A New Life (1988)

Maybe Alan Alda has yet to have success in the movies that would rival his television popularity, but it can't be from lack of quality work. A NEW LIFE is perhaps as good as any film he's made outside of his roles in Woody Allen's flicks.

One reason A NEW LIFE stands out is Alda's will to let others steal scenes. Hal Linden proves up to the task, playing a dead-honest happily divorced middle-ager dating women half his age in this comedy about life on the romantic rebound.

Portraying Alda's ex-wife, Ann-Margaret stands out in A NEW LIFE. I don't want to spoil the story, but as her woman-who-loves-too-much character realizes her problem, you will be rooting for her to find herself.

As for Alan Alda, who wrote and directed A NEW LIFE, he has the courage to portray someone as flawed as, well, the rest of us. He deserves even more applause for creating an engrossing, funny film without resorting to nudity (A NUDE LIFE?) and profanity (A RUDE LIFE?). See A NEW LIFE!

Alan Alda,the star of the hit TV sitcom M*A*S*H,wrote,dircted and starred in this romantic comedy where his character Steve Giardino never wanted a divorce. Steve's wife Jackie(Ann-Margret) decided to call it quits. Jackie studied for a degree in special education. Steve,a stocktrader on Wall Street,finds a new love,his doctor Kay Hutton(Veronica Hamel). Steve is referred to Kay after falling ill during a tennis game. Steve receives advice from his buddy Mel(Hal Linden) how to score with women. Steve colors his hair and beard and buys some new clothes and shoes. The clothes and shoes are stolen by a male robber in drag whom Steve meets in a bar. Jackie meets a sculptor who goes by the name "Doc"(John Shea) at a party that she and Steve both attend. Of course,Jackie and Steve have an argument after they leave the party. Also,the Giardinos' daughter Judy(Beatrice Alda,Alan's daughter) gives birth to their grandchild. Steve and Kay,after falling in love,get married and Kay becomes pregnant despite Steve's belief he's too old to become a father again. In one scene,Steve and Kay are taking a shower together and Kay removes the black dye from Steve's hair and beard(the hair is permed),revealing the natural gray and white combo with little remaining black. In another scene,Mel meets the robber in drag,"Sybill", in the same bar that Steve was at in an earlier scene. This film received mixed reviews. It was not a major hit nor a flop. Personally,I loved it.

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I cant get enough of this movie. I've lost count how many times I've watched this movie. This was my first clean romance movie that I've watched when I was in my teens. I laughed, I cried and I sighed when watching this movie. It is touching. It is never to late to fall in love and you are never to old to start life anew. love knows no age.

It reminds me of Danielle Steeles movie "heartbeat".

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This is one of my favorite movies, with some really good one-liners. I have watched it many times and still laugh each time

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Great film, very funny. Hal Linden steals the show. Sweet Liberty and The Four Seasons have made it to DVD, this should be next. I am waiting patiently to see it arrive.

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Chitty Chitty Bang Bang (Two-Disc Edition: DVD/Blu-ray in DVD Packaging) (1968)

Well...after all the waiting, it's finally landed. I wish I could say that it's truly scrumptious, but in truth, from the ashes of disaster (the previous DVD release) grow the roses of mediocrity. Like so many DVD "special editions" of late (A Christmas Story, Willy Wonka, etc), this one is a bit short on the "special".

The film itself is presented in two formats on the first disc. Both widescreen and pan & scan. The widescreen transfer is just slightly wider than the laserdisc release and the colors seem to me to be about the same, though my laserdisc is rotting and the colors are a bit compromised. It might be worth getting for the widescreen alone if you don't already have at that aspect ratio. Also on disc one is the "sing along" feature and a preview of the musical which only succeeds in demonstrating how fat Michael Ball is.

Disc two (home of the real disappointments) has a conversation type "documentary" with Dick Van Dyke (and ONLY Dick Van Dyke) where he reminisces about some of the cast. Another new feature is with Pierre Picton, owner of the nicest of the on-screen cars and it's kind of a fun look at the eccentric who owns and cares for the car. There are 3 vintage featurettes, one with designer Rowland Emett which is interesting, another which is apparently a press conference with Dick Van Dyke (boring) and the last "featuring the children" (but not really). One excellent special feature (and kudos to the person responsible!), is the inclusion of more than a dozen of the Shermans original demos for the film.

There are about 7 trailers for the film, both theatrical and television, but not the one which followed the film on the laserdisc version which, to me, seems like the genuine trailer. It is presented on the DVD in French, but not in English.

The remainder of the special features are kiddie things like digital coloring book, inventor games, etc.

I'm sure money may have been the reason for not presenting a more professional and interesting supplement. Sally Ann Howes is alive and well...I've seen her in NY. The kids, Heather Ripley and Adrian Hall, attended the premiere of the stage show in London, so they're definitely locateable. Very little is said about the locations or the production of the film. I was expecting a documentary of the caliber on MGM's Bond DVD releases given that the production company was largely the same. At least pay Dick enough to do a running commentary! Shame on you, MGM.

Perhaps what disappointed me most of all is that I feel that I could have made a better effort.

Little prepares you for the print on this it's simply extraordinary.

It's been frame-by-frame restored using the Lowry Digital Restoration Process which was used on all 20 of the Bond films, the three Godfather movies, the original Star Wars Trilogy, the Indiana Jones films and even the transfer of Avatar (all to much acclaim).

But this 2010 Blu Ray/DVD Combination pack reissue of 1968's "Chitty Chitty Bang Bang" has to be a benchmark even for them.

After the excellent 2DVD set issued a few years back, I didn't think that much more improvement could be wrenched out of the negative, but it has been. This transfer is practically faultless BEAUTIFUL to look at for the whole duration of the movie. Directed with style and flair by Ken Hughes and filmed in 70mm Super Panavision Technicolor it's a sumptuous feast of colours you see their period clothes anew, the details in the inventions inside Caractacus Pott's hillside home, the uncluttered English countryside, the Scrumptious Sweet Factory, the seaside scenes, the two bumbling spies, the toy dance at the King's Birthday Party in the Palace where their love shines out and almost gets them caught all of it gorgeous to look at. There's old and 'New Extras' also...

Sally Ann Howes looks suitably wholesome and lovely, Dick Van Dyke is as likeable as ever (a much underrated leading man) and the songs are excellent if not a little twee in places. The quirks of Sixties movies remain intact too the patience-sapping Overture at the beginning where a black screen sits there with only the roaring of car engines before the picture finally appears the "Intermission" break in the middle (so you could go and buy sweets) where Chitty goes over the cliff-edge and you don't find out what happens until the film starts up again and you're back in your seats all there as it was in the cinema and the original aspect retained too.

The child-catcher is still the scariest monster ever created in cinema (with Benny Hill being strangely creepy too) and the interplay between Gert Frobe and Anna Quayle as the bickering King and Queen of Vulgaria is still pricelessly funny. All this and Stanley Unwin speaking "...horribold..." English to Lionel Jeffries which always makes me pine for The Small Faces 1967 album masterpiece 'Ogden's Nutgone Flake' (he spoke in between tracks on Side 2).

Sure it'll be too saccharine for our "Call Of Duty" teenagers to enjoy nowadays, but there's something timeless and lovely about this 'magical car' movie and that beautifully evocative "Hushabye Mountain" melody always renders me a quivering mush whenever I hear it.

This 2010 BLU RAY of "Chitty Chitty Bang Bang" is a superlative reissue of a family classic. Ian Fleming would indeed be shaken and possibly even stirred.

Recommended like a duet with the wife on "Chu-Chi Face".

PS: for other superb restorations on BLU RAY, see also my reviews for "The Italian Job", "Saturday Night, Sunday Morning", "The Loneliness Of The Long Distance Runner", "Goldfinger", "North By Northwest", "Cool Hand Luke", "The Dambusters", "The Prisoner The Complete (TV) Series In High Definition", "Braveheart", "Snatch", "The Ladykillers" and "The African Queen"

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This is one of the last big budget fantasy musicals before these films became just too expensive to produce. But Dick Van Dyke was at his zenith here and Sally Ann Howes was marvelous as well. Note that Ian Fleming wrote the original story and as a tribute there were two Bond actors in the cast. Gert Frobe as the King and Desmond Llewyn as Mr. Coggin. But I was very dissappointed to see this DVD released in the Pan and Scan format. I really don't understand why MGM/UA remastered the film in the THX process and used a clean beautiful video transfer and doesn't present the film in its original widescreen format. At one-third of the film is missing and its really difficult to watch this now considering I had owned the widescreen laserdisc of this film.

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Our family is on a retro trip, having bought this movie, as well as The Sound of Music, My Fair Lady, Mary Poppins, Bedknobs and Broomsticks, The King and I, Willy Wonka, and Pete's Dragon.

One of the reasons is that we want our 2 year old to experience the movies we grew up with, and the other is nostalgia.

Before watching this movie again recently, I could only remember that there was a flying car, a nice title song, and something about children being kidnapped. Watching it again for the first time, I discovered that I had forgotten most of the movie.

