Les visiteurs du soir (The Criterion Collection) (1942)

As a huge fan of the works of Marcel Carne and Jacques Prevert, it is unfortunate to learn that other than 'Children of Paradise', none of their works are available on DVD. However, it is at least some consolation when you find that they are still in print on VHS. Considering that one of the finest films of all time, 'L'Atalante' by genius Jean Vigo has gone out of print on video, and that no one has bothered to put it back on the shelves, I must say that for such old French classics such as this one to still be around is a fact worth commending.

'Les Visiteurs de Soir' literally translates into 'The Visitors of the Evening', but the English world has taken the liberty of calling it 'The Devil's Envoys'. This remarkable gem, a remnant of the early 1940s, is French romanticism at its best. While the original tale is a fable that children will delight in, the film-making team also saw the story as a way to make a point about the political establishment at the time. Marcel Carne has repeatedly won my respect as a film-maker, and though his crowning glory remains 'Les Enfants du Paradis', this little known film remains perhaps his most sly attempt at movie-making. Almost every sentence is a statement of political defiance, and every frame of the film is bathed in the unnaturally brilliant light that Marcel shot his movies in.

'Les Visiteurs de Soir' looks older than it actually is. Perhaps this has something to do with the horrendous transfer that this particular edition is inflicted with. There are patches where it seems the film has burned away gaping holes and scars are evident, which leads one to wonder what condition the master film is actually in. However, that minor technicality apart, the entire story reads like an adventure worth taking, although the actual transfer from page to screen is something that works in a way quite unexpected.

This is a much slower film than 'Children of Paradise'. To be honest, the only thing the two films share in common is Arletty. Here, she plays one of the Devil's Envoys, sent to a town to teach/convert/berate/observe/spoil its' inhabitants. She arrives with a male partner, and is soon dining with lords and baronesses. The dialogue is simply stunning. Arletty's performance as an androgynous being is played up and she remains a cool and aloof creature for much of the movie. However, it is the other envoy, the man, who is more affected by his new surroundings. Played by the beautiful Alain Cuny, the male envoy is a being who has never experienced the love of a human being, and his desire for the lovely Marie Dea is what forms the crux of the film.

It is at this stage that the devil enters. Played by Jules Berry as a crass old ugly sort of monster, he is an exaggeration of everything evil. He finds pleasure in the unhappiness of others, he is thrilled when people relinquish their control to him. When Marie Dea's pure and unblemished love for the male envoy seems beyond his control, the devil is not pleased. He does everything in his power to win her soul, and this becomes his prime challenge.

As I had mentioned before, this entire storyline is filled with political innuendo, and it doesn't take an expert in European history to figure out what is actually going on. When the devil, in rage, finally turns the lead couple to stone, another shock awaits him. Needless to say, the film ends with the devil being defeated, but the lead couple pay a price as well. And the point is made that even though the couple has lost the battle, they have won the war. Very much like the ending of 'La Vita E Bella'.

Characters are very well etched. The Devil plays the face of Germany and the German Occupation. The Devil's envoys play the young German soldiers who go in with a policy, yet return with different ideals. The French play the french, all for liberty, equality, and fraternity, and the neverending struggle to achieve all of these goals.

I especially liked Arletty's character, even though she almost disappears for the second half of the film. The most visually appealing thing about this movie is the lighting. Every frame could be an exercise in film-making the bright hues of the French morning are all lovingly captured, and the close-ups of the lead characters are so beautifully filmed. The screenplay is flawless, though at times you wish they could be a little less obvious in their message.

'Les Visiteurs de Soir' will probably never be as important as 'Les Enfants du Paradis' or the other Carne classic 'Le jour se leve'. It had its own time and place, and its' meaning was probably more relevant in the 1940s than it is today. However, there is also something timeless about its' texture and quality. This is a movie I could sit through over ten times and never be bored. As with every Carne film, it helps to be a native or taught French speaker to truly appreciate the nuances of the dialogue the yellow subtitles on this edition are especially hideous, both in the way they've been translated and their appearance but it doesn't take much to be swept in by this delightful treat of a film. I would highly recommend it to anyone who loves old French movies, and in particular, the works of the masters such as Carne and Francois Truffaut.

If you liked this, you'd love 'L'Atalante' by Jean Vigo, 'Le fille sur le pont' by Patrice Leconte, and Carne's 'Les quai de brumes'. I'd also like to bring your attention to the fact that many of Carne's works are now available on DVD from Amazon's French website, although this catalog does not yet include 'Les Visiteurs de soir'.

A relatively little-known but fascinating movie. Made during the German occupation of France, the film is set in the Late Middle Ages and deals with two envoys of the devil, Gilles and Dominique (Alain Cuny and Arletty, wonderful both) that arrive posing as wandering minstrels at the castle of a Baron where preparations for an upcoming wedding are being made. Their intention is to create havoc by breaking the hearts of all involved. These envoys have extraordinary powers to achieve these goals, like slowing time to a stop so that they can work on their targets at ease. Eventually, the very devil shows up at the castle in disguise. One can argue that the devil in the movie stands for Hitler and the Nazis and so forth, but the film works even if you don't try to watch it as a metaphor for the contemporary events of the time. The movie is memorable and evocative, with many great scenes and a great ending.

Buy Les visiteurs du soir (The Criterion Collection) (1942) Now

Forget the inferior VHS version that Marc Cabir Davis describes in his 2002 review here. The now 70-year-old film has undergone a meticulous digital restoration for its debut on DVD. One can again fully appreciate the superb black and white cinematography. The soundtrack has had an impeccable 24-bit remastering, and the new English subtitles are well translated and easy to read on the screen. Also included in the new DVD package is an informative 2009 French documentary on the making of this film in 1942 under Nazi occupation and the Vichy government. In addition, there is a booklet with seven pages of text by film critic and author Michael Atkinson and seven pages of photographs from the film.

As for the film itself, see the aforementioned Davis review. I had to dock it a star because it so obviously suffers in comparison to its successor, Carne's ultimate masterpiece, "Les Enfants du Paradis" ("The Children of Paradise"). After a brilliant start (through the whole banquet sequence), the film gets progressively bogged down in its convoluted plot (that takes too long in resolving itself), becoming overly talky and a bit tedious in the process. However, the ending is so iconic that much of this can be forgiven. Also worth noting is the comment by the great French film critic Georges Sadoul, with which I would concur, that some of "the fantasy is rather forced." However, for appreciators and students of French cinema, this is a film that should not be missed, given its historical context. It launched a trend of other notable French films under the Occupation that, beneath a veneer of ostensibly escapist fare that eluded the Fascist censors, contained a subversive subtext of a yearning to be free from the forces of oppression.

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"Could you be the cause of all these troubles?"

"What do you expect? No-one loves me. I amuse myself as best I can."

Overshadowed outside France by both that other Medieval romantic fantasy and its director's Les Enfants du Paradis but revered in its homeland as one of the great films of the war years, Marcel Carne's Les Visiteurs du Soir has been particularly hard for non-French speakers to see for years: not released on video and unseen on UK TV for three decades, it's only with Criterion's largely unheralded DVD and Blu-ray release that many will have got the chance to finally see his tale of demons and marvels. While it doesn't cast as magic or as poetic an ethereal spell as Cocteau's La Belle et la Bete, it's still an impressive fable whose added resonance for a Nazi-occupied population is easy to see even if Carne and co-writer Jacques Prevert always insisted that no anti-Nazi subtext was intended, the Medieval setting simply the easiest way to get around the German censors.

The plot is simple: two minstrels arrive at a castle, whose occupants are celebrating the betrothal of the Baron's daughter initially unaware that the two visitors (Arletty and Alain Cuny) have been sent by the Devil to sow discord by loving and destroying them and leaving the Devil to pick up the tab. Not that they don't have plenty of raw material to work with: despite the jollity of the banquets and the lack of work for the executioner, the castle is almost underpinned by sadness. The Baron (Fernand Ledoux) is still mourning his lost wife, the servant girl all too aware that her plainness ensures the page she loves won't even look at her and the groom (Marcel Herrand) is more interested in songs of hunting and killing than of love, confused by his bride-to-be Marie Dea's kindness towards unfortunates and dismissing her dreams because "Dreams are dangerous and useless. I never dream myself." For all the elegance and fairytale settings, it's a cruel world where love is a weapon to make people tear themselves apart: "It isn't worth a single tear. It's nothing but a story invented to amuse the Devil." It's a game the envoys have played so many times they're working from the same script, telling each new victim "As soon as I saw you, I knew why I'd travelled so far. I thanked Heaven for leading me to you."

Yet the envoys aren't ethereal symbolic figures but have their own tortured dysfunctional relationship of recriminations and mockery, revisiting their failed and false romance on their victims. Arletty enjoys her work, particularly if it means leading men to their death or to the very place she has come from, but Cluny is increasingly tortured by the deal he has made with the Devil, even more so when he genuinely falls in love with the bride-to-be. From then on the film becomes a battle for hearts and souls as Jules Barry's Devil enters the fray, appearing everywhere at once to mislead, corrupt or gently scold the mere mortals. It's easy to see why so many saw him as Hitler incarnate, making empty promises and offering those who collaborate with him every comfort but never able to still the pure hearts that defy him. He's a cheerful soul, certain of his eventual victory and uncomprehending of the notion of resistance, but thanks to Jacques Prevert's dialogue he doesn't get all the best lines most of those, surprisingly, go to the lovers, true or false.

