Ong-Bak: The Thai Warrior (2003)

You like Jackie Chan films? Or remember Bruce Lee? If so, don't miss this one from Thailand, where the film industry is thriving more than ever. And remember the name of Tony Jaa, stunt-turned-actor (incidentally, he was a stunt in the second 'Mortal Kombat' film, and his then co-worker was Ray Park, 'X-Men') Jaa's martial arts skills based on Muay Thai (Thai-style fighting) are simply astonishing.

[NO STUNTS, NO CGIs] Strangely titled film 'Ong-bak: Thai Warrior' is, as the title says, an exciting Thai actioner starring Tony Jaa (real name Panom Yeerum), who plays the hero Ting living in an apparently sleepy country in Thailand. Not exactly, you soon see. In this interesting opening scene, you see these scantily dressed guys climing up one big tree, and during the fighting, they fall one by one onto the ground. This is actually a kind of festival, or ritual, of the hero's village, but what you should realize is, the film uses NO CGIs, NO WIRES ATTACHED.

[FORGET THE STORY] Story? Need one? OK, Tony Jaa's hero has to track down the theives who cut off and stole the head of the sacred statue in his village. With this mission, he goes to town, where he meets one middle-aged man George, and his friend (perhaps girlfriend) Muay. Before you know it, they all got in troubles for the thugs start attack them.

[ACTIONS] Then, actions begin, which are simply eye-poping. One example: in the cat-and-mouse chase scene in the market, running away from the bad guys, Tony Jarr jumps over the tables, stalls, and cars (!) with Jackie's comic timing. And look how he slides into UNDER an RV! To add to them, he leaps through a ring of barbed wires (real ones, I suppose), and comes out unharmed, never stopping a moment!

Himself a Muay Thai fighter, Tony Jaa (or his character) joins in several illegal boxing bouts. You might say you have seen this kind of bloody, bone-crunching fight sequences in the past. Not Tony Jaa's high-kicking that strikes the opponent at the speed of lightening. This sounds like cliche, I know, but it is true, his agile movement reminds me of the deadly power of Bruce Lee and the ultra-fast speed of Jet Li.

And that's not the end, for Jaa does many, many other actions, which I refuse to write about here, for you should see them for yourself in theatres. Again, I say, Tony Jaa uses no stunts, no special effects or no strings. Of course, he will not win the Oscar for acting the hero of this film, but when he can fight like Lee, Chan, and Li, who cares?

My advice: 'Ong-bak' is a must for any fans who love action films. Watch it, and be surprised.

I saw this movie recently at the Acadamy Theater in Pasadena, California. I was feeling a little under the weather. There were about 20 other somber people in the theater, including my five year-old daughter who I brought with me despite my concerns about the R rating.

Suffice it to say that about thirty minutes into the movie the entire audience was visibly activated and energized by this stone-cold classic-for-eternity. My health had suddenly returned, I was pumped up on massive doses of epinephrine. Folks, this movie succeeeds on every level. I'm not a huge martial arts expert like many of the reviewers, but I was a kid in the late 60's when Bruce Lee (and Jimi Hendrix) ruled the world, and rightly so. This is the only fighting movie which I've seen since which even comes close to one of the better Bruce Lee movies. I will even contend, with some reservation, that it surpasses the Bruce Lee classics: there is humour, dramatic and sophisticated tuk-tuk chase scenes, foot-chase scenes, splendidly convincing archeological sights, and obviously, absolutely SAVAGE multiple fight scenes where good defeats evil with satisfying Dirty Harry righteousness. The fight scenes in this movie are certified artistic masterpieces and deserve their own special place at the Smithsonian. And, even the soundtrack is good, with a pulsating techno-style music that really builds the tension. This movie delivers the goods.

Having been to Thailand several times and loving that country, I was very happy that this movie pays such a fitting tribute to their culture, the Thai kickboxing sport as well as the gentle and happy demeanor of the Thai people.

I should mention that by the end of the movie I had nothing but pleasure in having had my daughter watch the movie and share this unique experience. Goodness prevails over evil. Bad guys die a deserved death. Disciplined boy saves his village through courage, honor, persistence and skill. Wayward soul (Ting's cousin who has gambling debts and other character...flaws) is reminded of his roots through observing the integrity of his friend, and he finds spiritual redemption through his efforts at becoming a good guy once again.Boy returns to village having honored his family and completed the mission...I'm afraid Sesame Street could not teach a better lesson about life and its struggles.

This movie will almost certainly become more famous as time goes on and people outside of the martial arts community learn about it. I left the theater stunned and enthralled. Just awesome.

Buy Ong-Bak: The Thai Warrior (2003) Now

From a small Thai village the statue of the revered deity Ong Bak is vandalized ... his head is stolen. The film shows how the eight moves of Muay Thai are executed by Ting, the best maritial arts fighter in the village who is sent to the city to find and return this sacred object. The local priest admonishes Ting to use only peaceful means because the moves can be deadly. Ting is given money and valuables by the villagers who aresimple and poor but faithful he will succeed ... He is advised to seek the help of a cousin, who lives in the city. Ting finds his cousin who is less than enthusiastic to receive a visitor from his village. The cousin is ashamed of his village roots, he has taken on an American name and has a girlfriend whom he likes to impress that he is "cool" ... unfortunately, he also has a gambling habit that has gotten him into deep debt with the underworld bosses.

After the cousin stole Ting's money and gambled it away, Ting ends up fighting goons sent by the local gangster to put fear into his cousin, essentially pay up or risk permanent injury. Ting's fighting prowess impresses his cousin who gets the idea to have him fight at a local arena against the best fighters where betting takes place. The cousin is certain he will recoup his losses ...Ting agrees on the condition afterwards his cousin will help find Ong Bak. While the story line is basic, the fighting scenes captivate and capture the viewer's attention and hold it throughout the film.

The scenes where Tony Jaa jumps over several produce carts during a chase in the city while knives are thrown at him is astonishing. Another phenomenal scene involves a huge number of three wheeled taxis which are driven by Ting's would-be captors as he fights them off while he is riding in a moving taxi. When they come to the end of the freeway there is an unexpected drop off ... like the edge of a cliff, the freeway is under constructed and incomplete. There is an explosive ending related to the capture of the gangster boss and the *surprise* location of an unprecedented number of Buddha heads which were stolen. This DVD has great extra features, such as a live performance of martial arts by Tony Jaa on stage in Paris during the opening of his film. It also has a rap music video which incorporates phenomenal martial arts performed by Tony Jaa. Some behind the scenes footage features the creation of specific stunts within the film. Erika Borsos [pepper flower]

Read Best Reviews of Ong-Bak: The Thai Warrior (2003) Here

This one is well worth catching at the big screen if it happens to be playing close by, the action is very well done. If you like Jackie Chan, Bruce Lee or Jet Li, than this action adventure flick with plenty of fighting scenes will not disappoint. The lead character, a young man named Ting, has to leave his village and go to Bangkok to try and track down a religious relic stolen from his village, when he gets there, he, as we might expect, gets more than he had bargained for running into a criminal gang.

While the production was behind our modern standards here in the states, and certainly wasn't as refined as movies like Hidden Dragon or other modern Jackie Chan flicks, it easily competes with early Kung Fu movies and is on the same level as earlier Chan flicks that were done in China.

The athletic abilities and grace demonstrated by the lead were very skilled, and while some of the action sequences were obviously influenced by some of Chan's work, including inventive use of props and adding some humor to action, there was a lot here that was original in its form, at least to my eyes, and I think there is a big future, perhaps in American films, for the star.

My five star rating is based upon its place in this catagory of film, some of the acting is a bit cheesy, and being subtitled hurts a bit, however, in this genre it's easily a five star flick and I highly recommend it to fans of marital arts movies.

Want Ong-Bak: The Thai Warrior (2003) Discount?

It may be uncut, but the 20th century fox version has much better picture quality and good subtitles too. The only thing you are missing out on is a couple mroe parts in the village. It is just not needed. If the story was actually good, it might matter. But the reason to watch this is the stunts. The fights are some of the hardest hitting stuff you will ever get but Tony Jaa's stunt work is second to none. If you are a fan of watching great action movies, check this out casue it is the best one that has come out in a while.

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Chasing Amy (1997)

I have a "love-hate" relationship with Romantic Comedies. I really enjoy a decent one and a couple of examples I'd consider "decent" are When Harry Met Sally and While You Were Sleeping. I also recognize that there is probably no other movie genre that is as suitable for "date night": It's where men and women's interests overlap.

Bad Romantic Comedies can be really tedious things, and many of my pet peeves about movies come from this genre. For example, my LEAST favorite romantic comedy cliche is the moment 10 minutes before the end of the movie where our loving couple has THE "big fight" (often over nothing or something completely stupid or forgettable), followed by one of the characters tearing off to the airport just so that the OTHER partner will have the sudden revelation that they've *made a big mistake* and go tearing off for the airport as well usually arriving only moments late. (With an equally cliche-filled smooching reunion that follows minutes later, before the end credits roll.)

But I digress. NONE of these horrid cliche's fill this movie, which is full of almost believable characters and completely believable heartache.

Kevin Smith has now created a half-dozen films, and while I would classify all of them somewhere between "watchable" and "excellent", "Chasing Amy" remains his masterpiece to date.

Holden (Ben Affleck) and Banky (Jason Lee) are 30ish buds-since-High-School who have grown into the guy fantasy job of writing a hit comic book. They get to alternate working on "Bluntman and Chronic" with making personal appearances at fan conventions where they get paid to sign autographs.

At one of these conventions they hook up with another "graphic novelist", Dwight Ewell's Hooper X who is constantly educating Holden and Banky about being black and being gay. Ewell steals all of his scenes because Hooper is a perfect mix of bravado and angst which sufficiently masks his inner conflict for being black and gay.

