Exotica (DVD+Blu-ray Combo) (Blu-ray)

While Canadian writer-director Atom Egoyan may be best known for his sweeping, 1997 adaptation of Russel Banks' novel The Sweet Hereafter (for which he was nominated for a best directing Oscar), Exotica vastly surpasses Hereafter in its deeply layered secrets and complexity. "You have to convince yourself that this person has something hidden, that you have to find yourself," states a character at the beginning of the film. Each of these characters--the DJ of Club Exotica (Elias Koteas), the pregnant owner of the club (Egoyan's wife Arsinee Khanjian), the mysterious, school girl dancer (Mia Kirshner), her most frequent customer (Bruce Greenwood), and the lonely owner of an exotic pet store (Don McKellar)--has something hidden, deep within the interactions between each other and the non-linear storytelling of Exotica, which multiple viewings enhance to even greater detail.

After winning many Genie Awards (the Canadian equivelant of the American Oscar) including best director and picture, as well as being hailed as a "Miramax Classic" on the box, one would think that the DVD would be filled with lots of added bonuses, and at the very least: a theatrical trailer. Alas, the Exotica DVD boasts no special features, if you don't count the gorgeous widescreen transfer, much to my own dismay.

Since many critics praised the film when it was released in 1994, especially Roger Ebert, there is hope that a new DVD will be created. The Criterion Collection includes numerous foreign, avant-garde, cultish films on DVD, most all of them boasting quite a few, excellent special features (especially the sadly-out-of-print Sid & Nancy DVD; but not for the feature-less Night Porter disc). One would hope, with the support of a few major critics and strong following, that Mirimax (or Criterion) would release a new version of this DVD, featuring all the added features, commentaries, bios that the film rightfully deserves.

I like movies that reveal their mysteries gradually. Films like Mullholland Drive, Memento, Following, etc. Like a good postmodern novel (no that's not an oxymoron there are a few [Paul Auster comes immediately to mind]) these films are non-linear and one is kept guessing about not only what will happen, but whethere central characters are crazy, evil, benign, etc. The audience is kept intentionally in the dark, and thus on edge, and sometimes (as is the case with Mullholland Drive) there is no clear resolution, no tidying things up at the end. Egoyan seems to be operating in similar territory.

Another characterstic that these directors share is that often their characters are not what one would call likeable. This is the case in Exotica. A Canadian Customs Inspector (David Hemblen) is assigned to audit the books of a nervous Toronto exotic pet shop owner. From the outset, we see that this is not going to be your typical CPA/customer relationship. Things get more intriguing when the inspector finds a pistol in the pet-shop owner's drawer and reacts enigmatically.

As the film progresses, the inspector's psyche gradually disintegrates, until finally there is a denouement of denouements at the end of the film. Finally, Egoyan lets the audience in on the source of the inspector's descent into emotional breakdown. No spoilers here, but suffice it to say that the ending provides resolution, without relying on clichés.

Another satisfying Egoyan film. Thoughful script. Uniformly excellent acting, cinematography, direction. Worth re-viewing.

BEK

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CAUTION-SPOILERS AHEAD-EXOTICA has been overwhelmingly praised by the critics. I think the Tomatometer is at 95% favorable. Here is my take on EXOTICA-maybe it will help some viewers to appreciate this fine film.

The film is very much a paradox, sensual but sterile, intense but distant, hollow but haunting. It is a complex story with a relatively simple theme. The characters include Francis (Bruce Greenwood) as a Canadian government revenue auditor who is auditing the financials of an exotic pet store (whose owner Thomas is played by Don McKeller) while trying to exorcise his demons at a strip club called EXOTICA. During his nocturnal visits to the club he pays his niece Tracey (played by Sarah Polley) to baby-sit his seemingly absent daughter. The viewer gets to know the strip club DJ, Eric (Elias Koteas); a stripper, Christina (Mia Kirshner) who dances for Francis and happens to be Eric's ex-girlfriend; and the very pregnant (by Eric) club owner Zoe (Arsinee Khanjian) who is having an affair with Christina.

The plot is an example of elliptical storytelling in that it moves in a purposeful ever-circling way to slowly reveal the connections between the worlds of each character. There is enough misdirection to keep the viewer wary of their perceptions. They must pay complete attention and remember what they see.

There are significant technical reasons to like this film. It is first and foremost a director's film and Adam Egoyan's directing is amazing. A director is responsible for both casting and for directing their cast. For Exotica Egoyan added to his cast of regulars two of the best young actresses (Kirshner and Polley) in Canada. Kirshner's performance provides an extremely unusual combination of sensuality and thinly masked pain. Polley is simply the most subtly expressive actress in film today. They are world class talents who seem to deliberately stay away from mainstream films but have little trouble getting lots of work. Greenwood, McKellar, Koteas, and Khanjian, are likewise excellent. Egoyan kept all six reined-in so that their performances are low-key and restrained. While there were many stylish and beautiful camera shots he mostly keeps the characters at a distance. Exotic décor, busy sets, atmosphere, restrained acting, minimal tight shots, and frequent plot misdirection keeps the viewer from bonding or strongly identifying with the characters. He did not want the viewer getting into the heads of the characters, he wanted us to internalize the theme and to take it into our heads. This way if we pay attention we will learn as much about ourselves as we will about the characters.

The theme is substitution, how the process of living is simply a process of substitution. We grow out of things and find substitutes for them. We lose something precious but we carry on by finding a substitute. We expand our horizons and find substitutes that we did not know about or that we thought unattainable. We need something we can't have so we find something that works as a substitute. Sometimes the substitutes are an improvement on the original, sometimes they are a better match with a new stage of life, sometimes they are an imperfect substitute but the best that we can manage, and sometimes (certainly in this film) they are an addictive trap that keep us from moving on or growing.

Most people's dreams don't come true and they settle for a substitute, often without really noticing. The most compelling scene in `Field of Dreams' is when Burt Lancaster is talking about what it was like to give up his dream of playing major league baseball. He says: `It was like coming this close to your dream and then watching it brush past you like a stranger in a crowd. At the time I didn't think much about it. We just don't recognize the most significant moments in our lives when they happen. Back then I thought: there will be other days, I didn't realize that was the only day'. While his character accepted the end of his dream and substituted a life as the town doctor, in Exotica the substitutes are dysfunctional because there is no acceptance. That is why so many of the substitutions involve payment, a transactional substitution is a temporary event and allows the illusion to stay alive.

Exotica focuses on the substitutes used by its central characters. Francis substitutes Christina for his daughter and Tracey for Christina (when she was his daughter's babysitter). Eric substitutes his club DJ job for the career he wanted in radio, he substitutes his voyeurism in the club for his inability to have a lasting relationship. Zoe substitutes for her dead mother and continues to run the club, instead of a husband she has Eric contractually substitute so that she can have a baby. Thomas substitutes his opera liaisons for a real relationship and substitutes an incubator for the eggs he has taken from a nest. Christina substitutes a protective Francis for her uncaring and probably abusive father. Voyeurism substitutes for interaction.

Eric's voyeurism eventually leads him to the conclusion that the Francis-Christina mutual dependency has gone from a temporary coping mechanism to an addictive trap. He elects to destroy that relationship by convincing Francis to touch Christina. Eric knows that the relationship must end once this occurs, no matter how Christina reacts. Either she will no longer be able to use Francis because he betrayed her trust or Francis will no longer be able to use her because he can no longer maintain his illusion of protecting her purity. Then they will both have to move on and seek new and hopefully more positive substitutes.

Contrary to some who have commented on this film I did not see any real `plot holes'. Almost every detail is eventually explained and if anything Egoyan made the plot a little too predictable. But at least this was balanced by some interesting misdirection-like having Tracey live above a shabby strip mall so you jump to the conclusion that she is a child prostitute and that Francis has a thing for young girls. Certainly on the second viewing it is clear that many clues are provided and that the outcome is being subtly telegraphed throughout the film in a kind of mental striptease.

As already mentioned, the really unique feature of this movie is that the viewer does not really connect with the characters but instead connects with the substitution theme. The audience is given a new perspective from which to think about their own substitutions. Perceptive members of the audience are forced to be more than observers. This is powerful stuff.

Then again, what do I know? I'm only a child.

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In my opinion, Atom Egoyan's EXOTICA is one of the best movies of the last decade. Those of us who had the opportunity to watch in the eighties Egoyan's first movies such as THE ADJUSTER or FAMILY VIEWING are not surprised by the nowadays international recognition of the armenian-canadian director. With EXOTICA, he has joined the very small guild of the writer/directors whose name will be remembered in the future.

Atom Egoyan is treating such universal themes as Redemption, Guiltiness or Desire, mixing them in a puzzle of images and subplots that leave us petrified by the beauty of the movie and the deepness of the feelings experienced by the characters. EXOTICA, like a book you cherish, must be seen several times in order to appreciate the complexity of the screenplay. Don't hesitate to buy it, you cannot be wrong with this movie.

There are alas no bonus features with this Disney/Buena Vista DVD, a company that prefers present extra long documentaries about the making of some infantile movie rather than contribute to the nobler but less profitable effort to help true artists reveal their work. Shame.

A DVD zone your library.

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This is an undiscovered gem of a film with an incredibly inventive and powerful script that is sure to suprise and please. 'Exotica', a "Gentleman's Club", is the focal point of a world in search of meaning. Men come not just to watch beautiful women sensually dance in various stages of undress. They come to forget, however briefly, the pain and suffering they have experienced in the world outside.