It's a surprisingly lavish production for a French wartime film, Trauner's design and Roger Hubert's photography giving it a deceptively simple and attractive look for a film filled with betrayal, hopeless longing and torment. It generally favors simpler special effects than you might expect from a period fable, but at their best, such as when the envoys stop time to steal a tryst with the groom and bride-to-be, they're quietly effective. At times the film threatens to lose its grip and some of the dungeon scenes with a distressed Cluny stray perilously close to bad acting, but the spell is never broken and its easy to see why the film found such a special place in French cinema with its own brand of dark magic and cruel love. Oh, and look out for a young Simone Signoret and Alain Resnais as extras in the banquet scene.

Aside from the customary booklet there's also a 37-minute talking heads documentary with friends of Carne and Prevert and film historians that provides much information and anecdotes about the film's tortuous development Carne had been having trouble finding a project that would pass the German censors after getting out of his contract with the German-backed Continental Films while Jacques Prevert and composer Joseph Kosma had been collaborating on an unrealised version of Puss in Boots and its difficult production, which was complicated by wartime shortages (fabric for the costumes was almost impossible to find while the food in the banquet scenes had to be sprayed with toxic chemicals to stop the starving extras eating it), Vichy bureaucracy (because it was shot in both Occupied and Unoccupied France), anti-Semitic laws (both Kosma and production designer Alexander Trauner had to use fronts because it was illegal for Jews to work in French films) and scheduling (Jules Berry was making three films at the same time, shooting one in the morning, one in the afternoon and another in the evening and couldn't remember his lines), and surprisingly rapturous reception from both right and leftwing critics.

It even covers the problems of exhibiting films in wartime newsreels were shown with the lights on and a gendarme in attendance to stop the audience booing the Nazis, while only a limited number of tickets were sold to ensure that the nearest air raid shelters didn't get filled up, making it's hugely successful run it was the biggest French hit of the war years all the more remarkable. The documentary is not particularly strikingly made, but it tells the stories in a pleasingly straightforward fashion and puts the film in its historical perspective even if the transfer is obviously taken from a video master. The film's original French trailer fares worse in the picture quality stakes, looking like it was mastered from a juddery dialup internet download, but the transfer on the film itself is a beautiful restoration job with clear, sharp detail, plenty of depth and no obvious signs of digital tinkering. However, do be aware that the Blu-ray version is Region A-locked.

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Les visiteurs du soir (titled The Devil's Envoys in America) was the fourth collaboration between director Marcel Carné and screenwriter Jacques Prévert, released a few years before their masterpiece Children of Paradise. Being a big admirer of that film, as well as their other collaborations Port of Shadows and Le Jour se Lève, I had eagerly awaited this film to receive a proper release and was pleased when Criterion added it to their collection this month. With the Nazi's occupying France during this timeframe, it's said that Carné set out to make a straight-forward film that would avoid any trouble with the censors. Upon its release the film was met with acclaim with many seeing it as an allegory for the Occupation, a charge Carné fervently denied. While memorable and beautiful to look at I find Les visiteurs du soir inferior to their other collaborations, possibly because of the constraints they imposed on themselves by purposefully and carefully making a film that wouldn't upset the censors. As a result, there seems to be less freedom than in their earlier and subsequent collaborations. Their films fall under the category of poetic realism, with the poetic nature coming largely from Prévert's knack for writing beautiful, poetic dialogue. Much of the poetry here comes from the images in the film rather than words.

The story opens in May, 1485 where the Devil has sent two of his envoys to drive humans to despair. The envoys Gilles (Alain Cuny) and Dominique (Arletty) arrive at the castle of Baron Hughes (Fernand Ledox) dressed as minstrels as the castle celebrates his daughter Anne's (Marie Déa) engagement to Renaud (Marcel Herrand). The two wreak havoc by enticing those in the castle; Gilles first seduces Anne, while Dominique entrances Baron Hughes and Renaud. Things go according to plan until Gilles actually falls in love with Anne, provoking the Devil's wrath and causing him to appear at the castle to ensure that the happiness of those in the castle is truly destroyed. The Devil, as played by Jules Berry, arrives halfway through the film and this is when it really gains traction.

Shot in Nice, with uncredited art direction by Alexandre Trauner (a Hungarian Jew, whose involvement was hidden by Carné); the sets are a grand achievement. In creating a storybook world Trauner really captures a far away time and place. Of course the film is also gorgeously shot by Roger Hubert, who would go on to beautifully shoot Children of Paradise as well. The acting is terrific, with Berry giving the stand-out performance as the Devil. His maniacal energy towers over the latter hour of the film and he outshines nearly everyone in his wake. It's a mannered yet showy performance that is tremendously effective.

As stated earlier, I found the film slightly inferior to Carné and Prévert's other collaborations and much of this stems from the script that Prévert co-wrote with Pierre Laroche. Much of the dialogue revolves around declarations of love and chit-chat about love and there are times when it grows repetitious. Children of Paradise featured dialogue in the same vein and Prévert succeeded at crafting much more beautiful and memorable dialogue about that subject in far fewer words. This opinion may reflect more on my own bias than the actual quality of the film, but I was slightly let down by how unscathed I was by the dialogue here when their other films have affected me so profoundly. It was the poetic beauty of the dialogue in addition to the beauty of the images that made their other collaborations so compelling.

Regardless, Les visiteurs du soir is another triumph from Carne and Prévert's magical partnership and it's presented here in all its glory with a beautiful transfer from the Criterion Collection. The crisp elegance of the black and white photography was enough to make me swoon even when the dialogue and story failed to. Those who already deeply appreciate Carné's films will probably rank this highly, but those who are unfamiliar with his work should familiarize themselves before trying this film. Still, for any complaints I may have, it's hard to deny what a breathtaking film it is.

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Blood Diamond (2007)

MOVIE: Edward Zwick's films always strike a good chord with me because of their incredible emotional impact. The Last Samurai left such a grand impact on me that I was in tears at its incredible and emotional climax. The Blood Diamond does the same thing by establishing strong central characters with a clear objective that makes the film gripping and tense. The story revolves around Solomon Vandy (Djimon Hounsou) a local fisherman whose village is raided by local militia who are at civil war over the control over the diamond fields. These events took place in the late 90's and it serves as the backdrop of the film. Danny Archer (Leonardo DiCaprio) is a Rhodesian smuggler who works for a corporate diamond company in London he also works as a mercenary. He smuggles diamonds to the corporations so that they can remove them off of the market thus keeping supply low and demand high, that way they spike the prices. After Vendi is removed from his village and his family separated, he is put to work in the diamond fields where he comes across a pink diamond so rare that it could change the fate of not only his life but a nation's. Vandy is able to escape his imprisonment by the rebels but is put in prison by the police, and in prison he meets Danny Archer who now wants to set his sights on the hidden diamond. When Archer meets Maddy Bowen (Jennifer Connelly), an American journalist, she believes that his story holds the key to revealing the truth behind the diamond corporations. When Vandy's son is recruited by the rebels he sets out on a quest to find his son while Archer wants the diamond so that he can leave Africa and start his troubled life over. Arnold Vosloo plays a general who is also after the diamond. So we have four people after one small stone for four different reasons.

The film has many sides to it. At times it's a dark look into the social and economical conflicts of Africa, sometimes it becomes a burning commentary on the nature of man, but overall this film is an intimate story of three characters placed within the setting. The main objective of the film is to tell the story of the characters where as in films like Tears Of The Sun or Black Hawk Down it's more about sending a central message. I'm not saying the latter films are bad, I enjoyed Tears Of The Suns and Black Hawk Down immensely. I'm also not saying that Blood Diamond is not trying to send a central message either. It's just that Blood Diamond really tries to tell a story, just like Zwick did with The Last Samurai. While the film portrayed a civil struggle in Japan it was more focused on Tom Cruise's and Ken Watanabe's characters so that when tragedy struck it had a strong emotional impact on the audience. Blood Diamond is not only emotional but it's incredibly tense and thrilling. There is lots of action in the film and the final air raid was executed perfectly. The story is solid and the film is an immense accomplishment. The reason why I knocked off half a star from my final rating was that I had two minor problems with the movie. There were places where a few tweaks could have heightened the emotional impact of the film and have kept the pace of the film more consistent. However, it is whithout a doubt that the film was superbly edited. The pace and structure were very consistant and strong. I was pleased by the script, Charles Leavitt did a fine job with the screenplay even though he has taken a long break from writing since his last effort with K-Pax. The second thing that bothered me was that once the movie ends and the credits start to roll we are hit with this hardcore rap song. I was absolutely shocked and disapointed with the decision to use rap in the end credits, it ruined the lasting effect of the film within a split second.

The film also displays some incredible artistic efforts. The cinematography is absolutely stunning. There is a very good chance that Eduardo Serra should be one of the directors of photography nominated this year at the Oscars. Some of the shots were truly breathtaking and of course you have to give credit to beautiful landscapes of Africa. The film's score was composed by James Newton Howard who relied heavily on African vocals for the amazing score. I have to mention here that Hans Zimmer is the pioneer of incorporating native sounds into a film's score based on location. Zimmer made African vocals his speciality with films like A World Apart, The Power Of One, The Lion King, and Tears Of The Sun. You have to acknowledge the Zimmer style in the score, but James Newton Howard makes it completely his own and delivers an amazing score. There were scenes where I wished the score was more prominent, but overall I was very happy with the musical efforts. All of the artistic efforts put together with the story make Blood Diamond what it is.

