tess Durbeyfield, probably Thomas Hardy's most well-loved heroine, exploited by her ignorant parents into claiming noble heritage and discarded by 19th century society. Hans Matheson is Alec Stoke-d'Urberville, the wealthy cad who violates her, unknowingly impregnates her with a child who doesn't survive babyhood and later comes back into her life as a supposedly reformed preacher. Eddie Redmayne is Angel Clare, the seemingly kind-hearted and tolerant parson's son who wins Tess's love but proves to be just as hypocritical as his religious family and his actions bring Tess to despair. As in most Hardy tales, tragedy looms a large shadow over the lives of his characters.

Arterton's Tess is matched perfectly by Matheson's Alec, who is given more depth than any of the earlier film adaptations. The dark and tormented essence gives you the sense how doomed these two characters really are their actions and words toward each other leads to their downfall. Unfortunately, the same cannot be applied to Redmayne's Angel, who looks befuddled and lost more than half the time. There is a rushed directorial pace in the second installment that hurts the romantic appeal between Tess and Angel, and the love story element seems a bit forced as a result. Because of that, I didn't get the appeal of Angel in this one, or why Tess and her fellow dairymaids were in love with him, or why Tess takes the desperate course of action in order to get him back. Some of the modern dialogue used did take away from the affect of the story, and Redmayne seemed to have a hard time keeping up with Arterton performance-wise. Redmayne redeemed himself somewhat in the final episode but for the most part I was unimpressed with him. However, director David Blair must take some of the criticism, as the hurried scenes to establish the "romance" seemed to skim over the parts of the novel that gave the lovers the attachment to one another that eventually leads Angel to see the error of his ways and beg his wife's forgiveness. I was anticipating Alec's return so much that I found myself not really caring if Angel came back for Tess or not. In sharp contrast, the 1998 A&E/London Weekend Television production had me rooting for Tess and Angel's reunion even though I was aware of the outcome. I was so taken by Angel in that one, whereas here I found nothing in him to be slightly attractive or romantic. I sympathized with Tess completely and neither man deserved her, but at least in the other version and the novel I could see why she loved Angel and longed for him to return to her. I found myself almost rooting for Alec (I never thought I'd say that), because Matheson was so compelling and magnetic and he and Arterton generated such electricity, I couldn't take my eyes off them. Alec's fleeting conversion to Christianity and his sermon in the tent that Tess stumbles upon is foreshadowing of the path these two ill-fated characters will end up on. The moment he lays eyes on her again, his fatal attraction and twisted love for her resurfaces and consumes him, and Tess finds herself increasingly helpless to refuse his help after her father dies and her family is left destitute. Alec's wealth is the only way he can possess her and he is aware of that, but he is willing to get her the only way he can, only to discover that fate does indeed play a vengeful hand. It was also nice to see Tess revisiting her child's grave and placing fresh flowers upon it; her deeply felt sense of loss and rejection by both the church and her village is searingly devastating because it becomes all the more clear that she is victim of both society (in which women had few advantages) and fate. Having said that, Tess and Angel's reunion did not have the emotional impact it should have had, the sex scene was unnecessary, but the Stonehedge sequence was an emotional powerhouse for Arterton, as was the climax of her walking off to her fate with her signature tune heard wistfully in the background. The supporting cast was in top form, and while the cinematography was lovely, it could have emphasized far more considering how important landscape is in Hardy's work, as both the 1998 two part program and Roman Polanski's 1979 film have demonstrated. As a four-part miniseries, it had the opportunity to include more scenes from the novel and insight into character, particularly Angel, which would have helped the plot a great deal. However, it was good to see the mausoleum scene and the ending was heartbreaking and moving, although my tears were for Tess, her sister Liza-Lu, and, dare I say it, even Alec, but I felt nothing for Angel (although Redmayne's tearful breakdown was by far his best moment).

On the whole, this was a very good presentation, my second favorite version and very much worth seeing. Arterton and Matheson give tour-de-force portrayals; it would be great if they would co-star again, some have suggested as Cathy and Heathcliff in "Wuthering Heights" I could definitely see that. And that song will linger on in your memory long after the final credits have rolled, as will the rest of the score.

I've never read the book before, and this was my first time watching a film adaptation of this story. Its funny because I accidentally started watching it, but within a few minutes I found myself captivated by this movie. By the end of the first two hours I found myself hating Alec for what he did to Tess. However, near the end I almost started liking him, which really surprised me. Even though he was a bad person his character was a tortured soul. He cared for Tess as much as he could care for anyone. He even tried to make things right by marrying her. I actually felt sorry for him as she kept rejecting him. I knew that he had never changed, but I felt that he really did care for her. Perhaps it was more so lust than true love that he had for her. I also felt sorry for Tess. I felt sorry for both of them if that is possible. I didn't quite understand the whole mistress thing though. I came to the conclusion that he wanted to marry her, but he couldn't because she was legally still married to Angel. She was his only lover though, so in theory they were married, but just not legally. Perhaps Alec didn't deserve death either. He told her that her husband wouldn't come back, but even Tess thought he wouldn't come back. I didn't think he was coming back either. I understand that she was exacting revenge upon the man who had essentially ruined her life. However, she also played a part in her own destruction. I felt her biggest downfall was telling Angel about her past. I suppose that was part of her characteristic purity. Angel was not as effective of a character as Tess, or Alec. I didn't hate him, or like him much. He was a wet mop of a character. His weakness was interesting though because it almost made it seem that Alec was more in love with Tess, or at least more passionate. Fate played a large part in everything else that happened to Tess. It seemed as though the murder of Alec was her way of finally taking fate into her own hands. Anyway, this movie had me crying for quite a while. The ending where she recreates the May Dance scene was also tragic. The only way for her to have had a happy ending would have been if Angel had fallen in love with her before she fell from grace. I took peace in the fact that at least she was set free in the end. In any case, this is a haunting story that lingers in the mind.

Buy Tess of the D'Urbervilles Now

"Tess of the d'Urbervilles" is one of my favorite books, and Tess is I dare say my favorite literary character. I loved the 1998 adaptation of "Tess" as soon as I saw it, and I was really excited to see if this newer, longer, (hopefully) fresher adaptation could possibly improve on an already beautiful version. At the same time, I was preparing myself to try not to dislike it. Happily, I can say: though it's still not a definitive adaptation, this version definitely holds its own.

Things "Tess '08" got right:

1. A great Tess

Gemma Arterton makes this character her own. While Justine Waddell's Tess was delicate and sensual, Arterton plays Tess with more bite. Both are valid interpretations of the character. Both, however, also excel at the highly emotional scenes. Tess is a sympathetic and brilliant character and Arterton definitely does the role justice

2. Very strong supporting cast

Though I still like the supporting cast of the '98 version more, I loved this version's portrayal of Tess's friends Marion and Izz. Tess's family members were also well chosen, and everyone at Talbothy's diary was great! Hans Matheson's portrayal of the morally ambiguous Alec d'Urberville is particularly noteworthy.

3. An extremely strong last half

While it has its rough spots, the whole movie is worth it for the last hour. It's an emotional rollercoaster. I challenge you not to get an ache in your heart.

A few things that did not please me:

1. A disappointing Angel Clare

Eddie Redmayne just did not do it for me. I was never convinced by Tess and Angel's romance, and the actor who played him was just...dull, and seemed slightly dim-witted.

2. Extremely changed scenes and awkwardly filmed scenes

Hello, "it's too late" scene, anyone? It was almost unrecognizable.

