Crashout (1955)

A curiously compelling little movie, Crashout is a throwback to the tough prison-escape movies of the 30's. Fortunately, the producers had the good sense to hire an expert cast of B-movie veterans to enliven an otherwise shopworn plot. Writer-producer Hal Chester and director-writer Lewis Foster provide each convict with a distinct personality that holds viewer interest as tensions mount, while the audience anticipates how each character will be brought to justice. Standouts in the cast are the always subtle Arthur Kennedy, an engagingly ambivalent Marshall Thompson, and William Tallman doing his scary psycho bit, this time as a knife-throwing religious fanatic. And in a poignant bit part, cult favorite Gloria Talbott as the prospect of a normal life for the ill-fated Thompson. Though you've seen it all before, there are many nice touches that lift this otherwise generous slice of thick-ear beyond the merely routine.

Sure, we've seen the escaped convicts formula before, but this one hits home. Here is a real diversity of the six characters; each one as convincing as the next. William Bendix is his usual great gruff self, playing the heartless, cold-blooded mastermind. My personal favorite, film veteran Arthur Kennedy, excels as the counterpoint to Bendix: he excels as the white collar criminal with a brain, and ultimately, a heart. Fine dialogue, plenty of action, and even a little romance thrown in. A winner!

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CRASHOUT might come as a surprise to crime film fans or noir

enthusiasts who pick it up, expecting a routine mid-50s B movie. For

one thing, it's feature-length (89 minutes), and doesn't skimp much on

plot and character development. Director Lewis R. Foster was probably

pretty adept at action/adventure pictures, judging by titles in his

IMDb filmography. CRASHOUT was probably just another assignment to him,

but the film shows he was no hack. It's a foregone conclusion that a

Hollywood movie won't let criminals get away unpunished, but a superior

example like this makes the fate of its players more meaningful with

good actors and intelligent writing. Foster keeps things moving nicely,

once past the fairly talky first scene in the cave. The film never lags

once after that, because there is plenty of action, and characters are

given enough depth to differentiate them and keep them interesting.

Arthur Kennedy appears to be the main protagonist here. His Joe Quinn

represents the typical redeemed-too-late criminal (who had been jailed

for robbery). The actor invests Quinn with plenty of believability,

especially in his interactions with Beverly Michaels (an odd, rather

glamorous choice for a farm resident, but she is effective). William

Bendix plays another of his dumb thugs to perfection, this time never

letting up and with no redemption in sight. In Luther Adler's Mendoza

we see more evidence of this great actor's talent, making a good deal

out of what could have been a stereotyped cypher. Gene Evans, another

prolific actor, is allowed to show two sides to his Monk Collins,

intimidating one moment, and teaching card tricks to a hostage child

the next. Also interesting is Marshall Thompson--a performer who may

have never really gotten his due--as the 'nice young man gone wrong'.

Thompson really stands out in the very good sequence involving the

young woman he meets on the train. Gloria (I MARRIED A MONSTER FROM

OUTER SPACE) Talbot is nicely cast in this sequence. Last, and far from

least, is William Talman (THE HITCH-HIKER, ARMORED CAR ROBBERY), as

Remsen, a lapsed reverend, who obsessively plays the same record over

and over, as though it were a final vestige of goodness in his life.

In smaller roles we get a nice, but brief, dose of inimitable Percy

Helton, playing a country doctor called out in the middle of the night,

and who pays a hefty price for his professionalism. Also of note, Adam

Williams (memorable as Larry Gordon in THE BIG HEAT two years earlier)

in the role of Michaels's heroic date. And there's Morris Ankrum, as

the head guard in the crashout scene.

Another interesting aspect of this film is the question of its place in

the so-called 'Noir Canon'. Is this a film noir? In the strictest

terms, probably not (although the designation is more subjective than

many want to admit.) It has enough of the typical elements for some to

see it as noir. But its 'existential' qualities may be disputable. This

usually refers to a sense of isolation experienced by, typically, a

single protagonist: he or she feels trapped in an uncaring universe,

forced to proceed alone, resorting perhaps to uncharacteristic methods

for survival. The escaped convicts in CRASHOUT don't really fit this

profile. They are already immersed in crime. However, there is a strong

sense in this film of over-arching fatalism: we all know, the escapees

and the viewer, that they are trapped by their actions, that there will

be no true escape. So at this level, the film can be seen as belonging

to the 'noir universe'. Whatever category it fits into, CRASHOUT is a riveting corker of a movie not to be missed.

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They just dont make them like this anymore! I would love to see Alpha Video put this masterpiece out on DVD. Very tough crime flick from the 50's, one of the greatest!

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The Guns of Navarone (1961)

The second movie in Columbia's newest wave of World War II movies (along with "The Caine Mutiny") is the 1961 Academy Award-winning film for Best Special Effects, "The Guns of Navarone," which stars Gregory Peck as Keith Mallory, the leader of a group of British commandos tasked with destroying two gigantic German anti-ship guns.

The British are desperate to evacuate 2,000 soldiers from the Aegean island of Kiros, with the only sea route through a stretch of water commanded by the guns that are encased inside a massive cliffside bunker that is immune to air attack.

Based on the best selling novel by Alistair (Where Eagles Dare) MacLean, Mallory has been working on occupied Crete for two years and as an expert mountaineer is the perfect choice to ferry the team to the only part of Navarone not monitored by the Germans a 400-foot cliff.

Joining Peck is David Niven as explosives expert John Anthony Miller and Anthony Quinn as a Greek resistance fighter.

MacLean is known for being able to weave together a great story and this movie is consistently entertaining. In fact the film was already afforded a respectable special release on DVD in 2000. Columbia though have outdone themselves with this 2-disc set by adding a second audio commentary and four new documentaries.

The original release included a rather dry, faltering, but informative commentary by director J. Lee Thompson, a smattering of archival featurettes of varying quality and an anecdotal documentary on the making of the picture featuring on-camera interviews with Gregory Peck, Anthony Quinn, James Darren and J. Lee Thompson named "Memories of Navarone" and running at 29:34. It's a nice, breezy documentary and entertaining detailing some of the experiences the cast had working on the picture.

However this new release includes a lively commentary with historian Stephen J. Rubin who mentions that this film started the trend of Hollywood going outdoors. Up until this time most movies were filmed on the studios backlot, whereas this movie was filmed on the island of Rhodes. He also discusses the cast (including a very young Richard Harris). Rubin also discusses some of the differences between the MacLean novel and the movie which appear to be a number of changes to characterization and details some of the criticisms of the movie when it was released including the fact that the actors were too old to play commando's, many being as they were in their 40s and 50s. Though Rubin quickly adds that he feels it was cast perfectly.

Also included are two new documentaries, the first of these "Forging the Guns of Navarone" runs at 13:58 and includes on camera interviews with Eve Williams-Jones (the former wife of producer Carl Foreman) and Assistant Director Peter Yates (who himself went on to become a very successful director in his own right). Apparently Thompson was not the original director for the project and Yates credits Thompson for his ability to jump straight into a film that had already shot much of its second unit work as well as his ability to manage so many big name actors. Yates also reveals that despite their on-screen animosity towards each other, both Niven and Peck got along well together determined to have as much fun as possible on the picture. Yates also recounts how the crew would refer to it as "The biggest B-feature ever made."

The second new documentary "The Ironic Epic of Heroism" runs longer at 23:38 and is essentially an on-camera analysis of the movie by noted Film Historian Sir Christopher Frayling (who was mistakenly credited with providing an audio commentary in the press release for this DVD release). Frayling is quite engaging as he recounts such facts as Foreman's initial reluctance to handle the project. Foreman once said that he was incapable of making a movie that did not make statements and he initially saw the MacLean book as a simple action adventure. It was not until he re-read the novel that he realized it could serve to make statements about the futility of war and the ability of war to bring out the best in people.

Frayling also reflects on the fact that the movie was the first global production caper-style World War II movie to be played as an action adventure in a style he describes as "incredibly innovative."

Also included on this new release is the restored intermission with score that was seen in some European cities (it is listed as an extra since it is not part of the official cut of the movie) and featurettes on the Dimitri Tiomkin score which details the subtle differences throughout the movie and a fascinating look at the UCLA restoration.