ACTING: Does Leonardo DiCaprio give his best performance yet? In my opinion I really think so. He was amazing in the film and created a perfectly accessible character that we cared for. Many people are criticizing his accent when in fact he is using an extremely authentic Rhodesian accent. People assume that since he is white and an African he must be South African. That's not the case here, people. DiCaprio does an amazing job with the role. Djimon Hounsou is also equally amazing in the film. There are a few intimate scenes with his son that will bring you to tears. He plays an uneducated fisherman with his only interests in his family, but it is his character that shows the good of mankind in the middle of this mess. Jennifer Connelly is a great actress and she portrays a journalist just as a journalist would act. She uses her wits and looks to get the story, but her priorities are not to make headlines but rather to help change the world for the better. Arnold Vosloo has a small role in the film, but I like him and think he's an underrated actor. People will recognize him from The Mummy films and his guest role on the show 24. The acting in this film is superb, the characters all carry the film and make it something to remember.

BOTTOM LINE: Blood Diamond is gripping, thrilling and emotional. I shed some tears when I saw The Last Samurai and I indeed shed some tears when I saw Blood Diamond. It's an action film with so much substance, it really pulls you in as an audience member. The few structural problems and the rap song at the end credits are not enough for me not to highly recomend this film.

I am going to keep this review relevant to the movie and the reasons why you should buy this on DVD:

1. Leonardo DiCaprio's Performance: This film in my opinion features the best ever performance extracted from Leonardo DiCaprio on film. He is flawless here as a South Africa white who needs to discover whether material wealth means more to him than human emotion and sentiment. I have never been a huge fan of Leo (though yes, he was wonderful in "What's Eating Gilbert Grape" and "The Beach") but this film alongwith "The Departed" really opened my eyes. Granted he is a physically splendid creation, but his use of language, intonation and emotion were at the forefront of this movie, and the only downside to his performance is that it totally overshadowed the other actors.

2. Djimon Hounsou's performance : This was an actor I first noticed in "Amistad" and he just keeps getting better and better. He is one actor who looks about 25 even though hes well past 40, and has an incredible range. His role as a traumatized father looking for his son in the middle of riot torn Africa will be remembered years to come, however, he is not as radiant as Leonardo here, and for that reason alone I think he is thought of as a "supporting actor" here. If you pay attention, you will actually see that he gets MORE screen time than Leo.

3. Jennifer Connelly : I think she is one of the most ill-utilized actresses we have today, and the director doesn't do much with her here either, which is a pity. However, her role is quite effective for what it is the downside being that she has zero chemistry with Leo in every regard.

4. Cinematography : The effect here was to present Africa as a beautiful nation though ridden with political problems and woes. To see these violent images portrayed against a backdrop of the most gorgeous sunsets and tropical rainforests was a bit bizarre which I suppose was the effect. The visuals are lush and evocative, and captures the mood of the era and environment perfectly.

5. Direction & Story : The director knew a good thing when he saw it. This is a very character driven story and you have to FEEL for the characters' emotions if you want to get anywhere. On the surface, its a simple tale thats been told a million different ways, but the political statements this movie makes is way ahead of its' time, I thought (much like the Angelina Jolie starrer "Beyond Borders" which was a masterpiece in its' own right).

It goes without saying that Leonardo DiCaprio carries this film on his capable shoulders and takes you through almost three gripping hours of it without making you look at your watch. This is what real acting and filmmaking is all about. If you do decide to buy this, let Leo be your number one reason.

To wrap it up, this is a must have 2-DVD Edition of the film and I can state that this is one movie you will be watching over and over. I saw this just after "The Departed", which is the only other movie this year I could possibly watch again. These two films finally signal the true emergence of America's greatest living actor Leonardo DiCaprio.

Buy Blood Diamond (2007) Now

As we reach the end of any calendar year, the major studios roll out their big guns--the films they think have the best chance of grabbing Oscar gold. These tend to be big budget affairs, with big stars, and often with serious or important themes. Well, "Blood Diamond" arrives with just such expectations. A well meaning and "important" film about exploitation and atrocities in Sierra Leone's diamond trade, "Blood Diamond" casts Leonardo DiCaprio, Jennifer Connelly, and Djimon Hounsou as the central characters in an exciting, and sometimes heartbreaking, look at the cost of commercialism in international trading.

Edward Zwick (who has courted Oscar before with "Glory" and "The Last Samurai") sets a very serious tone from the beginning--it seems clear that this film wants to parlay a message, to expose the injustices done in the name of Western greed. The setup covers extremely familiar territory and the message is blunt and obvious. No one, at this point, will deny that what is depicted here is harrowing--the problem is that it isn't particularly surprising or edifying. He's preaching to the choir. A lot of films have broken this ground before to astonishing affect, "Blood Diamond" as a message movie lacks a certain amount of originality and subtlety. That doesn't make it a bad movie, by any stretch, but I wasn't enlightened by the subject matter.

But the curious thing about "Blood Diamond," though, is just as I was tempted to dismiss it as a heavy-handed drama--I got wrapped up in it. Why? Well, it's a heck of an action picture and it boasts terrific performances. DiCaprio plays a rogue, ethically challenged, illegal diamond trader who is looking to make a big score. Hounsou, who has lost his son to the rebels, has hidden an invaluable diamond which he hopes to leverage to bring his family back together. And Connelly is an American journalist who wants to expose the corruption inherent in the trafficking of diamonds. All three are at the top of their game. Hounsou is absolutely riveting in an emotional powerhouse of a performance. DiCaprio acquits himself well with a Rhodesian accent and displays many layers to the morally questionable anti-hero.

The film is technically impressive--the cinematography and score earn high marks. But it's the brutal and compelling action sequences that will stick with you. There is much violence to be had in "Blood Diamond," much death and bloodshed. Our trio constantly find themselves on the wrong side of a gun fight or even worse--trapped between rebels warring with soldiers. Theses scenes are done with such precision, such excitement, and such realism--you almost forget that the film wants to teach you a lesson too. I almost wish that Zwick would have just trusted a simpler story and let us draw our own moral conclusions.

Ultimately, I really admired "Blood Diamond"--it has the power to excite you and move you. Far from a perfect film, it is eminently watchable. The tidy ending was a bit over-the-top for my taste, as well, but by then I'd really enjoyed the journey. A solid 3 1/2 star rating, I'm rounding up for the action set pieces. KGHarris, 12/06.

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Greed is the dark heart of "Blood Diamond," director Edward Zwick's ("The Last Samurai") uncompromising look into the underground trafficking of illegally-traded gems in sub-Saharan Africa. Greed of corrupt men for power, greed of an amoral mercenary willing to sacrifice anything for a chance to escape Africa, greed of Western businessmen who seek to artificially control the diamond market, and the greed of a simple man for his family's return. This movie powerfully demonstrates the valuelessness of a human life to those persons obsessed with blood diamond collection in war-ravaged Sierra Leone.

Djimon Hounsou plays Solomon Vandy, a simple fisherman and father of two who witnesses his idyllic existence crumble before his eyes. Rebels seeking new recruits, slaves, and random carnage swarm into his village. They select his adolescent son and other young men as future cadets in their guerilla army--following suitable brainwashing and manipulation techniques--before then getting down to the real business of slave collection. Seemingly devoid of any mental workings besides casual sadism, these bandits top-off their kidnapping and slave-taking exercise with the mutilation and execution of men deemed too troublesome for them to bother with. Vandy is rescued from dismemberment at the last minute when the rebels recognize his strength, seeing it as an asset they can utilize in their constant search for capital: the blood diamond pits. Condemned to toiling underneath the blazing sun with nary a chance of reaping any benefit (besides possible continued survival) for his efforts, Vandy happens to discover an egg-sized blood diamond hidden in the streambed. Hiding it underneath his foot, he buries it when the rebel encampment is attacked by government troops. The only witness to his "theft" is the wounded slave captain--now captured, along with Vandy, by government forces--who swears that the former fisherman will soon be begging to reveal the diamond's whereabouts.

Parallel to Djimon's character's storyline is the tale of Danny Archer (Leonardo DiCaprio), an opportunistic solider of fortune caught within a dichotomy of conflicting motivation. He desires escape from Africa at any cost, yet secretly knows that his blood will someday mix with the earth of his homeland. Perhaps it is this realization that he is doomed which propels Archer forward: in every action and every word, he seems to be daring destiny to obliterate him. Taken in and trained from a young age by Colonel Coetzee (Arnold Vosloo), Archer is easily the most dangerous entity alive on the continent: ruthless, misanthropic, callous, manipulative, and incredibly lethal with bullet and blade. After a close-call haggling with rebel leaders over fair prices for blood diamonds, Archer is arrested for smuggling while crossing the Sierra Leone border. It is here that he intercepts the distraught Vandy and begins weaving a plan to save himself from the war-torn country: by dangling the freedom of the fisherman's family as bait to cajole Vandy into revealing the gigantic diamond's location. Solomon, though a simple man, is not so easily fooled. He eventually agrees to help Archer--but only if the mercenary agrees to help locate his family and also permit Solomon to be his travel companion.