Sometimes, throughout the movie, the dialog got a little strange, or the pacing seemed a little off. Either too abrupt, or too drawn out.

Some final words:

This 2008 version had many good things going for it, particularly Gemma Arterton as Tess, and it had some great scenes in there, most notably the mausoleum scene and Stongehenge scene. But a weak Angel (Waddell and Milburne were sizzling together) and some awkwardly filmed scenes prevented this from being a terrific adaptation. Basically, the last episode redeemed the entire series; I can't gush enough over how good it was. BUT, overall, this was a weaker adaptation compared to the '98 (my personal opinion of course!) because of the pacing issues, added/changed lines, and imperfect casting choices. The fourth episode was by far the strongest, with Part 1 and Part 3 following.

I really enjoyed watching this mini-series, though, and I appreciate the effort to stick to the story and stay true to the characters. Now, if only one of the adaptations would include the pheasant scene!

Read Best Reviews of Tess of the D'Urbervilles Here

This adaptation is simply not up to the same standards of acting as most other BBC classics. The filming is lush but the acting, particularly by Tess and Angel is wooden and fails to capture the intensity of the tragedy. The series is not particularly innovative in its approach to the novel. It's not a patch on the BBC adaptations of Vanity Fair, North and South or Middlemarch.

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An outstanding performance by Tess and Alec, gorgeous scenery and costumes, stunning BBC classic. Loved it! Already have it pre-ordered for the release date. AlecHans Mathesonfabulous evil & tortured soul has been seen in some of his other works (The Virgin Queen & Mists of Avalon), I think he truly soars in this production. Tess is wonder, sweet and tragic, proud and practical all in one. Gemma really captures this. I did not like Angel, there was just too little chemistry, and often thought, why was this actor cast in this role?. Either way, this DVD is well worth every minute. Excellent production!

Requiem for a Vampire: Remastered Edition (1973)

If you are unfamiliar with the cinema of Jean Rollin, he made erotic, gothic, atmospheric films. If nudity is not your cup of tea, don't watch his films. You won't get it. Jean Rollin was making films in the 1970's, when film makers where pushing the limits of what they could put on screen. Whether it was nudity, sex or violence. And Jean Rollin used all of them to great effect with his french gothic style to make some of the most unforgettable imagery you will ever see. In Jean Rollin's fantastic 1971 film Requiem For A Vampire, this is most true.

(This is the Third film in a sort of Trilogy. 1: The Rape Of The Vampires (1968) 2: The Shiver Of The Vampires (1970) and 3: Requiem For A Vampire (1971))

The Film starts out with the two main characters (Marie-Pierre Castel and Mireille Dargent) dressed as clowns in car chase shooting at the chaser.

They escape and make it to an eerie castle where they are bitten by bats and meet a Vampire woman.

They are taken to a dark graveyard with a dungeon in the center, drenched in red light where the "Caged Virgin's" are held ("Caged Virgins" was the US title when this film was released in the United States.)

There they meet the last true living vampire, he sends them to find male victims and drink their blood so that they may be initiated as vampires.

They each find a man, Mireille Dargent's character lures her pray to the top of the castle, where she kills him. While Marie-Pierre Castel's charactor find a man, but she finds that she likes him. She loses her virginity and hides him in the castle. She lies and says she found no one.

When they are taken to be initiated, the Vampire knows her virginity has been taken, though it had been there just the day before. Marie-Pierre Castel's character does not tell where he is.

This Leeds to the infamous whipping scene. Mireille Dargent's character is forced under the consequences to whip Marie-Pierre Castel. She hangs by her wrists in a dark dungeon naked, and whipped. Do to censorship at the time, they shot the scene two ways. One with Castel nude and one with her wearing a bra and panties. The one on this release is the original nude scene.

That's as far as I'm going to go plot wise.

A trend I see among many reviews of Jean Rollin's films on here are people saying "not a family movie." I suggest you look a little into a movie before you throw it up on the TV for grandma and the kids to see. The trailer for most of Jean Rollin's films are on YouTube. Though I must say as a word of warning, these movies are basically rated x. No one under 17 admitted.

That in mind, The cinema of Jean Rollin is exquisite, unique and beautiful to look at. And Requiem For A Vampire is, in my mind, one of his best.

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The Aviator (2007)

Martin Scorsese's stylish take on Howard Hughes' early life, is a stunningly visual treat in art direction made even more compelling by Scorsese's sure handed directorial flourishes. Scorsese is, by now, a master of the medium, always finding the interesting shot, the fitting camera angle, the flowing tracking shot, the camera movement that breathes energy into his story. It is beautifully filmed and acted, most especially by Leonardo DiCaprio as Howard Hughes.

It is a long movie, and it will be interesting to see whether a modern audience, many doubtless unfamiliar with the Hughes legend, will find it as intriguing as we who remember the Hughes of Las Vegas etc. Take the clue from the title, this is a film about the young Hughes who was a genius and a creative dynamo, and an almost overlooked pioneer of aviation. This was a young man full of ambition, dreams, energy and contradictions. The film not only presages the pitiable creature Hughes will become, a slave to his obsessive compulsive illness, but it does so with sympathy and sensitivity.

A first rate biopic done with flair and style. Another worthwhile look at an American life.

Reviews of THE AVIATOR seem to fall into three camps. Those who hate it because it rewrites history...I'll admit right here that I don't know enough about the "true" history of Hughes to comment on the accuracy of every detail. Others hate it because they find it boring or don't find Leonard DiCaprio credible as Howard Hughes. The third group likes the movie.

That's the group I'm happily in. It is by no means the greatest epic ever made, but for me it hearkens back to the glory days of the early Cinemascope, Technicolor Hollywood epic, but with better special effects. The sets and costumes are completely luscious. No expense has been spared. You feel glamorous just watching the darn thing. The acting, while very good all around, teeters close to going "over-the-top," which is just what this sort of film needs. It is not a subtle film. It is trying to tell the epic story of an epic American who achieved epic things and endured epic personal battles. A bit of bluster and scenery chewing is in order.

For example, everyone loved Cate Blanchett as Katherine Hepburn(heck she won the Oscar). I admired her performance too...but when you watch it, you see that it is pretty unsubtle. Was Hepburn, even in quiet moments, really so full of PERSONALITY? But the film needs this to work.

Alan Alda was great...he plays slimy so well now. In my mind, he's going to totally shake off Hawkeye Pierce and emerge as a key player of political villany. In real life, he seems like a terrific, open, intelligent and easily amused person. Scary how just a tiny tweaking of those dials makes him creepy. Good stuff!! Kate Beckinsale, out of her league, does okay as Ava Gardner, but the role is generic. You never feel Ava Gardner...just some nameless starlet. Gwen Stefani got a lot of mileage out of dressing up like Jean Harlow, but she's hardly in the film. She looks great, though. Jude Law has a tiny part as Errol Flynn...how perfect that casting is!!