The restoration featurette details the tortured path towards restoring a film that was in such terrible shape that they needed several sources of original negative, both from Columbia and a private collector. In an example of the work the UCLA team had to do, the print they were provided by Columbia had the plane crash at the beginning of the movie happen in broad daylight. This apparently is how most people have seen the scene in recent years. That was until one of the eagle-eyed team at UCLA noticed that one of the trucks had it's headlights on and wondered why. Sure enough they were able to track down a copy of the print from a private collector that showed that the crash happened at night with the screen various shades of blue and that is how it was restored.

In another instance the print UCLA had also had the infamous dubbing of Richard Harris where the censor had the word "bloody" replaced with "ruddy" for some of the screenings in the UK (the word "bloody" is considered a swear word in the UK). The UCLA team prevailed again and were able to locate a copy of the correct audio still intact).

On a sidenote the DVD also affords fans of Tiomkin the opportinity to hear the opening sequence sans the narrative as a special feature on the second disc. This apparently is a special feature that had been requested for years.

The Guns of Navarone is a wonderful film that touches upon the issue of how difficult it can be to make moral choices during the course of a war. The screenplay is fascinating in the sense that every major character in the film has their own notions of just how far they should go in applying the necessary force "to get the job done" in a war.

The movie is about six saboteurs who must destroy two gigantic guns, which present a danger to the Allied Navy. At the very beginning of the movie, viewers immediately have their first taste of a moral dilemma when Commodore Jensen, the organizer of the mission, has to decide between sending six qualified men to an almost disastrous and suicidal mission or simply scrapping the mission and leaving 2,000 trapped British soldiers to a certain doom. Commodore Jensen sees the choice as a foregone conclusion and thus resorts to lying to the leaders of the mission in order to boost their confidence. Jensen however does feel the pains of leadership as he tells a fellow officer "I'm just a man who has to send men off to die".

The six saboteurs each have their unique specialties and views of morality. The first saboteur is Captain Mallory, the best mountain climber in the world and a competent linguist. Captain Mallory is a soldier who now has a utilitarian view of the world and no longer sees the world as black or white. The second saboteur is Major Roy Franklin who is known for his luck and determination. Roy is as focused to the mission as Mallory, only he does not appear to be so in the eyes of his friend Corporal Miller, the third saboteur. Corporal Miller is the self-righteous chemical explosives expert whose philanthropic perception of the world directs his loyalty only to his friends and himself. The fourth is Private Brown "the Butcher of Barcelona" whose specialties are working with engines and using a knife. Although Brown is a seasoned veteran with many kills under his belt, he has become wary of the war. The fifth saboteur is Colonel Stavros. Stavros, like Mallory and Franklin, focuses to the task at hand, but is also ever thoughtful of his personal vendettas. Finally, the last saboteur is Private Pappadimos, whom Jensen describes as a "born killer".

The moral views of the six saboteurs will clash with each other several times during the movie as they debate about how to conduct a war and deal with human life. The moral perceptions even prove to be the undoing of some of the men. The beauty of the movie is that ultimately the ongoing theme of morality further extends to the two women who later join the mission. Even the Germans are not exempt from this theme as the "normal" German soldier's character contrasts itself sharply from that of the inhumane SS officer.

It is not surprisingly to find that many world leaders enjoy watching The Guns of Navarone, since here is a film that touches upon an issue that is constantly ever-present in their minds. The burden of choosing the fates of others is after all, a burden that is felt by both the commander and the individual soldier alike.

The superbit version of The Guns of Navarone is an improvement over the first regular DVD release. The noticeable improvement is found mainly in the sound. A particular standout scene in terms of sound is where Stavros uses his sniper rifle to give cover against the advancing German Army. The superbit picture quality while an improvement over the regular DVD release, is not as noticeably good as the superbit sound quality.

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The Guns of Navarone is, to film experts, a forgotten classic, but to the mass movie viewing audience that has continued to watch it during its numerous television dates, it remains a favorite among war movies. Why a forgotten classic? Because the American Film Institute didn't even consider it among its 400 nominated movies, and I've yet to see any other "Top 100" list that includes it. Maybe this DVD will awaken some of those so-called experts to a movie with both action and intellectual depth. As for the DVD itself, it is the best transfer yet of this magnificent film. Yes, there are flaws. It will not look like a movie made in 1999. It was filmed 40 years ago and it shows it. But if the viewer isn't one of those people who take a magnifying glass to the screen or who view it in stop-motion, scene by scene, it holds up well. As for the sound, it is the best yet. The 5.1 Dolby enhancement is great -much better than anyone could possibly expect from a movie so old. The four featurettes are pure fluff (and very short), but are enjoyable. The 30-minute documentary is interesting. Director J. Lee Thompson is an old man now and his commentary reflects that, but it beats no commentary at all. The viewer learns much about how the film was set up and where scenes were shot. Fans of the movie will enjoy that. And Thompson's comments give insight into the difference between an action movie in 1961 and today's variety. As for the film itself, it is a wonder. The story moves smoothly. It is a film for its time and has much to offer to the younger generations that will be rediscovering this movie for many years to come. Anyone who chooses to knitpick the DVD can do so with ease. Anyone who chooses to sit back and enjoy a solid piece of 1960s filmmaking with an excellent script and cast will find this an enjoyable package.

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We don't have movie stars anymore; we have "actors." If nothing else, the Guns of Navarone proves this point, as no less than the talents of Gregory Peck, Anthony Quinn, Anthony Quayle, and David Niven bring Alistair MacLean's gripping novel to life. The result is one of those old-fashioned, sweeping adventures that never sacrifices character for empty-headed action sequences or expensive but ultimately pointless special effects. Peck leads a rag-tag group of commandos to destroy a German fortress whose giant cannon threaten the English Navy. Like all such cinematic missions, however, there is a traitor in the group threatening their success, as well as a series of setbacks from the Germans and Mother Nature. There's never any real question about whether or not the mission will succeed, only who will be left when it's all over, and verbal sparring by Peck and Niven adds to the tension (perhaps the best scene in the film occurs when Niven challenges Peck to execute the traitor). Young audiences, particularly those spoon-fed on the palp generated over the last 10 years, will probably scoff at the film's unhurried pace and tame action sequences, but the real action occurs inside the characters' heads and hearts. A must-see for anyone looking for a thinking person's action movie.

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This was one of the first war movies I ever saw & even after watching modern masterpieces like Saving Private Ryan this is still one of my very favorites. This classic WW2 flick has it all: suspense, awesome & believable characters, great action (of course!), humor, & even romance. The three main stars are Gregory Peck, David Niven, & Anthony Quinn. Peck is perfectly cast as the leader of the group of commandos, & I've always thought he was great playing officers in war films (Pork Chop Hill, MacArthur, Twelve O'Clock High, etc.). Niven is both fun & annoying as the uptight Brit who constantly challenges Peck's authority. Quinn is a real treat as a deadly Greek who holds a grudge against Peck for a past "incident". This movie has many unforgettable scenes: Quinn taking on an advancing German column of troops with his sniper rifle, the confrontation with the traitor, & the incredible climax. I agree with other reviewers that they don't make 'em like this anymore! Whether you love war movies or are new to the genre, this is a definite must!

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Rosetta (The Criterion Collection) (1999)

I remember, at least half a dozen times, passing this movie by in the video store, gravitating towards it due to the legend "Winner Palm D'Or Best Actress/Best Picture" and the lovely face of Emilie Dequenne, then passing it by after reading the back. The summary of the plot bored me so immediately and intensely that I could not imagine actually sitting and watching the film. I eventually changed my mind, and thankfully so.

Rosetta is an absolutely driven character, almost an animal, single-minded in her goals. Those goals are mundane: find a job, lead a normal life. Her obstacles are mundane: rent, alcoholic mother, cramps. She asks questions, gets her answers, and walks away with no pretense of social grace. For most scenes the camera either points in the direction of Rosetta's POV, over her shoulder, or aims directly into her face. The shot rarely sits still: action and object are the same here. We see what she sees as she sees it and make judgments about people and situations alongside her, a process that usually reveals how silly normal people seem when viewed by someone with no tolerance for nonsense. She does not understand dancing leisure, or why people would indulge in it when other things need doing, is foreign to her.

Routine fills her existence, and when the routines of friendship and work cannot be found, she constructs new and even unnecessarily complicated routines: cross the road to find the sewer where she hid her boots, change out of shoes into boots to cross the mud to reach the lake where she's set up fish traps with bobbypins and broken bottles, every day. She doesn't even keep the fish. In that way she, like most of us, is completely neurotic but who has the motivation to carry out their designs with so much determination, in ignorance of those neuroses? Who completely ignores defeat?

