Hidalgo (2004)

Based on the life story of Frank T. Hopkins and his horse Hidalgo, "Hidalgo", from director Joe Johnston, is a compelling, beautiful, and exciting film (even though it stretches its running time to 130 minutes) that interests every moviegoer with suspense, romance, and tales of comraderie.

The year is 1890, and half-American, half-Souix Indian Frank T. Hopkins (Viggo Mortensen), is invited by an Arabic sheik to compete in "The Ocean of Fire", the most prestigious and dangerous long-distance race ever known to man. Usually reserved for the purest bred stallions and the wealthiest and best riders in the world, the 3,000 mile race across the Arabian Desert leaves half of its competetors dead from natural disaster, insanity, or the treachery of fellow riders. After witnessing a tragedy at Wounded Knee Creek, and falling out of his once-claimed title of the best rider in the West, Frank and Hidalgo jump at the opportunity, where they encounter danger in all forms, and must rely on their friendship and strength to pull off the impossible.

Seeing as "Hidalgo" is Viggo Mortensen's first film in which he has been the only-billed star, he handles the pressure well as the quiet and conflicted Frank T. Hopkins. He plays the character with a brilliant subtlely, and gives him an air of understated intelligence and courage. With the right amount of emotion, Mortensen is the modern day Indiana Jones-like action hero; with sex appeal and gripping stunts. Although he lacks charisma in some instances, he is overall perfect and enjoyable in his role. The supporting cast is strong, with the highlights being Louise Lombard as Lady Anne Davenport and a small but memorable performance by Victor Talmadge as Rau Rasmussen. However strange this may sound, the horse Hidalgo gave one of, if not the best, performance in the movie. He made the relationship between himself and Frank heartbreaking and fufilling, and expressed emotions and conveyed certain thoughts across to the audience in simply a look. If there was ever an award for the best animal actor, I would personally award it to Hidalgo.

One of the main highlights of Hidalgo is the beautiful sets and surrounding scenery. Rich in color, there are stunning shots of the Arabian desert, the plains of old America, and snowy forests and rivers, and just the people of each new environment, which make the story overall more enjoyable. The cinematography is jaw-dropping, as the perspectives, running shots of the races, and choice in angles and film speeds are spot on in nearly every scene. The music is also incorporated well, jerking emotions and suspense from the audience.

Although I have heard the contrary, I was thoroughly satisfied with "Hidalgo" as a whole. I loved the way the relationship between Frank and Hidalgo was portrayed, the story was new and exciting, and I was moved, gripped by the suspense, and engrossed in the film from start to finish. Although it runs a little long, ends one too many times, and has some bad dialogue, it will ultimately satisfy moviegoers of most ages due to the content, draw, and overall look of the film.

Unless the Academy opens a new category for "best performance by an animal actor", you won't be hearing of this movie next Oscar season, but that's no reason to miss this movie now. Hidalgo, the horse, and Viggo Mortensen, as Frank T. Hopkins, completely won my heart as well as a place in "Great Couples of the Silver Screen", or at least as great partners in a buddy movie. This wonderful painted mustang plays the serious buddy, making his human tend to business in spite of other inclinations. It is a charming footnote to the movie that Mortensen was so taken with the horse that he bought it after the movie was completed.

Frank T. Hopkins may or may not have lived all the adventures he was famous for recounting, but it is verifiably true that he was instrumental in saving the wild mustang from extermination in North America. For that he is a hero.

This movie version of the 3000 mile race Hidalgo and Hopkins were said to have run across the Arabian desert to keep their title as "greatest long distance race runner" is an old-fashioned popcorn-movie-as-entertainment movie. It should also help the theaters sell quite a bit of bottled water and soda. The film's weaknesses are mostly attributable to the script. The writing (credit is to John Fusco, not-quite-known for writing the screenplay for SPIRIT: STALLION OF THE CIMARRON--an AHA!! moment here) could have been tighter, and left needless plot holes. Also annoying is a slight laxity in editing. However, the story itself is a dramatic one, and the movie is fun to watch. The cinematography does well by the story and the locale.

Omar Sharif, once again as a sheik, comfortable to the core in his role, is a delight. Viggo Mortensen is good to look at, obviously, but made me realize how difficult "laconic" is to play. He manages. Just. Louise Lombard, playing the English seductress Lady Anne, who continually raises her stakes in the race, has the most compelling eyes of any actress I can recall. The original music by James Newton Howard is also well done.

"The Last Samurai" opened on a similar note: Army orders cause a murderous slaughter of Native Americans for which the protagonist feels responsible, explaining his taking refuge in alcohol. Both protagonists have cynical reasons for leaving America, but some prospect of finding their souls again in a very foreign land, a completely unfamiliar culture. "The Last Samurai" has what this film lacks: a psychological examination of the hero's journey. Both films' protagonists and heroines form a prohibited bond, Samurai's developing naturally, this one seemingly more contrived and less deep. But whereas "The Last Samurai" is a war movie, this film ends as "Seabiscuit": a very exciting horse race.

Our audience was completely involved, groaning, cheering, sweating it out for the heroes, the heroine, and even, occasionally, for the also-rans. It is a satisfying ride. B-

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Hidalgo is based upon a true story, so it's no wonder it's thrilling, truth being stranger than fiction and all. Although it's highly doubtful that everything in the movie actually happened, Frank Hopkins was indeed a real life cowboy, master horseman and rider and he did participate in the great Bedouin horse race of the Middle East known as the "Ocean of Fire" in the 1890's.

This wonderfully stylized and lovingly crafted film clocks in at over two hours, yet never bores and your interest should never waver. The international cast is terrific, led by Viggo Mortensen in a low-key, subtle performance which brings depth and a real sense of nobility to the notion of a "cowboy'. We've seen loads of silver screen gun slingers, bandits and marshals from icons like the swaggering John Wayne to the laconic Clint Eastwood, but with Viggo's Frank Hopkins, we may now be witness to one of the most balanced and interesting portrayals of an authentic cowpoke. And it's all the more interesting because Frank Hopkins isn't all cowboy half of him is Native American. This internal duality and cultural division brings character shadings and a unique sense of perspective to Hopkins.

Balancing the tensions of Native Americans with the US Government of the time, the film explores Frank Hopkin's journey between two worlds that of a half Native American with loyal ties to his tribe and his jobs as a pony express rider and performer in Wild Bill Hickcock's show, all while having to live in the White Man's world. When he's invited to participate in the Bedouin Race, Frank soon discovers there's a whole other world out there bound by similar dogmatic traditions, where women must hide their faces behind veils, much like he's chosen to hide his native ancestry to enable him to live an easier life.

Sweeping cinematography beautifully composes authentic locations and the stunt choreography infuses the race and the action set-ups with fun and authenticity. Viggo must have definitely "lived" horses for the film, irregardless of his prior expertise with them. He clearly is at the reigns of the horse most of the time and he's totally capable and always convincing. Hidalgo the horse may qualify for his own sequel or a TV series. This beautiful animal is more expressive than many human actors and it's just one of the many joys and reasons to give this film a chance. Apparently lost by audiences in it's initial theatrical release, Hidalgo should be discovered by every movie lover.

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It is a shame that many people have not read or heard what a terrific big screen adventure film "Hidalgo" is. Hopefully, now that it is out in DVD it will gain a wider audience. Anyway, a friend told me not to miss this flick, directed by Joe Johnston and starring Viggo Mortensen, and I am glad I followed his advice. Yes, the movie is flawed, but overall, if you like horses and cowboys, "Hidalgo" has a certain grace to it that makes it a treat to watch.

"Hidalgo" is the name of a legendary racehorse not a purebred Arabian, Thoroughbred, or Andalusian, but a mixed breed of Arabian, Barb and Andalusian horses called Mustang. The Mustangs, or Paints, ran wild across the North American deserts and plains. Native Americans caught and tamed many of them and they proved to be much better, stronger and faster, than Calvary horses. "Hidalgo," a beautiful paint stallion, was owned by real life long-distance horse racer, and Pony Express courier, Frank T. Hopkins. Half Plains Indian and half Caucasian, Hopkins was a breed like his horse, and they had run and won many races together. He was a noble man, just and kind, who lived during a sad period he witnessed the slaughter of his mother's people at Wounded Knee in 1890. Filled with grief and bitterness at the brutal murder of his family, Hopkins became a drunken drifter, hooking up with Buffalo Bill Cody's Wild West Show. Also featured in the traveling show was Hidalgo, who Hopkins claimed was the "world's greatest/fastest endurance race horse." One evening, after a performance, he was approached by the representative of very wealthy Saudi Sheikh Riyadh (Omar Sharif). Hopkins and Hidalgo were challenged to compete in the world's most grueling long distance horse race, against the Sheikh's prize Arabian stallion and many other superb animals and experienced riders. "The Ocean of Fire" was a 3,000 mile long endurance race under the burning desert sun, across the brutal Arabian sands.

Hopkins accepted the challenge and took Hidalgo to the Middle East. He was the first infidel to be invited to participate in this race. The Arabs thought the presumption was ridiculous that a small, hybrid mustang could compete against their pure animals, with long and famous bloodlines. They wager that Hopkins and Hidalgo won't last 24 hours. The movie is about this race. And the rest is history.

There are some interesting minor characters like Sharif, the desert prince, his beautiful daughter, Zuleikha Robinson, (there's gotta be a girl, even in a horse film, right?), the competitors with their rivalries and friendships. But the real star is Hidalgo, (a gorgeous animal), with a good performance by Mortensen. And the desert scenery is beautifully filmed. Certainly worth the rental price.