Christina (Mia Kirshner) and Eric (Elias Koteas) work at the club, Christina as a dancer, Eric as the DJ. As the customers watch the enchanting Christina perform on-stage and privately, Eric watches the customers watch her. As you might have guessed, while moods and emotions are generally muted and controlled within the confines of Exotica they are forever on the verge of breaking through the illusory nature created and sustained by alcohol and sexual stimulation. There are untold stories to be brought into the light of day and only when the truth is known will the many tangled relationships and reasons for being there finally make sense.

Director Atom Egoyan has conjoured up a place outside of time and space, a purgatorial oasis where all regrets, memories and hopes converge into the incessant drone of the music and the tantalizing movements of the dancers. Truly a stunning vision that will stay with the viewer for quite sometime. Definitely not a film for everyone, 'Exotica' deals with adult situations and contains numerous scenes of nudity and some mild homosexuality. However this thoughtful, probing tale ultimately transcends most of the dark, depressing elements and offers a ray of hope and forgiveness. If you're the adventureous type who is looking for something different 'Exotica' is definitely the film for you.

Mia Kirshner and Elias Koteas (two of my favorite actresses/actors) are fantastic. Also wonderful performances by Bruce Greenwood, Don McKellar, Arsinee Khanjian and a young Sarah Polley.

Naked Lunch (Criterion Collection) (1991)

Cronenberg's version of Naked Lunch is a brilliant combination of Burroughs' novel and Burroughs' life. He blends the true story of Burroughs life (and his reason for writing) with the surreal dark-comedy 'routines' of the novel until they become one story. The story is a quiet hallucination featuring exterminators, addiction, typewriters in the form of insects, typewriters that grow genitals, a global conspiracy of intelligence agents, the drug trade, homosexual ambiguity, writer's block, accidental murder, and literary paranoia. None of these elements is explored completely. Instead, Cronenberg touches on each one until they form some strange, underlying logic.

This edition of the DVD has enough extras to make it the only version of Naked Lunch you'll ever have to buy. (They won't release a bigger, better edition later.) The BBC documentary is okay. It's about 45 minutes long, giving Cronenberg and William Burroughs a lot of time to speak. (Burroughs is particularly good, with a dry sense of humor and a habit of saying obvious truths that make people uneasy.) The second disc also has stills from the special effects team, showing how the various creatures and organic typewriters were developed.

But it's the first disc --the movie itself --that makes it worth buying and watching. The special audio track, shared by Peter Weller and Cronenberg, adds a lot of useful background information. The film itself is bright and sharp, a perfect example of DVD clarity. I highly recommend this DVD to anyone who is interested in the best films of the 1990s. Naked Lunch didn't make as big an impact in theaters as it did in book stores, but it should have.

As a devout Burroughs fan, of course I was a little hesitant to view this movie initially. And having read the book "Naked Lunch" prior to watching the film, I was at a loss as to what I expected. Certainly there was no way this book could translate into a movie...even "The Wall" director Alan Parker would have been lost.

In essence, Cronenberg didn't attempt to recreate the book verbatim. Instead he deftly interwove Burroughs' life with some of the routines and rants from the book. This movie is not for the fainthearted as it shows man-sized mugwumps and talking typwriter/insects who are really operatives for a covert attempt to penetrate Interzone, using a hapless writer, Bill Lee, as their chief spy.

Definitive moments in Burroughs' life, such as his relationship with Allen Ginsberg and Jack Kerouac and the death of his wife Joan at his own hand are featured in the movie. It also gives a surreal biography to the birth of the writer in Burroughs as he attempts to write his way out of the guilt of his wife's death and the drugs that numbed the difficulties of his life.

Those who think that this movie had no real plot or if they did think there was a plot that the plot wasn't linear, then they can't be that big a fan of Burroughs. His life was not normal, his fans are not normal, and his mode of thinking was, frankly, insane. Cronenberg does a brilliant job getting inside the mind of the writer, the genius, the man, William S. Burroughs. Take a trip into his mind, ladies and gentlemen, and be changed forever.

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David Cronenberg has done something very interesting in his film version of the book by William Burroughs. Attempting to faithfully follow the book's plot would have been a hopeless enterprise (and an X-rated movie); instead, Cronenberg wraps short sequences from the novel and intertwines them with Burroughs' own life. This is not only completely appropriate for this unique author, but also conveys the tone and structure of the book. In this respect, although the 'plot' of the book is not followed with slavish respect, this is one of the most successful book-to-film translations.

There are interesting (if brief) portraits of Allen Ginsberg and Jack Kerouac (although in the movie Ginsberg is portrayed as pursuing Burroughs, when in fact Burroughs was in love with Ginsberg). The film also shows the accident in which Burroughs shot his wife, and his meeting with Paul Bowles in Tangiers. In the plot of the movie, Bill Lee is instructed by giant insects to infiltrate Tangiers and write 'reports' which eventually become the text of _Naked Lunch_. All of the events of the movie are shown from Bill Lee's drug-altered perception, so that most of the film's scenes have to 'translated' from the metaphorical to the actual by the viewer. In spite of other reports, the movie is quite coherent and linear, detailing Bill Lee's emotional recovery from drugs and the death of his wife as he becomes a writer. Perhaps 'recovery' is the wrong word; what Lee learns is to use them as material for his writing.

One warning: Cronenberg's decision to use elaborate special effects to show Bill Lee's reality works brilliantly, but it can be quite disgusting. The movie is not for weak stomachs (which again fits both the book's title and content exactly).

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David Cronenberg's dazzling sci-fi imagery meets William S. Burroughs' dark humor in this bizarre cult film. Peter Weller plays William Lee, an exterminator who can't seem to keep track of his bug powder. His writer friends hint that it may be a `domestic problem.' Indeed, he finds that his wife is stealing his bug powder for its narcotic effects.

At a party with two friends (meant to be Jack Kerouac and Allen Ginsberg), Lee nods to his wife and says, `About time for our William Tell act...' Joan balances her highball glass on her head and closes her eyes. Bill isn't such a good shot that night, and accidentally shoots a hole through Joan's forehead. The glass falls to the floor, intact.

Soon the police are after Lee. They lock him in a room with a giant bug, who tells him his real identity. It starts him on his journey to Interzone, a strange hallucinatory world inhabited by talking insects, living typewriters, and alien/insect mugwumps that secrete intoxicating juices from the penises on their heads.

Lee has a long strange trip in Interzone. His insect typewriter sends him on missions where he meets strange people and even stranger creatures. And all the while he is still on the run from the police.

David Cronenberg's screenwriting and directing skills were in top form for this movie. Once called `the king of venereal horror,' his trademark grotesque sexual imagery and bug obsessions, as seen in Videodrome and The Fly, have been honed to give the perfect nightmarish effect. Surely there couldn't be a better man to bring Burroughs' Interzone to the big-screen.

The acting was also superb. Wearing a fedora and an anonymous tan overcoat, and speaking in Burroughs' low monotonous drawl, Weller is a very believable William Lee. Judy Davis was also excellent, bringing to life the most three-dimensional portrayal of Joan Vollmer Burroughs ever.

The fabulously surreal special effects are sure to draw in Cronenberg fans, and fans of Burroughs will be equally entertained by samplings of the original book's `routines' and parallels to Burroughs' own life. However, Cronenberg isn't known for making accessible movies, and when coupled with Burroughs' characters, this certainly isn't a film for everyone. Rated `R' for heavy drug content, adult language, and `bizarre eroticism,' there are scenes portraying bug powder injection (a heroin metaphor), typewriters with genitalia, and a gay sex scene in which Julian Sands turns into a parrot. But for all the "adult" content, this is a very intelligent, complex, and inspired movie that its viewers will not soon forget.

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I just finished David Cronenberg's Naked Lunch. It was released in 1991, and is based on the William S. Burroughs novel of the same name. I've never read any of Burroughs' work, but now, I wouldn't mind researching it.

This film is about an exterminator named Bill Lee who is played here by Peter Weller of RoboCop fame. Bill is an ex-junkie, and is thrown back into drug addiction once he finds out that his wife is addicted to the bug powder that he uses on the job. He tries it once, and becomes hooked. He starts hallucinating. Giant bugs start spouting conspiracy theories to him. A giant alien-like creature, a "mugwump", has a conversation with him at a bar. Sounds weird, huh? It only gets weirder from there on out. And I mean WEIRD. One night, he and his wife decide to play a random game of William Tell that goes horribly wrong, in that he accidentally shoots his wife in the head, and she dies. He flees the scene, and heads off to the "Interzone," an exotic city that may or may not exist inside of his head. He starts to write a novel, a novel that will eventually become the book Naked Lunch. While he is in the "Interzone," his hallucinations get worse. They become so surreal and weird, that it is hard to differentiate between what is real and what is not. I don't have time to explain it all some of the hallucinations were so strange, that I can't print them for fear of offending someone however, one thing is certain: this is definitely a film that requires a second viewing.

The character William Lee is loosely based on author William S. Burroughs. Burroughs really did shoot his wife during a game of William Tell, and this novel was written shortly after that incident. It may help to know that he was addicted to heroin at the time that he wrote it, which would explain all of the strangeness in the film.

