The Mask of Zorro (1998)

This review refers to the Columbia TriStar DVD Dec 2000 release of "The Mask of Zorro"......

You're a big fan of this Zorro film but don't want to shell out big bucks? This DVD is for you. Columbia/TriStar's transfer to DVD is one of the best I've seen. There isn't one detail about it that's inferior. The picture is presented in beautiful anamorphic widescreen(2.35:1), and shows off the incredible cinematography of the Mexico/California regions. The colors are outstanding. They jump out at you and take your breath away.The sound including the wonderful score, the dialouge and all the swashbuckling action is outstanding in the Dolby Dgigtal 5.1(THX) surround. You can also set it up for 2.0 stereo if you choose.You won't find a ton a special features, but there is "making of" featurette, with some commentary by cast and crew, that is entertaining and informative.For those who would prefer more on the side of extras and don't mind paying more, there is a "special edition" release that has lots of goodies including a video, and lots of commentary(see buying info). There is also a "super-bit" version, also more expensive if you choose.(Don't look for extras there).

The movie is packed with action, adventure, romance, and comedy and drama.It will appeal to you if you love westerns, history, or swashbucklers. The story opens with Zorro(Anthony Hopkins)bounding in to help save the Mexican people from the ruthless Don Rafeal Montero(Stuart Wilson). They have been under Spanish rule and are now about to be free. Montero and Don Diego de la Vega/Zorro have been sworn enemies for years. Montero follows De La Vega back to his home, finds that he is Zorro, a swordfight ensues, Diego's wife is murdered, his baby girl stolen and he is imprisoned.Montero flees back to Spain and raises the child as his own.

Twenty years later........Diego learning of Montero's return, see's a chance to reclaim his daughter, Elena(the beautiful Catherine Zeta-Jones) and breaks out of prison. He now trains a younger and stronger man, Alejandro Murietta(Antonio Banderas), to take his place and to help save the people once again from the ruthless Montero.Lots of adventure abounds as they set out to accomplish these feats, and of course lots of romantic adventure as well between Alejandro and Elena.You never knew sword fighting was so much fun and so sexy until you see these two in a duel!

Hopkins is exquiste as the older Zorro, Banderas charming, funny, and handsome as ever,and Zeta-Jones in one of her earliest roles really shines through. Other notables to watch for are L.Q. Jones as "Three-Fingered Jack", and Pedro Armendariz Jr as Don Pedro. Cinematography by Phil Meheux(The Saint/Goldeneye)is outstanding, Musical score by James Horner brillant as always in giving the perfect feeling to the story, and wonderful direction by Martin Campbell(Vertical Limit/Goldeneye).

Watch for "The Sign of the Z"........Laurie

Remember all those old movies where the swashbuckling hero swoops down to the rescue and saves the day for one and all, defeating the enemies and getting the girl all within a few hours' entertainment? "The Mask of Zorro" is a testament to those movies, embodying all of these characteristics in its magnificent story and exhilarating action sequences. With a powerhouse cast that seems as if they were born to play the parts they play, as well as strong music and a solid story, Zorro once again rises from Hollywood deterioration to save the day in a movie that is good, old-fashioned fun from beginning to end!

The old Zorro legend is given a new twist with this film, which begins with Don Diego de la Vega, the original and legendary Zorro, saving a group of prisoners from execution in the town square and leaving his mark on his nemesis, Don Raphael, warning him to leave and never return. Raphael does leave, but not before killing de la Vega's wife and taking his child, also having him imprisoned. Many years later, Raphael returns, "daughter" in tow, to name himself the new governer and to make sure his past enemy is all but alive in his prison. Through extreme craftiness and cunning, de la Vega escapes, only to discover his life is no longer what it once was.

His venture into the public brings him to the attention of one Alejandro Murrieta, who quarrels with him in the marketplace and then resolves himself to friendship. The two do share a past: on the day of Zorro's last battle, Alejandro, along with his brother, saved him from death. Now, Alejandro is distraught and torn with revenge for Captain Harrison Love, the murderer of his brother, and agrees to take on the mask once worn by de la Vega, who in turn will teach him the art of fighting with honor and grace.

The movie is one of those tributes to the old movies of the past, which played out the story of a hero who won all the goods and the girl in the ending. This one admittedly involves a few more characters than those old movies, but that's not to say that they don't each play a special part in the advancement of the movie. The romance, epic scale, action sequences and extreme wit are all present, making this a very exciting and memorable movie experience.

The advancement of the plot lies within the external battle between Raphael and our two heroes, who devise plan after plan to bring him to his downfall. They discover that he has made plans of tricking Santa Anna out of his own land, thus setting the stage for the impending climax which pits good against evil. The characters are all given the chance to become complex and intelligent, which is important in a movie like this. As they begin to outmatch one another, this adds on to the movie's tension over who will win out in the end.

The settings and music have a vast effect on the look and feel of this movie, which takes place in the 19th century. The sets are full of artistic influences from Spanish backgrounds and artists, giving it the true look and feel of the time period. Costume design also adds to the grandeur and pomp of the aristocracy as well as the impoverished conditions of the poor, adding to the contrast between the two differing demographics. The music, composed by James Horner, is amazing, employing Spanish instruments and rhythms while keeping a mordern feel to its score as well. The music adds a lot of heart to the movie, bringing out the intensity, the romance, the passion, and the victories with stylish and rousing compositions that fit right into the entire picture.

The choreography and stunts for this film are what really make it work for the audience, dazzling us with some of the most effective swordplay ever acted out on film. Most of the battle scenes involve men with swords, fighting against one another with an honorable form of battle. Actors Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, Stuart Wilson and Matt Letscher all hit the swordplay as if they are prose, adding believability as well as excitement to these scenes.

The actors mentioned above bring so much to the movie. Banderas is magnificent in his role as Alejandro, the new Zorro, a role he seems destined to have played. His looks, his charm, and his wit and personality all make this Zorro one of the finest ever. Hopkins brings his usual presence to the movie, establishing his character as one of immense wit and intelligence, while also possessing a vast knowledge of the art of fighting. Catherine Zeta-Jones sparkles in her role as Elena, de la Vega's daughter, and the chemistry between she and Banderas is dazzling and intense. Stuart Wilson and Matt Matt Letscher play our enemies, and they do so with performances to match those of the heroes.

"The Mask of Zorro" is one big piece of fun that works on many different levels. Some will find pleasure in watching the actors work with the material, some will find intrigue in watching the romance unfold, while the action and adventure will most likely be the most influential factor that wins over the audience. It never stops moving, and keeps dishing out the thrills, the laughs, and the cheers.

Buy The Mask of Zorro (1998) Now

This film is probably the best sword fighting film I have seen with lots of action and a great story line. A film fact is that the guy who teachs the actors how to sword fence has done so many movies from robin hood, three muskateers and now zorro he is actually in his 70's. Basically the story involves De la Vega (Anthony Hopkins) who is the original Zorro in the movie and then after years of him being in jail he teaches alexandro(Antonio Bandaras) all his skills to continue his service to the people a master/apprentice type movie. A classic quote from the movie De la vega:"zorro was a servant of the people he did what was needed !" Alexandro "Yes and now he is needed agian". The acting is superb Anthony Hopkins(enough said), Antonio Bandaras plays the part of zorro reall swarve and calm and not forgeting the lovely Catherine Zeta Jones who has a spanish look about her and her accent is well done well suited to the part. The DVD sound and picture is superb quality and the special documentary is very interesting, it explains all the planning that is put into the movie from the staged sword fights to the backround scenary.

Read Best Reviews of The Mask of Zorro (1998) Here

For 90 years, many fans of "Zorro" have seen quite a few adaptation of the swashbuckling hero who dons a black mask, cape, clothing and his sword.

From the original books from 1919 by pulp writer Johnston McCulley to the silent films by Douglas Fairbanks and one of my favorites, the 1958-1960 Disney television series starring Guy Williams. But there has been a sort of lull when it came to "Zorro" films and before the 1998 film "The Mask of Zorro", we were left with the George Hamilton comedy "Zorro, the Gay Blade" in 1981.

But in 1998, producer Steven Spielberg ("Indiana Jones" films, "Schindler's List", "E.T.", "Jurassic Park" films) along with director Martin Campbell ("Casino Royale", "Vertical Limit", "GoldenEye") began working on a new action film based on the hero for a new generation of moviegoers. Featuring a screenplay by John Eskow ("Air America", "Pink Cadillac"), Ted Elliott ("National Treasure"and "Pirates of the Carribean" films) and Terry Rossio ("Pirates of the Carribean" films), music by James Horner ("The Spiderwicke Chronicles", "Troy", "Enemy at the Gates") and cinematographer Phil Meheux ("Casino Royale", "Around the World in 80 Days", "GoldenEye").

The film was released in theaters during the Summer of `98 and with a budget of $95 million, the film went on to make over $250 million worldwide and was received positively by critics.

VIDEO & AUDIO:

"The Mask of Zorro" is presented in 1080p High Definition (aspect ratio 2:40:1). I was quite pleased with the picture quality of the film as there was pretty good detail on the texture of the Mexican and Spanish clothing, detail of the interiors of Don's cave hideout and the dirt and grime on the Murrieta boys. A good number of shots were outdoors, so there was a good amount of lighting. Skin tones were natural and you can see Anthony Hopkins blue eyes quite clearly. I tend to get a bit unnerved with some films shot during the 80's and 90's because they look a bit waxy but "The Mask of Zorro" looks very good for a 1998 film.