JANA

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What ever happened to just going to the movie TO WATCH THE MOVIE? Not sit there and pick apart everything thats wrong with it. Just watch it and enjoy it make it worth your money and not so that you regret ever going to see it because it was too "fake", it's supposed to be, its hollywood. And yes this movie i thought was a great movie and i'm buying the DVD.

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King Of New York (1990)

KING OF NEW YORK is, for my money, the most valuable (and the most underrated) film of the last 20 years. It is a homage to the classic American genre the gangster fable with the depth and subtext of a European art-movie. It's a precursor to urban crime thrillers like New Jack City and Menace II Society (Ferrara points out they first used a rap-score in 1982). An ode to drug-culture. A pitchblack satire of capitalism and its grotesque fallout. It's got a cast to die for, and a close-knit crew at the height of their powers.

It's shot across an array of locations including Sing-Sing, Donald Trump's Plaza Hotel, and various crack-lanes; it weaves seamlessly between an original score, and the music of Vivaldi and Schooly D; the film is meticulously colour-coded (as pointed out by Nick Johnstone in his book) to add up to a cold critique of the red WHITE and blue, the all-American war-on-drugs; the tempo is expertly-managed, the movie simmers for a while then explodes into heavy-metal carnage, and then it dies with a sad whimper. The film is spectacularly violent, but think about the handling of the violence. There's a big Peckinpah slo-mo shootout, then the audacious shootout in Chinatown. But in the 2nd half of the movie the deaths are direct, painful to watch, and pitiful in their execution.

And then there's the cast: Walken was never better. He mesmirises you, brilliantly charismatic. And he looks so otherworldy, what with the hair and the deathly complexion, he's like the man who fell to Earth, the oddest looking `hero' you've ever seen. Fishburne reinvented a character imagined for James Russo and the whole movie turns on that transition. Its simply impossible to imagine how it could have worked ½ as well with Russo, or any1 else for that matter. Caruso is a fire-engine red ball of rage. The scene when he rushes from his colleagues funeral is one of the most beautifully played-out expressions of vigilantism ever put on film. Argo as a weary, deflated, pill-poppin' `old man' who has been there and knows the war is unwise and un-win-able.

As far as Im concerned, every sequence, every line of dialogue ("I'm not the problem, I'm just a businessman") is pure gold. Ferrara's is the cult-of-cults, his movies usually too far-out or nihilistic to get much of a following. But this one I bet Tarantino wishes he'd made.

And the DVD package...The documentary is not comprehensive, but it re-enforces what sets Ferrara's films above those of most of his contemporaries, the sheer degree of collaboration involved. Abe's anarchist mentality has freed up guys like Joe Delia (music), Anthony Redman (editor), Charles Lagola (production design) and Ken Kelsch to make exactly the sort of films they want. Kelsch makes the most telling statement towards the end, which might explain why Ferrara hasn't made a film for about five years (after a Woody Allen-esque burst of creativity in the 90s). In fact, as basic as it is, the doco is startlingly honest and revealing about its subject.

Ferrara previously contributed a delirious commentary to The Driller Killer, but this time round you kinda feel sad listening to his hazy lack of insight, having the suspicion that his personal curse has robbed him of both his allies and his inspiration at the moment when he's finally getting his dues. But the commentary track is actually a blast! Abel and his best-mate Frankie crack open a few brews, he makes some funny asides about Walken's hair and the reaction to the film on release. And if you get to the credits, you get to listen to Abel bang out Schooly's title-track on an acoustic guitar with a Dylan drawl.

Check out the title card on the trailer. Under the title it reads (a Ferrara / St. John original), like the credits on the label of a 45" record. Like Mick and Keef, or Scorsese and Schrader, these guys made dynamite 2gether. KONY is their towering achievement, it's one of the great films ever made.

Some way into Abel Ferrara's 'King Of New York', two gangsters conspire in a small cinema showing F.W. Murnau's 1922 horror classic 'Nosferatu'. Playing the scene where the vampire disembarks his corpseand rat-ridden ship docked in England, it has clear reference to Ferrara's protagonist, Frank White (Christopher Walken in one of cinema's great, mercurial performances), a drug-smuggler recently released from a long period in prison, hoping to reassert his local criminal power. White refers to his return as 'coming back from the dead', and Walken's long, haunted figure and dancer's movements have some of the aristocratic grace of a famous screen Dracula, Christopher Lee. Mostly seen at night, he gathers new recruits (fresh blood) around him to 'feed' on. One remarkable shot, after a prolonged sequence of speedy violence, has him lit so his eyes shine like some haunted undead; another has the camera following him through a railway station until it is stopped by bars it can only impotently watch as White glides up the stairs to be swallowed by the night. The film even has as one of his opponents a cop played by future vampire-slayer Wesley Snipes.

But the 'Nosferatu' allusion points to something else Ferrara's strange absorption of silent cinema. In terms of content, 'King' is a gangster film like any other: loud, ugly, violent, brutal, lurid, hysterical. But it has a purity and beauty very different from the stylised melodramas of Martin Scorcese, whose equally bloodthirsty 'Goodfellas' came out in the same year. The first ten minutes is an astonishing, virtually wordless, visual tour-de-force, not simply presenting the main character, his situation and environment, but introducing symbolic motifs that are all the more powerful for being real, a part of Frank's world, and not simply imposed. Bars and grids (in prison, gates, bridges etc.) are the most prominent, signifying initially Frank's literal imprisonment, then his difficulties with the law and fellow criminals, and his frustrated ambitions (including a Guiliani-like zero-tolerance programme to clean up the streets), but eventually, as we might expect from a Ferrara littering his film with religious iconography, something much more metaphysical, outside the confines of genre (hence the references to Melville).

After this, there is a lot of talk noisy, profane, funny, aggressive, threatening but the best sequences retain this silent aesthetic: the night-club double cross leading to a car chase and man-hunt under a bridge; a police funeral in which a limousine hit provokes the scattering of black-clad, bankside mourners; the 'Le Samourai'-like subway confrontation between gangster and cop [although the film's very greatest scene, Larry Fishburne's Jimmy Jump ordering fast food just before being busted for murder, depends for its effect on the conflict between talk and silence, his bluster oblivious to the soundless arrests playing out behind him]. The use of huge, intense close-ups recall the emotional silent era, as does Ferrara's camerawork, more deliberate and heavy than Scorcese's flash pyrotechnics. The staging of set-pieces is as artifical as Murnau's setscapes in 'Sunrise'; the underworld carnival is more Celine than Scorcese. Even the use of blue filter in key scenes is less a signifier of atmosphere or artifice than a nod to the practise of 'colorising' monochrome silents.

By employing this style from a period he clearly loves, Ferrara is able to inject a spirituality and ceremonial gravitas not immediately apparent in the crudity of the genre subject.

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Frank White (Christopher Walken) is a crime boss just released from prison. He rejoins his henchmen, headed up by Jimmy Jump (Laurence Fishburne). No sooner does White step out of prison, that the killing games begin. White is out to finance a local inner city hospital that is on the verge of being closed for lack of funding. He is determined to do this by using the ill gotten gains of drug trafficking, his and that of other drug lords. Since the others apparently will not relinguish the money voluntarily, force is used, quite a bit of it as a matter of fact, to get their money and/or drugs.

Officers Dennis Gilley (David Caruso) and Thomas Flanigan (Wesley Snipes) are part of a team of cops that are looking to stop White. They are outraged that he is on the street and that they are seemingly unable to stop him by fair means. They decide to resort to foul means and end up all the worse for their efforts. Throughout the film, the line is sometimes blurred between the good guys and the bad guys. There is no happy ending here, and justice may or may not be deemed to have been served, depending upon the viewer's own subjective viewpoint.

The performances are good overall, and in particular, Fishburne's manic character, Jimmy Jump, is a good foil for Walker's coolly detached character, Frank White. This is not really a character driven movie, however, but rather a plot driven one. There is a lot of action, a lot of shootings and carnage, and some car chase scenes that will keep the viewer on edge. The violence, when it occurs, is bloody and protracted. Moreover, in addition to being bimbos and sex toys, the women also pack high powered heat and shoot with the best of them. Despite some plot holes, the film entertains, though just how entertaining the viewer will find this film will depend on the viewer's tolerance for violence.

The DVD itself is pretty much no frills, offering pretty standard features, such as widescreen, a theatrical trailer, scene access, and a music video. There is no commentary. The picture, though dark, is clear, as is the sound.

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Scarface is the greatest gangster movie ever made. This one is second. King of New York is one of the most underrated movies of all time. To begin with, if you really sit back and look at all of the actors in this movie, there is no way in this day and age you could assemble a greater cast. King of New York features Christopher Walken, Laurence Fishburne, David Caruso, and Wesley Snipes before most of them were truly famous.

This is one of those movies that I found myself watching over and over again, in fact when I was a teenager I watched this film once a day. I now have to limit my viewing to once a year so I do not ruin it and it still remains fresh, although I'm not sure how fresh a movie can be when you have the full dialog memorized.

The story is about a New York drug lord named Frank White (yes, this is the same Frank White that the Notorious BIG and other rappers refer to in their rhymes.) played by Christopher Walken who is let out of prison after serving 5 years. Once out of prison White is determined to make up for lost time and to continue to build his cartel and ultimately use money to fund hospitals and make the city of New York better. He teams up with his former workers led by high strung and insane Jimmy Jump and unforgettable character played by Laurence Fishburne (Larry at the time) who wields to 9 mili's and a sinister laugh when the stuff hits the fan.

David Caruso, Wesley Snipes and highly underrated Victor Argo play cops who are outraged by Whites release from prison and are so determined to get him back in that they will do anything to make sure White and his crew are off the street one way or the other.