I DO NOT recommend this to everyone. It is most definitely not a film for anyone under the age of 17, and contains some shocking material. However, if you are in the mood for something different and I stress the word DIFFERENT, then you may want to check this out. You may not understand all that is going on the first time around, but the point of the film is to make you feel as though you are on drugs yourself. I still don't know what to think about it. It certainly does stay with you afterwards, and it is very thought provoking. David Cronenberg is one of the best directors out there. After all, he gave us last year's classic, A History Of Violence. If you are familiar with Cronenberg or David Lynch, and you've enjoyed their previous offerings to cinema, then you'll probably want to see this. You may want to follow this up with a similar, albeit less trippy film named Barton Fink, which was released the same year, and also stars Judy Davis in a supporting role.

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Cowgirls 'N Angels Blu-ray (2012)

If you're in the mood for something light and cheesy, then this might be for you. Ida is a 12 year old girl who uses the rodeo to look for the father she's never met. Along the way, she gets recruited by the Oklahoma Rodeo Sweethearts. There's some romance (Hello, Jackson Rathbone!) between one of the Sweethearts and a rodeo cowboy, there's some trick-horse riding, and there's even some country line dancing. This isn't a heavy-hitting Oscar winner, but it really is a sweet movie.

This was a great movie!

We throughly enjoyed it!

A must see!

This movie is good for families to watch also.

It's clean with no bad language or sex scenes.

Just goes to show you that the producers don't need to have violence, sex and bad language in a movie for it to be good! A good story line is what makes a good movie.

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my girls loved the movie they enjoyed it very much thank u it was a great movie i think as well

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Great family movie that is funny and heart warming. My kids really enjoyed it. Worth a watch for sure. Would highly recommend.

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What can I say? This is just a fantastic movie for the family, great cast, endearing story, fun to watch. You won't be disappointed!

Venom

... but the DVD edition has the option for English or Spanish subtitles.

Echo Bridge is so inconsistent from title to title in whether or not their releases are subtitled and as of this writing, probably 99% of Echo Bridge releases (from their cheapie "20 Horror Films on One Disc!" to single titles) are not subtitled in any way, shape, or form.

As far as a review for "Venom", it was an okay little voodoo-esque thriller with a talented cast of enthusiastic actors who are recognizable to those of us who live for horror flicks:

Agnes Bruckner (as Eden Sinclair, the protagonist)

Jonathan Jackson (as Eric, Eden's on-again, off-again boyfriend)

Meagan Good (as Cece, friend and co-worker of Eden)

The late Deborah Duke (as Miss Emmie, the excavator of "the box" and Cece's aunt)

Bijou Phillips (as Tammy, another friend of Eden)

Laura Ramsey (as Rachel, and yet another friend of Eden)

D.J. Cotrona (as Sean, a friend of Eric),

Method Man (as Deputy Turner),

and the incorrigible Rick Cramer (as the misunderstood truck driver Ray Sawyer)

"Venom" was produced by Kevin Williamson and directed by Jim Gillespie.

I liked "Venom" on DVD enough to pick it up on Blu-ray, assuming that if the DVD had English subtitles that the Blu-ray edition would certainly have subtitles?

I was wrong. The Blu-ray edition of "Venom" is NOT subtitled either in English or Spanish and Echo Bridge has fooled me once again.

In all fairness though, the BD edition does not state that it is subtitled so I really can't blame Echo Bridge for my not being careful enough and not reading the rear-cover specifications.

I enjoyed the film (with all its atmospheric darkness, wetness, greasiness and accursed voodoo-zombie story) and give this well-done horror outing a solid Four Stars out of Five.

But no subtitles for this Blu-ray version when the DVD had subtitle options? That, I don't understand.

"Venom " is one of those movies I thought I would hate because I heard so much negativity about it but I really enjoyed it. Being a fan of the 70's and 80's slashers I crave new Slashers because I have seen all the other ones over and over again.

Venom did NOT disappoint me.

It starts off with a bang and never lets up.I found it to be a very worthy addition to the new horror/slasher flicks'

The voodoo angle was good but not overplayed. I'm simple in that I want to see a killer with an axe , machete butcher knife etc not a bunch of supernatural mumbo jumbo..I don't want to have to wonder if something is a dream or real.

Give me an old fashioned slice and dice and I'm in heaven.and Venom gave me that and I hope to see Venom 2 if so I'm there. Venom has Lot's of great gore effects and good actors I'm a big Agnes Bruckner fan,seeing as she has become quite the Scream Queen.If you are terrified of snakes by all mean watch this,after all isn't being terrified what watching a horror movie is all about ?

(For the record, Mr Jangles used the hook & Chain before Kane in see No Evil...)

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I did not have high hopes, but I am always buying horror films in the hope that they are fun and scary. While this movie would not result in nightmares, the film was quite well done. The camera work, the quality of the compositions and colors, and the acting were all solid and without any critical flaws. The storyline was well thought out and was believable to anyone who appreciates the genre. This kill scenes were gory and the special effects and make up were true to life. Overall, this was a fun voodoo based movie that was worth buying and adding to the collection.

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With the name like "Venom" you would expect a big ole improbable snake. Nope. This is a slasher film. Ray (Rick Cramer) while performing an act of kindness, gets killed and bitten by snakes. These aren't just any snakes, but snakes who have evil souls within them. The souls are transferred through the venom to the dead Ray, who doesn't stay dead. It is up to the teens to save the day.

Other than the manner in which the slasher is created, this film offers nothing really new to the genre. No clever dialouge, no memorable characters, no special killing scenes, no shower scenes. It's Louisiana, voodoo, kids and a slasher. Nice cemetery. I obtained mine on a Wal Mart 20 pack. $5.00 for all 20 films.

Parental Guide: f-bombs. No sex, no nudity. Girl showing off her stolen leather bra, "a crook with a nice rack."

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I sold the DVD edition of this and upgraded to the Blu-ray edition. Very pleased with my purchase. This looks miles better than the DVD copy I had. Made this great movie much more enjoyable to watch.

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Ghost in the Shell 2.0 (2009)

I'm going to break this review down into two parts.

The movie itself:

This is Ghost In The Shell in HD. It's beautiful, but for a smoother translation into the look of Innocence the greenish colors of the original film have been touched up and made to be more of an amber color like that seen in second film. This isn't really a change that I mind, and it's pulled off fairly well. I assume that several scenes were cleaned up digitally because the line art looks amazingly clean.

Sadly, someone felt it would be appropriate to replace some of the most iconic and stunning animation from the original with CG. A few scenes are done well like those where the CG is only helicopters or buildings, but whenever it replaces characters with crappy looking CG models it becomes stunningly bad. If you watch the making of the original movie you can see that their limited use of computer assisted animation was carefully planned and fit in with the other artwork and improved the film. The CG in 2.0 sticks out like a sore thumb in most cases. The only CG part that I liked was the pan over the cityscape at the end of the film.

If you have a bluray player and haven't seen GitS yet 2.0 isn't a bad way to see it, but fans of the original will probably be disappointed with the lack of any significant changes and the quality of what was changed.

The bluray by Manga:

Somehow Manga Entertainment never ceases to screw something pretty major up on their releases. The box lists a commentary with Oshii, an interview with Oshii and a making of GitS 2.0. None of these features are present on the bluray. You get throw away character profiles, glossary, and the old english trailer. The original making of GitS is here in VHS quality along with the unlisted bonus feature of the original cut of the movie. When I heard that I was pretty excited because in all honesty it's the only version I truly care about, but it looks to be taken from non-HD masters and only includes 2.0 audio tracks. If memory serves me correctly I believe that my GitS DVD looks better upscaled than this version does.

It would have been nice to do a re-dub of the film with the SAC cast, but I guess most of them were in the original anyway and it's a nice dub in it's own right.

This whole release just makes me want the original film untouched in HD. I can't give this less than three stars if only because seeing this movie this way is better than not seeing it at all because it's a one of my favorite films ever, but be aware of the problems with this release before deciding to buy it.

Ahh...Ghost in the Shell. The 1995 movie based on the manga that was called by some the second coming of Akira. I can't help but agree with that. So here we are almost 15 years later and we now have a sequel, a spin-off TV show, with a TV movie and it's influence is seen in movies such as "The Matrix." Now we have GitS 2.0, which is not a sequel (though I can see why people could be misled into thinking that.) but a redone version of the first movie. The colors has been changed and some CG has been brought in to replace the old animation. Its supposed to look more like the sequel, "Innocence," but honestly it looks weird since the original movie was made 9 years before the sequel. But I'm not going to review the movie itself, I'm just going to tell you why you should buy this on Blu-Ray.

The first thing all you purists need to know, the original Ghost in the Shell is included on the disc in HD. It doesn't look that great but it looks better than the DVD for sure. Also, the transfer is not the DVD master from the 2005 re-issue simply upconverted (contrary to popular belief), it is the Blu-ray master from Japan. They didn't really clean up the film but this is pretty much the best it's ever going to look unless Bandai, Manga or Production IG want to put up the money for a full re-master.

Which brings us into the new 2.0 version. This puppy has demo worthy video. The animation has been nicely cleaned-up, the new CG pops, and the re-mixed soundtrack (which I'll get back to in a minute) can bring the house down. This is one of the best animated Blu-rays out there, up there with "Cars," "Wall-E," and "Akira." While consistency is off thanks to the new CG, new colors and old animation, but this is not the fault of the transfer.