Caractacus Potts (Dick Van Dyke) is an inventor way ahead of his time, whose inventions don't always work the way they are intended. If you think his name is weird, the female lead is Truly Scrumptious (Sally Ann Howes), the daughter of a rich sweet manufacturer. This unlikely pair, along with his two kids and the wonderful car, Chitty Chitty Bang Bang, are the star players in a story which starts out being about pirates, and ends up as a rescue mission. With comic support from Caractacus' father, and a toy maker (Benny Hill, in an uncharacteristic G rated performance), they defeat the schemes of spies (kind of like Laurel and Hardy combined with Boris and Natasha), an evil Baron and Baroness,and a wicked childcatcher, to bring the story within a story to a predictable but entertaining end.

The scenery is breathtaking, especially the Vulgarian castle and surroundings, and since this is a 1968 movie, we can forgive the lack of finesse in the special effects, where the characters stick out like sore thumbs from the backgrounds, and wires can be seen attached to Professor Potts during a dance sequence.

It's a little harder to swallow the concept of Truly Scrumptious running around on the beach dressed in tons of white cloth and coming up spotless, and her song about needing a lovely man is way too over the top and much too long. I will admit to skipping over that one.

The sing along feature is a nice touch, and catchy songs (other than the theme song) include "Me Old Bamboo", "Toot Sweet", my personal favorite "P O S H (Posh)", and the nearly too sugary "Truly Scrumptious".

Overall, this DVD is a refreshing family movie that you will watch over and over again.

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One of my favorite childhood films is ruined in this full screen DVD edition. Please release this fillm in its widescreen version as well! Why not offer both versions so that consumers have a choice?

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Once Upon a Time in Anatolia (2012)

[This is a review of the film, not the Blu-Ray itself, which has not yet been released.]

A beautifully shot, deliberately paced existentialist meditation on crime, relationships, and truth. Shot mostly in gorgeous long takes that take full advantage of the widescreen aspect ratio, the film requires (and rewards) patient viewing. The first half of the film, in which a late-night caravan of law enforcement officials drive two murder suspects to a series of nearly identical rural wells, looking for the location of a buried body, is brilliant. It echoes Waiting for Godot, as the seemingly endless search for the body fades into the background, and the focus turns to conversations about personal problems, petty bureaucracy, differing values, and the meaning of life. As the film continues, different members of the caravan wax and wane in importance, each offering a different perspective on life and one's place in the world. The final act of the film -which occurs back in town the following day -drags a bit, but contains powerful revelations.

Despite it's subtle metaphysical explorations, this film is also a highly realistic police procedural. It is very faint praise to say that this film is the anti-CSI, but it's cynical views of truth and justice contrast starkly with TV procedurals. A vain prosecutor basks in his role and makes up facts for convenience, no one has remembered to bring a body bag (or a hearse) for the corpse, the gendarmes are more concerned about where municipal boundaries fall than anything else, a critical medical discovery is fudged, there are rumors the murder victim has been seen alive in neighboring towns, and nothing is wrapped up in an hour, let alone 150 minutes...

This is a film for patient viewers who enjoy the liesurely-paced works of Malick, von Trier, Kiarostami, Tarkovsky or other auteurs of so-called Contemporary Contemplative Cinema.

Anatolia is not an easy film, and those expecting a mystery will probably be disappointed. It is a dark, atmospheric movie--the night scenes are claustrophobic and spattered with little beauties; the dialog is at times funny (especially during a heated argument about yogurt), but as the story progress it becomes oppressive (intentionally, I think). The landscape, which is often mentioned in reviews, is not necessarily beautiful, but desolate and repeating, marked by landmarks which are almost indiscernible from one another, especially in the dark (this old bridge, or that one, this fountain or that one, this plowed field or that plowed field). In the end, I found the movie difficult to sit through, almost exhausting, and I think much of the meaning is to be found the critique of language, and its place in the process of law and order in this small Turkish community. I felt like I was supposed to understand what being a man or woman means in this narrative (gender seems important, and desire), but I come up without any surprising answers to that question. In fact, the film doesn't reach many conclusions, and outside of a scene where the search party is served tea, by the beautiful daughter of a local village head, there weren't many moments in Anatolia where it felt like there was something really glimmering below the surface. It is an interesting film, and all the performances are strong. It is less eventful, grittier, and more cerebral than I thought it would be. I will probably watch it again.

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It is by complete coincidence that only 3 months ago, I watch one of director Nuri Bilge Ceylan's earlier movies, the beautiful "Climates" movie from 2007, on DVD (see my review posted here on Amazon). When I saw that his latest movie hit the theatre, I couldn't wait to see it (saw it the Landmark E Street theatre in Washington).

"Once Upon a Time in Anatolia" (2011 release from Turkey; 150 min.) bring the (apparently based on true events) story of a group of men trying to finish off a murder investigation by locating the body of the victim in the Anatolian region of Turkey. The movie starts at dusk and covers the next 24 hrs. The group (traveling in 3 cars) go from one geographic area to the next as the confessed killer tries to remember where exactly he buried the victim, but he has trouble recalling the exact setting, as he was drunk when he murdered the victim. But eventually, they come to the right spot. The body is taken to the village for a final autopsy. I am leaving some details out, but that is pretty much the main story of the movie. Generally, I don't post the entire plot of the movie in my reviews but I make an exception here, because the story line is not the main point of the movie. Indeed, the movie is instead a study of characters, and simply observes. Check out the scene where, when the group takes a break and has dinner in a local outpost, the beautiful teenage daughter of the houselord brings out tea for the group. That scene alone (which probably takes about 10 min. or so) is worth watching the movie for in and of itself, just outstanding.

I don't know how well this movie will translate onto DVD as seeing it in the theatre transfixes you on the incredible job that Ceylan does in bringing this character study into focus, and the Anatolian scenry plays a huge part in the movie and surely will get lost some on the small screen. With this movie, Ceylan takes "slow developing" to another level, but I thought it worked beautifully. This movie was a co-winner of the Grand Prix at the 2011 Cannes film festival (the other winner being Belgium's Le Gamin au Velo, check out that movie too!). Bottom line, this movie is MILES away from your standard Hollywood fare, and then some. But if you like a good slow-developing character study movie, by all means check this out!

Read Best Reviews of Once Upon a Time in Anatolia (2012) Here

A unique group of men with a murder suspect among them are driving together in a car in the middle of the night, just using their headlights to search for a corpse. The murder suspect states that he was drunk, and didn't remember where he buried the body. During the course of the evening, secrets are revealed among the group, bringing many more questions to light after finding the victim. Acting performance is Superb, the mystery of the murder and all evidence found through investigation was very interesting and you waited with a curious mind to find out final conclusions. Thrilling, images are fantastic in scenes, and this is one I'd watch again. Highly Recommended for all mystery lovers!

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I really appreciated the night photography of lights and shadows in the first half of the film. It was beautiful and soulful, though very slow and lingering. This is the photographer in me writing and the main reason for wanting to rate it high. The photography in the second half in daylight was just fine and interesting, but not exceptional as in the first.

This film was very slow and I think culturally imbedded and best for the "foreign film" audience and not just the "art film" audience. I had a lot of trouble relating to small town Turkey and I am sure I missed a great deal that I wanted to understand about the story itself. Part of that was that a lot was going on in people's faces as they talked and I needed to read the subtitles while they were talking and so could not pay as much attention to their expressions as the words were spoken as I felt I needed to.

Yet I think enough did get through about rural Turkish sociology and psychology that the film was satisfactory and instructive even if I missed a lot of the implied reality beneath the surface. And I think that was one point of the film -that there are layers of reality hidden beneath endless formalities and efforts to be polite. As in poetry, a lot is left to the subverbal insights of the reader/viewer. This film was quite poetic in this sense, in my opinion.

People were endlessly preoccupied with the "form" of things and how they should do this and that and what they should say and write and always looking to authority. And yet it was clear, to me at least, that this was in a sense "adaptive" in that it allowed them to just get on with lives that were commonly beneath it all sad, boring, confusing, and uncertain.

I would just be guessing about what actually was going on under the surface in terms of "plot" or "story." Part of my own difficulty is that the interactions were subtle and at critical points I was not sure if I should trust the translations in the subtitles. Maybe all this would not even be clear for all I can say if I were a Turkish viewer. Actually I doubt that even for sophisticated movie-going Turks this is a "mystery movie" in the American sense where a mystery is revealed and clues all fit together by the end, at least with a little thought or conversation over strong coffee after leaving the theatre. So I am not going to share my guesses here, because I am tending right now to think they (any!)would be idle speculation. A Turkish viewer might be able to say for certain that there was an obvious solution to "the mystery."

But I do think -right now -that this was more a portrait and a meditation. I can best appreciate it if I look at it this way. It will stick in my mind as such.

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Scream (1996)

Please note: I'm rating the release, not the movie (which is a favorite of mine).

Save your money and wait for a complete, uncensored release, preferably with some new bonus material.