I would recommend other Dequenne pictures, but apparently her only other role is alongside Mark Dacascos in the inscrutible Brotherhood of the Wolf. Stick with Rosetta and enjoy.

Rosetta,a film that deals with the struggles of a young woman who has just been fired from her job at a factory in Belgium,was an extremely pleasant surprise for me.Emilie Dequenne's performance in the lead role is riveting,realistic,raw,and energetic.If this were a film financed by hollywood,there's no doubt her gender would have been exploited,and she would have been some sexpot with boy troubles.Not so in this cinematic effort.The focus is almost entirely on her effort to secure employment just so she can get a meal and help her alcoholic mother with the rent.She doesn't have time to chase boys,she's only concerned with surviving.The most startling aspect of this film is it's avoidance of manufactured sentimentlity,complete with cheasy music,to get the viewer to sympathize with her predicament.There's no epiphanies,startling revelations,or some cheap trick ending tacked on for marketing purposes.The way the film is shot(16mm or digital video(i'm not sure),handheld tracking shots,what seems like natural lighting)gives it a powerful,frenetic feel.Some people are turned off by the camera movement,but to do it any other way would negate the spontaneous,out of control atmosphere(maybe it doesn't bother me because i spent almost 2 years out at sea without getting sick).The camera follows her every move,you'll feel like a peeping tom stalking this young lady.The supporting cast are all solid,but it's really Dequenne's show,it's the main reason to seek out this hidden gem.Highly recommended,especially for the art house crowd.My only complaint,and it's not with the film itself,is that,why can't more director's take chances with movies such as Rebecca.It's an example of what can be accomplished when you don't try to please the masses,and truly "reflect" grim realities(something hollywood portends to do).Croupier,Dark Days,Human Resources,Blair Witch,The Last Broadcast,and now Rebecca,it's been an amazing 2 years for independent film.I consider this another one of my all time favorites.

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Relentlessly downbeat. Heck, the sun doesn't even shine in Rosetta's world of despair. And the production values made me wonder if the Dardenne brothers signed the Dogme 95 pact. I now understand the controversy at the 2000 Cannes film festival when this dour film picked up the Palme D'Or. However, despite it all, I was moved by Rosetta's plight, and I rooted for her. No doubt this is due to Emilie Dequenne's amazing performance in the title role.

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Rosetta is a powerful film depicting a young woman, Rosetta (Émilie Dequenne), living in the cracks of the Belgian society. The crack in which Rosetta has fallen is a part of society where she has no social protection from the government where corporations exploit her without giving her any securities. Rosetta is considered a minor as she is in the years between adolescence and adulthood.

The initial scene is set in motion as Rosetta violently fights her way into the office at the company where she works. When she arrives to her desired destination it becomes evident that she has been fired. However, what would make someone young that upset for being fired? This is a question that is answered as Rosetta returns home to the trailer park in which she lives. Rosetta is a proud person who struggles with keeping it together for her and her alcoholic mother. The mother evidently has been neglecting her daughter for most of her upbringing as Rosetta takes care of herself in every aspect of life as she has done it for a very long time.

The young female protagonist of story lives a life where she strives for socioeconomic security through a job. This is easier said than done as she finds it very hard to keep a job as she lacks experience and laws that protect her from being exploited by small companies. Rosetta also seeks a home, a place where she can find emotional security, as she continues to hold on to her alcoholic and neglecting mother.

The struggle of Rosetta is not told through long scripted dialogues, but through the daily actions of Rosetta. These actions are captured through a handheld camera as it flows with Rosetta and her difficult journey, which enhance the realism of the film. The realism is soul tearing as the audience cannot escape the world of Rosetta, a world in which Rosetta attempts to find a spot.

Rosetta offers an intricate character study of the young woman through her struggles. Émilie Dequenne was awarded the prize for best actress at the Cannes Film Festival for her part. Besides the character study the film also offers a well-made socioeconomic drama that had an impact on the Belgian government. Shortly after Rosetta was released the Belgian government passed a law branded as "Plan Rosetta". The law protects minors from being exploited by being paid less than minimum wage.

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Rosetta, the main character, is oppressed by life, not by men. Her mother is an alcoholic, and tries to get what she wants and needs--her drugs and some care--by trading her body for them. (Incidentally, Rosetta and her mother eke out some cash by a clothing reselling businesses of their own, requiring a good bit of industry and initiative.) The prematurely adult Rosetta sees that her mother is prostituting herself and does what she can to intervene. When Rosetta herself gets the opportunity (plot spoiler alert), she takes advantages of the friendship of a male friend to stab him in the back for his job. Suffering remorse, she tries to extricate herself from the web, but she's already perpetuated the cycle by her poor judgment (actually, by following the temptation to lie and use people for her own benefit). This is an excellent narrative of spiritual and psychological growth, of a girl negotiating opportunities and learning the ways of life. Betrayal and an underplayed if ambiguous redemption theme.

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Naked Lunch (Criterion Collection) (1991)

Cronenberg's version of Naked Lunch is a brilliant combination of Burroughs' novel and Burroughs' life. He blends the true story of Burroughs life (and his reason for writing) with the surreal dark-comedy 'routines' of the novel until they become one story. The story is a quiet hallucination featuring exterminators, addiction, typewriters in the form of insects, typewriters that grow genitals, a global conspiracy of intelligence agents, the drug trade, homosexual ambiguity, writer's block, accidental murder, and literary paranoia. None of these elements is explored completely. Instead, Cronenberg touches on each one until they form some strange, underlying logic.

This edition of the DVD has enough extras to make it the only version of Naked Lunch you'll ever have to buy. (They won't release a bigger, better edition later.) The BBC documentary is okay. It's about 45 minutes long, giving Cronenberg and William Burroughs a lot of time to speak. (Burroughs is particularly good, with a dry sense of humor and a habit of saying obvious truths that make people uneasy.) The second disc also has stills from the special effects team, showing how the various creatures and organic typewriters were developed.

But it's the first disc --the movie itself --that makes it worth buying and watching. The special audio track, shared by Peter Weller and Cronenberg, adds a lot of useful background information. The film itself is bright and sharp, a perfect example of DVD clarity. I highly recommend this DVD to anyone who is interested in the best films of the 1990s. Naked Lunch didn't make as big an impact in theaters as it did in book stores, but it should have.

As a devout Burroughs fan, of course I was a little hesitant to view this movie initially. And having read the book "Naked Lunch" prior to watching the film, I was at a loss as to what I expected. Certainly there was no way this book could translate into a movie...even "The Wall" director Alan Parker would have been lost.

In essence, Cronenberg didn't attempt to recreate the book verbatim. Instead he deftly interwove Burroughs' life with some of the routines and rants from the book. This movie is not for the fainthearted as it shows man-sized mugwumps and talking typwriter/insects who are really operatives for a covert attempt to penetrate Interzone, using a hapless writer, Bill Lee, as their chief spy.

Definitive moments in Burroughs' life, such as his relationship with Allen Ginsberg and Jack Kerouac and the death of his wife Joan at his own hand are featured in the movie. It also gives a surreal biography to the birth of the writer in Burroughs as he attempts to write his way out of the guilt of his wife's death and the drugs that numbed the difficulties of his life.

Those who think that this movie had no real plot or if they did think there was a plot that the plot wasn't linear, then they can't be that big a fan of Burroughs. His life was not normal, his fans are not normal, and his mode of thinking was, frankly, insane. Cronenberg does a brilliant job getting inside the mind of the writer, the genius, the man, William S. Burroughs. Take a trip into his mind, ladies and gentlemen, and be changed forever.

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David Cronenberg has done something very interesting in his film version of the book by William Burroughs. Attempting to faithfully follow the book's plot would have been a hopeless enterprise (and an X-rated movie); instead, Cronenberg wraps short sequences from the novel and intertwines them with Burroughs' own life. This is not only completely appropriate for this unique author, but also conveys the tone and structure of the book. In this respect, although the 'plot' of the book is not followed with slavish respect, this is one of the most successful book-to-film translations.