The soundtrack for the original Japanese version has actually been thrown out the window completely. Not only are there new sound effects, but the original cast has re-recorded all their lines, with one exception: the Puppet Master. The Puppet Master was originally voiced by a man, and has now been replaced by a woman. Also the song that plays in the background during the market chase with Batou has been removed. It is such a small thing that people probably won't notice (but I brought it up for a reason).

Now, I'm going to be honest, I'm a fan of the English dub of GitS in all of its forms. When this was announced I thought for sure they would re-dub the movie with the new GitS: Stand Alone Complex cast. This is not the case. They used the original dub from 1995 for this version (So Mimi Woods is playing Motoko, not Mary Elizabeth McGlynn from the SAC dub.) with the new sound effects thrown in. Which brings us to a inconsistency because in the 2.0 version the Puppet Master is supposed to be played a female, but instead, is still played by a man, since this is literally the same dub. This isn't the only inconsistency, the song from the marketplace is now back in the movie. There some other small gripes but only the hardcore fan would notice.

Now onto the extras. They consider the old version of the movie as a extra, and it is a pretty cool extra, having both versions in HD. Then we come into a couple of weird quirks. On the box, it says there is a commentary with the director, as well as a making of feature for 2.0. What we get is a making of feature....for the original movie and a theatrical trailer...for the original. Along with come bios and glossary. The features on the box are no where to be found, which is quite a big gaff. Maybe future re-prints will correct this but as of now, the features on the box are not there. To me, it isn't a big deal, but it kind of sucks that we don't get what the box promises.

All in all this is a must buy for every GitS fan. Not only do you get the new version of this movie, you get the original in HD. That way, you get the best of both worlds. Everyone else, give this one a rental, because this is really for the fans.

EDIT: 9/29/11 The included original version of Ghost in the Shell is not the HD master from Japan. It is a laserdisc master, upconverted to 1080i. Also, they've fixed the back cover in later prints to have the correct features on the back. I still recommend this if you're a fan.

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Movie: 4.5/5 Video Quality: 4.5/5 Audio Quality: 5/5 Extras: 2.5/5 Overall: 4.1/5 (rounded down in total star ranking)

This was the second genuine anime film I ever watched, and even after repeated viewings I've been confused and confounded by it. It may be short and it may boast some cool action scenes, but for the most part it is a tight, complex, and highly cerebral thriller. The combination of philosophy, psychology, technology, and politics is often overwhelming in this film.

Only recently have I been able to understand the movie's plot and issues, and I must say that it is a very sublime picture with some very deep issues concerning the human soul, technology, and society. For that matter, each viewing does reveal deeper meaning. On this basis, the movie not only makes for quintessential anime, but it is also an essential (and influential) piece of cyberpunk sci-fi.

The movie's plot and characters may seem muddled, but they have nuances and complexities of their own. I do find that other features in the "Ghost in the Shell" series (namely, "Innocence," "Stand Alone Complex," and "Solid State Society") offer easier storylines and more understandable characters, but they are not quite as original or distinctive as what's in this film. The movie is slowly-paced, but has lots of interesting visuals and some brilliant action scenes. Production design features some very interesting and original sets, props, costumes, vehicles, and weapons. Music is interesting.

For better or for worse, this disc showcases the 2.0 version, which offers enhanced CGI effects to replace certain scenes, as well as an enhanced soundtrack and a new music score. These changes do offer a different color palette than the theatrical cut, and the image overall looks cleaner, sharper, and more detailed. Above all, it is visually and conceptually more compatible with other features in the "Ghost in the Shell" series.

This disc offers decent quality. The video looks very clean, with excellent color and contrast. It is sharp with plenty of details; textures are strong and pencil lines are thin. I saw no signs of visual noise, pixilation, or aliasing. The only issue worth noting is that some scenes may have bright auras, but this is notably less intrusive on Blu-Ray than it is on DVD. A few scenes showed some slight banding as well. Sound quality is excellent (DTS-HD MA 6.1, lossless), and you have a choice between English dubbing and the original Japanese, with optional subtitles. Extras include a making-of feature, character profiles, creator biographies, and a trailer.

One of the special features is the original theatrical cut of the movie. Video quality on the original film in 1080i is notably weaker, for it shows greater pixilation, aliasing, and film artifacts. Colors are also more washed-out, but some colors are notably different than the 2.0 version (more blues and greens in certain scenes). Regardless, it is still a sharp and clean image. Sound quality is good, and it has the same language and subtitle options as the 2.0 feature.

Read Best Reviews of Ghost in the Shell 2.0 (2009) Here

Let's get one thing clear: I love Ghost in the Shell. I have everything ever released on DVD. As far as Cyberpunk goes, this is it. Plain and simple.

Let's talk about what's wrong with GITS: 2.0

They took the 2008 Japanese Bluray and ran a blur filter over it. Want your DVD to look the same? Turn the sharpness down to about 20%. Ta-da!

Added in new 3d animation that looks like something from a Playstation One or 2 at best. Low rez, crap quality that has artifacting and residue. We're talking Youtube video quality. I'm not impressed. Going from one type of animation type to another in mid movie is really painful.

On top of all that, deciding to change entire color pallets, substituting Amber for Green. Ya that's great. Thanks.

This is worse than what Lucas did to Star Wars. Far worse.

It's crap.

I am very disappointed.

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I picked this up assuming that both 2.0 and 1.0 transfers would be of equal quality -such was not the case. While 2.0 looks great -that is, if you can put up with pretty dated-looking CG -1.0 looks like it's a direct transfer from the original 480p DVD master and looks pretty awful. Buyer beware on this one.

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Carmen (1984)

Much has been written in these reviews regarding the great performances and fine quality of filmmaking in Francesco Rosi's film of Carmen. Here I am only going to comment on the new Blu-Ray edition.

The Olive Films Blu-Ray disc of the 1984 film of Bizet's Carmen, featuring Julia Migenes and Placido Domingo, arrived today. I just finished watching it, then compared it to the Columbia-TriStar DVD version.

Columbia's DVD had virtually no extras, just a couple of theatrical trailers, one being for this production of Carmen. It did have a choice of subtitles: English, Spanish, French, or none. It also had 24 scene chapters.

The new Blu-Ray disc form Olive has a magnificent picture with great detail and the stereo soundtrack is wonderful. But it has absolutely no extras, just the film. The English subtitles are permanently on, as though it was like an old videotape where you cannot switch the subtitles on or off. There are no other choices no Spanish or French titles, just English, British English it seems to this Yank, with spellings and phrases I am familiar with from watching BBC shows.(The "passers-by" are translated as "a rum bunch".) The scene chapters are also reduced to only 8, which makes it a bit tricky to find certain arias or music without having to shuttle the FWD-REV keys, again like the old tapes.

I have no regrets in getting the Blu-Ray because of the outstanding high-def picture and sound, and I do need the Engish subs, even if I can't turn them off to practice my French. I just wish they could have provided a better overall product with at least as many chapters, at least as many subtitle languages (including "none"), and at least an extra or two, like Columbia did with the DVD.

By the way, the Columbia DVD said the image was "presented in the originally filmed aspect ratio of 1.66:1" The new Blu-Ray says it is in 1.85:1. I looked for some corner details in the projected images of both versions, but they appear to be almost identical. My old VHS of Carmen is full frame and actually shows more picture information above and below the same picture on disc versions, indicating to me it must have been shot in 1.33:1. The IMDB lists 1.75:1 for camera, and the 70mm blowups as 2.20:1.

This film production of Bizet's Carmen, shot on location in southern Spain, is magnificent. The singing and acting are first rate, as are the sound and picture quality of the DVD. Carmen, like Don Giovanni, is a complex, multi-faceted character that can be played a variety of ways. Julia Migenes portrays Carmen with raw sensuality, and it works, as we see her opposite, Don Jose (performed brilliantly by Placido Domingo), unable to escape her womanly powers. The film uses dialogue rather than recitatives, as that is what Bizet intended--Carmen is an opera comique, which means that spoken dialogue (not recitatives) are employed between the singing. The dialogue definitely heightens the drama of Carmen, and it was only after Bizet's death that sung recitatives were unfortunately used in in this opera. Because this is a film version of Carmen, there are many creative and symbolic options that couldn't be done in the opera house. The use of a live bull in the ring is extemely effective, and it is the first image we see in this film. We see how beautiful and noble the bull is, how strong and free spirited he is. This powerful and tragic image will stay with us throughout the film. The use of such symbolism allows us ultimately to compare Carmen to the brave bull who would rather die than surrender its freedom, while don Jose is the bullfighter who must kill the object he lives for and loves most. There is real frisson between Domingo and Migenes as they heat up the screen--Domingo gives an amazing performance of don Jose's gradual fall and ultimate self-destruction. There are no disappointments in the entire cast. The final act is most effective as don Jose essentially is transformed into the matador while Carmen represents the courageous bull--refusing to back down, she must die, just as the bull must be sacrificed in the ring. While they are performing their "dance of death" we are shown clips of Carmen's new lover, a matador, in the ring facing a real bull--this is a powerful juxtaposition that could obviously only be done on film. This is a striking film, one that captures the very essence of Carmen and her world, and it only gets better with repeated viewings.

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I've watched this version of Carmen several times and like it more and more each viewing.