As for audio, the film is presented in English, French and Portuguese 5.1 DTS-HD MA (and Spanish 5.1). The soundtrack for the film is actually fantastic. For an older film, I was expecting a front and center channel driven soundtrack but "The Mask of Zorro" really takes advantage of the surround and rear surround channels and also some LFE. You hear the crowds clapping all around you during a scene when Montero arrives back to California. Horses galloping and thunder is also well heard. Fighting sequences, gun shots, explosions are really utilized quite well and for the most part, similar to "Air Force One" which is a 90's film that was given great audio by Sony, the same can be said for "The Mask of Zorro". The lossless soundtrack is clear, understandable and quite immersive during the action sequences.

Subtitles are in English, English SDH, French, Portuguese and Spanish.

SPECIAL FEATURES:

"The Mask of Zorro" comes with the following special features presented in standard definition, English stereo and optional Portuguese or Spanish subtitles:

* movieIQ With BD-Live, you can obtain information about the film online while watching the film (optional).

* Director's Commentary Featuring audio commentary with director Marc Campbell. Campbell provides insight on each scene and very thorough in his explanation of the talent, the set and more.

* Exclusive Documentary: Unmasking Zorro (45:05) The making of "The Mask of Zorro" featuring director Martin Campbell, Anthony Hopkins, Catherine Zeta-Jones, Antonio Banderas and more talking about the film, the history of Zorro, the production and costume design of the film, the music and more.

* Deleted Scenes (4:50) Featuring two deleted scenes: The Wallet and The Resolution.

* "The Legend of Zorro" Behind-the-Scenes Peek (5:02) A behind-the-scenes look at the making of "The Legend of Zorro" and interviews with Catherine Zeta-Jones, Antonio Banderas and director Martin Campbell who talk about reuniting seven years later for the sequel of "The Mask of Zorro".

* Music Video by Marc Anthony and Tina Arena -(4:51) Music video for "I Spent My Whole Life Loving You" by Marc Anthony and Tina Arena.

* Exclusive Scene from "The Legend of Zorro" (1:43) A short sneak peek of the 2005 film "Legend of Zorro".

JUDGMENT CALL:

It actually has been a Zorro month for me during Fall/Winter 2009. Having watched the complete "Zorro" TV series from 1958-1960, I was enchanted by the humor, drama and the action. So, watching "The Mask of Zorro", I felt that it was perfect timing on my part because the film was almost like a continuation of previous films and even the TV series because you forward to the future in which the hero Don de la Vega is now an older man, married and knowing that he's getting too old to be doing jumps and escaping harm.

I was a bit skeptical at first seeing Anthony Hopkins taking on the role of Don Diego. Mainly because I've gotten so used to seeing Guy Williams playing the role of "Zorro" but because this role calls for an older Don Diego, Hopkins is such a talented actor, that he makes you feel comfortable towards his character.

You easily accept him and sympathize for him as Don Diego goes through the worst, imaginable things that the hero has ever experienced. But enter Antonio Banderas. One thing that Guy Williams captured in the classic TV series is a character with class, charisma and is able to deliver in the action. Banderas starts off as a bit of a ruffian but through the course of the film, we see the thief become the hero and much more refined.

And as for Catherine Zeta-Jones, she looks absolutely beautiful in this film and together, she and Banderas played their characters of Alejandro and Elena quite well. They both have that chemical/sexual attraction towards each other but also, aside from the dramatics, the two also have a good repertoire for utilizing their characters to earn some laughs from the audience.

One thing that the original TV series had was high production value in which Walt Disney himself made sure "Zorro" utilized. So, when Steven Spielberg was the name behind the producing of this film, you knew that there would be significant action scenes and most of all, a film that would receive good financing to pull off these fight scenes that Zorro is known for. May it be him battling with a sword, climbing on rooftops or chandeliers, being chased on horseback to Zorro taking on dozens of men, fight choreography was done well and cinematography was also solid and for the most part, those scenes were highly enjoyable.

"The Mask of Zorro" was definitely a hallmark for Zorro films. After that periodic lull of having nothing satisfying since the late 1950's and early 60's, it was great to see the character of Zorro done well for this film. A screenplay that is not only action-driven but also character driven and you get all the humor and sexual attraction in this film as well.

Having seen the TV series and a few of the Zorro films in the past, I'm confident to say that "The Mask of Zorro" is the best Zorro film ever made thus far. For those of us who grew up watching the adventures of Don Diego de la Vega, this film is simply the passing of the title to a new character for a new generation of viewers. Fortunately, the film was handled quite well and I really enjoyed seeing this film again and I'm sure you will too. Definitely recommended!

Want The Mask of Zorro (1998) Discount?

I had long considered watching "The Mask of Zorro". When its sequel, "The Legend of Zorro", came to my town's theater, my family decided that we'd better watch it before seeing the sequel.

"The Mask of Zorro" is a sequel not a remake to the Zorro films and series of old. The film begins with the original Zorro, played by Anthony Hopkins, losing his wife and daughter and being imprisoned. The rest of the film is set twenty years later, as the old Zorro teaches a young, skilled thief (played by Antonio Banderas) what he needs to know to put on the mask.

"The Mask of Zorro" is truly a wonderful film. It's directed by Martin Campbell, who also directed films like "Beyond Borders", "GoldenEye", and the upcoming "Casino Royale". I thought it was an interesting how "Mask of Zorro" was filmed in a style extremely similar to that of "GoldenEye". Campbell is a great director, and he has a distinct directorial style to him that is perfect for this film.

The cast is great. Anthony Hopkins, for me anyways, stold the show. He was really fantastic. But Antonio Banderas was wonderful as well; his scenes with Hopkins are some of the best in the film. Catherine Zeta-Jones is beautiful in her scenes, and Stuart Wilson was a hateable badguy.

The film is well-photographed, and it looks terrific thanks to some beautiful sets and scenery. James Horner's score makes it all the more adventurous and exciting, as well as heroic. The script co-written by Terry Rossio & Ted Elliott, who worked on another fantastic adventure movie, "Pirates of the Caribbean" is well-written and engrossing. There's never a dull moment.

All in all, I had a great time watching this. "The Mask of Zorro" is a wonderfully fun and immensely entertaining joy of a film, great for watching alone or with the whole family. I'd certainly recommend it to anyone looking to watch a fine movie.

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Fast And Furious 1-5 Limited Edition Collectors Box Set Blu Ray (2012)

I really love fast cars... And of course I don't quite appreciate speed limits... That's why I love these movies.... They can take me to a place where my dreams come true... Drive fast cars, without watching for speed limits and the best part: without the risk of accidents...(this only happens on movies and games, not in the real world).

The video:

This boxed set is full hd 1080p.... Which is really amazing for watching on a big flat screen. The action runs smooth, without ghosts, and other coded glitches. The colors are extremely vibrant and you can feel the speed.... The parties and explosions.... It's a sure 5 out of 5!

The sound:

The surround effects are really amazing.... You can hear the cars around you, you can really hear the engines roar.... That takes the experience to the next level. I always thought that the video is of extreme importance, but the sound that really creates the atmosphere for the different scenes.

The soundtrack for these movies really match the context... Definitely a 5 out of 5!!

The plot:

Some may say its lame! Some may say its a bad influence for real world drivers! Of course real-world drivers should not try to do those stunts while driving, but that's why it's a fictional work.....

I like the story of the series! I think there's a little bit of romance, a touch of friendship, a bit of trust and loads of fast-paced action!!! The story is very simple and I really think the reason is that these movies are only about cars and speed... The 5 movies also kinda relate to each other via some recurring characters. They are worth a 3 (maybe 4) star rating.

Overall:

Great video, stunning fx, extremely hifi audio and an ok plot. I'd give it a 5 star overall.

If you like fast cars, I know you'll love it. If you're a big Need for Speed fan, you'll love it for sure! Let the action begin!

Plastic was not meant to hold that much stuff. Like others who reviewed, upon arrival, the clips holding disks in the center fell apart. Now the big ol' box set has to be opened gingerly to ensure nothing falls out when I want to grab one disk. On top of the horrendous packaging (seriously, who's decision was that?!), I could not find one reference (aside from another reviewer who I should have read) that this was a UK copy. It's still functional but details like that SHOULD be shown somewhere on the product description page.

Buy Fast And Furious 1-5 Limited Edition Collectors Box Set Blu Ray (2012) Now

I love the 45 buck deal, but every movie came with a digital copy that, after putting the redemption codes in on iTunes, say they are only redeemable in the uk or Ireland. Kind've a rip off if you ask me. Why sell it in America if it doesn't work in America?

Read Best Reviews of Fast And Furious 1-5 Limited Edition Collectors Box Set Blu Ray (2012) Here

I would recommend this movie to everyone on the planet. It is a great movie and I love it. 5 stars is a perfect rating

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All movies were there and in great condition and they have one box holding all movies not one box with five boxes within like most.

The Tuskegee Airmen (2001)

The story of the magnificent 332nd Fighter Group is woven into a dramatic tapestry of the horror of war and the disjointed approach of many Americans to a difficult time and a situation many would have preferred to ignore. The performance of the pilots who graduated the Tuskegee Training Program (they NEVER lost an escorted bomber to enemy action!) unfolds against the backdrop of misunderstanding, racism and political machinations that nearly destroyed the entire enterprise. This film does a magnificent job of telling the tale without being melodramatic, preachy or snide, but does full justice to the accomplishments of the pilots and their eventual victory against both German pilots and their own nation's refusal to recognize their talents. For the student of World War II, this is a well-known and much-respected story. For the student of African-American History, it is a tale of pride which shines as brightly as the stars on the American Flag these men so courageously defended. Fishburn and Cuba Gooding are superior as men caught between their own humanity and the de-humanizing effects of war. If ever a film deserve a 5-Star rating, this one does.