There are interesting (if brief) portraits of Allen Ginsberg and Jack Kerouac (although in the movie Ginsberg is portrayed as pursuing Burroughs, when in fact Burroughs was in love with Ginsberg). The film also shows the accident in which Burroughs shot his wife, and his meeting with Paul Bowles in Tangiers. In the plot of the movie, Bill Lee is instructed by giant insects to infiltrate Tangiers and write 'reports' which eventually become the text of _Naked Lunch_. All of the events of the movie are shown from Bill Lee's drug-altered perception, so that most of the film's scenes have to 'translated' from the metaphorical to the actual by the viewer. In spite of other reports, the movie is quite coherent and linear, detailing Bill Lee's emotional recovery from drugs and the death of his wife as he becomes a writer. Perhaps 'recovery' is the wrong word; what Lee learns is to use them as material for his writing.

One warning: Cronenberg's decision to use elaborate special effects to show Bill Lee's reality works brilliantly, but it can be quite disgusting. The movie is not for weak stomachs (which again fits both the book's title and content exactly).

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David Cronenberg's dazzling sci-fi imagery meets William S. Burroughs' dark humor in this bizarre cult film. Peter Weller plays William Lee, an exterminator who can't seem to keep track of his bug powder. His writer friends hint that it may be a `domestic problem.' Indeed, he finds that his wife is stealing his bug powder for its narcotic effects.

At a party with two friends (meant to be Jack Kerouac and Allen Ginsberg), Lee nods to his wife and says, `About time for our William Tell act...' Joan balances her highball glass on her head and closes her eyes. Bill isn't such a good shot that night, and accidentally shoots a hole through Joan's forehead. The glass falls to the floor, intact.

Soon the police are after Lee. They lock him in a room with a giant bug, who tells him his real identity. It starts him on his journey to Interzone, a strange hallucinatory world inhabited by talking insects, living typewriters, and alien/insect mugwumps that secrete intoxicating juices from the penises on their heads.

Lee has a long strange trip in Interzone. His insect typewriter sends him on missions where he meets strange people and even stranger creatures. And all the while he is still on the run from the police.

David Cronenberg's screenwriting and directing skills were in top form for this movie. Once called `the king of venereal horror,' his trademark grotesque sexual imagery and bug obsessions, as seen in Videodrome and The Fly, have been honed to give the perfect nightmarish effect. Surely there couldn't be a better man to bring Burroughs' Interzone to the big-screen.

The acting was also superb. Wearing a fedora and an anonymous tan overcoat, and speaking in Burroughs' low monotonous drawl, Weller is a very believable William Lee. Judy Davis was also excellent, bringing to life the most three-dimensional portrayal of Joan Vollmer Burroughs ever.

The fabulously surreal special effects are sure to draw in Cronenberg fans, and fans of Burroughs will be equally entertained by samplings of the original book's `routines' and parallels to Burroughs' own life. However, Cronenberg isn't known for making accessible movies, and when coupled with Burroughs' characters, this certainly isn't a film for everyone. Rated `R' for heavy drug content, adult language, and `bizarre eroticism,' there are scenes portraying bug powder injection (a heroin metaphor), typewriters with genitalia, and a gay sex scene in which Julian Sands turns into a parrot. But for all the "adult" content, this is a very intelligent, complex, and inspired movie that its viewers will not soon forget.

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I just finished David Cronenberg's Naked Lunch. It was released in 1991, and is based on the William S. Burroughs novel of the same name. I've never read any of Burroughs' work, but now, I wouldn't mind researching it.

This film is about an exterminator named Bill Lee who is played here by Peter Weller of RoboCop fame. Bill is an ex-junkie, and is thrown back into drug addiction once he finds out that his wife is addicted to the bug powder that he uses on the job. He tries it once, and becomes hooked. He starts hallucinating. Giant bugs start spouting conspiracy theories to him. A giant alien-like creature, a "mugwump", has a conversation with him at a bar. Sounds weird, huh? It only gets weirder from there on out. And I mean WEIRD. One night, he and his wife decide to play a random game of William Tell that goes horribly wrong, in that he accidentally shoots his wife in the head, and she dies. He flees the scene, and heads off to the "Interzone," an exotic city that may or may not exist inside of his head. He starts to write a novel, a novel that will eventually become the book Naked Lunch. While he is in the "Interzone," his hallucinations get worse. They become so surreal and weird, that it is hard to differentiate between what is real and what is not. I don't have time to explain it all some of the hallucinations were so strange, that I can't print them for fear of offending someone however, one thing is certain: this is definitely a film that requires a second viewing.

The character William Lee is loosely based on author William S. Burroughs. Burroughs really did shoot his wife during a game of William Tell, and this novel was written shortly after that incident. It may help to know that he was addicted to heroin at the time that he wrote it, which would explain all of the strangeness in the film.

I DO NOT recommend this to everyone. It is most definitely not a film for anyone under the age of 17, and contains some shocking material. However, if you are in the mood for something different and I stress the word DIFFERENT, then you may want to check this out. You may not understand all that is going on the first time around, but the point of the film is to make you feel as though you are on drugs yourself. I still don't know what to think about it. It certainly does stay with you afterwards, and it is very thought provoking. David Cronenberg is one of the best directors out there. After all, he gave us last year's classic, A History Of Violence. If you are familiar with Cronenberg or David Lynch, and you've enjoyed their previous offerings to cinema, then you'll probably want to see this. You may want to follow this up with a similar, albeit less trippy film named Barton Fink, which was released the same year, and also stars Judy Davis in a supporting role.

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Scream (1996)

Please note: I'm rating the release, not the movie (which is a favorite of mine).

Save your money and wait for a complete, uncensored release, preferably with some new bonus material.

***SPOILER WARNING***

I broke down and picked this up because Amazon had it on sale for $6. Though not perfect, the picture quality is good/very good. The sound, on the other hand, is fantastic one of the best DTS-MA tracks I've heard on blu-ray. However, despite all the audio and visual goodness on display, the admittedly small edits to achieve the "R" rating are annoying. The tone of the film changes subtly as a result.

The slow-mo zoom at the end of the opening scene is far more effective than when sped up. A snipped second here and there in a number of other death scenes make them seem cartoonish and sanitized. Two characters appear to repeatedly stab each other with little consequence.

If Scream were released today, it would surely receive an "R" in its uncut form. Compared to the likes of Saw and Hostel, the on-screen violence is positively restrained. Lionsgate dropped the ball on this one. Please don't wait another 15 years to fix it.

Finally we get all the SCREAM films on blu ray and here we have the first and best that was hugely original and put a much needed original kick in the horror movie genre. We all know the story and we also know that when an older classic film comes out on a blu ray transfer it is really important to find out the quality and if the transfer succeeded. I was thrilled when I popped this movie into my blu ray player and was itching to see the infamous opening scene with Drew Barrymore. Sadly it was a huge disappointment. The audio was great but the video totally lacked clarity and seemed blury and overly grainy. For me the full effect of the scene was lost. Luckily when we get to the next scene with Neve Campbell at her computer the video had hugely improved. The picture was pretty crisp, colors were vibrant, flesh tones realistic and I was then impressed. Throughout the rest of the movie the video quality gets about a B. The dark scenes work well. Black and white ratio is clean and the colors do blend in well. The graininess after the opening scene is there on purpose and looks fine. When the villian dashes in and out of the picture the black and white of the costume looks great. But the part of the movie that is a truly huge improvement over the dvd is the audio. The DTS HD Master 5.1 audio track uses all surround speakers to full effect. Dialogue is crisp and you will be jumping out of your seat in all the right moments. The track is perfect for this classic horror movie and shines. The soundtrack blends in with all the films sounds perfectly.

But the video is where opinions will clash. For me the upgrade to blu ray is much better than my dvd version. I never liked the dvd presentations and the blu ray is in a 1080p enhanced widescreen which makes viewing the film better. There is some fine detail but the picture overall just does not POP like a quality blu ray does. I think when most people watch a blu ray they want that crispness and clarity that just makes it far surpass the dvd. It can become almost like you are in the movie. I think people forget the film is 15 years old and overall the picture is acceptable but the poor quality of the opening scene just leaves it lacking for me. When the movie is offered on blu ray at a steal price which Amazon seems to be doing now it is definitely worth a buy but if you are pretty satisfied with a dvd version you own I would think before purchasing it at full price.

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The writing behind the film is excellent, the idea of teens imitating the movies with more twists than twister. An action packed slasher movie with mystery behind it all no imortal killer just messed up teenagers. It was impossible to guess who done the murders from the begining, you may think you know who is doing the killings then somthing happens and turns your eye to someone else. Overall a fantastic beginning to the best horror trilogy around. The DVD has a few interesting special features, go for this special edition rather than the standard DVD.