This is the first opera I've watched as a movie and the effect is certainly different than before a live audience. I don't think any movie can compare to having the performance done in the intimate setting of an opera house: and this is the reason it took me a while to appreciate this work. Having said that, this production does please the visual and auditory senses. The scenes are beautiful with a pastel quality to them: just enough color for warmth and atmosphere to complement the locations. Some of the views are panoramic while others a close-up.

The roles of Carmen and Don Jose are done by Julia Migenes -Johnson and Placido Domingo respectively. It is hard to imagine two better people for the leads.

Although Julia Migenes-Johnson has a wonderful husky voice that complements her part, it is her acting that is truly outstanding. Swiveling hips, swishing raised skirts, ringlet hair and the look that absolutely makes her the genuine temptress and seductress that her part calls for. How could poor Don Jose not fall for her?

Placido Domingo's interpretation of Don Jose is stellar. Handsome with a voice to die for! Watching his downward spiral as his relationship with Carmen deteriorates is, from a male perspective, hard to watch. The begging and pleading are heart wrenching and you cannot help feel sorry for Don Jose while at the same time wishing he would stand up for himself.

My two favorite scenes are the beautifully choreographed and sung "Habanera" and the finale "It's you! It's me!"

All in all a wonderful production of Bizet's Carmen in movie form. Highly recommended if you don't mind losing the stage effect of a live production

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Julia Migenes-Johnson is the most wanton, flirtatious, outright outrageously sexual Carmen I have ever seen, or listened to, in Francesco Rosi's lush 1984 film adaptation of Georges Bizet's opera, "Carmen," filmed on location in Andalusia. The casting of the fiery femme fatale is essential to the success of the opera, because the diva must be able to project femininity, defiance and sensuality, as well as a phenomenal mezzo-soprano voice in order to be believable. After training for ten months to adapt her natural soprano to the mezzo range, Ms. Migenes-Johnson brings Carmen to life in a manner which I have never seen. Opera purists may quibble because she was cast in a mezzo role but why not, if she can sing the part? And her singing and acting are exciting...brilliant, actually! She really makes one understand the tremendous erotic attraction between Carmen and Don Jose, and why the honorable soldier fell so tragically in love with her.

Italian tenor, Placido Domingo, excels as Don Jose, the sincere army corporal who becomes obsessed with love for the feckless gypsy woman. Domingo's voice is in top form here, and he is convincing and absolutely dashing, in what I believe is his finest screen performance. The supporting cast is superb especially bass Ruggero Raimondi, who plays suave Escamillo, the toréador who competes for Carmen's affections; and Faith Esham, as Micaëla, Don José's lovely and loyal hometown sweetheart. Those who act the parts of Spanish peasants and gypsies, really add to the illusion of reality. The music, performed by the Orchestre National de France, conducted by Lorin Maazel, is first rate, of course.

This famous nineteenth-century opera was originally based upon a novella by Prosper Mérimée. The story is about a poor and honest soldier who is seduced by a sensuous gypsy. His love for her becomes his eventual downfall when she abandons him for a lauded toreador. The opera was looked upon as scandalous, tres risque, for the period. When it premiered, it was called "sordid" and "unmelodic."

"Bizet's Carmen," (as this film is titled in the US), is first and foremost an opera film and so much more than a live recording of a static stage performance. This highly energetic production was shot almost entirely in southern Spain. The real sceneries, (no artificial stage sets), are shot outdoors and feature beautiful pastoral landscapes, as well as those drenched by the southern sun, the bull fight arena, and colorful gypsy camps, lending an extraordinarily rich and open atmosphere to the movie. Pasqualino De Santis' cinematography captures the settings perfectly and his opening shots of the bull fight are exquisite and powerful. Also, Bizet's original dialogue is used, as he meant it to be, (and is well translated with English subtitles), which makes the opera more accessible to audiences. For a period, after Bizet's death, recitatives were written and commonly used in the opera's performances rather than dialogue.

One does not need to be an opera aficionado to appreciate this compelling film and become caught up in the drama and the glorious music. This is one of the first operas I watched all the way through, and I found myself riveted to the screen. I became motivated to explore other operas after enjoying this one so much, and bought the VHS tape back in the mid-1980's. I recently purchased the DVD. The only extras are two trailers. The first is of "Carmen" and the second, "The Dream Life of Angels," which is an excellent film, but I don't understand its relevance here. I'm not complaining, mind you.

I cannot recommend this film highly enough. The performances are outstanding and extremely realistic. This is a work of art to be enjoyed by the novice and opera connoisseur alike.

JANA

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This production of Carmen is superlative by any measure. The casting is perfect, with all characters entirely believable in their roles. Julia Migenes is an excellent vocalist whose lovely singing voice is packaged with a first-rate acting and dancing ability. She truly brought Carmen to life in a way that the typical stage production cannot. Her attention to details such as gestures and eye movements were astounding throughout the production. I am amazed that she has not been more visible since this film because she is a real treasure. The quality of acting and singing by all of the characters, even the secondary ones such as the soldiers, the bandits, and Carmen's gypsy friends, was excellent with all players entirely credible in their roles. Ruggero Raimondi is perfect as Escamillo and of course Placido Domingo may be the best Don Jose ever. Faith Esham is a lovely Michaela with a wonderful voice more than equal to her part.

And the scenery! Ravishing. No stage production can ever transport one to Andalusian Spain like this film. Beautifully photographed with the scenes and action perfectly coordinated with the flow of the music.

Are there faults with this production? Yes. The greatest is that the charming trio and chorus "Quant au douanier," has been excised from the 3rd act. M. Bizet I am sure would not approve of that. The disc tracks are often inconvenient. For example, one cannot cue to the beginning of the 4th act, one must cue to the fight scene in the third act and fast forward. Occasionally stage direction is sacrificed to the director's vision as at the end of act 2 when the bandits are singing to the lieutenant to move along "sans vous faire prier" all the while tying him up in a chair. I always love the pomp and circumstance of the parade in act 4 but in this version the picadors, matadors, etc. simply pull up to the bullring in carriages and walk in the door. A bit disappointing.

That said, it all amounts to nitpicking when taking the grand view. This production brings a new standard of realism and depth of emotion to Carmen, which I hold to be the most beautiful of operas. If you love Bizet's masterpiece, you will certainly treasure this presentation, and Leonard Maltkin should stick to reviewing Jim Carrey flicks, because he is way off on this one.

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Moonrise Kingdom (Blu-ray + DVD + Digital Copy + UltraViolet) (2012)

Set in 1965, Moonrise Kingdom is a stylized coming of age film that delivers on its promise to bring the viewer of any age back to the intensity of just-entering-adolescence love. That alone makes this an extraordinary film. In addition, the music and imagery are beautifully orchestrated to delight the senses. The casting, characters, and acting are superb. It is rare to have a film that puts together this much talent and then taps it to the fullest.

Heavy hitters include the brilliant Edward Norton (for once watching his language and holding his temper) as an anal but dedicated troop leader, Bill Murray who in stark contrast to the young stars in this film, fails to find any joy whatsoever in his work in the law profession, wealth, family or beautiful surroundings. His dissatisfied wife (Frances McDormand who was the psychiatrist in Norton's first film Primal Fear), is also an attorney (the lawyer banter are some of the funniest lines in the film). Bruce Willis (who plays very well with child stars as he has a bit of child still left in him) is the bachelor, island cop who goes head-to-head with the chilling Tilda Swinton (white witch from Narnia) known only as "Social Services," as she callously plans to put "the boy" in juvenile refuge to undergo shock therapy as needed.

Despite the exceptionally strong adult cast, the two main child stars Sam and Suzy not only keep pace, but outshine the grownups with their unfailing loyalty and unconditional love for each other, both express an unthinking complete giving of themselves to one other. The film captures beautifully in the persons of these two intriguing social outcasts the experience of moving from being trapped in isolation into discovering and developing a union with another. I love how the two of them are so adult and wise in one way and still very much children, with childlike reasoning and priorities, e.g., Suzy runs away and packs a suitcase full of books and her kitten but not a change of clothes.

The cast is rounded out by a boyscout troop with scouts having inappropriately derogatory names as we did in my youth such as lazy eye for the boy with the eyepatch. Also true to life was how dangerous and unsupervised our childhoods were then. Seeing the boy jump from two story height onto a trampoline without a surrounding net or a single spotter in sight, for example, really brought me back. And interactions with our parents really were pretty much restricted to being called to the table for dinner. I loved seeing Suzy's little brothers (Irish triplets) while away the time with all of the board and other none electronic games, fueled by a couple of dice or imagination.

Wes Anderson spins a simple, sweet story yet the viewer never knows exactly where it is headed. Throughout, the film is subtly hilarious. In trademark Anderson fashion, the lines are delivered in an almost deadpan way with all the characters completely oblivious to the irony and ridiculousness of the situation, dialog, and even their lives and themselves. I highly recommend purchasing this movie; it's one you'll want to watch again and again and share with other people. I've already seen it four times and it hasn't even opened in theaters in my state, yet.

