Chasing Amy (1997)

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

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

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

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

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

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

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

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

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

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

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

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

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

"When I have something personal to say."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Just my 2 cents. ;-)

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Sid & Nancy (Collector's Edition) (1986)

What I enjoyed most about Sid and Nancy was the profile of the Sex Pistols who (unfortunately) are only a vicarious part of the plot. I know that Johnny Lydon did not approve of this film, but I absolutely loved Schofield's portrayal of him here. In fact, he almost steals the spotlight from the train wreck that is the relationship between the main protagonists. I also thought that technically this film was outstanding. My favorite scene involved the press/party boat. After it was forcibly docked, the shot of Sid and Nancy gliding through the melee was exceptional. This movie has something in common with all period pieces we remember--it is incredibly well-done. My own appreciation for the film, however, was sabotaged by the fact that I was not even remotely interested in the love affair between Sid and Nancy. I found the gradual disintegration of their lives to rather depressing.

I think Sid & Nancy might just be the best rock-based biographical film yet done. Better than Oliver Stone's The Doors, better than last year's dismal Brian Jones flick whose name isn't worthy of being repeated here. The reason Sid & Nancy rises above the rest can be summed up in one word: talent. Sid & Nancy is the result of a passionate filmmaker getting near-perfect performances from his well-chosen cast, of welding great music and attention-grabbing scenery to a modern tragedy that touches many emotions. The result is a five-star film.

People are surprised when I tell them the Sex Pistols rank among my all-time favorite groups. No, I was never a punk, and besides, when I was growing up `70's punk bands were mostly curiosities from modern pop culture history, but I do like the music the Sex Pistols produced on their one and only legitimate album, and the film Sid & Nancy, much criticized by pompous purists and much praised by most everyone else, is a chronicle of that era and two of its most infamously doomed participants. The chameleonic Gary Oldman brings Sid Vicious not only to life, he somehow surpasses the original to vicariously embody a character more memorable than the flesh and blood young man on whom the role is based. Likewise Chloe Webb (who really deserved better career choices than she got after this movie) brings the manic-depressive Nancy Spungen back from the grave in all her alienating, irritatingly pathetic hideousness.

Some say this movie takes liberties with the timeline of Sid and Nancy's short lives, and others say it manages to glamorize them for the wrong things. Probably legitimate gripes, I'll grant, but there are also those who refuse to see the greatness in, say, Shakespeare's Richard III, because the fictionalized villain bears scant resemblance to the real man. That's much the same case here. For all one might say in criticism of this movie, Alex Cox did the impossible and revived the decaying, culture-shocked world of 1970's London, and against that stage he crafted a story that works well. Sid & Nancy is about drugs, music, twisted love between two misfit human beings, needless death, and a revolutionary movement that imploded on its nihilism even as its message was lost on the masses. Sid & Nancy is not only about Sid and Nancy, so emblematic of their time and place, it is the tragic chronicle of the spirit of misguided post-adolescent reaction against a dismal age.

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I think many people don't have the right feelings about this film. Empathy being one of them. Although Sid Vicious and Nancy Spungeon could indeed be described as two wastes of sperm and eggs, empty and apathetic as they lie on their beds strung out on heroin in one scene, we have to acknowledge their backgrounds and their ages. Sid, bassist with 70s punk band The Sex Pistols and Nancy, his American groupie girlfriend, were just a pair of misguided teenagers. Nobody is perfect at the age of nineteen or twenty, nobody really knows exactly what they want to do in life. And there are a lot of young people, who at that age, can't see a future for themselves.

We may very well say drugs are bad and drug addicts deserve no respect, both of the above being true. But the fact is that this is being too narrow minded. Those of us who have had wonderful childhoods and loving parents to guide us through those turbulent teenage years may scoff and scorn at the films title characters, as we see them embark on the doomed journey of drug abuse with only one end in mind. Sid might have been an intelligent, bright and witty young man, Nancy could have had the chance to fix her life if her parents hadn't given up on her and sent her packing. This film is a remarkable movie, one that should be watched with empathy, as it replays the ill fated romance of punk's 'Romeo and Juliet' I understand John Lydon when he scorned the film, but no movie can ever capture real life. As a teenager recovering from the draining world of drugs, depression and apathy, I have to say that this movie accurately portrays the effects of drug abuse.

The drugs do eventually end up taking control of you, and there is nothing more dangerous than having a friend or lover who feels the same despair that you do. Trying to escape the dark hole of drugs seems almost impossible in that scenario. I think this film is an excellent portrayal of the effects of drug abuse, of the 70s punk scene, of the blurry details surrounding Nancy's death.

It's a pity the film was given an R rating, because a lot more young people should see this movie. Sex Pistols fans may also ike to see this movie, maybe to gain an idea of the helplessness of Sid and Nancy's situation. For all those drug addicts out there, I just wanna say, you should see this film before you "climb the ladder to the poppy". During a time when I was stupid enough to want to become a junkie, this movie saved my life. The scene that hit me the hardest was one of the last, where Sid tries desperately to get out of the hotel room he and Nancy share, tries desperately to escape Nancy's rantings of death, before engaging in the scuffle that got her killed.

It may or may not have happened in real life, but I had never felt so suffocated watching a movie before, watching helplessly as Sid's fingers reach for the latch on the door but don't quite make it. I won't give the ending away, but many people have scoffed it. I think it worked very well and understood and exactly the irony that Alex Cox was getting at. Maybe some of you will understand it too. But you have to watch it to find out..You can watch this movie with feelings of disgust, scorn, helplessness and sadness. But this move made me personally, empathise with Sid and Nancy, two lost children in a vast world, searching for something that can't be found. And although many punks made it through the seventies, supress your contempt when watching this movie, and feel sadness for those who didn't.

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Probably the benchmark of the punk rock movie genre is this beautifully lyrical love story of destruction. If you're reading this review, you probably don't need the plot spelled out for you, but for those who need it: Sid was the bassist for the original English punk band, the Sex Pistols, and Nancy was the groupie/girlfriend who sent him spiraling to self-destruction. The film is based on their true romance, and is a heartbreaking and aching portrayal of nihilism and narcissism.

Gary Oldman, back when he was a lean and hungry actor at the top of his craft, puts in a stunning tour de force performance as doomed druggie Sid Vicious, while Courtney Love has a pre-fame bit part as groupie Gretchen (a precursor to her real later life with Kurt Cobain, as detailed in Nick Broomfield's "Kurt and Courtney").

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This has got to be the best film that I've seen about drug addiction and the emptiness of people who fall into it. The decline and death of the protagonists are frightening and depressing, so well acted that it is horribly, completely believable. Oldam and Webb are simply brilliant. Webb is totally believable as a border line personality, at times sensitive, but suddenly abusive and paranoid it is subtle and perfectly acted.

But the film is much more than that. There is also a twisted love between two people who can only be described as complete losers: Sid, who is nothing but a youth disaster become celebrity by chance and Nancy, a suburban cast-off who has wandered into the drug world, S&M for pay, and a pathetic search for groupie association with stardom. While almost nothing on their own, together they enter a downward spiral that can result only in death. Together they are far worse than zero. You helplessly witness their descent into a hell of addiction and chaos.

Finally, there is a wonderful evocation of their milieu: the late-70s punk scene. I recall, as a middle-aged man, how this was the first youth movement in which I had no desire to participate: I had been a late-comer hippy and was aspiring to academia when this started. It was the first "movement" that repulsed me personally, that I had no desire whatsoever to mimic. In this film, you see how talentless and nihilistic punk really was, but also how it had the raw energy of urban youth in societies that could offer them nothing of value. Gone are the ideals and dreams of the 60s. Their chaos and drugs and indirection in the end were all that they had, so they lived it unto self-destruction. Their scene, as portrayed in this film, was a revelation to me and is brilliantly evoked.