Read Best Reviews of Scream (1996) Here

The town of Woodsboro is being haunted by a series of brutal murders. But the focus seems to be Sidney Prescott (Never Campbell). But this isn't your normal serial killer. Instead, the killer has been influenced by the horror movies he or she has watched over the years. Disguised with a Ghostface mask, the killer calls and daunts the victim before arriving to slice and dice.

While most of the high school takes it as a joke, Sidney is taking it seriously. But who around her might be the killer. Maybe it's reporter Gail Weathers (Courtney Cox) looking for her next story. What about film geek Randy (Jamie Kennedy). Boyfriend Billy Loomis (Skeet Ulrich) is a suspect, so that makes him innocent, right? Then again, any of these people might become the next victim. Will knowing the rules of the horror genre help them make it out alive?

Okay, so this is so NOT my normal genre of film. And yes, it definitely earns its R rating with brutal violence and horrid language. But I have always had a fascination with the genre, so when this movie became a surprise hit, I wound up checking it out. And the mystery fan in me loved it. The clues and red herrings are everywhere. However, the jump factor had me going from the start as well. Yes, I jump quite easily. My roommate used to laugh at me watching this film, in fact.

The thing that sets this apart from other slasher films is that we actually do get to know some of the victims before they die. These aren't just the stock characters you'd normally find, but real people.

Okay, so the other thing that set it apart is the humor. These characters know they are in a horror fan and talk about how to make it out alive. Of course, convention is thrown on its head (at times). But that wink at the audience as it attempts to scare us silly adds to the fun.

While most slasher movies still don't entertain me, I keep coming back and watching this franchise. If you want your scares with a post modern edge, this is the place to turn.

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I'm sure in this day and age it's appropriate to give "Scream" less than 5 stars. Plenty of folks will say how "unoriginal" the movie is, or how it's just a rip-off of a bunch of 80's flicks......and I say Bull***t.

"Scream" jump started the horror movie genre in the 1990's. Without "Scream" we woudn't have flicks like "I Know Whay You Did Last Summer" or "Urban Legend". Without "Scream" we might not have "Inside" or "Martyrs". Sure "Scream" ushered in the 90's version of slasher flickes, but it also ushered in an era of self referential horror films. Wes Craven was able to poke fun of the genre he helped create....and the "Scream" audience was in on the joke.

So many horror films since "Scream" have come to rely on the horror converntions set forth in "Scream" that it actually feels original.

"Scream" is meant to be fun, the cast, and the soundtrack both indicate that this is a fun film, not to be taken too seriously. If you've seen "Terror Train" or "Prom Night" or "Hell Night" than you are the target audience for "Scream", as an homage to 80's horror, you won't find a better film. It plays on the viewer's recollection of Jamie Lee Curtis' early film work, and updating the horror genre beyond what is found in the latest "Halloween". If you are a fan of 80's horror this is a must see.

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The Viral Factor (2012)

Following the success of two well-made crime dramas "The Beast Stalker" and "The Stool Pigeon" (both starring Nicholas Tse), director Dante Lam has come back with "The Viral Factor" ("Jik zin"), a more action-oriented movie about two estranged brothers, Man Yeung (Nicholas Tse), a criminal hired by a terrorist group trying to use a mutated smallpox virus as a biological weapon, and Jon (Jay Chou), an International Security Affairs agent who is severely injured in his latest mission to stop them.

In action movies you may ignore a melodramatic story and incredible coincidences and enjoy action set-pieces, but stupid characters are something different. Action sequences themselves (that take place in Jordan, and for the most part, Malaysia) are decent with a fair amount of explosions and gunshots, but slick as it is, none of them is really thrilling, with super-efficient terrorists shooting hopelessly incompetent cops and guards.

I know I should not take the film too seriously, but watching the same person (who should have hired better security guards) kidnapped three times is hardly exciting. Also, if you want to run away from some henchmen, taking a train is not a very good idea.

As I said, the film's stunts are not bad. I also enjoyed the beautifully shot locations, and Nicholas Tse delivers solid performances as always, but all in all "The Viral Factor," overlong and uneven, is a disappointment.

Dante Lam (Sniper, Beast Stalker) helms another commercial action vehicle starring Jay Chou (The Green Hornet) as Jon, a UN escort soldier who was supposed to be accompanying a scientist who'd turned himself in, to Norway, but his team is ambushed and he is shot in the head and left for dead. With doctors' unable to remove the bullet, he decides to spend whatever time he has left with his ill mother until he learns he has a brother, Man Yeung (Nicholas Tse), who is living a life of crime in Malaysia. When Jon heads to Malaysia to bring his brother back to see his mother, both he and Man get caught up with the man who betrayed Jon and his team.

At first, it may seem difficult to follow the plot, but it's not, in fact part of it is not all that different to the plot of 'Mission Impossible 2'. It's also full of holes and, I think, relies way too much on coincidences to be good or coherent. But underneath all the martial arts, flying bullets, explosions and conversations about smallpox, there's actually quite a touching family story running throughout about making mistakes and forgiveness and redemption.

Dante Lam tries to compensate the poor plot with the action and here he does splendidly; hand-to-hand, shooting, car chases, explosions, it is high-octane stuff and Lam handles them competently. Out heroes, Jon and Man, are battered and shot so many times you wonder how the hell they keep getting back up for more.

While Jay Chou handles his role of Jon well, Nicholas Tse brings an intensity to Man, unfortunately he likes to overdo it during the heavy drama, crying scenes that it's almost unintentionally funny.

I think if you're looking for a straight-up action flick, then you can't go wrong with `The Viral Factor' because it does tick all the right boxes. Suitable for a night in of mindless gun fights, fist fights and things going Boom!, can't beat that.

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After failing a mission to protect a copy of the smallpox virus, Jon Man is left with two weeks to live. Through his mother, Jon finds out of his long lost brother, Yeung, and sets out to find himonly to discover his brother is a career criminal. Eventually, Jon is pulled back into a fight to save his brother and niece, and a fight against biological terrorists. The Viral Factor is the definition of an action-packed thrill ride.

The story is very thrilling from beginning to end, and even emotional at times. Its intense close-quarter-combat, suspenseful foot pursuits, edge-of-your-seat car chases, and explosive shootouts are all spectacular and consistent; it rarely takes a breather throughout its 2 hour runtime. The film also uses a distant sibling relationship to create an emotional experience, most notable during its finale. Speaking of the ending, it was a great bittersweet ending. Occasionally, the film did suffer from poor storytelling; it introduces many characters and locations rapidly, especially during the beginning, and it jumps from location to location too often to keep track. I was able to grasp the concept and the story, though. The acting was greatAndy On stood out as a despicable villain. The music was great, although it occasionally felt out of place. Also, for those wondering, the film uses many languages, although I felt the bulk of it was in English.

Overall, The Viral Factor will not disappoint blockbuster action fans. As of 3/23/13, this film is available on Netflix Streaming, a purchase is recommended for action fans, a rental otherwise.

The Viral Factor has strong violence and blood.

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The movie is great. It has a lot of action and the marital arts is very good. The actors are great in here you will love this movie. Buy it.

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Loved Jay! The story is believable and the action is okay. Just waited till the end to see what really is going on. Worth the time to watch a good movie!

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Bakemonogatari Blu-ray Complete Set Limited Edition (2008)

I realize it might not be everybody's cup of tea, but personally (it is my review haha) I loved the wordplay. Having already watched Bakemonogatari thru streaming sites, I fell in love every week with the episodes, including the online only ones. Now though, I see it on my PS3 and my hi-def setup. God, if my eyes could have orgasms, they would from having watched all fifteen episodes.

From Hitagi Crab to Tsubasa Cat, I was hooked in the tale of Araragi Koyomi, former vampire and chick magnet with a penchant for sharp retorts. The way that words are exchanged and twisted into different meanings had me cracking up for hours, and its mainly the reason why they didn't add a dub. It just doesn't work with the way the Japanese characters are manipulated, and the jokes just don't seem to work in English. I'm really glad there was no dub in actuality.