There is barely time for indrawn breath during the watching of this movie. Action sequences are furious, brutal, and frequent. The pace of the movie is frenetic. The score is perfect throughout. The "education" of Vandy's son by the rebels is heart-wrenching. Solomon's overarching belief that fatherhood trumps all initially feels naïve, but is eventually revealed to be the singularly most powerful force in the entire movie. Danny's character--the realist mercenary who seems most capable of surviving, when compared to Vandy--shows the most evolution, shedding layers of the personality onion until an actual human appears. He is moved to reveal an element of his past to the beautiful American reporter (Jennifer Connelly), whose persistence and mutual survivorship cements a bond they both were too proud to admit from their first meeting. Archer and Vandy relationship morphs into something beautiful when a sacrifice is needed, prompting Solomon to reverse that remarkably chauvinistic statement made by Rudyard Kipling over one hundred years ago: the "white man's burden."

This is hands-down Djimon's most impressive performance: I have never seen him better represent a character. In fact, he blurs the line between character and actor, totally suspending my disbelief to the point where I "knew" him only as Vandy. I have been told by an acquaintance--currently living in Zimbabwe (formerly Rhodesia)--that DiCaprio's accent is spot-on. In addition, he was utterly believable as heartless mercenary, and his later transformation was also quite convincing. The action sequences were, as mentioned, jaw-dropping in their intensity, but never felt gratuitous or over-the-top.

Easily one of my five favorite movies of 2006--miss it, and you risk missing some of the finest cinematographic wizardry and directorial finesse of cinema from the last year, period.

Want Blood Diamond (2007) Discount?

To be perfectly honest, I had steered clear of this film in theaters because Oscar-nomination notwithstanding I dreaded the notion of potentially spending 143 minutes with Leonardo DiCaprio doing a bad South African accent in Dolby Mondo Super StereoSurround. I mean, I have already in my lifetime endured Kevin Costner's Robin Hood and Brad Pitt's Troy on the big screen (who could forget Brad screaming "Take it it's YAWWWWS!" in his British-by-way-of-Brooklyn accent? And don't even ask me to describe Costner's...). So, even though others assured me that Leo nailed the accent, I hope you can understand why I wouldn't want to risk another American Movie Star Mangling of an overseas accent in a heightened sensory environment.

But now that I've viewed this film in the safety of my own home with my crappy TV speakers (and my pause button at the ready), I must say that not only did DiCaprio nail the accent, but he concurrently crafted his best character and performance to date in Daniel Archer, the jaded, seen-it-all diamond smuggler who just as the main character Solomon (Djimon Hounsou) hides and buries a valuable diamond has hidden and buried his humanity deep within himself. And though he sets off to find Solomon's diamond, we also see whether he can unearth his humanity along the way. Leo adds an amazing muscular menace and aged world-weariness that I honestly didn't think he was capable of (and this is from someone who already appreciated him as an actor) (if not a dialectician).

The performance by Djimon Hounsou as stoic fisherman Solomon Vandy is almost equally stellar. We invest in the quest completely as the wise and quiet Solomon (whose wife calls him "Solo") sets off alone and separated from his family, trying to find his son, who is (to him) infinitely more valuable than the diamond he has buried. Jennifer Connelly (who, unbeknownst to the director, had already done a lot of work with UNICEF when she was cast) also adds depth in what could have been a throwaway and/or cliched role as the brash American photojournalist Maddy Bowen.

Finally, enough cannot be said about director Ed Zwick, who has already spent a good deal of his career perfecting the balance of the action movie and the more contemplative, message-driven drama (Glory, Courage Under Fire, The Last Samurai to name a few). With "Blood Diamond," he most successfully negotiates the territory between conventional action movie entertainment and more political, emotional, and darker material.

For the action scenes, the constant camera movement creates not only a documentary feel to the incessant and chaotic scenes of combat, but a sense of urgency to the events (eventually) found in the frame. The violence is almost too real, and the acts perpetrated (in many cases by children) are almost too disturbing such a gorgeous land frames such unspeakably evil acts, which ultimately adds greater weight to the messages of the film.

As to the message, I've heard complaints that this movie tries to bludgeon you with its politics, but I found it to actually be quite subtle, the speechifying kept to a minimum and, when employed, use to enhance and advance the arc/understanding of the character as much as the overarching ideology.

And, for me, the "would you put a diamond on your finger if you knew it cost someone their hand" motif while tremendously important is just one theme among many in this nuanced and layered work. The film also manages to effortlessly examine other issues, such as: what is truly more valuable, material possessions or human empathy? Where is the line between journalism and exploitation, and when is it appropriate (if ever) to cross that line? Finally, can speaking up help change the world, and furthermore can a nation's problems be helped through the advocacy of foreign visitors, who may actually know little about the culture they are trying to change?

While Zwick and his cast may or may not be changing the world with this (mostly) American movie about an African problem, at the very least he has made an exceptionally moving film whether you're in the mood to be educated or entertained.

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The Polar Express Presented in Anaglyph 3-D (2004)

I will admit, 2 years ago I purchased The Polar Express 3D with the red and blue glasses.... it about made me sick when I watched it. The colors made me dizzy and the picture was heavily distorted. This on the other hand was a breath of fresh air! The 3D quality on this blu-ray disc is absolutely superb with minimum "ghosting". One stand out scene in particular is portrayed on the front cover of the Blu-Ray case, the train skating on the ice. The 3D effects are so fantastic here that I had to play it over a few times. Its enough to make you say WOW. Also, the entire North Pole scene is absolutely beautiful especially the zoom outs showing the large Christmas tree and all the kids and elves surrounding it.

I would highly recommend this to anyone with a 3D television! The picture is stunning and the 3D effects are breathtaking! The world of Blu-Ray 3D is growing, and this one definitely stands as one of the top 3D releases so far!

I went to see this movie tonight with a mentally handicapped friend "Michael" -(from a L'Arche home here in Winnipeg, Canada). We were the first persons in the theatre for the very first evening showing in this city and we were the last to leave. We thoroughly enjoyed ourselves enchanted by the movie's subtleties and happily exhausted by its roller-coaster rides.

Time and again, Michael (who is sensitive, compassionate and with a good sense of humor) turned to me in the darkness, smiling in appreciation at the exact same moments I turned to see his reactions. Each time this happened, it was at a moment in the film when some little detail, perfectly captured through superb 'cinematography,' brought moisture to my normally cynical eye, and a warm smile to Michael's innocent face.

Some examples: There is a lone, black child on this apparent 'dream train' to the North Pole a girl of about ten or eleven years, and like a painting come to life, the miraculous technology at work in this film captures the particular sensibilities of this compassionate, black youngster -- We see small mannerisms of someone comfortable with herself in a way the other (ten or so) white kids on the train are not. And the effect is profound --the movie audience, including some children of that same age group, went silent at such moments in the film.

My friend Michael who has a 'savant' genius for perceiving my emotions, and expressing them for me out loud in public --Michael turned to me with a delighted smile when the girl on the train reaches out to hold the hands of the poorest boy, sitting alone in the rear compartment; and later, she hugs two other boys, (one of them the central character) --at their final parting. At that moment I held up a finger to my lips to try to hush Michael, but couldn't prevent him from saying aloud: "She's such a sweetheart." There were murmurs of appreciation in the darkness around us, responding to this innocent sentiment.

There is a sublime moment, on the back platform of the moving train -the Northern Lights glimmering in the distance -when the young girl joins in song with the poorest kid on the train (a younger boy from a dilapidated home on the "far side of the tracks"). I admit to being overcome with emotion during this duet (a lovely, strong melody with poignant lyrics) and I blurted out loud to Michael, after the first chorus: "What a wonderful song!" The refrain includes the words "When Christmas comes to town." [It's a song so good that, with some future 'cover versions' by serious musicians who could do it justice -- this "Christmas Comes to Town" song could, I believe, deservedly join the small list of true, Christmas 'classics.']

I'd have to agree with anyone who thinks this movie is a little short on plot. And yet . . . once you've suspended disbelief - beginning with an earth-shattering, Christmas-eve arrival of a steam-puffing, passenger train on a small-town Michigan street, directly outside the home of the movie's central character -once we've swallowed that premise, the movie disarmingly embraces the child in us, (including our fears) and our reservations vanish without our noticing.

Just as great `realistic' painters, (think Rembrandt or Vermeer) worked wonders of light & shadow that no mere photograph could ever capture, so too this computer-animated marvel takes your breath away through an accumulation of tiny but acute observations that could never be captured by conventional cinematography. Prime examples from the opening scenes:

A shaft of light illuminates the boy's bedroom, and he is reflected in a chrome, automobile hubcap leaning against a wall; at once we share his view -through the keyhole of his bedroom door we can see only the backs and the dressing gowns of mother and father, as they say goodnight to the boy's young sister, after determining the state of her belief in Santa's existence a belief no longer shared by the older brother, whose eye is at the keyhole.

Later, on the train, there's an exquisite close up of the boy's face, a slight blemish above the pores on his upper right cheek; the `camera' pans in rotation, capturing perfectly, the texture of the boy's hair, and that of the young black girl sitting beside him -subtleties of such perfection one wonders if the unique, artistic accomplishment of "Polar Express" could ever be surpassed.