And finally, DiCaprio. Here's a huge role for him, one leaving him open to great failure. Yes, I know he still looks like young teenager. In GANGS OF NEW YORK, that worked against him...his anger in face of Daniel Day-Lewis was never threatening...heck, the guy could hardly grow a beard...how could he take on a master-thug? In CATCH ME IF YOU CAN, he uses that boyishness to perfection...a role he was made for naturally. In THE AVIATOR, they don't really try to make him seem older. DiCaprio is forced to make us believe he is Howard Hughes by force of his acting...not his impersonation of the man. At first, Hughes hits Hollywood with his wealth and boyish enthusiasm and starts making huge films. He's full of nervous energy and driven to succeed. That actually suits DiCaprio's natural look pretty well...so early on, we can see the boyish DiCaprio as the boyish Hughes. As Hughes ages, DiCaprio can't (and other than a few subtle lines, the makeup artists don't try to age him), but by this time, we already buy him in the role. His personality becomes more complex as his mental disorders become harder and harder for him to combat...and DiCaprio and Scorcese beautifully stage these scenes. One great moment has Hughes in a public restroom, having just obsessively washed his hands. Another patron askes Hughes to hand him a towel...but Hughes' problems simply won't let him. He knows there's no reason not to help the guy. We see DiCaprio's face racked with shame. He wants to get the towel, but can't. He groans out a "I Can't" over and over, as he's frozen in place. He can't even make himself run away...his horror at himself is too complete. This is pretty good stuff. Later, when Hughes has gone totally off the deep end, and locked himself into his offices, letting his hair grow and his hygiene become questionable (at best), his demons have totally evolved. So when he finally summons the strength to fight them down long enough to face a Senate committee (and the outcome will determine the survival of his airline), we root for him quite enthusiastically. And finally, there are the scenes where Hughes flies his experimental aircraft. First, he flies over a field and is forced to make a rough landing. His exhilaration, even as he must know at some level that he could die, is palpable. He's a kid in a candy shop...multiplied 100 fold. Later, he crashes into some fancy suburban homes. This scene is brilliantly staged, with great sound and editing, and we really feel we're in that crash with him. It's horrifying. And finally, the flight of the Spruce Goose is an emotionally climactic moment.

There's no doubt that Hughes was a "difficult" person...even without his madnesses. He wasn't much good at forging close personal relationships with women. But what Scorcese and DiCaprio have captured with THE AVIATOR is the spirit of a time in our history when great things could be done by great individuals with great ambition and drive. It's exhilarating.

To those who found the movie boring and cliché-ridden, I have no answer. People keep saying that THE AVIATOR "isn't TAXI DRIVER or RAGING BULL." So what? Spielberg's MINORITY REPORT ain't E.T. or JAWS, but each is a masterpiece on its own terms. Frankly, Jake LaMotta in RAGING BULL is so unlikeable, the film has always kept me at a bit of an emotional distance (great though it may be). At least in THE AVIATOR, I could root for Hughes and even sympathize with him. And DiCaprio, despite all his foolish, tabloid-baiting activities after TITANIC, is truly one of our most gifted actors. GILBERT GRAPE? CATCH ME IF YOU CAN? A BOY'S LIFE? And now, THE AVIATOR? He's the real deal.

Personally, I recommend this film VERY highly. It's the finest mix of old-Hollywood ambition with new-style technology.

Buy The Aviator (2007) Now

On one level, this is an interesting and convincing period piece about the times in which Hughes lived and his remarkable accomplishments. I didn't fully catch onto the filmmakers' ultimate intent though until I watched it a second time: that is, the gravity of obsessive-compulsive disorder in Hughes' life. I greatly enjoyed the film the first time I saw it but it wasn't until that second viewing that I realized the power and grittiness of the story they were trying to tell and, for me, the "classic" status it should/will receive. The source music really helps set the period and the score by Howard Shore is truly exceptional. My respect for DiCaprio grew tremendously as well both for his actual performance and after learning more about his passion for wanting to put this story onscreen and all the work he went to and interest he took in the project. I don't like using the word "epic" and often avoid so-called stories that are, but 'The Aviator' is a grand one that has a tone all of its own due to the focus on Hughes' determination and achievements in face of mounting external struggles and even more overwhelming internal ones.

Read Best Reviews of The Aviator (2007) Here

Here for once you have Hollywood hard at work rather than hardly working, and a present day glimpse at what "screen magic" used to be. Perhaps the placement of a story during Hollywood's golden era helped. But what a convergence of planets -writers avoiding knee-jerk political correctness despite the mammoth temptation of Howard Hughes at center, Leonardo DeCapio performing as a top-notch, intelligent actor and not a sneering boy, Martin Scorsese just being an honest tradesman. That plus mid-century 20 razzle-dazzle, an edgy sort of heroism, and the wild card of a tough lesson in obsessive-compulsive disorder adds up to a movie that will certainly last, long after Titanic has sunk again and the gratuitous sadism of Casino has been properly relegated to the smell-o-vision pile. Bravo!

See it on as big a screen as possible. You will meet, best as he can be recreated for you, a complex and driven creator named Howard Hughes who attempted to do more with his life than simply rest on the $$$ he was born with. Warts and all but funny too. As for the rest of the cast, no extras here -the recreation of Ava Garner was particularly smashing and unexpected.

Despite having lived through the era and read all the Life magazines & other news junk about Hughes' last days in my teens, the movie taught me I knew nothing at all worth knowing about him. I had sat down just expecting a typical Hollywood stroll through big sets, snazzy clothes, all that jazz. I can count on one hand films that were actually an advanced learning experience, and I have seen dumpsters full of them in 55 years. But this is not only not one of those clunkers, but also close to the top.

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This is an excellent movie that shows the brilliance and illness of a legend. The acting cannot be faulted. Everyone does their job well.

I can't say great things about the blu-ray because it really didn't enhance anything. That said, for $10.00 I won't complain. If you have the DVD, don't bother with the blu-ray. If you don't, it will be 10 bucks well spent.

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A Christmas Carol (Blu-ray / DVD Combo) (1951)

I only discovered this movie about four years ago but have watched it every Christmas since. To me it's the best version of the Christmas Carol ever made, and now it gets the best treatment you could have ever hoped for. This two disc collector's edition contains two different versions of this movie. First is the colorized version, but then the second is the real treat. They went back to the original prints of this and worked from there. After carefully removing the skips, scratches, and jerky frames, they digitally restored the movie to a version that looks as if it were made yesterday! The sound has been changed to 5.1 digital surround, and there's even a widescreen version for 16:9 televisions.

The special features include an earlier version of Christmas Carol (not as good as this one), as well as several featurettes on the movie, interviews with the stars, a feature on Alistair Sim, and others.

You can tell the distributor put a lot of effort into this restoration and it shows. I wish they'd do the same for other great films like "It's a Wonderful Life" and "The Bishop's Wife".

Highly recommended as the best version of this classic you'll find anywhere.

There are two superb film adaptations of this Dickens classic; this one and the 1984 TV film starring George C. Scott. Both do justice to the original novella far beyond any other dramatizations. However, it is this 1951 British version that got there first and no doubt inspired the 1984 remake. Both Alastair Sim and Scott breath life into the character of Scrooge and make him a three-dimensional personality whose life and fate take on far greater meaning than they do in the hands of other actors who have taken on this role. Sim, of course, became the definitive Scrooge by first taking the character seriously and by portraying Scrooge as more than a simplistic cardboard cutout. For those of us who were raised on this version of the film, Sim will always "be" Scrooge. That does not detract from Scott's performance at all and he was quoted as saying he knew from the start that he could never hope to match Sim's effort. Nonetheless, he succeeded in carving out his own highly credible, compelling portrait of Scrooge which stands beside that of Sim's, like two magnificent paintings sharing the same wall. Both films should be enjoyed and appreciated as the fine, individual achievements that they are and both will stand as "definitive" for a very, very long time. We are the richer for having such a marvelous choice.