Reccommended with enthusiasm. This is like a modern Balzacian tale of meaningless annihilation, a rememberance of a time, and a perfect work of art.

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Clash of the Titans (2010)

I love "Clash of the Titans," but I'm terribly disappointed by the quality of this DVD. The "all-new digital transfer" that the manufacturer promises is quite possibly the worst transfer I've ever seen, enhancing the film's visual flaws while disguising its merits. In composite shots, live-action elements are so washed-out as to appear almost black-and-white at times, while stop-motion elements are garishly bright and crisp, looking more like cartoons than dimensional objects. This is particularly pronounced in shots of the flying Pegasus; the digital transfer so exaggerates the matte lines around the figure that it appears to be a paper cut-out plastered against the sky. Even the glorious Medusa segment suffers from these defects: what was, in the original (and on VHS), an atmospheric balance of rich darks and flickering red lights, becomes a clash of nearly impenetrable spots of shadow against grainy, pale-brown relief. I'm no authority on digital transfers, but my guess is that this one was done as quickly and cheaply as possible, the manufacturer's reasoning being (probably) that fans of Harryhausen will be so thrilled to have his films on DVD that they could care less what the films look like. Well, I was thrilled to have "Clash of the Titans" on DVD--but when the abysmal quality of the transfer interferes with the very effects that make the film great, my enthusiasm wanes considerably. I'd advise fans of Harryhausen to buy the video version, and to write angry letters to the manufacturer protesting their callous desecration of one of the master's greatest films.

Okay, I really like this movie and have since 1981 when it was theatrically released. It's not my favorite Harryhausen fantasy but it's in my top 5.

I ordered this blu-ray from Amazon.com a week or so ago and it just arrived today. This is where I kick myself in the head for not reading other's reviews of the blu-ray first. The transfer sucks BIG TIME or, perhaps it was just the elements used to create this blu-ray that were a mixed bag! Most (not all) of the daylight scenes were excellent but the evening and night scenes were truly horrid. From the opening scenes of the soldiers on the sandy beach right up to the end titles all I could see were large chunks of dirt that wasn't removed prior to making the transfer. Way too much film grain (much more than should be for a film of this age) and artifacts throughout.. all this clearly visible in the darker and some of the daylight scenes viewed on a 65 inch HD LED TV.

It seems the studios are really getting lazy (or is it just cheap?) in releasing newer and older films in substandard transfers.

I can name on perhaps 1 hand the films I feel are really superb transfers to blu-ray. Another 25 to 30 that are good and all the rest (approx 985 in my collection) as dismal failures as far as the quality of the transfers. I invested in Blu-ray for the promised superb quality this new format offered and to be honest I feel cheated MOST of the time to the point where I'm not going to be buying blu-rays based on how much I like/love the film but more importantly how good the quality of the transfer is. It's just a slap in the face from the studios to wait for them to make one of my favorites available on blu-ray and to be let down once again by a skanky presentation.

Two other blu-rays of recent note that I have had problems with (Gladiator and Saving Private Ryan) have been recalled by the studios for faulty transfers because we consumers bombarded them with complaints. I don't expect that to happen in this case because compared to the two just mentioned, CLASH is an older film with (I'm guessing) nowhere the amount of fans.

So if you really like this film and have a TV larger than 40 inches I'd stay away from this title. However if your TV is smaller and don't expect to be buying a larger one in the next couple of years, then go ahead and buy it coz you probably won't be able to see the deficits in the transfer.

And for all of you who won't be buying this blu-ray, do check out two other Harryhausen films (The 7th Voyage of Sinbad and Jason and the Argonauts) on blu-ray coz they look really GREAT. Sony 10 / Warner 2

Peace out.

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What a shame, this is Ray's last feature film and they give the man a kick in his pants with this transfer. This has some of Ray's best creations and it's ruined with a washed out grainy print. I could not bring myself to give it a lower rating. The film deserves 5 stars for Harryhausen's incredible work, but the DVD transfer keeps me from giving it a full thumbs up.

The print is very watchable and at a bargain price of $5.00 it should not be passed up, but the film and Harryhausen deserve much better! Thankfully they are releasing this film on BluRay and on a new DVD, so I will update my review when it has been released and I have a chance to compare them.....I'll keep my fingers crossed that they do this gifted genius justice!

****DVD/BLU RAY UPDATE****

Save your money as the new release of this film looks to be the same old transfer and the Blu Ray isn't worth the upgrade as it just brings out the wear and tear all the more. There are no new extras either. It's a shame because this film desrves to be completely restored and preserved for future generations and old school Harryhausen fans!

****END OF UPDATE****

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Judging from the comments below, it seems one either loves this film or despises it. In the book "Roger Ebert's Movie Home Companion", Mr. Ebert praised the film, so I decided to give this DVD a try. I'm glad I took a chance because it turns out Mr. Ebert's opinion matches my own. If you harbor a child's spirit within you, if you like to entertain fantasies, or enjoy comic books, this film is probably for you.

Ebert says "Clash Of The Titans" is special effects wizard, Ray Harryhausen's masterwork, a tour de force, and having seen many of the master's earlier films, I tend to agree. His effects are achieved by stop-action animation, rear projection, modeling, etc.; traditional methods requiring painstaking effort and which lend themselves well to a film which deals with ancient Greek mythology. But there is much more here than just fantastic effects. Nearly everything about this film works for me. The mostly British cast infuses the film with a high tone. Harry Hamlin plays the role of Persius exactly right, and Judi Bowker is adorable as the lovely princess Andromeda. The production values are high, with wondrous sets and marvelous costuming. The location filming in the Mediterranean is beautiful and sometimes breathtaking.

The DVD video transfer is from a clean 35mm print and looks terrific in the 16:9 widescreen mode. The sumptuous London Symphony scoring sets a tasteful mood and effectively augments the story. I do have one gripe, however. The music track on this DVD has too much treble and the music is too loud, competing with the dialog. Whoever remixes these soundtracks should be instructed that the music is not supposed to upstage the acting.

Apart from the sound mix, I honestly can't find much to fault with the film. This ages-old epic of gods and men, good vs. evil, and fantastic ordeals braved in the name of love, is treated with respect, both in script and acting, while remaining fun. Titans is an enchanting movie. It evokes a certain sense of magic which films like Star Wars seem to have sacrificed in the name of urbane sophistication and high-tech realism. This DVD is a fine choice for those who like a touch of charm with their escapism; a gem to be enjoyed again and again, by young and old, for it truly celebrates the child within.

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Movie 3.5

Similar to a lot of people, I remember seeing this (if not bits and pieces of it) on TV growing up as a kid. If not this, then probably some form of Jason and The Argonauts or The Seventh Voyage of Sinbad. Ray Harryhausen and his people did a great job trying to captivate audiences with their work, with Clash of the Titans likely being their most memorable effort. Almost 30 years later with this Blu-ray release, nostalgia must be rampant for those old enough to recall this wondrous interpretation of Greek mythology and fantastic tale of adventure, drama, and romance. I can honestly say until a few months ago when I heard of the upcoming remake, I really didn't remember much about this film. So in preparation for its arrival I decided to give this a rent to refresh my memory. Needless to say, it had been so long, I only now realized how good of a movie this is. Granted, the special effects weren't too great for its time, but I especially like the screenplay and script. Many of the actors/actresses are also British, resulting in a very thespian quality, which I think coincidentally ties in very well to "things of the past" as Mr. Harryhausen would say. Much like how you didn't see too many Greek-themed movies back then, you really don't see much thespian-type works outside of theater houses anymore either. And even after all these years, Titans '81 still manages to carry itself despite its age. The plot is revealed right from the get-go and progresses fairly well throughout, while providing just enough excitement and intrigue to keep the audience entertained. Although, I regret to say the special effects did end up hindering it a bit. Obviously, it was not big-budget like a Star Wars or Blade Runner back then, but I think it makes up for that in innocence.