Hooper introduces our heroes to Alyssa Jones, portrayed in a career-making performance by Joey Lauren Adams. Alyssa is cute, funny, talented, witty and Affleck's Holden falls for her in a big way. He interrupts his usual routine with Banky just to meet up with Alyssa before finding out at the end of the first act that Alyssa is a lesbian.

A moment to discuss the language, themes and realism of the movie. Like the Kevin Smith films that preceded it, Chasing Amy uses language that is frank and honest and uses raw street vernacular to describe many things, in particular sex. I have heard many criticisms about the story contained in Chasing Amy. Joey Lauren Adams doesn't fit lesbian stereotypes, and among those who seem to know, it is ridiculous to consider that a lesbian might be interested in a man even if (perhaps especially if) the man is Ben Affleck. These things must be accepted to follow the movie. Smith makes it easy. In truth, the language and the issue of homosexuality are side issues in what is essentially a truly unique Romantic Comedy.

Like Smith's first feature Clerks (Collector's Series) the central conflict in "Amy" concerns one character's difficulties accepting the "history" of the other romantic interest. To say more would spoil the pleasure you would derive from enjoying the flick yourself, but it has to be stated that Smith's resolution involves heartbreak, plenty of humor, no cliches and no airports.

If you think you might enjoy an honest romantic comedy that includes street language, frank discussions about sex and gay characters, "Chasing Amy" fills the bill exactly.

The story of this film is a personal one for writer-director Kevin Smith and it's no wonder that it's his best effort to date--a great, warm film about relationships & more obscurely, a reflection on his movie career. A comic book artist named Holden McNeil (Ben Affleck) falls for a Lesbian from his hometown in New Jersey. He's old school in his ways of love & life and happens to mix it up with the more interesting crowd. At the beginning of the picture--a scene that was finally cut--Holden and Banky (Jason Lee), his best friend/roommate, receive a verbal bashing from two comic book store owners who despise their work. Kevin admitted lifting much of that dialogue from a negative review of "Mallrats" (which had studio exec hands all over it and failed I think because it tried to be a comic-book action movie.) "Clerks" (his first movie), "Chasing Amy," & his latest "Dogma" are all down-to-earth, personal movies that are funny, filled with wonderful, inspired dialogue, and unfold more like stage plays than celluloid --he decides on a location to put his characters in and has them talk; it doesn't much matter if they're in a kitchen or at a hockey rink.

There's a scene in "Chasing Amy" when Holden is telling Alyssa (Joey Lauren Adams) he'd "like to get back to doing something more personal like [his] first book." This could just as easily be: "I'd like to get back to doing something more personal like our first movie."

"When are you going to do that?" Asks Alyssa.

"When I have something personal to say."

"Chasing Amy" is that movie. Indeed, Kevin Smith put much of himself into this picture and the result is his funniest, smartest, and most dramatic work. As Holden becomes close friends with Alyssa, Banky feels rejected. He wants him to stop fooling around with Alyssa and "sign off on the whole cartoon thing," but mainly he doesn't want to lose Holden. It's also interesting to note that "Clerks" became an animated series for a short time and it's possible much of the subplot came from Smith's own feelings about selling-out his art for the big bucks (which also can be construed as his decision to make "Mallrats" the way he did). I like the subtle gestures between Banky & Holden and admire their friendship. This is Ben Affleck's best role. He doesn't seem as confident & charming in it as he does in some of his more recent roles. He's goateed and appears to be a little more bulky and chubby in the face--even his voice and his manner of speaking make him seem older. His character is average yet poetic, he makes you believe the conclusions that he comes to, as absurd as they may seem to others. They're are quiet, touching moments between characters with & without words. In a scene that'll never see the light of day, Banky holds Holden in his arms after he comes to a crossroads with Alyssa. I would've like to have seen it. It's just as much a movie about male affection (not necessarily gay either) as it is about being completely in love with a person.

Jason Lee shines--he has a natural gift for comedic timing. In a typical romantic comedy, he'd by the poor schmuck sidekick who gets shunned, but his character is just as crucial to Holden's life as the woman he loves. And as Alyssa, Joey Lauren Adams is full of emotion, spontaneity, and charm.

Smith's camera doesn't move often & the critics tend to knock him for it--who cares? He makes his movies fine and I've always said he's a good voice for the subculture of Generation X intellectual slacker-types. Mainly "Chasing Amy" consists of a series of wonderful moments focusing on the growing relationship between Alyssa and Holden & the deteriorating relationship of Banky and Holden. Then several key scenes of emotional fury that are so well written and acted and reveal so much that it elevates beyond a straight comedy and it becomes entirely Kevin Smith's movie--a perfect expression of being crazy & completely wrecked in love, which Holden undoubtedly is.

Hooper is the voice of reason & wisdom--the gay black man, who, to sell his comic book, "White Hating Coon," pretends to be a militant Black Panther-esque speaker when he's anything but. He seems to understand the three-way situation plainly, but he's also on the outside looking in and when you're in love your mind is a complicated mess.

Wanted or not, Holden also gets "advice from the `hood" when Jay & Silent Bob meet him at a local diner (they're the inspiration for his and Banky's popular comic book, "Bluntman & Chronic"). He gives him guidance in the best way a person can--he tells him a story that echoes his own and hopes he catches a clue--He doesn't. And after a serious examination of his individual relationships with Banky & Alyssa, he suggests something both funny, unexpected and sincere.

I always get the impression that when a director tries to make an enjoyable movie that will be well-received, it usually isn't. It's when they put it all on the line and make a picture altogether theirs that people respond to it. I've seen "Chasing Amy" God-knows-how-many-times now & still every time I sit down to watch it I'm touched, I still smile at some point in nearly every scene, I still get weepy-eyed. I wish every time that I could crawl up on that red coach, go to sleep, and wake up in this world.

With "Chasing Amy," Silent Bob becomes less of a comic book super-hero, and more like I'd imagine Kevin Smith to be in real life, and when the big guy finally opens up, he says what he wants to say perfectly.

Buy Chasing Amy (1997) Now

It's no surprise that this movie was never the box officesuccess that it should have been: this film is much too deep and truthful for average audiences. Kevin Smith provides some incredible insights about people and relationships, but most folks don't want to think when they go to the movies and would much prefer to see pulpy schmaltz about characters overcoming their idiotic superficial differences and living happily ever after.

I won't sum up the movie as other reviewers have done a great job of that here. Two things that I wish to comment on, however: 1) The "F" word is used extensively here, some will say overused, as is explicit sexual dialog. If you're watching with children (despite the R rating), you are hereby warned. 2) This film has two of the most touching and emotional moments I've seen in a contemporary movie: Holden's declaration of love to Alyssa in the car (Affleck's delivery is so honest and true and impassioned that you will practically feel his nervous relief when he finally tells her) and Alyssa's tearful speech when she realizes that she must leave him (this portion of the script is brilliant and Alyssa's deep hard-hitting dialog could only have been written by someone who's been there).

On to the technical aspects of the disc -The audio is absolutely perfect: not too loud, not too soft, the dialog/music/sound effects are all perfectly balanced. This is one of a small handful of DVD's where you can set the volume once and you don't need to constantly adjust it. (DVD producers should take note of this! There's nothing more annoying than having to crank up the volume because the dialog is too soft, only to have the house rattle once the music or sound effects kick in.) The video is a bit grainy at times, something I find very surprising coming from a contemporary Criterion release. This is minor, considering the excellence of the story itself.

The deleted scenes are interesting and funny. The commentary is good, but because it's a group effort, it can get annoying when everyone's trying to speak at once or when they don't stick to the on-screen action. Small doses are recommended for this one. Finally, the outtakes are funny, but too few.

In all, it's rare to see such an intelligent contemporary movie. This is a DVD worth owning.

Read Best Reviews of Chasing Amy (1997) Here

So far in Kevin Smith's film career, "Chasing Amy" is his "Driving Miss Daisy" of movie achievements. He went from sardonic, sophomoric comedy to earthly, emotional realism, putting forth an intensely magnified story of sexuality and the fragile boundaries of love. His writing maturated into a tale well told involving common debate ground for customary issues, the ongoing battle of the sexes and the dire consequences of traversing to the other side of our ironclad gender coalitions.

The ill-fated tale begins with two twenty-somethings working together on their well-renowned comic book "Bluntman and Chronic". Banky Edwards (Jason Lee) and Holden McNeil (Ben Affleck) are lifelong friends, and what better way to spoil their friendship than to bring a woman into the picture. Enter Hooper X, the author of a pro-black comic with a pronounced hedonistic and riotous reputation that belies his true nature: he's as flamboyantly gay as they come. Hooper X is stereotypically but nonetheless hilariously portrayed by talented beau Dwight Ewell. He garners most of the laughs in this film to keep Smith's deeply emotive content from getting too serious. He acquaints a fellow comrade from the gay community to Banky and Holden at a comic book convention, unbeknownst to three of them that this mere introduction is the beginning of a whirlwind of emotional conflict.

The name of the whirlwind is Alyssa Jones, and upon their first meeting, Holden is on a mission to claim her. It's not until he and his wisecracking companion are invited to an outing at a gay bar does Holden realize Alyssa is a bona fide lesbian and his conquest for a breathless fling is shattered. Unfettered by her conspicuous sexual agenda, Alyssa pursues a warm and trusting friendship with Holden, spending time with him over the months, generally palling around and having a good time. After a stretch, Holden recognizes that his feelings for Alyssa are beyond platonic, and this is the point in the movie when everything straight becomes askew (no pun intended).

Banky consistently intercedes, knowledgeable of Holden's threshold of tolerance for relationships. He advises him that his newfound adoration will not have a pretty ending, but Holden and Alyssa are bull-headedly driven by their honest affections and defy the odds, including the coarse rebuff from her once-loyal lesbian clique. Eventually, provided the complicated circumstances and Banky's mistrust for Alyssa's sordid past, their relationship unravels and abruptly ends over a heated argument and a woeful awareness of the impossibility of their happiness.

