Cherrybomb

If you love Rupert Grint for his fabulous sense of humor in the Harry Potter films, you may be a bit thrown off by his fowl-mouth, his crazy awesome accent and his determination to get a girl who, lets just say, is No Emma Watson. Nonetheless, he is brilliant in this film, and his friend, James Nesbitt isn't so bad either! This movie is like Rupert Grint's Driving Lessons in a sense that it is a coming of age story.

CherryBomb is a really cool movie though. Like nothing I've ever seen. There are many parts where you don't know which character to like, because of all the dirty rotten tricks being tossed around just to get this no good, troublemaking girl. The end is a bit shocking. I can usually predict the endings to most movies I see, but this one threw me for a loop.

Overall, very good film.

Don't let the apparent German disc fool you. The movie can be played in original English language. It should play on all Blu-Ray players as well. It was impossible for me to find this in the USA. Rupert Grint (known as Ron Weasley to most) is sexy as hell...and SHIRTLESS in this tantalizing movie. The movie is exciting and on Blu-Ray the picture is excellent. I highly recommend it!

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As hard as it was to watch Rupert Grint play a kid who is every parents nightmare, I'm glad I did. He's brilliant and has bright future ahead of him given half the chance. The other 2 actors are equally as good. Intense and difficult roles to play but they were all up for the challenge. The movie is about 3 teens growing up. I know doesn't seem like much of a stretch, but these characters couldn't be further from who these people are, as I would imagine, in their real lives. Two of them, Luke and Michele, do not have ideal situations. Luke's brother is a thug and his father is a drug addict. Therefore leaving him on a constant quest for trouble and a reason to act out. Michele's father is banging her 16 year old best friend and an all around nutter. But Malachy (who is played by Grint) it would seem is just in it for the drugs, looking to get laid and an all around good time. Which is sad, because it appears he's in a loving family and one that he loves as much. But he can't see further than his troubled friend and a girl they both just met. Which makes his role complex and even more difficult to figure who this kid really is. The movie is troubling in so many ways and your heart really goes out to Luke because on top of everything else he has to deal with, his friend Malachy lets him know after crashing his fathers car (because of Luke) why Luke is the way he is, the look on his face having his besty just tell him what a loser he is and why no one cares (not Malachy words exactly) about him, makes me sad just thinking about it. Tragic story with even more devastating and unexpected ending. I recommend this movie to any Rupert Grint fan and for your Rupert DVD collection because we have not seen the last of him and if that be the case it would surely be a waste of talent. This is a not a movie for children, especially who are Harry Potter fans, due to foul language, drug use and sexual situations. Grint is at is finest acting to date, besides the last 2 Potters. Cheers!

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I love Rupert Grint which made me watch this movie and even though I live in the US and had to watch it on my laptop I still loved it! It really interprets teenage life and how one mistake can get you in a lot of trouble. 5 stars

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This is perfect if you live in the US and want to see this movie. Just change the language to English, and there's no problem.

Borderland / Crazy Eights (Double Feature) (2011)

Borderland is mad tension. It builds and shocks from start to finish. With the current drug war waging south of the border this movie is not only plausible but probable.

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The Purge (Blu-ray + DVD + Digital Copy + UltraViolet) (2013)

The premise behind writer/director James DeMonaco's film THE PURGE is indeed a fantastic one: set in the year 2022, when unemployment nationwide is down to just one percent, and crimes across the board are at an all-time low. But what if the manner of getting it that was to allow a one-night "purge", in which violent behavior was actually sanctioned by the United States government, and largely to rid America of the poor and the indigent? It is a premise that may seem outrageous; but so too was the idea of a surveillance state as depicted in George Orwell's classic 1948 novel "1984"; and what has America become since 9/11 but a real-life surveillance state? Under the right circumstances, it is completely possible that something like THE PURGE might come to pass.

Ethan Hawke portrays a security systems designer whose entire neighborhood, located in the hills above West Los Angeles, owes its very security and safety to his security designs. It becomes especially important during a twelve-hour time frame from 7 PM to 7 AM on March 21st and 22nd, 2022 known as "The Purge", in which violent behavior, including murder, theft, and even rape, will be allowed--and no police or emergency first responders will be on duty. It is a thing that Hawke and his family, and their neighbors, have gotten used to; and they have also become largely callous when it comes to the potential victims of the Purge, namely the poor who don't have the ability to support themselves with any job or pay approaching anywhere close to what Hawke makes. But on this particular Purge Night, one of Hawke's children (Max Burkholder), out of the goodness and conscience of his heart, lets a wounded black man (Edwin Hodge) enter the premises, which upsets Hawke tremendously. To Hawke, Hodge is exactly the kind of target the Purge people want to kill; and when the leader (Rhys Wakefield) of one such Purge group comes to get Hodge, Hawke, his family, and their home come under siege from that group. Hawke at first advocates handing over Hodge to them (given that the Purge group has already totally crippled what Hawke had once proclaimed a foolproof security system), but his wife (Lena Headey), daughter (Adelaide Kane) and Burkholder, appalled at his descent into cold-blooded "survival of the fittest", force the issue. In the end, they are forced to endure much physical horror and psychological terror until the morning comes. And does the madness really even end there?

DeMonaco wrote and directed THE PURGE on a budget of just slightly more than $3 million; and apart from the sometimes shaky and unsteady camera work (a trait that came from the quasi-documentary style of films like THE BLAIR WITCH PROJECT and PARANORMAL ACTIVITY), every penny of that $3 million budget shows up here. There are a number of things that don't quite work the way they should; and some of the acting, especially by Wakefield as the chief Purge instigator, is overly hammy. In terms of what DeMonaco is basically trying to do with what is certainly a fantastic and crazy premise (one that seems to take a number of shots at right-wing elements of America, up to and including the Tea Party), however, THE PURGE is effective enough. There is something extraordinarily ironic at rich, upscale people turning on one another, either for harboring a "filthy swine" such as Hodge, or for having their supposedly "foolproof" security system exposed. In many ways, it derives its power and plot from many films: the original ASSAULT ON PRECINCT 13; A CLOCKWORK ORANGE (the masks worn by Wakefield and his posse); THE BIRDS; NIGHT OF THE LIVING DEAD; STRAW DOGS (the original 1971 Sam Peckinpah classic); and even THE OSTERMAN WEEKEND (Peckinpah's last, released in 1983). But these are films that have a kinetic and psychological power that very few other "horror" or "thriller" films of this kind can have without spiraling into hyper-violent absurdity, and they are films that DeMonaco clearly has learned a lot from.

Hawke does a fairly good job of being a somewhat callous capitalist who grossly underrates the impact that the violent behavior of the night of the Purge will have on his family. Headey also does a credible job as his wife, who questions his motivations and his morality when, at first, he decides to hand Hodge over to Wakefield, instead of doing the right thing and fighting for his humanity. In the final analysis, and in terms of its credibility and plausibility, it has to be said that THE PURGE isn't necessarily the best psychological "horror" or "thriller" film that has ever been. But it is effective enough to deliver what it promises for its eighty-five minute running time.

"The Purge, for its time, is by far one of the most daring and intriguing thrillers and social conscience dramas released in recent memory. While some people might find the concept bewildering to grasp (a 12-hour period known as The Annual Purge involving free, legalised criminal activity), it is nonetheless stronger for consideration than the average "horror" film especially when recent discussions about the Second Amendment, poverty, race/class issues, and mental health all have been in the spotlight.

The film, as the trailers might hint, starts off more as a dark and chilling parable and then switch its gears for more conventional thriller devices with the Straw Dogs-like house invasion toward the middle and end of the film. Nonetheless, much of its messages and intrigue are not lost in the mist as many things can be read and interpreted upon (the affluence of preppy university students showcasing their snobbery through racial violence, fear of the very poor and very rich, taking advantage of innocent women).

While much of its glory comes from the themes, The Purge also complements its too realistic for science-fiction, claustrophobic narrative well with intense cinematography, graphic violence, paranoia, and slow-burner pace of frequent domestic threat. Performances are rather good too with Ethan Hawke plays a believably stuck-up security systems consultant and Lena Headey as the fearful yet resilient matriarch of the Sandin family. The soundtrack, with its clever yet unsettling use of Debussy's Claire de Lune, sets to complement a tone to the film that hints paranoia and horror with "violent peace" (oxymoronic to say the least).

From a person who hardly goes to see these so-called "horror" films (ParaNorman, The Shining, Cabin in the Woods, An American Werewolf in London, and Splice are just a few recent ones I have seen), this one can be construed as more close to horror because of the feeling that you are not safe in your own home but the thriller aspect plays into it moreover due to its realistic albeit futuristic setting. On merit, the film delivers a stronger argument about the trouble vigilantism may bring or provide good or bad and is a good enough film for older audiences to critique and question about much of the film's meaning. On that note, it is also best if you stay in for the credits too so to get the experience of knowing how many of The Annual Purge participants feel glad or feel sorrow."