***SPOILER WARNING***

I broke down and picked this up because Amazon had it on sale for $6. Though not perfect, the picture quality is good/very good. The sound, on the other hand, is fantastic one of the best DTS-MA tracks I've heard on blu-ray. However, despite all the audio and visual goodness on display, the admittedly small edits to achieve the "R" rating are annoying. The tone of the film changes subtly as a result.

The slow-mo zoom at the end of the opening scene is far more effective than when sped up. A snipped second here and there in a number of other death scenes make them seem cartoonish and sanitized. Two characters appear to repeatedly stab each other with little consequence.

If Scream were released today, it would surely receive an "R" in its uncut form. Compared to the likes of Saw and Hostel, the on-screen violence is positively restrained. Lionsgate dropped the ball on this one. Please don't wait another 15 years to fix it.

Finally we get all the SCREAM films on blu ray and here we have the first and best that was hugely original and put a much needed original kick in the horror movie genre. We all know the story and we also know that when an older classic film comes out on a blu ray transfer it is really important to find out the quality and if the transfer succeeded. I was thrilled when I popped this movie into my blu ray player and was itching to see the infamous opening scene with Drew Barrymore. Sadly it was a huge disappointment. The audio was great but the video totally lacked clarity and seemed blury and overly grainy. For me the full effect of the scene was lost. Luckily when we get to the next scene with Neve Campbell at her computer the video had hugely improved. The picture was pretty crisp, colors were vibrant, flesh tones realistic and I was then impressed. Throughout the rest of the movie the video quality gets about a B. The dark scenes work well. Black and white ratio is clean and the colors do blend in well. The graininess after the opening scene is there on purpose and looks fine. When the villian dashes in and out of the picture the black and white of the costume looks great. But the part of the movie that is a truly huge improvement over the dvd is the audio. The DTS HD Master 5.1 audio track uses all surround speakers to full effect. Dialogue is crisp and you will be jumping out of your seat in all the right moments. The track is perfect for this classic horror movie and shines. The soundtrack blends in with all the films sounds perfectly.

But the video is where opinions will clash. For me the upgrade to blu ray is much better than my dvd version. I never liked the dvd presentations and the blu ray is in a 1080p enhanced widescreen which makes viewing the film better. There is some fine detail but the picture overall just does not POP like a quality blu ray does. I think when most people watch a blu ray they want that crispness and clarity that just makes it far surpass the dvd. It can become almost like you are in the movie. I think people forget the film is 15 years old and overall the picture is acceptable but the poor quality of the opening scene just leaves it lacking for me. When the movie is offered on blu ray at a steal price which Amazon seems to be doing now it is definitely worth a buy but if you are pretty satisfied with a dvd version you own I would think before purchasing it at full price.

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The writing behind the film is excellent, the idea of teens imitating the movies with more twists than twister. An action packed slasher movie with mystery behind it all no imortal killer just messed up teenagers. It was impossible to guess who done the murders from the begining, you may think you know who is doing the killings then somthing happens and turns your eye to someone else. Overall a fantastic beginning to the best horror trilogy around. The DVD has a few interesting special features, go for this special edition rather than the standard DVD.

Read Best Reviews of Scream (1996) Here

The town of Woodsboro is being haunted by a series of brutal murders. But the focus seems to be Sidney Prescott (Never Campbell). But this isn't your normal serial killer. Instead, the killer has been influenced by the horror movies he or she has watched over the years. Disguised with a Ghostface mask, the killer calls and daunts the victim before arriving to slice and dice.

While most of the high school takes it as a joke, Sidney is taking it seriously. But who around her might be the killer. Maybe it's reporter Gail Weathers (Courtney Cox) looking for her next story. What about film geek Randy (Jamie Kennedy). Boyfriend Billy Loomis (Skeet Ulrich) is a suspect, so that makes him innocent, right? Then again, any of these people might become the next victim. Will knowing the rules of the horror genre help them make it out alive?

Okay, so this is so NOT my normal genre of film. And yes, it definitely earns its R rating with brutal violence and horrid language. But I have always had a fascination with the genre, so when this movie became a surprise hit, I wound up checking it out. And the mystery fan in me loved it. The clues and red herrings are everywhere. However, the jump factor had me going from the start as well. Yes, I jump quite easily. My roommate used to laugh at me watching this film, in fact.

The thing that sets this apart from other slasher films is that we actually do get to know some of the victims before they die. These aren't just the stock characters you'd normally find, but real people.

Okay, so the other thing that set it apart is the humor. These characters know they are in a horror fan and talk about how to make it out alive. Of course, convention is thrown on its head (at times). But that wink at the audience as it attempts to scare us silly adds to the fun.

While most slasher movies still don't entertain me, I keep coming back and watching this franchise. If you want your scares with a post modern edge, this is the place to turn.

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I'm sure in this day and age it's appropriate to give "Scream" less than 5 stars. Plenty of folks will say how "unoriginal" the movie is, or how it's just a rip-off of a bunch of 80's flicks......and I say Bull***t.

"Scream" jump started the horror movie genre in the 1990's. Without "Scream" we woudn't have flicks like "I Know Whay You Did Last Summer" or "Urban Legend". Without "Scream" we might not have "Inside" or "Martyrs". Sure "Scream" ushered in the 90's version of slasher flickes, but it also ushered in an era of self referential horror films. Wes Craven was able to poke fun of the genre he helped create....and the "Scream" audience was in on the joke.

So many horror films since "Scream" have come to rely on the horror converntions set forth in "Scream" that it actually feels original.

"Scream" is meant to be fun, the cast, and the soundtrack both indicate that this is a fun film, not to be taken too seriously. If you've seen "Terror Train" or "Prom Night" or "Hell Night" than you are the target audience for "Scream", as an homage to 80's horror, you won't find a better film. It plays on the viewer's recollection of Jamie Lee Curtis' early film work, and updating the horror genre beyond what is found in the latest "Halloween". If you are a fan of 80's horror this is a must see.

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Equilibrium (2009) Christian Bale; Sean Bean; Sean Pertwee

I can understand the urge to compare "Equilibrium" and "The Matrix". Both films feature dark, foreboding cinematography. Both films are about rebellion against a warped reality. Both films feature a reluctant, messianic protagonist. And, finally, both films rely heavily on stylistic, hyper-kinetic combat scenes that can only be described as, well, reverent. That is where the similarity ends because while "Equilibrium" has a few moments of slow-motion it's action scenes are much more original than those of "The Matrix Trilogy". No Wires, just pure crazy choreography which makes the action feel all the more authentic. The environment is also a great deal more organic in contrast to the cryptic automaton of the Matrix.

"Equilibrium", in short, manages to be entirely its own movie. Where The Matrix relies on "bending" the rules of physics in an imaginary construct of a world, "Equilibrium" goes the other way and hypothesizes the "Gun-Kata", a martial arts ballet that allows it's practitioners to predict and anticipate close quarters gun fighting and hand to hand combat. Then, through a series of precise, dance like movements, a person can take on several combatants, using exacting, fluid actions to eliminate his attackers. Given a decidedly artistic presentation within the course of the film, these rapid-fire rhapsodies are exhilarating and oddly beautiful. They glamorize death as an abstract expression of powder bursts and shrieking projectiles. The film features some of the best choreographed shootouts I have ever seen, and ends up putting anything in The Matrix Trilogy to shame.

"Equilibrium" is a film that explores what it theorizes to be the root of all worldly chaos, human emotion. The movie takes place in the near future after a third world war that leaves Earth on the verge of total destruction. From the ashes arises a government that regulates everything and everyone through mind control. The drug Prozium is hailed as the elixir to the world's problems because it suppresses human emotion and thus eliminates the possibility war. All art, music, poetry and any emotion are considered contraband and must be destroyed upon discovery.

The primary clash is between individualism and collectivism -the notion that each person is an end to him or herself and pursues his or her own happiness, and the theory that the individual exists only to further the interests of the state. In "Equilibrium", the side of "feelings" (the side that promotes painting, music, and literature) is the side of the sovereign individual.

The film clearly suggests that emotions -the ability to "feel" -are what make life worth living; yet they are also the source of violence and war. At some level, this is clearly true. The joy of art, the intensity of romantic love, the pleasures of a touch or the sight of a sunrise, the fascination of a great idea -these are the things we live for. "Crimes of passion" such as murder, domestic violence, and assault generally involve uncontrolled emotions.

In "Equilibrium", murder and war among the civilian population have been wiped out. Of course, they have been replaced by state-sponsored murder and terror. Thus, the film points out the real purpose of deadening people's emotions is to perpetuate state oppression.

This nightmare is presided over by the Big Brother-like dictator Father, and enforced by a quasi-religious order of "Clericks," whose incredible combat skills are unleashed on "sense offenders" who have gone off the drugs that keep the populace docile.