So yeah, I don't really want to say much else. For new people looking to pick this up, I realize the boxset is a little steep on the wallet (not sure if I got my metaphors mixed up...), but it is a story that will get you hooked for it's sequels and novels. For people who have already seen the series, I wouldn't really recommend buying it unless you really love it. It is better than paying as much as the Japanese did for the 5 separate boxsets that would total more than my monthly paycheck could afford, and the clarity from watching it in blu-ray is quite frankly, amazing. Only for the hardcore-est of the core. God i'm so lame.

I will give a better review when I have time, but this product is great.

The anime itself has a fascinating story. Easy to follow (just don't try to read all the subtitles right away for the cutaway shots)

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This anime as everything an anime otaku could ever ask for.

1-hi-brow theme

2-fan service

3-well developed and cool characters

4-impeccable artwork

5-stylistic art direction

And the list goes on...

Read Best Reviews of Bakemonogatari Blu-ray Complete Set Limited Edition (2008) Here

Worth the wait, definitely a must watch. This was seriously great . The series is incredible and really well thought of

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Rockin at the Ryman (2010)

Mine just arrived today from Amazon.co.uk....its an ALL REGION Blu ray and easily played in my Sony player...

the concert filmed in HD is 1hour 45 minutes and the tracks are

Double Vision

Head Games

Cold As Ice

In Pieces

Blue Morning, Blue Day

Waiting For A Girl Like You

When It Comes To love

Dirty White Boy

Starrider

Feels Like The First Time

Urgent

Solos

Juke Box Hero

Long, Long way From Home

I want To Know What Love Is

Hot Blooded

then bonus tracks from Sound Stage (also HD)

Night Life

Say You Will

Too Late

Urgent

Then three recent music videos

When It Comes To Love

Can't Slow Down

Too Late

and a couple of long interviews with Mick Jones and Kelly

so...this is a very good value, much better than the hard to find Sound Stage BLu Ray which only has part of that show.

The energy level of the show is very good, the filming great...I have no complaints and highly recommend to any Foreigner fans...

Do I miss Lou Gramm? Of Course...but rather than complain about that I enjoy what Kelly brings...

This blu-ray is an import from the United Kingdom. I purchased it from Amazon, here in the U.S. Some people mentioned problems playing the blu-ray on their players, but the blu-ray disc plays on my two U.S. Panasonic blu-ray players.

I listened and watched a few of the hits, including the megahit "I Want To Know What Love Is," and I have to point out that Kelly Hansen, the vocalist, is amazing. His voice sounds great and is very clear. He is quite animated and interacts with the audience.

This concert was filmed live at the Ryman Auditorium, located in Nashville, Tennessee.

The two audio choices are DTS-HD Master Audio 2.0 and DTS-HD Master Audio 5.1.

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Do yourself a favor and order this CD/DVD set. Mick Jones and company continue to raise the bar of classic rock excellence.

Read Best Reviews of Rockin at the Ryman (2010) Here

This is a great Blu-Ray of the latest incantaion of Foreigner. While it only has one original band member, the vocals are remarkably close to Lou Gramm. The video is great (some concert video is DVD only, no bluray) and the audio mix is the best that I have heard. The audience is the most uninvolved that I have seen at a rock concert, but that doesn't reflect on the band or its sounds, which is fantastic. If you want a modern BluRay of Foreigner playing their hits and sounding as great as they are going to sound with Gramm, this is the disc to buy.

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I have been a fan of foreigner for many years. This disc was absolutely awesome! This band is better than ever!

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Scooby-Doo: Big Top Scooby-Doo (2012)

Scooby and the gang help solve the mystery of werewolves terrorizing a traveling circus. Loads of fun. One of the best direct-to-video adventures with the entire gang. Check out Daphne's amazing motorcycle riding, Velma being shot through the air as a human cannonball, Shaggy and Scooby are... Scooby and Shaggy trainers, and Fred is a second assistant safety net watcher just don't let him up on the trapeze. The kids loved it!

We ordered this for family movie night. My two girls enjoyed it a lot and my husband and I had fun with it too. It is about on the same level as Legend of the Phantasaur (which was really funny). This one is not quite as good, but still very enjoyable with some good lines. Recommended!

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Probably one of the funniest Scooby Doo movies I have seen in a long time. Especially after the horrible "Music of the Vampire" movie...which was aweful, awkward, and left me feeling very uncomfortable...almost queasy inside. This movie is what I love about the Scooby franchise. There were several times when My son and I were laughing so hard we had to rewind to catch the next joke. The script is a typical Scooby Doo type show....after a little while it is obvious who the villains are, but this one had a bit of a twist...not gonna spoil it. Totally enjoyed this one and hope that they continue to make more Scooby Doo movies like this instead of experimenting with idiotic ideas like the Music of the Vampire...I just cannot express how much better this is than Music of the Vampire. Did I say that hated Music of the Vampire? Well, I did hate Music of the Vampire. I didn't really like the Goblin King either....actually never finished the Goblin King because every time I watched it...I fell asleep. Zzzzzz

But this one, was great fun all the way through. 5 stars for sure.

Read Best Reviews of Scooby-Doo: Big Top Scooby-Doo (2012) Here

The poor Mystery, Inc. gang never can catch a break. No matter where they're headed, monsters and mayhem seem to find them. 43 years after his first appearance, Scooby-Doo still has a nose for mysteries. Warner Bros. Home Entertainment gives fans of the crime fighting canine and his ever youthful sidekicks a new feature length animated movie entitled "Big Top Scooby-Doo!"

The circus ringleader of the Brancusi Circus reaches out to the Scooby gang for help after a werewolf attacks attendees of the greatest show on Earth. The hairy beast has a healthy appetite for jewelry. Mystery Inc. must solve the mystery by joining the circus. Daphne the clown, Fred the trapeze artist, Velma the human rocket, ringmaster Shaggy, and trick dog Scooby-Doo must discover the truth behind the thieving wolf man and bring him to justice.

"Big Top Scooby-Doo!" is an entertaining and satisfying entry into the talking dog's adventures. It has to be a challenge to come up with original concepts and ideas for an animated franchise that's been around as long as Hanna-Barbera's Scooby-Doo. You'd think every mystery and creepy caper under the sun has been exploited by now.

Somehow, the creative teams for these straight-to-DVD movies continue to churn out fresh stories or well-disguised recycled ones that play off as new. Kids and their parents continue to buy and watch them, guaranteeing that we'll have no shortage of Scooby on DVD or TV in the near future.

For those who don't keep up, there are basically three different Scooby-Doo universes. There's the live-action world with its own flair and cast of characters. "Scooby-Doo! Mystery Incorporated" has the group solving mysteries in their hometown of Crystal Cove, which is a haven of esoteric activity.

"Big Top Scooby-Doo" falls into the last universe which is the original started in 1969. There's no Shaggy / Velma dating awkwardness, wacky parents, bumbling sheriffs, or diabolical talking birds to wade through. This is the good old-fashioned Scooby we all grew up on and love.

The Blu-ray + DVD combo pack of "Big Top Scooby-Doo!" features three bonus episodes including ones from "Scooby-Doo! Where Are You?" and "Scooby-Doo! Mystery Incorporated." They add another 70 minutes of value to this first class Blu-ray release from Warner Bros. Home Entertainment.

Fans of Scooby-Doo will love this 18th entry in the franchise. "Big Top Scooby-Doo!" is the perfect choice for a family movie night. It will appeal to viewers young and old. It's definitely recommended for your Halloween viewing list.

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I ordered this on demand and it was awesome! I thought the Scooby-Doo movies collapsed after Music of the Vampire but this one was truly great. I wan't to get it because it was the best Scooby-Doo movie yet! (Other then the Phantosour)

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Summer Hours (The Criterion Collection) (2008)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But this film is so much more than that.

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

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

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

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

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

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

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

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

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

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

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

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

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Priceless (2008)

"Priceless" (Hors de prix) is a romantic comedy of a sort only the French would make. Jean Simon (Gad Elmaleh) is a bartender at a posh hotel on the French Riviera so conditioned to fulfill the guests' every wish that he can't say "no". Irene Mercier (Audrey Tautou) is an attractive young woman kept by a wealthy older man whom she hopes to marry to secure a life of luxury. When Irene's companion Jacques (Vernon Dobtcheff) falls asleep and spoils her plans for the evening, Irene dejectedly saunters to the hotel bar, where she mistakes Jean for a rich guest. Jean sheepishly accommodates her mistake, and they have a drunken fling. When she returns to the hotel a year later, engaged to Jacques, their mutual attraction threatens her marriage plans, Jean's job, and everyone's equilibrium.