Video 3.5

Presented by Warner Bros. in 1080p at an original aspect ratio of 1.85:1, Clash '81 ranges from decent to good at best. Grain is all over the place, even in the cleanest of scenes, and accompanied by an equal amount of noise in the darker ones. Colors are a little more vibrant than the DVD, but just barely. However, detail and texture look much sharper, though can appear somewhat hazy in conjunction with the constant presence of that grain. Black levels and contrast receive a slight boost in depth as well, and shadow delineation seems a little more pronounced compared to what I saw in SD. All in all, considering this wasn't even that high of a budget, this is probably as good as the video will get without massive image manipulation having to be applied.

Audio 4.0

This is probably the most notable of improvements over the DVD. While the original sound master was only limited to 2 channels, this DTS-HD 2.0 track is surprisingly buoyant. Separation of dialogue, sound effects, and music are good, even immersing at some points like there was actual surround speaker usage from the sides. Although, high and low ends aren't too different from one another, leaving a little more to be desired, but it's good for what was available. Again, this is probably as good as it'll get. Just goes to make you wonder how a sound design like Clash '81 can get lossless audio when bigger name movies and TV series still aren't getting stuck with lossy.

Extras 2.0

Clocking in at just a little over 20 minutes, we get a very brief interview with Ray Harryhausen about his overall thoughts and experiences with the making of Titan's '81. The main segment is about 12 minutes and delves a little here and there about production, writing, and his own personal opinions on the project. The rest of the extras are about 1-minute-long vignettes of Harryhausen explaining the creatures and how they were constructed/animated. Suffice it to say, the real highlight is the 5 minute preview of the 2010 remake that talks a little about the CG designs for Medusa and The Kraken. Given how outdated Titans '81's effects are, I'm actually pretty stoked for when I get to see the remake at some point.

Overall 3.5

Clash of the Titans (1981) certainly has its roots set with a unique charm and level of nostalgia for its Greek mythology and competent storytelling. While the special effects obviously didn't stand the test of time as well as its story, the overall movie itself really isn't so bad. However, with only a decent video transfer, limited audio encode, and small amount of extras, the current SRP of $34.99 for this digibook seems a bit steep for a film that didn't even have the highest quality production of its year. If anything, watch this just for the preview of the remake. Otherwise, die-hard fans should wait for the SRP to go a lot lower for this mediocre A/V presentation.

Lord of the Flies (Criterion Collection) (1963)

`Lord of the Flies' has been made into a movie at least twice since the William Golding novel of the same name became a cult classic / must read volume for high school and college students in the late 1950s. The first version, which follows the novel very closely, was done in black and white by the noted director, Peter Brook in 1963. The second version was done in color by Harry Hook and released in 1990.

Like many remakes in the same language, one immediately wonders why bother, as the original Brook version is more than gripping enough to convey the message of the novel.

To highlight the differences between the two versions, let me outline the story shared by the two versions.

The scene is set when an airplane carrying school children crashes in the South Pacific, of the coast of a remote tropical island. Approximately 30 of the children, ages 6 to 13 make it to shore and gather on the beach to work out how they are to survive and assume that since they are far removed from their original destination and the island is small and uninhabited, there is a good chance it will take a long time, if ever, for grown-ups to find and rescue them. The first two principle characters are Ralph, one of the two or three oldest boys who we meet first, in the company of an intelligent, bespectacled, slightly overweight boy of the same age known as `Piggy'. The third main character is Jack, about as old and as fit as Ralph. Three minor named characters are Simon, who is prone to fainting and `seeing things' and Sam and Eric, a pair of twins.

An early vote sets up Ralph as the leader, with a few rules establishing a conch shell found by Ralph and Piggy in the first reel as the symbol of the right to speak to the gathering of boys. Jack immediately assumes the responsibility as leader of a `gang' (later to become a `tribe') of hunters who will also take responsibility for maintaining a signal fire which Ralph succeeds in lighting by using Piggy's eyeglass lens as a means of concentrating sunlight on a clump of tinder.

Jack's gang gets involved too much in hunting and allows the signal fire to go out just as an aircraft flies near the island. Soon, a story evolves about the presence of a monster on the island. This creates the pretext for Jack to split off from the group with his tribe and create a camp at a more defensible location. As this larger group becomes more and more primitive, they raid Ralph's camp and steal Piggy's specs since it is the only means they have for starting fires. To placate the monster, the head of a killed wild pig is cut from its carcass and stood on the top of a pole near the suspected monster's lair as an offering to the monster.

After a few days, Simon observes this pig's head and its very large collection of flies feasting on the festering flesh and imagines he hears the pigs head speak to him, hence, the source of the title. Simon is then killed when the hunters mistake him in the night for the monster.

When Ralph and Piggy walk to Jack's camp to recover Piggy's specs, Piggy is killed by another `accident' when Jack's tribe members pry a large boulder loose that falls on Piggy. Ralph and Jack fight, Ralph is driven off, and the whole tribe sets fire to the jungle to flush out Ralph and, presumably, kill him. Both stories end as Ralph runs to the beach to find himself at the feet of a very professionally uniformed member of his country's elite armed services.

Hook spices up the dialogue by making the boys much more hip with lots of swear words and references to contemporary popular shows such as Alf and Miss Piggy of the Muppets. Unfortunately, Hook loses the two most important elements of the whole story. In the beginning of the novel and, subtly, in the beginning of Brook's film, we see that the world is once more at war and the boys from several different schools are on a plane to Australia to find relative safety from the coming (nuclear?) conflict. Hook shows nothing of this, giving us simply a group of boys from the same military academy on a trip to goodness knows where. This totally looses the whole allegorical sense of the story where the conflict between the boys mirrors the war in the world at large, especially the sense of the last scene where the world (island) is destroyed by the conflict (fire).

The second major oversight in Hook's rendition is that there is never enough attention given to the significance of the pig's head, Simon's vision, and the sense of `The Lord of the Flies'. A less important point is that the origin of the monster myth is different in the two movies. Brook's film follows the book and has it be a misinterpretation of a billowing parachute from a fallen, dead pilot. Hook creates the myth out of the spasms of the downed plane's delirious pilot as he finds refuge in a cave and is rediscovered by Simon who believes he is a monster.

Both movies do a credible job of depicting the fall of nominally civilized boys into savagery and myth. The combat between Ralph and Jack near the end is straight out of Frazier's `The Golden Bough' on the myth of killing the king. Unfortunately, Hook's version seems as eviscerated as the pig carcass, as all the great allegorical of the original story are totally lost. And, as minimal as they were, I even think the boys' performances in Brook's version are better done, as their initial innocence in the face of this loss of civilization makes their transformation all the more interesting.

Brook's version is highly recommended.

It was a pleasure to see the original version of "Lord of the Flies" again. I'll be interested in seeing the DVD version as well, to see what additional material comes in that format. Having been one of the boys in the movie, I also appreciated seeing the reviews posted by other Amazon customers! I wonder if any of the other cast members have checked out this site...

I confess to liking the original version far more than the remake, but that's not surprising, I guess. I TRIED to keep an open mind when I saw the new version, but, alas, I failed. My recollections of running from the burning jungle, coughing, onto the beach at the end makes a black-and-white rendition seem more real to me.