John Preston (Christian Bale) is the perfect Grammaton Clerick (the government is known as the Tetragrammaton). He kills "sense offenders" without passion or guilt ... until he inadvertently fails to take his prescribed tranquilizer dose and events begin to catch up with him. Little by little, he finds himself drawn into "sense crime" and then into the resistance. I hesitate to reveal much more about the plot of "Equilibrium", jammed as it is with surprise and invention -suffice to say, this is an intellectual rollercoaster ride, as cerebral as it is visceral; both a bleak glimpse into a possible future and a stirring tribute to the indomitable human spirit.

The creators of "Equilibrium" had to take some liberties with the very idea of emotion, of course. The drug really only eliminates the "highs" and "lows," leaving enough emotive strength for the characters to retain ambition and a visceral hatred of their enemies. Plot means conflict and human conflict is impossible without emotion.

The acting is excellent, and if you like Christian Bale as much as I do, he shines above all else. Bale is truly exceptional in bringing a real sense of emotional conflict to the character of Preston, and as the film moves on he gradually brings that emotion to the forefront. At the start of the film, and in it's many flashbacks, Preston is supposed to be this emotionless killer that doesn't realize he's actually feeling subtle emotions. Bale's performance keeps the perfect monotone voice of an emotionless character, but in his eyes shows the doubt, remorse and anger. Then as the films moves on he gradually starts changing his tone of voice, allowing the monotone to falter in key moments, until in the end he completely releases all of his emotions.

As you can tell, Equilibrium's plot draws from a rich variety of sources. There's a lot of Orwell's "1984" and Aldous Huxley's "Brave New World".

True, there are a few minor plot problems, but any movie that treats ideas and symbols seriously these days is a find, and one that pulls off a serious treatment of life's most fundamental questions in the context of a gripping story is a rare jewel.

"Equilibrium" is not science fiction so much as political speculation. It's that mainstay of movies, the cautionary tale, twisted into a decidedly dense and deceptive action thriller. While it may not always deliver in the thought department, we sure get some wonderful visual flourishes. And if a sci-fi film can stir your imagination, it's won most of the battle.

The creation of the enigmatic weapons battle dance, "Gun-Kata", makes the movie a see at least once exercise in speculative movie making.

Sci-fi flick with stunning visuals, "Equilibrium" deserves much more attention not only from fans of genre, but also from general audiences. Sure, its flaws are too visible, borrowing Orwellian ideas from other films like, say, "Brazil," but it is not that ideas themselves but the way they are put into practice that really counts, and on that score "Equiliburium" is a winner. (And critics, please let me know, why do you all praise Steven's "Minority Report" which actually borrows ideas from other films of this genre? So, why not give this one a due respect?)

Well, I admit the opening chapter of "Equilibrium" is a bit weak, introducing us to the dystopia world after the WW3, but soon you will forget that. The totalitarian government established after the war decided to eliminate anything that might possibly make humans emotional, forcing the people to inject a certain doze of [chemical substance] to be unemotional every day. Moreover, it decrees there should be no more music (not only hip-hops, but classic music), no more motion pitures, and no more decorated interiors. Those who love them hide underground, becoming rebels while the authroity set up a super-cop troop called "Grammaton Clerics."

Christian Bale ("American Psyco") is John Preston the best of the Clerics, and dedicates himself to the job until he arrests a woman Mary O'Brien who possessd illegal stuffs. But her strong creed and perhaps beauty make their way into the sleeping heart of Preston, who has been long fighting for his cause.

The film's philosophical messages are in themselves not new at all, and director Kurt Wimmer might have kept his idea a little too long. I say so, because today, in the 21st century, it is not this Orwellian society that we are afraid of most. The story has enough twists to surprise us, but maybe one too many, I think, and the wrap-up part of the film feels a bit hurriedly done.

However, those are noting before the film's sensational action scenes, which can make up for any flawed part of the film. The "Gun-Kata" fighting deserves special mention, using [weapons] like Japanese swords, and its hyper-kinetic movement is very violent and very beautiful at the same time. Incredible it might sound, but Christian Bale shows excellent action star quality here, displaying the beauty of "Kata"s -and "kata" means in Japanese "style." Yes, there are lots of styles in "Equilibrium."

Other plsyers are also effectively cast, and most unexpected is Emily Watson, who quite naturally becomes the Joan D'Arc-like character. Taye Diggs is good as Preston's partner, and though short time, Sean Bean, cast against type, is also perfect as Partridge who plays a key role in the story.

I was quite surprised and satisfied, and even thrilled to see this neglected film, which should have been more pushed. Again I say, its actions are sensational. Not that this is "Matrix"; rather, it is more unique and has its own "kata" = style, which means a lot these days.

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Never, Never, Never Buy This.

Video This blu-ray is 1.78:1, by cutting 2.35:1`s side!

Sound This blu-ray has only one sound track,

This track is 2.0ch, not 5.1ch!!!

Special Features Nothing.

Subtitles Nothing.

This blu-ray is not blu-ray. It is only waste.

Never waste your money and time.

The Best Media of Equilibrium is DVD until NOW!

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-----------2.0 STEREO ?!?!?!?!?!?--------------

Had to give 1 star even though I love this film.

From what I understand and if true can sum it up: Alliance (the totally crappy Canadian distributer) also owns Echo Bridge who is who bought the rights from Miramax.

Also as the other reviewer mentioned this release is in the wrong aspect ratio. The movie was filmed in a 2.35:1 aspect ratio. This Blu-Ray is in 1.78.1 aspect ratio.

It is possible both of these things are wrong (2.0 Stereo and Aspect Ratio) but that is how it is listed on the Blu-Ray case in front of me and I'm debating weather I should return it or not so I have not opened it yet.

I was so looking forward to this release......bummer.

Edit: 2.0 stereo and wrong aspect ratio confirmed see comment.

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The whole point of BluRay is that the people who have it are in it for the best most accurate picture available. you release the incorrect aspect ratio for the people who still have VCR's and rabbit ear tv's... unacceptable. To cut a 2:35 aspect ratio to 1:77... UNACCEPTABLE. What a piece of crap. A hidden gem like this movie is deserves so much better. This company should be ashamed of themselves.

The Big Gay Musical (2010)

The Big Gay Musical.

The BFI Theatre on the South Bank in London was packed on the afternoon I went to see The Big Gay Musical.

As with all movies associated with Casper Andreas I expected it to be entertaining, witty, comical with just a hint of sadness attached to it. I was not disappointed at all. He had co-directed this along with Fred M. Caruso. This joint venture proved they were a formidable duo.

Casper had introduced the movie on other showings but had had to fly back to the US so Brian Robinson the Press Officer at the BFI Theatre stepped up on stage to do the honours.

He told the packed house that The Big Gay Musical had been the favourite of the whole group of gay themed movies that had been shown at the festival over the past few days.

The lights dimmed and the movie started. Black and white to start with which gave it a 1930s feel and I just knew it was going to be an enjoyable ride from start to finish when Casper playing a small but important part asks columnist Michael Musto as he dashes out from an extremely bad show if there is anything he would like. Screaming hysterically "I need a big gay musical" as he rushes on his way the screen bursts into colour and a most wonderful production number with handsome near naked men wearing angels' wings and boots tap dance across the screen .

The theatre audience, clapped, laughed and cheered throughout the movie.

Yes, it's campy, even a bit cheesy but its dramatic and it's filled to the brim with muscular bodies and show tunes that get your feet tapping along with them and then when a very limp wristed God appears played to the hilt by Steve Hayes and he creates Adam and Steve to live in the Garden of Eden after chasing Adam and Eve out well.......

The plot has been described in many reviews so it is suffice to say that it is a movie that one must see too appreciate to the full. Words just do not do it justice. The talent is outstanding and all can dance, sing and act. A powerful combination. Many are from the Broadway stage and to name just a few Daniel Robinson was in Hairspray, Joey Dudding did Gypsy, La Cage Aux Folles and Chorus Line and others appeared in Tricks, Wicked and even South Pacific.

Sheer entertainment from start to finish.

I have to say first that I was kind of skeptical about this film before I watch it. I was afraid that could be another waste of my time to watch an empty and meaningless gay comedy like "Eating Out 3" or "Another Gay Movie 2" but thankfully I was totally wrong.

In fact it's just the opposite of that. A great comedy, filled with hilarious stage moments, but also a very human and touching movie about mankind (in all its diversity) A little unreal at the end but that's OK! I'm kind of sick of watching too many sad endings in gay themed films. We need a lot more positivity in the portrait of gay lifestyle. So... it's great to have a mushy but happy ending FOR A CHANGE! That way... later you could turn off your tv with a happy smile on your face for a change. Great script, good acting, good music, beautiful guys... what more can we ask?

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I enjoyed it. it was cute funny. the cast were cute. Only thing i didn't like was it seemed to short. Also it was a tad confusing. Other then that its a good type of movie when you have nuthin else to watch but you will still enjoying watching it. sooo yes was good but not fantastic =]

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but I'm not a fan of musicals and wouldn't want to encourage Casper Andreas to make another one. That said, I have to admit that I really enjoyed this. Liz McCartney is great throughout, and the finale she sings is powerful and touching.