This is an excellent story of real people. It is not PC BS where all whites are bad and all blacks are good. Instead, it is about a great and valiant group of men, the first black combat pilots during World War II. They are depicted as the heroes they were, not as supermen. They faced all of the challenges thrown at them to become pilots and they faced more challenges from their race. Some were primadonnas and some were modest. Some failed and some succeeded. Some were serious and some were jocular. Their humanity made them heroes even when others didn't want to admit their worth. They were regular guys called upon to do a difficult job and they did so with aplomb and dignity. They also did so magnificently.

The story takes a group of the airmen from their pilot training in Alabama through the North African campaign where they were relegated to important but unglamorous work against ground targets. We see them mature into professionals and develop their skills, all while being denied an opportunity to prove those skills. Finally, they are moved to Europe where they face more discrimination. Even though they do a great job, no one wants to admit that they have done so. Even redneck bomber crews who have their bacon saved are reluctant to give thanks when they learn they have been saved by black men. Still, the men of the 332nd persevere.

Finally, comes the push to Berlin. The bomber crews know its going to be tough. For me, the climax comes when one of the rednecks tells his CO, "If its all the same to you, I'd like the 332nd to take me to Berlin". This is the same guy who would not even acknowledge they could fly earlier. While flying bomber escort, the 332nd never lost a single bomber to enemy fire. They were magnificent.

That is the story and it is no secret. I'm not giving away anything not already in the history books. What makes this film so much more than docu-drama are the characterizations of the men who lived the story. They are real American heroes and they are played with greatness. They fought the Germans and they fought their own chain of command and they prevailed.

Bravo!

Buy The Tuskegee Airmen (2001) Now

The Tuskegee Airmen (Laurence Fishburne) 106 minutes. (for a more historical account check out the PBS with the same title)

Movie starts out with the scene of a black kid on a farm watching a plane fly by. The narrator reads "We all have dreams, regardless of skin color." The Little kid screaming "Wait for me"

The director uses various scenes to show the ugly face of racism: The scene where the black cadets have to get off the train-car, then camera focuses on "whites only" sign for drinking fountain, and then the camera focuses on german prisoners getting off a bus, escorted by american white military soldiers. Quite a lot of symbolism for racism in one little scene. The black cadets are forced to give up their seats for german prisenoners of war (they had to go to the "Jim Crow car"). The introductary talk of the white commanding officer of the base to the newly arrived negro corp, was simply despicably racist, not just the expected putdown from commanding officer, but pure and un-adulterated hate.

The second shock, and this is to my own assumptions ... I was shocked when the negro cadets informally introduce each other and how cerebral some of them were (aeronautical engineer, pre-med, english literature, political science, art history, sociology, economics majors). These were some bright minds there on base to prove America that they could make it.

Another excellent example of contradictory racism, is when a negro pilot does an emergency landing, and the white sherrif watching over a group of negro convicts, a chaingang, says "It's one of our boys" and later learns the opposite.

I love it when the good wins while fighting the evil the white major who gets in trouble with his commander for implementing his racist ideas.

If you want to comprehend the little nuances of racism and its evil, then this is a good movie to see. If you want to understand discrimination and racism in 1940s US (not Canada) while we Americans were fighting Nazis in Europe, as experienced on an airforce base, then this is a good movie to see. Not the whole presentation is profound, but there are moments of laughter, smiles, and chuckles.

In this movie only the ones "who want to learn how to fly" succeed above the rest those who react instead of subversively ignore the racism around them . And the remaining negro cadets surely proved to be some pretty darn good pilots and US Airmen. It's an awefully great moment when racism is fought subversively and peacefully. And there are plenty of these moments in this movie.

Or the moment, when the Bomber white pilot locates the fighter pilots who saved his crews lives, but is actually upset when he finds out they are colored.

The movie has a beautiful turn, and ending. I will not spoil the details, just re-print the message of the last screen:

"The 332nd Fighter Group never lost a single bomber to enemy action."

Read Best Reviews of The Tuskegee Airmen (2001) Here

This movie not only addresses the tragedy and patriotism of those of served our country in WWII, but in brings to light the discrimination that was also a very real part of the existence of our black american heroes. This movie is not what I originally feared it would be, a typical portrayl of the oppresive white man keeping the black man down. It showed the courage and tenacity of a group of Americans (in the case African Americans) who fought and died for their country in the war to end all wars. The storyline follows a group of black pilots who not only bring honor and pride to themselves, but their country. They lived the motto, "My country, right or wrong, my country." It didn't matter that these men were discriminated against because they were black, they did the job that had to be done and they did it well. What more can we ask of any American? Watch this movie for the accurate history it portrays, not only in the struggle for equality in our country, but for all the guts and glory of those fighting men we owe our very freedom to today. God bless America.

Want The Tuskegee Airmen (2001) Discount?

I tend to get very emotional about this film. I can never see the ending without tears of appreciation, joy and intense pride. HBO is by far the best at making original movies and shows. The film has technical flaws... every film does... but beyond them it tells a story that, by design or negligence, has been ignored by American history for almost a half century.

Laurence Fishburne and Andre Braugher deliver stellar performances as Hannibal Lee and the great military leader Benjamin O. Davis. The other great actors who have some sort of direct or distant connection to the cause, to contribute were Cuba Gooding Jr., Courtney B. Vance, Allen Payne, Malcolm Jamal Warner, and Andre Braugher.

This film was wrapped up for me when a red necked White bomber pilot says in the final briefing: "I have a crew whose lives are my responsibility. If it's all the same to you Sir, I want the 332nd to take me to Berlin and back". That cinematic statement is a long overdue.

`Tuskegge Airmen' is a movie that should be viewed by all Americans interested in seeing a slice of Americana that's been neglected. Most will identify with the raw emotion evoked by the plight of these brave and talented men. Black Americans will be moved to tears as we are reminded of what those trailblazers overcame so that future Black soldiers, airmen and every day citizens could take their rightful place in American society, proud of their past and heritage. We all owe a debt of gratitude to the Tuskegee Airmen. This movie makes it clear why. I hope HBO continues it's long trend of fantastic films and series.

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Batman: The Movie (1966)

The key things to know about the DVD are:

1) The colors jump off the screen, it is a great transfer

2) The featurette with Adam West (Batman) and Burt Ward (Robin) is good, though they cover a lot of the same ground in the commentary

3) The Batmobile feature is very cool

4) The commentary is awesome. Adam and Burt have a great chemistry and really seem to love both the movie and the show. Their tongues are firmly in their cheeks druing the commentary (Adam West's views on Bruce Wayne alone are worth the price of admission), but you will learn about the production and such secrets as:

Why did ABC tear down the Batcave so quickly after cancellation?

What did Burt Ward really think about the BatCycle?

How and why did Lee Meriweather get to play Catwoman?

Why did Adam and Burt have to spend two hours each week getting oxygen at the Fox infirmary?

The team at Fox had a lot of love for this movie and it shows. Buy this DVD and get Fox to release some series episodes with Adam, Burt, Julie Newmar (Catwoman) and Frank Gorshin (Riddler)doing commentary!

Who knew that the campy 1960s' take on the dark superhero Batman would age so well? 39 years later, "Batman: The Movie" still is wholly enjoyable even for the most adrent Batman fan.

The plot of the film is paperthin. Batman (Adam West) and his sidekick, Robin (Burt Ward), are out to thwart the four most dangerous villians in Gotham: Catwoman (Lee Meriwehter), The Joker (Cesar Romero), The Penguin (Burgess Meredith) and The Riddler (Frank Gorshin, who recently left us, sadly) from taking over Gotham. To lure Batman into a trap, they kidnap Batman's secret identity, Bruce Wayne. This is more or less all the plot there is. There's also somehing about destroying people with a dehyrdator, but other than that, there's no real plot. And that's the film's charm.

It's a great piece of 1960s' nostalgia. The "holy (insert random word or phrase here), Batman" schtick is still hilarious, and the cast is clearly enjoying themselves. The extras for the dvd are surpisingly enjoyable. The commentary is awesome and the other extras deliver, but it's the movie that is really worth watching.

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I'm old enough to recall the 1966 previews, aired on ABC, for a mid-season replacement series based on the longstanding comic hero, "Batman". The trailer just hinted at what the show was about: a masked crime fighter, driving a souped-up car unlike anything coming out of Detroit, and a mystique that served to pique interest in the series.

But, when the show hit, it hit BIG! Wednesday and Thursday nights were its domain, having hold on the 7:30 8:00 time period for two of its three years aired.

This disc is the film adaptation of the series, made during the first year hiatus, as explained by stars Adam West and Burt Ward in the DVD's commentary. The movie features the same supporting cast, as did the series (Neil Hamilton as "Commissioner Gordon," Stafford Repp as "Chief O'Hara," and Alan Napier as devoted manservant "Alfred"). Also rounding out the cast are frequent "guest villains" Frank Gorshin ("The Riddler"), Caesar Romero ("The Joker"), Burgess Meredith ("The Penguin") and new "Catwoman" Lee Meriweather, who replaced Julie Newmar, unavailable due to previous theatrical commitments.

The movie also has the series' trademark comic book action "sounds" ("POW!" "BANG!" "ZOWIE!" et. al.), the gaudy colors (brought to life in vivid Technicolor), the crazy sound effects, and the tongue-in-cheek dialogue and winks that made the show so cool.

Speaking of the color, I couldn't help but be taken as to how great the set pieces look, even those "recycled" from other shows filmed on the Fox lot. As one whose household didn't get a color set until after the show's end, this DVD allows me to see what I had been missing. Granted, I did have the View Master reel set of the show but it was just an "appetizer" to how "Batman" really looked on screen.