Buy Lord of the Flies (Criterion Collection) (1963) Now

I was terribly excited to discover that one of my favorite classic films, the 1963 Peter Brooks "Lord of the Flies" was on dvd. I was even more excited when I saw it had been given a deluxe treatment by some studio called Criterion.

"Lord of the Flies" was the first dvd I bought and it introduced me to the phenomenal Criterion Collection. Every extra on this dvd is fantastic and interesting, there is no filler or meaningless praise. The commentary alone is worth the price of this dvd, it gives a magnificent insight into how this film was made: for instance, the film was one of the first independent productions ever produced. This is one of those rare commentaries that adds to your appreciation and understanding of the film, I rank it alongside "Seven Samurai" and "Grand Illusion" (also both Criterion dvds) commentaries as among the best I have heard.

The film itself looks abolutely fantastic, worlds better than any vhs or laserdisc edition I had previously seen; criterion's produced an amazing, clean image that will be striking on any video set up.

_Lord of the Flies_ is one of my favorite novels; Golding masterfully touched on many themes and concepts about society and managed to capture the essence of humanity in the boyish caricatures he created. For the most part those themes and ideas come across very faithfully in the film. As it is pointed out in the dvd's commentary; there is no screenwriting credit, because there was no script, the production team worked straight from the novel, using it as their sole source of the story. The result is a remarkably clear and coherent adapation of the original novel, brought to life with great faith and startling prowess for a first time filmmaker. Some technical limitations can still be seen in the final product, but they do little to detract from your enjoyment of the film.

In short: a fantastic, dark, and compelling story is brilliantly brought to life in such a stark manner that it feels to viewer at times like an unfolding documentary. Finally, to top it off, the film was given a royal treatment on dvd that perfectly complements and enhances the film itself; in all, very much worth the price of admission.

Read Best Reviews of Lord of the Flies (Criterion Collection) (1963) Here

This is a thinker's film. If you like movies to sweep you away in a safe adventurous fantasy, get something else. Enjoying this film is contingent upon thinking about it. Like the book, it provokes, and you, being the subject matter, may not like being addressed in such a way.

Whether ir not it lives up to the book is a whole other question. I think it is wonderful in its own right, and that it does a great job of bringing Golding's story to the screen. Whatever.

As a DVD, this Criterion Collection edition is practically unsurpassed. I buy very few DVDs because they are expensive and I see this new medium as an opportunity to build a truly great movie collection. One afternoon I was discussing with some friends what movies we would buy on DVD. I immediately suggested "The original 'Lord of the Flies'. But they won't release it. And if they do it will be a crappy transfer. And there won't be any extras." Oh, how wrong I was! The sound and picture transfers are incredible the film is better than I've ever seen it. And the extras are amazing! The commentary is completely satisfying from a filmmaker's point of view, and likewise a philosopher's interest. The story of the making of the film is worth the purchase in itself.

There's tons of stuff to watch and listen to. It's great. It's totally worth the price. I thought that "The Matrix" was a great value as a DVD (in terms of extras), but this matches it and means a lot more. "Buy it!", I say!

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This movie is a very skillful presentation of William Golding's eponymous, timeless sociological horror story. A group of boys ranging from around 6 to, I would guesstimate, 14 or 15, are stranded on a desert island. Unfortunately for the boys, the general spirit of their story parts ways with the spirit of "Gilligan's Island" immediately, and they end up deteriorating into tribal, superstitious savages, rent with internecine strife, in a matter of (evidently) weeks.

Any viewer out there who plans to see this movie should absolutely make an effort to read the book. You could possibly see the movie first, if you digest storylines more easily through movies than books. But whatever order you carry out the two activities in, you must see the movie AND read the book, if you want a full understanding of what the director was doing here.

Here are a few good things to notice. First of all, you should be aware that this film was shot mostly on the islet of Vieques, off the coast of Puerto Rico. It's hard to believe that this is true, because it's just so perfect -Vieques is the island where the U.S. Navy practices bombing these days, and protesters against war have been getting into all kinds of clashes with the authorities the past few months (spring and summer of 2001). Maybe "Lord of the Flies" was more prophetic than the director, actors and writers ever even realized.

A second thing to notice is the song that is constantly playing, throughout most of the movie. The song is "Kyrie Eleison." At first Jack's choir sings it, and then it sort of becomes general background music. If you happen not to be particularly into going to church, let me just clue you in that "kyrie eleison" is Greek for "Lord have mercy," which I think you'll agree is a chillingly apt refrain for this relentlessly dark movie.

A third good thing to notice is the little boy, who progressively loses his memory of his own identity, over the course of the film. At first, he automatically recites his full name, address and phone number to any stranger he meets, as he was apparently taught to do by his parents. Midway through the film, he can remember only his name, and part of his address. By the end, not to spoil the ending by giving too much away, he cannot even recollect his name. "How quickly," one envisions William Golding bemoaning, "we forget!"

But I'm just pointing out a few minor things to notice. The basic theme is obviously the clash between savagery and civilization, and the tendency for things to fall apart, for the center not to hold... George Washington himself used to say that the job of government has to do with Fear -instilling it in possible malefactors, in enemies of the state, even in respected members of the community, just to keep everyone in line. This movie makes you think about what might happen if that force were removed from society as a whole. If the function of art is to raise awareness of painful truths, as this movie does, then the individual must be sure to bring things other than art into their lives, in order to raise awareness of kinder truths which are no less valid, no less serious, and no less important for being kind. That's what I think anyway.

This is an interesting movie, and it will really make you think. Two thumbs up.

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New Jack City (2012)

The two-disc special edition of New Jack City is a great investment for fans of the classic hip-hop drama. Released in 1991, New Jack City was the first feature film Mario Van Peebles released. The film also was a breeding ground for actors who went on to have very successful careers. The music of the "New Jack" movie is almost as memorable as the movie itself. Ice T stars in the film as a "New Jack" cop who goes undercover to break down the "CMB" crime mob. Crack was running rampant. Wesley Snipes starred as Nino Brown and Allen Payne starred as his right hand man "G-Money." It's a great film and Chris Rock appears in the film as a crack head named Pookie. "New Jack City" is the first hip-hop gangsta movie classic. It wasn't just a shoot em' up bang bang movie, it really captures the essence of those mafia/organized crime movies. The DVD's packaging is very nice.

The Road To New Jack City-

This is hands down the best featurette on the special features.

Usually when you see these behind the scenes features, at lease one of the main actors is missing. Not so with New Jack City. Mario Van Peebles (actor/director), Ice-T, Chris Rock, Wesley Snipes, Allen Payne and Judd Nelson speak on the film. It's really interesting to see the actors express their feelings about the film. Nino Brown is such a memorable character and Wesley Snipes seems very upbeat in reminiscing about the film. This featurette is really amazing because they get inside of every major character involved in the film. They even discuss certain scenes. This is great.

NJC-A Hip Hop Classic

Fab Five, Nappy Roots, Truth Hurts, A DJ from Power 106, Ed Lover, Ice T, Warren G, and a few others speak about the film and the films soundtrack. Cassandra Mills-the soundtracks producer tells the story of the films soundtrack. She states this was the first soundtrack that featured rap, hip-hop and pop songs. She explained how Color Me Badd had a #1 song, the Christopher Williams song was doing it's thing on the pop charts and the Ice T song was thing on the rap chart. She states they had three hit songs from the soundtrack prior to the film even coming out.

Music Videos

Ice T-New Jack Hustler

Color Me Badd-I Wanna Sex You Up

Don't Wake Me (I'm Dreamin)-Christopher Williams

Two disc set also includes a feature title "Harlem World-A Walk Inside (Mario takes viewers on a tour of memorable locations seen in the film) and Director/Co-Star commentary by Mario Van Peebles.