The film's last scene, consists entirely of a close-up view of a small, silver bell (of the type associated with sleigh rides) with its attached 'ribbon' of red leather. The little bell helps make the final point about `Belief' --in things unseen, (or forgotten, and thus inaccessible to some adults). So simple, so powerful, so enlightening an image. My friend Michael turned to me at that moment, with a radiant smile. And we just shook our heads in awe.

----

Yes, this movie must have SOME shortcomings one or two moments that don't quite work as intended by the creators. But right now, in the afterglow, I can't recall what they were. The film was just too satisfying an experience!

I'm a 57-year-old grandfather who happens to believe that "The Polar Express" is the first, true Christmas classic in almost 60 years. Not since the original Kris Kringle "Miracle" movie of 1947, has any film (to my jaded eye) so transcended our secular, commercial views of the Holiday Season, with such uplifting and fresh reminders of the timeless and true spirit of Christmas.

Mark Blackburn

Winnipeg Canada.

Buy The Polar Express Presented in Anaglyph 3-D (2004) Now

When people go into a movie theatre they expect to be entertained. Audiences want to be scared, amused, curious, sad, and hopefull. Believe it or not, this film provides all of those elements and then some. I've read the comments by people who gave passed this film on as either "too scary to children" or "just plain boring with no plot" And I agree with several people who have responded to such comments.

This film isn't going to give you instant gratification halfway through. If you don't have two hours to spare then you aren't going to understand what this movie is about. Sure the plot was invisible at times, but I don't think the point of the movie was to have the audience follow a plot. The point was to reveal or in some cases remind people of the simplistic faith or child like view we once had in our lives.

Think of the characters themselves and what they represent. Hero Boy reminds us of people who are caught in between faith and doubt. Do we trust what we cannot see? Who is to say? Hero Girl shows the stronger side of faith and believing in what is not readily seen to the human eye. Childlke faith personified into a little girl. Lonely Boy represent those who doubt because they haven't truly experienced the joys of life or have had tragedies happen to them from an early age so they learn to only trust themselves, but that ends up leaving them...lonely. Then are those who are the Know-It-All character who claim to take everything at face value (much like the critics and cynics of this film). They want to know it all because what they don't know scares them.

I'm 21 years old and I haven't had nearly enough experiences in life, but I can say that I had been so busy growing up that I had forgotten that there was a part of me that was once simple, happy and appreciated the joys of just believing that things were true. That is until life makes you grow up and tries to distort your beliefs (much like HoboMan in this film).

When I first saw this movie my eyes widened with every new frame. It was the first time since my childhood that I can remember sitting in the audience with my mouth open and my eyes stretched out as far as they can be. I was stunned, by the artistry and complexity of the story. I was a kid again for two hours. It was like an old friend who I hadn't seen in a long time came back to visit. It was an amazing film.

It's a train ride, a leap of faith, a test of the human spirit. It's a ride and like the movie says: "It's not about where the train takes you, what matters is that you get on." THAT, my friend, is what this movie is about. Not being entertained by slapstick humor or satirical sarcasm, but remembering that part of you that resembles the kids in the movie. Believe.

Bravo on a fantastic film.

Read Best Reviews of The Polar Express Presented in Anaglyph 3-D (2004) Here

This movie was superb in many ways. The story is excellent and the movies great for children and adults of all ages to remember the innocence of youth and recognize the milestones we have all passed growing up. But now on to the real essence of this review: the 3D quality.

The 3D is VERY GOOD...in fact it's great on so many levels. The colors are vibrant and vivid and not washed out like many have complained happens when watching movies in 3D from dark glasses. Also, the picture quality was top notch in HD even while wearing glasses. The surround sound effects and audio couldn't be any more realistic and complementative of the video. The 3D was spectacular guys. Many scenes had things popping right out at you (which i love) and the depth was deep and realistic. I actually felt like I was in the movie. I have an 82 inch 3DTV so that helps but a crappy 3D movie is a crappy 3D movie no matter what screen you watch it on and crappy this was not. The 3D on this film will make any television pop and sizzle and truly brings out the power of your new 3DTV to your family and friends.

Overall watch The Polar Express is a wonderful holiday experience anyone should have the opportunity to enjoy and if you're looking for a good 3D movie then this is a must buy as you will not be dissapointed. Furthermore I experienced no ghosting at all while watching but that could be due to my televisions technology compared to plasma, LED, and LCD. Pick up a copy for yourself. You won't regret it.

Want The Polar Express Presented in Anaglyph 3-D (2004) Discount?

I had mixed emotions about the prospects of this movie.

I love the book. I never like seeing a book be made into a movie--even when the movies are well done.

Add into the mix my general liking of Forest Gump and CastAway, the two previous Hanks/Zemeckis films (I feel CastAway is the far superior film if anyone's interested).

Temper that general feeling of goodwill with the fact that Tom Hanks's last piece of GREAT acting (in my opinion) was in Joe vs the Volcano (Meg Ryan's as well)--and that CastAway was Zemeckis's last good film.

These ingredients, as well as knowing that this film was to be a guinea pig for a new kind of animation, left me feeling unsettled at best about going to see The Polar Express.

Yet...

This movie blew me away.

Say what you want about The Passion of the Christ or Fahrenheit 911 (both are great movies in the movie-making sense and should be nominated for all kinds of awards) but this is my movie of the year. It is also the best Christmas movie in quite a while.

The movie version of The Polar Express has a whole lot to see. This is serious eye-candy. That said, the movie stays incredibly faithful to the heart of the book.

The book and the movie are all about the wonder and joy of belief.

I could go on and on about the great job Tom Hanks does, about the awesome animation, but I won't. For as gilded and bedecked with ornaments as this movie is, it all gets stripped down to the ringing of a silver bell.

The sound of belief.

Faith is the evidence of things not yet seen.

This movie is a wonderful hymn to that evidence. An evidence readily found in all hearts brave enough to believe.

I give the Polar Express my highest recommendation.

Tiger & Bunny, Set 1 (2013)

In the future, there is an evolved breed of humans called "Next" with special powers. Sternbild City has found a good way to put these powers to use "Hero TV" a real reality tv show where superheroes are sponsored and ranked, with a "King of Heroes", a title that goes to the hero with the most points each year. Wild Tiger is a hero on the show whose popularity is on the decline, while his destruction bill is on the rise. Given one last chance at heroism, Wild Tiger is forced to partner up with the newest hero to join the show, the young and charismatic Barnaby Brooks Jr.

This show was so much fun. The concept behind Hero TV, while flawed, is brilliant. I've always wondered about who covers the bill when some superhero destroys millions of dollars worth of property. I am probably weird. But it is still a fun concept even if you don't wonder about that sort of thing. The characters were all distinct and the relationships very well developed. It was fun having a main character not in high school. Wild Tiger definitely embraces his inner child, but he can show maturity at times :) Actually, his development is one of the best parts of the show.

The plot moves along at a brisk place, sometimes slowing to flesh out the other heroes. The other heroes surprised me a little they were interesting characters. I kind of expected them to be background characters, but they are more developed then that.

I watched this series on Viz and have been eagerly waiting for the DVDs to rewatch the series with my sisters and/or friends (or by myself, I'm not picky :). This set contains episodes 1-13, out of 25 total. There are a couple of movies, but I don't know if they will be released stateside or not. The series ends really well though, so movies aren't necessary to finish the story.

This is the sort of show that can be enjoyed by people of all ages with all tastes. Do you like heroes? Bad guys getting their butts kicked? Comedy? Mystery? Tiger & Bunny has it all and much more! So go ahead and give it a shot :)

this is a great series, i have long awaited its release here in the USA. the series revolves around heros fighting to protect people. these heros are NEXTS(similar concept done by the armored core video games), anyway these nexts have special abilities but only become a "hero" when they have a sponsor, our hero tiger is long in the tooth apparently and down on his luck until a new sponsor takes him and partners him with Barnaby whom he calls "BUNNY" due to the pink points on his suit. they quickly become the only duo team to fight evil and uphold justice and this makes for great ratings (as the heros are watched on a tv show by the populous and win points according to deed, most heros have different abilities but tiger & bunny have the same ability weirdly enough.

this english dub was first vied on viz's new stream "NEON ALLEY" along with others such as blue exorcist, inuyasha, fairy tail, ect

this blue ray set 1 has roughly 12 episodes and is in high quality, while haveing 2 disks, so i predict at least 9 ep on disk 1 and disk 2 is ep 10-12 with special features. this is the common format as done by sentai filmworks and funimation releases.

also please note that like fairy tail this will be released in multiple parts(sets 1-8) and will be available in either dvd or blu ray , i hope we get up to 8 anyway.

look out for this amazing show, it is a fan favorite and if your not sure, watch episode 1 & 2 online to get an idea for the show

Buy Tiger & Bunny, Set 1 (2013) Now

Been waiting for the official release for this in America! Tiger & Bunny is truly one of the best shows ever created. It's highly original for an anime and anyone who's a fan of animation should watch it. The storytelling is fast pace and westernized while still maintaining the feel we all love in anime. Characters are diverse and actually look different from eachother. The art direction is practically flawless, and the japanese voice cast is top notch. Haven't given the english cast a shot but for those of you who are looking for it it's on there too. The blu ray has great updates in the some of the scenes that were lacking in the original release (Which you can see for free on Hulu) and everything is very crisp and bright. Overall a pretty good buy.