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(2008 HOLIDAY TEAM)Somehow, across the years, the story of Ebenezer Scrooge and his three ghosts has been transformed from it's spooky roots to light-hearted family fare. Scrooge is not so much evil, as grumpy. The ghost's tend to amuse rather than frighten.

This black-and-white version of "A Christmas Carol" maintains the horror roots of the story. Jacob Marley is one of the most frightening ghosts to haunt the silver screen. He grows intolerant of the idea that Scrooge is not frightened, and howls his rage and frustration. The Ghost of Christmas Past is an impersonal specter, cold and distant. Present is jolly and yet quick to anger. Future is the grim shade that he is supposed to be.

The back story of Scrooge is told in greater detail here than in any other version. He resents Fred, not because of his Christmas cheer but because his birth caused the death of Scrooge's beloved sister. He not only remembers the good times at Fezzywig's, he remembers putting Fezzywig out of business later in life. Alastair Sim brings this character to fullness more than any other actor. The Christmas morning scene is a delight, and worth the wait.

As a bonus, the Fleischer "Rudolph the Rednose Reindeer" is included on this disk. This is clearly Santa Claus by the people who gave us the first animated Superman. The animation is fluid and dynamic. One of the best extras on any DVD.

Read Best Reviews of A Christmas Carol (Blu-ray / DVD Combo) (1951) Here

Although this 1951 classic film takes some liberties with the Dicken's novel, it remains the film most faithful to the original story. Some of the sets and costumes were directly inspired by the memorable illustrations in the first edition of the book. Alastair Sim is very convincing as the miserly Scrooge who, after a terrifying night of ghostly visits, is transformed into a man who knows how to keep Christmas in his heart.

There have been many DVD editions of this holiday favorite in recent years, several of them from VCI Entertainment. In this package, VCI has included some things featured on previous releases (commentary, Dickens biography, etc.), but the real star of this set is the beautifully restored version of the black and white film. According to a short feature on the restoration of the film, VCI has finally been able to obtain film elements from the original master. Apparently they didn't have access to a complete master, so they used several of the best prints they could gather and digitally read them to determine which frames were the best available. The rest was cleaned up by hand. It sounds like a labor of love, and the result is visible on the screen. The restored print is available in 4x3 and 16x9 in 1:37:1 format. (According to the Amazon product description page, the aspect ratio is given as 1:87 and elsewhere as 1:33, the DVD box says 1:37.) There are a few seconds of less than pristine audio, but overall this is a gorgeous effort.

A nice touch I've never seen on a DVD before is an optional audio track for the blind, in which a narrator describes the action on the screen pausing for dialog from the actors. A wandering commentary track with Marcus Heard and George Cole (young Scrooge) is included. Much of the commentary is reprised in a feature interview by Heard in which Cole reminisces about Alastair Sim, "Spirit of Christmas Past." The audio is in English only. Subtitles are in English or Spanish.

The second disc offers the original 1935 Seymour Hicks' film version of the story. A colorized version of the 1951 film is also included on Disc 2; the brief introduction by Patrick McNee (young Marley) has been seen before on previous releases of the colorized version. There are also theatrical trailers from the UK release ("Scrooge") and the US release ("A Christmas Carol").

VCI has given us a beautiful package here. They've done a great job with the restoration of a film treasure. Many viewers will never have seen such a good print of this holiday favorite before. The bonus features are a nice inclusion, but the restoration is the real reason to get this edition. Highly recommended!

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I received my copy of the 60th Anniversary set today via Amazon (and kudos to Amazon, which refunded me a total of $7 from the pre-order price I had paid back on Oct 2, charging me a mere $10.99 for this 2-disc set, ie: at their Nov 2 price).

I haven't watched the entire movie, but spot checks of the film on the BluRay disc reveal the best-ever VCI transfer. It's even better than the BluRay version that was released in 2009. Also, it seems to me like the picture contains more along the edges than it has before. I'm wondering if VCI has been clipping the left & right sides of the film image all these years due to deterioration, but were somehow able to restore those edges with the new computer software they said they used on the film this time around. I did notice that a restoration credit is given to a firm called "Blair & Associates" that isn't VCI, with a copyright date of 2011. Perhaps they finally decided to send the thing out of house and get it done right.

I can't imagine why VCI isn't hawking this version more aggressively, because it does seem to fulfill finally the promises VCI has made over the years about just how painstaking their restoration efforts have been. Those promises have always led to a bit of disappointment in the past. Not this time.

Also, the soundtrack is absolutely quiet, at least when played in the original mono. I haven't tried the 5.1 surround sound yet, and I don't know that I will. I'm something of a purist in this matter.

I watched the Leonard Maltin intro, and it was very good and professional, supplying info I didn't know (such as the fact that Glynis Johns is the daughter of Mervyn Johns, who plays Bob Cratchet).

I have only ONE very small complaint, and it seems almost ridiculous to point out, but the subtitles come up a second or so before the lines are actually delivered on the screen. They're not synced precisely to the beginning of each new phrase in the dialogue. That's really not a problem as I never watch the entire film with subtitles. At least these subtitles are in white, rather than the hard-to-read red of the Ultimate DVD Edition. And, the point size of the subtitles is a bit smaller than it was on the 2009 BluRay version.

The set also includes a hardcopy "Abridged American Pressbook" that I assume represents what was sent out to American film houses when the film was released in 1951. It's a very nice touch, and something that I haven't seen in earlier releases. The little booklet is a 3-page gate fold that unfolds into a two-sided promo kit that pictures the posters and lobby posters that were available to promote the film. I especially love the tie-in promotion to the Classics Illustrated "Volume 53," "A Christmas Carol." Fascinating stuff!

I did not know that the film was retitled from "Scrooge" to "A Christmas Carol" for its initial US release. Hey, I'm learning all the time!

I watched a couple of the bonus features on Saturday, and they are well done and supply interesting information.

Edited 12/7/11: I watched this BD in its entirety last night, and it is just amazing how clean and, well, wonderful it all is. The picture is rock steady, except when there are fades moving from one scene to another, ie: movement that appeared from Day One on this film and was usual for films made in this period. What you won't see is the picture nervously moving off its axis. It is as solid as if it were done digitally. The detail and depth to the picture is the best I have ever seen on this film. And, yes, that reaction shot from Fred's wife that was missing from the UCE has been restored. Less than a second and a half of film, but oh so meaningful.

The sound is also remarkable. What's nice is that almost all of the old-movie static has been effectively removed, so the voices and the film score register beautifully. I first watched with the original mono track playing, and it is very fulsome and vivid. I later went back and watched the entire movie in surround sound. Funny, but the surround process seems to be less-clean than the mono track! The movie sounds its age more in surround than in mono. That said, the orchestral score registers more effectively in surround, and that's important, as the musical score for this film is one of its glories. And, yes, I noticed that total sound drop out in the scene where Scrooge visits Fred for Xmas dinner in the surround track. The drop out lasts about 4 seconds. Very unfortunate.

Still, definitely worth getting.

Puella Magi Madoka Magica Blu-Ray 2

As a magical girl Sayaka is able to save Madoka and Hitomi from a witch. She is also able to cure the one she loves from a paralyzing accident. Madoka on the other hand feels guilty about not wanting to become a magical girl. After Hitomi tells Sayaka that she is going to confess her feelings to the boy they both have a crush on Sayaka begins to have feelings of jealousy, anger, regret, and hatred. She begins to act recklessly and alienates her friends. The darkness is beginning to consume her. Madoka is powerless and scared. She doesn't know how to help her friend. The only thing she can think of is becoming a magical girl and finding a way to help Sayaka.