Smith's writing and direction is in top form in his third installment of young adult films, reprising his references to notorious characters of the past, including Alyssa Jones herself, Brandy Spenning, and the unintended necrophiliac Caitlin Bree. He ties all of his stories together closely, showing us what a small world it really is, especially in New Jersey. It also comes as no surprise that Joey Lauren Adams was entitled to the lead role, being Kevin's girl and all (at the time). She actually proved to be a greater actress than I thought, admidst her nasal screaming and profane dialogue. Jason Lee has gotten better over the years, but it's like he's revisiting his Brody routine with all the endless diatribes he goes on. His character is witty, but Smith is stereotyping his acting ability every step of the way by always making him the sideman. Jason Mewes is much improved here, abating his hyperactive methodology for a more subdued and genuine disposition. Smith even poked fun at his own work by mocking the ridiculous "Snootchy Bootchie" dialect that Mewes popularized. A lot of the actor's lines are Smith's self-effacing humor at work, and they clash perfectly amongst the love and heartbreak of the movie.

Lastly, we have Ben Affleck as the sensitive chap, a warm and welcome presence after the total slimeball he played in Smith's horror of a screenplay "Mallrats". That material was well beneath him, and thank God Smith made it up to him by offering him the part of Holden. Ben is obviously the diamond in the rough here, fine-tuning the level of interest in the audience with his natural-born charisma. Let's face it: this man is gorgeous, a headturner. There's no way you can take your eyes off him, nor ignore that beautiful smile. He was perfect for this part and made a significant connection with male and female viewers. Women will watch this film and wonder, "Where the hell can I find a man like THAT? "

To sum all the parts, this is a very worthwhile film and can touch a lot of people, especially if they've loved and lost for whatever reason at some point in their lives. This is far from cinematic genius and I don't think Smith will ever be capable of creating a masterpiece, but his raw sincerity and whole-hearted approach is meaningful and direct. That alone is enough to help one gain a new or amended perspective of life, love and art.

Want Chasing Amy (1997) Discount?

I *loved* this movie -it's a warm, joyful, and very funny exploration of love, and the things we choose to hide in order to be loved by the ones we want. Affleck's intelligence, earnestness, and romanticism make Armageddon look like a bad dream, while Joey's the feisty heroine we girls wish we were, and Jason Lee takes a relatively thankless role and turns Banky into a wholly sympathetic, understandable, confused, and lovable loner who's desperate in the face if being displaced by his best friend's first real love affair. (Prediction: One of these days Lee will leave Affleck in the dust.)

It's a great film -wonderfully written and acted, and the characters' declarations of love are surprisingly sweet and literate, and worth going back a track or to on that DVD button for a second viewing.

But the "special edition DVD" is a rank disappointment. Sure, it's loaded with stuff (most of it from the previous Criterion laser release from years ago -ironically, the commentary opens with a loud diss by Smith & co. on the 'fad' of DVD's and how they will quickly fade), but too bad most of it bites.

The Director's Commentary is the biggest surprise -it's awful.

While I drooled at the idea of listening to someone as smart and funny as Smith is commenting on his film, what I got was a barely coherent mumblefest from Smith, Mewes, Affleck, and buddies. (I mean, come on, this from the Smith who once beautifully analyzed "A Man for All Seasons" for the New York Times?) The guys instead spend most of the two hours making noises at one another, and are evidently not even watching the movie they're supposed to be commenting on. The group sounds blitzed, most of the commentary has nothing to do with the film (and Mewes especially is in "Jay" mode, embarrassingly unaware of what's going on onscreen in front of them, a fact Smith and Affleck exploit throughout the commentary).

I love the movie, and don't think anyone should miss it. But I spent the extra bucks on the "special edition" and felt robbed. Don't make the same mistake, and spend the extra bucks on a "special" edition that's frankly not so special. (Until they bother to re-record the commentary on a day when everyone's caffeinated or sober, at least.)

Just my 2 cents. ;-)

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Black Snake Moan (2013)

I was drawn to this movie because I enjoyed director Craig Brewer's earlier film, "Hustle and Flow". If anything, I liked "Black Snake Moan" even better. The movie combines tawdry and lurid components with a tale of love, forgiveness, and hope. I don't think the film is exploitative. Instead it suggests in a simple way how sensual and redemptive parts of life often complement each other.

In thinking about this movie, I was reminded of George Eliot's novel, "Silas Marner", the bane of every high school student. In Eliot's novel, Marner, an embittered miser finds redemption when he raises Eppie, an orphaned girl, from childhood to young adulthood. Similarly, "Black Snake Moan" tells the story of a middle-aged black American man, Lazarus, portrayed by Samuel Jackson, who feels embittered when Rose, his wife of 12 years, leaves him for his best friend. Lazarus happens upon a young scantily dressed white woman, Rae, played by Christina Ricci, who has been beaten and left near-dead on a country road following a wild party. Lazarus takes her into his home and tries to teach and care for her. Ultimately, the movie suggests, both Lazarus and Rae receive a kind of hope, Rae by marrying her boyfriend, Lazarus by finding what may be a promising new relationship.

The story gets life through a great deal of tawdry sex. At the turning point of the movie, Lazarus chains Rae to a radiator to prevent her escape. Rae was a victim of sexual abuse and a neglectful mother, and in her boyfriend's temporary absence for military service, she throws herself at every man she can find. She appears in the movie scantily clad, in a cut-off blouse with a Confederate flag and in shorts. Lazarus has his own frustrations to work out from the loss of Rose, his wife. A black preacher, the Reverend R.L., played by John Cotham, helps both Lazarus and Rae and is the quiet hero of this movie.

In this movie, atmosphere and scene count for a great deal. The story is set in a small Tennessee town near Nashville, and the story is redolent with poor Southern life, both black and white. There is scenes in shacks and farms, and small town stores and streets, and in clubs and bars that bring the movie to life. Brewer shows the same love for and knowledge of the rural South that he showed in "Hustle and Flow". Most importantly there is music. The tale of sex and redemption is captured in the flow of the blues in a soundtrack and in performances by Lazarus himself. Jackson spent long hours learning the blues guitar in preparation for this movie. The movie includes two scenes of footage with the great Delta bluesman Son House holding forth appropriately on love, loss, and the blues. Music is a redemptive force in people's lives, and in this movie of the hot-blooded South, redemption comes through the blues.

I found the tawdry elements of this movie an essential part of the story it had to tell. "Black Snake Moan" is rewarding.

Robin Friedman

So, let me get this straight. The Deep South. A young, white woman (Christina Ricci) who is also a nymphomaniac, ends up on the doorstep of an aging, black blues singer (Samuel L. Jackson) and he decides to chain her to his radiator. Have I returned to another era of filmmaking? When I first heard about this story, I did a double take. "Black Snake Moan" could be very bad; there are a lot of inherent problems with this story. Or it could be very good; the synopsis has so many weird, uncommon elements that it almost guarantees it will be something wonderful. I am happy to report the latter is true.

I didn't love "Hustle and Flow", writer director Craig Brewer's last film, but I liked it. I just wasn't won over by the story of a pimp who wants to become a rapper. If there's anything we learned from the film its "Don't you know it's hard out there for a pimp".

So when I first heard about "Black Snake Moan", Brewer's follow-up, I was not excited. Then I started to really pay attention to the previews and the images. Okay, this is going to be one strange movie and sometimes strange movies are beautiful because they have a license to go places we don't expect. "Black Snake Moan" is all of these things; strange, beautiful and also contains great performances from Jackson (one of his best) and Ricci (certainly her best).

The first thing "Black Snake" does is set up the two main characters, establishing their lives, before they meet. This may sound like a given, but Brewer spends a significant amount of time showing the despair each person has in their lives, for different reasons, giving us a chance to get to know each of them.

Rae (Ricci) begs her boyfriend Ronnie, (Justin Timberlake) to not go to Basic Training. But he has to go, this is the only way they are ever going to escape the trailer park they live in and have a chance to escape their white trash roots. She runs after the truck in her daisy dukes and oversize flannel shirt and then drops to the ground, crying. As soon as he is gone, she gets the `itch', something she is only occasionally able to control. This time, she won't be able to control it. She calls up the local small time drug dealer, a black man, and they are soon going at it in a seedy motel room. Later, she attends a large party, wearing the same daisy dukes and a cut off t-shirt bearing the Confederate flag (really just a strip of cloth making a valiant effort to cover her breasts, frequently giving up the fight) and tries to hook up. With anyone and everyone. Unable to find someone, she takes some pills and before you can whistle Dixie, she is running around in her panties and a football guard playing a game of football with some friends. Before you know it, she is having sex on the lawn, amid hundreds of used plastic cups. Later, she ends up with a bloody nose on the dirt road outside of Lazarus' small farm.

Lazarus (Jackson) has troubles of his own. A former Blues musician, he learns his wife has been cheating on him with his brother. She wants to leave, but his brother won't leave without his blessing. Lazarus shows great restraint in a confrontation between them. The local preacher, a childhood friend, tries to offer him guidance, but Lazarus won't have any of it. Returning home drunk, he throws all of his wife's possessions into a garbage bag before passing out. The next morning, he takes the garbage bags out to the trash and spots the young girl. He soon realizes she is hurt and tries to figure out what to do. If he calls for help, he will be immediately blamed and may end up in jail. He decides to take her in and help her. He visits the local pharmacist, Angela (S. Epatha Merkerson, TV's "Law and Order") and she gives him some cough medicine for `his niece's' cough.

Fading in and out of consciousness, Lazarus helps her get rid of her cough and tries to help with the black eye and the cuts and bruises. In a moment of lucidity, she attacks Lazarus, trying to tame her `itch' and have sex with him, leading him to find out about her nymphomania. In order to control her, he chains her to the radiator.