This is a highly dramatic, riveting, and action packed film that will blow even the most jaded movie watchers away. I cannot say enough about this film, it is a must own and an all time classic. In its truest form it is a B movie, however it ranks up there with Scarface, the God Father and Goodfellas. Imagine what could have happened if this movie had a true Holly Wood budget! It might just have been the greatest film ever made and it is my all time #1 favorite film. A true masterpiece.

"I'm not your problem, I'm just a business man."

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Christopher Walken plays Frank White, a druglord, murderer, and thief who has just been released from prison. He seems to be a powerful man who is also very well off. He is also on the radar of a gang of close freinds who happen to be police officers. Frank seems to be more at home in the ghetto than he does in his high-rise apartment. That much is clear. What is also clear is that his primary motivation for doing the things he does is to keep dishonest criminals at bay and to make enough money to fund a hospital in an underpriviledged part of town to keep it from closing.

The motivation of the police officers, however, seems to only involve doing their job.

Why I love movies like this is that we've all seen the cops and robbers story a million times. What we don't usually see in movies is that sometimes the line between cop and robber is very thin. In this movie, both groups are portrayed as almost the same type of character. They're all drunk on the power that their lifestyles afford them, and they all use bullets to get their way.

There really isn't much to say about this movie except that it's very realistic to my way of thinking, and it doesn't insult the viewer by portraying a black and white view of the world by favoring one way over the other. Everyone is selfish, and everyone is out to get their way. If anything, I found myself siding with Frank for most of the film.

I like that.

I like that I can watch a character on the screen that I have no realistic attachment to and feel for them. I like that I can look at the "bad guy" and know, if not completely identify with, why he does what he does.

This is not a movie for those of you who get uncomfortable hearing points of view you're not used to.

This is for open-minded viewers only.

Forget about good vs. bad. This is every man for himself, and it's one of my favorite movies of the genre.

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Fighter, The (2013)

"The Fighter" is easily director David O. Russell's most conventional film to date. Russell has been out of the film world for a few years after the mixed reception he received with the release of 2004's "I Heart Huckabees," an underrated film that may have tried a bit too hard. But when Russell burst onto the scene with the subversive "Spanking the Monkey," the exquisitely madcap "Flirting with Disaster," and the audacious "Three Kings"--I knew that I would follow this guy wherever he led! Well, he's back. "The Fighter" comes straight from the underdog sports genre of filmmaking, and in its plotting stays true to the course you would expect. But thankfully, there's a bit more to this appealing tale that's as much about brotherhood as it is about prizefighting. Sold by an A-list cast (the acting awards and nominations have already started rolling in), "The Fighter" manages, for the most part, to transcend the usual cliches with its focus on family.

Telling the true life tale of Micky Ward's unorthodox, and extremely bumpy, road to capturing the world light welterweight title--"The Fighter" appeals to the same everyman underdog sensibilities that countless films have already tapped. Mark Wahlberg, in a refreshingly understated way, lends a calmness to the center of the picture. The rest of the cast, for good and bad, go for broke in large showy performances. Christian Bale, gaunt and tweaking, plays Ward's brother. A former boxer and Micky's trainer, Bale is hapless and helpless as a habitual crack addict and a lowlife criminal. The drama between Bale and Wahlberg is easily the strongest element in "The Fighter" with Bale being both invaluable AND utterly destructive to Wahlberg's career prospects. Wahlberg is continually overshadowed within the family by his needier brother who tasted greatness before completely falling apart.

Make no mistake, in my opinion, "The Fighter" belongs to Christian Bale in perhaps the finest performance of his career and of the year. Stripped to skeletal proportions, Bale inhabits every moment with a desperate intensity. But despite everything, you understand why Wahlberg can't turn his back on his brother. Amy Adams displays a pleasing toughness in a change of pace role as Wahlberg's girlfriend. And Melissa Leo has been garnering a lot of attention as the brothers' mother. Unfortunately, the film is not without its shortcomings. For my taste, Leo is a bit over-the-top as is much of the other family dynamic. There are many sisters on hand, none of whom are developed, and so when the whole clan gets together--those scenes tend to veer over the line of believability.

I can easily overlook these false (and noisy) moments, however, to admire the interplay between the brothers. Every quiet moment is worth it. It's easy to lose Walhberg in all the larger than life shenanigans, but were it not for his simplicity--""The Fighter" might have pushed into overwrought melodrama. As is, he perfectly balances with Bale's manic energy. And I have to say it again--Bale is stunning! For this alone, "The Fighter" stands apart from every other film selling a similar story. Bale, Bale, Bale!!!!! KGHarris, 12/10.

The Fighter has been a must-see film of mine ever since at least the end of October. Not only did the cast look to function as one strong, cohesive unit, Christian Bale looked to transform himself yet again and had gotten completely absorbed in his role as Dicky Eklund. From just viewing the trailer, Bale seemed to give a performance that reminded his fans just how talented he can actually be. The Fighter also seemed to have a lot of emotion and heart; two key ingredients that go on to making movies like this legendary. The real test would be if The Fighter could hold up to other great boxing films like Rocky or Raging Bull and in this critic's humble opinion, it does just that.

Mickey Ward (Wahlberg) is following in his brother Dicky's (Bale) footsteps and is trying to make a name for himself as a boxer. Dicky has been giving Mickey advice and helping Mickey train for as long as they can both remember while their mother Alice (Leo) has been acting as his manager the entire time. Mickey knows it's time for a change if he expects to make a serious impact in the boxing world, but a crack addicted brother and a mom who thinks she's helping his career when she's really hurting it have both been holding him back for far too long. So when Charlene (Adams) and Mickey become an item and Dicky winds up in prison, Mickey makes the hardest decision of his life and keeps fighting with new management in tow and seemingly pushes his family out. As Mickey's mother tries to wrap her head around her son replacing her as manager, all hell breaks loose once Dicky gets out of prison. As the date for the most important fight in Mickey's career fast approaches, will he have the support of his family or has everything already fallen apart past the point of being repaired?

The cast is the driving force behind this film. The relationships and arguments that take place between Mickey, Dicky, their mother, her seven daughters, George Ward (Jack McGee), Charlene, and Mickey O'Keefe (as himself) are really the heart behind all the boxing that takes place. Melissa Leo turns in an emotionally powerful performance as you can tell she only wants the best for her family, does everything within her power to do just that, and still seems to wind up hurting them in the long run. Amy Adams character, Charlene, seems to want nothing more than to be with Mickey but is also relying on his success to be the ticket to her bettering her life. Then there's Mark Wahlberg who always seems to play the same role with the same thick Boston accent. The thing about Mickey though is that Wahlberg fits the part very well. The extensive training Wahlberg went through and his experience made him a shoe-in for this role. The real gem of the film is Christian Bale though. Bale has been rather disappointing performance-wise since The Dark Knight and it's nice to see him back in top form here. He surely looks the part as his awkward body language, sick, clammy skin tone, and the way he seems to be chewing on something when he's not eating anything really makes him come off as a genuine crack addict. I was beginning to think that success had gotten to his head, but even if it has it's great to know that he can still turn in engaging performances like this when he feels like it.

What's interesting is the song, "How You Like Me Now?" by The Heavy that was also used in the trailers for Faster is used several times in The Fighter. It seems to be utilized more efficiently in The Fighter though. It felt like the song was used in Faster just because it sounded cool, but the song seems to have a stronger impact in a film about a boxer trying to turn his life around better than a film about a guy trying to gain revenge for his brother's death. It was a very welcome addition to the soundtrack and makes the opening segment to The Fighter even more memorable than it already was.

The film also wastes little time taking full control of your attention. You don't lose interest until that screen turns black. With the little bits of humor thrown in for good measure amongst all of the family brawling and knockout punches being thrown around, it was just really easy to get lost in the film. It was almost as if you were part of the documentary crew filming Dicky watching this all take place in person. The one complaint I have is that it all seems to end rather prematurely. While everything does come together nicely, the ending just doesn't feel fully gratifying. It felt like the film ended right in the middle of the climax, but consider it a nitpick. It's still an excellent film.

The Fighter is an engrossing and emotionally powerful drama that features an incredibly strong cast and the best performance from Christian Bale in a long, long time. I honestly haven't liked a boxing film this much since Raging Bull. With all of the end of the year awards talk and so many movies being released recently and in the coming weeks that'll be potential award winners, it is well worth every effort to see The Fighter in theaters. It has one of the most well-rounded and well put-together casts of any film to be released in theaters this year and deserves to be seen on the big screen.

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The Fighter tells the real-life story of junior welterweight boxer Micky Ward, of Lowell, Massachusetts. In 1995 HBO produced a documentary, High on Crack Street: Lost Lives in Lowell, that chronicled the plights of three crack addicts. One of its subjects was Micky's older half-brother, Dicky Eklund (played by Christian Bale, who won an Oscar for this performance). Dicky was also a boxer. He had "gone the distance" with Sugar Ray Leonard in 1978 but has turned into a self-destructing wreck. The wonder of the film is Micky's relationship with his family: his brother, who is his trainer; his dominating mother (Melissa Leo won an Academy Award for this role), who is his manager; her second husband; and Micky's six sisters (who still live at home and behave like a Greek chorus backing up whatever Mom says). Then there is Charlene, his new love, who is as tough as his mother and trying to get Micky away from this crazy bunch. This film deserved its acclaim.

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I loved this movie it offered both a compelling story and great sports scenes. I also thought the acting was wonderful melissa leo, amy adams, christian bale, and mark wahlberg were ALL excellent. You are drawn in my each and everyone of these characters.

I love how there were multiple interesting and engaging stories the fighter, the brother, the family, the girlfriend...