Best of the DVD extras is a four-minute "visit" with George Barris, the designer of The Batmobile. It's not long on info, but any chance to look at what is perhaps the best "ride" to come across the big or small screen is cause for celebration.

Read Best Reviews of Batman: The Movie (1966) Here

If you love all things BATMAN then you'll enjoy this childish adventure. If you already own the previous DVD you do not need to buy this...there is nothing new to offer. It is a reissue in a new box...all the content is the same...down to the transfer!

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I admit that this review is entirely biased, myself being a huge fan of the 1960's Batman television series. Anyone who is less than a hardcore fan will likely be either bored, disgusted, or render utterly apathetic by the film's conclusion. Granted, the complete lack of any sort of character development or serious plot developments does tend to grate on the length of the film only 90 minutes, but seems like ages as the Dynamic Duo sprint from escapade to escapade. For the fan, however, the movie is a near-perfect representation of the series. Gratuitously campy? Certainly. Ridiculously buffoonish dialogue? Of course. Who would have it any other way? The Boy Wonder and Caped Crusader do an admirable job of acting (for their parts, that is), and, although Julie Newmar is disappointingly absent, the Rogues Gallery of Villains (Villains? There were others? Admit it, you spent the whole time staring at Newmar's replacement, Lee Meriweather, as Catwoman), stacked with original series actors Burgess Meredith, Caesar Romero and Frank Gorshin, is superb in their comic evil. Really 3.5 stars due to its inacessability to non-Batman-addicts, the movie is still very enjoyable to hardcore fans of the original series.

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Candyman (1992)

Eventually, anyone who makes it their business to seek out quality horror movies is going to come to the conclusion that the ones that succeed in distinguishing themselves from the pack tend to fall into three distinct categories. First, you have the horror movies that are less interested in scaring you than they are seriously exploring their subject matter, and probing into the nature of evil. Sometimes, they go the supernatural route (The Exorcist, Rosemary's Baby, Don't Look Now). Sometimes, they stay grounded (Psycho, Henry: Portrait of a Serial Killer, Se7en). Either way, they are more disturbing than they are immediately frightening. You acknowledge that what you've seen has struck a kind of nerve, but you won't lose much sleep. These movies are intellectually compelling but they do not provoke any immediate sense of terror.

On the other hand, the second breed of quality horror movies has no interest in psychology, in the "nature" of their content, and do not attempt to intellectually engage you. They only want to make you feel as if you are in immediate danger. The movies that fall into this category (Halloween, Alien) do not provide food for thought, but they know how to make you uncomfortable, and they know how to push your buttons. They are manipulative in the extreme, but they are actively frightening, and provide visceral experiences that the previous category of horror films cannot.

Finally, the third category of superlative horror films distinguish themselves by remaining conscious of themselves. They want to frighten you, but they also want to convince you that they are "above" merely pushing your buttons. At the same time, they don't want to go the intellectual route either. These films (Scream, Dawn of the Dead) are made by people who know the genre, know that the audience knows the genre, and toe a thin line between adhering to genre conventions and examining those conventions explicitly. These films are very effective, even if they are too cool for the room. You laugh knowingly, and then, bam, something truly frightening wipes that smirk right off your face.

Bernard Rose's "Candyman" is a rarity in that it falls into all three of these categories. It is intellectually stimulating and it knows a great deal about the nature of evil, but it is also, truly, viscerally frightening. It is self-aware and yet, it is not too cool for the room, and there is no comfortable distance to be found from the nightmare that unfolds on the screen. It is as immediately frightening as the orginal Halloween, it is as thought-provoking as The Exorcist, and it is as aware as itself as the Scream trilogy. You've never seen anything quite like it before, and you probably won't see anything like it again.

The plot of Candyman centers around a woman who is as much of an agnostic when it comes to the intangible world as one could imagine; she boldly pursues strides into the haunts of a malevolent spiritual force (the Cabrini Green Housing Projects in Chicago, which are dangerous enough without factoring evil spirits into the equation) in search of discovering the source of the legend of the Candyman, a man with a hook for an arm who can be summoned by repeating his name into a mirror five times. She is convinced, as any liberal pseudo-sociologist might be, that the Candyman is but a projection of the fears the urban poor have of gang/drug-related violence. The fact that there is a gang leader who has taken to calling himself the Candyman reinforces this conviction.

For this woman, the idea that there is evil in the world, pure evil, unconditioned by economic/racial (most of the residents of Cabrini Green are poor and black) factors is unthinkable. She does not believe that the Candyman is anything more than an idea. She is wrong. The Candyman is real, and he doesn't much like the challenge to his authority posed by her skepticism. Furthermore, she reminds him of someone from his past whom he wishes to be reunited with, and thus he comes to view her as a conquest on more levels than one.

For about half of the film, we follow the woman, played by Virginia Madsen, and her friend, played by Kasi Lemmons, as they trek through Cabrini, exchange notes, and conduct the affairs of their lives. Madsen's grad student is no different from a lot of young people. She is determined to make a mark on her field, she's a little suspicious about her husband's fidelity, she smokes, she's pretty, she's intelligent and she seems nice enough. She draws our sympathy.

However, midway through the film, there is a decisive rupture, and everything in Madsen's life begins to unravel at an alarming rate. The chain of events that follow a particularly frightening scene in a parking lot take on the logic of a nightmare that one is unable to escape from. Soon, everything we have come to know about the young woman we've been following, all of the connections she has to her friends, to her husband, to humanity in general seem to be undone. It would be unfair to describe exactly what happens, but let it be said that the final fifty minutes of Candyman are as frightening as anything I've seen on film.

We thought we were safe, after all. The character we'd been following had friends, family, a job, a life of her own. The possibility of coming into conflict with nothing less than pure evil was the farthest thing from her mind; she and her friend were more concerned about packing the requisite mace for their journey through the projects, more afraid of drug dealers than of demons. After all, the Candyman is an urban legend, and we know all about urban legends. They're campfire stories. There is no Boogeyman, not really.

Rose plays on the self-conscious approach we take to horror films by decisively arguing that it will not save us. He engages us intellectually by toying with the idea of whether the Candyman is literally real, or only becomes literally real if enough people are afraid of him (I'll leave that up to you to decide). And he frightens us at an immediate level by pulling the rug out from under us at a crucial moment, and by never allowing us to regain our footing. It doesn't hurt that he has an uncanny eye for frightening visuals (the bees swallowing the Chicago skyline, the Candyman's self-portrait), plus the help of a terrific soundtrack from Philip Glass (whose presence reminds us that, hey, this is a serious piece of art) and compelling performances on all levels. Not to mention a great idea, and, yes, the ability to push our buttons and manipulate us when he wants to.

Candyman is, as far as I'm concerned, the second most frightening film ever made; the original Halloween still remains the only movie that made me briefly fear for my own safety. But I would argue that the horror genre has produced no more complete work of art-no other film that engages the viewer on every conceivable level they could ask to be engaged on-than Rose's masterpiece. Halloween becomes exponentially less scary with repeated viewings, as you begin to get the sequence down and figure out what's coming. Candyman's power remains undiminished, even once you get the sequence down, because the scares give way to the ideas.

Don't miss it.

Rated R: Contains some very graphic gore (nothing that will really surprise those used to the genre, but this movie does get pretty ugly by any standard-seriously, who said this wasn't gory enough?) some language, and brief nudity (not in a sexual context).

Candyman starts out pedestrian enough. Helen Lyle (Virginia Madsen) is a graduate student attempting to wow her instructor while dealing with her cheating professor husband. Helen chooses the local urban legend Candyman to blow her teacher away. Being the detailed and dedicated researcher, she investigates the area where most of Candyman's victims are found; the Cabrini Green housing project. Helen and her fellow student interview residents of the rundown apartment complex, explore an abandoned apartment that has been transformed into a shrine to the title character, and form an unusual bond with a young, struggling mother (Vanessa Williams).

All proceeds as one would expect until a murderer using the Candyman legend as a cover is caught by the police. Helen comforts a boy by telling him that the Candyman is not the boogeyman, just a bad man trying to scare and cause harm. This is the turning point of the movie.

By destroying the boy's belief in Candyman, Helen invites the entity who describes his state as "to be but not to exist". Candyman is because others believe in him. Helen has destroyed this so he must now revive his legend and resuscitate belief in him. Helen encounters him in a parking garage where he commands her to "be my victim". The next thing she knows, she is lying in the young mother's apartment next to her dead dog with a bloody knife in her hand.

From this point Helen descends into madness with murders and a kidnapping surrounding her while her husband's cheating ways are revealed. Eventually Candyman asks Helen to join her in the non-existence of legend. To save a child, Helen agrees and sacrifices her life so the child might live. The worst thing about the movie is a rather cheesy ending that confirms Helen's entry into Urban Legend-hood.

Candyman is a well written thriller. It's overabundance of gore overshadows the existential elements. All the actors perform their parts with aplomb. Virginia Madsen is more than believable as a woman on the edge of a breakdown, while Tony Todd was born to play the Candyman. His tall and imposing stature combined with a deep and creepy voice can be truly unnerving at times. Forgive the ending and you have a great horror film.

Buy Candyman (1992) Now

Another Barker masterpiece, Candyman is my second favorite story from Clive Barker right next to Hellraiser, and it is one of the scariest horror films of all time. Anybody that has seen a Clive Barker movie or read one of his books knows he is the master of imagination, and Candyman is no exception. It is one of the first horror films to use the urband legend theme and the only one to do it correctly in my opinion. Virginia Madsens performance is excelleent and Tony Todd plays one of the best villians in horror history. Not quite on the same level as Hellraiser, but then again, nothing really is. By far one of the best horror films of the 90's. Highly recommended.