IN A WORLD WHERE films must shock, where films must employ impossible stunts, extreme violence and outrageous characters, comes Moonrise Kingdom with none of it. This is a real STORY, with real characters, in which everything that happens is actually possible. What a concept. Told with humor and compassion, the film sweeps you along without the dreaded need for suspension of disbelief. The story is pure Americana life, liberty and the pursuit of happiness. Some do it better than others. Not everyone is a winner. Its stars seven of them! are all totally out of character. This is not a Bill Murray vehicle or an Edward Norton vehicle or a Bruce Willis vehicle. The stars fit in, almost as afterthoughts. It's the story that counts. Most impressively, it has style. From the opening shots of Susie, face on with her binoculars in various rooms of the house, you know this film will be stylish. And understated. It is worthy of any screen in the world, in a world where American films have become overpoweringly boring and repetitive and entirely predictable. This is the kind of film that France would have originated, and which Americans would have remade into a noxious overkill of action and adventure. It is therefore rare and precious. It will endure long after Transformers XXVII has faded. Kudos to Wes Anderson and team for resisting the urges that every other Hollywood production takes for a granted as a requirement. Bob Balaban as the narrator, making his own appearance in the story, is inspired, as is his framing in the shots. That kind of attention to style gives Moonrise Kingdom the ability to sweep you away. On these shores, this is the first must see in years.

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It's 1965, and this mystical-magical story will tug at the heartstrings as it entertains with delight for the entire family. Sam and Suzy are both age twelve, neither one of them is popular and they both have their own issues outside of their charming relationship. However, they are appealing to each other in a unique friendship when they decide to run away together in their own great adventure. Bruce Willis can play the role of just about anything, and in this captivating story, his acting performance is excellent, along with all the other characters. The heart-warming story is touching, enjoyable from start to finish, and very funny. A Magnificent fun-filled movie for the entire family. Highly Recommended!

Read Best Reviews of Moonrise Kingdom (Blu-ray + DVD + Digital Copy + UltraViolet) (2012) Here

I normally have a no-movie-buying policy. I love movies, but I don't need physical copies of them cluttering up the house. Downloads are too easily available, without any storage issues. But in this case, my son fell in love with this movie in the theater, and I loved that this is the first movie he truly loved. So this was a Christmas gift, and a much appreciated one. The fact that I broke the house rule for it made the gift doubly sweet. Kind of like the treat of getting to stay up past your bedtime (reason alone to have a strict bedtime).

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It is something of a challenge to write a review of a Wes Anderson film. How do you explain a film where the soundtrack includes pieces by Hank Williams and Benjamin Britten and yet they both fit perfectly? Everything about Anderson's style is so unique, from the way the visual shots are composed and the way the dialogue is written to the way the actors deliver the dialogue, not to mention the myriad odd little background details that are worked in throughout. It's almost impossible to simply describe the film and still do it proper justice. The best I can really say about Moonrise Kingdom is that it's arguably the ultimate Wes Anderson film, his masterpiece at least to date. And I say that as someone who isn't or at least wasn't prior to this film a particular fan of his work.

Written by Wes Anderson and Roman Coppola, Moonrise Kingdom takes place in the summer of 1965 on an island off the coast of New England, where two twelve-year-old misfits Sam Shakusky (Jared Gilman) and Suzy Bishop (Kara Hayward) run off together into the wilderness because they've fallen in love. In flashback, we learn that Sam, an orphan who's a member of Khaki Scout Troop 55, which has its summer camp every year on the island, and Suzy, whose utterly dysfunctional family has a summer house on the island, met the previous summer and felt an instant affinity for each other, which resulted in their corresponding over the year and hatching a plan to run away together when the two of them would again be on the island the following summer. When they meet up, each brings what they think they'll need to survive. Sam brings camping equipment; Suzy brings six books, her cat, and a portable record player.

A search begins for the two runaways when their respective adults notice they're missing. In the case of Sam, this is Scout Master Randy Ward (Edward Norton), and in Suzy's case, her lawyer parents, Walt Bishop (Bill Murray) and Laura Bishop (Frances McDormand) , who in turn call in the island's local police chief, Captain Sharp (Bruce Willis), who we subsequently learn has been having a long-term affair with Laura that both realize is hopeless but neither has the strength to walk away from.

I don't want to give away any more about the plot as a lot of the enjoyment of a Wes Anderson film is simply watching things unfold in delightful, unexpected and sometimes simply weird ways, and Moonrise Kingdom is no exception. I will say that the ending was perfectly written and executed, bringing a number of plot threads and themes together in ways that you'll truly have to experience to appreciate. If nothing else, Moonrise Kingdom truly merits an Academy Award nomination for Best Original Screenplay. The dialogue, the originality and the way in which the themes are developed in in which all of the intricate elements are tied together as the story plays out is truly a work of art. Not to mention all of the myriad little cultural cues and references worked into the visuals and the dialogue, from the more obvious ones like Noah's Ark and Peter Pan to the more obscure like Chief Joseph and the Flight of the Nez Perce.

The performances are all top-notch, to the point that it's difficult to single out any one as being superior to the rest. Newcomers Jared Gilman and Kara Hayward turn in particularly deft performances as Sam and Suzy, more than able to carry the film's center as events swirl around them. Bruce Willis does a particularly nuanced job as the island's police chief, trying to do the right thing by the two runaways even when he can't manage to do it for himself, his eyes and his pauses delivering volumes about the things he doesn't say. Bill Murray's Walt is a bleakly comic mix of bluster and despair, while Frances McDormand's Laura runs the family show, herding her kids around with a bull-horn (something apparently Anderson's mother actually did). Edward Norton's Scout Master Randy goes through one of the film's more interesting evolutions as events lead him out of his comfort zone of structure and order into swirling chaos and eventually to surprising self-discovery. The boys who make up the rest of the Khaki Scouts in Troop 55 make an excellent supporting group-think character, as do the boys who play Suzy's three younger brothers. In addition to the cast already mentioned, other notable actors who show up are Bob Balaban as the film's on-screen Narrator (who is also apparently the island's local historian and who gives a bizarre visual impression of having been one of Santa's elves in a past life), Jason Schwartzman as one of the scout's Cousin Ben, Harvey Keitel as Khaki Scout Commander Pierce, and Tilda Swinton as "Social Services" (it's one of the running jokes in the film).

A lot of themes run through Moonrise Kingdom, particularly with regard to the question of whether there is any real difference between adults and children. The adults in Moonrise Kingdom all experience private feelings of inadequacy in their roles as adults, and in fact act like children in their dealings with each other, but maintain the pretense nonetheless in the presence of the 'real' children. The children in turn act like little versions of the adults, the only difference being that they're not yet aware of their inadequacies and hence do not feel inhibited by them. A lot of this is played out in the dialogue and the way the actors deliver it, maintaining an even consistency in the level of vocabulary and in the rhythm of delivery, whether the words are coming from an adult or a kid, further erasing the boundaries we generally use to distinguish between the two. The adults sound like the children and the children sound like the adults, but without the doubts.

There are a number of memorable scenes in the movie, many humorous but some surprising in how they speak again to the issues of whether there really is any difference between adulthood and childhood. And in the inadequacies adults feel in their roles as adults. One of my favorites is a moment where Walt and Laura are lying awake in their summer house, unable to sleep with the two kids missing and the sound of the approaching storm beginning to rise outside. As they stare at the ceiling, Walt, in a moment of despondent candor, says "I hope the roof flies off and sucks me into space." When Laura reminds him "We're all they've got," Walt replies simply but tellingly "It's not enough." Another great scene occurs when the other Scouts in the troop go searching for Sam, but only after arming themselves with every weapon they can find or make. It's darkly comic and appalling at the same time when you realize that the boys are just mimicking what they think adults are like.

On a side note, the books in the film that Suzy takes with her and from which she reads to Sam and to the other Scouts are completely fictitious. Or at least they were. Anderson commissioned six artists to create jacket covers for the books, and then he wrote the passages for each of the books that Suzy ends up reading aloud. Anderson had considered creating animated segments to accompany the reading scenes, but in the end he chose instead to just have Suzy reading with the boys listening enraptured. After the film was completed and released though, Anderson decided to animate all six books and use assemble them in a video in which Bob Balaban, acting against as narrator, introduces the segment for each of the books. This video may appear in the DVD/Blu-ray release as bonus material.

All in all, I would highly recommend Moonrise Kingdom, both to fans of Wes Anderson as his best film to date, and to anyone else who enjoys quirky but highly engaging story-telling with masterful attention to every detail and fine performances by an extremely talented cast of actors.

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Jumping the Broom (2011)

Update 9/7/2011: I bought the film and listened to the commentary. It was so dreadfully boring. I'm always hesitant to listen to commentary when the director is the main speaker because they bring up all this stuff that viewers truly don't care about (ex. tent leaning to the side, boat in the distance, why a certain color was used). But this director just went on and on with these long-winded lectures about culture, skin complexion and relationships. I wanted him to talk about the actual movie, but I felt like I was sitting through a motivational speak, which would've been cool if that was what I was looking for. I liked the playful arguing and friendly flirting between Laz Alonso and Paula Patton though. I did learn a few things like Tasha didn't know how to swim, Mike Epps hurt his leg and like a trooper kept going and Paula Patton's obsession with her breath. These were those funny quirks I wanted to hear about. Oddly enough, Romeo was never acknowledged during the commentary (unless I missed it), but all the other actors were. I wondered why, but every time Romeo came up, the director was back into another lecture. My opinion: Just watch the film without the commentary.

Cons: Absolutely none (Edit: 9/7 minus the commentary)!