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By the year 2022 the US government, led by our New Founding Fathers, has managed to crawl its way out of a triple dip recession and record crime rates. Unemployment stands at 1%, and crime is at an all time low. With one exception. Once a year, on a date designated as The Purge, for twelve hours all crime is legal. Rape, murder, theft, the entire US has a free pass to do whatever they wish and suffer no repercussions for it. In a single day thousands are murdered and millions of dollars worth of property destroyed in order to give everyday American's an outlet to vent their rage, anger, and frustrations in the hope that they will "cleanse their souls" and not be tempted to commit crimes for the rest of the year.

First of all let's put aside the fact that the premise at face value makes absolutely no sense. I'll let that slide, though I do feel it needs to be said. The premise is what it is, and as implausible as it is, I still thought it interesting enough to warrant a look. But even overlooking this, the movie has some serious flaws that I felt wasted what could have been a very intelligent film. First of all, this film is produced by the same people who brought us great horror movies like the Paranormal Activity movies, Insidious and Sinister, and while I loved those movies this film should have been different. The premise screams suspense thriller, as instead of dealing with supernatural beings like in their previous films, the main baddies in this one are a bunch of teenagers in masks and an old homeless man. To put it simply, there is nothing even remotely scary about this movie, so the fact that they filmed it like a horror movie with the typical horror movie tropes, jump scares, loud music, etc only served as a distraction both for the director and the audience from what should have been the main focus. These sort of things worked for Sinister and Insidious because of their supernatural elements, because the villains were invisible, evil forces that couldn't be talked to or reasoned with. This film doesn't have that. Instead we have some homeless guy wandering around an inexplicably enormous house for an hour while the idiot family that lives there stumbles around in the dark. Am I honestly supposed to be scared by this? The Purge is a thriller in a horror movies clothing, and ultimately in my opinion fails horribly at being either.

But what about The Purge itself? Do we get to see the streets turn into battle grounds? Is there subtle yet engaging social commentary to go along with such an interesting premise? Sadly, no. I don't know what these producers deal is with filming well off families in big houses, but this story should have really been told from the POV of someone who is poor and, thus, unable to afford protection from the roaming bands of psychotic rich kids trying to kill them. This is what should have been the focus of the film, not some boring rich family with first world problems, but the poor and downtrodden who are the real victims of this sick tradition. Imagine a film where a poor, single mother/father flees with their children from bands of killers who are not only allowed to kill at will, but encouraged to do so as well. That would have been a great movie. Instead we get boring suburban dad with boring suburban wife, and boring suburban kids. Nothing gets my heart strings strumming like privileged rich people trying to throw some poor homeless guy to the wolves. Yeah, I feel real sorry for those guys.

The Purge is a film that had a great idea but no idea how to see it through. Its boring, badly directed, and commits the cardinal sin of being a horror movie that isn't even remotely scary. If you really want to see it, wait until its on netflix and stream it. Otherwise, my suggestion is to pass. Its really not worth the effort.

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This movie is not supose to be scary. It was really good (in my opinion). It delivered what it promised to deliver. People always complain about things. It is sad how people ca never be satisfied. The idea was really creative and well built.

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For Hollywood, this was a goldmine!! With a budget of only a reported 3 million, this movie exceeded and surpassed expectations! And here is why. The acting was superb, Ethan Hawke and company did an excellent job in portraying the story. The audience felt the families plight, they were right there with them. This ultra violent horror movie actually has heart. The ending will surely suprise any veteran horror movie fan. Excellent film!!! The supporting cast, right down to the most minute part did an excellent job as well. We love love love this movie.....go see it!!!

The only issue I have is that I wish that the story was carried outside of the family, but other than that, it would have been a 5 star!!!

Christopher Berry

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The Adventures of Mark Twain (Collector's Edition) (1985)

Although The Adventures of Mark Twain is a Claymation extravaganza, it shouldn't be thought of as just kids' fare--in fact, much of the subject matter is not only intelligent on an adult level but also a bit dark. The premise is that three youngsters--Tom, Huck and Becky from The Adventures of Tom Sawyer--stow away on a fantastic lighter-than-air craft piloted by Mark Twain, who was born during a year when Halley's Comet visited our atmosphere and is trying to join up with it during one of its return visits. As he puts it, the Lord noted that those two freaks of nature came in together, and they should go out together. Along the way, the kids start to question the outcome of the trip and plot to hijack the ship. They also encounter several of Twain's short stories that are dramatized as subplots, a couple of which end up revealing crucial aspects of Twain's own character. The Clamation effects are a knockout, highly imaginative, and the plot has more substance than you might think on first approaching it. You might want to view it with your youngest children, since there are some potentially frightening considerations of mortality. Overall, however, most viewers should find it highly entertaining.

I can hardly believe that I've finally found this on DVD! I could not be more pleased. I've looked and looked over the years to no avail and suddenly PRESTO! BANGO! There it is. I used to watch this with my boys when they were very young. They did not understand the symbolism or humor then but were attracted by the incredible claymation. It's neat to see them watch it again years later and sudenly the lights go on and there is something deeper to appreciate.

I can't/won't speak to the narrow minds that kept Huckleberry Finn off so many library shelves for such a long time but we all understand that Mark Twain did not necessarily write for an audience of children. This genius of an American writer gave us things to think about and consider...uncomfortable issues for the time and gauging from some of the more emotional responses/reviews, still difficult for a few today but I challenge that truly GREAT art does that.

If you are a fan of Mark Twain and don't mind entertainment that encourages exploration of the human spirit, our ideals, aspirations, disappointments, patterns of life and the conclusion of that then I HIGHLY recommend this gem. It's definitely a keeper...you know, one of those special works that you keep in the closet even after you can recite the dialog and have given away all the other older movies you've grown tired of. It is wonderfully representative of Twain so if you are not enamored of his work you may not "get" this.

I saw some reviews that found the movie choppy but I never thought this was the case. It's a film that requires your full attention but it's so entertaining that you will want to watch again and again. Over time you will pick up on things that you may have missed the first few times around and have one of those OHHHH now I get it moments....This is not Sesame Street...it's contemplative, thoughtful and BEAUTIFULLY done...enjoy...

S.Politte, Texas

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Claymation animator Will Vinton's first -and to date, only -full-length feature is based on Mark Twain's lesser-known writings, including "Tom Sawyer Abroad" and "The Mysterious Stranger." (It also owes a substantial debt to Justin Kaplan's critical biography "Mr. Clemons and Mark Twain.") The storyline is episodic and incoherent, but individual scenes -especially the "Mysterious Stranger" sequence -are as good as animation gets.

Vinton's "Adventures of Mark Twain" is probably too strange for most audiences, and its nightmarish imagery is not suitable for young children. Twain buffs, however, will be delighted.

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I remember this movie from when I was a child. With the advent of DVD I scrambled to get every movie that I recalled fondly, only to be let down. Everything that I found to be great when I was 10, I found terrible now that I am 30.

When I heard of the release of the Adventures of Mark Twain on DVD I was hesitant. I wondered if it would be as great as I remembered it.

Thankfully, it was and better than I remember.

The Adam and Eve sequence rings funnier now at 30 than when I was 10. The animation itself is enough to blow you away, but the fact that it is still a very entertaining movie, story-wise, after all these years says a lot about this film.

Great for kids and parents.

I highly reccomend this movie!

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This movie is extermemly funny and thought provoking. The claymation was ground breaking in the field and a pleasure to watch. That the script writers thought to explore the thin veil existing between a writers characters and the writer is ingenius. Then, to explore Mark Twains classic stories and build a fictional story around the interaction of Mark Twains life with the stories and characters...another shot of genius.

Top it all off with thought provoking satire in true Mark Twain style and you have a movie worthy of a place in your library.

Mark Twain would have loved it!!

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A Walk in the Clouds (1995)

I read all the other reviews for this movie, and I was amazed at the negative comments the guys made about it. Well, I'm a guy and I loved this movie. Okay, so Keanu Reeves doesn't get the award for best dramatic actor of the century, but he's a lot better than, say, Jim Carey. I didn't perceive him as "woody" or "stoic," but rather I saw him portraying a polite and shy young man who helps out a young woman in distress at his own personal inconvenience. That's a trait you don't see very often these days. It's a pleasant and refreshing change to see a young soldier who is actually moral and decent and willing to help, even at personal loss to himself. Yes, it's a huge chick flick. So what? A lot of chick flicks are great movies, and this is one of them. Buy it and watch it with someone you love. You'll have a great time. The photography is spectacular. The music is great. The story is predictable, but then, so are the plots of most of the action movies. It's a rare movie that is completely unpredictable. This is one you won't forget. Thanks to those who produced it for giving us a good example of the way real men act around women, particularly women in need. This is one movie you can watch with anyone... your spouse, your kids, your date. It's a good, clean, moral tale of shivalry that warms your heart and restores your faith in humanity. It's a totally enjoyable experience.