Read Best Reviews of Candyman (1992) Here

I'm not a big fan of cut-em-up horror movies. Usually I find them laughable and low-brow. Candyman, however, was a HUGE surprise! Sure, it's a gorey horror movie, but it's also a psychological thriller and yes, even a love story. I will have to say, on top of all that, it's also up there with one of the most frightening movies I've ever seen. A great movie to watch, and a great movie to think about later. Definitely worth owning and re-watching, you'll notice more symbolism, allegory, etc in it the more you watch it.

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Candyman is a creepy and very scary horror movie. The first time i saw this i think i was like 11 maybe at a slumber party, i was so scared. Watching it again recently and i didnt find it as scary, but i thought it was very clever and a really decent film. Helen Lyle is a writer working on a story about the Candyman, an urban legend in which if you say the name Candyman into the mirror five times, the Candyman comes to get you. So Helen goes about to prove that the urban legend isnt true and says Candyman five times in the mirror. Soon she is being stalked by the Candyman and she will live to regret her actions. Both Helen (played by Virgina Madsen I think?) and the Candyman (Tony Todd) are portrayed superbly. I also absolutley love the score by Phillip Glass, the music is so perfect for the movie and its also very creepy, yet cool. Anyway check this out all you horror fans.

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Les Miserables (1998)

If Victor Hugo were alive today he would be a multi-millionaire considering how many times his most famous novel has been filmed by Hollywood over the years. It took him 17 years to write the novel and it's still in print so he would also have a steady income. Overall I think he would have liked all the film versions of "Les Miserables" going all the way back to the earliest known silent version released by the Fox Film Co in 1919. There have been many film versions since, both English and French productions. I've always liked this 1998 version starring Liam Neeson(Jean Valjean) and Geoffrey Rush(Inspector Javert) ever since I saw it during it's original release in the theatre. I was hoping that it would someday be released on blu ray and got my wish earliar this week. I can only assume it's because of the new musical version that's hitting the theatres with Hugh Jackman and Russell Crowe in the leads. I have both the 1935 and 1952 B&W versions that 20th Century-Fox released a number of years ago and have seen the current Broadway musical twice so I'm very familar with the story. I won't go over it but it's the ultimate story of redemption, faith and love which is something that everyone needs in these troubled times. Those themes are certainly brought out in this beautifully restored blu ray film directed by Bille August. Jorgen Persson's cinematography looks stunning on blu ray(aspect ratio: 2.40.1) and the Paris and Czech Republic locations have never looked better. The audio is superb too. The folks at Sony deserve a lot of credit for making this blu ray pop off the screen. The principle actors(Liam Neeson, Geoffrey Rush, Uma Thurman and Claire Danes) give some of the best performances of their careers. The scenes between Neeson and Thurman's characters are both touching and heartwrenching. I've always thought that this was Uma Thurman's best performance and seeing it again after all these years only confirms that. Neeson's scenes with the young Clare Danes are equally touching and he more than holds his own whenever he and Rush on screen together. Geoffrey Rush's unsympathetic portrait of Javert will send chills down your spine. This version is 134 mins long and contains the following subtitles: English, English SDH, Arabic, Danish, Dutch, Finnish, French, Japanese, Norwegian, Portuguese and Swedish. Audio is: English, French(PAR), Japanese 5.1 DTS-HD MA, Portuguese Dolby Surround. There are no special features except the original trailer. This Sony blu ray release gets my highest recommendation.

"Les Miserables", the popular musical and play that has entertained many since its premiere in London back in 1985.

But "Les Miserables" (which translates to "The Wretched" or "The Poor Ones") goes back even further. More than 100 years into the past, when it was first written by Victor Hugo as a French historical fiction novel in 1862. Considered as one of the greatest novels of the 19th century, the film has been entertaining generation after generation from its first film ("Victor Hugo et les principaux personnages des misérables") back in 1897 courtesy of the Lumiere Brothers and countless adaptations since.

But its first big budget film adaptation was in 1998 courtesy of a film directed by Billie August ("House of the Spirits", "Pelle the Conqueror") and a screenplay by Rafael Yglesias ("Fearless", "From Hell") which was loosely based on Hugo's popular novel. As the film adaptation was similar to Hugo's novel, some characters who had a more prominent role in the book were removed entirely or their presence lessened in the film version as the primary focus is on the character of Jean Valjean.

In December 2012, a new British film for "Les Miserables" was released in theaters, but where this version of the film was a musical, the 1998 film was not. And now, the 1998 version of the film will be released on Blu-ray and DVD courtesy of Sony Pictures Home Entertainment.

VIDEO:

"Les Miserables" is presented in 1080p High Definition (2:40:1). Part of me was wondering if this film would look soft and how the clarity would look compared to the original DVD release. And I was quite pleased with how the film looked overall. During the outdoor sequences, especially during the parade, the scene looked vibrant and colorful. Indoor scenes were well-lit, even though the film was trying to capture certain scenes with less lighting, I didn't see any noise during those scenes. Closeups on the faces of the characters were well-detailed and clarity was much more apparent in the closeups of the scenes vs. its older DVD counterpart. Cinematography by Jorgen Persson ("My Life as a Dog", "The House of Spirits") was beautifully done!

Overall, picture quality was very good and I noticed no artifacts, banding or aliasing.

AUDIO & SUBTITLES:

"Les Miserables" is presented in English, French and Japanese 5.1 DTS-HD MA and Portuguese Dolby Digital Surround Sound. The film is not a musical, so dialogue the film is primarily dialogue driven. Until the film gets to the scenes of the parade and revolt, the surround channels are then utilized for crowd ambiance but also gunfire. A musical score by Basil Poledouris ("Starship Troopers", "The Hunt for Red October", "Conan the Barbarian", "Robocop") is also featured throughout the film. But for the most part, the majority of the film is dialogue driven through the front and center-channels.

Subtitles are in English SDH, English, Arabic, Danish, Dutch, Finnish, French, Japanese, Norwegian, Portuguese and Swedish.

SPECIAL FEATURES:

"Les Miserables" comes with the following special feature:

A First Look at Les Miserables (3:39) A short special feature featuring interviews with the cast of "Les Miserables".

EXTRAS:

"Les Miserables" comes with an UltraViolet code which allows you to download the movie to your computer and select Apple and Android devices and stream to computers, tables or smartphones.

JUDGMENT CALL:

I was very fortunate to be introduced to "Les Miserables" back during my high school years. As a person who took part in theater and one who enjoyed singing, I fell in love with the "Les Miserables" soundtrack and of course, the musical itself.

But when I heard that "Les Miserables" was being adapted into a film, I didn't know how they could do it. As TV series before (and after) the 1998 film had to be shown as a mini-series because of its number of characters and how big the story is, there was just not much you can do with a 2 hr. film, unless a lot of storyline is cut out of the film.

But upon watching the film for the first time, many years ago, the focus on the character of Jean Valjean would make sense. Eliminating the musical segments, Cosette not playing a major role, until she is older was a major change, not showcasing Eponine or Azelma changes the story a lot and most importantly, by not focusing too much on the love between Marius and Cosette especially the involvement of the Thernardiers towards the end. The story has changed a lot for the film adaptation.

While I know purists who loved the musical or the novel may have cried foul that the story was changed, I felt that to make "Les Miserables" to a film without any sequels or to make it last over 3 hours long, to keep things within budget, important decisions of what trim had to be made. And in order to create a modified storyline of the novel without these characters, major changes had to be made. And for that, screenwriter Rafael Yglesias was able to successfully write a film that tries to keep the heart and soul of "Les Miserable" but also to keep the image of Jean Valjean as not only as a hero but a compassionate man who was able to change his life from an ex-convict to a mayor and as an industrialist who gave people a chance., because even he himself was given a second chance to change his life.

Liam Neeson did a wonderful job of playing the former convict, turned good guy and later on, father. This was a complex character which Neeson played with efficacy. But with Neeson highlighting his skills, you need an antagonist to match up with him and Geoffrey Rush played the role of Javert amazingly well. A conceited man, a stubborn man and a driven man, obsessed with catching Valjean, Rush did an amazing job portraying this role.

While hardcore "Les Miserables" fans may also be ticked that the storyline of Cosette and Marius was changed drastically, writer Rafael Ygleasias was able to show that the two characters love one another, but also to show the relationship between Cosette and her papa Valjean. But the changes made for this film adaptation was to inspire hope but also to bring things full circle with a new storyline that shapes the final half of the film. But Claire Danes was able to take Cosette's character and showcase a teen who has found love, while Hans Matheson was able to portray the role of a young man, so much in love, but also a man dedicated to the revolution.

Sure, it's sad that the revolution, Eponine, the Thernardiers play a smaller or non-existent role in this film adaptation. But once again, considering the changes that had to be made in order to keep the film to a little over two hours long, major cuts and restructuring of the plot to fit this duration had to be made.

As for the Blu-ray release, compared to its previous DVD outlet the film looks better on Blu-ray but the noticeable aspect of the film in HD is its lossless soundtrack and bringing the ambiance of crowds and gunfire to this film, made things much more enjoyable this time around. I do believe that if you enjoyed this film and own it on DVD, it is worth upgrading to Blu-ray! Special features only feature the one "A First Look at Les Miserables" featurette and that is it.

Overall, the 1998 film "Les Miserables" may not be the same storyline that people watched in a musical, nor is it exactly what the original Victor Hugo novel had featured with its many characters and longer storyline. But to create a film adaptation of "Les Miserable" for a two hour film, it' s not an easy task. Yet, filmmaker Billie August and writer Rafael Yglesias were both able to create a film that may be different from the original novel but yet manages to be exciting and compelling.