Cons? (Not related to Amazon or the series itself)

Well my main complaint is the packaging. While this seems like a total nitpick it's important to consider if North America wants to do a better job of marketing companies really need to take into account how well their advertising is. Honestly the dvd cover looks like something Viz gave to a kid who just discovered photoshop in high school. Or it looks like a bootleg I could pick up in New York from those guys selling dvds on the street. (i.e what is with the type and star background?!) Not the most alluring thing, especially for the price you pay. Yes ideally it is about the content inside which is actually great but for the money paid I would think Viz would've put a little more thought into how the case aws presented and marketed. Also, inside you literally open up the case and the dvds are right there. No pamphlet, no nothing. Just a little paper ad on Viz's neon alley. The package is the first thing a buyer is going to see when picking something up. And yes from and advertising point of view people DO judge a book by its cover (Honestly I don't know why the original Japanese packaging wasn't kept since the title is in english anyway.)

One other con is I wish bonus material was added and I'm not talking about the digital features. If anyone researched the European and Japanese releases there were goodies included in theirs. Just saying.

Read Best Reviews of Tiger & Bunny, Set 1 (2013) Here

In 2011, the anime studio Sunrise, best known for its anime series for "Mobile Suit Gundam", "Cowboy Bebop", "Dirty Pair", "City Hunter" to name a few, went on to work on anime series that would captivate older viewers but also something unique and different for anime fans.

And the 25episode TV series "Tiger & Bunny" was created.

Directed by Keiichi Satou ("Saint Seiya the Movie", "Karas", "Asura"), a screenplay by Masafumi Nishida, music by Yoshihiro Ike ("Asura", "Cobra: The Animation", "Dead Leaves"), character designs by Kenji Hayama ("Baccano!", "The Big O", "Casshern Sins", "Getter Robo: Armageddon") and Masaki Yamada ("Ergo Proxy", "Appleseed", "Great Dangaioh"), background art by Kinichi Okubo ("Ex-Driver", "Honey and Clover", "Angel Beats!"), mechanical design by Kenji Andou ("Origini ~Spirits of the Past~", "Votoms Finder"), Yoshikazu Kon ("Gurren Lagann", "Shangri-La", "Mobil Suit Gundam 00″).

The series aired in Japan on April 2011 and also was seen in the U.S. via Hulu and the Anime News Network. And most recently on Viz Media's "Neon Alley".

In Japan, a one-shot manga by Masakazu Katsura ("Video Girl Ai", "DNA2″, "Zetman") was published in "Weekly Shonen Jump" and in Sept. 2012, an animated film was released and a second film currently in production and planned for a fall 2013 release. Also, the anime series has led to a PSP video game released in Sept. 2012 and a second game planned for a March 2013 released.

And in the U.S., the first volume featuring the first 13 episodes of "Tiger & Bunny" will be released on Blu-ray in Feb. 2013 courtesy of Viz Media.

"Tiger & Bunny" takes place in NC1978 in the city of Sternbild City. 45 years prior, humans with supernatural abilities known as "NEXT" began appearing in the planet. And now, these people with special abilities and are superheroes sponsored by major corporations such as Pepsi, Softbank, Calbee, etc. and are featured on the popular reality TV show titled "Hero TV".

Each season, these heroes try to achieve points by capturing/defeating criminals and the best ranked superhero will be crowned as "King of Heroes". While each are competing with each other, often they work as a superhero team.

VIDEO:

"Tiger & Bunny" is presented in 1080p High Definition (1:85:1 aspect ratio). "Tiger & Bunny" is probably one of the best, recent anime TV series that I have seen in awhile. From the detail of the futuristic structures, the costume design for the characters in superhero form, the mechanical design of vehicles and costumes and just the many location shots utilized for this anime series alone, these days, you don't see too many anime studios going all out for a TV series, but in this case, Sunrise went all out with "Tiger & Bunny".

Awesome character designs, background art is fantastic but just the character and mechanical designs featuring animation and CG is well-done. The character designs catches your attention with the colors and shading but the mechanical design and the superhero character designs look awesome. Even the art backgrounds as the futuristic city is well-painted, full of detail and adds to the overall look of the series.

"Tiger & Bunny" looks magnificent in HD!

AUDIO & SUBTITLES:

"Tiger & Bunny" is presented in lossless English and Japanese DTS-HD Master Audio 2.0. Both are similar when it comes to special effects. Dialogue is crisp and clear but voice acting is well-done on both the Japanese and English soundtrack. While it would have been nice to have a 5.1 lossless track, especially since this series has plenty of action, the series does sound crisp and clear through the front channels.

SPECIAL FEATURES:

"Tiger & Bunny: Blu-ray Set 1″ comes with the following special features:

The Making of Tiger & Bunny(24:01) The challenges from the Japanese crew at Sunrise in creating a new anime series that would appeal to manga fans, longtime anime fans and trying to come up with a series that is fresh and new. In Japanese with English subtitles.

Production Art Using your remote (or keyboard), you can look at the production art of "Tiger & Bunny".

Special Logo Art Using your remote (or keyboard), you can look at the special logo art of "Tiger & Bunny".

Japanese Trailers (4:12) The Japanese trailers for "Tiger & Bunny".

Clean Opening and Clean Ending

JUDGMENT CALL:

As a person who enjoys anime, we have seen the team dynamic in many forms.

From the sentai teams of yesteryear, may it be "Gatchaman", "Voltron" to super teams such as the Z-Warriors of "Dragon Ball Z", the ninjas of "Naruto" or the high school friends as seen on "Bleach" and "Yu Yu Hakusho".

But one thing that we often see in America through comic books, animated series and live action films are the superhero teams. May it be Marvel's X-Men, The Avengers or Fantastic Four or DC's Justice League of America, The Teen Titans or Legion of Super-Heroes and it has always been in the back of my mind, what if there was a caped superhero for an anime series?

We have seen a singular costumed heroes from anime series such as "Moldiver" and shows like the Kamen Rider or even Ranger series but what Sunrise was able to create with "Tiger & Bunny" is exciting, unique and different from anything ever featured in Japan.

Humans with special abilities known as NEXT who take on the bad guys, but in a twist, are featured on television and challenge other heroes of who can catch the most criminals and get the most points to increase their ranking, as each compete for the title "King of Heroes".

The characters are nothing like American superheroes in the fact that these are individuals that are flawed.

The main protagonist Kotetsu is an older superhero who knows he is not a great father. He speaks to her on intercom but is never there to see her face-to-face and his daughter pretty much gave up on seeing him. He knows he causes trouble for the station because he causes quite a bit of damage and now, to help put him on the right path, he is given a partner with Barnaby.

And while Barnaby has a cool demeanor, a strategist who thinks first before attacking, he also has a tragic past that drives him to become a superhero and that is to find the killer responsible for killing his parents.

The two are joined by heroes that are interesting. Blue Rose is popular because of her sexy outfit and cute demeanor when fighting criminals but deep inside, she is torn between pursuing her dream to become a singer or being a hero. Dragon Kid is a tomboy and doesn't like to wear cute things, but as she gets older, she is starting to discover her feminine side. Meanwhile, Fire Emblem is an effeminate hero who wants to be accepted by the girls, but yet is considered as a guy. Rock Bison is more interested in partying with Kotetsu and getting drunk than capturing criminals and now he is in danger of losing his job because he is in last place. And Origami Cyclone, a shy guy who has the power to shapeshift but feels it's a worthless power and is more of a cheerleader than a person who does the fighting to capture the criminals.

Suffice to say, each of these characters are unlikely heroes but yet as a team, they are starting to work well with each other. But it takes time, and also, as much as they are a team when facing difficult criminals, they are also rivals trying to get the most points and representing their sponsors with pride.

"Tiger & Bunny" really is an anime series that is unlike anything I have seen before in my decades of watching anime.

And as for the Blu-ray release, picture quality is vibrant and colorful. Sunrise is known for creating magnificent looking anime series but "Tiger & Bunny" features wonderful character and mechanical designs and a great balance between animation and CG. I was really impressed with how cool this series looks. And you get both Japanese and English soundtracks in lossless 2.0 and a few special features are included.

Overall, the first half of "Tiger & Bunny" has turned out to be a quite awesome. A unique and original anime series that will entertain anime fans and one of the coolest looking group of superheroes ever featured in an anime series. A fantastic anime series that I highly recommended!

Want Tiger & Bunny, Set 1 (2013) Discount?

watch this anime right now. do it. you won't regret it. ok? ok. Seriously good anime with good writing and great voice acting and visuals

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Naked (The Criterion Collection) (1993)

Having seen this movie upon its release in 1993, I remember seeing a tough, brutal little picture with a great leading performance by David Thewlis. I didn't actually remember liking it, however. Thirteen years later, I've had the pleasure of revisiting Mike Leigh's "Naked" in its Criterion issue. And being older and more savvy, I've discovered the film as if it were my first time viewing it. And what a lot of pleasures there are to be had in "Naked."

First, David Thewlis is brilliant! The ferocity of his performance captivated audiences around the world and won him Cannes and other acting honors, but no Oscar nomination. I would contend that if this movie were released now, with Mike Leigh and David Thewlis better known and respected, the outcome would have been much different. All the performers bring a realness to the film that make it so effective, but it is Thewlis's show.