This chapter is great. It is a little different than the first. This part focuses more on Sayaka and her wavering feelings. She is consumed by darkness and jealousy. These 4 episodes are a bit darker than the first 4. They are very serious and emotional. The loss and pain of the characters is easy to feel. It is quite emotional. Even though the mood is darker you can feel hope on the horizon. Madoka is becoming more interested in becoming a magical girl, and she wants to do it to save her friends soul. Things are getting very serious, and someone is about to experience a terrible fate.

Puella Magi Madoka Magica is a great anime series. The only complaint I have is the Aniplex release. They are only putting 4 episodes in each release. That ticks me off. Other than that this is an awesome show and I can't wait to see what happens next. I highly recommend it to any anime fan.

Friday the 13th / Nightmare on Elm St / Freddy Vs (Triple-Feature) (2012)

ok the friday the 13th remake is the best movie of the set then freddy vs jason and then the worst of the bunch nightmare on elm street but all in all this is a great set the picture quality is top notch on all the movies and the 5.1 lossless sound is amazing if you have the system for it so if your a fan of jason get this set !!

excelente pelicula, muy escalofriante y con bastantes momentos de terror, lo mantiene a uno sentado esperando loq ue sucedera a continuacion.

Buy Friday the 13th / Nightmare on Elm St / Freddy Vs (Triple-Feature) (2012) Now

3 of the best movies ever great quality too, freddy vs jaos 5 out of 5, nightmare on elm sreet 5 out of 5 and fri the 13th 5 out of 5

Read Best Reviews of Friday the 13th / Nightmare on Elm St / Freddy Vs (Triple-Feature) (2012) Here

Friday the 13th remake Terrible!

Nightmare On Elm Street remake Even Worse!

Freddy Vs Jason turns 2 of America's most popular horror creations into comedic cartoonish versions of themselves.

Now you can have all three of these jokes of films on a BluRay together!! The only thing I don't understand is why this item is listed under Horror rather than Comedy.

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Despicable Me (Deluxe Blu-ray Combo Pack Gift Set with Inflatable Minion) (2010)

I went to this movie reluctantly, mostly because my ten year old talked me into it. I had only seen the trailers and I was expecting an extended version of Spy vs Spy, which I have never really loved. This movie suprised and delighted me. Far from being a sad 3D version of silly one-upmanship, this movie had a lot of heart, and a lovely message.

I especially enjoyed how the main character struggled with the growth he experiences throughout the movie. We get to see him struggling with the difficulty of giving up his old behavior patterns and goals, even though he clearly sees that he could be happier if he let them go. And the difficulty that Groo's only friend has with the changes he experiences as he lets three little girls into his life, and how his friend tries to prevent him from changing, are a great reminder that sometimes when we make positive changes in our lives the people around us aren't always as supportive as they should be.

My son loved the movie too, although not for quite the same reasons I did. He wants a glass floor shark tank for our living room now. I said I'd think about it.

Okay, first let me be clear. I in no way wanted to go and see this movie. Why did I go? Well that is what you have to do when you have a 10 year old brother and the parents don't want to take him to see it. Anyway, twenty minutes into the movie I started to think that the movie was okay for younger children, because it was quite a silly plot line (the main aim in the plot is that they want to shirink the moon) and was maybe lacking in some emotion. However, I have to admit by the end of the movie I quite enjoyed it, you really get to see Gru (our villian turned dad),on his journey and see the changing emotions he has to go through, not to mention the decisions he has to make. Some of the scenes our quite touching and some of the dialogue is quite humerous.

Now I just want to mention the cast, there is a very good cast including the very funny Steve Carell, Jason Segal, Julie Andrews, Russell Brand leading the cast but of course I have to give credit to the actresses who played the three girls Miranda Cosgrove who was excellent playing the smart older sister, Dana Gaier as the moody teenager and finally there is Elsie Fisher who at about 8 years old is a natural.

So overall I think that this is a great family movie, the kids will enjoy it more but I enjoyed it and I am a 16 year old girl, however i think that it isnt a movie I would watch over and over again but I think children would.

It is definatley worth a watch.

Buy Despicable Me (Deluxe Blu-ray Combo Pack Gift Set with Inflatable Minion) (2010) Now

My ratings are based mainly on the QUALITY OF THE 3D, not the video content.

There are about 32 out of screen effects that extend about 10% of the way, from the screen to the viewer, another 11 around 25% and 4 more that exceeded 25%. At least 10 of the 32, 10% effects were just a nose sticking out. The in-screen 3D is fairly consistent but has a SLIGHTLY shallower depth of field compared to other 3Ds. All in all, well worth watching multiple times.

*** Entertaining with a comical & a feel-good story line Crisp graphics ***

MY 3D RATING = VERY GOOD (poor, fair, good, very good, excellent)

Note: As far as the percentages go, everyone's eyes are different. What I see at 25% you may see at 15% or 35%. To fully realize how far something is out of the screen for you, pause on an effect and direct a partner with an extended finger to the tip of what you are seeing. You may be surprised.

Click on `' for the lowdown on other 3Ds

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While not quite as wondrous or challenging as a Disney/Pixar film, "Despicable Me" is still a lot of fun, able to make audiences laugh without having to sacrifice story or character development. It's also one of the few animated films to not entertain the idea of heroes it merely distinguishes between evil villains and not-so-evil villains, the latter apparently capable of good deeds despite their propensity for hatching diabolical schemes. Such a person is Gru (voiced by Steve Carell), who looks like a pointy-nosed Fester Addams and speaks in a pseudo-Russian accent so delightfully phony, it only adds to his charm. His goal has always been to become the world's greatest super villain, but as the film progresses, we realize that, underneath it all, he's actually a pretty nice guy.

He certainly has the means to be a criminal mastermind; within his vast secret lair beneath his looming black house, he and the goggled Dr. Nefario (voiced by Russell Brand) have overseen the creation of ray guns that can freeze people and blow things up, vehicles that can drive on surface streets but look serious enough to drill through the Earth's crust, flying machines equipped with every missile known to man, and tiny robots disguised as chocolate chip cookies. The problem is, Gru's notoriety has been overshadowed by rival super villain Vector (voiced by Jason Siegel), who looks like Bill Gates in an orange jumpsuit and lives in an obscenely secured white fortress (surveillance cameras, hundreds of missiles, trick doors, shark-infested moats the whole nine yards). Hoping to regain his status, Gru plots his greatest heist yet: Stealing the moon.

Of course, it will have to be shrunk to a manageable size, which is why Gru needs Vector's extra special shrink ray. Here enters three orphaned girls Margo (voiced by Miranda Cosgrove), Edith (voiced by Dana Gaier), and Agnes (voiced by Elsie Fisher) who get by selling boxes of cookies door to door; Gru adopts them, knowing that they can safely infiltrate Vector's fortress. What begins as a simple plan turns complicated when the girls start behaving like the children they are. They run around. They make noise. They touch things they're not supposed to touch. They always want to be read a story before going to bed. Aside from those things, they actually expect to be raised, a responsibility Gru has avoided after growing up with a sourpuss mother (voiced by Julie Andrews). Does he have it within himself to be a dad and a super villain?