"Les Miserables", the 1998 film adaptation is recommended!

Buy Les Miserables (1998) Now

This is the best of all of the Les Miserables movies that have ever been done. Liam Neeson is more believable and compassionate as the main character. The entire cast of actors is awesome. The storyline stayed very close to the book which I feel is very important in making a good movie.

Read Best Reviews of Les Miserables (1998) Here

I have seen the play on Broadway, and several versions of the movie (most notably, the Liam Neason one), and have enjoyed them tremendously. This version, however, is not in that category. The singing was terrible and off-key. The dialog was all sung(?), if you want to call that singing. The acting was even worse than the singing. If I could have rated this in a negative, it would have been a -10.

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Only the background sounds are on this copy.. I am disappointed. I have been very busy lately and havn't had the chance to send back.. probably missed the time limit.. Make sure you check the sound on your DVD's the day you get them in and return ASAP. Amazon has always been good about exchanging for a good one. I just missed the opportunity this time.

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Kramer vs. Kramer (1979)

1979's Kramer vs. Kramer mirrored a trend that was becoming more and more prevalent in America in the 1970's, the breakup of marriages. Dustin Hoffman & Meryl Streep star as Ted & Joanna Kramer. Ted is the prototypical yuppie. His job in an advertising company is really accelerating and it is taking up most of his time from his family that also includes eight-year old Billy (Justin Henry). Ted is so involved in his career, he knows little of the day-to day routine of his own household. One day, Ted's world is shattered when Joanna leaves him and Billy in order to find herself. Ted must learn how to raise his son, juggle his work and home life and go through a divorce trial. The film is both poignant and touching as Ted & Billy bond and form a loving relationship. Mr. Hoffman is excellent as is Ms. Streep and Jane Alexander gives a strong turn as the Kramer's woman's libber neighbor who Ted feels egged Joanna on and caused the breakup of his marriage. But the true find is young Justin Henry. He gives one of the finest performances by a preteen in movie history. The film was much lauded and praised and come Oscar time, Mr. Hoffman finally took home the Best Actor award after several failed nominations. Ms. Streep won Best Supporting Actress, director Robert Benton took home the Best Director award and the film won Best Picture.

"Kramer vs. Kramer" was released in theaters back in 1979 and is about the Kramer family. The film starts off with Joanna Kramer (Meryl Streep) with her 7-year-old son Billy (Justin Henry) and watching him go to sleep at night. Ted Kramer is a busy advertising designer who works his tail off to provide for his family and is eventually recognized by the advertising firm he works for and selecting him to take on a major account.

Excited about the new developments for his work, you realize that Ted is a workaholic and dedicated to his job. Once he gets home, Joanna tells him that she is leaving him and Billy. She doesn't where she's going but she's leaving and not coming back. She also tells him that she doesn't love him anymore.

Ted doesn't understand what is going on. He just got this major account, an account that could bring more income to the family but now he's faced with a wife that left him and now having to raise his son by himself.

We watch the transformation of Ted Kramer within a 18-month period, as he struggles and becomes a good father for his son while trying to maintain his job.

Then out of nowhere, 18-months later, his ex-wife Joanna returns. After leaving Ted and Billy, Joanna has sorted her life and got herself a new job. But most of all, she wants custody of Billy.

This sets up a legal battle between both Kramers for custody of Billy.

"Kramer vs. Kramer" is not only a moving film but it really hits the nail on where cultural society was going during that time. Women wanting a bigger presence in their careers and not wanting to be just housewives and also how divorce can change the family dynamics and how one would face becoming a single parent.

VIDEO & AUDIO:

The film is featured in 1080p High Definition (1:85:1). The Blu-ray transfer is definitely the best transfer of this film as knowing that it was released back in 1979, watching it 30-years later and it's so clear at different parts of the film, that the film doesn't show its age in terms of film quality. Of course, the film shows its age in terms of the clothing used and that phone calls were made via the old rotary phones of that time but picture quality was very good. There were some indoor shots that had a bit more grain but overall, a very good transfer.

As for the audio, audio is featured in TrueHD5.1. The film is primarily a dialogue-based film but I did notice that in some outdoor scenes, you can hear people's discussions in the rear and side channels. Also, when you hear that guitar strumming of the film, the music really comes quite clear and noticeable. Overall, being a dialogue-driven film, audio is clear.

SPECIAL FEATURES:

The Blu-ray comes with one major special feature and that is the documentary "Finding the Truth: The Making of Kramer vs. Kramer". This special feature was on the original 2001 DVD release but for those who have never seen it, then this DVD definitely shows us some really in-depth behind-the-scenes situations. For one, both Robert Benton and Stanley R. Jaffe really wanted Dustin Hoffman for the role.

Hoffman was going through his first divorce and really wasn't sure where his life or his career would be going, not knowing if he wanted to do film anymore. But eventually, Benton and Jaffe wanted Hoffman that they moved to the area to be closer to him and work out the script for the film.

As for Meryl Streep, she was shooting "Manhattan" for Woody Allen and doing theater but as any actress starting out, she wanted the role badly and hoped that Benton and Jaffe would allow her the time to shoot both films which they did.

As for Justin Henry, the casting of his role was so crucial that his mannerisms captured both Hoffman, Benton and the crew's attention. The child was essentially born to play that role.

But what is more enjoyable was to know how certain scenes were improvised. From the broken glass scene, Meryl Streep and the director didn't know that was going to happen, so that was a genuine reaction. Also, to see how Hoffman would help Justin achieve his emotional scenes especially in the hospital scene was definitely insightful.

But overall, you learn a lot of interesting facts from the film and it was good to see the all the major talent interviewed for this segment.

JUDGMENT CALL:

The film is ultimately moving and your easily drawn into the story and its characters.

"Kramer vs. Kramer" is a film that definitely made an impact on society at that time because cultural society of "motherhood" and "fatherhood" was changing. The focus on two parents working, the woman becoming more independent and not being forced to stay at home to take care of children and eventually the film would be used and brought up for several court cases that involved custody battles.

Granted, divorces are much, much more common place but 30-years ago, "Kramer vs. Kramer" was released during a time where "Brady Bunch" just ended several years earlier and TV sitcoms focused so much on the family dynamic, father was making the money and the women were essentially housewives. "Kramer vs. Kramer" was a film about a man who was the moneymaker in a top job now having to face becoming a single father while his ex-wife, unhappy of having to be forced to be a stay-at-home wife, now searching for her life and essentially getting a job (that pays more than what Ted is making).

Suffice to say, this film worked on many levels because of the talents were wellcast. Dustin Hoffman is an excellent actor and his use of improvisational and trying to make sure the scenes work was well done. Justin Henry as Billy was one of the best examples of excellent child acting and seeing a kid through a variety of emotions happiness, sadness and excruciating pain. And of course, Meryl Streep, with only 15-minutes of screen time, manages to really bring out the character of Joanna in a variety of levels. Also, Jane Alexander as the family friend Margaret, who definitely brought a contrast towards Ted Kramer's situation of a wife who's husband has left her with the kids.

The storyline was well-written and until I saw the featurette on Blu-ray, I never realized how certain pivotal scenes were improvised and Dustin Hoffman really made sure he could bring out the best in both Meryl Streep and Justin Henry. But also to find out that during the filming of "Kramer vs. Kramer", Dustin Hoffman was essentially playing himself because during that same time, he was going through his first divorce and was emotionally distraught of the situations in his personal life at that time.

"Kramer vs. Kramer" looks and sounds great on Blu-ray. Granted, times have changed considerably within the last 30 years but knowing how much this film impacted pop culture at that time and just knowing how things were behind-the-scenes in the making of the film, "Kramer vs. Kramer" never looked more beautiful as it does with this release.

A classic film worth owning on Blu-ray!

Buy Kramer vs. Kramer (1979) Now

A career-driven man, insensitive to his wife and son's needs, is suddenly immersed in parenting when his wife (Meryl Streep) leaves him and their son to find herself. Throughout the film, as Ted adjusts to the demands of parenting, his career suffers, but his relationship with his young son grows. Over a year later, when his wife returns and tries to regain custody of the boy, Ted fights to retain custody.

The movie presents a well-done portrait of a family the conflicting demands of a relationship, parenting and personal growth. It also tells the touching story of a father and son, and the sacrifices the father is willing to make in the name of love. A classic as powerful today as 25 years ago.

Read Best Reviews of Kramer vs. Kramer (1979) Here

This is a very good movie with three extraordinary leading performances. Much has been said about the work of Dustin Hoffman, Meryl Streep, and Justin Henry (who plays their son) in this film. 23 years later, these peformances remain great. Everyone knows what powerful actors Hoffman and Streep are at their best. So what really stood out to me was Justin Henry. He is absolutely natural; not a "phony" moment in his performance.

I do wonder if the film would've been even better if Streep's character had been fleshed out a bit more. It's extremely hard to relate to her. We don't see anything particularly bad or intolerable in Hoffman's character, so her abandoning of their son seems unconscionable. She had to go "find herself?" I had no sympathy for her, simply because it seemed she walked away from a loving and devoted husband. I understand he was very busy with work, but he was putting food on their table. When raising kids, sacrifices must be made. Hoffman's character sacrificed most of his leisure time in order to work hard. Based on what we see in the film, Streep's character didn't want to make those kinds of sacrifices.

Anyway, if a movie can spark conversations, or even debates, it must've done something right. The DVD features an insightful 50 minute documentary, loaded with interviews of all the principal participants in this well-made movie.