Thewlis's Johnny is a despicable human being. He is rude, violent, petulant, unwashed, selfish, and totally at odds with anything even resembling humanity. He proceeds to make his way through London meeting up with various characters each more loathsome or desperate then the last. It is a bleak portrait, at best. Every woman, inexplicably, is drawn to Johnny. I mean--what a catch, huh? Some might label the film misogynistic, and it's treatment of women isn't glamorous--but I'd contend that the men are all ogres as well which helps balance things out.

So why is this movie great? Sounds like a nasty piece of work (and it is). But aside from the blistering performances, the film is scathingly and brutally funny. The impeccably literate script actually has something to say about the modern world, about philosophy, about the human condition. It's a tremendously smart black comedy. And Johnny becomes one of the most well-spoken and funny antiheroes in modern movie history. It's refreshing for a movie that is so brutal and tough to be so intelligent as well. And for all you despise about Johnny, there will be a grudging respect too. You understand why people are drawn to him.

I've thought about this film many times since I rewatched it last week, and now I've felt compelled to add my two cents here. Check it out. A nasty masterpiece. KGHarris, 10/06.

I first saw this in a little run-down art house theater. The auditorium was empty except for an old woman and two strange men who, lured by the title and the fishnet stockings on the original poster, had obviously come expecting a different kind of movie than the one they got. There were times during the screening when I almost felt as if the theater had become part of the movie.

This is a film that's fascinating, but, damn, it's a bit of a ride. I'm frequently catching it late at night, on IFC, and even just a few moments almost always wear me out -definitely a movie that brings to your attention when you need to go to bed. I appreciate "Naked," as a filmic experience, and it is indeed an incredible one, but I have to wonder if this is what movies are supposed to do.

Still, it does what it does and what it does is unlike anything else you could want to find.

David Thewlis may have made a mistake starring in this because he is so brilliant, so engaging, so horrifying, so smart, so black that to this day, I still have a hard time seeing him as any other character -whether he's in "Gangster #1" or "The Prisoner of Azkaban." It's great work. He'll make you laugh, he'll make you cry, he'll make you carsick.

I'd also like to nominate the scene between Johnny and the security guard -their discussion of time, and space, and barcodes and apocalypse and Dadaist nuns -to be elected to the office of the great scenes of the 90s, and to take a place on the larger list of the great cinematic moments altogether.

Buy Naked (The Criterion Collection) (1993) Now

Johnny is a homeless, angry young man who can speak at great length and with GREAT eloquence on an incredibly wide variety of topics. He is smarter than basically anyone he meets or ever will meet but he has no job, no place to live and has no interest in having either. He arrives in London and sets out on an odyssey through the night to spread his philosophy on life to anyone who will listen. Doesn't sound like much of a film huh? Make no mistake this is one of the best films EVER made and contains a performance that can match De Niro, Hoffman or Brando any day. David Thewlis won best actor at cannes for his genuinely incredible performance in this masterpiece, and it's easy to see why. The raw power that he brings to this role has to be seen to be believed. Some people expressed surprise at his lack of an academy award nomination. Let's be honest about it. The performances that stay with you after the credits roll are too good for oscars. Day-Lewis in Gangs Of New York,Samuel L. Jackson in Jungle Fever, Campbell Scott in Roger Dodger, Brando in A Streetcar Named Desire, Newman in Hud and most of all David Thewlis for this film. Ignore the hype about the violence in this film. Robert De Niro played a violent person in Raging Bull and what did he get? A golden globe AND the oscar. David Thewlis lost because he played this role with unblinking conviction. De Niro was sexually violent in CAPE FEAR and he was nominated at the academy awards. Thewlis and De Niro both took the method approach to these roles, so why did the academy overlook Thewlis? If this film didn't win the best actor and best director awards at Cannes I seriously think that it would be virtually unknown. Now that Thewlis and director Mike Leigh are back in the public eye. Thewlis in KINGDOM OF HEAVEN and Leigh with his harrowing VERA DRAKE, it is a perfect time for a new audience to discover NAKED and see it for what it is a masterpiece. Like always the best films are sadly unavailable on dvd. This film is one of those rare times when I'd even settle for an extras free disc. If it wasn't for criterion, modern masterpieces like Glengarry Glen Ross and NAKED would come out on dvd with nothing but a trailer. There are two reasons why NAKED didn't win the oscars for best actor,film or screenplay: money and politics. This film wasn't marketable or politically correct. To see an actor like Thewlis wasted in rubbish films like Dragonheart is ridiculous. You would think that an awards academy who gave Sean Penn an oscar for his performance in Mystic River where he played an ultimately vicious and violent character and Anthony Hopkins who played one of the most evil characters of recent memory in The Silence Of The Lambs would at least give THewlis a nomination. Thewlis gives one of the best performances in the history of cinema and regardless of what the academy thought of the film Thewlis has created a character that will never be forgotten. At the end of the day a film like NAKED can't be measured by the box office or the amount of awards that it wins but by it's impact on a visceral level.

Read Best Reviews of Naked (The Criterion Collection) (1993) Here

Mike Leigh generates the ideas for his films through intense reflections on an original idea that interests him. Through his cerebral process and in corporation with the cast, he fleshes out the characters and the story around the conceptual idea, which brings both filmmaker and cast together into an enlightening experience. Before shooting the film, both Leigh and the cast can identify themselves with the characters to the very essence of their being, which offers a deeper and more meaningful character. Thus, Leigh centers most of his film on himself, as the idea originates within him. This is also the case with Naked.

The title that Leigh applied to his 1993 cerebral mesh of cinematic cynicism does tangibly imply the notion of self-exposure. Even though it might, and does, suggest a physical display of the human anatomy, the title, more accurately, provides an allusion towards the complete revelation of the character, Johnny (David Thewlis), in the film. Naked offers an absolute exposure of Johnny's thoughts, values, and other accumulated information both assimilated and adapted throughout a lifetime. Nothing is too sacred, or secret, in Leigh's film, which viciously displays Johnny's contempt for society as a whole. The contemptuous mood of the film filters through Johnny's personal confessions with strangers and outsiders, which seemingly rests within the highly intelligent, but mutilated mind of Johnny. In a sense, this confessional approach of telling the tale of Johnny, functions almost like a personal purging of Leigh's own implacable characteristics.

A dark and secluded alley strikes the audience's retina in the initial scene. The sporadic light in the alley exposes some of the bare red brick and a little of the dirty cement underneath. The camera shakily and swiftly advances through the narrow alleyway accompanied by the intensifying sound of carnal lust. A rapid succession of frames moves the audience closer to a man and a woman that, at first, seem to express their shameless desires for one another, when suddenly the man turns violent and grabs the woman's throat and wrist. He continues his repeated hip thrusting motion while the woman begins to whimper and begs him to stop. Abruptly, the man ceases his defilement of the woman, which gives the woman an opportunity to escape. This man is Johnny.

From the brief, yet disturbing opening, the audience quickly discovers the dark side of Johnny, as he truly becomes the antihero. Most viewers will deem Johnny after his actions, as a spineless beast without moral fiber that deserves the worst possible punishment. This is a notion that Johnny seems to be highly aware of, as he consequently steals a car and escapes the possible repercussions of social shame and the possibility of severe punishment. However, what trigged Johnny to commit this vile act nourishes the curiosity, as he does have a strong sense of what is right and wrong.

The lengthy cinematic rationalization of Johnny begins when he seeks refuge in London, where an old girlfriend becomes his last opportunity for temporary sanctuary. Antagonistically, Johnny thrusts his hostile and negatively skewed perspective of life on all that enter his existence such as the ex-girlfriend, Louis (Lesley Sharp), her roommate (Katrin Cartlidge), Brian the Nightwatchman (Peter Wight), a Scot with a severe tick problem (Ewen Bremner), and the sadistically misogynic Jeremy (Greg Cruttwell). Everything from childhood trauma with his mother's sinful occupation to religious debates eventually leads into existentialism in regards to predetermined existence exposed by Nostradamus to the big bang theory. Eloquent criticism oozes out of Johnny's spiteful mouth with intentional scornfulness that forms cerebral depositions in regards to the misery humanity faces. All of these lengthy viewpoints should be revered and cherished, as Johnny emerges with a conviction similar to Achilles' faith in his own invulnerability. It gets to the point where Johnny's ridicule of the society becomes intriguingly entertaining while his supreme ego crushes all verbal opposition with articulate and depressing gibberish.

Within the strong conviction of his own intelligence an immediate weakness surfaces in Johnny, as he always sees the glass as half full. One of his strongest and self-supporting comments, "...you might already have had the happiest moment in your whole life and all you got to look forward to is sickness and purgatory." In essence, Johnny's depressing cognitive skills seem to prevent himself from climbing out of the deepest of intellectual pits, as he always pushes himself down with his own negative perspectives while always assimilating newly acquired information to his already pessimistic life philosophy. Johnny is that kind of person that brings darkness and sickness into the existence, which so many attempt to escape with self-help books and expensive shrinks. However, Leigh seems to be painfully aware of this notion, as he exuberantly dives into this project to pull out something extremely dark within himself by exorcizing his own cerebral demons by fully exposing himself.

Naked opens with a despicable scene, an event that most could never see themselves accomplishing. Through this scene, Leigh captures self-hatred through Johnny's existence in darkness, shadows, and an environment from which people strive to escape. Nonetheless, Johnny seeks out these depressive times and places both physically and cerebrally, which the script and mise-en-scene so powerfully displays. David Thewlis' performance is straight-out spectacular, as he embodies physically, intellectually, and spiritually the archetype for gloominess. It is a performance that went under the Oscars radar most likely due to its negative content, but nonetheless, Thewlis mesmerizes, antagonizes, and amuses any viewer in any continent. Lastly, Naked provides a cinematic canvas upon which Leigh freely reveals the darker parts of personal self-reflection, which offers humanity a chance through understanding and deeper contemplation beyond the mere glumness of existence.