Many animated films have scenes stolen by the antics of their supporting characters. "Despicable Me" is no exception; here, we have Gru's minions, a multitude of yellow ball-shaped oneor two-eyed creatures of unknown origin that speak fast, high-pitched gibberish and are a bit accident prone. You look at one and just can't help but want to punt it across a football field. It would probably be able to take it, judging by the hilarious physical abuse they all endure throughout the film. They're goofy, broad, and given the best sight gags, so naturally, they thoroughly upstage all the other characters every time they appear in a scene. They're even given their own epilogue segments during the end credits, which have little to do with the actual story but deftly take advantage of the film's 3-D effects.

Ah yes, the 3-D, seemingly inescapable these days. It's a process I admittedly have mixed feelings about. Sometimes is works beautifully (Disney's "A Christmas Carol," "Avatar," "Alice in Wonderland"). Sometimes, it's either an unnecessary gimmick ("Clash of the Titans," "My Bloody Valentine 3-D") or a total disaster ("The Last Airbender"). I'm glad to say that it works for "Despicable Me," especially during a scene at a boardwalk amusement park when Gru and the girls ride a roller coaster. There's also the moment when Gru makes an emergency landing in the middle of the street; the point of his shuttlecraft juts out from the screen, which momentarily made me think it would poke out my eye. Still, if you have the choice, go for traditional 2-D. Aside from paying less at the box office, you won't have to bother with the glasses, which can often times be a distraction.

Regardless of the dimension involved, "Despicable Me" is a delightful film funny, sweet, and a triumph of animation and visual effects. Kids will enjoy it for its bright colors and physical humor, and this will almost certainly include Dr. Nefario's demonstration of a gun that emits a foul-smelling gas: "It was supposed to be a DART gun!" Gru exclaims in frustration. Adults will like it for its subtler touches, like a sign that reads "The Bank of Evil (formerly Lehman Brothers)." Everyone is sure to enjoy its good-natured spirit, especially when it's coupled with scenes of Gru's minions. Mark my words: They will be remembered long after memories of the plot have faded.

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I love this movie! It was so cute. My daughter loves it. She never gets tired of seeing it, and I have to admit I love seeing it too.

Léon: The Professional (Theatrical and Extended Edition) (1994)

I own both the US and international versions of this film, and the international edition is much better. Both versions carry a slight sexual tension throughout between Leon and Matilda, and the uncut version is more pronounced in this area, but that isn't the reason to buy it.

The extra 24 minutes on the uncut version provides a deeper understanding of the relationship between the two as the film progresses. For example, in the US version Matilda never becomes a real "cleaner" or hitman. It's only hinted at when they shoot a jogger from a rooftop with blanks. In the uncut version, Leon takes her completely under his wing and teaches her the trade, including scenes where the pair run around killing bad guys and such. In the process, Leon teaches her the "ring trick" by tossing a grenade at a victim and keeping the ring and grenade pin in his hand. This scene sets up the final scenes in the movie in a way that the US version left short and unexplained.

If you enjoyed the US version, you'll probably love the uncut version more, if only because the characters and their relationships are much deeper.

This is the story of Leon(Jean Reno), the highly efficient contract killer who's known as a cleaner due to his ability to kill you without you ever knowing he's there. He's cold blooded, but at the same time lovable due to his obvious innocence, seen as he affectionatly waters his plant and his love for milk. He lives a loners life until he meets Matilda(Natalie Portman), who was soon to change his life. Luckily for Matilda, she was running an errand for Leon while the corrupt villian and lead antagonist of the movie Normon Stansfield(Gary Oldman), and his group of thugs decide to wipe out her entire family, due to some drugs, which were cut by her father while he was supposed to be just holding them. When Matilda returns, she finds that her family is dead and turns to Leon for help.

When Matilda learns what Leon's trade is, she is intrigued, and convinces the reluctant Leon to teach her the ways of the cleaner. As Leon trains Matilda, their relationship grows, and to the dismay of Leon, she develops a crush on him, while at the same time he develops a paternal love for her. This is a great movie, from the action packed beginning, to the thrilling climax.

I definately feel that the uncut DVD version is better than the original version. It let's you see more deeply into the relationship between Leon and Matilda, and you get to see more of the "training" scenes, which show how Matilda develops from an unknowing child to a novice cleaner.

I'd also like to say something to the prudes out there that feel the relationship between Leon and Matilda is perverted. You see it as a sick man trying to take advantage of a young girl, but if you recall, it was Matilda who continually came on to Leon. Leon clearly tells her in one scene that a sexual relationship is not possible. And even then, it should be clear to anyone that Leon loves Matilda in a way that a father would love his daughter. I can clearly see this and I'm only 14. Apparently, there are a lot of low IQ people out there. The UNCUT, INTERNATIONAL version is the way to go if you want to see a more meaningful, touching movie. I'm a very cold person at heart, and this is the only movie I've ever watched that made tears swell up in my eyes. It's the greatest movie I've ever seen. It features a brilliant cast, and a touching, and very unique storyline.

Buy Léon: The Professional (Theatrical and Extended Edition) (1994) Now

French director Luc Besson ("The Messenger"; "The Fifth Element") made his U.S. film debut with this intelligent thriller of an Italian hitman who is untouchable. "The Professional" stars Jean Reno ("The Big Blue") who plays Leon, a professional hitman with ninja-like skills, who eliminates rivals for a mob boss (Danny Aiello).

After a corrupt cop (Gary Oldman) eliminates the family residing next door due to a drug transaction gone wrong, Leon finds himself the guardian of young Mathilda (Natalie Portman in her screen debut). Taking Mathilda under his helm, Leon teaches her the art of the "cleaner". However, danger lurks around every corner, and Leon must protect Mathilda from the same cops who killed her family.

Considered by many to be his masterpiece, "The Professional" was originally released internationally under the title "Leon". However due to the feeling that American audiences might find some material unacceptable, over 24 minutes of the film was edited out. Finally, Columbia/Tri-Star has made an excellent decision in releasing the uncut, international version of this excellent film in the U.S. as it originally was called in August 2000.

While the film's central theme revolves around Leon and his job, the subplot where Mathilda develops an attraction for Leon is reminiscent of the novel/film "Lolita". The chemistry between both characters in a father/daughter relationship can be intense, especially as we notice that Mathilda is in her puberty-stage.

Jean Reno is excellent as always, and Gary Oldman gives a chilling performance as Stansfield, the wicked DEA officer who murdered Mathilda's family in cold blood. However, the real scene-stealer in this film has to be Natalie Portman. This beautiful young girl radiates beauty and professionalism throughout the film. Her porcelain-looking skin, and her big brown eyes are well utilized in this film, making her character more childish, yet mature to a certain extent. Portman proved to audiences in this film that she was no flash in the pan, and in her subsequent films, she continues to be a scene-stealer. She is truly Hollywood's most gifted young actress.

In the international version, most of the 24 minutes that were left out in the film's 1994 release in the U.S. mainly involves both Leon and Mathilda going on "cleaning sweeps" where she gets first hand training in the art of assassination. The other half of these minutes focuses on Mathilda's attraction to Leon. Her persistent attempts to be intimate with Leon all fail, but we finally understand why Leon remains a loner when it comes to affairs if the heart. Some might be uncomfortable about the idea of Mathilda and Leon sharing a bed together, but Besson paints this scene as one involving platonic love and not sex.

In wrapping up, I recommend this film for anyone who enjoys a nonstop, high-impact thriller in the same tradition as the "Matrix," "Blade," or "Dead Calm". Luc Besson truly is one of the world's greatest action directors, and "Leon" captures his magic. An excellent, pulstaing film from beginning to end!