When she comes to, wearing her panties and t-shirt, she assumes something happened, but he assures her it didn't. Well, if he wants to, he can, as long as he lets her go. He won't have any of it. He has to help her.

This only begins to scratch he surface of "Black Snake Moan". Because the film is basically about these two characters, and we spend a significant amount of time with them, we learn a lot about each. But it is a testament to each actor that these moments of knowledge come through their performances, one of Jackon's best and certainly Ricci's best to date.

Christina Ricci deserves a lot of credit for the simple rawness of the performance. There aren't many actresses that would take on this type of role, let alone abandon themselves to the character. Rae is half nude throughout most of the film. Naturally, this character, a woman so loose with her sexuality, so promiscuous, would find nudity a natural thing. And the character does bare her breasts a few times. She also has sex with more than one person. But all of these images are presented in a very matter-of-fact way and illustrate the character's soullessness. When she meets Lazarus and he starts to care for her, this behavior stops, because he won't allow it. Gradually, as she realizes he cares for her, she starts to listen to him. She doesn't change completely, or quickly, making the character seem all the more natural.

This performance is very raw and fitting for the character. Ricci seems to give everything she has to the role, making it a memorable, vibrant performance. When she starts to change, we have lived part of the journey with her and we feel as though we have changed with her.

Samuel L. Jackson also seems to lose in the role of Lazarus. Every time we go to a movie, we may recognize the actors playing the role. Not surprisingly, the less famous an actor, the more easily they `become' the character they are playing because we are more likely to forget they are an actor playing a role. Samuel L. Jackson has made many films, many of those very popular, so he is very recognizable. An established actor always has more difficulty disappearing into the character. But Jackson seems to disappear into this character for large stretches of time, allowing me to forget I was watching the famous actor who has also appeared in "Pulp Fiction ", "Snakes on a Plane" and many others. The fact that he can fully immerse himself into the character at all speaks to his ability to make this character seem real.

From the moment we first meet him, we experience some of the troubles Lazarus has with his community, with his wife, with his life. When he finds Ricci on the dirt road, he has to help her. But he has to be cautious. It wouldn't look good for an aging black man to be seen with a half naked white woman, let alone one who has been beaten up. So he looks both ways, to make sure no one is watching and takes her inside.

The more involved he gets in her recovery, the more we realize he needed such a `project' to give meaning to his life. This also brings him into contact with the pharmacist, a woman who clearly has a little `itch' of her own for the aging Blues singer. Throughout the course of the story, Lazarus heals through his interactions with the young lady and may be able to get his life back on track after all.

Justin Timberlake is also good as, Ricci's boyfriend. Going beyond stunt casting, he actually shows he has some acting chops as he makes the character's difficulties real and substantive.

"Black Snake Moan" is a simply made film. The action centers at Lazarus' small farm in the middle of nowhere. Occasionally, he goes into town or other characters come out to the farm and interact with him, but I can't imagine this film cost a lot of money to make. Which makes sense because I am pretty sure if the budget for this film were too high, it never would have been made.

I'm glad "Black Snake Moan" was made, because it contains two great performances, introducing us to characters we have never seen before, and likely are not to see often again. It is also a believable, well-made tale of redemption for two people who need to have some meaning in their lives.

This strange film is, at times, quite a beautiful film.

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Craig Brewer (Hustle and Flow) directs his second mainstream film and John Singleton produces. Black Snake Moan stars Samuel L. Jackson as Lazarus, a religious man living in a small southern town. Lazarus is also a blues musician. His demons are that his wife left him for his own brother and for this he is riddled with anger. Christina Ricci plays Rae, who is an overly promiscuous girl who is traumatized by a history of child sexual abuse. On top of that her boyfriend Ronnie has left to join the National Guard. Ronnie is played by Justin Timberlake. After Ronnie leaves, Rae ends up having a pretty bad evening that leaves her scantily clad and beat up in the middle of a dirt road. She is left on a road just in front of Lazarus's house. After helping her get better, he soon comes to find out who Rae is and what kind of reputation she has. Lazarus sees this as a sign from god that he must heal her of her wickedness in order to receive some redemption for himself. So he ties her up to a giant 40 pound chain.

The film has a great atmosphere. It comes off as sticky and sweaty throughout and plays with that imagery as the characters develop. It consistently offers references to blues music and the characters are loud and full of life. It comes off as exploitative in some ways but that is ultimately done for a greater cause. Samuel L. Jackson is always good, even in really bad movies, but this is one of his best roles in many years. The real star here though is Christina Ricci who I've always felt is doing whatever she wants for now but one day she will be hailed as one of the best actresses around after a performance that hits the mainstream just right. Unfortunately for her though Black Snake Moan has not yet been a commercial success. None of that really matters though because it is still a very good movie although both Jackson and Ricci are even better than the screenplay and direction demand.

Some people say the film is hypocritical for sexualizing Rae and offering several erotic scenes with her, while at the same time presenting a negative view of sexuality. Firstly, I disagree that the film portrays sexuality as a negative but instead portrays excess as a negative. I did not feel hammered down by any messages that sex is wrong. Secondly, Black Snake Moan is definitely not meant to be erotic. It certainly rings of exploitation films but by watching Rae's transformation away from nymphomania and toward stabilization, away from her history of abuse to some degree of resolution, away from vulnerable to honest and confident, and away from being naked to being clothed; I can't help but think this is a fiercely unsexy film that is against hypersexuality alone. To be pro-spirituality and critical of actions often perceived as sinful is not puritanical and not even necessarily anti-sex. I would even argue that this movie uses religion only as a tool, but healing in general as its primary message despite the powerful Christian overtones. No matter how you look at it Black Snake Moan is, above all, a film that reinforces morality. It also happens to be quite entertaining.

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Black Snake Moan sure has a weird hook. Setting: Deep South. An older black man who plays the blues keeps a white nymphomaniac on a chain to cure her of her horniness. About half-way through, my husband turned to me and said "And why exactly did you think I would like this movie?" I winced and said I thought it would have blues as more of a central theme. But guess what, he stayed around and pronounced it a good movie after all! His summary is the best: "everyone has their struggles, and you are never really free of them."

The performances are exceedingly strong, the setting of Tennessee bucolic and beautiful. You really feel as if you are in this small, rural town where everyone knows each other.

Black Snake Moan is bold, and really gives you a sense of empathy for the different characters. Most importantly, it provides hope that if you have your own struggles, someone will be out there for you as well, not to judge you or cure you, but to love you.

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"Black Snake Moan" isn't a perfect movie. I am definitely not a fan of Justin Timerlake, as a singer or an actor. I find it weird that the makers of this film would really think Timberlake was the best person to play the part of Rae's boyfriend.

For the most part, however, I find this movie enjoyable because it is differnt from what is normally available in the theatres. I only saw the director's last film, "Hustle & Flow," after I saw "Black Snake Moan." This guy definitely has a different way of looking at things, and I hope he does not let too many Talking Heads start making creative decisions for him as he crafts his films.

For a movie with an unrealistic premise, I think that the conclusion of "Black Snake Moan" is very realistic. I feel that most people who view this will, at the very least, be entertained by a unique flick.

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Bridget Jones's Diary (2011)

Dissatisfied at age 32 with the direction her life is taking, a young woman vows to make some changes, and to keep herself on track she decides to start a daily journal, hoping it will make her toe the line, in "Bridget Jones's Diary," directed by Sharon Maguire and starring Renee Zellweger. Bridget (Zellweger) begins with some New Year's resolutions that include no more drinking or smoking, not being paranoid about her weight, and developing poise. And-last, but not least-to avoid any romantic attachments to alcoholics, workaholics, peeping Toms or perverts. Of course she promptly falls for the one man she knows who embodies all of those characteristics: Her boss, Daniel Cleaver (Hugh Grant). In the meantime, her mother, Pam (Gemma Jones), continues to play matchmaker for her daughter. At a holiday gathering of friends and family, Pam nudges her in the direction of an old childhood chum, Mark Darcy (Colin Firth), now a respectable attorney, and recently divorced. Their initial meeting, however, proves to be a less than monumental event, further complicated by the fact that Cleaver was Darcy's Best Man at his wedding, and has some tales-out-of-school to tell about the subsequently ill fated marriage that puts Darcy in a rather bad light. But Bridget could care less; she thinks Darcy is rude and a bore, and anyway, Daniel is her guy. Work is good, her life is going well and-as she is about to wake up and realize-she hasn't kept a single one of her resolutions. And, oh! she should have.

First time director Maguire proves with this auspicious debut that she certainly knows her territory and how to negotiate it. She has the touch and the eye for detail of a seasoned professional, and her sense of timing is impeccable. She successfully avoids a major pitfall that do in many rookie directors right out of the chute, by never fishing for the cheap, forced, disdainfully pretentious or concocted laugh. Everything in this film, especially the humor, flows freely and naturally from the circumstances of the characters and the story, which makes it all real and believable and allows it to be readily embraced by the audience. This is a funny, often hilarious movie, but it's also very warm and at times poignant, and for handling it so sensibly, and with such sensitivity, Maguire deserves to be granted even more kudos. It's quite simply an exceptionally well made film, presented with a style and grace that reflects that of the director herself.

Of course, having a superlative leading lady was certainly not disadvantageous to Maguire's efforts, either, and Renee Zellweger has never been better than she is here as Bridget. With her quirky good looks, personality and charisma, she is endearing, and she invades Meryl Streep territory by affecting a perfect British accent. Whether she's lip-syncing to a Celine Dion song, doing karaoke at an office party after having a bit too much to drink, or battling with a blender, it's easy to believe that someone would like her just the way she is. Even with her hair mussed, or in a somewhat disheveled state, she's alluring, and it all has to do with who she is deep down inside; Zellweger makes it clear that this is a woman of substance, and it's easy to like her. There's a down-to-earth honesty and accessibility about her that makes her appealing, and she's someone to whom many in the audience are easily going to be able to relate. For her portrayal of Betty in "Nurse Betty," Zellweger received a Golden Globe; "Bridget" should land her smack in the middle of Oscar territory.