Mario Van Peebles directed and co-stars in this influential and well filmed urban crime saga that surprisingly still holds up today. New Jack City, like King of New York, Boyz N the Hood and Menace II Society, has spawned a host of immitators to this day, but it's Peebles heartfelt message that sets New Jack City apart from others. Peebles stars as one of the honest cops (along with pimp turned rapper turned actor Ice-T and Judd Nelson) trying to nail ruthless drug czar Nino Brown (Wesley Snipes) and bring down his empire of drugs and murder, to little avail. A young Chris Rock stars as a recovering addict who Ice-T and co. look upon to help them nab Nino, but it soon proves to be something that is much easier said than done. Unlike the "gangsta" films that followed, New Jack City offered a glimmer of hope under the violence and pounding hip-hop soundtrack, and it helped launch the career of the charismatic Snipes who would become an action star as the decade progressed. The rest of the cast does great as well, and it's nice to see that the film gets the Special Edition treatment it has deserved. All in all, New Jack City remains a near classic of the genre, and still manages to hold up to this day.

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I grew up on a staple of spaghetti westerns (Terence Hill), kung-fu (Bruce Lee & Jacky Chan) and action (Bruce Willis) flicks but as a young black man growing up in Kambuzuma, Harare, Zimbabwe I did not identify myself with any ONE genre. Kine 1000 was a typical urban cinema goer's paradise.

Enter Wesley Snipes in 1991's New Jack City and my whole world changed. Here was a despicable villain, vicious, arrogant and totally self-serving an individual as you ever will see, yet he was charming ang very likeable at the same time. I identified with him, I hated his politics (so to speak) but in the same breath I knew a 1000 like him who corrupted nations and enriched themselves while so doing. The movie was set in America but it could have been enacted in any urban city in the world.

Happening, relevant and totally and brutally believable! Snipes is excellent, Allen Payne, Ice T, Judd Nelson & Chris Rock not far behind this movie set the the tone for all drug related movies to follow. Brilliant movie, brilliant acting this film turned me off drugs for life!

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Ahh..... New Jack City, what a classic. The tale of a man who runs the streets of New York selling crack, the overly agressive cop who wants to kill him himself, and the funny and funny-looking crack addict turned good. Ice T plays a cop who wants to shut down Snipes' business and watch Snipes die with his own two eyes. The loving part of the movie includes Chris Rock as Pookie, the crack addict who decides he is done with crack tries to help the cops but ends up being killed. The action in this movie in unbelievable. Wesley Snipes and his crew are one of the meanest in film history ive seen. He makes Al Pacino and Robert De Niro look like pussies. This is definitely a must see and a must own.

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This motion picture is about the crack cocaine epidemic and the devastating impact that it had on life in the inner city. This is a tough and uncompromising movie.

The main character in New Jack City is Nino Brown (Wesley Snipes), the leader of the Cash Money Brothers (CMB) gang that is one of the biggest crack cocaine trafficking outfits in New York City (NYC). Together with his partner Gee Money (Allen Payne), Brown lives a glamorous life of luxury, fast cars and hot chicks. To put it mildly, Brown is a poor role model for inner city youth.

As Brown's CMB empire grows, he becomes ever more arrogant. The CMB takes over an apartment building and evicts the inhabitants, including an elderly World War II veteran. The CMB is becoming big, fat and out of control. The CMB is hell bent on contaminating the NYC inner city scene. Brown even dreams of taking down the Mafia so that the CMB can become the dominant organized crime gang in NYC. Brown initiates action against the Mafia and scores some success. The shootouts between the CMB and the Mafia are very well done.

Eventually, the top brass at the New York Police Department (NYPD) wake up to the CMB menace and resolve to do something about it. Two of its best detectives, Scotty Appleton (Ice-T) and Nick Peretti (Judd Nelson) are assigned to the case. The detecting duo get a big break when they come in contact with a druggie named Pookie (Chris Rock). The detectives put Pookie on the road to recovery and Pookie agrees to infiltrate the CMB for the NYPD.

New Jack City is a most interesting movie. On the surface, it is just another cops and drug dealers movie, but it is really more than that. It is a tough, realistic portrayal of the damage wrought to the inner city by the crack cocaine epidemic. It presents an involving story with a strong anti-drug message. This movie really makes clear just how bad the drug problem is in the inner city and how illegal drugs have ravaged the community.

New Jack City is a well executed movie. It features strong performances by such actors as Ice-T and Wesley Snipes, who have generally not made strong performances on other movies. It has a strong script and an involving plot. It probably should have won the Academy Award for Best Picture, yet it was not even nominated for an Oscar in any category. This was because, for all its great points, New Jack City was generally regarded by both the critics and the Hollywood elite as a "black" movie and as such unworthy of being considered as legitimate cinema irregardless of how much money it earned for its releasing studio.

This movie was both entertaining and educational in that it taught this country's youth the dangers of drugs and how it

leads to a person's downfall. The message of this film was plain and simple: Crack cocaine can destroy a person's life and damage the lives of others. If we do not continue to fight the war on drugs, then drugs will continue to destroy our country.

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Platoon (Two-Disc Blu-ray/DVD Combo) (1986)

"I think now, looking back, we did not fight the enemy. We fought ourselves. And the enemy was in us."

Thus the summation of Private Chris Taylor (Charlie Sheen) at the end of this film, a film about war, hate, self-realization, and survival. PLATOON tells a powerful story that moves beyond the horror and gore of the Vietnam War, a story that ultimately depicts the demise and disintegration of a dysfunctional combat unit. We see young Chris change before our very eyes, from a green, idealistic "grunt" to an embittered, disillusioned soldier. Chris' platoon is dominated--and subsequently divided--by two strong, yet very different men: Sergeant Barnes (Tom Berenger) and Sergeant Elias (Willem Dafoe). Barnes is cold, calculating, brutal, intolerant; Elias is compassionate, humanistic. The battle of wills between these two men is just as challenging as the Viet Cong out in the bush, and just as deadly. The film's climatic ending is powerful, spellbinding.

I dismiss naysayers of PLATOON as a soapbox for writer/director Oliver Stone's political agenda just as much as I dismiss Mr. Stone's politics. PLATOON hits you between the eyes with its depictions of warfare and human conflict, again and again. There's nothing to feel good about by watching this movie, just as there is nothing to feel good about by fighting a war. It is a dark, negative film--a negative film that happens to be compelling, thought-provoking, and very riveting.

The last Platoon DVD had some impressive extras, most notably two audio commentaries and a retrospective making of documentary. These have been included along with several additional featurettes and deleted scenes.

The first disc features an audio commentary by Oliver Stone. He talks about the challenges of making Platoon on a low budget and working in a harsh, unforgiving environment. This track is filled with fascinating personal insights and is essential listening for any fan of the movie.

Also included is a commentary track by the film's military advisor Dale Dye, a retired Marine of 22 years with 30 months in Vietnam. This is a great track that is technical but also accessible and really makes you appreciate the amount of work that went into this movie.

All of the new extras are contained on the second disc, starting with "Deleted and Extended Scenes" with optional commentary by Stone. Most interestingly, is an alternate ending for Barnes which Stone says he now wishes had been used.

"Snapshot in Time: 1967-1968" gives a historical perspective to the time period the film takes place in and puts things into perspective by exploring the origins of the conflict and how the U.S. got involved.

"Creating the `Nam" takes a look at how the filmmakers created the condition of Vietnam in the Philippines on a limited budget. Some highlights include a bit about how they created the village in the movie from scratch and did such a good job that locals moved in with no prompting!

"Raw Wounds: The Legacy of Platoon" examines the film's legacy and how it gave veterans the dignity they deserved and allowed the U.S. to come to terms with the war.