This movie is definitely more than a typical "sports" movie there is a lot of depth here, made all the more powerful since this is based on true events.

I love sports dramas and this was one of my favorites.

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"The Fighter" is very much in the mode of American sports movies, where the hero must overcome a tragic character flaw in order to achieve fame, glory, and victory. In this case, the tragic character flaw is also the best part of the movie: Christian Bale delivers an Oscar-winning performance as a crack cocaine addict who is pulling down his younger brother from boxing glory.

Christian Bale is one of the best actors, if not the best actor of his generation. He was mesmerizing in "American Psycho," and in "The Machinist" he demonstrates his devotion to his craft by losing enough weight to become skeletal. But "The Fighter" is definitely Bale's best performance to date, and it's his performance which sustains and ultimately propels the movie.

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Revelation Road (2012)

Revelation Road: The Beginning of the End is just that, a beginning of at the very least a two-part movie series from Pure Flix Entertainment. The viewer gets the opportunity to meet Josh, a traveling salesman with a secret but obviously destructive past. You can see early on that Josh has the capability to go a little unhinged when necessary but you can also see that this is not a side of himself that he entertains. We also meet a pretty rough biker gang who have a charismatic leader named Hawg. The gang has no problem with messing with people, stealing and eliminating witnesses, but they do have a problem with Joshua when he gets in their way.

You can tell Joshua has a past, but it changed dramatically when he met his wife. Or at least that is what Josh thought until he sees how easy it really is to slip back into his old skill set. Can a person really change? If tackling that question isn't enough for Josh, it seems there are a lot of energy spikes, thunder storms and other natural phenomenon taking place to keep him on his toes and at the very least distracted. As the description implies, there is an end coming.

Revelation Road: The Beginning of the End is a great start. I found myself wishing for more which is a good thing since there is a sequel on the way (yay!). I have found myself enjoying most of the films that Pure Flix Entertainment has put out, and look forward to seeing where this will go. I hope I don't have to wait too long.

For the most part the film was well acted and I felt a connection with several of the characters. I even got emotional at some points too. I love when a film can accomplish that.

This video is of an excellent quality and it was such an inspiration to me and my family. I highly recommend this video to everyone and the seller.

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This is a great movie and will keep you entertained as well as speak some spiritual truth. I liked it and can't wait for part 2 to come out.

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Cant Wait For Revelation Road 2: The Beginning of the End Love it !!!!!!!! Love it !!!!!!!! Love it !!!!!!!!

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This feature opens with a fire, hell, and damnation type of interpretation of Revelation and then drops the ball as the rest of the film has absolutely nothing to do with the Book of Revelation. This is rather a pop Christian version designed to sell a film to those who never read and studied the book.

Josh (=Jesus) sells vests (=armor of God). He saves a family from a group of evil bikers known as either Outlaws or Barbarians. They have their own heavy metal swagger music, kill people, but never swear. Oh yes, they have something that looks like Thor's hammer. Eric Roberts has a small role in this film. Bruce Marchiano who always plays Jesus in these productions plays a stranger who saves a girl from said bikers. Please Scooby-Doo, tell me who this guy is?

This is just the first part of what will surely be a butchered series designed to soak churches for the rights to showing this film. PLOT SPOILER...if there is such a thing...the rapture happens at the end of the film. While the rapture has statements to support it in the Bible, it really isn't part of Revelation. Technically this is a movie about the end times that doesn't follow Revelation in any shape or form, but simply uses it in the title to sell the feature. Dishonest if you ask me.

Outside of that, the movie was poorly acted and the dialouge was jerky, like the sign reads, "Guns, Jerky, and More."

Parental Guide: No F-bombs, sex, or nudity. Fighting and some killing.

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Rio Lobo (1970)

Rio Lobo is a good John Wayne western that borrows from several of his previous movies. The story is about a Union colonel trying to find out who the traitor was in his unit that sold information about gold shipments to Confederate guerillas. Along the way he helps a town escape the wrath of a rich landowner and a corrupt sheriff. The story may seem similar, but this still is a very entertaining movie. What John Wayne movie isn't? The story blends action and story together in this exciting western.

The Duke is great once again as Cord McNally, the Union colonel in pursuit of traitors. Jorge Rivero is awkward as Pierre "Frenchy" Cordona, the Confederate guerilla who helps Wayne. I don't know whether it is actually Rivero talking or someone dubbing his lines in, but it just sounds funny. Joining them are Jennifer O'Neill, Christopher Mitchum, Jack Elam, and Victor French. Elam is great as usual in his role as the eccentric old man in the town. The DVD has a good widescreen presentation that looks cleaned up compared to the one shown on TBS. Otherwise, there isn't any extras added on. This was Howard Hawks last western, and he made a good one. Good story and exciting action. Deserves a watch if nothing else for those who haven't seen this late Duke western!

This movie is hardcore John Wayne at his finest, and terribly authentic. The movie begins with Union Colonel Wayne nervous (with good reason) about a gold shipment during the latter stages of the civil war. He is only nervous about sending it through territory where he knows the famous 1st Louisiana Cavalry is lurking. What follows is absolutely the greatest train robbery in movie history in my opinion. You are left breathless when the hornet nest is sent flying into the boxcar holding the gold. Then John Wayne picks up the chase. Great photography, and it posesses all the ear marks of a Wayne-Hawks western. The plot later in the movie follows along the same lines as previous Wayne-Hawks classics "Rio Bravo" and "Eldorado". Do yourself a favor and add this one to your western collection.

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By 1970, John Wayne had his Oscar in his pocket and Rio Lobo on some inspection looks like just a lot of good, clean fun he and the cast decided to have, with no particular regard for making cinematic history. The plot rambles and has some implausabilities-like why does the Duke, who plays a Yankee, go home to Blackthorne, Texas? And Jorge Rivero as a Confederate officer takes some getting used to. Same thing, different reason, with Jennifer O'Neill. She seems too contemporary for a historic setting and her acting is questionable. However, by dogies, she is just so beautiful (and one of the hottest actresses in demand in the early 70's) that she can be forgiven for any dramatic failings.

One of the strengths of the film is the Duke's self-deprecating humor is in fine display, and so is John Wayne himself. Chisum, which was made about this time, is a better film in my estimation, but Mr. Wayne is practically relegated to a supporting player in it. In Rio Lobo he is in almost every scene and that alone makes it a pleasure to watch. Jack Elam hams it up and David Huddleston adds a nice touch of comedy. Trivia buffs will enjoy Sherri Lansing (future studio head) in the near buff and George Plimpton, fresh off his Paper Tiger days, getting a bit role as a short-lived bad guy.

As for improving the movie, it suffers because the death of the lieutenant, which is the main motivating force for Wayne's character to go after the bad guys, is little seen by the audience. We need to connect with this guy so we feel strongly that justice must be done. This character should have been played by a well-known actor in a cameo role. An obvious choice would have been Patrick Wayne. Then the audience would know the character even though their presence onscreen is brief and make a stronger emotional connection with them. Another thing is the sheriff of Rio Lobo is supposed to be a really mean hombre, but we don't have enough scenes with him to establish this. At the very least, a scene should be added where he brutally questions the Sherri Lansing character and scars her. It wouldn't have to be graphic-just enough to once again emotionally connect with the audience.

Mr. Wayne's DVDs are not getting the attention that his fans deserve! George Plimpton had a television special on making Rio Lobo-this should be an extra included. And, my gosh, The Alamo had 500,000 feet of film shot-some by John Ford. What do we get in bonus material? ZIP! NADA! JACKSQUAT! C'mon Hollywood, this is THE most important film actor of the 20th Century! Get off yer duffs and find this stuff. This is HISTORY!

Read Best Reviews of Rio Lobo (1970) Here

Not that it's bad, of course. Fans of the Duke will want to add "Rio Lobo" to their collection because it's classic John Wayne stuff. This time, the Duke is a Yankee Colonel who attempts to track down a pair of Union traitors responsible for the theft of Union gold shipments during the Civil Was and ultimately, the death of a Yankee Lieutenant who was like a son to Wayne's character in the movie. Along the way, he is aided by a pair of Rebs (Jorge Rivero and Chris Mitchum) and beautiful Jennifer O'Neill. The quartet find themselves facing overwhelming odds (don't they always?) as they attempt to get the bad guy, while at the same time helping the oppressed citizens of Rio Lobo.

Director Howard Hawks sticks to his tried-and-true (and successful) formula and puts together a fast-moving, action-filled film. OK, so the acting (especially poor Jennifer O'Neill) is stilted, but viewers of this film didn't go to it (or get the DVD) because they were looking for Oscar calibre' performances.

It's pure Duke with copious amounts of gunfire, self-depreciating humor and great Western scenery. The film score ranks with some of the best work done by Jerry Goldsmith. Hawks uses his patented clipped dialogue to keep the plot moving. The supporting cast, including Victor French, Mike Henry, David Huddleston and Western veterans Jim Davis and Jack Elam, are great components to the film.

If you enjoyed any of the aforementioned Duke classics, then you'll enjoy "Rio Lobo"

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The first part of this western is relatively unique; the second part is commonplace in John Wayne movies. The latter contains such themes as shootouts between posses of good and bad guys, a trade of kidnapped men (the bad guys' boss for Frenchie), and heavy drinking. In fact, McNally (Wayne) has this comment about a drink: "Boy, this stuff ain't for the young!"

The train robbery is creatively portrayed. A group of Confederate guerillas, evidently tipped off about a transport of gold, tap-in into a telegraph wire, and thereby correctly infer which train is going to carry the gold. Then they set up a trap: They grease a section of railway so that the targeted train will stall for lack of traction. Once this happens, they come out of hiding and ambush the train. They throw a bag of bees into a train compartment in order to put the men inside out of action and to force them to jump out of the train. Finally, they detach the gold-bearing wagon from the rest of the train, and steer it to a prearranged place where it can be ground to a halt and stripped of its gold-bearing chest.