Read Best Reviews of Léon: The Professional (Theatrical and Extended Edition) (1994) Here

Where to begin? First off, let me just say that this is by far my favorite movie ever. Regardless of what you think of my review you need to go out and pick this up.

There was a time when I judged a movie's merit by how high the level of information overload was. The more special effects, THX 3D blanket of sound, and larger-than-life characters there were, the better. Then I saw Leon and my perspective shifted considerably. I first saw this movie in my college dorm room on HBO. I only saw the first 30 minutes before I had to leave for a class, but I was intrigued. It would be another two years before I would decide to rent it and see what it was all about. When I walked into the video store I spotted a VHS titled "The Professional" and rented it. I later realized that this was the edited "American" version. A full 30 minutes had been cut! I was a bit pis/ /sed(apparently this word is censored...lol) off that some censors didn't think I would be able to handle whatever it was that was cut, so I went back the next week and got the Leon DVD, the uncut version. After viewing The Professional I decided it was about 9 out of 10 stars. After seeing Leon, I would have to give the Professional 7 stars and Leon 10. It's that big of a difference. Let me start by breaking the movie down into each part. You can read other reviews if you want a plot review, but I'll try to get a bit deeper with my review.

Acting

This is where the movie really shines. There isn't a single noticeable CGI effect, the "explosive action" is quite limited, and the sets and locations are pretty sparse. And what that does is let the acting take over. Every single part here is played beautifully. Gary Oldman might be a bit over the top in his role, but despite that it is fun to watch. Jean Reno plays Leon, the quiet introverted hitman, and is able to communicate so much with so little. He gives the impression of a cold and neutral killer and then switches to being a naive yet caring person.

But the real star here is Natalie Portman. This was her debut, and what a debut it is. Her interpretation of the semi-goth, edgy, seductive Mathilda is easily the best performance she's ever given. When watching the movie you never think, "Wow this actress sure is good." Instead you're caught up in the story and you see Mathilda as a real person, not just a great performance by an actor. Portman is able to alter the entire mood of a scene with something as slight as subtly arching her eyebrows. The way she delivers her lines is amazing as well. Her very first word is spoken to Leon as a simple "Hi". But she even says it differently than one would expect. In a later scene she tells a group of neighborhood boys her own age to leave her alone with the line "So go play someplace else, ok?". It perfectly conveys what's going on inside her. Everything about her performance is subtle yet powerful.

Cinematography

The look of this film is beautiful. There's a muted, low saturation, high contrast feel that really draws you into the world on screen. Interesting camera angles are everywhere but never overpower the elements they're filming. For a movie that takes place in such an average setting, the camera work really makes it feel like a surreal place all its own. This is the movie that was the transition for Besson from "French" films like la Femme Nikita to mainstream American fare like The 5th Element (shudder...). What we get is a solid American base with the aesthetic tone of French film. It's a great combo.

Music Score

As if the movie itself wasn't good enough, we also get an amazing score. Eric Serra perfectly takes what's happening on screen and translates it into audio form. With alot of movies like this you might expect just some "creepy synth tones" and drum loops, but you get alot more here. There are simple piano melodies, rich acoustic guitar, subsonic bass swells, and brittle organic drumming. Part of the score was used later as a full song on the soundtrack titled "Angel". With NINish drums and a hollow flute like melody this song encapsulates the feel of this movie better than anything else. It's hard to describe exactly how it does, but listen and you might get it. The final scene of the movie is an overhead shot of Mathilda that rises up to the New York skyline. This is accompanied by the song "Shape of My Heart" by Sting. They couldn't have picked a better song to close things. Somebody should seriously get an award for suggesting to use that song. It's synesthetic bliss between film and music.

The "Lolita" Issue

It's hard to find a review that doesn't touch on this topic. In the edited "The Professional" about 30 minutes of Leon/Mathilda interaction is taken out in an attempt to appease uneasy American audiences with more of an "action" movie. Those 30 extra minutes make Leon quite a different movie.

It doesn't take long for Mathilda to fall for Leon. All her life she's been neglected and she finally meets someone who seems to care for her. Her actual feelings might be the want of a father-figure, but her outward expression of those feelings is much more seductive. Leon is in a similar situation. He's a loner and when this young girl starts advancing on him he gets nervous. Despite his effort to turn her advances away he still can't deny 'some' feeling for her. All this makes for some interesting dynamics between the two.

Some people might read this and get turned off by the thought of a relationship between the middle-aged Leon and the thirteen year old Mathilda, but you really need to see the movie before you make that judgement. After a while you'll start to see the temptation that Leon is going through. I can't imagine there being a single guy who could watch this movie and not feel 'some' level of attraction to Mathilda. But that's the point. Her character is supposed to be sexually seductive. But she's not sexy in a gratuitous cheesy porn-mag way. There's more of a deep innocent undercurrent to her. You can't help but want to help her, to comfort her. I once read a review that said there's clearly an unspoken understanding that Luc Besson, Jean Reno, and every guy in the audience would take advantage of Mathilda's advances if they knew they could get away with it. I'm not sure if it's that extreme, but there is that element to it. Portman was later even offered the title role in a remake of the film "Lolita", which she turned down. There's no doubt that she was considered based on her work in Leon. In short, if things like this bother you, don't watch the movie...

Well, that's about all there is to say. This movie works on so many levels. It's downright annoying that it's marketed as an action movie in America when clearly that's only about 5% of the movie. This is a dark, dissonant, subtle movie and it deserves more than the "action" title it is labeled. Rumor has it that Luc Besson has written a script for Leon 2. Natalie Portman has even commented that she's read the script and is quite interested. And to top it off, she recently cut her hair "Mathilda style". Nothings confirmed, but I sure hope a sequel is made. I can't imaging it topping the first movie and given some of Besson's latest work (The 5th Element...) I'm a but worried it might flat out suck. But Leon is enough for me. Rent this movie. I dare you.

Want Léon: The Professional (Theatrical and Extended Edition) (1994) Discount?

The Superbit version has the same extra scenes as the "Uncut International Version". Amazon has it accurately labeled, but the packaging is not obvious. Both are 133min instead of 110min. The non-Superbit version has a couple extras like theatrical trailers and talent files. If you want those extras, get the non-Superbit version. If you don't care about those extras and are more of a quality freak, get the Superbit version. The film content is the same either way.

Two scenes deal with Leon buying a dress for Mathilda. One shows Mathilda threatening to possibly kill herself (Russian roulette) to force Leon to admit he cares about her. There is a scene showing Leon taking Mathilda on her first cleaning job. Another involves Leon taking Mathilda to an upscale restaurant, and Mathilda makes a minor scene trying to kiss Leon and drinking champagne. Then there is a sequence where Leon takes Mathilda on a series of cleaning jobs. In a later scene, Mathilda implies that she wants Leon to be her "first", and then Leon tells her the story of his first love (and first cleaning job), and Mathilda gets Leon to concede to start sleeping (only literally) with her.

Most of the extra scenes start at around 68min. They are integrated smoothly and are fully finished; it sounds like these scenes were in the original theatrical release for European markets, so they're only "extra" to the U.S. If you appericate the film, the extended version is definitely worth it.

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A Knight's Tale (2001)

If you're a fan of Brian Helgeland, Paul Bettany (Chaucer), or just commentary tracks in general, don't buy the extended edition. The regular DVD has every feature the "extended" edition does it just doesn't insert the deleted scenes into the movie. They're included as bonus features. This extended edition does not include the hilarious and insightful commentary track by Helgeland and Bettany, which is really the best thing about the DVD. You get more features for less money by buying the regular DVD release.