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When I first saw the cover art for The Big Gay Musical on Amazon, I thought it looked ridiculous. But after watching it, I was shocked at how good it was. I was surprised to find out that it wasn't just a musical, but about two men who are trying to find love while cast in the musical. I enjoyed the cast and I thought the story was entertaining. The movie does make a point of drilling home some morals, but it didn't take me out of the experience. I assume it was made on a small budget, but the movie didn't reflect that. The musical numbers were a little lack-luster in parts, but it wasn't distracting. I would compare the style of the movie mildly to Smash or Camp

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Diary of a Wimpy Kid (Blu-ray/DVD + Digital Copy) (2010)

This movie was actually a lot better than I expected, and had some hilarious moments. I can relate to some of the things that happened to Greg. I have not read the book, so I couldn't compare it. 12 year old Greg Heffley is nervous about starting middle school. Him and his dorky best friend, Rowley Jefferson try to fit in and become popular, but that's easier said than done. Throughout the school year, Greg and Rowley come up with weird ways to become popular like being a Safety Patrol officer, wrestling, and performing in epic school plays. In order to truly appreciate this film, you either need to be a parent, or think from the perspective of a kid. I highly recommend DIARY OF A WIMPY KID!!!

My daughter loves this book series, so my wife decided to get this DVD, and we watched it as a family. I wouldn't normally review a kid's movie, but I want to let dads know that this movie is actually watchable, and certainly better than I expected. The plot hangs together, the kids are good actors, and there are some genuinely funny moments which I can relate to from my own childhood. The only reason I'm deducting a star is that, as others have noted, the portrayal of the parents as somewhat clueless is both unnecessary and counterproductive.

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This movie brought me back to middle school times. I'm an adult now. But this movie was highly entertaining. I can still relate to a lot of it, even though I am an adult and I don't have the same situations any more. But this movie makes it easy to remember. Middle school is a simpler time in your life. And this movie paints that picture very well. I don't mean they dumbed it down. This movie was smart with a very good message: "Never turn on your friends". What I mean is it shows how kids worry about simpler things in middle school. And they are frequently hilarious, just like the entirety of this movie. Zachary Gordon did an A+ job as Greg. I can't wait to see them all back in the sequel, and the one after that and the one after that! I give this a 10/10!

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My grandson read me one of his collective books via phone. I completed his collection thru amazon. He thx you and I especially thank you for always being able to come thru with my searches!!! Honorable book for all ages I think.

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"Diary of a Wimpy Kid" was directed by Thor Freudenthal ("Hotel for Dogs") based on the book by Jeff Kinney. Zachary Gordon plays Greg Heffley, a kid entering middle school for the first time with the company of his best friend, Rowley Jefferson played by Robert Capron. Greg becomes obsessed with the idea that he needs to do something notable to get into the "Class Favorites" section of the yearbook in order to make his mark and hit the big time, if it weren't for the dorkiness of his best friend holding him back.

Greg has the curse of being a middle child so he is largely ignored by his parents in favor of his younger brother still potty training and his older brother, Rodrick (Devon Bostick) takes great delight in torturing Greg giving him rules he must follow or suffer the consequences. Incidentally, a sequel is already in the works called "Diary of a Wimpy Kid 2: Rodrick Rules." Instead of keeping his head down and getting through these difficulty years, Greg fights the laws of nature in his household becoming a burden to his family and often getting in trouble.

With the situations and the way they are presented, "Diary of a Wimpy Kid" feels more like an extended TV show of something like "Malcolm in the Middle" instead of a feature film. It has an amusing way of blending in the stick figure illustrations from the book into the story to represent Greg's visualization of the up and down changes in social status he and his friends experience. Greg tries several tactics to get famous in his school that fail fantastically like joining the wrestling team, auditioning for the school play, and joining safety patrol. Many of his problems stem from his own ego which is immature and underdeveloped and often places the blame on his less than cool friend, Rowley instead of turning the focus on himself.

The only times "Diary of a Wimpy Kid" feels like a movie are when Chloe Moretz (Hit Girl from "Kick Ass" who plays Angie Steadman enters the scene. She towers over the boys in height and maturity about their current situation. She tries to impart her wisdom on them that none of what happens in middle school really matters in the grand scheme of things and that it is infinitely better to sit back and watch others make fools of themselves for popularity and comment on it in the school newspaper. Greg turns down her invitation to join the paper insisting it would be a conflict of interest since the paper will be too busy reporting on him (which it does...when he makes a fool of himself). Chloe Moretz has an amazing screen presence that is such a pleasure when she is there and the movie noticeably reverts back to that TV style format again when she is gone.

The take on middle school drama, social status concerns, and the influx of made-up rules that can make or break your popularity is very familiar and a good wake-up call to kids that age. For adults, it might be a little familiar or nostalgic but no longer as engaging a problem to relate to. Director Thor Freudenthal's style is very much for kids and young families and in reaching that target demographic, it succeeds. It doesn't quite hit that sweet spot where it can be appealing to kids and adults simultaneously like "A Christmas Story" though it tries very hard.

Special Features:

There is full-length commentary by Director Thor Freudenthal and Writer Gabe Sachs where they go into detail about what was and wasn't in the book, what monologue was used to audition for the lead and how they picked Zachary Gordon. The Angie Steadman character played by Chloe Moretz was not in the original source material, but was added because there were all these diverse guy characters and no girls to even it out, like they were an alien species so bringing one into the mix clearly helped the movie.

There are 10 deleted scenes/diary pages consist of many more scenes with the scary ginger kid, Fregley and mostly consist of helpful how-to's and antidotes about the supporting cast characters.

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Swingers (2011)

Swingers could be a hip movie, a Guys movie, great-sagacious-advice movie, a warm-amusing movie, this-is-what-friendship-is-about movie, or simply one of the most facetious for-a-lark flicks of the 90s. But whatever tag you wish to stick on it, this honest, low-budget humdinger from Liman is very very "money"!

Top 10 reasons to get your hands on this movie now:

(1) It's fast-paced, well edited (not one wasted scene) and frequently laugh-out-loud funny. If you hear people dismiss this as an inconsequential narrative about a "bunch of losers trying to get laid", I'm afraid they just have not watched the entire movie. I am not into the "Spy who shagged me" genre of humor, but this movie will truly grow on you.

(2) It'll ring a bell with almost anyone, particularly guys. Mike -a crestfallen loverboy (Jon Favreau) is in the throes of a breakup, and his confidence has hit rock bottom. (Sidenote: Favreau is a very ordinary looking guy, which in fact imho is the power of his character.) Under the aegis of his friend Trent (Vince Vaughn, in top form, a lot better than his controlled acting in, gulp, The Psycho) Mike re-learns how to get back up on his feet and take reins of his life/emotions again. While this happens, we are treated to a bunch of every-day faux pas that we all can identify with in a blink. Interested yet?

(3) The boys' camaraderie is infectious. If you watch this movie with friends -and this indeed is the best way to watch it! -you'll know what I mean. This has to be one of the most honest portrayals of relationships between friends -both the lover and the platonic variety.

(4) Call me weird but I loved the sound track, a delectable blend of underground jazz and triphop.

(5) Some of the "get back on your feet" dialogue for Mike is truly marvellous, and makes for better, more down-to-earth, more inspiring advice about life and relationships than Dr. Ruth and Oprah put together.

(6) An interesting look at the Los Angeles we never see in films, the underground life of the struggling actors and writers and less glamorous people, not living in Malibu opulence as seen in other weaker films.

(7) Some great Sega Genesis NHL ice-hockey "footage" (to use a dignified term) and an unusual preview of seeing Gretzky's head knocked.

(8) This is to men what "Sex and the City" is to women. (Ok, SATC has had a lot more time than Swingers to entice us with the workings of the Modern Woman, but you get the idea)

(9) A wide assortment of one-liners for you to conveniently plagiarize from. Not seen in a single movie since Roxanne with Steve Martin.

(10) Oh, and it's so laid back, its horizontal. No spiffy visual FX, no crash boom bang, no cheap frills. But still a high handsome homerun.

Required Viewing.

It's shocking to see, here on Amazon, that this movie only grossed $5 million in the theaters. Swingers has gone on to become an incredibly popular movie. It made Vince Vaughn's career as an actor and defined Jon Favreau's career both as an actor and as a writer.

This is the kind of movie that every man can relate to on at least one level. Most men can probably relate to both of the main characters: each representing one side of us in our dealings with women. On the one hand, the sensitive man who isn't afraid to reveal himself and on the other hand, the player, who doesn't have any pretentions and makes no apologies for his brash behavior. Both are real and both have their pros and cons. They are both well-represented in Swingers.

I first saw this movie when I was about 17 years old. I loved the characters and I loved the flow of the movie, but I find that when I watch it now (in my mid-20s), I appreciate it on a whole different level. For those of us who are shy and reserved, this movie almost makes you want to come out of your shell. It can almost be called "inspirational" in how it will goad you to get the hell out there are let it all hang out. Great lines are delivered throughout the script. Mike and Trent compliment each other very well and they have some great scenes together.