Pros: I loved this movie. From the previews, we already know that two people are getting married, and their families are from two different classes. What I was worried about was the non-elite group would be extra ghetto, stereotypical, loud and obnoxious, basically everything that awful "Tyler Perry's Madea's Big Happy Family" was. Instead we got an intelligent group of blue collar workers with a couple family members who just weren't impressed with the bells and whistles. Yeah, they kept it "real," but it was real in the sense that it wasn't degrading, and I LOVED that about this film. I'd never seen Loretta Devine play a role that wasn't overly nice and motherly in the sweetest way, so it was fascinating to see her as the obnoxious post office worker and mean mother-in-law-to-be. I was equally ecstatic to find out that Tasha Smith would FINALLY not be playing the angry black woman. I was completely thrown off at how Angela Bassett pulled off such a snobbish, catty role. She did really well, even though she seems so chill in real life. Paula Patton continues to progress as an actress, and I loved her in this film. I already knew Laz Alonso and Mike Epps (the latter being ridiculously funny) were going to kill it, and Laz Alonso and Paula Patton had a ginormous amount of onscreen romantic chemistry. Romeo did his thing, and his acting has improved a lot, too. DeRay Davis was funny in the way only DeRay can do, and I liked him and Mike Epps in the same movie together. Neither was trying to out-funny the other, and they both worked well. Mike Epps was actually doing a lot of serious acting in the middle of his jokes, so I give him MAJOR respect for doing it in such a convincing way.

I just read that Brian Stokes Mitchell, who played the elite father, was Trevor on "The Fresh Prince of Bel-Air." Although I don't recognize him from that television show, he's so handsome and he did so well in this film. I would love to see him in more stuff, but apparently I've never seen anything he's done outside of that television show. When I first saw him, I was thinking, "Where did he come from? Please hire him more often." I almost always like anything Meagan Good is in, and I love everything about Valarie Pettiford. Her personality just bursts on television and in movies.

To sum it up, two people are getting married after going out for six months. Paula Patton's character, Sabrina, got a job in China. Laz Alonso's character, Jason, doesn't believe in long distance. They decide to get married but Sabrina's family hasn't met Jason's family. That's where the fun starts! When Mrs. Taylor's relatives come into town to this rich family's home, there are definitely some choice words, side eyes, secrets released and a lot of laughs.

I definitely recommend this film for anyone looking for quality work that you may not expect.

At the risk of sounding prejudice, I saw this movie with a theater full of black people, which I contend is the best way to enjoy this movie as the audience reaction was perhaps more enjoyable than the movie. Paula Patton plays Sabrina Watson who has prayed to God to meet the right man. She gets her sign when she runs into (with her car) Jason Taylor (Laz Alonso). After dating for 5 months they opt to get married. Sabrina's family is wealthy and act like "white people." They frown on black culture. Jason's mom works for the post office and takes anger management classes. When the families get together for the first time for the wedding, there is a clash of personalities and cultures as Jason's mom (Loretta Devine) reminds the bride's family they are still black. The phrase "jumping the broom" was new to me. It is what black people traditionally do at weddings, dating back to the time of slavery. Since slaves were not allowed to marry, they would perform their own marriage ceremony by jumping the broom.

By having the bride's family be black also, the film could do more with the cultural clash and get away with it than if it was a black-white wedding. For instance, the groom's family wants to do the Electric Slide, a nearly time-honored tradition at black weddings. The bride's family rejects the idea to wit the groom's family responds, "So I suppose you are going to do the River Dance?" This would never work with a black-white wedding, but works remarkably well with two black families, judging from the roar from the audience.

Oh yes. And the happy wedding couple have not yet consummated their relationship and everyone knows it and thinks it is odd. And the bride's family has a few secrets. The low point was when Jason's mom plays the trump card. The movie shifts from funny to awkward.

No swearing. No sex. No nudity (bra/panties). Adult themes.

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This movie is so awesome in every aspect! This movie is filled with comedy, drama, love and inspiration and many more things that impact our everyday life. I could not believe the feeling of joy that this movie left me with.

My mother, sister, and I went to see this movie today for mothers day and this movie did not disappoint. Bishop Jakes and the characters of this movie out did them selves. Mike Epps was soooooooo funny to me in this movie! To me he put on a great show as did the other characters.

This movie was so good to us that we wanted to see it again at midnight... I can not wait until this movie comes out on DVD, as I plan to watch this movie over and over again!

We needed a good clean movie with comedy like this to make us laugh, after all laughter is the best medicine!

I also can not begin to tell you about the scenery in this movie.. It was breath taking!

Each and everyone will be able to relate to both families, I love the story line as it felt so real! I felt like I was there with the characters just waiting for the next incident to unfold!

This movie has great characters and lots of fun and unfolding events that will keep you on the edge of your seat or rolling on the floor laughing! Everyone in the movie theater was laughing and carrying on at the comedy and great acting by the characters in this movie.

If you have not seen Jumping the broom, you need to get out and go see it right now... You are missing out... I could not wait to write a review about this move, as it is that good!

I wish that more movies like this would be made.. This is just great clean family fun at its best!

Thanks to Bishop Jakes, all of the characters of this movie and everyone who had a part in bringing this movie to life and to the movie screen! Please please make more movies like this.. And keep of the great work!

Thanks, as you made a joyful day for mothers day for my family and I! We were truly Blessed and many who view this movie will also be Blessed!

Get ready to get your laugh on, your tears on and dust off your dancing shoes!

Another good movie to view is called A Good Man Is Hard To Find, I purchased this movie through Amazon... You won't be disappointed.

Enjoy we sure did!

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I've seen this movie before... it was a film released not too long ago called "Our Wedding", which featured America Ferreira, Forest Whitaker and Carlos Mencia among others. The cast actually was pretty good, but the film itself was a little poor. Though that one tried to deal more with ethnic twists (one of Latin background, the other of African-American), the premise and in some ways even flow and scenes of the movie felt eerily similar. "Jumping the Broom", produced by Tracey Edmunds, ex-wife of Babyface. She has had some fair movies in the past and this one is another that was 'ok'. Not good, not bad, just ok (to me).

The premise has been talked about already, and I can't really review this without giving away spoilers. So be warned! Ok then what I did like about the movie was that there was an occasional twist to it. Especially with the aunt. And I also liked the way they handled Tasha Smith's character. I was also pleasantly surprised by Mike Epps role in the movie though at some times became a bit much not for the lechery but preachiness. To put it another way, though the film dealt with different African-American families from different ranges in social status, they did not make the individuals from the 'poorer' end particularly ignorant. Granted, they just couldn't quite get away from having SOME of that there in the movie but overall I think it was handled well. Now... what I did not like, is easier to talk about. Paula Patton really over-acting the part on this one and the person that said she seemed un-realistic, to me, hit the nail on the head. From the voice to even the shock news in the end, it seemed a bit far-reaching. The movie couldn't get away from the tendency to preach in just about every African-American movie where there is always this big moment, usually too late, where the main character has had enough. There also seemed to be some rather serious issues in the end of the movie that would have needed to have been discussed, so you are left with a seemingly incomplete product. That or Paula Patton's character really was that big of a push-over. And really in regards to the characters, not many of them were likeable at all from the bridesmaids (the one they forcefully had falling for the chef) to the groomsmen other than the person that Laz's character chose to be his best man. Funny but by not having that many lines and making the most of what he did have and actually standing for something; more than even Jason in my view.

All in all, I probably wouldn't recommend to buy this movie but renting it is ok. Seeing it once was probably enough for me. I didn't even get into Loretta Devine's character or Angela Bassett's, who were every bit as predictable as advertised one a little bitter, another a little disgusted, both un-necessary. But without conflict I suppose there really isn't a compelling story. I guess what is most frustrating is that there was quality here and good actors but perhaps not the best directing. There was real opportunity for some special moments in the movie, like having the bridesmaid fall for the chef, Jason's cousin putting to rest some of his demons & perhaps even being inspired for more out of his own life. Or what about noticing a bit more that Jason's uncle really was a good hearted individual doing more to highlight some of these positives. Oh, and how about going deeper into Claudine's background which I was honestly a little interesteed about. I am not saying that the movie had to be a 'feel good' story or Inspirational uplifting saga. Just that there was a missed opportunity to give it and the actors a chance to provide the characters more depth. Which makes me think that perhaps the movie wasn't thought out as much as it should've been and ironically suffered from a kind of identity crisis of it's own. The funniest moment though to me, was that in the end (SPOILER), you wonder what the heck was the big deal about jumping over a broom... if it was that important, just do it. lol

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I saw this movie on opening weekend and I can't begin to say how much I loved it. It was funny and wholesome and sexy without being over-the-top or inappropriate. As soon as it started showing on Starz I have watched it almost every day (sometimes twice a day). It's been too long since I've loved a movie this much, because there simply aren't many like this being made anymore. Most of the ones out now are filled with so much violence or sex or just silliness that they're almost unbearable to watch, and forget being able to watch them with your children. But my son and I can sit and watch Jumping the Broom without me having to worry about him hearing or seeing something he shouldn't. And that's refreshing. I even loved the soundtrack!