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Definitely a period piece, it is worth a revisit 31 years later for several reasons. First, it gave Meryl Streep her first Oscar (as a "Supporting" Actress, so don't expect to see a lot of her). Second, it's an interesting look at what socially was probably ground-breaking gender-bending in 1979: the question of whether the best "mom" for a child caught in divorce could be the dad. And third, the young son caught between his parents is simply adorable!

What I like about this film is its realism. Neither parent is portrayed as the bad person, and the emotional development of each character is believable. The acting is superb, and the film is well written, directed, produced, and cast.

On the negative side, it is an emotionally heavy film, as, like in reality, the child is in such innocent pain. Also, by today's film standards, even though it lasts only 105 minutes, it is a little slow at times.

Adult themes, sexual situations, language.

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Dragon (2011)

*This is not a review of the content of the film*

I thought it would be prudent to post this disclaimer on Amazon as it directly effected my decision to NOT buy this version of this movie.

THIS IS NOT THE ORIGINAL VERSION, but rather one that has been edited and shortened by the American Studio handling the domestic release.

Also, changes have been made to some of the music as well.

Now, I'm sure some people don't care about this sort of thing, and you who don't will get an acceptable movie if you decide to buy this. Personally I am a bit of a purist and get offended when some Suits who had nothing to do with making a movie suddenly start cutting bits out and generally messing it about.

If you've got the scratch to spend, you can get the undiluted Chinese release here: Wu Xia Blu-Ray (Region A) (English Subtitled) Donnie Yen

That is all, and may you get much enjoyment out of this film in whatever form you acquire it.

*Unhelpful side note for the curious*:

I am also annoyed by the rebranding of this film as "Dragon." While Wu Xia does technically mean dragon, that is not the context of the title. "Wu Xia" is also the term for the sub-genre of story telling that this film is an example of. Hence, renaming it "dragon" is like renaming a Film Noir titled "Noir" to "Black" for a foreign release, which doesn't make any sense and is stupid. :p

Imagine my shock as I watched this DVD and found out that I was not going to get the normal run-of-the-mill martial art movie. This story actually has layers and depth. Don't get me wrong, there is still plenty of action, but it interspersed with great acting and a solid, realistic storyline. I even found a few plot twists that were totally unexpected. A definite must see.

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My wife and I saw this on Vuudo last night. We loved this movie!. It's a great Kung Fu movie, but it also has a great story to it also. I'm going to add this to my collection, so I will be buying this as soon as its out..

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love this movie. amazing storyline. would recommend to everyone.

wish it was in English so I didn't have to read the sub titles but other than that I love it.

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I am a huge fan of Chinese Films , if you expected the usual martial arts film you will be surprised as this turns out to be a csi investigation. Donnie Yen gives a terrific performance unlike the last couple of films where he seemed to be acting by numbers. The detective also gives a terrific performance with soul. Lookout for Jimmie Wang Yu's performance I hardly recognised him . Highly recommended

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The Loss of a Teardrop Diamond (2008)

Tennessee Williams is the heart, mind, and voice of the South, and Jodie Markell has made an extraordinarily beautiful film of his screenplay, "The Loss of a Teardrop Diamond." Exquisite in its detail and dramatic force, the director does not shy away from Williams's view of a rotting, decadent, romantic Gothic Southland. And in Bryce Dallas Howard (with alabaster skin and raven-black hair) and Chris Evans, she has possibly the most handsome cinematic-couple since Dame Elizabeth Taylor and Montgomery Clift in "A Place in the Sun." This film is a great achievement, not to be missed.

Jodie Markell has created a period piece with timeless appeal! This never-before produced screenplay by Tennessee Williams came to light at the right time and in the right hands. Markell's insightful direction and Bryce Dallas Howard's brilliant performance transport the viewer to 1920's Memphis with its juxtaposition of high-class southern charm, architecture and posh parties to the inner turmoil brought about through the accompanying societal expectations. Howard's portrayal of a "fallen" southern belle, Fisher Willow, is both heartbreaking and breathtaking. The high-value teardrop diamond earring she wears which is lost represents Willow's desperate struggle to hold onto her inheritance at all costs -monetary and personal. The viewer is seamlessly transported into Willow's world of truth vs. lies, genuine vs. fake, awake vs. asleep... as she is forced to face her past and present demons on the journey of discovering her true self (and true love, ie Chris Evans) in the process. You don't have to be a Tennessee Williams fan to get swept away by this film!

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I find it strange (or maybe just typical for an antsy media world) that this film was shunned so widely, if not overlooked. Also, there seems to be a recurrent animosity against Bryce Dallas Howard as an actress that I find hard to justify. I can think of few others who are showing such promise at an early age.

And as for the screenplay that is the inevitable draw of the film, it certainly falls canonically among Tennessee Williams' lesser works; yet even his lesser works have always carried much magic, and an idiomatic command of poetic elegance that no American writer since has matched.

We all know well Blanche's ruminations about paper lanterns as a metaphor for magic in the world; people far smarter and wiser than me have called those words among the most deeply felt ever written in the English language. In this film, Fisher Willow has her moment too, hers more nuanced than the melodramatic flourish of Vivian Leigh's delivery. She pines for the company not of strangers, but of people who have meaning, who aspire to art and creation, and so forth. They are words meant to be heard spoken, rather than spit out in this no-name review on the Internet.

So all of that is to say, the best you can do is ignore the shrugging critics and watch this film. It does the legacy of Tennessee Williams justice, it is beautifully shot on a very low budget, and it is a fine performance by a budding actress who absorbs the playwright's intentions elegantly.

Read Best Reviews of The Loss of a Teardrop Diamond (2008) Here

Beautiful and exquisite Tennessee Williams script with wondeful performances and flavor of the period. A must have for Williams fans.

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"The Loss of a Teardrop Diamond," is a real gem but it is not for everyone. If you are not a big Tennessee Williams fan, you probably will not like it. If you are unfamiliar with Tennessee Williams, then you are better off watching "A Streetcar Named Desire," or "Cat on a Hot Tin Roof."

Admittedly, this is not one of Williams' best stories. The reason the film works so well is the acting and directing.

I had seen Bryce Dallas Howard in a few other films but they did not prepare me for this absolutely thrilling performance. This is not just the best performance of the year but it is the best performance in the past several years. She brings the character of Fisher Willow to life the way that Vivian Leigh did for Blanche DuBois. In many ways Fisher Willow is like a young version of Blanche.

Fisher is a typical Williams' heroine. She initially comes off as a selfish, self centered, Southern Belle but underneath she is much more fragile than anyone suspects. Bryce Dallas Howard is able to bring this out with such complexity and nuance that we can sympathize with a character that we should not care about so much. Even in her best moments she seems as though she could shatter at any moment.

This performance alone is enough reason to see this film.

The story follows the familiar themes covered in other Tennessee Williams stories: loneliness, loss of wealth, fall from grace, and battling interior demons. The teardrop diamond could represent the wealth and status her family once had. It is not just a $5000 jewel. It is a symbol of what her family once was and what was once the old South.

Jodie Markell does an impressive job directing. Her style is old school. She knows when to let the camera linger and when to let the scenes play out. The film does not seem rushed and it never drags. The cinematography is gorgeous with burnished orange dominating the color palette.

"The Loss of a Teardrop Diamond," may not be one of the four best movies made from a Tennessee Williams story but it is not far behind. This is mandatory viewing for any fan of Tennessee Williams.

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Medium Cool (Criterion Collection) (1969)

Released in 1969 by overshadowed by Easy Rider (which despite being a bit more flashy in technique is actually a far more conventional film), Medium Cool is one of the few "counterculture" films of the '60s to actually remain relavent. The first film to be directed by famed cameraman Haskell Wexler, Medium Cool is the story of 1968, a panoramic view of a near revolution. Cleverly, Wexler tells his story through two outsiders -a detached newsman (Robert Forster) and the country widow that he romances (well played by Verna Bloom who should have become a star as a result of her sweetly realistic and appealing performance). Though the film is clearly on the side of the counterculture, the use of these two outsiders allows Medium Cool to retain an objectivity that seems to be missing from most other films of the period. Instead of simply worshipping the trends of the time, Wexler was actually at the apocalyptic events seen in the film. When Forster and Bloom find themselves lost in the chaotic rioting of that year's Democratic convention, the scenes are riveting because they were actually filmed during the actual riots. This is the rare protest film where, instead of seeing wealthy Hollywoodites playing their idealized versions of the times, you are actually seeing the events as they unfold. For someone like myself who was born on the tail end of the Viet Nam War, seeing that footage and realizing how close to collapse society actually was in 1968 is truly an eye opening experience.

Much of the film, of course, is improvised. Improv is often a frightening word when it comes to film making. It seems to be a talent that a lot more people believe they have than actually do. However, Medium Cool is one of the few films I've ever seen where the improvised sequences come off not as self-indulgent but actually very revealing. It helps that Wexler found some of the best improvisational actors working at that time and put them in his film. Hence, the wonderful Peter Bonerz shows up as Forster's jittery partner and the contrast between his nervousness and Forster's coldness provides for a good deal of humor (something missing from far too many protest films). A particurlar highlight is when Forster and Bonerz interview a group of Black militants. Bonerz's desperate attempts to both find an escape and come across as a good, white liberal at the same time are priceless. Other than his later role as the oily dentist on the Bob Newhart Show, Bonerz was never given another oppurtunity to show off just how truly talented he is and that's a shame.

Also giving a strong improvisational performance is Peter Boyle, making one of his first film appearances and playing one of the first of his signature "right-wing nut" roles with a blue collar accent that never condascends or gives into easy elitism (another quality that sets Medium Cool apart from other protest films).