This is an indie-film classic. The kind of movie that you never get tired of.

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"Your Money, your so Money, you don't even know your Money!"

Classic, great everyday, anyday movie. If your in a rainy day mood its "Money", break-up with your girlfriend mood, its "Money", and last but not least ... Showing allllll the "Pretty Babies" you have this movie in your collection ... "MONEY" !!!!!

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One day I saw a glimpse of a scene from the movie Swingers. It was the "is she looking at me now? No. She hasn't looked at you all night..." scene. That was the only scene I saw and I thought, "That looks kinda funny. I should see it one day." When I finally saw it, "That looks kinda funny" was a definite understatement. That movie kept my friends and I in stitches all night. It wasn't for sale on video yet, so I spent a small fortune renting it about three times a month. All my friends and I could see ourselves in that movie. I was the Mikey of my group because my girlfriend had broken up with me six months before I saw this masterpiece and I was still broken up about her. If you can't get over your break up with a girl, and are looking for a replacement, but with no luck, you MUST see this movie. It spoke to me and now I use it as my guide for life. Whenever you feel depressed about beautiful babies not going for you, flip this movie on and check it out. You'll feel better, guaranteed.

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"Swingers" really reminded me of "Good Will Hunting" in that it was written by and stars struggling actors who decided to go out and create their own success. It is a low-budget gabfest type movie, with no real action taking place; but it is a fun, highly entertaining film nonetheless. The plot revolves around five struggling actors in L.A., who go from party to party looking for "beautiful babies" and career opportunities. They are sort of a modern "rat pack", led by the fast-talking and charismatic Trent (Vince Vaughn, who carries the movie with a star-making performance). "Swingers" features hilarious, witty writing and some enjoyable performances from its up-and-coming stars. We are so entertained by their antics that we forget that nothing really signifficant is happening. Credit is due for spawning some great catch phrases too. The DVD doesn't come with any great special features. It comes in widescreen format with a theatrical trailer. The soundtrack is worth owning for lovers of great swing-jazz music. Overall a great movie and a good investment.

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Inside Man (Blu-ray + DVD + Digital Copy) (2006)

The first thing that attracted me to this film was the cast. Denzel Washington, Clive Owen, Christopher Plummer, Jodie Foster, heck Willem Dafoe is really a bit player in this one. Not to mention that Spike Lee, not one of my favorite directors, but certainly capable of telling a good story, and the potential was there for brilliance. By now, you know surely that the film deals with a heist of a bank, that the thieves are not after the normal booty that bank robbers go after, and that someone high up in the bank brass stands to lose very personally based on the actions of the thieves. What you may not know is why the movie is so much fun and so great to see.

Clive Owen owns this film. Yes, Denzel is great and carries his scenes well, but Owen has the task of not only convincingly playing a thief who is totally in control of the situation, he has to play the role in a way to illicit sympathy from the audience. He does both things masterfully. No doubt you will be in agreement that his performance is the landmark achievement of the movie and the reason it ultimately works. Washington is a good two dimensional character, blending his desire to take advantage of this one great chance he has at landing a plum role within the police department and the fact that he is personally struggling with the pressure of his girlfriend who wants to discuss "the M word" and wear something on a certain finger. In fact, this becomes a large part of the film, right up to the very end.

If I noted a couple of weaknesses in the film they would be these. Jodie Foster's character, while necessary, seems to distract from the action. Her role is somewhat important, but I wished she had not been there. Also, the film wraps up somewhat clumsily, as it feels that an extra scene or two should have been left out. This would have made the scenes after the main action feel much tighter. The very end of the film was the only time I felt any urge to look at my watch.

These are minor complaints, believe me. In the end, this is a winner, top to bottom. The scary thing about watching movies like this is that the idea the crooks had for robbing the bank is so smart, it will be a wonder if other people don't try it. The heist strategy made that much sense. I highly recommend this film. You won't regret it.

MOVIE: Spike Lee has never been on my top list of directors. His movies usually have very strong social commentaries, and nothing more than that. Those social commentaries though are usually the same thing, and it always has to deal with race. Hell, he calls every one of his films "A Spike Lee Joint". I'm not against it, but it usually detracts from the story. Inside Man is really his first movie that really focuses on the narrative and is intent on telling an entertaining story. The film is his most mainstream film to date, and in my opinion is his best. Clive Owen plays a bank robber who decides to go Dog Day Afternoon style and perform an elaborate bank heist, but this theif has everything planned to perfection. The film opens right into the action and wastes no time. Denzel Washington plays the "average joe" hostage negotiator who is assigned to the case, and Chiwetel Ejiofor plays his partner. As the story progresses we learn more of what the true purpose of this bank heist is. The owner of the bank, played by Christopher Plummer, has a secret about his past that could destroy his repuation if released to the public and it happens to be located in an unlisted safety deposit box in that bank. He hires Jodie Foster to help him try and reason with Clive Owen's character, while all Denzel Washington is concerned about is serving justice. The film is quick, superbly edited, and extremely entertaining. Spike Lee doesn't compromise his techniques and the film still retains all of the familiar Lee social commentaries. Race and politics become the underlaying theme for the film and it moves it in the right direction. All the reviews and ads talk about the twist ending and a plot full of surprises. It's not that kind of movie, there isn't a Shyamalan twist waiting at the end of the movie, but there are a few secrets about the characters that are slowly revealed throughout. There are some surprises that will make you grin with shame becaue you didn't see them coming, and those are always fun. The racial and political theme is not overpowering, it's not what drives the film but rather enhances the character relations in the film. It's a really well put together piece of filmmaking. Sharp dialogue, light tone, and great entertainment make Inside Man a joint worth passing to the next person.

ACTING: This is the dream cast that any director would kill for. Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer, and Willem Dafoe headline this impressive ensamble. I mean, how can you have bad acting with a cast like this? It's impossible. The cast is so experienced that they make it look easy to pull off roles like these. The characters feel natural and real, and are emotionally involving. It's a great cast.

BOTTOM LINE: Spike Lee proves himself to be a great storyteller. He focuses on the important things and highlights them with his personal touches. He even has his trademark "floaty camera" technique, which he uses to show determination on Denzel Washington's character's part. Even the opening titles and credits are done with style. He uses a very catchy song for the opening and closing credits that sets the perfect tone for the film. It's a song from Bollywood composer, A.R. Rahman. It's titled "Chayya Chayya". You can find the album on Amazon, it's the soundtrack to Dil Se. Inside Man is a tightly woven piece of filmmaking, and is worth your time

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This movie is a WINNER!

Totally entertaining, well acted and directed ... and one you'll be talking about when it's over. Pay close attention to the ending, I didn't realize how many twists there were until I talked with my husband, and several others who were walking out of the theater.

What a good ol'fashion mystery! ENJOY!

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The one note about Spike Lee films is that you're never sure what you're going to get. I'm not really a fan, I find that his films are too convoluted with extraneous detail and somewhat over produced. Inside Man retains all the elements of a solid bank robbery/caper film, whilst also giving us Spike Lee's trademark of gritty, street-wise irreverence.

The problem with Inside Man is that it's impossibly unbelievable with a plot that strains the realms of credibility; combine this with it's over-long running time and you have a film that features some great performances by it's cast Denzel Washington, Clive Owen, Christopher Plummer and Jodie Foster but ultimately sags a bit in the middle and ends up becoming rather ponderous.

Lee manages to pull off a handful of effective scenes, but he doesn't have the flair to bring the whole movie off with real conviction. An enigmatic master criminal (Owen) who spends most of the movie wearing a mask plans and executes a "genius plan" in which he and several masked companions take over a Lower Manhattan bank and brutally seize several dozen of its customers as hostages.

The NYPD negotiator given the task of dealing with these crooks is an affable junior detective, Detective Keith Frazier (Washington) under a cloud of suspicion from a previous case he soon surmises that the perpetrators don't actually want the bank's money. Enter smarmy and elegant New York political insider Madeline White (Foster) who knows everybody and even has the ear of the Mayor.

Madeline is hired by the chairman of the bank's board of directors (Plummer) to oversee the crisis and make sure that certain secrets he has in his safe-deposit box stay secret. The bulk of the film involves the standoff between the bank robbers and the NYPD as they try frantically to ensure that the hostages remain safe.

Of course we know the hostages survive because Lee inserts interview footage of them after the heist is over, this device, however, tips off the outcome, dissipates suspense and quickly becomes tiresome. This is just one of the many techniques Lee uses to clutter the movie's structure and prevent the plot from unfolding as quickly as it should.

Obviously, everyone has something to hide, particularly the bank president, but when his past is revealed, it finally appears with a bit of a thud, with the movie going through to much difficulty to arrive at very little. In all fairness, Inside Man has some interesting things to say about race, money, power and the ethics of urban living, particularly in New York and the performances are wonderfully cynical and gritty.