Those who feel that westerns ignore women or always place them in passive roles will like this film. There are two women who are good with guns, and who put them to use when the men won't do their jobs to secure justice for them. One of the men gives a form of respect to one of these women: "She's got legs and she can shoot!"

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Shergar (1999)

Recently I picked up a DVD of the 1999 movie SHERGAR because it starred Ian Holm and David Warner, two of my favorites, and because as a life-long horse owner, breeder and trainer, I am a sucker for horseflicks. Holm and Warner both had plenty of scenery to chew on, so they did not disappoint, and neither did the movie. I cried buckets at the end. All in all, I think the filmmakers did a good job. There were some painfully Disney-esque moments, but for the most part, the filmmakers practiced reasonable restraint and avoided the gagging-smarm-factor. The location shooting (Isle of Mann) was spectacular.

The ad copy said "Based on a True Story" and I suppose technically that is true. There was a great Irish racehorse named Shergar, and he was kidnapped by the IRA in 1983. What happened after that was completely unknown, until fairly recent (2003) new evidense. Since the kidnapping takes maybe the first 2-3 minutes of the movie, the rest of the movie is completely fictional conjecture. Nonetheless, the filmmakers did an admirable job of creating a compelling (albeit totally fictional) story, with elements of Greek tragedy and bringing to mind Joseph Campbell's Hero with a Thousand Faces.

I was inspired by the movie to visit the internet to learn more. A number of news articles from 2003 filled in a wee bit more actual history. What struck me is the repeated reference to the fact that the kidnappers were not "horse people," and consequently they were not prepared to know how to handle any horse, let alone a high-strung breeding stallion. According to recently uncovered evidense, it appears that the £20 million stallion was probably killed within hours of the kidnapping, simply because his abductors were terrified of him. How interesting.

In some ways, the filmmakers were as ignorant of horses as the original kidnappers, and that is where some of the "painfully Disney-esque" moments came in. However, I've seen far worse sins committed by horse-ignorant filmmakers. All in all, SHERGAR is a good movie.

As a devoted movie-lover and horse-owner, I must say I regret watching this movie. The only good that came from watching it is at least now I know who Shergar was.

The failure of this film rests entirely in its plot, which is pure fantasy (or nightmare) and utterly unrealistic. The ending is so atrocious it destroyed the little bit of pleasure that I experienced watching beautiful horses and scenery.

Before I purchased the movie (on sale), I read the description of the plot thinking it might be similar to "Flash." "Flash" is a very well made fictional Disney movie about a boy who steals back his horse from an abusive owner and rides it from Georgia to New Jersey to save its life and be reunited with his merchant-marine father.

Instead, the movie "Shergar" should come with a warning. It is far more similar to "Phar Lap," a well-produced drama which condenses the life of Australia's most famous flat-track Thoroughbred and ends with Phar Lap's sudden and mysterious death.

Like many pleasure-horse owners, I'm not an expert on the history--even the recent history--of international equine celebrities. But even if I had known that Shergar was most likely killed by his abductors, the horribly patched-up ending of the movie made me nearly physically ill with grief and shock.

I will probably keep the movie just as a part of my horse film collection, but I will never watch it again. Sometimes truth is stranger than fiction, but in this case the truth (still a mystery) is MUCH preferred to this piece of fiction, "based on a true story."

If you love horse movies, purchase a nice new DVD of Coppola's Classic, "The Black Stallion," or Disney's "Flash." You'll get all the beauty, suspense, and thrills without a sickening ending.

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Based upon actual events, this is a speculation upon the fate of Shergar, the five-year-old racing stallion who was stolen from an Irish stud farm in 1983 and never seen again. A well-drilled IRA contingent led by Gavin O'Rourke (Mickey Rourke) makes off with the horse and hides him on the farm of the reluctant Garrity (David Warner), trading upon his family's connections to the provisionals. What they don't know is that Garrity has a stableboy sleeping in his loft. Kevin (Tom Walsh) is a fugitive from a juvenile detention facility who never met his father but knows the man was a jockey and dreams of being one himself. He quickly bonds with the concealed stallion, and when O'Rourke's attempts to extort a ransom from the animal's owners are rebuffed and the horse is threatened with death, Kevin knows he can't allow it. He takes off across the Irish countryside in a wild race for sanctuary, unable to surrender to the authorities for fear he'll be returned to prison, knowing only that he must save Shergar. On the way he falls in with a tinker named Joseph Maguire (Ian Holm) and his granddaughter Kate (Laura Murphy) and has his chance to ride Shergar in a country race before tragedy strikes.

Beautiful scenery and a fine score SHERGAR (CD) John Scott add to the appeal of this movie, and while Shergar's supposed fate is expectedly sad (Ireland's an island, after all--what chance does Kevin have of eluding the IRA forever?), the tag scene offers a ray of happiness for both Kevin and the bloodline. Not for the most sensitive viewers, but enjoyable just the same.

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The movie poster/cover is misleading, in that the movie star names at the top do not correspond with the faces under the names. The names on the cover are purely for recognition (sales), but all are in supporting roles. This would make a difference in Ireland, but I doubt that the names are as recognizable here in the U.S. The credits are in alphabetical order which, although fair, give no clue as to top billing. I suggest that the stars are as pictured, not as captioned or credited, i.e., Tom Walsh (foreground) as Kevin Doherty, Laura Murphy (middle) as Kate and Ian Holm (background, from Chariots of Fire) as Joseph Maguire, Kate's grandfather. I'm glad I did not read the back cover or reviews before viewing, as the container reveals the plot, as do some reviews, and it was more of a mystery as to what happens, who gets killed or whether the horse is killed in the dramatization of the true story. I felt unsatisfied with the ending, but what can be expected because Shergar's fate is still unknown after all these years. The movie/story is an example of how kidnapping can be just as senseless as terrorism and it happens that terrorists utilize kidnapping here in a convergance stranger than fiction, thus, a good story. Odd to have a story so much about a racehorse, but so little about horse racing. I would have liked to have seen more of the horse and less of the actors whose Irish brogues were heavy enough to cause me to turn the volume up to understand; I played it back in a few spots to catch what was said, but some phrases I could not decipher. The landscape is beautiful on the Isle of Man location and I appreciated the glimpse into Irish life. Not rated here for a theatrical release, the movie is a TV-14 on U.S. cable, probably for violence, as the language seems suitable for all ages. Sectarian-violence terrorism has ruined Ireland, in my opinion, and this adds a horse to the long list of victims.

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This is one of my favorite horse movies it has romance, horses, and mystery. Good choice for your family members of all ages

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Memento (2001)

--Quick plot synopsis: A psychological thriller about a man with short-term memory loss trying to track down his wife's killer. It does an excellent view of putting the viewer on the same level as the main character by showing the movie in reverse. ie. The first scene you see is the last one in the story.

--The folks at Columbia/Tristar really went all-out to bring the viewer into this movie. The menus alone give you a perspective on the story and main character not possible in the theater. This two-disc set gives you everything you'd expect from a special edition: director's commentary; trailers; production photos; mini documentary; 5.1 surround sound, etc. But wait, there's more... It's just hidden within the maze of questions in the psychological exam that makes up the menus on both discs. If you keep searching on disc two, you'll be able to watch the movie in chronological order, which is my reason for buying this special edition. (If they don't edit this out as a spoiler, just select the Clock form the main menu, choose answer "c" five times on the questions, then put the pictures of the woman fixing the flat tire in the order of 3,4,1,2.)

Brilliantly directed by Christopher Nolan, who also wrote the screenplay based on a short story by his brother, Jonathan Nolan, this film had to be a huge challenge for all. The word "memento" means "remember" in Latin, and the story is about Leonard, so traumatized by a blow to the head after his wife's rape and murder, that he has lost his short-term memory. He's out for revenge and is looking for the killer, but, although he remembers his life with his wife and who he is, he cannot remember anything that has happened since. He therefore takes Polaroid shots of everyone he meets and writes notes on them. And he also tattoos things he wants to remember all over his body. The role calls out for an exceptional actor and Guy Pearce certainly does rise to the occasion. I found myself drawn to him, identifying with his condition, and joining him in his struggle to relate to the world.

The story unfolds backwards, an unusual narrative technique that is tricky to use. We see a scene and think we understand. And then there is another scene that has happened prior to it, and it totally changes our perception of what is going on. Purposely, it is confusing. And purposely, there are moments of clarity where it all fits together only to become even more confusing in the next scene. Carrie Ann Moss plays a femme fatal and, as we get to know her, we are not quite sure what her motives are. Joe Pantolino is cast as in the role of Leonard's buddy, and we are constantly confused as to whether he is friend or foe.

I sat there fascinated as this complicated plot unfolded, enjoying the mastery in which the director led me down different avenues of thought and also introduced questions about the moral issues involved. By the end, I was absolutely sure of nothing at all, except that I had been traveling on a roller coaster of an experience that didn't have any easy answers. While I tend to want films to have a beginning, middle and end, and a story line that is easy to follow, this an exception to the rule. I definitely recommend to those who are willing to explore this unique film, which is certainly one of a kind.

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The only film that I can think of that comes even close to the ingenuity of Memento is The Usual Suspects. Like that way underappreciated classic, Memento gives you the ending immediately, and then spends the rest of its time showing you how it got there. Each scene offers clues and various revelations--Leonard's tattoos, why he writes what he does on Natalie's and Teddy's pictures, what happened to his wife, Leonard's job before "the incident"--each of which are thrilling mini-narratives in themselves.