I've enjoyed a number of Keanu Reeves' movies, from "Bill and Ted" and "The Matrix" to the more recent "Constantine." "A Walk in the Clouds" is one of his forays into the romance genre, and it's a favorite of mine in that category. The story begins during the waning days of WWII, where Army veteran Paul (Reeves) arrives in San Francisco after four years of combat. He makes his way home and surprises a wife he barely knows. After an awkward reunion, she practically shoves him out the door the next day with an admonition to start raking in the bucks by selling chocolates. The life of a traveling salesman is not what he had in mind, but he decides to make a go of it for her sake.

On a train bound for Sacramento, Paul literally bumps into Victoria, a mysterious, attractive Latino woman (Aitana Sanchez-Gijon) who immediately vomits on him. After a couple more odd encounters, they wind up together on the side of a country road. She tearfully informs Paul that her grad school professor-slash-lover impregnated and then dumped her. She fears that her ultra-conservative, autocratic father Alberto (Giancarlo Giannini) will kill her for soiling the Aragon family name by returning home an unwed mother. A scheme is hatched where Paul agrees to pose as Victoria's husband for a day, and then abandon her so she can save face. Of course, things don't quite work out so easily, especially when Paul and Victoria begin to have feelings for each other.

"A Walk in the Clouds" is a visual and relational treat. The scenery of the Aragon estate and surrounding vineyard is almost otherworldly in its lush beauty (hence the movie's title), and made me want to book the next flight to California wine country (even more than "Sideways" did). More impressive was the close-knit traditional Latino family atmosphere, dramatically embodied in the sensual winemaking ceremony, where the married women dance the newly harvested grapes into juice. However, all is not perfect in paradise. Alberto is threatened by his non-traditional daughter and Stanford educated son, who wants to apply modern business theory to the old-world winery. "Gringo" Paul becomes the focal point for his insecurities, and their conflict escalates towards an uncertain and traumatic resolution.

Some have criticized Keanu Reeves for having a "wooden" demeanor. True, he's not the most expressive performer in cinema. But his low-key acting style perfectly fits the character of Paul, a man of the stoic WWII generation dealing with PTSD and his status as an orphan. I was able to sympathize with and root for Paul throughout his journey, and I commend Mr. Reeves for enabling me to do that. The other actors also turn in excellent performances, especially the late Anthony Quinn as Don Pedro, the chocolate loving, brandy drinking sage patriarch who takes Paul under his wing. He provides a good contrast to Giannini's driven Alberto, so concerned about preserving his family that he's forgotten how to love them. And I can't leave out the lovely Aitana Sanchez-Gijon, whose passionate and intelligent Victoria is the thinking man's movie-character catch.

"A Walk in the Clouds" is one of the most romantic movies I've ever seen, and it holds up well under repeated viewings. Highly recommended.

WARNING: The next paragraph has some SPOILER content, but for those concerned with moral content I want to comment on Paul's character and must do so within the context of a choice he makes.

I was surprised and gladdened that Paul was an honorable man who valued family relationships and put the needs of others before his own desires. He doesn't take the easy way out from his albatross wife, even after finding the woman and family he's always longed for. Paul perseveres through sexual temptation, not because of dogma, but because he cares about Victoria and doesn't want to hurt her. Despite his feelings for Victoria, he demonstrates loyalty to his shallow, materialistic wife and tries to work things out. That kind of virtue is somewhat rare in a Hollywood production these days, and lends a welcome old-fashioned, family-friendly air to the movie (END OF SPOILER).

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This is an incredibly beautiful film. It is gentle, sweet, and full of love. With gorgeous cinematography and a wonderful cast, it will transport you to another era. Keanu Reeves is marvelous in it, as is Anthony Quinn. Their drinking/singing scene is priceless. It's a one of a kind gem and if you want some warmth and humanity in your entertainment, this is the one to watch.

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Just viewed this movie for the third or fourth time since seeing it at the show ten years ago, and still find it an amazing film, for light entertainment-slash-sentimental love story. (Note to all would-be movie reviewers: Learn how to review a movie for what it is, on its own terms, and not for what it is not.) Its a period piece, with stunningly gorgeous cinematography and locales, and a pretty good turn at story-telling, craftsmanship and acting yes even on Keanu Reeves' part. (There seems to be a trend amongst male movie reviewers to give `de facto bad reviews' to such actors as Brad Pitt and Keanu Reeves, 'just because'. Its a sad testament to the frailty of the male ego that some of us feel threatened, challenged, and even competitive with a guy we probably don't even know, and will most likely never meet.) Anyway, I don't really know what movie the Amazon reviewer saw, because, frankly, he was blatantly wrong on all the salient points about this film.

First off, its a good movie, for its genre and the story it tells. Next, Keanu Reeves is completely plausible, and likable in his role as a war Veteran who saw, and endured many terrible things during his time of service, attempted to forget it all, then tried to come back to a normal life with a wife he married on a spur of the moment, as many soldiers do, hoping to make it work. (There was even a pivotal scene between Keanu and Giancarlo Giannini, where he explains why and how he had to `close himself off' emotionally, to do what he had to do to survive the horrors of war, hence, his stoicism, which the Amazon reviewer somewhat shallowly dismisses as `wooden'.) He shows real emotion when he needs to and where it is required mainly, in his scenes with Aitana Sanchez-Gijon, for whom he has real affection, and not Debra Messing, his `impulse' bride. Which would explain (to those who were paying attention) why he really didn't care that she was `cheating on him' with Armistead. Or, for that matter, the vineyard fire at the end, which, to him, must have been much like the scorched battlefields he experienced during the war. (What type of war hero runs and screams with everyone else when such an event occurs?) What the Amazon reviewer calls `wooden', others would label `grace under fire' (no pun intended), or just keeping a level head.

Guess what, reviewer: The farmhands were not chasing insects with their `gossamer wings', but actually try to divert heat onto the vines during a night of killing frost. To this viewer, Keanu Reeves didn't seem `terribly self-conscious', but more like a man who was genuinely and hopelessly in love with someone he barely knew, and trying desperately to impress that upon both her, and her unrelentingly suspicious and un-welcoming father.

In his defense, the Amazon reviewer was actually talking about the `VHS Tape edition', so, its possible he may have seen a completely different movie all together, one other than what most of the viewers here saw. But this reviewer, for one, loved this movie, the ensemble of actors, the locales, the soundtrack, and the quiet, easy way it creeps into the sentimental heart of most people who see it even us guys. Except, of course, for those who had their heads in the clouds, while it was playing.

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I am writing this as a critic who usually stays away from Keanu Reeves in any movie. The only reason why I watched this in the first place was because a friend said I would love it and I definately do.

Keanu Reeves(Paul Sutton) is a WW II vet who comes home to a wife he barely knew and has nothing in common with and hits the road to sell chocolates. On the train and again on a bus he meets Victoria who is a young woman who is traveling home to her family's vineyard although she is also pregnant. As a nice guy, Paul decides to accompany Victoria home and pretend that they are married. What ensues is two strangers falling in love as they try to convince her parents that they are truly married.

This was a great story in which the scenery is spectacular. Along with some of the fabulous scenes of the traditional harvesting and stomping of the grapes, it is a heartwarming movie injected with a bit of comedy from the rest of the Aragon family. Although a bit predictable, this was a really well done romantic movie which I enjoy watching over and over again. I would definately recommend this movie to anyone who is a true romantic at heart.

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Beautiful Boy (2010)

I must admit that the premise of this film did not excite me terribly at first glance, since I've seen too many made-for-TV movies filled with overly sentimental music and tear-jerking dramatics. Viewing the film, however, was both refreshing and dramatically satisfying.

Bill and Kate are the middle-class parents of college junior Sammy, a young man who has always been quiet and something of a loner. There is a tension beneath their marriage which is not readily apparent to anyone, not even to them. One night their son calls and sounds unusually quiet. The viewer is easily able to spot the sadness and confusion in his face, but Bill and Kate notice nothing over the phone, chatting only about planning the family vacation.

The next morning brings the news that a student has shot dozens of fellow students at Sammy's college. There is a lockdown and no information is coming out of the school. Worried as they are, Bill and Kate convince themselves that Sammy is fine he rarely answers his cell phone anyway, Kate muses until the moment when two detectives appear at their door. Kate screams, "He's dead, isn't he?" and their worst fears are confirmed. But then comes the unthinkable, "There's more" says the Detective, as he informs them that Sammy is the perpetrator who shot himself in the head after murdering so many of his fellow students. "LIAR!" shrieks Kate, "LIAR!" she repeats, as she collapses in disbelief.

They both take to bed, Bill in their room and Kate sprawled across Sammy's in his attic bedroom. After a short while, the reporters appear at their door and the television is endlessly showing Sammy's photo and a seemingly psychopathic video he made shortly before his rampage. Bill and Kate flee to Kate's brother's home, while they try to come to terms with Sammy's inexplicable killing spree.