As Bridget's smarmy boss, Daniel, Hugh Grant turns in a noteworthy performance, putting a rather tarnished sheen on his natural charm that works so well for this character. It's a nice departure from his usual bumbling, reserved Mr. Nice Guy routine he perfected in such films as "Notting Hill," and "Four Weddings and A Funeral." With this role he challenges Greg Kinnear's part in "Someone Like You" for the top spot in the Boss-You-Should-Never-Date category. And Firth does a memorable turn as Darcy, fairly reprising his role of the same name in the PBS miniseries, "Pride and Prejudice," from which this story is loosely derived. Initially appearing a bit sullen, he gets the chance to develop his character as the story unfolds, and he does it quite nicely, ultimately revealing Darcy's true nature.

In a supporting role, Gemma Jones gives a performance that deserves mention, doing a good job of fleshing out Bridget's mother in the brief time she is allotted. Rounding out the supporting cast are Crispin Bonham-Carter (Greg), Jim Broadbent (Colin Jones), James Callis (Tom), Sally Phillips (Shazzer), Honor Blackman (Penny), Embeth Davidtz (Natasha), Shirley Henderson (Jude) and Celia Imrie (Una). A warmly humorous, uplifting film, "Bridget Jones's Diary" is a delightful and satisfying experience with more than a touch of magic in it. Not only is it an entertaining showcase for Zellweger's many talents, but heralds the arrival of a director from whom we can expect great things in the future, Sharon Maguire. A well crafted, reality based comedy/drama that is enjoyable and refreshingly devoid of inane nonsense or gross jokes is a rare find these days, and this is one of the best to hit the screen in a long, long time. It's a film to be heartily embraced, and one I guarantee you'll want to see more than once.

Renee Zellweger does a fabulous job of portraying Bridget Jones. You would never guess that this great accent came from a Texan. At the age of 32, she is unhappy with her unmarried status, and everyone constantly throws it in her face. She is interested in her boss Daniel Cleaver, but knows he is not the type of man that she should see. When she meets Mark Darcy (a set up by her mother), they dislike each other immediately, and the fact he hates Daniel is just a bonus. The comedy that follows is just hilarious.

This is a very entertaining movie. Hugh Grant sheds his normal good guy persona to be the guy you love to hate. He is very effective in the role switch. Colin Firth is just plain loveable. This is a movie to pull out and watch again and again.

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I saw this movie, kicking and screaming, when my younger sister foisted it upon me. Thinking that it was going to be another Gen X piece of claptrap, I gritted my teeth and prepared myself for what I erroneously thought would be a waste of time. Was I ever wrong! It turned out to be a sublime cinematic experience.

Renee Zellweger is definitely the star of this film. She positively twinkles! She is absolutely marvelous in the role of Bridget Jones, our single, thirty something, English Holly-Go-Lightly. Employed as a somewhat graceless publicist, the plump and perky Bridget enters into an affair with her caddish, handsome, sexy boss, winningly played by the ever charming and debonair Hugh Grant.

Meanwhile, her mother has introduced her to an attorney, the stiff-necked Mr. Darcy, played to taciturn perfection by Colin Firth. Even though they were once childhood playmates, he and Bridget do not initially click, and it is not love at first sight, as Bridget's mother had so hoped. Bridget goes on her merry way with her boss, unaware that he is two-timing her. When she discovers his perfidy, it is too late, as she already fancies herself in love with him.

Mr. Darcy, however, re-enters the picture, and what happens is a thing of beauty to watch. The film is very funny. Rene Zellweger as a Brit is totally believable. She is so good that she would even fool the Queen into believing her to be one of the Queen's own subjects. Without a doubt, this is one of Ms. Zellweger's best roles to date, and she is positively delightful. Moreover, Sharon Maguire's directorial debut is certainly noteworthy, as she shows signs of a deft comedic touch in her direction. This is simply a terrific film. Bravo!

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I cannot rave enough about 'Bridget Jones' Diary'! It is so marvelous that finally there is a woman conveyed on film who's got a real body and has problems she's trying to control, and she can still get the man of her dreams.

Renee Zellweger does excellent as a thirty-two year old singleton who is having problems with cigarettes, alcohol, and men. Her mother is constantly trying to set her up and the latest is Mark Darcy, who has recently gotten a divorce. But Bridget has other ideas and is soon flirting with her boss (not to mention making a total fool of herself, but that's why we love Bridget!)

Nonetheless, the story is very sweet and enduring. And it is HILARIOUS! I haven't laughed this much at a movie since 'Meet the Parents'. I just loved the fact that this movie had a smart heroine who wasn't afraid to mess up and to just be herself. And it's nice to finally see Hugh Grant as a real bad guy instead of his usual roles. And I loved Colin Firth. This movie is definately a must-see! Bridget rocks!

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American Renee Zellweger did it. She made a convincing Brit. She also looked fabulous, even though she had to gain weight for the role. I loved this movie. The script was a well-done adaptation and it is very fun to watch.

I was very surprised by the performance of Hugh Grant. He typically gets cast in the romantic lead role, playing some sort of charming, bumbling idiot that you can't help but fall in love with. This movie, he actually tries something different. He still plays an idiot, but this time he's the sort of idiot you love to hate. It's a nice change. And, if there are any of you out there who hate Hugh Grant, this is the movie for you--there is a particular scene that you'll love (but I don't want to ruin it for you).

Colin Firth also does a marvelous job. His character is probably one of the most interesting in the movie (aside from Bridget herself). He progresses in a way that you don't really expect from the beginning, and it's rather nice. I love Colin Firth.

If you're in a bad mood, this is a great movie to see. It fits the romantic comedy mold, but it's good to watch even if you're not a fan of that genre. It's great fun.

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Matrix: 10th Anniversary (2012)

With over 2,000 reviews, there is no sense discussing the movie so I will just address this to readers wondering if the Blu-Ray transfer is as good as they, perhaps, have heard.

Yes, it is it's incredble. I am not a particular fan of the film, especially the sequels, so I say these remarks with no bias. I just rented this first "Matrix" to see how it looked. Well, it Blu (pun intended) me away!! At this point, I've seen around 50 Blu-Ray DVDs and this is as good as it gets. I can't imagine how you could make it any better. It's so sharp, I just sat there mesmerized by it. The sound also is outstanding....another upgrade. I've seen this movie three times now and I swear I heard a lot of background talk and stuff I never heard before.

So....if you read that the audio and visuals are 5-star caliber believe it; it's true.

The Matrix is an excellent movie that combines science fiction, shoot-em-up action, and philosophical questions about the nature of Reality. If you are plugged in to a computer, and that computer presents you with a reality that is completely indistinguishable from your own, is it any less real?

This movie has exceptional special effects, beautiful cinematography, an excellent soundtrack, well-crafted dialogue, and respectable acting. Keanu Reeves may be a lousy actor, but I think that the Matrix is probably his best performance to date.

The Platinum Limited Edition isn't really worth the extra money unless you're an absolute, die-hard, take the red pill, freak. I wish I had known that before ordering this product. It comes in a box about as thick as an encyclopedia, and is fairly large, so it won't fit on the shelf with the rest of your DVDs. Opening it up, I was rather disappointed -most of the volume is filled with a cheap plastic tray that contains a celluloid clip of the film with a blown-up photo (decent, but nothing fantastic), a few postcard-sized stills from the movie, and a copy of the normal DVD in a normal case. Nothing fantastic. For this money, I was expecting a DVD with DTS sound, alternate angles, deleted scenes, etc., but just got the same old Matrix disc. A major drag.

Do yourself a favor. Buy the basic copy.

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(What is the Matrix). In 1977, George Lucas changed the landscape of cinematic Science Fiction forever with "Star Wars," taking the genre light years ahead of all that preceded it. Such a momentous advancement would not be seen again for over twenty years, when, in 1999, the Wachowski Brothers raised the bar again, taking the genre at warp speed to an unprecedented level with their astoundingly innovative film, "The Matrix." Co-directed, written and produced by Larry and Andy Wachowski, it is an allegory of salvation and redemption filled with symbolism and metaphor (the Biblical references alone should keep theology students debating this one for years to come); a thinking man's action film, accentuated with moments that are no less than profound. In a world of the future, things are literally not what they seem, where it's Man versus Machine, Reality versus Fantasy, and few who know the truth; among those who do, is Morpheus (Laurence Fishburne), who has long awaited the arrival of "The One," who it has been prophesied will be the salvation of the world. Enter Neo (Keanu Reeves), a computer programmer with an innate sense of discrepancy as to the state of things around him; he has questions, most of which are still in the process of being formulated in his own mind. (What is the Matrix). Morpheus has answers. And when they meet, it's Alice down the rabbit hole, and Neo's life is changed forever. Reeves is perfectly cast as Neo, the enigmatic young man who may or may not be "The One," and it's one of the best roles of his career. He conveys a sense of removed, distracted urgency that defines his character, infusing him with both a strength and vulnerability that coalesces as the story progresses into determination and confidence. The underplayed, subtle character development (largely unacknowledged and under appreciated) is a nice piece of work by Reeves. As Morpheus, Fishburne is dynamic; he endows him with a quiet intensity that fairly roils beneath the surface, effectively restrained while leaving no doubt as to the character's power and purpose. You understand his resolution completely by his countenance alone; by the way he speaks and carries himself. It's a memorable performance by one of the truly gifted actors of our times. (What is the Matrix). Other notable performances include those by Hugo Weaving (Agent Smith), who brings a formidable, white-collar sinisterness to his character that is chilling; Carrie-Anne Moss (Trinity), a strong, vital presence throughout the film; and Joe Pantoliano (Cypher), who is entirely convincing in his role of a Cyber-age Judas. Rounding out the terrific supporting cast are Gloria Foster (Oracle), Marcus Chong (Tank), Julian Arahanga (Apoc), Matt Doran (Mouse), Belinda McClory (Switch) and Ray Anthony Parker (Dozer). A visually stunning, thought provoking, captivating film, "The matrix" is a triumph of movie-making that assures the Wachowski's a permanent place in cinematic history. The special effects are cutting-edge, state-of-the-art; the choreography of the action sequences is top rate and delivered with a style and effectiveness worthy of comparison to John Woo's best; and, most importantly, the story itself is complex, intelligent, and deftly takes you into regions beyond the known. This is Science Fiction at it's best, but beyond that, it's a great movie that transcends genre or category; a landmark film that must be experienced more than once, for new meaning is gleaned with every viewing. Enhanced by a driving soundtrack that completes the package, highlighted by incredible action,outstanding performances and memorable scenes to numerous to mention, this is a movie that absolutely must not be missed. (What is the...).