The acting is first rate. Guy Pearce, best known as "the one who wasn't Russell Crowe in L.A. Confidential", is Leonard, a character who will intrigue you, engage your sympathy, and might even scare you by the end. Joe Pantoliano's Teddy will have you debating his intentions towards Leonard for days afterwards. The real acting coup, however, is fellow Matrix alum Carrie Anne Moss--her performace as Natalie will make you love her, hate her, and make you fiercely protective of her.

The movie can only be watched on DVD. Keep the remote handy as you'll want to pause every now and then, if only to read Leonard's tattoos for various clues. After watching the movie, be sure to check out Otnemem in the Special Features section for newspaper articles, pictures, journal entries, and psychiatric reports on Mementos intriguing characters. They will help confirm what you think happened in the movie. DVD also offers the playful option of choosing to watch the movie backwards (or would it be watching the movie forward?). You will definitely consider the option after watching the movie. I haven't done it yet, but I can't wait to see the effect that it has on the movie.

This movie is worth the critical hype. If you enjoyed movies like The Sixth Sense, The Matrix, The Usual Suspects, Seven, Fight Club, and Dark City (some of my personal faves), then Memento will be the crown of your DVD collection!

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This review will only deal with the features found on the "Memento Limited Edition 2 Disc Set", and not the merits of the movie proper.

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My only qualm with this DVD edition is the packaging. Wrapped in a tight-fitting but flimsy cardboard box, designed to look like Leonard Shelby's case file, it's almost impossible to get the discs out on first try. I find that I have to open the back to push out the innards, which tends to warp the shape of the box. Found inside are several loose sheets of paper, which look like psychological tests, notes from the case history, and, as you will soon see, the DVD's on-screen menus. The whole thing is ostensibly held together by a little plastic paper clip, whose only real purpose, I've deduced, is to get lost behind my TV set.

The first thing one notices once Disc 1 of the DVD loads is a psychological test, asking the viewer to commit to memory a list of words that will go flashing by on the screen. Don't be alarmed. Although Chris Nolan and Co. have set up the DVD to look like a series of tests, you really don't have to read through or pay much attention to everything on the screen. However, because sometimes they can be quite entertaining, I suggest you do. "Why are these people laughing at you?" asks one question. "We know you did it," ominously states another. This edition can get trippy if you let it.

After the memory flash, you are then asked to select from a list of words the ones you didn't see. Like I said, this isn't really a test, but an ingenious way to present the disc's main menu.

Selecting WATCH plays the movie. Selecting READ allows you to choose between English or Spanish subtitles, while LISTEN allows you to hear the movie in either English or French, 5.1 Dolby Digital or DTS 5.1 Surround Sound. CHAPTER sends you right to the scene selection option. And COMMENTS turns on Christopher Nolan's Director's Commentary track.

In my review of the commentary track for "Following", Nolan's first movie, I called his delivery "monotone... somnolent at times" but that he's "so smart and precise about what he's saying you can easily overlook that and become engrossed in the content." I can say pretty much the same thing here. Except that, in some ways, it's a less effective track. Nolan spends a lot of time analyzing the story, deconstructing the main character, his motivations, the structure, etc. They are the kind of out-loud thoughts a screenwriter might use when figuring out his screenplay, but serve little purpose for a viewer watching the film (okay, I suppose prospective screenwriters will get some value out of it). It is thrilling to see how Nolan's big brain works, how he's thought through every situation, and has a reason for including everything in the movie. But it's just one note played over and over for an hour and a half. If Nolan had mixed things up a bit, included more anecdotal information, or behind the scenes goodies, it would have been a stellar track. As it is, it's got a very narrow appeal.

Disc 2 begins much the same way that Disc 1 did, except this time you are asked to view a series of pictures, and then are asked to select which picture from a list wasn't shown. This is, as I'm sure you have guessed, the menu for the additional material features.

Selecting the COMPASS shows you a behind-the-scenes photo gallery, as well as pages from Leonard's Journal. The BOOK allows you to read Nolan's script while listening to the audio track of the movie. You are even privy to the notes he made in the margins of the script, offering further thoughts on how scenes might be filmed. The GLOBE brings forth a whole mess of international promotional material, while the BINOCULARS give the option of viewing the international and North American theatrical trailers.

Selecting the SKULL starts a featurette, produced by the Sundance Channel, called "Anatomy of a Scene". Nolan, his editor, composer, producer, cinematographer, and one actor (Joey Pantoliano) discuss the whys and hows of the production. Particular emphasis is given to the opening few scenes, detailing how they were set up to gently bring the audience into the aesthetic of the film. Overall, the 25-minute segment further cements the notion that Nolan is an intelligent filmmaker, in full control of his cinematic palette.

Although not listed in the features on the DVD box, the much-ballyhooed 'Chronological Version' -playing the scenes in the order in which they happen rather than back to front -is here. Trust me. I just watched it. I'm not going to tell you how to find this version, for I think that would be a spoiler on par with giving away the end (beginning?) of the movie. But I will say that this information is available in several places online, so those of you who get frustrated with the puzzle should easily be able to obtain the answers (if not, drop me an e-mail). And I must say, "Memento" is still quite a gripping tale when told this way. But it does make Nolan's reason for telling the story his "gimmicky" way quite clear. The problem with this feature, however, is that it doesn't offer you the option of fast forwarding or jumping from scene to scene. So unless you can watch the whole movie in one sitting, you better not press 'stop'.

If you enjoyed "Memento" because it was a complex puzzle of a film, than I suspect you will enjoy this equally complex and even more puzzling DVD version. I'm almost positive that there is more to this edition than the features I've listed above. And I look forward to hunting for them in the future... or is that the past?

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Alfred Hitchcock was the master of Cinema's Rule One: 'Do not tell. SHOW.' Director/screenwriter Christopher Nolan takes that philosophy a step further in this film noir masterpiece by controlling not only the viewer's visual sense but their perception of time as well, reconstructing the protagonist's attempts to make sense of his world by reading the clues he leaves for himself (and us) and deciding who to trust in order to understand not only what occurs, but why. In effect, Nolan has rewritten the rule: 'Do not show. EXPERIENCE.'

The cast is exceptional, Guy Pearce in particular, and traditional film noir elements are executed very well, with haunting music, taut cinematography, smart dialogue, effective voiceover, and a constant search for motive. Humor is used sparingly and effectively. This is really an editor's film, and Dody Dorn deserves an Oscar nomination for editing this gem.

As for the DVD edition, it is a mixed bag. Though operationally a bit buggy, cinematically and artistically the special features are creative and fun. For instance, interesting scenes run behind the menus, and many film clips appear framed as Polaroid camera shots, both fun to watch and relevant to the film's concept. The original idea for the film was supplied by the director's brother Jonathan, who wrote a short story based on the same idea and designed the film's web site; information rendered from outside the time frame of the film, viewable on the DVD as newspaper clippings and notes by Guy Pearce's Leonard, are adapted from that web site. Also included are Jonathan Nolan's short story, an Independent Film Channel interview with Christopher Nolan, trailers from Memento and an earlier Nolan film, cast and director biographies, subtitles in English or Spanish, and a tattoo gallery (which looked interesting, but I couldn't get it to work on my Power Mac G4). I wish more DVDs would incorporate this kind of material.

I was disappointed because I'd heard that on the DVD you could watch the film as if it was shot running forward but that is not here, unless you count running the chapters in reverse from the Chapter Selection feature. I would also have liked to have seen behind-the-scenes footage, especially storyboards.

This is a great film to watch with a group (as long as they don't talk during the film) so you can talk about it afterward. Nolan and crew can be proud of this fine film. The DVD extras could have been better, but they are still fun to play with.

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Agneepath (Bollywood Blu Ray With English Subtitles) (2012)

A fascinating tale of moral redemption.

Images so powerful they linger in the mind hours after they've left the screen.

And the eyes, always the eyes ... the eyes of Evil, the eyes of Truth.

A young man (Hrithik Roshan) must tread the dark and difficult 'path through fire' -lit., 'agneepath' -of challenge and personal sacrifice to avenge his family against the crimelord (Sanjay Dutt) who brutally murdered his father, dishonoured his family, and corrupted their whole community.

If the classic 1990 "Agneepath" pioneered one of the strongest stories ever in film (and was way ahead of its time, for Hindi cinema), this 2012 "Agneepath" preserves the most effective elements of that brilliant original story and revamps what needed help. Our villain is even more evil, and the road of challenges our hero must overcome to defeat him is correspondingly an even darker, more treacherous journey.

Raw. Powerful. Primeval.

Sanjay Dutt's Kancha is a villain for the ages. Visually, he scared me just on the poster! A big, bad, very bad man. The bald head, the tattoos, the smile, the laugh, the spreading shapeless pale blobbiness of his huge bulk, and above all those hauntingly sick eyes, combine to render Mr Dutt's Kancha one of the most naturally frightening villains ever conceived. Where the original 1990 Kancha Cheena played by Danny Denzongpa was sleek and smooth and sophisticated, his evil was very modern and straightforward in open pursuit of power and wealth and thus more familiar. Mr Dutt's Kancha, however, is pure psychopath: he destroys and kills because he LIKES it. And even though the audience understand how he became so twisted, that sickness makes him very scary indeed ... the visual embodiment of human evil.