"One War, Many Stories" features a group of vets talking about the movie after a screening and how it relates to their own experiences. These guys tell some fascinating stories that are in turn juxtaposed with Stone talking about his own experiences.

Included from the previous edition is "Tour of the Inferno," an excellent, in-depth retrospective documentary that brought back a lot of the film's cast who talk about their experiences making the film. This is a fantastic doc that manages not to repeat too much of what was said in the two commentary tracks.

"Preparing for the `Nam" examines what basic training was like with vets talking about their experiences. It was tough but also taught them valuable lessons that helped them survive and bonded them with their fellow recruits.

Finally, from the previous edition, there are photo galleries, three T.V. spots and a theatrical trailer.

Buy Platoon (Two-Disc Blu-ray/DVD Combo) (1986) Now

Oliver Stone's Platoon transcends the romanticization that so often infuses our thinking about war with a painfully honest portrayal of its dehumanizing effects. Charlie Sheen plays Chris Taylor, whose idealism drives him to leave college for the hellish jungles of Vietnam. He sheds his innocence quickly, however, as the horrors of war take a heavy toll on his body and his sanity. After witnessing acts of barbarity by fellow soldiers--including rape and the deliberate killing of civilians--Taylor becomes aware that he is fighting not only an external enemy, but an inner one as well.

Representing the sides of this internal battle are Sergeant Elias (William Dafoe), who shows compassion towards his men and is outraged by atrocities he witnesses, and Sergeant Barnes (Tom Berenger), who displays no regard for human life. With their sanity pushed to its limits by the terror of combat, members of the platoon are torn between the two men and begin to turn on each other.

This film is disturbing in its brutal realism, and the painful questions it raises remain relevant decades after the Vietnam War, particularly in light of incidents such as the Haditha massacre and the overwhelming numbers of Iraq veterans struggling with PTSD. Platoon sheds light on the conditions that breed atrocity and the devastating psychological effects of war upon soldiers. It is not an antiwar film, nor one with a political agenda; it is simply a raw, candid film about war's impact.

Read Best Reviews of Platoon (Two-Disc Blu-ray/DVD Combo) (1986) Here

First, let me lay my cards on the table: I'm a conservative Republican, am generally pro-military (i.e. U.S.), and distrust Oliver Stone nearly as much as I do Michael Moore. Further, I don't know if I've ever agreed with a thing that the Sheen family has said. Yet even though some of my political pals disdain this movie, I feel differently. I half-expected a heavy dose of lefty propaganda and intentional distortion, but for the most part was pleasantly surprised. I try to evaluate every item I encounter fairly and individually (instead of a knee jerk reaction), and these are my thoughts on Platoon, after viewing it again tonight:

On the 'positive' side, the film rightly shows the awfulness of war. Again and again, liberals seem to think that those on the right somehow deny this. Of course we do not! I give the movie high marks for depicting war as a living nightmare. Personally, I cringe when some of the older movies represent war as little more than a comic book boys' fantasy. I also thought Platoon contained some admirable acting (Sheen, Dafoe, Berenger, David), and combat scenes. It held me throughout.

The one major criticism I would make, and the flaw that keeps it from being an elite film in my opinion, is the way in which it reaches too far to show the dark side and corruption of the soldiers (American). Stone has a crippling weakness for sensationalism (evidence: JFK), and it seeped through some here. For instance, you cannot take the worst atrocities (even if they are all factual, which I question) and then portray them as representative of a typical company of soldiers and their Vietnam experience. Yet this was the impression given. In fact, it was basically the story. This is irresponsible and misleading. One of the film's few faults, but a bad one.

However, when considered as a whole, Platoon has much to commend it. While it is unfortunate that its weaknesses diminish its merit, they do not ruin it. I'd be very surprised if Stone ever makes another movie nearly as good.

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The reason this movie is no longer for sale is because New Line was bought out a while ago by MGM (or something along those lines, but MGM now owns the video rights). MGM is rumored to be planning a special edition of Platoon in August, which probably means they are just rereleasing the old New Line DVD and calling it a Special Edition. Hope you find that useful!

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Wintervention

I bought this for my husband because he loves Warren Miller. However, we were so disappointed because there was NO Warren Miller. Skiing was fine but it didn't have the Warren Miller humor, narration, etc. Even the filming was not "Warren Milleresque." Disappointing.

Movie was great. I always love to start the ski season by getting amped up by a Warren Miller movie!

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This was a great movie!And Lindsey, wow!Warren Miller films has another hit. Year after year they put out the best movies.

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It is the best yet everyyear they seem to come out with another film and each year i can't believe it is still better then their last one

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i have just recently watched this on ONDEMAND STARZ... and it was really awesome and for ME a lil more info on skiing and snowboarding and info of the best destinations... without a shadow of doubt this has inspired me to go take up some snowboarding lessons this winter c:

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The Twilight Saga: Breaking Dawn - Part 1 (Special Edition) (2011)

I just saw "Breaking Dawn" part 1, and I was VERY impressed, even if as a man I am probably not the most typical fan of "Twilight" series. I rather liked all the "Twilight" movies until now and this one is, to my personnal taste, as good as the previous ones and even in one aspect a little bit better, as Edward and Bella finally become lovers. Below, you will find a short description of what I believe are the best elements of this film, with very limited SPOILERS:

1. Actors. All actors evolved as the serie continued and I believe they all got better with time. Robert Pattinson and Taylor Lautner are both excellent, but in my humble opinion it is Kristen Stewart who in this movie shines the most. Quite a lot of people frequently criticized her actorship claiming that she simply can not play at all and has a very limited assortment of expressions in her tool box. But for me, after reading "Twilight" books, this is how the character of Bella should be. I can hardly picture her wide smiling with all her teeth bared or doing any other highly extraverted things like that. In fact I believe that either by design or by accident Kristen Stewart got the things right about this character her minimalistic approach to facial expressions actually makes (for me) Bella very believable and also quite likeable. In this part of the story, Bella takes a more dynamic approach to life by taking her destiny firmly under control. She makes important decisions and takes extreme risks, stubbornly resisting the opposite advice of all her family and friends all of that in a deceptively unassuming way... And Kristen Stewart acted in the movie exactly as I pictured Bella did it, when I read the books. A very good job!

Other actors are also great, with Ashley Greene and Billy Burke being as usual the pillars but amongst the supporting roles it is Nikki Reed who really gets the most praise from me. She has a much bigger role in this film and she is perfect in it! The one (little) disappointment is Jackson Rathbone, who changed comletely his haircut for this film and as a result his character, Jasper, seems much less impressive, which is a pity. He also seems to appear very little in the "first line", almost as if the director preferred to hide him a little...

2. Visual aspects. As usual, the images of state of Washington are great, but the tropical island where Bella and Edward spend their honey moon is also very pleasantly showed. Dark forests filled with (were)wolves are very much present here and they are a great background for the story.

3. Music. As usual in those series, music and songs have been selected very carefully and with a great taste.

4. The (were)wolf pack. The Quileute wolves are shown here even more and better than in the previous part. The scene of their war council, when they are all in the werewolf form, is absolutely great! The scene when Sam (the alpha male) asserts and confirms his power over the pack is excellent as good as the description of Jacob's defiance and its consequences.

5. The wedding. A very nice and moving scene with some humour elements, especially when the guests make speeches offering toasts. Emmett, Jessica and Bella's father give here a great show. In the same time Mike Newton obsesses on vampire bridesmaids from the Denali clan, to the point of drooling (and I TOTALLY understand him!). Bella's mum and, suprprise surprise, Rosalie (!) are also real treasures in wedding scenes.