Washington is sexy and strong, Foster is skillfully odious as the icy, sophisticated and amoral Madeline who cares for nothing but chasing big bucks, Owen is morbidly compelling as the determined heavy and Plummer is letter-perfect as the guilt-ridden bank honcho.

Lee, however, just doesn't seem able to bring all the disparate elements of a heist film into a convincing and gratifying whole and in the end; the movie is vaguely unsatisfying and impossibly far-fetched. Mike Leonard August 06.

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Spike Lee's Inside Man may seem like just another cop and robber story until you see the story unravel on screen. Robber Dalton Russell (Clive Owen) has planned a perfect heist that has put career cop Keith Frazier in a fix. Amidst intense negotiation between thw two, power broker Madeline White (Jodie Foster) enters the picture proving herself to be a better negotiator than Fraizer. But everyone has their motives and the interlocking puzzle gets more complex. As the story unfolds, each turn becomes

more unpredictable.

Clive Owen is excellent witty robber who's outpacing everyone at every opportunity. Displaying a level of cool collectedness, Owen was convincing as the potentially violent criminal with a broader agenda in mind.

Denzel Washington turns in an equally sublime performance playing the detective who's trying to serve justice while battling investigation for corruption. Detecive Fraizer's urgency in taking Russell to task is well portrayed by Washington.

Jodie Foster's Medeline White may just play a supporting role but it's no doubt that the actress can handle any role with aplomb. Her character's brimming with calm confidence trying to secure a deal with the robber while enriching her own pockets.

Spike Lee's Inside Man is an exciting thrillers with non-stop action and suspense. It cleverly plays out and eventually leaves the audience dazzled and in awe. (A)

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Tai Chi Zero (2012)

The Actors were great, the story was EPIC and exciting!!! There were a good amount of funny moments, but the fight scenes were AMAZING!!! I LOVE how the women in this film were portrayed as strong, skilled, and self sufficient, yet able to still have love (a little insight into their vulnerability) and the costumes were really stylish they added to the authenticity of the film!! This film had quite a bit of eye candy as well so... I look forward to seeing more work from this director, and I can't wait until the next installment of this story comes to theateres!!!

Those who've followed my reviews over the years (and, yes, there are a good many of you) know just how fond I am of foreign films. Not so much the European releases. While they've had some nice flicks, I get much for bang for my buck from the Japanese, Korean and Chinese releases. I tend to find them more relatable in many ways, far more interesting with respect to depiction of their cultural norms and attitudes, and modestly reverential of their national history. Plus as I've said many times they're rawer than many similarly-themed American releases because they aren't bogged down by the politics and shenanigans of the U.S. studio system.

However, some of that's clearly started to change. In the last few years, I've noticed more and more of the pictures coming out of China, in particular, starting to have that `big budget' feel. What tends to happen in films of this sort is that there's clearly less emphasis on storytelling and increased focus on stories that require bigger and bolder set pieces, finer and more intricate special effects. Sometimes, this increased focus works to the detriment of the picture as a whole, as I think it did with films like DETECTIVE DEE or CONFUCIUS. But when it's managed properly, the end result is a piece of entertainment the likes of which TAI CHI ZERO represents.

(NOTE: The following review will contain minor spoilers solely necessary for the discussion of plot and characters. If you're the kind of reader who prefers to read a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting to hints of `things to come,' then read on ...)

Since birth, Yang Lu Chan (played by Yuan Xiaochao) has been plagued by a wart-like growth from the right side of his forehead. What looks like a birth defect is actually a secret weapon that allows him when it's tapped to tap into some deep-seated talent to mimic any martial arts display he's witnessed. This gift from nature does not come without consequence for, unless he can master the arts of the force inside him, he will die young from the advanced strain on his body. A shaman suggests he travel to the distant Chen Village where, if he can learn the art of Tai Chi, he might just find balance. The problem with that solution is that their villagers refuse to teach any outsiders ... but before all is over, Lu Chan will have gained the trust and confidence of Chen Yunia (played by pop star Angelbaby), and he learns there just might be no cure for the troubles which ail him.

Stephen Fung has an impressive resume as a director, actor, and writer, and what he's well on the way to accomplishing with TAI CHI ZERO (warning: this is only the first part in a planned trilogy, and, yes, it does end on a cliffhanger) is nothing short of amazing. Stylistically, ZERO's all over the map is it a comedy? Is it a drama? If it's a little of both, what are we to take seriously? but, for the most part, it succeeds despite a heavy emphasis on some questionable use of split-screen storytelling and slow-motion wire-fu sequences that probably add twenty minutes to the film (no kidding). Mostly, that's because everybody roots for the underdog, and ZERO's story is full of `em. When the story is about a whole town of underdogs, there's a good foundation to make it all come together.

This is not to say ZERO doesn't have some narrative `hiccups,' because it does. For example, the first thirty minutes (or so) are punctuated by clever bits of stylish posturing the audience is treated to a frozen screen highlighting a particular actor or actress, and then there's a quick, humorous throwaway observation about the actor's career (and not the character in the film). This is something I've seen happen previously in Japanese animes, and, when I've seen it, I've mostly hated it (even when it was divulging something relevant to the story). Why? First, it pulls me out of the motion picture experience by reminding me that I'm watching an actor, not a character, and that's a distraction to me personally. Second, it grinds the narrative to a halt in order to deliver some `technical moment' that, quite frankly, has little or nothing to do with the film. I've had it explained to me that this is nothing more than a bit of Eastern-style humor; while that may be true, that doesn't negate the fact that I find it a distraction. Thankfully, this `technique' disappears after setting up most if not all of the main characters, so I'll let it be.

Still, as the story wears on, it becomes increasingly obvious that Fung and his players are working extremely hard to please its audience. I'd suspect he and they know precisely what they're doing, and they've probably all got a solid grounding in where they're heading with the trilogy. Whereas this might burden other projects, I thought it became somewhat infectious. They've gone to great lengths to pull on an awful lot of influences here traditional comedy, the triumph of the underdog, weird variations on the basic martial arts film ... and that doesn't even take into account the obvious influence of steampunk heavily at play in one of the most curious contraptions brought to Chinese film! What easily could've been a series of clever but inane stumbles are made to work to the picture's benefit.

So, while it ain't perfect, I enjoyed TAI CHI ZERO quite a bit, and I'll definitely stay tuned for its second chapter.

TAI CHI ZERO is produced by Diversion Pictures and Huayi Brothers & Taihe Film Investment. DVD distribution (stateside) is being handled by Well Go USA Entertainment. As for the technical specs, the film is very accomplished; it looks and sounds fantastic, though (as indicated above) there are a few sequences which heavily remind the audience that its watching a film instead of striving to immerse them in this colorful world. The film has both the original Mandarin language track as well as an English-dubbed track, but I'd encourage viewers who choose the English-dubbed to keep the English-subtitles on as they're needed especially in the early part of the film. As for special features, there's a brief obligatory behind-the-scenes featurette (nothing special), a music video, and theatrical trailers.

HIGHLY RECOMMENDED. From a story standpoint, I have to reserve judgment until I see where TAI CHI HERO (its forthcoming sequel, the second part of a planned trilogy) takes the story, but so far TAI CHI ZERO is a winning combination of character, action, and humor. It's a delicate balance one maintained to great accomplishment of all the players, cast and crew and I'd imagine most folks would be hard pressed to find this nifty little gem nothing short of interesting ... so long as they can get through the opening anime-inspired lunacy. Once those somewhat intrusive introductions are out of the way, ZERO is certainly no zero.

In the interests of fairness, I'm pleased to disclose that the fine folks at Well Go USA Entertainment provided me with an advance DVD screener of TAI CHI ZERO for the expressed purposes of completing this review.

Buy Tai Chi Zero (2012) Now

This genre-melder opens an Asian kung fu adventure trilogy with strong elements of humor, Hong Kong theater stunts and a videogame feel. Anyone tired of "the same old…" whatever should give this a shot!

During a playful flashback, we learn that Lu Chan was born with a small horn-like growth on his head recognized by a kung fu master as the crown of three blossoms, prophesying that he will one day become a great kung fu master. This master adopts Lu Chan after the death of his mother (Shu Qi).

Years later we find the young Yang Lu Chan (action newcomer Yuan Xiaochao) on the battlefield. He seems to have a gentle soul. However, "the freak" (as he is called) is capable of becoming a demon-eyed, super-charged menace. Master Dong (Siu-Lung Leung; Kung Fu Hustle) warns Lu Chan that if he does not learn internal kung fu from Master Chen (Tony Leung Ka Fai; Detective Dee and the Mystery of the Phantom Flame), that he will soon deplete his inner energy and die. Not a fan of this prognosis, Lu Chan seeks Master Chen.

However, Master Chen refuses to teach his Chen style kung fu to an outsider--it's actually a village law. As Lu Chan persists, he is thwarted by the Chen style-savvy locals often in funny fight scenes. In fact, humor is a major, frequent component in this kung fu adventure. Lu Chan's dedication earns him the admiration of many villagers, but it is when he helps save the village from a giant, steampunk, iron menace and teaming British soldiers that he earns acceptance by the villagers, and the love of one in particular.