What I could *not* anticipate from the trailers, though, is how Hrithik Roshan's Vijay Dinanath Chauhan would prove equally intimidating and visually frightening as Mr Dutt's Kancha: with those keen clear eyes knifing through his face awash in blood, Mr Roshan's Vijay looks purely the Avenger-from-Hell. Director Karan Malhotra effectively channels Mr Roshan's natural intensity into a human sword of vengeance a quiet character who 'says' a lot from the shadows, projects mountains of lurking threat and menace, even where he has no dialogue. Again the eyes, always the eyes in this film! Never before had any director so effectively used the sheer glow-in-the-dark luminosity of Mr Roshan's eyes. The iconic 1990 Vijay created by the great Amitabh Bachchan (one of his most memorable roles) was significantly older and more verbally aggressive, the character more seduced by the trappings of power and wealth, only refocussing on his essential task toward the very end. By contrast, Mr Roshan's Vijay leads a haunted, almost monk-like existence, never losing focus down the years toward destroying his enemy. Obsessed, relentless, deadly and a perfect showcase for Mr Roshan to demonstrate, yet again, his great dramatic range as an actor.

Mr Roshan and Mr Dutt are so riveting in this film that any scenes they are not in, separately or together, honestly feel like a distraction.

Despite 12 intervening years these two great actors have lost none of the chemistry that powered 2000's excellent "Mission Kashmir". Mr Roshan is slightly the taller actor, Mr Dutt significantly the heavier, but the two are so perfectly matched and the build-up so well laid that by the climax of this "Agneepath" audience anticipation could not be higher ... or more well-rewarded.

An unforgettable, 'must-see' film!

Special credit is due the highest standards of craft professionalism that distinguish this 2012 "Agneepath", notably these departments: Cinematography (exceptional lighting and shot selection, especially with the principal actors); Sound and Sound Editing (variety and scope, silent private moments to mass public festivals, all perfectly managed); and Stunts/Fight Choreography (so many action scenes, but each distinct and cumulatively building to the truly epic climax).

Disfunctionality never looked so stupendously beautiful. I loved this movie. The juxtaposition of Hritik Roshan as an actor

in JOdha Akbar and now in Agneepath is so fascinating. So glad to see him take Bollywood acting to another level. Cannot waite to see him in future projects. Congratulation to Karan Malhotra as a new director. You must possess an incredible inner life. Looking forward to more great movies from you.

Buy Agneepath (Bollywood Blu Ray With English Subtitles) (2012) Now

This movie was released in January 2012 and I am glad a I had the chance to witness another masterpiece of Indian cinematography. Hrithik Roshan proves again what a excellent actor he is! A movie worth seeing!

Read Best Reviews of Agneepath (Bollywood Blu Ray With English Subtitles) (2012) Here

There is no other way to describe this new version of the classic Agneepath. I'm a HUGE Hrithik Roshan fan and he does not disappoint in this role. Mr. Roshan has the amazing ability to show all his emotions thru his eyes, he can make you cry or cringe just by looking into the camera; that is true talent. Hrithik Roshan's Vijay is both brutal and beautiful; his pain is bone deep and at no time does the character let you forget his suffering. By contrast, Priyanka Chopra's Kaali brings lightness and joy to the movie that adds another layer that is missing in the original. Her beauty both inside and out and her deep love for Vijay are both a breath a fresh air in the film and a reminder that Vijay is more than the vengeance driven man he has become.

The drive of this movie rests on the broad shoulders of Sanjay Dutt and Rishi Kapoor. Rishi Kapoor's Lala ranks right up there with some of the best Mafia Don's in motion pictures. From the first shot of his scarred face and crooked smile you know what you are dealing with. I believe this was Mr. Kapoors first role as a "bad guy" and for that all I can say is BRAVO. And then there is Sanjay Dutt's Kancha; this man is textbook EVIL. The head, the sneer, the voice, the eyes all of it is PERFECT. This Kancha was forged in the fires of Hell and you never forget it for a second, you can practically smell the evil he oozes in every scene.

This Agneepath is not for the weak hearted; it is Bloody and it is Brutal, definitely the most violent Bollywood movie I have ever watched. My only complaint is that the song/scene O Saiyyan was cut from the movie. If you watch this movie on DVD, do yourself a favor and watch the music video when the movie is done. I understand why it was cut, but I so would have loved to see it as part of the movie. The song and the scene are heartbreakingly beautiful, and by the end of this movie you will want a reminder of love and joy.

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A fascinating tale of moral redemption.

Images so powerful they linger in the mind hours after they've left the screen.

And the eyes, always the eyes ... the eyes of Evil, the eyes of Truth.

A young man (Hrithik Roshan) must tread the dark and difficult 'path through fire' -lit., 'agneepath' -of challenge and personal sacrifice to avenge his family against the crimelord (Sanjay Dutt) who brutally murdered his father, dishonoured his family, and corrupted their whole community.

If the classic 1990 "Agneepath" pioneered one of the strongest stories ever in film (and was way ahead of its time, for Hindi cinema), this 2012 "Agneepath" preserves the most effective elements of that brilliant original story and revamps what needed help. Our villain is even more evil, and the road of challenges our hero must overcome to defeat him is correspondingly an even darker, more treacherous journey.

Raw. Powerful. Primeval.

Sanjay Dutt's Kancha is a villain for the ages. Visually, he scared me just on the poster! A big, bad, very bad man. The bald head, the tattoos, the smile, the laugh, the spreading shapeless pale blobbiness of his huge bulk, and above all those hauntingly sick eyes, combine to render Mr Dutt's Kancha one of the most naturally frightening villains ever conceived. Where the original 1990 Kancha Cheena played by Danny Denzongpa was sleek and smooth and sophisticated, his evil was very modern and straightforward in open pursuit of power and wealth and thus more familiar. Mr Dutt's Kancha, however, is pure psychopath: he destroys and kills because he LIKES it. And even though the audience understand how he became so twisted, that sickness makes him very scary indeed ... the visual embodiment of human evil.

What I could *not* anticipate from the trailers, though, is how Hrithik Roshan's Vijay Dinanath Chauhan would prove equally intimidating and visually frightening as Mr Dutt's Kancha: with those keen clear eyes knifing through his face awash in blood, Mr Roshan's Vijay looks purely the Avenger-from-Hell. Director Karan Malhotra effectively channels Mr Roshan's natural intensity into a human sword of vengeance a quiet character who 'says' a lot from the shadows, projects mountains of lurking threat and menace, even where he has no dialogue. Again the eyes, always the eyes in this film! Never before had any director so effectively used the sheer glow-in-the-dark luminosity of Mr Roshan's eyes. The iconic 1990 Vijay created by the great Amitabh Bachchan (one of his most memorable roles) was significantly older and more verbally aggressive, the character more seduced by the trappings of power and wealth, only refocussing on his essential task toward the very end. By contrast, Mr Roshan's Vijay leads a haunted, almost monk-like existence, never losing focus down the years toward destroying his enemy. Obsessed, relentless, deadly and a perfect showcase for Mr Roshan to demonstrate, yet again, his great dramatic range as an actor.

Mr Roshan and Mr Dutt are so riveting in this film that any scenes they are not in, separately or together, honestly feel like a distraction.

Despite 12 intervening years these two great actors have lost none of the chemistry that powered 2000's excellent "Mission Kashmir". Mr Roshan is slightly the taller actor, Mr Dutt significantly the heavier, but the two are so perfectly matched and the build-up so well laid that by the climax of this "Agneepath" audience anticipation could not be higher ... or more well-rewarded.

An unforgettable, 'must-see' film!

Special credit is due the highest standards of craft professionalism that distinguish this 2012 "Agneepath", notably these departments: Cinematography (exceptional lighting and shot selection, especially with the principal actors); Sound and Sound Editing (variety and scope, silent private moments to mass public festivals, all perfectly managed); and Stunts/Fight Choreography (so many action scenes, but each distinct and cumulatively building to the truly epic climax).

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Tinker Bell: Secret of the Wings (Two-Disc Blu-ray/DVD Combo) (2012)

About halfway through this movie I looked over my 8 year old daughter, and almost 12 year old son, to my husband and said, "I can't believe I'm getting goosebumps from a Tinker Bell movie."

Yes. Goosebumps.

My daughter and I have watched all the Tinker Bell movies in the franchise, and have even watched the specials on the Disney channel. I have to say that we've loved all the movies, but I think Secret of the Wings is now my favorite.

I won't bore you with the synopsis, as you can read it above, but I will tell you about what we liked,

-New characters!! Not only do we get to see all the favorites, we get lots of brand new characters as well, including Periwinkle (of course), Dewey (the Keeper), Lord Milori (voiced by Timothy Dalton! Yes!), and a host of new friends from the Winter Woods.

-No bad guys. I realized when I was watching this that there are no bad guys in a Tinker Bell movie! There are bad things that happen (and an occasional stray cat), but there is really no one bad guy. I love that! I love that it teaches my daughter that bad things can happen but if you work together, and think outside the box (like Tink), you can solve almost any problem.

-Personal sacrifice. As one of the other reviewers here remarked, there is a moment of personal sacrifice made by Tinker Bell that truly makes the film. It shows that while her main focus is getting to know Periwinkle, she cares more about all of the fairies, and the great pixie dust tree, than her own wishes.

-Great music. I'm still singing..."and the great divide...doesn't seem so wide..." although I do miss the Celtic music from the previous movies.

-The story! How can I put this last? The story is FANTASTIC. Simple enough that children can understand it, and complex enough that adults will enjoy it (note: my husband and I were going "Ooooh I know what's gonna happen" as there is quite a bit of foreshadowing, but it didn't ruin the movie at all!"

All in all, the entire family has marked this as one of the best Tinker Bell movies yet! Even the animation is getting better (the bobcat looks so real!).

Thanks, Disney, for making an amazing franchise so...when's the next movie?!