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The subject matter of this film can be harsh (2 rape scenes, several beatings and other sex scenes) but I defy you to take your eyes off it. I watched this film 3 times in one weekend and I got something different out of it every time. All the performances are magnificent but David Thewlis is incredible. Just like real life, you wonder what makes him tick but you never quite find out. Some of my favorite scenes are those with no dialogue where the camera just watches him standing outside a tube station or reading that stolen book. I loved watching his character question why we're here, asking things that aren't polite but are vital. Criterion, please, please, please release a DVD with commentary by Mike Leigh and David Thewlis!!!

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The Lost Boys (2008)

As one of two teenage vampire movies released in 1987, (the other was the miserable "Near Dark")"The Lost Boys," is a hip, modern retelling of the vampire myth set in a Southern California setting. Brothers Michael (Patric) and Sam (Haim) are the newcomers to the small seaside town of Santa Clara, which is known as the murder capital of the world due to the mysterious disappearances of many town residents.

At the town's amusement park, Michael gets himself involved with a gang of vampires, who appear as normal street punks. Meanwhile Sam, meets the Frog Brothers, who run a comic book store at night, but are vampire hunters by day. After Michael himself becomes a vampire due to drinking the blood of a vampire, he is determined to find a way to save himself, the girl he loves, and his family from the impending danger that lurks them.

Directed by Joel Schumacher ("Batman Forever," "Batman & Robin," "Flatliners," etc.), the film's appeal to teenagers is due to its young cast, great soundtrack, and great, yet campy storyline. Dianne Wiest is excellent as Michael and Sam's mother, and Kiefer Sutherland in one of his first major roles is wicked as David, the leader of the gang.

Keep an eye out for a pre-"Bill & Ted's Excellent Adveture" Alex Winter as Marco, one of the vampires. This film also marked the first collaboration of the two Cories, Cory Haim & Cory Feldman, in a string of movies they made together in the 1980's ("License to Drive," "Dream A Little Dream," etc.) that capitalized on their teen-idol status. Reportedley, Jason Patric (who is Jackie Gleason's grandson) hates it when fans mention this movie as one of his best works, but the truth is it still remains one of the late 1980's cult classics.

If you like a funny, yet scary movie in the same tradition as "Scram," then check out this movie. It gave me many memories watching it on DVD as it did when I first saw it at the theater.

When this movie came out in the eighties, I dont think many people realized that it would become a classic film from that decade. Its not just a good vampire movie, its a good movie...period.

Jason patric and Corey Haim are brothers whos mother has moved them to be with their grandfather. Their new home is Santa Clara, otherwise known as the murder capital of the world. While there the older brother Michael (Patrick) meets a gang of teenagers who just happen to be vampires responsible for most of the murders. The younger brother Sam (Corey Haim) runs into a couple of self professed vampire killers. The fact that they are twelve doesnt douse their intensity. Michael appears to be on his way to becoming a vampire and the only way to stop it from happening is to kill the head vampire (The identity of which is revealed at the climax of the movie)

The movie flows nicely with a good script. The acting is good, the effects are good, the music is great. The humor throughout the movie adds some chuckles without forcing it. It all gels together into the best vampire movie I have ever seen. (My humble opinion).

The movie is one of my top ten favorites, but I was a little dissapointed with the DVD. There are very few extras, just a trailer and some production notes. Still worth adding to your DVD collection, but I have my fingers crossed for a collector's edition.

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When a single mother (Dianne Wiest) and her two kids (Jason Patric, Corey Haim) pack up and move from Phoenix to southern California, more specifically, Santa Carla, "the murder capital of the world," they have more than a little bit of adjusting to do. The two teens and their mother move in with their quirky but loveable grandfather (Barnard Hughes), who has an inkling that there is more to this town than meets the eye. At first, things seem different but manageable, until Sam meets the "Frog brothers" at the local comic book shop. They hand him a horror comic about vampires and tell him to think of it as a survival manual. Are these two merely kids with an over-active imagination, or is there some supernatural cause for this odd little coastal town's nickname?

When the older brother, Michael, goes into town for a live concert, he runs into a rather attractive woman named Star (Jami Gertz). Star introduces Michael to her friends, who just happen to be vampires, and they decide to invite Michael to be one of them. Unbeknownst to Michael, he drinks the blood of David (Kiefer Sutherland), the leader of a band of motorcycle riding teenage vampires, thus giving Michael this supernatural dark gift. However, he must make his first kill before becoming a true creature of the night. Only one thing can save Michael from an eternity of bloodsucking. The head vampire must be killed. But who is the head vampire, and can he be found before Michael gives in to temptation? Will Sam and his newfound friends be willing and able to help Michael before it's too late?

This film is a classic, light-hearted 80's foray into the horror genre, complete with horrible wardrobe, glam rock, goofy humor, and a stellar cast performing a great screenplay with a cohesive plot. There are indeed some great lines in this film that are quite memorable. The Frog brothers, in particular, serve as some cute comic relief. The effects and make-up are outstanding, and this is really noticeable in the final, knock-down, drag-out fight in the end of the movie. The cinematography is also really well done (for example, the aerial shots when the vampires are flying towards the house).

This movie is not meant to be taken very seriously, and it is certainly not Anne Rice or Bram Stoker by any means, but it is some great old-fashioned weekend entertainment. Overall this is a great movie that everyone who grew up in the 80's should definitely own. Moreover, it's a great addition to anyone's vampire or horror collection. If you can enjoy a light-hearted romp through vampire mythology, then definitely pick this film up!

A small downside to this DVD is that there are few extras. If you merely want a great movie at a low price, then pick up this DVD. Otherwise, there is a two-disc set coming out soon that should be worth checking out!

Read Best Reviews of The Lost Boys (2008) Here

Flat out, the Blu-ray version of this classic movie is amazing, the picture and sound is as if this movie was just filmed. If you loved the movie back then, you will love it even more now....this is a no-brainer on blu-ray

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The Lost Boys is a movie that could only work in the 80s; while sometimes called a classic I don't think I would go that far, but it is a cult classic and one of the most entertaining films I have ever seen. While it is a horror movie there is nothing really scary here. And despite the R-rating it's a very light one at that. The Lost Boys is very much a product of it's time and a damn good one at that. I figured with the release of the sequel The Lost Boys: The Tribe due out this summer I might as well revisit this cult classic.

The screenplay was written by Janice Fischer, James Jeremias & Jeffrey Boam; apparently Fischer & Jeremias wrote the first draft and it was more of a kid's movie that features pre-teens. Richard Donner was the original director, but when production was delayed he dropped out, but stayed on as executive producer, Joel Schumacher was than hired and wanted to make the characters older and I assume that is where Jeffrey Boam comes in. The screenplay though is excellent; the characters are great and almost all of them get enough screen time that we get to know them. Obviously some characters will be more developed than others, but none of them are just simply there.

Director Joel Schumacher who often gets a lot of heat for his work on Batman Forever & Batman & Robin does a great job with The Lost Boys, due to the two Batman movies he's often called a hack and one of the worst filmmakers. Joel Schumacher isn't a great director, but he has made some really enjoyable movies sure he made some mistakes with his Batman movies and even he knows that. But with The Lost Boys he delivers one hell of a fun ride. His scenes are well paced and there really is never a boring moment at all. The comedy works well and the action scenes are extremely well-done and are a lot of fun. There isn't much suspense and tension, but that wasn't the point with this movie.

If anything The Lost Boys is best described as a comedy/fantasy type movie, but since it includes vampires killing people it will throw it into the horror genre. I think every kid and even adults have that fantasy of killing vampires or zombies and The Lost Boys very much plays up to that. The movie runs at 97-minutes and you'll never be bored there's always something happening to hold your interest in the movie.

What The Lost Boys is best known for now is being the very first movie to feature both Corey Haim and Corey Feldman AKA the two Corey's. After this movie they would work together several times before fading away by the end of the 80s; both Corey's work great together here. This is more of a Corey Haim movie since he plays the bigger part and he's really funny, but Feldman possibly steals the show as Edgar Frog along with Jason Newlander as Alan Frog. The Frog Brothers are played straight and serious, which makes it even funnier.

Before he was Jack Bauer, Kiefer Sutherland was David the evil vampire. I'm a huge fan of Sutherland and this is one of his very best roles. He doesn't always have a lot of dialogue, but he has a great presence on camera and makes for one of the coolest vampires to ever appear in a movie. The rest of the cast is also excellent; Jason Patric puts in a solid performance as Michael Emerson trying to fight his vampire urges.

The Lost Boys easily rates as one of the most fun filled movies of the 80s and one of the most fun period; there's never a slow moment The Lost Boys is always funny and a lot of fun. The DVD is excellent with some great features on the 2nd disc. I've seen The Lost Boys several times, but this is the first time I've seen it on DVD and I know there was a DVD out before, but the new one features a brand new HD transfer and the picture quality is excellent. If you own the original disc it's more than worth the double dip for the 2-disc set if not for the extras that at least for the transfer.

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