The first thing that impressed me about this film was the superb acting. Michael Sheen ("David Frost" in FROST NIXON; "Tony Blair" in THE QUEEN) is nothing short of brilliant as the confused and grieving Bill. He's a good man, a good husband and a good father, but the events that unfold make him question if the tragedy could somehow be their fault. Maria Bello (THANK YOU FOR SMOKING) is extremely effective as Kate, believably and quietly wringing all the emotion one could expect out of the situation. But even more than their amazing performances, the tight script, effectively dramatic without any pathos or phony emotion, is as believable as one could want and plunges the viewer directly into the experience of the two shocked parents, as they deal with horribly cruel and judgmental comments on Sammy's Facebook page, childish, sadistic graffiti spray-painted on his tombstone, endless talk-show hosts who condemn them as parents without ever meeting them, and thrill-seeking teens who break into their home to "investigate" all they can about the "Psycho murderer." How many times have we seen headlines like this and thought, "It's the parents fault" without giving any real consideration to who the parents really are and how confused and saddened they must be to lose a child?

Equally impressive is the first-rate direction by Shawn Ku, who restrains the dramatics to the point of sheer plausibility and whose indulgence in hand-held cameras is neither excessive nor obtrusive. The best thing about it, it bears repeating, is the absence of maudlin emotions and tear-wrenching, sappy speeches or music. The scenes are all well thought out, extremely credible and ultimately satisfying. For a while, I thought they had stopped making films like this. The pedestrian premise initially prompted me to give it just four stars, but in the end I was so satisfied by this marvelously well-done, old-fashioned drama that I can't see how it deserves less than five.

Highly recommended.

I'll get this out of the way.

Brilliant acting.

Amazing direction.

Pacing, score, pretty much everything was brilliant.

Definitely worth a watch.

Here's why...

The movie is about your average married couple who's college age kid snaps and goes on a school shooting rampage before taking his own life.

My memories of Columbine and the other various school shootings over the years are still very fresh in my mind.

The one thing that I always wondered was how the families related to the shooters dealt with what had happened.

I think this movie does an excellent job of showing what these families go through.

When Columbine happened, I like many was the first to point my finger at the parents.

But what I've noticed about a lot of these shooters is that they're almost always late teens to early twenties. That's usually right when schizophrenia symptoms start to manifest in young men.

So no, in a lot of cases I think the parents raise the kids just fine and are just as baffled by what happened as everyone else.

I know it's of little comfort to the victims families but all too often the warning signs of mental illness go unnoticed.

The only thing we can really learn from tragedies like this are to better recognize the symptoms as well as finding better ways to treat people who are mentally ill before things escalate to such violence.

This was a very difficult movie for me to make it through.

If you cry easily, you better have tissue near by.

I did.

A powerful and disturbing movie that I'm glad I saw.

I probably won't ever watch it again it was too depressing.

It definitely left a mark on me.

Very sad.

As I said before I, like many pointed my finger of judgement at the parents.

That wasn't fair of me or anyone else to do.

Sometimes there are answers.

Sometimes there aren't.

Sometimes the answers, like mental illness only become apparent after the fact.

This movie made me think.

It made me cry.

It makes me hope that we find better ways of helping people around us who are in need of it.

An amazing and powerful movie.

Recommended.

Buy Beautiful Boy (2010) Now

The struggling married couple at the heart of "Beautiful Boy" have their lives altered by the most horrific nightmare imaginable involving their son. It is timely and excruciatingly unpleasant, the central tragedy should resonate with anyone concerned about alienation and random violence in the world today. To the movie's advantage, the DVD cover and promotional material has the common sense to NOT reveal the specifics of this incident. For the movie to achieve its maximum power, it is best to allow the content to be unveiled to the viewer as it unfolds to the parents. However, this subtle tactic is undermined by almost every review available on Amazon (including Amazon's own editorial DVD description). It's an unfortunate miscalculation, in my estimation, as it eliminates much tension from the film's earlier scenes and detracts from one of the year's most harrowing moments. Writer/director Shawn Ku takes universal tragedy and shifts the focus in an unexpected and very personal way. By doing so, he has given Michael Sheen and Maria Bello two of the most underrated roles (and performances) of the year.

Sheen and Bello play an affluent, yet struggling, couple on the brink of divorce. As they are making important decisions about their lives together, some crushing news about their college-age son smashes their existence. Suddenly, they are at the center of a public maelstrom. Everything they thought they knew has been stripped away and they are left with nothing but each other. Trying to make sense of what happened and simultaneously trying to move past it, the couple attempt to navigate a powder keg of emotions. And the story is very much about Bello and Sheen and how they cope. Will this incident pull them back together or destroy them forever. Part of the nuance of Ku's screenplay is that it allows that they are each their own person, and their reaction to the event and its aftermath is very separate (even as they are forever intertwined). Filled with regret, recriminations, and humiliation--is it possible to move on? And where does ultimate responsibility lay when unimaginable things occur?

"Beautiful Boy" is a smart and sophisticated piece of work. Despite the opportunity for emotional grandstanding, Bello and Sheen remain remarkably grounded and utterly real. At times, you might wish the movie offered more insight into just who their son is. He is never developed (as a conscious decision), but the enigma of his character lingers all over the movie. I mean if his parents, who by all accounts had a close enough relationship with the boy, are clueless--it's hard for the viewer to contextualize what happens. Still, the movie is sensitively wrought and offers two compelling performances. Sheen, as always, executes in one of his most emotional roles. But it is Bello that has the chance to surprise. I've always liked Bello, but her resume veers all over the place from top tier work to grade-B schlock. This time, she's chosen right and her brittleness has rarely been used to such affect. This is definitely a movie for adults who appreciate serious minded filmmaking. An easy recommendation--its power comes from its understatement. About 4 1/2 stars. KGHarris, 11/11.

Read Best Reviews of Beautiful Boy (2010) Here

The struggling married couple at the heart of "Beautiful Boy" have their lives altered by the most horrific nightmare imaginable involving their son. It is timely and excruciatingly unpleasant, the central tragedy should resonate with anyone concerned about alienation and random violence in the world today. To the movie's advantage, the DVD cover and promotional material has the common sense to NOT reveal the specifics of this incident. For the movie to achieve its maximum power, it is best to allow the content to be unveiled to the viewer as it unfolds to the parents. However, this subtle tactic is undermined by almost every review available on Amazon (including Amazon's own editorial description). It's an unfortunate miscalculation, in my estimation, as it eliminates much tension from the film's earlier scenes and detracts from one of the year's most harrowing moments. Writer/director Shawn Ku takes universal tragedy and shifts the focus in an unexpected and very personal way. By doing so, he has given Michael Sheen and Maria Bello two of the most underrated roles (and performances) of the year.

Sheen and Bello play an affluent, yet struggling, couple on the brink of divorce. As they are making important decisions about their lives together, some crushing news about their college-age son smashes their existence. Suddenly, they are at the center of a public maelstrom. Everything they thought they knew has been stripped away and they are left with nothing but each other. Trying to make sense of what happened and simultaneously trying to move past it, the couple attempt to navigate a powder keg of emotions. And the story is very much about Bello and Sheen and how they cope. Will this incident pull them back together or destroy them forever. Part of the nuance of Ku's screenplay is that it allows that they are each their own person, and their reaction to the event and its aftermath is very separate (even as they are forever intertwined). Filled with regret, recriminations, and humiliation--is it possible to move on? And where does ultimate responsibility lay when unimaginable things occur?

"Beautiful Boy" is a smart and sophisticated piece of work. Despite the opportunity for emotional grandstanding, Bello and Sheen remain remarkably grounded and utterly real. At times, you might wish the movie offered more insight into just who their son is. He is never developed (as a conscious decision), but the enigma of his character lingers all over the movie. I mean if his parents, who by all accounts had a close enough relationship with the boy, are clueless--it's hard for the viewer to contextualize what happens. Still, the movie is sensitively wrought and offers two compelling performances. Sheen, as always, executes in one of his most emotional roles. But it is Bello that has the chance to surprise. I've always liked Bello, but her resume veers all over the place from top tier work to grade-B schlock. This time, she's chosen right and her brittleness has rarely been used to such affect. This is definitely a movie for adults who appreciate serious minded filmmaking. An easy recommendation--its power comes from its understatement. About 4 1/2 stars. KGHarris, 11/11.

Want Beautiful Boy (2010) Discount?

There are movies that entertain and then there are movies that make you think. When a movie can do both at the same time it's an amazing feat. Unfortunately this is a rare occurrence and these movies usually fail. Such is the case with BEAUTIFUL BOY.

The story revolves around a couple on the verge of divorce. Married for some time Bill (Michael Sheen) is in the process of finding a new apartment. Wife Kate (Maria Bello) is planning a family vacation, one last time to go somewhere together with their son Sam (Kyle Gallner). Away at school, Sam seems bothered when he calls his folks one night. Why is apparent the next day.