I saw this movie with my new children on September 2012 at El Capitan in Los Angeles (a special showing). My three year-old daughter and my five year-old son sat there mesmerized for the duration of the whole movie. This movie has a beautiful story-line and wonderful execution. If Disney had touched up the scenery ("background") a little more, it could have easily been ready for theaters. Even as is, the winter scenery is well done. I actually think this movie might be my favorite of the four tinkerbell movies (and I have watched each of them several times with my kids).

The story includes a beautiful moment of personal sacrifice by Tinkerbell. She "gives up" something she values greatly to save those she loves (I cannot reveal details without spoiler alert). What a wonderful lesson for young ones! I would recommend this highly to any parent with a young son or daughter.

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I have to admit that Disney's Tinker bell movies have become something of a guilty pleasure for me. I say "guilty pleasure" because I'm a 41 year old male hardly Disney's target audience for the Tinker Bell movies! What's more, I can't even use the "I watched this with my kids" excuse cos I don't have any!! But I believe these movies can be enjoyed by people of any age male or female! I watched Secret of the Wings last night and thoroughly enjoyed it, and it's easily as good as the other 3 movies, possibly the best yet. My favourite so far was TB and The Lost Treasure, but this could easily surpass that after further viewings. It's wintry setting with all the snow and ice really give the film an enchanting, magical feel. I watched this on Blu-ray (2D) and the picture quality as expected from Disney is amazing. The winter setting with it's icy whites and cool blues really look great. This film really deserves to be seen in HD. All of the animation is top notch too everything from the characters to the beautiful falling snow looks great. Don't think for a minute that because this is a straight-to-video release Disney have knocked out a sub-par release. This looks just as good as most other CG animated films that get the full theatrical release. FYI this film was at one point known as "Tinker Bell and the Mysterious Winter Woods". I will definitely be watching this again soon, and have no doubt that younger viewers could easily watch it many, many times. There's also trailer on this disc for the next TB adventure coming in Spring 2014...I can't wait!

Read Best Reviews of Tinker Bell: Secret of the Wings (Two-Disc Blu-ray/DVD Combo) (2012) Here

I was able to review this movie last night with the kids and all I can say is that it was an amazing film. The artists at Disney have re-created a beautiful world for the fairies and have introduced a brand new set of fairy friends into the mix. I loved the concept of the movie. I also loved the change from Winter to Summer that was shown in the movie. Tinker Bell shows great sacrifice in the movie, not only for herself, but also for all of Pixie Hollow. This sacrifice provides a great example of what it means to be family and a member of a community. I can say that the whole family thoroughly enjoyed watching this film and I already know that we will be watching it again and again in the months and years to come!

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We saw this movie at the El Capitan theater in Los Angeles this past weekend (9/9/12). It was very enjoyable, and my 5 year old daughter and her friend were mesmerized. I really enjoyed it myself as well. Looking forward to this movie coming out on DVD!

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Invisible Target (Ultimate Edition) (2007)

Benny Chan's Invisible Target has burst onto our home screens in both a regular and Blu-Ray disc format. This crime film about the aftermath of an armored car robbery in Hong Kong stars Nicholas Tse, and Jaycee Chan (son of Jackie Chan) this film starts with a huge explosion in the midst's of Honk Kong's business district and ends with the fight of a lifetime with two veteran renegade police officers and their "by the book" sidekick against the surviving orphans of a supreme gang (three men and a woman). It is comedy, chaos and lots and lots of martial arts all squeezed into 130 minutes. This film is a must see for everyone who loves Asian cinema and non stop action.

The blu Ray DVD itself is beautifully presented with a clear, sharp picture and speaking of explosive ... sound that will blow you out of the room. The Extras include scenes cut from the final production, a detailed commentary by the actors and director Benny Chan, and a behind the scenes look at exactly how all the chaos and martial arts were filmed. Stunt doubles were not used in this film, and the result is many bits of business that you will want to view more than once, and with the Blu Ray disc you can.

Highly recommended.

Saw this movie when it first came out on dvd a few years back, and it was much better than I thought it would be. Lost my dvd during a move, and when I saw it was offered on Blu-ray, got this one instead. Movie looks crisp and the sound is incredible!

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I thought this movie was among one of the best recent Asian action/martial arts movies. Along with Jackie Chan's son, Jaycee Chan, Nicholas Tse and Shawn Yue made an excellent, and at times humorous, trio. The pacing was good, and the stunts were top notch as well. Just seemingly nonstop, powerful action, with some tense and thrilling moments, as well as some emotional scenes. To me, it had the makings a classic martials arts movie, in the same vein as Jackie Chan's Police Story series. I sure hope these guys, the three main actors I mean, get together again sometime to make another martial arts movie...

Overall, if you're a fan of martial arts/action movies, you'll love this!!

Read Best Reviews of Invisible Target (Ultimate Edition) (2007) Here

Hara-Kiri: Death of a Samurai (2011)

We all have certain films that really resonate with us, that we remember distinctively and decisively for any number of reasons. For me, Masaki Kobayashi's 1962 classic "Harakiri" is one of those experiences. I didn't know anything about the movie before I sat down to watch it, and it absolutely blew me away. A quiet morality play that really challenges the notion of what honor means, "Harakiri" has a power, honesty, and emotional impact that is earned through a surprisingly understated narrative device. Instead of explosive dramatics, the screenplay takes its time in unraveling. And this focus on character development makes the ultimate confrontation both heartrending and harrowing! When I heard that prolific Japanese filmmaker Takashi Miike was on board for a remake, I had feelings of both optimism and apprehension. I think the original holds up quite well and there is little to improve. But I've followed Miike for years and loved much of his work. Though, to be fair, I don't know that I've ever considered him understated in his projects! However, my worries were unfounded. Miike approaches "Hara-Kiri: Death of a Samurai" with a real sense of respect, restraint and maturity.

In many ways, maybe our era of financial turmoil is the perfect time to resurrect this story. "Hara-Kiri: Death of a Samurai" tells of a time when many legendary swordsmen found themselves struggling to get by. These ronin, having no house or master, were left with little but their honor and their swords to survive in economically challenging times. As "Hara-Kiri" opens, a samurai named Hanshiro (Ebizo Ichikawa) approaches the house of the ruling lord to request the opportunity to commit ritual suicide (considered an honorable death) in the courtyard. This has become somewhat of a trend, though. Desperate samurai are reported to be proffering these noble requests in order to save face but actually secure a position or at least a few coins from the wealthy estates. In an attempt to discourage Hanshiro, he is told an unpleasant tale of the last samurai who made such an offer in this house. But Hanshiro is undaunted and seems to have an agenda of his own. As the personal tale unfolds, "Hara-Kiri" becomes a slow burn morality play about suffering, sacrifice, and real honor.

Miike really takes his time in "Hara-Kiri," and this may be off-putting to those anticipating a traditional Japanese epic with plenty of sword play. The opening sequences in the movie provide at least one unforgettable scene that Miike draws out beyond all reason for the exquisite anguish of it all. Truly remarkable. And the end is fully satisfying as well. But most of "Hara-Kiri" is an extremely intimate story. A tale of family, young love, and sacrifice that is bleak and unforgiving. Ichikawa is absolutely fantastic as Hanshiro, and Eita is terrific as the young samurai who initiates the tale. I'm pleased that Miike has brought this classic tale back into the spotlight. The original (available in the Criterion Collection) is still one of my all time favorites, but this update is certainly worth the time for adult audiences. Remember, though, this is not a frenetic Miike actioner. It unfolds like a good book. Patience is both required and rewarded with this story, it is not for those expecting non-stop carnage and mayhem. KGHarris, 1/13.

Takashi Miichi's remake of the iconic 1962 "Hara Kiri," directed by Masaki Kobayashi, in color and 3-D for theater-goers, would surely be acclaimed as a near masterwork, a return to the cinematic artistry that made Kobayashi and Kurosawa sublime in their time. Unfortunately for Miichi, too many of us remember the original in all its black-and-white starkness and moodiness. Remaking Hara Kiri is as presumptuous as rewriting Hamlet or recomposing The Marriage of Figaro. The good news is that Miichi follows the script and the ineluctable timing of Kobayashi's classic almost scene for scene... until the climax, the furor that erupts in the last ten minutes. To compare the climactic scenes would constitute an atrocious spoilage, so I won't. But I will say that Miichi's finale discards the profound historical significance of Kobayashi's. Both films are quite worth seeing, believe me, even on successive evenings.

The most salient difference, nevertheless, needs to be expressed. The original starred Tatsuyo Nakadai, whose ferocity and intensity made him the Dark counterpart to the lustiness and mirth of Toshiro Mifune. Nobody could match Nakadai in this role; Ebizo Ichikawa earns my admiration for trying.

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The movie is not spectacular, but like "the twilight samurai", it moves at a slow pace presenting an intimate view of the life in the lower strata of the samurai caste.

Using an intense story for an exploration on the nature of that culture's concept of honor.

Read Best Reviews of Hara-Kiri: Death of a Samurai (2011) Here

This movie was terrific. Some may not understand it, but for those who understand the way of the samurai and Japanese honor, you will really enjoy this movie. Not to give spoilers, but keep in mind during watching this that the main character isn't out for just revenge, he's out for honor and you will understand how it ends a lot more. Every flashback is important and every part of the storyline that is explained contains pertinent information. This is not a movie where you can not pay attention and grasp the full meaning. This being said,it is also not for the light of heart. You will be saddened, you will be shocked and let down at things. But all these elements combine to make a solid movie. If you study their culture and understand the Japanese, you will absolutely understand and honor this movie for the work of art it is. The cast and crew were chosen very wisely, and each plays their role greatly. Please enjoy !!

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WOW just wow what a great film. I saw the 1962 Hara-Kiri and I was dying to see this one. (haha)

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