However, the film truly belongs to the two leads and they bring a true humanity to what otherwise could have been an overly cold and clinical film. As stated before, Bloom plays a simple character without ever giving a simple performance. Her political innocence is never ridiculed or attacked and her horror at the growing violence around her is wonderfully conveyed and felt by the audience. Forster, an always underrated actor, gives one of his typically low-key performances and bravely gives an honest performance as a character that many in the audience probably won't find extremely likeable. As he would later in "Jackie Brown," Forster manages to convey his character's detachment while stll suggesting an actual, human being. As he romances Bloom and becomes attached to her young son (well-played by Harold Blankenship), Forster slowly starts to surrender his cool exterior and Forster's subtle emotional development is wonderfully conveyed. By the time of the film's apocalyptic ending, we've come to truly care about these two characters and, as a result, Medium Cool becomes more than just a film about the 1960s. It becomes a film for the ages.

Hollywood just didn't get it in the Sixties and the best they could do was turn out stuff like "Wild in the Streets." But there were two films that did capture what was going on in those days and 'Medium Cool' was one of them. The other was 'Easy Rider,' and both of them were made in spite of Hollywood and not with the help of Hollywood. One picture dealt with the political upheaval in the streets and the other dealt with the cultural revolution.

I saw 'Medium Cool' the week it opened and I probably wasn't the only one who considered it a revolution in film making and figured it would be the first of many such films that tied documentary and narrative film together, but sadly there were no more 'Medium Cool's' to follow, or no more 'Easy Rider's' either.

The Amazon review is totally uninformed in describing what happened in Chicago. The only 'riot' that happened were the police riots that repeatedly attacked the protesters and anyone else who happened to be in their way. And very few of us considered ourselves to be hippies by that time. I know because I was there and that's me on the cover of the DVD carrying a red flag. Interestingly Haskell -who I became friends with many years later -is still at it. I was marching down Hollywood Boulevard in an antiwar protest at the beginning of the Iraq war and looked up just in time to see Haskell in the crowd pointing his DVD camera at me. There was no tear gas this time, no rioting cops, and no machine guns set up on the streets. I wasn't carrying a red flag and my hair has long since turned to gray, but some some basic things never change.

This picture tells it like it was as only the world's greatest cinematographer could have done it. Amazon calls it a 'curiosity' and maybe it is, but it's also an authentic historical document executed with artistry and passion and is every bit as watchable as it was back then. I recommend it especially for this wonderful and brave new generation who are carrying on the great American tradition of dissent in these troubled times.

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"Medium Cool" is one of those magnificent wonders that creeps up on the film world, either in passing conversation or in revivals. But it still has yet to receive it's pure due, in spite of it being made over 30 years ago.

It's an accidental masterpiece. Director Haskell Wexler's original intentions were to (via filmic terms) view the various sides of the media as relating to Marshall McLuhan's famous "hot medium/cool medium" essay. In this case, he corraled a bunch of actors (some of whom were associated with the Chicago improvisational scene), gave a loose story line and filmed it around the unfolding events at the 1968 Chicago Democratic Convention (with a few accidental stops in Los Angeles & Washington). Wexler attempted to put the actors into the roles of television men & everyday people and, basically, leave them with their own improvisational devices. Tus, this is where "Medium Cool" develops.

Maybe upon first viewing it in 1969, the performances didn't hold up, but more than thrity years later, everyone involved (even right down to the smallest part) has to be commended. This film is more than an experiment, or even a time capsule, but a true countercultural event. This is a film that not only teaches a thing or two about the times (1968), but also serves as a great study on media and it's truths & manipulations. It's also a great acting lesson of what improvisational acting truly should be...risk-taking with a high degree of failure (and NOT the cutesy-poo clever laugh inducing theatre that it's been reduced to...more later). You want a true example of play actors facing a REAL reality situation? Well, look no further...

Robert Forster's role may seem a little wooden at first, but as the movie (and years) pass on, he did an extraordinary effort of a man who's caught between compassion for his job, the manipulation that seems so tempting and the overall wear & tear that comes with the territory. Peter Bonerz puts an an excellent improvisational performance, years before "Bob Newhart" and fresh out of Chicago improv. One scene, with the two reporters in Washington after Robert Kennedy's assassination (in a taxi) speaks pages.

But two performances really stand out: Verna Bloom & Harold Blankenship.

Verna Bloom has the least obvious role as a lower-class single mother who, with very open and impressionable eyes, takes in everything around her via Forster's world. In what seems like an innocent (and touching) supporting role turns into one of the most ballsy & daring improvisational performances ever attempted, with the mother (looking for her son) stumbles upon a growing riot in a park. Only, the riot is very much real life. Masterful performance.

Harold Blakneship as the son provides what is the most pure performance by a child actor. He doesn't mug nor try to act cute, but there's something in his soul that looks like it lived many lifetimes. It's a soulful & haunting performance that doesn't seem to be self-conscious of the camera.

Despite Paramount allowing him to film it with a very strict budget, this is truly an independent film. Risks were taken. Lives were most definitely at stake. Comments had to be made. But it's one of the finest cinematic risks ever taken and a true multi-purpose film.

This DVD not only carries a fine widescreen transfer, but contains great commentary from Wexler, Paul Golding & Marianna Hill, plus a cool theatrical trailer (with the original 'X' certificate at the end for historical purposes). Fan of this film will not be disappointed.

In late 1999, I was in a class with a Chicago-based improvisational company (which shal remain nameless). When I mentioned this film in conversation, the teacher (who was also the manager of the L.A. branch) asked what we were talking about, I told him "Medium Cool". When he had never heard of it, I was shocked and told him that any improvisational actor, from Chicago or otherwise, should make this a mandatory film for studying any kind of on-the-spot acting. I lent it to him, but when I asked for his impressions, he just found it "interesting".

I guess he wanted to make people laugh.

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Medium Cool is an icon and artifact of the political furnace that was the 1960's in America. The title derived from the then-popular analysis of mass media by Marshall McLuhan, it mixes the important events of the time with the lives of characters trying to live their lives and do their jobs in the midst of upheaval with an insight into electronic media.

Originally this film was supposed to be another film entirely. Instead, two-time Oscar winner Haskell Wexler and his crew, after the assassinations of Martin Luther King and Bobby Kennedy, waded into the turmoil of the 1968 Democratic Convention in Chicago.

There is some resulting confusion apparent in the film. Is it about the mass media, particularly television, in 20th century America and the insensitivity to human suffering it weaves? Is it about racial politics and cultural exploitation of black people? Is it about a poor Appalachian mother and child in Chicago? Is it about political intrigue, assassination and FBI spying and disruption of legitimate protest?

At times some of the acting may seem stiff or ad hoc, and sometimes the sound has a raw documentary quality about it. But some of the music apparently enhanced on DVD, particularly that provided by Frank Zappa's Mothers of Invention, provides a sarcastic critique of the popular culture promoted by the mainstream hype of the time. The conventional belief system was being severely challenged by assassination, the shocking realities of Chicago '68 and countercultural events like "Medium Cool".

Patience of the viewer is rewarded with Wexler's outstanding photography in an amazing cinema verité of the characters playing out their roles in the actual "police riot" in the streets of Chicago."This is REAL, Haskell," we hear one of his crew warn offcamera as tear gas is discharged in front of them. There is also some footage of the poor people's march and encampment in Washington D.C., with the TV crew squishing around in the mud in rubber boots as if on some expedition.

The DVD is excellent. The technical perfection and poetic composition of Wexler's cinematography comes through from a flawless print. The commentary available with Wexler, actress Mariana Hill and Paul Golding interviewed in 2001 greatly enriches the viewer's understanding of the making of the film and its subtle touches.

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I saw "Medium Cool" shortly after I had been drafted in 1969 in San Antonio where I was going through basic training for conscientious objectors. I was so blown away by this film I sat through it a second time (you could do that in those days) to try to take it all in. The mixture of documentary style direction with actors playing characters was a new idea, but to put them into an explosive (& eventually exploding) situation was a stroke of cinematic genius by Wexler. The movie also received an "X" rating for a scene you could probably show during family viewing hours on TV these days.

The thing that still stands out in my mind after all these years is Robert Forster's characterization of the news cameraman. Working in this "cool" medium, he stays detached from the people he films almost to the point of inhumanity. In the opening scene, Forster and sound man Peter Bonerz come upon a crash on an expressway, the car against a wall with its horn blowing continuously and a bleeding woman lying on the ground next to the open passenger's door. They procede to start filming the scene, but Bonerz compains that the horn is wiping out all other sound he might get. Forster goes to the open (from the crash) hood of the car & yanks out the horn wires. They then continue filming the scene without ever considering calling for help for the injured woman on the ground until they're finished. You begin to wonder who are these guys who callously put getting the story, which they would have gotten anyway, ahead of helping someone who's been injured.

Two other scenes come to mind which give insight into Forster's character. In one scene with girlfriend Marianna Hill, she challenges him by asking him about a scene from the movie "Mondo Cane". This scene involved tortoises on a Pacific island whose sense of direction had been affected by atomic bomb tests to the point where they no longer knew how to find the ocean. She asks Forster if, after they were done filming, the cameramen might have turned the tortoises around and pointed them toward the ocean. She really wants to know what he would have done. Forster replies, "How do I know? Those were French cameramen."

The second scene occurs when Forster is watching the mourning for the death of Martin Luther King on TV at Verna Bloom's house. His reaction to the outpouring of grief & emotion on the screen is to say, "Jesus, I love to shoot film."

Forster (& the others I've mentioned) are great in this film. And among the other points he makes with this film, Wexler reminds us that to the TV camera, our lives, joys, accomplishments and especially our sufferings are reduced to being just frames of film which may occasionally be newsworthy.

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