While at work, Bill's co-workers are watching the news and concerned about him. Someone has opened fire at the college where Sam goes and massacred a number of students there. Kate is told the same by her friend and neighbor whose daughter also attends the same college. Bill comes home to be with Kate and eventually the police show. It's not just to notify the couple that Sam is dead, but to tell them he was the shooter and took his own life.

The rest of the film follows the parents dealing with the guilt and frustration they feel about the event their son has placed them in. Was there something they did wrong? Could they have foreseen what would happen? Why would he do such a thing? Couple this with the press hounding them and they begin to wonder if this all could have been their fault.

Leaving their home where reporters camp out daily, they spend time with Kate's brother and his family. Each deals with the problem in their own way. Bill looks at things from an orderly point of view, making sure they issue a press release and keeping up a strong face while he mourns in private.

Kate is the emotional one, first denying that any of this could have taken place. She insists that their son did nothing, that he couldn't have done something so heinous. When video of him ranting in a recorded message he left behind surfaces she must face the truth. But she still retreats into herself, attempting to subtly take the mother's position in her brother's home.

Eventually the couple leave and hole up in a motel where their various means of dealing with the problem shoots them up and down the emotional scale, one moment arguing with one another and the next falling into each other's arms in love once more only to fight again the next morning. Neither one is prepared for what happened or for what is going on now. They just deal with it themselves in their own way, never completely offering each other the support that each needs at this time. Only time will tell if they come out of this nightmare stronger or defeated.

The film focuses not on the son and his deed but on the aftermath he leaves behind. While the characters are faced with questions about themselves and their family, for the most part they seem more concerned with themselves than with their son, they seem selfish to an extent. How one would deal with this sort of thing is hard to imagine but this couple seems intent on their own feelings and nothing more.

And this makes for a movie that offers two roles where critics and awards type shows will respond with praise but that viewers will watch with a certain amount of boredom. Running just over 2 hours it's hard to sit and watch the pain and the self flagellation that goes on for nearly that entire time. Over and over again we watch them fight and seek someone to blame, more often than not taking the brunt of it all. And that's a weight that anyone would find hard to handle. But that's all the movie focuses on. It never offers any relief or solutions.

The subject matter is topical and something few of us would ever even consider thinking about and yet with the number of mass killings perhaps it's something we should. One would hope that placed in the same circumstances each of us would be able to find some way of dealing with the problem and hopefully better than this couple does.

Watching the film is like placing yourself in the same situation. You feel nothing but sad and depressed. With each passing moment as they fail to find a solution you just keep begging that it will end. Some may think of this as art but for me it's just a way to encourage depression. I'd rather spend my money on something else.

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Frankenstein (Import)

After disappointingly releasing James Whale's 1931 classic Frankenstein in two previous DVD editions, I had my doubts as to whether or not this edition would be any better. Would Universal give this classic horror film the treatment it deserved? To be honest, the previous DVD's special features were always great, like documentaries, audio commentary, ect.; but the one real issue that bothered me about the other editions was picture and audio quality. I can honestly say that, even after going as far as making a side by side comparison between the first release and this new edition, this new anniversary edition is the one to own. Much has been improved over the old versions, and I could not see any blemishes that exist here that did not exist before. The film now looks sharper, with significantly less dirt and dust, and the contrast of the expressionist photography has also been improved, with truer blacks and more subtle grays giving the film's cinematography the dark starkness it was intended to have, I dare say the film probably hasn't looked this good in years. And as a plus, they let the end credits fade to black like they were intended to, unlike in previous DVD editions when they strangely paused the end credits. As far as audio is concerned, it is good and loud, somewhat hissy, but not distractingly so. Extra special features also worth while. This new edition finally fives this classic the digital treatment it deserves and proves that even after 75 years, Frankenstein is still a fascinating landmark in early American horror cinema.

Although I have seen better prints of the film, this DVD issue of Universal Studio's famous FRANKENSTEIN is a magnificient package that is sure to delight any fan of classic horror. The film itself has been restored for content, and the Skal-hosted documentary--which traces the story from Mary Shelly's famous novel through its numerous film incarnations--is a delight, including numerous interviews with various historians, critics, and Karloff's daughter. The bonus audio track by Rudy Behlmer is also quite interesting, as are the various biographies and notes, and although the short film BOO is a spurious mix of footage from NOSFERATU, DRACULA, THE CAT AND THE CANARY, and FRANKENSTEIN, it is an enjoyable little throw-away. All in all, it doesn't get much better than this.

As for the film itself, the production of FRANKENSTEIN was prompted by the incredible success of the earlier DRACULA--but where DRACULA is a rather problematic and significantly dated film, FRANKENSTEIN was and remains one of the most original horror films to ever emerge from Hollywood. Much of the credit for this goes to director James Whale, who by all accounts was deeply influenced by silent German film and his own traumatic experiences during World War I--and who mixed those elements with occasional flourishes of macabre humor to create a remarkably consistent vision of Mary Shelly's original novel.

Whale was extremely, extremely fortunate in his cast. Colin Clive was a difficult actor, but Whale not only managed to get him through the film but to draw from him his finest screen performance; Mae Clarke is a memorable Elizabeth; and Dwight Frye, so memorable in DRACULA, tops himself as Fritz. But all eyes here are on Boris Karloff as the monster. Karloff had been kicking around Hollywood for a decade, and although he appeared in quite a few films before FRANKENSTEIN he never really registered with the public. But in this role, acting under heavy make-up, weighed down by lead weights in his shoes and struts around his legs, and without a line of intelligible dialogue he offered a performance that transcended the word "monster." This is a suffering being, dangerous mainly through innocence of his own power and the way of the world, goaded from disaster to disaster to disaster. Even some seventy-plus years later, it is difficult to imagine any other actor in the part.

Karloff would play the monster again in two later films, one of them directed by Whale, but although THE BRIDE OF FRANKENSTEIN is a remarkable film in its own right, this is the original combination of talents and the original vision. Truly a national treasure, to be enjoyed over and over again. Strongly recommended.

Buy Frankenstein (Import) Now

I notice most of the reviews posted here are for a different DVD, the Legacy Collection of Frankenstein movies. But this 75th anniversary edition is only ONE movie, the original Frankenstein, along with some "making of" and interviews on the second disc. While this is a good version of the film it only costs a few dollars more to get the Legacy collection which includes Bride of ..., Son of ..., Ghost of ..., House of ..., Frankenstein's Second Cousin, etc.. Don't make the mistake of buying this version based upon these wrong reviews, especially when you buy it new paying full price.

Read Best Reviews of Frankenstein (Import) Here

All movies are dated. Some are more dated than others, of course. A film's dated quality can be its strength as well as its weakness. Much film criticism has surrounded the primitive techniques used in 1931's "Dracula" and "Frankenstein". Lack of musical score, obvious use of studio sets, theatrical acting, pedestrian use of the camera, etc. Yet I would argue that these qualities are what make these films unique and give them a dream-like, nightmarish quality, which the later, slicker and more polished sequels lacked. The sound of the Frankenstein monster's footsteps coming down the hall before his entrance, the thumping of the dirt being thrown atop the coffin in the opening sequence, all would be lost had they been interpolated in a musical score. The same goes for "Dracula"'s scattering rats, bats and night creatures among the clacking bones in the coffins. Granted, the later "Bride of Frankenstein" brilliantly used music and a far more sophisticated film technique to unfold its story, yet it was a completely different piece of art. It was much more operatic and complex and full of irony and satire as well as horror. Whereas "Bride" gave us thrills, "Frankenstein" gave us chills.

There is something magical about pre-code films. These are films made before 1935 or so, before the Hollywood moral police enforced their censorship rules on the studio system. Pre-code films have a raw quality, an edge, a wisecracking, bristling aura that code movies don't. Code movies tend to be slicker, polished, glamorous and more cautious in the their content. Just compare "King Kong" (1933), "42nd St." of the same year, "Public Enemy" (1931), as well as the aformentioned "Dracula" and "Frankenstein" to any film of the code era and you'll see what I mean.

"Frankenstein" is a raw frightfest that still has some scary moments: just watch Karloff's face as he tries to come through the door after killing Fritz, with Frankenstein and Waldman trying to keep it closed. His growls are enough to still send shivers up your spine.

And yet look at the desperation in his face after he throws Frankenstein off the windmill and the villagers decide his fate. It is a look of panic and helplessness.

You can't help feel sorry for him, despite all the terror he has caused. This is genius movie-making and still scary stuff after 3/4 of a century!

Want Frankenstein (Import) Discount?

OK...........well....I am exactly the sucker....err....I mean FAN...yea, FAN that Universal goes after with these multi-dip releases. I have just finished comparing the 90's release, Legacy box set, & this, the 75th Anniversary FRANKENSTEIN DVD's. BTW: If anyone reads my DRACULA comments, you'll see they are similar in my final opinions.