I liked Paula Patton before, but I love her now. She's such a great actress. And Laz Alonzo has grown so much over the years, and come a long way since his days hosting on BET. Loretta Devine has played many 'Mama' roles but this was a stretch from what I'm used to seeing her in. She effectively made me dislike her. Tasha Smith was endearing and a far (and welcome) cry from her all-too-familiar as the angry black woman (Why Did I Get Married?, For Better or Worse, The Game, etc). Romeo was smooth and sexy in his role as Sebastian, and while him and Tasha Smith's character Shonda was a bit of a stretch for me, they worked well together. The actor who played the father, Gregory Watson, looked way familiar to me and then I realized he was the one who played Cam Winston on Frasier, and Trevor on Fresh Prince of Bel-Air. He was awesome. And Angela Bassett was outstanding, as usual. They actually made me want to learn French! I could keep going but all of the actors in the movie were great, in my opinion. Even though I didn't care for Sabrina's friends, Blythe and whatever-the-other-one's-name-was, who seemed more catty and snobby than supportive of their 'best friend.'

I'm not ashamed to admit that I cry every time I watch this movie; it has so many touching and beautiful moments. It almost makes you believe in love and soul mates again. Laz Alonzo is just a pile of bow-legged yum who I love seeing go through this range of emotion over the course of the movie. This is by far my favorite role of his. I will definitely be getting the DVD to this one...awesome, awesome movie.

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Kung Fu Panda Holiday (Two-Disc Blu-ray/DVD Combo)

We were so glad to see this released on DVD. We have enjoyed it on our DVR since it was first shown. The DVD has a funny main menu with a few extras that make it worth getting the DVD if not for the show. Be sure to watch Mr. Ping's Noodle House you will see what I mean. Any fan of the Kung Fu Panda movies should have this in their collection. The story is really good.

I bought this movie thinking it was actual full length movie for my nephews. My youngest nephew didn't like it because he said "It didn't make me laugh" and I agree that the movie is somewhat on the boring side. Also this is more like an episode than a movie, this DVD is a whopping 25 minutes long, there are special features and such but my nephews are not interested in that stuff.

EDIT: Also I'd like to add that this movie is available on Netflix as of Dec 4, 2012 so you may want to check it out there before purchasing it.

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my son and i loved po and friends from the start. kung fu panda 1 and 2 are travel staples. with this one, it was very disappointing. 26 minutes playing time, characters didnt have the opportunity to develop their roles, and it totally lacked fun :( oh well, lesson learned. do not buy please.

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i have buying this dvd for christmas evening and i have realy like this animation with feeling and laughing its a great movie for kids

j aurais aimer que le film soit plus long mais celui ci contient tous les ingredients qui font un bon film de noel : humour , amour

je doit dire que po m a encore bien fait rire, le voir se demener pour creer un repas parfait pour tous les grands maitre a ete un excellent moment et bien sur la chute tant attendue mais bien sympathique

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My 5 & 7 yr. olds are fans of the Kunku-Fu panda. They enjoyed it. My wife and I enjoyed it. 'Nuff said.

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Little Dorrit

"Dash my buttons!" A good dialogue line to use for this award-winner set in 1820's pre-Victorian London. Dickens wrote about class tiers within society, levels of wealth, and the injustices that caused. The Emmy writer, Andrew Davies, condensed the novel, reorganized it's events, and added dialogue into making a series actually considered by some to be better than the Dickens book. That it won 6 Emmys out of 16 BAFTA/EMMY nominations in 11 different area is endorsement enough.

Dickens style was not lost. The series includes the caravan of peculiar, grotesque, quirky, and funny characters; the names being equally odd: Flintwich, Pancks, Fanny Sparkler, Pet, Tattycoram, Chivery, Tip, Affery, & Tite Barnacle. Dickens suspense was mingled throughout the 14 episodes, with the overriding plot related to "Do not forget" inside a watch, and "Make it right" a dad's dying last words, which remains unrevealed till the end (unless you've read the book). Each individual episode ends with suspense, just like Dickens wrote it originally when published in magazine form.

Pure Dickens, but better. What fabulous scenes, sets, locations, costumes, hair, dialogue, props, cast, it's all perfection even Dickens would be proud of. You will fall in love with Amy, Little Dorrit (Claire Foy) much before Arthur (Matthew Macfadyen). What a delightful adventure into period drama, humor sprinkled, intoxicating, till you can feel the grime of Marshalsea Prison, and sparkle to the glamor of the rich in Venice. A sensual presentation of a rags-to-riches tale.

Was it fiction? The bonus material explains that Dickens father spent 14 weeks in the Marshalsea Debtors Prison, and Charles had to work in a factory at age 12 to help meet the financial needs. Dickens also had a mistress, an unhappy marriage, and well, how much of this is a Dickens bio? A very enlightening, and lengthy, bonus feature. ALso as a heLpfuL bonus is the subtitLes in EngLish for deaf, hearing impared, and oLde EngLish diaLogue chaLLenged; which utaLized aLL capitaL "L's" throughout the episodes for some siLLy reason.

So now I've added my 2-cents worth to a TV-series worth more than what is being asked in the purchase price. Before the credits were complete, my wife and I decided to start from the beginning for an immediate reviewing. It's that good.

By being reviewer #73 on this DVD set, it will be interesting to see how many truly get to reading this, but I found this adaptation of Dickens so well done that I had to offer my praise to all who helped make it possible, including "Charles."

PLease Leave a heLpfuL vote to heLp me count reader.

I only recently read Little Dorrit, and it is my new favorite Dickens novel. The story of Amy Dorrit, an honest girl born in debtor's prison, is a wonderful tale full of ups and downs, trials and tribulations, death and romance. As with many Dickens books, it literally has a cast of thousands, and this production follows most of the storylines from the book quite faithfully. I just watched this on the internet, and I thought this version was sensitive to the material and did a good job of keeping the characters engaging and true while obviously having to shorten Dickens' voluminous descriptions into shorter episodes. The story is a bit of a soap opera with plenty of bad luck and broken hearts lying around. However, it totally works for me. When I read the book, I actually couldn't put it down and devoured it in a couple of days. This movie was the same way. I couldn't stop watching it or wait until the next episode. At the end, I was sitting in front of my computer crying. It is just a lovely story, well-scripted, beautifully acted, and engaging throughout. I haven't ordered my copy yet so I can't speak to any issues with the actual dvd yet, and I will admit that I have thus far been unable to sit through the 1988 version. I want to like it since I've heard so many raves about it (and I adore Derek Jacobi--he's my all time favorite Hamlet) but it moves very slowly and ploddingly to me, and I just lose interest. So I highly recommend this version if you like Dickens at all or if you like any of the actors because the cast (Matthew Macfadyen and Claire Foy especially) do a lovely job. UPDATE: I received my dvd from Amazon and am thrilled to have purchased it. I had seen it on the internet and on Masterpiece (I'm in the US) and the episodes on the dvd are a bit different from what was shown on PBS. The dvd set consists of 4 discs in a widescreen format with 14 episodes coming in at a whopping 452 minutes and includes an interesting "making of" feature with info. about Dickens himself as well as the film's production. I'm pretty sure I saw a scene or two here that was missing on PBS, plus I got the widescreen format that I didn't get on my tv. A word of caution: the episodes end in cliff-hangers that make it almost impossible to go to bed without watching "just one more episode." My husband and I both love it and have already recommended it to several people we know. This is a great movie that will make a superb addition to your home dvd library.

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I will always be a tremendous fan of the two part film version with Derek Jacobi and Sir Alec Guiness, now generally only found on used video tape. This wonderful new miniseries does however acquit itself very nicely. Shown earlier in the UK, the acting by Matthew Macfadyn (of Pride and Prejudice fame) captures the well-intentioned and kind hearted Arthur Clennam perfectly. Equally impressive is Claire Foy as the courageous and decent Little (Amy) Dorrit. Still the best may be the character portrayed by Tom Courtenay, William Dorrit, "the father of the Marshalsea" the famous debtors' prison. The series is full of very strong supporting performances, it would take far too long to list the many wonderful actors and actresses who are found in every scene.

The show follows a very typical Dickens plot of slowly developing mysteries and strangely interwoven relationships. Little Dorrit was born inside a debtors' prison and has lived her entire life working unendingly and without complaint to make her father's decades long imprisonment there more bearable. She is the first child born there; this fact and his former stature as a gentleman gives him an informal social superiority inside that he enjoys and uses as possible to his personal benefit. The arrival in London of Arthur Clennam from China to share with his mother the news of his father's death, pushes an already moving story into many surprising turns. Rich and poor, good and bad, people of all social circles find themselves pulled into confronting their changing fortunes. Some who find themselves well-off deal with their new situation far less well than those dealing with adversity.

Dickens is telling a story far too near to his own with the theme of these families forced to see many generations live behind prison walls for the want of a few pounds. The story is one of his strongest and this series tells it honestly and with an incredible strength of cast and script.

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We are watching this now on PBS, and so far it has been a wonderful rendition of one of our favorite tales. It is lengthy and takes its time to tell the story. So far, we are pleased with the screenplay and it has done a very solid job of converting the story.

The setting, characters, and speech all feel very authentic and the efforts which were taken to make all of it so true to the time are impressive.

The primary actor and actress, whatever their names, are doing outstanding jobs. Very earnest renditions of the characters they are playing and charming and worth watching.

We've not had any issues understanding what they are saying the slang is not over-the-top or too accented for us US Midwesterners. I've much more difficulty following Mark Twain than I do listening to this story.

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I too, am watching it on OPB right now and I consider it to be enthralling, romantic, and emotional. The scenery, costumes, actors, and effects are all wonderful. It is great to be able to turn on the TV and watch something wholesome and well-made, not to mention classic! Everyone who appreciates literature and societies of time gone by need to tune in!