There are strong, oddly-toned humorous elements in this stylistic genre-melder. Very dramatically scored, this movie is filmed beautifully and utilizes many unique, artistic effects, including a comicbook-style animated short mixed with live footage during the opening credits. The inclusion of stempunk elements and written captions identifying objects, landmarks, characters and techniques creates a strong fantasy videogame feel as well.

The fighting includes some well-timed slow-motion in the style of 300 as well as some classic overuse of wire stunts. Strong female characters capable of humor and handling themselves physically--but not at the expense of their emotional vulnerability or loving nature--contribute to a more positive tone as well, providing more of an adventure movie experience than a martial arts action movie.

This entire movie is about Lu Chan trying to learn Chen style kung fu and when the movie is over, he still hasn't. During the credits we see a "preview" of sorts to Tai Chi Hero, the second movie of the Tai Chi trilogy, in which the British invasion on Master Chen's village escalates.

So stay tuned for the next installment.

Read Best Reviews of Tai Chi Zero (2012) Here

Great movie! Very entertainment and funny... My son love it. We cannot wait to see the Tai Chi Hero (the part two of the series).

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Very slow to action i felt long and drawn out ..Story line had me confused i was not sure how things took place.

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Dead Man (1996)

How unfair is it that Tim Keogh of the Amazon.Com organization gets to lead off the list of reviews for this movie by stating "This disappointment from Jim Jarmusch stars Johnny Depp in a mystery Western about a 19th-century accountant named William Blake, who spends his last coin getting to a hellish mud town in Texas and ends up penniless and doom struck in the wilderness." I don't know if Tim was busy stuffing his face with popcorn but he makes three erroneous statements in this first line of his totally off-base review.

1) This movie is not a mystery! 2) Johnny Depp spends his last coin buying whiskey. 3) The "hellish mud town" of Machine is on the West Coast not Texas. (After all, it would take a while to ride by horseback from Texas to British Columbia where the Coastal Indian Tribes were located).

You may be asking yourself why I take issue with such mundane details? The answer is obvious to prove the point that Tim Keogh wasn't even watching this movie, and therefore, has no right to review it. Simply put, Dead Man is a cinematic masterpiece! Jim Jarmusch has made a number of strong movies, but Dead Man surpasses the others as a brilliant work of art.

You can see by reading the other reviews that support for Dead Man borders on fanatical. There are few movies that I have watched repeatedly but I continue to see this one over and over again. Everything about the film is different from the conventions of Hollywood mass consumption "fast-film". The story unfolds in a slow and methodical manner and requires much attention on the part of the viewer. If you invest in it, Dead Man will repay you many times over.

If you liked Forrest Gump and The Sixth Sense then you can go see another mindless mainstream movie with Tim Keogh and the majority of the ignorant American public. If you need more than that . . . buy Dead Man. I'll bet you watch it more than once!

I'm not allowed to refer to another person's review here, but at the time of this writing, Amazon.com was posting a review of this movie that was clearly written by a person who was raised in Disneyland. This is one of the best movies ever made. Chicago Reader calls it an Acid Western and rates it "masterpiece". It compromises to no filmmaking convention. It's hardly possible to review it without giving away important aspects of the film the viewer should experience for her/himself. The movie is not a story, even though it's told through a story. The evolution of William Blake from innocent Cleveland accountant to a symbol (for English-educated Native American reject Nobody, played by Gary Farmer) for poetry itself; the tiny little worlds of late-19th-century white Western of-necessity survivalists, and the effects these little worlds had on Blake; the hilarious campfire scene with Iggy Pop and Billy Bob Thornton (and a third person -can't find out who), and the dying beauty of the natives; the brutal innocence of the disenfranchised Nobody whose illusions (or were they?) propelled Blake to his -future ... I was completely immersed. There is only one thing wrong with this movie. I love Neil Young, but, unless I'm missing some important symbolism, his score could have been more, well, varied. There are not many movies I want to own but this is one.

Buy Dead Man (1996) Now

I did not see Jim Jarmusch's "Dead Man" when it first played in theaters, in large part because of the many negative reviews it received. Roger Ebert (who I admire) all but dismissed the film with his lowly *1/2-star rating. Ebert was a champion of Jarmusch's "Stranger Than Paradise", so I trusted him and avoided the movie. But now, having seen "Dead Man" on video, I feel many of these critics (who may have been expecting a traditional Western) were unfair in their judgements. This is a movie serious filmgoers should not miss.

Johnny Depp stars as William Blake, an accountant from Cleveland who travels west with the promise of a job. This westward journey the basis for so many other movies is not, however, seen as something positive (Blake, in fact, is warned early on that the Western town of Machine will only offer him a grave). Things do not start off well. He arrives to find out that the accountant position has already been filled. He tells the office manager (John Hurt) that he wants to speak with the owner. The owner (played by the late Robert Mitchum) is, unfortunately, no more sympathetic and forces Blake to leave.

Without enough money to return, Blake befriends a young woman who (like him) has had her romantic notions of the West crushed. She makes paper flowers, because a real flower would never be found in the ugliness of Machine. She shares her bed with him and is shot by her lover (Gabriel Byrne). Blake is also shot, but kills Byrne and escapes on his horse. He is soon found by an Indian named Nobody (Gary Farmer) who tells him that the bullet is close to his heart, so he is already a "dead man". The two take off together and Mitchum (Byrne was his son) places a bounty on Blake's head.

"Dead Man" is an anti-Western, in the same tradition as Robert Altman's "McCabe & Mrs. Miller". But the film, which is shot in beautiful black and white by Robby Muller, is unlike any Western I've ever seen. There's a poetic quality to the film. Blake is told that he shares the name of a great British poet not by any of the white people in the film, but rather by the Indian Nobody (who believes he IS the poet).

The movie is very much pro-Native American and I admired the film for pointing out some unpleasant facts: like the fact that a million buffalo were slaughtered as a means of wiping out Indians (buffalo was one of their staples). Blake witnesses such a slaughter even before he's left the train.

And while I suppose this message could be found in "Dances With Wolves", I found "Dead Man" to be the better film.

Read Best Reviews of Dead Man (1996) Here

Every time you watch this film, it reveals some more of its character. Is this a western, a road movie, a black comedy, surreal art or just something to look at while you listen to Neil Young's eerie sound track? To find your own answers you must watch it yourself.

Set in the late nineteenth century, we see Johnny Depp playing William Blake, a young accountant who gives up his sheltered life in Cleveland to head out to the Wild West. He has a job offer from a manufacturing company owned by John Dickinson (Robert Mitchum) in a lawless town called Machine which is literally, "the end of the line."

The film starts with his train journey out to the west and we see him becoming gradually more uneasy as the civilised East turns into the rough and dirty West. All too soon he is in Machine where he finds out that the job has gone to another man bacause Blake took too long in getting there. Out of money, he ends up in bed with Thel Russell (Mili Avital) the prettiest girl in town. When her boyfriend arrives, Blake's troubles get worse. After the ensuing gunfight, Blake flees, mortally wounded and leaving two bodies behind him.

The father of the dead boyfriend, Dickinson again, hires a group of killers to catch Blake. Also, he calls in the Marshals and posts public rewards. Since this is a road movie, Blake needs a buddy and he teams up with Nobody (Gary Farmer) an outcast Native American who just happens to have a passion for the poems of the more famous William Blake. Nobody accepts Blake as the embodiment of the real poet and assumes, because the the poet had already died and the man he sees now is slowly dying, that Blake must seek a place to die and return to the world beyond.

Nobody sets out to help and guide him on his journey. They must dodge the bounty hunters, marshals and citizens who want the reward and along the way, Blake turns into a man who can kill without remorse.

Surreal barely describes the people that they meet and, generally, kill on the way. There is a lot of humour ranging from Nobody's observations of European "civilisation" to the constant sniping (figurative and literal) between the three bounty hunters sent to kill Blake.

Shooting the film in black and white and using a soundtrack that is just a constant guitar presence rather than a set of songs, gives the film a outward appearance that well matches the content.

Many people will doubtless find this film deeply unappealing or offensive but they will be missing a movie that is as refreshing and stylish as anything else from the nineties.

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... but it's obviously not for everybody. I, for one, found the acting, cinematography, setting, soundtrack and story to fit perfectly. This film just falls into place. It's most definately a sum of its parts. My favorite thing about this movie, is that it's filmed in black and white. I read one review where they wrote "filmed in black and white for no reason". Wrong:

1) As cliche' as it sounds, it adds to the films ambiance.

2) It's a film that takes place in the early 19th century. It captures the vintage setting. Schindler's List was filmed in black and white for this same reason.

3) It's haunting. The whole film is surreal, and the black and white helps set the mood for isolation.

But, whatever. It boils down to this: Ignore all the reviews here. Even the good ones. Rent this movie, at least, then see if you like it or not. I can promise that the good majority of you will love it.