So, overall, YES.....I'd say there is a better picture quality to this transfer. But look.....when someone tells me a film has been restored, especially a film of the calibre of FRANKENSTEIN, then I expect to have my bolts knocked off with the transfer....ESPECIALLY AFTER BUYING TWO PREVIOUS RELEASES. I don't need to be told how old these films are and what to expect. Technology allows for many things these days and IF a company is going to toot their horn and say something is restored....especially a high roller like Universal....then RESTORE IT.

Now, if you have either of the previous releases, you'll know that the transfers weren't all that bad...not great, but definitely liveable (remember when it was just cool to get this on a disc?lol:-). In this one, the print STILL has a noticeable amount of speckles and murkiness as the other two. So to say this was the blingbling-anniversary-looked-like-we-gave-a-poop-release, well, it STILL comes up short as far as the cleanup. If this was the first time I'd ever seen this movie released on DVD, then I'd say OMIGAWD, this is amazing.....but compared to the last releases, this doesn't show me all that much difference in picture quality. Maybe if Universal spent the time and energy to do it right.....i.e. the definitive HD transfer and stopped this rerelease crap, I'd be more impressed. As it is, it seems to be more money gaining effort than an actual 'Anniversary' effort.

I did notice that on the LEGACY BOX SET (the green packaging), the sound had more of the fuzziness. I noticed this with DRACULA as well, that the 90's releases (poster art covers) SEEMED to have better sound than the LEGACY versions. But then this is at the same time picking the lesser of two evils in sound quality as none sound all that spectacular to begin with.

So let's see.....let's recap shall we:

PICTURE QUALITY: Better than the LEGACY BOX SET, though -that can be arguedin various parts of the film. If you NEVER picked up a DVD copy of this film, then this is the one to get. If you have the other two versions, I'd decide how much you like this film before dropping the cash for it. I mean really....only hardcore collectors are going to feel compelled to upgrade to get three or four less speckles per scene (well, that's an exaggeration, but you get the picure).

VALUE: If you are only marginally interested in the classics monster stuff, get the LEGACY SET. It at least has more films included as well as the same special features (minus the one new one added here) and definitely decent film quality. The first releases from the 90's might be cheaper to find used at this point though...and surprise! they have the same d@mn features...only back then, they really WERE special unlike now, when other than the new Karloff piece, they are recycled.

PACKAGING: So.....with this new release, we get cooler sepia toned box art. A nice touch. The packaging is nearly identical in construction as the LEGACY sets, i.e. it opens like a hardback book. Only here, it seems kinda skimpy. Whereas the LEGACY was this slicked cover housed in a window sleeve to protect the case. Well, here is a simulated 'leather'-ish cover with no gloss, and no case. I know this is minor to some, but hey, this will get scuffed & jacked up. And depending on where you buy this, for the price (in some places nearly 30 bucks) well, Universal could have at least given us a sleeve to put this in.

OVERALL PART 2: This releases is cool....but still gets a 50/50 for what we get packaged up.

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Backdraft (1991)

This is actually a 2-disc "Anniversary" special edition.

Digitally Remastered Picture & Sound

2.35:1 Anamorphic Widescreen

English DD5.1 Surround

English SDH, French and Spanish subtitles

Ron Howard Introduction

Extras:

------

Over 40 Minutes of Deleted Scenes

"Igniting the Story" -Director Ron Howard, Academy Award®-winning producer Brian Grazer and others discuss the evolution of the film from script to screen

"Bringing Together The Team" -From the casting room to firefighter clinics see how director Ron Howard brought together a talented team of actors and real-life firefighters

"The Explosive Stunts" -Filmmakers reveal the state-of-the-art technology and heroic stunts that created the explosive action of the film

"Creating the Villain: The Fire" -See how an overwhelmingly talented team of special effects creators and stunt coordinators worked together to bring the fire to life

"Real-Life Fireman, Real-Life Stories" -Get an insider's perspective on what it takes to be a firefighter in this round-table discussion with the crew of Station 73, Santa Clarit

MOVIE: In a much needed re-release Universal gives us an incredible 15th Anniversary set for Backdraft. Backdraft is a movie that we see so often nowadays, but Ron Howard executed it in such a way that it remains as one of the best of the "real-life hero tribute" films. The script is filled with contrived dialogue and some incredibly lame and cliched plot turns, but it's the fire footage that makes this film exceed above the rest. The filmmakers initially wanted to go with CGI fire, but the tests done looked so fake that they turned to the real thing. Some amazing scenes are shot in this film that we'll probably never see in a film again due to the fact that CGI has advanced so much over the past decade. The characters are likable and relatable, but the acting is a bit overdone. This isn't the greatest film ever made, but the characters feel real enough to keep a strong emotional connection with the audience, and that's the essence of good filmmaking. Many see Backdraft as the ultimate tribute to firefighters across America, and while the ending of the film sends a tribute, the movie is actually very much centered around the two brothers. Heroism and courage are not central themes of this movie, but it's more about embracing the people around you (not teamwork). The film also features the first collaboration between Ron Howard and Hans Zimmer, in which Zimmer produces one of his best synthesizer based scores. A really good film that finally gets the DVD release it deserves.

VIDEO: Owners of the original Backdraft release will rejoice with this all-new digitally remastered transfer. The colors are solid, but I think they picture could have been sharper. There was no hazing or haloing during the fire scenes though, and that was my biggest fear.

AUDIO: I didn't own the previous set of the Backdraft, but I'm guessing that this Dolby 5.1 mix is the same mix from the old set. If it is new, then it's a shame. The subwoofer get's a good workout and Zimmer's score is prominent but the dialogue and quality overall is not that rich or spread out.

SPECIAL FEATURES: The special features are really short, I went through them in one day. Even though they are short, they are great to watch and are informative. When you play the film you will see a short introduction from Ron in his scruffy beard mode. The best featurette was the "Igniting The Story" one in which we go through the script to screen process. We interview some key people about bringing the movie to life, and surprisingly Hans Zimmer gets his own section about the score. I was so happy to see Zimmer in there discussing his work because composers usually never get any screen time in the special features. The other featurettes cover the casting, stunt work, using fire as a character, and then real-life accounts from real firemen. A great set of features with new interviews mixed in with interviews from 1991.

BOTTOM LINE: Buy this set whether or not you own the old one or not. While not the best work we've seen from Ron Howard, it's definitely one of those movies that takes you on an exciting and emotional ride. It also has the honor of being the definitive film about fire fighters unlike the most recent and forgettable Ladder 49.

Buy Backdraft (1991) Now

At the time of its release, Backdraft was regarded by some critics as an admirable if not flawed homage to the profession of firefighting. Of course, compared to the recent Ladder 49 it seems downright gritty and hard-hitting but still doesn't hold a candle in terms of realism to television's Rescue Me. Still, Ron Howard's film has its heart in the right place and does boast an impressive cast. Looking back at it now, Backdraft was one of Howard's early attempts to be taken seriously as a dramatic filmmaker and an initial bid at Oscar glory something that would elude him until A Beautiful Mind.

Howard's film dutifully trots out the stereotypical characters: the long-suffering ex-wife (DeMornay), the gorgeous but otherwise unimportant love interest (Jason Leigh), the crazy killer (Sutherland), the gung-ho recruit (Gedrick) who is punished for his inexperience, the feuding brothers and so on. What Backdraft does have going for it is how it shows the camaraderie of the men in the firehouse: the good-natured hazing of the new guys, the communal meals and how they watch each other's backs in and out of fires. It is very much a brotherhood and this film brings this out very well.

Speaking of which, the firefighting scenes are well-staged and executed, done before the proliferation of CGI and this gives these scenes a real, visceral quality. It is like the fire is another character, a living, breathing organism with a life of its own and the ability to take one as well. Howard's camera is able to get into the thick of these fires so that there is no safe distance in which to remove oneself from the action. You're right in there with the firefighters.

The best scene in the movie isn't the impressively staged fires but the one between Donald Sutherland's twitchy, crazed arsonist and De Niro's investigator. It lasts only a few minutes but every moment between these two brilliant actors is mesmerizing and truly brings the film to life proving yet again that good acting trumps SFX and stunts every damn time. In fact, Backdraft should have focused on De Niro's intriguing character and his intuitive knowledge of how fires work and what causes them. The screenplay hints at an interesting backstory for him and his relationship with Sutherland's firebug. Instead, it amounts to nothing more than a subplot and a red herring of sorts.

The first disc features an introduction by Ron Howard as he briefly talks about how proud he is of the movie and what else is available on this 2-disc set.

There is 43 minutes worth of deleted scenes that sheds light on Brian's backstory -his nomadic existence, how he dropped out of the academy years ago and how he talks his way back in. There is also more footage of the mysterious arsonist plying his trade that reveals a little too much a little too early in the movie. We also get more of De Niro and Sutherland which is always a treat.