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I bought Matrix a week age, but I have seen it 4 times already. Picture & sound quality are perfect ! If you have a good sound system, turn it up and you will feel yourself in the Matrix too ! The "Follow the White Rabbit" is excellent ! As well as the introduction to the Bullet-time technique. There is no multi-angle view on the DVD, but the movie itself is full of mult-angle views anyway. Unfortunately nobody can be told how good the Matrix DVD is, you have to see it for yourself !

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amongst my whole entire collection of dvd's from A-Z, "the matrix-limited editon collector's set" is by far one of my most prized possessions in my arsenal, just the movie alone speaks for itself! but when you've got the actual soundtrack, movie stills, lobby cards, posters and a limited edition 8mm movie filmstrip to add to it....you're literally left speechless, it took awhile for this to arrive to me, but considering the fact that it's virtually impossible to find this item anywhere else, it was all worth the wait, definitely an add-on to your collection....and u could say...(depending on your taste)u could consider this to be the ICING on your cake...and with the sequal soon to come out in theatres, this will be an even HARDER item to find in the future....so don't let "NEO" down, get this classic action/thriller NOW!......5 stars!

Men of Honor (2000)

Military training films are becoming so common that they are becoming a genre unto themselves. Among the more prominent we have, "Officer and a Gentleman", "Top Gun", "GI Jane", and now "Men of Honor". The fact that this one happened to be true doesn't change the fact that the formula is the same. This film is probably most like "GI Jane" since it focuses on the desegregation angle.

The story is actually quite inspirational and is probably the best human-interest story among those mentioned above. Carl Brashear (Cuba Gooding, Jr.) is unquestionably a man of great courage and principle, and his strength of character shines through brightly in this film. Unfortunately, director George Tillman, Jr. has tunnel vision in presenting the characters and eschews character development of various characters other than Brashear in favor of showing Brashear in a constant state of adversity. Billy Sunday (Robert De Niro) is a central figure, and except for the initial scene, the fistfight and a couple of scenes with his wife, we don't know much about him. For instance, Brashear sees the scars on Sunday's palms and we are to assume that he worked a plow, but there is no follow-up on that point. Mr. Pappy (Hal Holbrook) gets only one short scene by which we can judge him. The rest of his screen time shows him pacing around and ranting. If a director is going to make a human-interest story, he needs to humanize the characters.

Cuba Gooding Jr. gives an outstanding performance as Brashear. This is probably the best I've seen him. This is a role and a character that is far more complete than any part he has played before, and he rises to the occasion. In "Jerry Maguire", Rod Tidwell was a fascinating, but one-dimensional character with the depth of a rain puddle. Brashear is much more complex and grounded, and the issues he faces are life crises, making the part far more challenging. This is an excellent recovery from Gooding's last role in "Chill Factor", a film so dreadful that it was almost an act of professional suicide to take the part.

After a stint trying his hand as a comedian ("Analyze This", "The Adventures of Rocky & Bullwinkle", "Meet The Parents"), Robert DeNiro is back to his dramatic roots with an outstanding performance. DeNiro isn't a bad comedian, he is just such a great dramatic actor that it seems like he shouldn't waste his time doing comedy. DeNiro endows Billy Sunday with a rock hard personality belying a tortured soul. It is a pleasure watching him work.

It seems every film I watch lately has Charlize Theron in it. I saw "The Legend of Bagger Vance", "Men of Honor" and "The Yards" right in a row and I was beginning to wonder if she had a part in every film in 2000 (actually, she only did five). This was a minor role for Theron, but she carried it off well and managed to stay with DeNiro step for step. David Keith, who co-starred with Richard Gere in "Officer and a Gentleman", has a cameo here

The DVD has some interesting special features, including reflections by the real Carl Brashear and some deleted scenes.

I enjoyed this film despite the hackneyed plot and the one-dimensional presentation. I rated it a 7/10. I'm a sucker for underdog stories and I have a fondness for stories where strength of character is the central theme. This film is particularly strong in both areas and brings us two memorable acting performances that compensate for some of the director's shortcomings.

This is a wonderful, heartwarming film, as well as an indictment of the US Navy at a certain time in history. The story is a cinematic, biographical sketch of Carl Brashear, the first African-American to become a diver for the US Navy. Cuba Gooding, Jr. and Robert De Niro both give Oscar calibre performances in this gripping film.

The movie tells the story of Carl Brashear, whose parents instilled in him a determination that would cause him never to give up his dream of becoming a diver in the US Navy. He stuck to his guns, despite the overt racism that he encountered when he joined the Navy. The racism that he encountered would make it harder for him to achieve his life long dream.

Once he became a diver, Mr. Brashear upped the ante and strove to become a master diver. He struggled to do this against all odds, and just when he was on the cusp of achieving his goal, a tragic accident befell him, derailing him temporarily from the path to his ultimate goal. What he then does to fulfill his dream is radical, yet inpirational.

Cuba Gooding, Jr. gives a perfomance so moving and heroic, that the viewer feels like giving him a twenty one gun salute at the end of the film. Robert De Niro plays a racist master diver who is ultimately converted to the side of the angels, when he realizes that Carl Brashear is truly the best of the best. His performance is stellar.

The only problem with the movie is that most of the supporting roles pale in comparison to the two central ones played by Gooding and De Niro. Charlize Theron's role, that of De Niro's wife, is really superfluous to the story. Aunjanue Ellis, who affectingly plays Gooding's wife, has a more crucial, pivotal role than Ms. Theron, but remains a shadowy figure in the backround. Hal Holbrook's portrayal of a loony, racist Navy commander is rather one dimensional, more of a caricature than a character. Notwithstanding these small shortcomings, this is a riveting film that should not be missed.

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"Men of Honor" was another excellent film but it left me wanting to know more. It was the fact-based story of the Navy's Master Diver Carl Brashear. He was the first black man to attend and graduate from Diving School. Cuba Gooding Jr portrayed Brashear who at a young age decided he wanted to be a diver for the Navy. BUT when he entered the Navy blacks were only allowed in the kitchens.

After coming to the attention of his CO, Brashear was given an opportunity to attend the school he really wanted to. He came face to face with Billy Sunday played by Robert DeNiro. In many ways Sunday wanted to see Brashear complete the course but his commander portrayed by Hal Holbrook tied his hands. Eventually Brashear was successful.

As Brashear's career progressed, Sunday's fell apart. Then there was a terrible accident, which resulted in Brashear losing a leg. The Navy wanted to retire him but he fought to stay in. Sunday came to his aid and helped him recover from the amputation. He was by his side when Brashear had to go to court to fight for the right to stay in the Navy. The court scene was very moving.

Yes there was a little romance in the movie and yes there was vulgarity but this film was very good. However it left me wanting more so I will have to go find of copy of the book the movie was based on to learn more about this amazing man's life. I wanted to see more of his training, more of what he went through, and more of the treacherous dives he went on that made him what he became.

Read Best Reviews of Men of Honor (2000) Here

I have heard some bad things about this film..."overdramatized fluff", "typical cliched writing" and so forth...

This film is so much better than the sum of its reviews.

First, the story--face it, it deserves to be told. This is about a real man who goes through the tenth level of hell and back to achieve his dream of becoming a Master diver. He has to face bigotry from his classmates and his superiors--the latter of whom are determined to fail him based on his skin color alone--and push himself past his limits to succeed. Yes, the plot was hokey in some areas, but a few hokey spots does not a bad film make.

Second, the acting. Only Cuba Gooding, Jr. could have pulled off the role of Carl Brashear, the diver in question. His performance was very well executed and brought me to tears in spots. Robert De Niro was wonderful as always, and I really don't care that Billy Sunday was a composite of Brashear's superiors throughout his career instead of a real person, because he pulled it off without a hitch. At times he reminded me of R. Lee Ermey, but the role would not have had the same depth if the latter had been cast--it was written for De Niro. The supporting cast was excellent as well--especially Charlize Theron and Aunjanue Ellis, whose roles, although small, were nonetheless pivotal.

The DVD version, both wide and full screen, includes a feature about--and narrated by--Carl Brashear himself, who was the head military advisor to the film, and it is definitely worth watching. I myself was amazed at the accuracy of the movie and was deeply inspired by this man who had had so much to overcome. George Tillman, Jr. did a wonderful job with his story.

Overall, I give it five stars out of five. If you thought this film was complete crap, then maybe you should go rent "Gigli." Criticism aside, though, "Men of Honor" isn't so much a biographical feature as it is a testament to the strength of the human spirit, and Carl Brashear is living proof.