Apparently audiences couldn't quite figure out A Knight's Tale when it had its theatrical release last year. This was in all likelihood due to the combination of rock music in ancient times clashing with our knowledge of history and our delicate sensibilities. However, having both seen this at the cinema and owning it on DVD, I would like to hope that this movie will be given a second chance to win new viewers as it really is a good film and great fun!

Heath Ledger (The Patriot) displaying great charm and a winning smile throughout, plays William Thatcher, squire to a washed up champion jouster, who dies during a competition, leaving William to masquerade as his master in order to collect their winnings. Aided by his initially less than enthusiatic pals Roland (Mark Addy from Full Monty) and Wat (Alan Tudyk, 28 Days) William fakes nobility to illegally enter competitions. On their travels they encounter a naked wanderer, the future famed author, Geoffrey Chaucer (Paul Bettany) who joins their `crusade' and helps to forge William's ancestral lineage, so that he can take part in the noblemen only games. Whilst competing (according to my wife who seems to like every Australian film star) the very handsome William catches the eye of a lady, Jocelyn (the very beautiful Shannyn Sossamon), and sets out to win her heart. However, standing between William and his two goals of winning the World Championships and winning the hand of Lady Jocelyn stands the dastardly Count Adhemar (brilliantly played by Rufus Sewell, Dark City).

This is a surprising change of direction for writer/Director Brian Helgelend (LA Confidential). This movie is great fun and the mixture of rock music (they sing, clap and stamp Queen's We Will Rock You before each joust) and medieval times works surprisingly well, adding to the excitement and atmosphere of each competition. Both Heath Ledger and Shannyn Sossamon shine in their lead roles and share excellent on-screen sexual chemistry. However, it is Paul Bettany who steals most scenes as the occasionally naked, always in trouble, lyrical Geoffrey Chaucer. Also watch out for James Purefoy in a relatively small role (but tipped for greater things)!

Extra features on the DVD include a light-hearted commentary from Brian Helgeland and Paul Bettany, where they reveal some of the FX tricks of the trade and hear Helgeland feign ignorance of the fact that they didn't dance to David Bowie in 1366 or play Queen's "We Will Rock You" at jousting tournaments. There is also a passable documentary and some excellent deleted scenes and a music video where Britains most popular of current musical stars Robbie Williams performs Queen's "We Are the Champions" with all the pomp and grandiosity of Freddie Mercury, outlining why he is considered natural heir to Mercury's throne as Britains Greatest Showman.

Four stars for the movie (five stars are far too often and easily dispensed), four stars for the extras. Well worth checking out.

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I can't tell you how surprised I was when I absolutely loved this movie! I didn't expect to like it at all. I figured it would be a two-dimensional MTV take on Medieval sport. Instead the producers did something dangerous -they found a script!

Sure it's predictable and there are plenty of cliched lines, but the film absolutely succeeds in what it set out to do. It plays very well by its own rules. And it is surprisingly moving at times. When the film could have sunk to schmaltz, it holds its own with good acting and sturdy writing.

What could have been another stupid teen movie actually has legs and a soul.

I'm amazed the number of people who fault it for its inventive style in incorporating contemporary music with the medieval milieu, when these same people loved Shrek for doing exactly the same thing.

I applaud the risks the film takes and how well it succeeds when it takes them. In the end, isn't Pro Wrestling or boxing the modern day equivalent of the joust? In spirit and appeal, at least, if not in grace or sophistication.

Call it a guilty pleasure, but the film is a fun and successful and worth watching again.

Don't skip the deleted scenes -wonderful stuff there, especially the extended stockade scene.

Read Best Reviews of A Knight's Tale (2001) Here

Okay, like some others here let me stress...THIS IS NOT MEANT TO BE A HISTORICALLY ACCURATE MOVIE.

After reading the first 80 reviews I feel compelled to add my own 2 cents. We rented this and I have to agree that in the first few minutes I was revolted by the rock music, being a big fan of historical pieces set in the middle ages. Despite my initial feelings, I stuck it out. Too soon I found myself again annoyed by the styles worn by the Lady Jocelyn. Yuck! "What is going on", I wondered. But already I was finding myself involved in the story line and enjoying the humor, especially the interactions among the main characters. By the end I was willing to admit I'd been entertained and I was in love with all the characters with the possible exception of Jocelyn.

Then we watched all the extra bonus material and I was amazed at the thought and work that went into this movie. I just had to watch it again, having gained a new perspective on WHY things were done the way they were. What I discovered was an extremely entertaining romp.

For those of you who only saw the theatre version or are concerned about the rock and roll references in these reviews, try to see the director's point of view. Throughout history parents have strived to understand their youngsters. Or do we assume that the generations have always perfectly understood one another until it came to the 20th century? Language, music, clothes...isn't it likely that different generations differed as much in opinions then as now? If not then how did the culture ever evolve into something completely different? Notice that I have avoided the term "teens". Well, face it, back then the teens WERE adults. But there must still have been generational gaps. Did they say "wow" in historical times? No. But it's probable that there was a word that conveyed a similar meaning from a "slang" perspective. Language is not static, it is ever-changing. What we speak today would not even be understood by those who lived in England almost 700 years ago, so how can anyone complain about accents and language? Do they really think that anybody from England today would have been understood back then? Please.

Music....hello? Orchestral is better for periodic pieces why? As another reviewer mentioned...it's no more periodic than rock. The director was wanting to portray a fresh perspective and succeeded hugely. I'm sorry but when you're trying to convey a sense of excitement such as one feels at a football game (yes, that's the analogy used to try bringing jousting to a more modern perspective), chamber music isn't likely to get anyone in today's world fired-up.

And folks, that's a big part of what this whole movie is all about. Jousting was a major sporting event that was very exciting to the people of the time. How does one convey that excitement to a modern audience? The drama is easily done...but the intense emotion, the exhilaration we associate with a favorite sport? I feel that the director found an exciting new way to bring the medieval world alive for modern viewers.

As to Jocelyn. She's a bit shallow and the costumes are starting to bother me less. But her character (or lack thereof), allows for some very comedic lines that I think add to the overall fun of the movie.

I could go on but other reviewers have hit most of the other key points. The bottom line is: if you've seen it once...try it again...and watch the extra stuff. If you haven't, then get it...rent it first if you must but watch this movie. It is now one of our favorite movies and just the other night we watched it again with tremendous enjoyment and I wanted to see each and every single extra feature again. It's family-friendly and a romantic comedy that you won't mind at all having the teens and youngsters watch.

As one reviewer said, "suspend your belief from the start"...and then settle down to enjoy this story. It's fun, it still portrays a medieval "flavour", and the music ROCKS!

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A suprisingly entertaining spectacle. 'A Knight's Tale' marks Heath Ledger's coming out party. The young Aussie star is in fine form as a poor boy seeking to become a knight. The lancing tournaments are dazzling, and the comic relief is frequent. In addition, call this movie the 'un-period piece.' While the film is set in medieval times, several scenes blatantly and intentionally fuse history with present popular culture. For instance, Ledger and another knight meet in the arena as the crowd claps to Queen's 'We Will Rock You.' Later, Ledger and a young maiden dance disco-style in a medieval hall. It's a bizarre mixture that gives the movie a hip, refreshing edge. I was dragged kicking-and-screaming to this one. But I came out a fan.

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