6. Quileute wolves vs. Cullen coven confrontation. This heartbreaking, tense and at moments violent conflict in which both sides are trapped against their will is a great moment in the Twilight saga and its final resolution is even better! Finally it is true what the Beatles were singing all you need is love! Babies help too...

7. The fight for Bella's life, Renesmee's bloody birth and Bella's fate excellent! Those were moments very difficult to film but the challenge was met succesfully! Nothing more about it to avoid more spoilers, but I was very impressed!

Conclusion: it is an excellent movie which I watched with great pleasure. My wife, who usually is a much harder person to please, loved it too and she is going to see it again with some girlfriends. And we will certainly both wait with great expectations for the "Breaking dawn" part 2. If it was done as well as that one, it will be certainly worth waiting one year to see it...

Being a huge fan of the books and a pretty big fan of the movies, I was blown away at what a great job they did with this movie installment. I loved the visual and audio parallels they drew between the original movie, Twilight, and this movie. For instance (Spoiler Alerts throughout): I loved how they played Flightless Bird during the wedding ceremony and the way the camera circled them kissing in the same manner the camera circled E & B kissing at Prom at the very end of Twilight. It was a subtle, yet stunning way to visually tie the two movies together and really made more of an emotional impact than if they had just shot them straight on and plugged in a different song. That was genius. And that dress...gorgeous. Just as it was described in the book.

I also loved that rather than having one continuous honeymoon "consummation" scene, they broke it up with Bella thinking about certain moments the next morning after looking in the mirror for the first time, where she's no longer a virgin. It was all done so tastefully. The way one's first time should be at that age. Not at some house party or in the back of some guy's car. For those who read the books and knew how Edward did everything he could to exhaust Bella with activities on their honeymoon so she'd be too tired to "try again", you have to admit that Bill Condon did such a great job showing you visually all the things they were doing without either character having to come out and say, I'm/you're trying to exhaust you/me. And it was adorable with KS put on her little nightgown and leaned against the wall...I got married when I was 19 and I felt the exact same way when I put on lingerie for the first time and dreaded walking into the bedroom with my little gown on. I felt like a child playing dress-up, much like it came off Bella felt.

I was also very impressed by the manner with which Bill Condon allowed us to see through the eyes of Jacob for the first time and hear what he hears with regard to the internal dialog between him and the pack. That scene where the wolves were running to the lumber yard and their voices echoed in Jacob's mind...that was so perfectly done. AND, I loved loved loved the way the Sam and Jacob had their battle for alpha. It was as if you, the person watching the movie, was in the mind of a wolf who is being forced into submission by it's Alpha. The CGI team did a great job because I forgot I was watching computer generated wolves and the intensity of the scene felt like I was there witnessing the true dynamic of a wolf pack.

I thought the birth scene was beyond intense. The scene almost mirroring that as it's written in the book. I think they showed just the right amount of Bella's internal agony during her transformation. For those of us who read the books, to say she had a prolonged bout of suffering during her transformation would be an understatement. However, if they had shown more of that in the movie, it would have taken from the torture that Edward was going through thinking he had lost Bella, and Jacob's malevolence towards Renesmee prior to imprinting on her. That whole scene allowed for each character's state of mind to be both seen, visually, and felt, emotionally. Powerfully shot and brilliantly executed.

I imagine the imprinting scene was a difficult one to translate from paper to screen. They did a great job in this as well. Not in any way cheesy, but sweet and breathless...if that makes any sense. The only thing I did not love about it was that the girl/teenager Jacob sees as an older Renesmee appeared to be CGI. They used an actual young girl to play the younger Renesmee, why not use a real person for the older Renesmee too? I'm sure Hollywood has a few young actresses that would have auditioned for the part???

I loved the fight between the wolves and the Cullens at the very end of the movie. In the books, you go from Jacob's perspective where he witnesses Bella's death and then walks into the living room to kill Renesmee, only to imprint on her. And then you go immediately back to Bella's perspective where she's riving in pain while she's transforming into a vampire. I feel Melissa Rosenburg had a stroke of brilliance when she decided to add this scene so that the audience could see what could have happened in the books, but did happen in the movie, during the time period between Jacob imprinting on Renesmee and Bella awakening for the first time as a vampire. Another unexpected and totally welcomed brilliant surprise of this movie.

Another welcome surprise for me was while Bella was at the very end of her transformation. I thought it was a touching visual moment that just before her heart beat for the very last time, we witnessed Bella's memories in a somewhat reverse chronological order, ending with her very first human memory as a baby in the arms of her parents bouncing her in front of a mirror.

But what was not a surprise and what I've been telling my fellow twi-hards the past couple years is the very last scene of the movie. Once I heard they were splitting BD into two parts, I've always maintained there's only one way to end part 1 with truly visual impact...and that is to witness Bella's subtle transformation from a broken human to a perfect vampire, surrounded by the Cullens, with the scene closing in on Bella's perfect facial features, zooming into her perfectly shut eyes...that suddenly open the most gorgeous crimson red....and straight to credits. I actually gave myself a little pat on the back for that one because so much of the movie exceeded my expectations of visual and audio creativity, and yet the last scene ending a certain way was something I was very adamant with my friends about, and sure enough that's how it ends. So maybe now I can revel in having an ounce of the vision that Bill Condon and Melissa Rosenburg possess...hey I'll take that ounce.

Aside from the standout scenes I've mentioned herein, I thought Kristen Stewart did her best portrayal of Bella yet. Her facial expressions alone are so real to each moment they're almost tangible. I've enjoyed the work KS has done prior to the Twilight Saga, and I am so glad these movies have launched her career because I am certain she will be one of the great leading ladies of acting for many decades to come. So to all Twi-hards out there. This movie was amazing. A must see for those who loved the books and fans of the previous movies. I can't wait for it to come out on DVD so that I can add it to my Twilight Saga collection.

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From the raised, reproduced lace on the DVD package that matches Bellas Wedding gown, to the simply gorgeous, delicate silk commemorative flag/poster of their wedding photo, this is a no-brainer, must have edition to build your collection, ladies!

Included is the music from the film, the movie disk, a documentary disk that shows how they used a dummy to make Bella appear so emaciated as her pregnancy with

Renesmee progressed, and so much more.

I was gifted this from my brother who works at WalMart and hid it away for me a week before the release/sale date, and I had no idea it was a wedding version.

Upon receiving it you feel like you are truly apart of the Wedding, and that this rare DVD set is your wedding favor!

The movie is beautiful, the packaging is beautiful It truly is one of those instances where you need to buy the rare edition, in this case, this very Wedding Dress Edition. Its worth whatever you have to pay for it.

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You get a single disk with the Theatrical Release and a few extras. What in THE world makes this a special edition? You don't even know this is your lot until you open it and see it on the disc. :(

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This is one of the worst movies I've seen.

I know it's sort of the "in" thing to hate on Twilight, and there are good reasons for that. It depicts an abusive relationship between two unlikeable people who have absolutely nothing in common, beyond a sort of warped physical attraction, and tries to convince the reader that this is romantic. It's been called misogynistic, classist, racist, and ableist, among other -ists, and transphobic. Stephanie Meyer tries to set up her own vampire mythos, which is fine, but then she contradicts it whenever it's convenient for the plot. We could talk about all of this, and more, and many have, but as far as I'm concerned, it all boils down to one thing:

It's not entertaining.

I only ask one thing from a movie, and that's to be entertained. It may be cerebral, or melodramatic, or a big, dumb action movie, but as long as it's entertaining, I don't care. This is why I love Ed Wood, adore The Asylum, and count "Birdemic: Shock and Terror" among my favorites. Yes, all of these are, technically, of a lower quality than the Twilight series, but I don't care because they entertain me. The Twilight series does not.