The second disc starts off with "Igniting the Story," a featurette that traces the origins of the project as Howard and his producer Brian Grazer talk about what drew them to it. The screenwriters talk about the genesis of the screenplay while the term "backdraft" is also explained.

"Bringing Them Together: The Team" examines the casting process. Howard knew Kurt Russell from back when they were child actors and had always wanted to cast him in one of his movies. Baldwin, Glenn, Gedrick and, surprisingly, Jason Leigh (who never seemed too enthused about this project) talk about how they got involved in new interviews for this DVD.

"The Explosive Stunts" takes a look at how they pulled off the realistically rendered firefighting scenes. The highlight of this extra is Scott Glenn recounting a particularly dangerous stunt where he came very close to getting seriously burned.

"Creating the Villain: The Fire." After computer effects tests failed, the special effects guys ran all kinds of practical tests to see the various ways they could manipulate fire. Everything was planned out beforehand.

Finally, there is "Real-Life Firemen, Real-Life Stories" with actual firefighters from Station 73 in Santa Clarita, California recounting some of their own personal anecdotes and what they think of the movie. These guys really love what they do and speak passionately about it.

Read Best Reviews of Backdraft (1991) Here

`It lives, it breathes and it hates'. This is the description made by Robert DeNiro's character in Backdraft, stating the volatile nature of something we all fear, but rely on; Fire.

Backdraft is a different movie, filled with characters who are flawed and angry with one another. There are many messages that go along with this movie. I'm not sure where Ron Howard was going with the relationships of the characters, maybe no where and that's ok. Why try so hard to make the relationships go somewhere in such a short amount of time when we can clearly tell that the issues between them are a result of a lifetime of hardships and disagreements. These are not the kind of disputes that get resolved in a short period of time, if ever. You can take away what you want from the movie in that respect.

The movie centers around Brian McCaffrey (William Baldwin), who returns home to Chicago after years of failed business ventures to make sure he doesn't follow the family line of becoming a Firefighter. After giving in and completing the Fire Academy, he is placed in his brother's company, one of the toughest. His brother Steven (Kurt Russell) is still a bit annoyed with him for not deciding to become a fireman right off the bat (Chicago firefighters have a stout tradition for family continuance and stubborn old fashioned fire fighting that has no room for progressive tactics). He seems determined to make sure Brian either stays with it and becomes as good as he is, or quits. Brian takes it personally at every turn. Sibling rivalry ensues.

Subplots abound as we learn that fire stations are being closed for political purposes and Brian finds he has feelings for childhood friend (Jennifer Jason Leigh). DeNiro plays Donald Rimgale, the Fire Investigator that is looking into the Backdraft murders (a phenomenon that causes a fire in a closed room to subside after using all the oxygen, but explodes when O2 is reintroduced from the open door), high level politicians and businessman are being killed with this method and it becomes an MO. DeNiro is solid in his role as the Arson investigator, spouting lines about loving fire and understanding it's nature. Kurt Russell is good as he swaggers through his role, a character who attacks fire, knowing for some reason that he won't ever be killed by it. Baldwin seems lost as usual, but the character himself is somewhat lost trying to decide what to do in his personal struggle. Leigh doesn't seem interested in her role but manages to get through and Rebecca De Mornay plays the small role she has as Steven's estranged wife with great world-weary realism. Scott Glenn, mercilessly put in a shaved down role, is good as well. The best character though is Donald Sutherland, playing Ronald Bartel, a pyro-psycho who is locked up in a mental institution. He comes up for release occasionally and Rimgale goes in and repeatedly proves just how insane he still is, no matter what he tricks the doctors and release board into thinking. Sutherland is obviously having the most fun with his part. His character is called upon to help find out who is behind the Backdraft murders.

The biggest character of the film though is the fire, and it is astounding. Even though the movie is over 11 years old, it holds up today. With a combination of real fire exaggerated with computer affects in some spots, the visual result is frightening and actually looks alive in some scenes. All in all, the movie is good, although there are a lot of elements squeezed in to make it somewhat epic, and even though it doesn't quite reach that status, it is a good all around movie with great action, emotion and special effects.

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"Backdraft is the story of two brothers. After the death of their firefighter father, older brother Steven (Kurt Russell) follows Dad's footsteps into the Chicago Fire Department. Younger brother Brian (William Baldwin) bounces from one scam or get-rich-quick scheme to another. But Brian eventually winds up back in Chicago in the Fire Department, and in Steven's Co. 17, no less. They go back and forth for a while, until finally Steven drives Brian out of the department and into arson investigation. Brian winds up working for an arson investigator (Robert De Niro) investigating a series of murders-by-arson.

This movie features a stellar cast, giving mostly excellent performances. Special notice should be given to Russell, in what I think is his best performance ever. J.T. Walsh gives an excellent supporting performance as the sleazy Alderman Swayczak, as do Rebecca De Mornay as Steven's estranged wife and Scott Glenn as Firefighter "Axe" Adcox. Donald Sutherland is especially creepy, yet charming as an imprisoned arsonist to whom De Niro and Baldwin go to for advice on identifying the arsonist. Baldwin and Jennifer Jason Leigh (playing Brian's girlfriend and Swayczak's aide) could have held up their parts better, but that doesn't detract from the movie as a whole.

The fire is the real star of this movie. The special effects are truly incredible, and have to be seen to be believed. This movie boasts the best effects I've ever seen in a non-science-fiction movie. Whoever the effects man is should have won an Oscar for the fire scenes in this movie.

Some may criticize the ending for being overly sentimental, but every single time I see this movie, I get choked up during Steven's last scenes. As an older brother, I really identified with Steven and how he wants the best for his brother, but he isn't quite sure of the line between pushing him to improve and pushing him down.

The special effects alone are worth getting this movie, but director Ron Howard put together an all-star cast that (mostly) managed to put together a movie in which the plot isn't entirely overshadowed by the effects. All in all, a very good movie that's well worth your $15.

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The Time Traveler's Wife (2009)

Review from my wife: It was so compelling and well done, and both my husband and I enjoyed this movie tremendously. The story line was intersting, the characters were really well developed and you really care about them. The acting was excellent, and we found ourselves really pulled in throughout the entire movie.

Contrary to some of the reviews I read, this movie was easy to follow. I don't understand what the problem was. I had never read the book, yet it was completely clear what was going on. I don't get why anyone would have had a problem. Also, there was nothing strange or wrong about the traveller visiting the younger version of his love interest. It was very innocent. One reviewer's mention that there was no plausible explanation for the lead's time travel abilities doesn't make sense to me. There was a very sufficient and even detailed explanation given in the movie. Keep in mind that we're dealing with a fiction scifi story here, and it was plenty adequate. I found I was able to buy into the concept and really immerse myself, and ultimately I enjoyed the story very much.

This is a really fine movie, and I'd recommend that anyone who enjoys scifi, time travel or romance view this.

THE TIME TRAVELER'S WIFE is a diversion. At times what works well in a novel doesn't translate to the screen: the magic of the reader's imagination can be more powerful than the visualization of a screenwriter and director. Such is the case of Audrey Niffenegger's novel an escape into a world of the unknown (time traveling) that played well on the page largely due to the writing skill of the author. Bruce Joel Rubin's screenplay makes a mighty attempt to make visual the imaginary magic of the novel and thanks to CGI it pulls off the rather strange effects of appearing and disappearing of a time traveler. Robert Schwentke directs with a hefty dose of saccharine though, making what could have been a delicate story somewhat lugubrious.

Henry DeTamble (Eric Bana) has the genetic code that allows him to travel backward and forward in time a trait that requires a certain degree of acceptance on the part of the audience. We see Henry as a child, as a young man who meets a girl who will on a different 'trip' be a woman Clare Abshire (Rachel McAdams), and witness a bizarre courtship between a couple whose match seems made in heaven.... Along the way Clare's friends (Jane McLean as Charisse and Ron Livingston as a vastly different Gomez than in the novel) figure into the quasi-normal relationship/marriage that takes place. The tale can be confusing if the viewer is not willing to enter the realm of 'possible' and the main guide of the film seems to focus on the fact that whenever Henry time travels, he ends up in his new destination naked (there are many scenes of Eric Bana just searching for clothes). Of course the film can't have a logical ending, but the ending selected, corny though it is, fits the story. Lots of sugar to swallow here, but if you're in a Valentine mood it is a pleasant diversion. Grady Harp, February 10

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I thought this was a great love story. Obviously you had to accept Time Travel as an affliction like any other debilitating condition because that is how it is portrayed in this movie. But the love shown between the main characters transcended the actual affliction. The movie was about a love so great that for the two to experience it even if for a short time was worth the sadness that later occurs. I thought both actors portrayed the deep love of the characters quite well. For those that have never seen or had that type of love in their life it can be hard to imagine and accept.