This is a genuinely charming and funny film, but I had to laugh at its effrontery as well as it script. "Priceless" adopts a jaunty, optimistic tone at the point when Jean and Irene begin prostituting themselves to rich patrons. This film would not be made in the Untied States. It accepts the casual exchange of sex for money as an amusing and self-evident aspect of life, and sexual jealousy simply does not exist. Irene couldn't be more charming than when she attempts to educate a smitten Jean on the arts of gold-digging and seduction. Irene and Jean's meal tickets, the wealthy bon vivants that keep them in designer fashions, are interesting and smart people themselves, which helps elevate the film.

And there is always something interesting going on the background. I enjoyed director Pierre Salvadori's peeks behind the scenes at how luxury hotels function. I was impressed by his respect for the support staffs that keep the hotels running, and it enhanced the feeling of grandeur that Irene single-mindedly seeks. "Priceless" was obviously inspired by "Breakfast at Tiffany's", a film that I don't care for. It is not as coy about the lady's profession, however. And Jean and Irene are much more appealing and good-humored leads. "Priceless" is a very good-looking film, a scandalous tale that wisely gives no hint of scandal, with a smart, funny script. There are no bonus features on the First Look 2008 DVD. Subtitles are available in English SDH and Spanish.

I'm going out on a limb and giving this film 5 stars. No it's not epic long lasting cinema, but it's a perfectly enjoyable, wonderfully well made, bit of entertainment. It's in the same vein as Cousin Cousine Cousin, Cousine, or when you read the synopsis, not a movie you would want to watch. However, the French have this ability to make films that take what, to American sensibility, would be an offensive film, and make it charming.

This film is a little charming film. From the start you are drawn in, beautiful scenery, an intriguing bell man (Jean) working hard to make money. Working so hard, Jean actually falls asleep standing up while working. And the counterpart is a young woman (Irene) with an older man. He passes out drunk on her birthday and she ends up with the Jean. You can think long and hard about what Irene does or is, but why? By this time you are hooked on the charm of this film. Just go along, enjoy the ride.

The scenery in and around Nice is wonderful. The people are beautiful. The language gorgeous. The sun, the sea, just enjoy.

We watched this movie on a cold December snowy evening, and enjoyed the full two hours non-stop.

The subtitles / translation is done rather well. The only nit to pick, the name of the film. Hors de Prix is more like outrageously priced, or extremely expensive. It's not necessarily pricelss. With the matercard ads we lean more to priceless meaning, can't be bought for any money. Like Jean, hors de prix, humans can buy these things, they might just have to take out loans to buy them. Priceless things can't be bought.

As was said in another review, the sex bits are very subtle. It's definately a romantic film. This is really a PG-13 film if you used language (the f word is never said or subtitled), nudity (there is none), and violence (somebody gets slapped with no blood) as your gauge (as the MPAA does on American films). However, the topic, well it's probably not going to be interesting to anyone under 15 or 16 anyway.

Very enjoyable film. Charming. A real pleasure to watch. A great cold night watch.

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This gem sparkles like diamonds on display in Tiffany's. Audrey Tautou shows her physical beauty and amazing acting range, pulling off a seemingly impossible character arc from selling her self to the highest bidder to finding true love. Twists along the way let us see the world from all points of view, a rare thing in storytelling. Having it all feel seamless and natural is an amazing tour de force by actors, writers, film crew and the director. "Priceless" is one of the very few romantic comedies that can be watched again without losing an ounce of its punch. And whoever did the costumes for Ms. Tautou deserves an Academy Award.

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Like Nicholas Stoller's "Forgetting Sarah Marshall," Pierre Salvadori's "Priceless" could be considered distinctly unsavory if the story weren't so funny and the actors so charming. Both films share a basic theme--sexual hanky-panky in luxurious resort hotels--but whereas "Forgetting Sarah Marshall" concentrates on the sex itself, making it thoroughly American, "Priceless" is very French in concentrating on the dollars-and-cents (or euros-and-cents) calculations of love for a price. "Priceless" redeems itself by having true love triumph over money in the end (and you knew it would going into this movie; this is "Priceless," not "Darling.") Audrey Tautou is alluringly hard-edged as a shameless golddigger who, through a series of mixups, ends up sleeping with a shy barman (Gad Elmaleh) she mistakes for a tycoon. The mixup costs Tautou her current sugar daddy, with nothing and no one to fall back on. When Elmaleh presses his suit, Tautou exacts an expensive revenge which leads to all sorts of repercussions and complications, all set against the opulent backdrops of Biarritz and Monte Carlo captured glowingly by cinematographer Gilles Henry. Tautou is funny and touching as a mercenary woman who gradually melts under the spell of true love, and Elmaleh is a perfect example of the lovable deadpan comedians France excels at producing. The various rich folk whom Tautou and Elmaleh, ahem, bump up against--played to perfection by Marie-Christine Adam, Vernon Dobtcheff, and Jacques Spiesser--become more loathsome with each second of screen time, making the ultimate triumph of love over money all the sweeter. "Priceless" is a prime, and unexpectedly pointed, example of French bedroom farce.

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Hors de Prix (Priceless) stars audrey tatou ("amelie," l'auberge espagnole," "dirty pretty things")as a woman who exists and subsists on the kindness of rich old men but only for a short time: before she gets bored, before he dies, before she realizes that there is another bigger score afoot. tatou plays irene (she is painfully thin in a play i think to replicate the mesmerizing, luminous audrey hepburn of "breakfast at tiffany's") and to add some friction to the mix, director pierre salvadori manipulates a meeting between irene and jean ( gad elmaleh) a poor guy who irene mistakes for her next victim but who meets a rich woman who absurdly wants jean to be her paid escort. Irene takes on the job of transforming jean into a proper french gigolo.

what is refreshing about this film is that director salvadori and his writer are not conflcted in the least about irene and what she does: there is no judgement about these kinds of things in french films. irene's actions are deliberate and goal oriented. irene is a prostitue (a high class one, yes but a prostitute nonetheless), a gold digger, a woman who lives off the kindness of old men who crave her company and her affection.

gold digging as an elevated, something to be strived for activity/way of life: the interplay between jean and irene is witty, fun and thoughtful as irene teaches jean the ropes.

"Priceless" is a frothy bit of film making, made even lighter by Audray Tatou's ethereal Irene and gad elmalah's sad sack Jean.the idea that we americans are going to re-make this film sends shudders up my spine. quelle dommage!

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The Outlaw Josey Wales (2011)

Although Clint Eastwood gained his greatest critical acclaim as a director for 1992's "Unforgiven" and 2003's "Mystic River" -both of which are incredible pieces of American cinema -his best film remains this perennially popular Western from 1976. Here's Eastwood's own take on it: "I do believe that if I'd made that picture in 1992, in place of `Unforgiven,' it might have received the same amount of attention, because I think it's equally as good a film. I think the subject matter of `Josey Wales' is timeless." Orson Welles himself named it one of his favorite movies!

Yet critics at the time completely dismissed it as just another Clint Eastwood Western-Revenge flick. On the surface, the plot might give you that illusion: Missouri farmer Josey Wales loses his family to marauding Union cutthroats during the civil war. In retaliation, he joins Qunatrill's raiders in the guerrilla warfare that flames across Missouri. When the war ends, Wales refuses to surrender. He flies west across the country, chased by his former leader Fletcher (John Vernon in a great, sympathetic performance) and Terrill, the Union captain who murdered his family (Eastwood regular Bill McKinney). It seems Wales has no future except to stay alive long enough to get his revenge.

But...that's not at all what movie ends up being about. Gradually, Wales finds himself at the center of a growing community of outcasts from many different backgrounds: an old Cherokee named Lone Watie (Chief Dan George, in the film's most unforgettable performance), a band of Northern settlers (including Sondra Locke in her first role with Clint), a girl from another Native American tribe, the residents of a dying Texas town, and a red bone hound. Gradually, "The Outlaw Josey Wales" turns into a story about forgetting revenge and a fixation on death, and instead about embracing life and rebuilding a community. "Dying is easy for men like you and me," Wales says to a Comanche chief (Will Sampson) in one scene. "It's living that's hard." It's one of the most unexpectedly uplifting and moving films ever made. And, let's make no mistake about it, it's also an action-packed, tough, and exciting film.