The reason for this is a near-total lack of conflict. When I first tried to read "Twilight", I made it as far as a scene in which Stephanie Meyer narrates Bella microwaving and eating lasagna. If I remember correctly, this is about a third of the way in, by which point all potential sources of conflict have been resolved. Most of the book is completely static and then the plot finally advances in the last third or so, but you don't care because it's already been spoiled by Stephanie Meyer's attempts at foreshadowing. This is a problem which plagues the entire series and it translates into some truly agonizing movies.

"Breaking Dawn: Part 1" is the worst offender. It's two hours long. Absolutely nothing happens for the first hour, apart from some terrible music, at which point the movie's conflict finally arrives: Bella gets pregnant. Shock. Then nothing happens and there are some CG werewolves that are even worse than the music and nothing happens until fifteen minutes to the end, when Bella goes into labor. Edward gives her a c-section with his teeth, a horrific CG baby is given the world's most embarrassing name, and Jacob turns into a pedophile. Besides Charlie, Jacob was the only likable character to go through these movies. Then "Breaking Dawn" happened and now he's a pedophile. Goody. I understand he's supposed to be even more unlikable and out-of-character (compared to previous installments, anyway) in the book, but good lord.

That's it, really. It's two hours long. I'd say maybe forty-five minutes of it actually needs to be there. I only just saw it, and even with the RiffTrax commentary, I was so bored I could barely pay attention. It's boring. Don't watch it.

Actually, I take that back. There are three (3) things worth seeing:

1. Watch it if only to skip the entire movie and see the Volturi scene in the end credits. The actors clearly don't care and are just doing what they want, and it's a riot. "Carlisle... who spells his name with an esssssssssss."

2. Robert Pattinson's makeup makes him look like he's about to die of alcohol poisoning.

3. At the end of Bella's getting-ready-to-have-sex montage, she looks like she's trying to psyche herself up to muck out the pigs. Seriously, she's finally going to screw this guy she's been trying to screw for three movies, and she looks revolted. It's hilarious.

PS: There's going to be an extended version of this on DVD. WHY. It didn't need to be two movies in the first place, but now they're making the first one even longer?!

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Definitely Maybe

The concept here is great: on the eve of his divorce, a father tells his daughter the story of how he fell in love with her mother by changing names so she has to guess who she is in the story. What's so amazing is how they were able to pull off this story with three female leads all interacting with the same man, and yet somehow make us cheer each of them on in their own way. Ryan Reynolds is great in the lead, easily flowing from the caring father of the present to the stricken college student of the past and beyond. As the story unfolds, you'll meet Emily, April, and Summer--three women who will have a dramatic impact on his life in various ways.

There are some genuinely funny moments in this film, and I honestly can say I never really got bored at any point. It was like watching three romances unfolds and ultimately fall apart for different reasons. No doubt you will find yourself choosing a favorite, and like Maya (the daughter), you'll be hoping your favorite will turn out to be her mother. Be prepared to be surprised though.

As the movie drew closer to the end, I honestly thought I was going to be disappointed in how it ended. But the movie managed to end perfectly. Reynolds is a great actor who can be flippant and cocky one moment, then broken-hearted and in love during the next. Isla Fisher does a great job as April, the outgoing copy girl who works with him during the Bill Clinton campaign.

If you're looking for a great romantic movie, this is the one.

In most romantic comedies, you have a story where boy meets girl, then boy loses girl, and finally boy and girl re-unite and live happily ever after (or v.v.).

"Definitely, Maybe" is definitely not your usual run-of-the-mill romantic comedy, and refreshingly so: taking a very different approach to the subject.

For starters, the storyline revolves around the relationship between a father (Ryan Reynolds, played by Will Hayes) and his daughter, Maya (played by Abigail Breslin). Throughout most of the film, Ryan's romantic adventures (and misadventures) are potrayed as a series of flashbacks, as he relates the story of his life to his daughter in the form of a bedtime story.

Some of the dialog, particularly Maya's lines, are hysterically, if not shockingly funny such as a very clinical discussion she has with her father about procreation as he picks her up at school after a "sex ed" class: she asks, for instance, how a baby could be "mistake" after going through all that effort to try and make one. Later, she asks her father (after he relates his past relationships to her) "What's the male word for 'Slut'?" To which he sheepishly responds "They're still working on that one."

An interesting twist is that the father thinks he's helping Maya to become more mature and sophisticated in her knowldge of the many emotional dimensions and complexities of adult relationsips. In fact, there's more to it than that: as Maya's dad tells the story of his relationships with three very different women: "Emily", "Summer" and "April" to his daughter, you see him growing in maturity as he drifts from one relationship into another (and back again). You also begin to understand why his marriage to Maya's mom failed (as is hinted at the start of the film): he's the one who needed to grow up. A point emphasized when Maya explicitly tells him so.

Ultimately, this movie spoke to me about the importance of maturity in relationships, and about how Love doesn't always come in the package (or place) you expect.

I give "Definitely, Maybe" four stars not likely to get an Academy Award, but certainly a sweet, funny story with excellent performances.

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Wow, what a great movie. I havent seen such a heart-felt romantic comedy in so many years and this really jumpstarted that romantic side of heart that's been dying to see a good romantic comedy. This movie is simply superb in execution and performance... touching and funny in all the right places and I never once felt bored despite its seemingly long duration. I thought of doing some internet surfing but couldnt bear to tear my eyes away and miss those good moments, and there are many.

I would rate this on the top of my list for romantic comedies. I hope we see more of Ryan Reynolds because I liked him a lot in 2 guys and a girl and a pizza joint. The actresses were all memorable and amazing (especially Isla Fisher). Anyways, you cant go wrong with this one when you want to make your heart warm a little.

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Is Ryan Reynolds capable of making a bad movie? I am sure he must have somewhere, but I have yet to see one. And this film may be the best one yet. All three of the leading ladies were good, with Isla Fisher pitch perfect. And young Abigail Breslin will surely be a gem for decades to come.

A good comedy shows us things about human nature and truth. It is no accident that the only great writer who appears in any of Plato's Dialogues is Aristophanes [in the Symposion]. Even the ancient Greeks understood this simple factthat comedy can teach the deeper truths about humanity far better than drama. This comedy goes far beyond the usual cheap Hollywood formula to truly explore what happens as people fall into and out of loveand perhaps how real love begins. This is not about winning or losing at loverather it is about how our character is what makes love possibleor impossible. In short, this film really explores that part of human nature that is entertwined with romance. Aristophanes would have approved.

So this actually is a romantic comedy that does not follow the standard formula. Yet, despite the premise, it DOES have a happy ending.

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This was billed as a romantic comedy but I didn't find it anywhere near a comedy. Maya delivers the best comedic, if not the only, comedic lines. That being said, it was a nice family film. Will is reluctant to talk about his past because it's "complicated" and Maya is tired of hearing "it's complicated". Finally, the two make a truce and Will shares his life's story--romance wise--with as much innocence as he can muster up. But as the story unfolds, it's not Maya that gets a lesson in life, but Will. Some consider the character of Will to be rather dull, but you have to remember that he's supposed to be depressed. He'd gotten burned so many times in his relationships--his best friend, his girlfriends, his job--that he's all but given up on finding true happiness. When his daughter tells him he needs to get happy again, he tries to tell her that he is--that he has her, but wise beyond her years, she sets him straight. She loves that he feels she's the best thing that ever happened to him, but she knows he needs more, he deserves more. If you spend your life doing everything for your children and find that you aren't as happy as you'd like to be and worry that doing things for you--to make you happy--could hurt your children's happiness, then you must take a queue from Maya and find happiness because when you are happy, so are your children.

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