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A dramatization of the life of Carl Brashear, the first African-American diver in the history of the U.S. Navy, "Men Of Honor," directed by George Tillman, Jr., is an uncompromising examination of personal courage, integrity and honor. Cuba Gooding, Jr. portrays Brashear, a man of unabashed determination who simply would not be deterred from achieving his goal, even in the face of apparently insurmountable obstacles, the most prevalent of which was blatant racial discrimination. As brutal and incomprehensible as it seems, there were those, including at least one high-ranking officer, who would rather have seen him die than pass diving school. That he stayed with it, passed and went on, not only to an illustrious career with the Navy, but one in which his achievements were nothing less than remarkable, is a demonstration of heroics tantamount to those for which medals are awarded. It's men like Brashear that should make veterans everywhere proud of their heritage as members of the Armed Forces. Such a story is, of course, a natural for the movies; and, if done properly, has the makings of a great one. And this one is. Tillman tells the story of Brashear, the son of a Kentucky share cropper, in a decidedly straightforward manner, without pulling any punches as he illustrates the inane bigotry faced by the young seaman. The heroics of the man speak for themselves, and Tillman wisely avoids any attempts at superfluous dramatic embellishments, the siren's song to which a lesser director may have succumbed, and which could so quickly have derailed this project. Tillman's work more than passes muster, and his attention to detail, along with impeccable pace and timing, are a major factor in the success of this film. It should land him an Oscar nomination. Another factor is the incredible talent with which Tillman had to work. Gooding embodies the qualities that made Brashear a hero, and it is through his outstandingly credible performance that we get to know this man. There's a subtle pride in his demeanor, a personification of his determination, that brings him so vividly to life on the screen; it's an Oscar worthy piece of work that should be acknowledged by the Academy. And Gooding had, not only a terrific role, but the best co-star with which an actor could hope to work. Robert De Niro stars as Master Diver Billy Sunday, the adversary turned ally who ultimately helped Brashear realize his goals. On the surface, Sunday is tough and pridefully simplistic; but underneath lies a complex individual that De Niro mines to full advantage. Any time De Niro appears in a film, expectations are high, as well they should be; he is an actor of immeasurable talents. And here, with his portrayal of Sunday, he scores another triumph. It's a brilliant performance, for which he must be recognized with an Oscar nomination. The outstanding supporting cast includes Charlize Theron (Gwen), Aunjanue Ellis (Jo), Hal Holbrook (Mr. Pappy), Michael Rapaport (Snowhill), Powers Boothe (Capt. Pullman), David Keith (Capt. Hartigan), Holt McCallany (Rourke), Joshua Leonard (Isert), Carl Lumbly (Mac, Carl's Father) and Lonette McKee (Ella, Carl's Mother). "Men Of Honor" is a superb, memorable film that recognizes the kind of heroics that go largely unsung and too often unheralded. That Tillman and this fine assemblage of actors have been able to illuminate the life of a man like Carl Brashear so fervently is a tribute to them as well as the Motion Picture Industry. But more than that, it is a well deserved tribute to a true hero, Carl Brashear. This is a movie that must not be missed.

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Little Lord Fauntleroy: Kino Classics Remastered Edition (1936)

If you are like me, and really fond of this old gem, do yourself a favor and get this version. It is vast improvement on any other version I have seen, having been made from an original studio archival print, apparently. It is not perfect, but is close. There is some tiny sparkle in a few scenes, and one or two short damage places that should have been fixed. Far too many public domain versions have been released over the years that are pretty dismal in quality. Lots of talented performers in this film, and the camera work shows the care that was taken on many of the old black & white classics.

In the late 1800′s, there was one book that was so popular, it led to the popularity of velvet. The book was "Little Lord Fauntleroy", written by English playwright and author Frances Hodgson Burnett and was originally published in St. Nicholas Magazine between Nov. 1885 through Oct. 1886 and later followed as a book.

The book was quite elaborate when it came to the details of the young Fauntleroy's clothing that its impact on American fashion, primarily with children as parents would dress their kids in suits and away from skirted garments which were favored at the time.

Considered as the ultimate "rags to riches" story at the time, the book would receive several film adaptations from 1914-1995. The best known versions were the 1921 film starring Mary Pickford, a 1980 version starring Alec Guiness, Rick Schroder and Eric Porter but the best known adaptation is the 1936 film starring Freddie Bartholomew and Dolores Costello.

The film was directed by John Cromwell ("Of Human Bondage", "Since You Went Away", "Made For Each Other", "The Prisoner of Zenda") and a screenplay by Hugh Walpole ("David Copperfield", "Vanessa: Her Love Story", "Kind Lady") and the film would make Freddie Bartholomew as one of the most highly sought after child actors and also the second paid child actor after Shirley Temple. Which unfortunately, also became a double-edged sword for Bartholomew as the success of the film would lead to his long-estranged birth parents trying to gain custody and control of his fortune, a seven-year-battle which took a toll on Barthlomew and his career.

But despite the legal troubles and hardships that Bartholomew would experience after 1936, he will forever be remembered for his performance in the film "Lord Little Fauntleroy". And now, the film will be released on Blu-ray and DVD in 2012 courtesy of Kino Lorber.

VIDEO:

"Little Lord Fauntleroy" is presented in 1080p High Definition and was mastered in HD from an original nitrate 35 mm print, preserved by the George Eastman House Motion Picture Department. With that being said, first thing I need to remind those who are not familiar to Kino Blu-rays is that unlike other companies that spend a lot of money on restoration (which is very expensive), Kino does not do the restoration, they release the original transfer on Blu-ray in the best quality possible.

And when it comes to films that were originally on nitrate, I'm usually expecting worse for wear. Primarily because most films filmed on nitrate are now lost (because they were highly flammable and would spontaneously catch on fire) or was severely damaged. Fortunately there are films that were taken care of, transferred to a better medium but during that time, the priority was saving the film not removing defects, specks, etc. They were direct transfers that were not cleaned up.

With the release of "Little Lord Fauntleroy", one can expect to see scenes with white specks, scenes that have some aging. That is a given! But the positive news is that for a film that was derived from an original 35 mm nitrate print, despite the specks and aging, this film looks very good on Blu-ray. It looks like the original negative was not tampered as much, thus less damage. I didn't notice any acid or nitrate burns or excessive flickering or darkening. If anything, this film looks very good for its age and considering where it was taken from.

While the video quality may not be as good as some of Kino's Buster Keaton titles on Blu-ray, for those who have followed the David O. Selznick collection releases, should be happy with the overall release. Especially since this is the best version of the film out on video to date.

AUDIO & SUBTITLES:

While "Little Lord Fauntleroy" does look good for a film nearly 80-years-old, sound-wise, it's a different story. The film is presented in 2.0 monaural and while the dialogue can be heard quite well, there is also quite a few moments of pops and clicks and during the musical moments of the film, especially for the intro or ending of the film, the sound seems a bit too loud and loses its clarity. But those scenes are short and the good news is that the film does sound good and dialogue is clear for the majority of the film.

There are no subtitles.

SPECIAL FEATURES

"Little Lord Fauntleroy" comes with no special features.

JUDGMENT CALL:

"Little Lord Fauntleroy" is a heartwarming classic that showcases American pride but also love for family. In many ways, this is the kind of film that would be commonplace in America for the next two decades despite the focus on the middle-class family, we have a proper middleclass family with a boy with the heart of gold.

John Cromwell's 1936 version of "Little Lord Fauntleroy" is probably the best film adaptation for the mere fact that Freddie Bartholomew plays the character of Ceddie Errol with complete efficacy. He embodies the style and mannerisms of what one would think of Little Lord Fauntleroy that even Frances Hodgson Burnett would have been happy with his performance.

One has to bare in mind that 1930′s, many child stars depicted on the big screen were kids who managed to get in a bit of trouble but yet they were fun to watch and full of spunk. May it be Hal Roach's Little Rascals (Our Gang) to The East End Kids, even Little Rascals star Sid Kibrick makes an appearance in this film, as did a younger Mickey Rooney.

But one can see why the storyline was so popular when the novel was released in the late 1800′s. This was a rags-to-riches story but also an inspiring story of love between a young boy and his mother, but yet treated everyone with kindness and respect. Many parents can hope their kids could be as happy, kind like Ceddie and even in Cromwell's film, Ceddie is the boy that many parents would love to have (or hope their kids could as well-mannered).

And then you have the pro-American, not-yet apple pie mentality with Ceddie telling his English grandfather that he is American, because he was born in America, despite his grandfather insisting that he is English. And of course to show that even this little angel has his tough side as the local kids gang up on him and call him a "sissy" because of his clothes and he speaks proper English, and we see how this young boy is not afraid to defend himself and fight.

But as you have a film with so much humor, what literally wins you over is the film's heart. It's relationships from Ceddie and his mother, as any one can understand the pain it is for a young boy to be separated from his mother but yet, he is able to keep a brave face for his grandfather. And of course, to see his grandfather change with being around Ceddie and we see the transformation of this "grinch" who eventually becomes more and more compassionate.

With solid costume design and impressive performances by its cast, John Cromwell and Hugh Walpole were able to give incredible life to Frances Hodgson Burnett's beloved novel. But once again, it's Freddie Bartholomew who makes this film work. As Jackie Cooper was able to bring this heartwarming emotion to his character Dink in the 1931 film "The Champ", Freddie Bartholomew was able to knock the ball out of the ballpark with this performance that featured grace but fine attention to subtlety. He embodies the character of Little Lord Fauntleroy and once you see him perform, you can understand why he was one of Hollywood's most popular and famous child actors at that time.

And while Mickey Rooney was child actor who had appeared in many films by 1936 and was already well-known, for silent film fans, "Little Lord Fauntleroy" would also feature silent film actress Dolores Costello (who was married to silent actor John Barrymore) in one of her few talking films and the film would also star C. Aubrey Smith, who was an actor in Hollywood during the '30s and '40s, also best known for creating the Hollywood Cricket Club and also for his height at 6'4″.