Strangely, the film came out of extremely difficult circumstances and rough beginnings. Eastwood purchased the rights to Forrest Carter's novel "Gone to Texas," only to discover that the author was actually Asa (Ace) Carter, who had worked as a speech writer for George Wallace supporting racial segregation and had once created a subgroup of the Ku Klux Klan. Upon meeting Carter, Eastwood and his producer Robert Daley found the man to be a borderline sociopath (he drew a knife on one of Daley's secretaries at a restaurant). Regardless, Eastwood loved the beautiful story too much and pushed on with making the film. He hired Philip Kaufman to both write and direct the movie, now re-named "The Outlaw Josey Wales." Kaufman (along with Sonia Chernus) wrote a stunning script, but after only a few days on the set, it became obvious he wasn't working out as a director; his style clashed with Eastwood's. Eastwood quietly removed him as director and took over the job himself. As Eastwood's biographer notes, "Kaufman was to a degree the victim of Clint's growing confidence in his own abilities."

Despite this confused beginning, "The Outlaw Josey Wales" turned into a magical piece of Western cinema and a huge hit with audiences. It gets better and better with each viewing: a thrilling adventure when you first see it, its many layers of beautiful subtlety emerge each time you go back to it. Bruce Surtees's photography is astonishing, Jerry Fielding's music exciting and unusual for a Western, and every performance top-notch. Few films are as all-around well done as this American classic.

The DVD offers the film in a glorious widescreen transfer with a new 5.1 sound mix, but there are no extras. Considering the history behind the making of the film, this disc really ought to sport some fascinating commentaries and documentaries, but alas, nothing. Still, I can recommend few films higher than "The Outlaw Josey Wales."

This review refers to the Warner Bros DVD Widescreen Edition of ""The Outlaw Josey Wales".......

Josey Wales is another of Clint's Eastwood's bigger than life Western characters that you won't soon forget.Josey though, is not like the others that preceeded him. It becomes apparent throughout this film, that this tough loner, on the run from murderers, has a heart the size of Texas.(And of course in this one we DO know his name!).

Eastwood also does an artful job of directing this tale, that has everthing from action to romance, and even a little comedy.

The end of the civil war is nearing. The northern soldiers though, won't let up. The "Red Legs" as some of these notorious war criminals are called are still pillaging,and plundering the homesteads in the territory and...killing the families.Wales is a victim of these brutal attacks, his house burned to the ground and his wife and son viciously attacked and murdered. He joins up with a group of others who are out to avenge their families and they become a notorious group. When they are offered a deal at the end of the war, they all turn themselves in..all but one...Josey Wales!

Ride with Josey(everyone else does) across the beautiful western vistas, as he takes on the "Red Legs" that are after him, saves a family from "Commancheros", makes friends with the Indians, and wears his heart on his sleeve as along the way he seems to attract a group of outcasts, including a dog, that he just can't leave behind.

Clint surrounds himself with the most marvelous cast, including Sondra Locke, Bill McKinney, John Vernon and Chief Dan George who provides many of the lighter moments in this action packed western.

If you are already a fan of this film made in 1976 and wondering about the quality of the transfer, you will be thrilled by the way it looks and sounds. The picture in widescreen is gorgeous. All scenes including the darker and nighttime are sharp and clear. Colors are vibrant. The soundtrack remastered in 5.1 Dolby Digital is also wonderful. From the pounding hooves of the racing horses, to the rain, to the music and the dialouge,you won't miss a thing.It's a dual-layer format, but I did not notice any of those little pauses that casues sometimes."Extras" are in the way of production notes only. There are some interesting facts on how Eastwood came to read the book and make the film.

What?! You haven't seen this yet??? It's a must for any Eastwood or Western fan! Go for it. "Now, Spit!"..Chief Dan George......Enjoy..Laurie

Clint multi-packs:The Gauntlet/True Crime,

The Clint Eastwood Collection (In the Line of Fire/Unforgiven/Bronco Billy/Dirty Harry/The Outlaw Josey Wales/The Beguiled),City Hall/Midnight in the Garden of Good and Evil*actually a John Cusak double feature but Midnight in the Garden of Eveil is directed by Clint

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As I am not ordinarily a fan of westerns, I was surprised to find that I really enjoyed this film. It was an engrossing and entertaining movie, and, unlike others in this genre, it is an intelligent and well thought out film.

The film tells the story of a Missouri farmer who, towards the end of the Civil War, finds his home overrun by renegade union soldiers who set fire to his homestead, kill his wife and son, and leave him for dead. After burying his family, he joins a group of confederate guerillas who have suffered similar tragedies. Ultimately, the war ends and their leader brings them in for surrender, except for Josey Wales, who watches their surrender from afar. Good thing he did not join them, as their surrender turns into an execution by the very same men who had pillaged his home and killed his family.

Wales escapes only to be relentlessly hunted down by the very men who had wronged him, as well as by bounty hunters who want that five thousand dollar reward offered for his capture. Wales rides on to escape them, and along his travels acquires a motley entourage whom he befriends and who befriend him. What happens on his journey is classic Eastwood.

Clint Eastwood plays his role as a stoic man of few words, while Chief Dan George is an absolute delight as part of Wales' entourage. The rest of the cast is uniformly excellent. Of course, Sandra Locke, as Eastwood's real life main squeeze at the time, got star billing, even though her role was one of the smaller ones and her performance the least impressive of the supporting cast.

This remains one of the more entertaining films in this genre. It also made Hollywood sit up and take serious notice of Eastwood as a major force in the film industry.

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While he was still a star and hero on the long-running TV western Wagon Train, Clint Eastwood emerged on the Hollywood scene in western-theme movies, specifically his trio of "spaghetti westerns" with director Sergi Leone, the best being "The Good, The Bad, and The Ugly".

After establishing another remarkable character in Dirty Harry, Clint returns to his western "roots" as the vengeful Josie Wales, in "The Outlaw Josie Wales". This is Clint's 31st film and his fifth as a director. Actually, the film was started with a different director, Philip Kaufman of "The Right Stuff" fame. After numerous and intractable arguments over the interpretation of the film, Clint fired his director a week into shooting and took over directorship himself. We will never know what sort of film Mr. Kaufman would have produced, but Eastwood's final product is a true gem in western filmmaking.

In Eastwood's western trilogy he was known only as "the man with no name", a loner who generously dispensed his form of western justice at the barrel of a gun (or two). There was not much character development. We don't learn what drives the man or what he feels inside. With Josie Wales, Clint plows new ground, as he plumbs the emotions of the vengeful Wales. He builds insights into the character and feelings of Wales, a man with a name AND feelings. This makes the movie more than a mere "shoot 'em up", and adds depth and meaning to the film. Eastwood does much the same and more, with his 1990 blockbuster (and his last western) "Unforgiven", with Oscar results.

Josie Wales can be viewed with interest and pleasure on several different levels. There is of course the "vengeful man" theme that is the movie's backbone. Then there is the multi-cultural theme, where instead of going it alone, one man against many, Wales has a collection of "family" that collects as the movie progresses: an old Indian Chief, a talkative Indian "Squaw", a grandmother and her granddaughter (Sandra Locke, whom Clint would have an affair with that would end his marriage to his wife Maggie), and finally a collection of townies from a dying silver mining town. Finally, there is the "healing" theme, namely, how does a man who suffers the violent loss of his wife, son, and home, deal with his vengeful anger, emotional loss, and begin to heal.

Mere trivia, but interesting: Clint Eastwood never once shoots and kills a Native American Indian in any of his western films. Instead of battling indians as do most of the other western film stars, Eastwood's charcters build alliances with the Natives, learning to live in peaceful co-existance rather than a state of perpetual war.

Clearly, this is Eastwood's best western up to this point in his career. It is definately worth a "look" and my guess is that it will become one of your favorite westerns.

Jim "Konedog" Koenig

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Of all the years and several formats for this movie to be released in...this IS the best it has ever looked and sounded! Over the years (even DVD) the transfers have been soft and lacking detail. Well, this blu-ray brings back what has been missing all these years. This is one stunning transfer! The soundtrack DTS-HD 5.1 really sounds like surround for the first time. In the past, it seemed like three channel...but now all the speakers are employed (and the subwoofer is used).

If you are a fan of this classic and love blu-ray, upgrade today! Throw out that old DVD and do your eyes (and ears) a favor and get this version. I am still shocked how well this film from 1976 looks! It finally shines!!

I can't believe what I have been missing all these years! Great restoration job.

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