If you do not like deep love stories then skip the movie. If you cannot accept or overlook the time travel metaphor then skip the movie. If you nitpick about every minor detail requiring that they be 100% correct then skip this movie. If on the other hand, you want to see what true love is, you might like this movie. If you like What If movies with love as a central theme then you might like this movie.

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While the story for "The Time Traveler's Wife" is not at all interested in plausibility or logic, it is interested in making an emotional connection with the audience, and so it does. Make no mistake--this adaptation of Audrey Niffenegger's novel is about as preposterous as it gets, telling the story of a man who can go back and forth through time but lacks the ability to control when he goes and for how long he'll be gone. There's no adequate explanation for his condition, and maybe it's for the best; this a love story, after all, not a supernatural commentary on evolution or expanded consciousness. Besides, if you were to stop for a moment and really think about the idea, the inevitable questions will eventually be so numerous that you'll end up with a headache. For this particular story, you'll be much better off just blindly buying into the premise.

Only then will it be possible to appreciate the more engaging aspects of the story, the most obvious being the romance between the time traveler, Henry DeTamble (Eric Bana), and his wife, Clare Abshire (Rachel McAdams). Actually, it would be more accurate to say that sometimes she's his wife--it all depends at what point in time the movie shifts to, and there are many of them. They meet back when she was only six years old and playing alone on her family's vast meadow. From out of nowhere comes a man from the future without any clothes on, and after she gives him his blanket, he tells her that he will officially meet her years later, at which point she will be a college student in a library looking for an art book. You see, during that first encounter, he was older, nearly forty; in the library, he will be younger, say twenty-five or so.

Anyway, as time goes on for Clare, Henry will repeatedly come into and shift out of her life, and they will fall deeply in love and get married. Imagine what this must be like for Clare, never knowing when her husband will appear and disappear out of thin air like a ghost. One second, he's there carrying dishes to the table for dinner, and the next second he's gone, leaving Clare behind to sweep up broken pieces of ceramic. A marriage like this really gives new meaning to the vow, "To have and to hold for all time."

One of the unfortunate side effects of his time travelling is that none of his clothes travel with him, so wherever he goes (whenever, rather), he's forced to steal some by breaking into a store or someone else's home. And at what age will he be when he gets back? One of the film's more clever segments incorporates a fair amount of humor and takes place on their wedding day; a younger version of Henry is getting ready for the ceremony, only to disappear in the bathroom. Fortunately, an older version of Henry arrives just in time, albeit with graying hair. This man disappears after the ceremony, right as Clare's father (Philip Craig) invites them to the dance floor. Fortunately, that's when the younger Henry returns, and even though he was technically there, he apologizes for missing the wedding.

I told you this time travel gimmick was better left unquestioned. Attached to it, however, are emotional issues that are genuinely touching, and this definitely includes Henry and Clare's attempts to have a baby. I will refrain from going into detail here, but here are some questions to think about. Is it reasonable to assume that Henry's condition can be passed along to his child? If so, then is it fair for that child to even be born? There comes a point when he seeks the help of David Kendrick (Steven Tobolowsky), a geneticist, and while the results of his various tests do little to shed light on why Henry is the way he is, he does play a pivotal role in helping him and Clare conceive. Henry, by the way, tells Dr. Kendrick that his condition is known as chronoimpairment, a term Kendrick has not yet coined.

One other emotional issue that serves the story well is the broken relationship between Henry and his father, Richard (Arliss Howard), who hasn't been himself since his wife's untimely death. Henry was only six at the time, but as a time traveler, he continuously goes back to the days before her death and holds brief conversations with her as a stranger. This naturally begs the question of why he can't simply prevent her from dying. This itself begs the question of why, "I've tried, but there's nothing I can do," is the best explanation he has.

Deep human drama runs through this movie, and that's what I found the most compelling. Henry's ability to time travel, however, is conveniently left unexplained. We're only meant to pay attention to the relationship between Henry and Clare, and indeed, we do. The concept is inherently absurd, but the chemistry between the main characters is not; we able to see them up on screen and actually believe that they're in love. That's what's so fascinating about "The Time Traveler's Wife": It's an absorbing drama based on a premise that's impossible to take seriously. How did it achieve this? Much like Henry's condition, it's probably better to not question it and just accept it for what it is.

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I saw this movie 2 days after I finished reading the book. Going into this I knew that there would be many things that would be changed or left out due to the book being almost 600 pages and the movie was 107 minutes. I had a realistic expectation about the movie I have learned from past disappointments.

Henry DeTamble is played by Eric Bana and Clare Abshire is played by Rachel McAdams. Both actors looked a lot like what I pictured the characters to look like in my head. I also think that they had amazing chemistry together. I also LOVED the little girl that played Clare (age 6) when she first meets Henry she was great.

My feelings for this moving are slightly above average the parts that were included from the book were done very well. They stuck pretty close to the events of the book but left out a lot which made my boyfriend, who hasn't read the book, ask a lot of questions about the plot holes. I think if you had read the book before seeing the movie it would be easier to follow what was happening. I had been wondering how they would show Henry evaporating from one time and appearing in another I think they did an AWESOME job at this some amazing CG. Beautifully rendered.

For anyone who has read the book the ending is not the same. It evokes similar emotion and those who have not read the book, have told me they loved the ending. I was a little disappointed because I loved the book ending.

Overall, I would give this 3.5/4 stars. I would still watch it again!

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The Men (1950)

Fred Zinnemann finally came up with a script that Marlon Brando liked enough to leave the stage and head for Hollywood. And the rest is history. That script turned out to be The Men. Brando is Bud, a parapoliegic shot in WWII and recovering in a veterans hospital. Unfortunatly there is no hope for Bud ever walking again, a fact he refuses to except. This movie is an interesting character study. Brando shows here why he would become the most influential actor of the last half century. He briliantly depicts a man at tremendous odds with himself. The supporting cast of characters, Teresa Wright(Bud's love interest), the doctors, and the men in the hospital, are well cast. Fans of character driven dramas and Brando fans should get a kick out of this film.

This is where it all started...Marlon Brando's one-of-a-kind film legacy...

Marlon's performance in "The Men" demonstrates his natural talent a talent that is now the legacy of the greatest actor of all time. His remarkable performance in "The Men" drew me in immediately. I could not take my eyes off of him. His demeanor, his facial expressions, and the way he spoke reminded me somewhat of his screen test for "Rebel Without A Cause." He is sweet, tender, ambivalent, unassuming, and somewhat emotionally injured much as I believe he was in his life off of the screen as well. There is nobody I have seen on stage or screen who can achieve such a delicate and perfect balance of emotion or elicit the kinds of emotions he does in others through his performances as Marlon did in the roles he has played on stage and screen.

I have 36 Marlon Brando films in my collection, many of which I have watched several times. But, I have never been able to bring myself to watch "The Men" until very recently. I am a nurse and I have seen first hand that which Marlon's character, "Bud," faced after becoming a paraplegic as the result of an injury. In my work, it has weighed on me at times that, although I possess some medical expertise and although I can contribute to helping a person back to optimal health following a tragedy, I am still not able to wave a magic wand and turn his reality into a dream from which he will awaken.

I knew what "The Men" was about and with having become very familiar with Marlon Brando's realistic and poignant portrayals of people on film such as his portrayal in this film, I expected that my insides would be torn asunder. And, they were. Marlon portrayed it as it truly was and is. In the beginning, "Bud" is afraid to live while also being afraid to die. Later in the film, this sentiment is echoed by Jack Webb's character when he recites a piece of Hamlet's soliloquy from "To Be Or Not To Be"..."To die, to sleep...to sleep, perchance to dream...aye, there's the rub...for in that sleep of death what dreams may come when we have shuffled off this mortal coil must give us pause" the contemplation of suicide, but, at the same time, the fear of what one may face in death should one choose to take his own life due to his circumstances. Which is the most fearful prospect?

"The Men" is about a man who, following a war injury, finds that he has become a paraplegic and that life will never be the same for him again. Throughout the film, he travels through every stage of grief and grieving and, ultimately, comes to terms with his circumstance. I won't give the details of the film away, but I will say that it is definitely a "must see" movie and that, among the many touching scenes throughout, a very moving scene with Bud and his wife takes place at the end and one is left feeling so many emotions.

This is an excellent film, the first film for Marlon Brando, and one whose heart-rending insight into the personal struggles of a man faced with a life-altering situation is exhibited with absolute perfection by Marlon Brando.

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I was impressed with this movie when I fist saw it in the 50's I have been a Brando admirer ever since . Over the past 50 years I have seen all of his movies more than once. The Men has a great message , I recommend it to all my friends .

jack

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Great classic to watch in your home theater.marlon brando was a great actor in his time. Many more great movies to choose from.

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Marlon shines in his first feature film and this is one of my all time favorite Brando movies. An amazing job as a recovering paraplegic.

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