As for the Blu-ray release, as mentioned earlier, you're not going to find anything pristine for this film and for how good it looks considering it was mastered in HD from an original nitrate 35 mm print and is nearly 80-years-old. While I wish there were special features such as audio commentary or even an interview with Mickey Rooney, then again, not many film from the 1930′s on Blu-ray or DVD come with any.

Overall, "Little Lord Fauntleroy" is a charming, heartwarming film that showcases an amazing performance from its cast, especially from the young Freddie Bartholomew. If you enjoy positive, upbeat, classic Hollywood films from the 1930′s, "Little Lord Fauntleroy" is recommended!

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This story has been filmed several times through the centuries. Each brings with it the strengths and weaknesses of the time period in which it was made. A few examples are:

1914 Gerald Royston Cedric Erroll

1921 Mary Pickford Little Lord Fauntleroy/Dearest

1936 Freddy Bartholomew Cedric `Ceddie' Erroll

1976 Glen Anderson Lord Fauntleroy

1980 Rick Schroder Lord Fauntleroy (Ceddie Errol)

1995 Michael Benz Cedric Errol

2003 Aleksei Vesyolkin Cedric

As with any story, everyone has their favorite interpretation. This is a review of the 1936 version.

Ceddie (Freddy Bartholomew) is a well meaning kid, which is wise beyond his years and very well mannered. He lives alone with his mother Dearest (Dolores Costello Barrymore.) He is the product of his environment (America depression era) where he is mentored by a wise grocer (Guy Kibbee,) and befriended by others such as the shoe shine boy (Mickey Rooney.)

Turns out that he is the long lost grandson of the Earl of DorinCourt (C. Aubrey Smith,) and heir to an estate in England. So he is "Little Lord Fauntleroy." He is removed from the only home he knows and whisked off to England. There he does not realize that his grandfather can not stand his mother (they never met) so she has to stay in another house.

All is going swimmingly until the "Real Little Lord Fauntleroy" the son of the other brother shows up. Now what will happen? Is `Ceddie' destined to be second fiddle? Will his mother go back to America? What do his old friends think when they find out? Looks like curtains for everyone.

Read Best Reviews of Little Lord Fauntleroy: Kino Classics Remastered Edition (1936) Here

This is an excellent film with a great cast. It's something you'll want to watch over and over. Very good print, but no cleanup work has been done.

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This is what media should be used for. Watched it with the wife and all 6 boys. Wonderful, uplifting story about change and how good can change. Just a simple, friendly boy who changes hearts and minds by being himself and brings joy to others. Just get it.

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Django Unchained (Two-Disc Combo Pack: Blu-ray + DVD + Digital Copy + UltraViolet) (2011)

I really liked Django Unchained, or as I like to call it: The Man Who Shot Liberty Valence right through the eyeball and then the bullet continued through about 7 other torsos, shot out from a guy's belly button bringing a plume of intestines with it, ricocheted off someone's jugular vein, then snapped the cord holding up a chandelier causing said chandelier to plummet like a lead balloon, crushing the skulls of various evil varmints and polecats and then plunging into an occupied outhouse where the dynamite was also stored, causing the outhouse to explode in a crimson rain of blood, guts and offal.

But I guess all that wouldn't fit on the poster.

Django has everything you'd want in a movie, action, humor, suspense, drama, and even some romance, all washed down with gallons of blood. Did I mention some beautiful western vistas? it's got those too. And there are plenty of refernces to some of the geat westerns of the past, some of them only visual so pay attention. There is the trade mark Tarantino dialogue as well.

I'm sure other reviewers will talk about racial-political implications and social commentary and such. I'm not that smart. I just thought this was a fast paced and satisfying film for movie fans from beginning to end. Leonardo Di Caprio makes for a great villain, keeping himself just this side of over-the-top. Jamie Fox played Django as quiet waters that ran deep but Christopher Walz steals the show, although Samuel L. Jackson almost beat him to it.

Yes it's violent and bloody, and yes, the "n" word is used liberally throughout the movie, but it's a Tarantino film taking place in pre-Civil War South for pete's sake. What would you expect?

All three leading actors were amazing. Fox & Waltz were insanely good. Beautifly shot and a compelling story that I was never quite sure how all would be resolved (other than knowing a bunch a folks were gonna die).

In honor of Roger Ebert, I give it two thumbs up. R.I.P. Mr. Ebert.

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As an avid fan of Quentin Tarantino, there's a level of quality that I expect from each film that he makes. I expect to connect with his characters, but not necessarily like any of them. I expect to see a film that satisfies the film geek in me. More than anything, I expect to see a film that entertains throughout the prerequisite bloated running time.

"Django Unchained" is nearly three hours long. But it never feels that long, it entertains and surprises every step along the way. When I first checked my watch, we were already two hours into the film. All of Tarantino's films are usually about this long. Tarantino has been having fun with fictionalizing historical periods lately. This started with 2009's "Inglourious Basterds", which was easily one of the best films of that year. My eighty-something year old grandmother, who lived through the time that the film depicted World War II said that if events actually happened as they did in that film, that we would be living in a better world today. I think that's a pretty high compliment, especially since my grandmother is not Tarantino's target audience. He was able to design a great story not an idealistic view of that time period, but still a pretty fascinating one.

"Django" is about slavery...a taboo subject in any film, a strangely popular one, recently, as the same time period is explored in "Lincoln". It's about Django (Jamie Foxx), a slave who is bought and then freed by Dr. King Schultz (Christoph Waltz, one-upping himself from the fantastic performance he gave in "Basterds"), a dentist turned bounty hunter. White supremacist slave owner Calvin Candie (Leonardo DiCaprio) bought and enslaved his wife Broomhilda (Kerry Washington), and Django and Schultz are out to correct the grave injustice done to both of them, and this doesn't mean just capturing and killing Candie, but many others who are responsible for the trauma experienced by Broomhilda.

Christoph Waltz has got to be one of the finest living actors in Hollywood. He's incredibly charismatic, but he cares about his character, first and foremost. As the prime antagonist in "Basterds", he was positively horrifying. In this film, he's the hero, but at the same time, he's anything but that. He brings humor and depth to a character that wouldn't have worked this well otherwise. Jamie Foxx does a good job as well, but I don't necessarily see him winning anything this Oscar season.

I'm half-tempted to call "Django" Quentin Tarantino's superhero movie. Django is by no means that, he's an oppressed figure with no real "super powers", however he's a kick-ass guy who the audience roots for from the very beginning. He even has his own theme song! We don't know how he appears to be more literate than other slaves, and he is somehow always able to outsmart those around him.

"Django" shows Tarantino having slightly more respect for genre than he ever has. It's a western revenge epic, first and foremost. It's also kind of a comedy, with some of the most clever dialogue I've heard in a film in 2012. It's also a romance, displaying the forbidden love between Django and his wife. But it's first and foremost a western, and Tarantino sticks to that.

This film isn't perfect, however. One thing I expect from Tarantino is well-developed strong female characters. We don't have that in "Django". I was hoping that Kerry Washington, who is also badass protagonist Olivia Pope in ABC's "Scandal", would be smart and strong-willed enough to get herself out of the problems which are out of her hands. I was hoping for Tarantino to give her some snappy dialogue, to show that her character is, like Django, superior to all of the other slaves around her. She isn't. She just kind of stands there and whimpers. She's helpless, and I wasn't expecting that from Tarantino, who has written some of the best female protagonists in film.

Other than this, "Django Unchained" is a masterful film. It takes alot for a nearly three hour long film to be engaging the entire way through, and it is. It's wickedly funny, and at the same time, extremely dramatic. With its graphic violence and filthy mouth, it isn't for the faint of heart. All of the actors here, especially DiCaprio, seem to be having tons of fun here, and it shows. Tarantino loves to fictionalize history, and if such films are as good as "Django Unchained", I think he should keep doing it. It's a vision of history that only Tarantino can bring us.

Grade: A-

Read Best Reviews of Django Unchained (Two-Disc Combo Pack: Blu-ray + DVD + Digital Copy + UltraViolet) (2011) Here

I went into this movie with no expectations. I love a good western style film and Django delivered. There was cheesy 60s/70s music, and violence galore, gun slinging, trash talking, crooked sheriffs, nasty slavers, the works. The overuse of the "N" word was shocking to some, but in that time period it was common, so the usage is historically correct. Tarantino didn't skimp on the violence from the original. In fact, in true 'Kill Bill' style, the blood bath flows like wine at a dinner party. The characters and actors are superb. Sam Jackson is amazing, and Leonardo is a convincing slaver. If you are squeamish and don't want to see a glimpse of how life really was for slaves back then, then don't watch. Though I suggest that anyone who still thinks there are still slave like conditions this day in America should suffer through it.

It is refreshing to see that part of history depicted raw and realistic, untainted with political correctness.

This is how we learn.

While still in theaters, it is available in DVD and Blue Ray at Amazon. Django Unchained [Blu-ray] The minute it is available for download to my Kindle Fire I will add it to my collection.

This remake from the 60s is gritty and violent. 4 stars and recommended. MR

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Django Unchained started out great and ended up okay, but somewhere in the middle, it fell a little too in love with itself and the pacing slowed to a crawl. Django is freed and then starts to work with a German bounty hunter, who is a wonderful character. When they go to Candie Land, a plantation where Django's wife is being kept, that's where the movie just fell apart for me. Leo DiCaprio is Candie, and he turns in a good performance, but there's a lot of repetitive dialogue and plodding revelations. Django allows a slave to be torn apart by dogs, which made him an unsympathetic character, whereas before that moment, he was pretty cool. Yes, there's a lot of blood lots of juicy gun fights. Some of it is way over the top, but that's what you expect out of a Tarantino film, so I have no objection to that. The movie is very long and would have been much better about half an hour shorter, but if felt as if Tarantino lost his way and was trying hard to insert tension in the middle, and for me, it just didn't work.

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