Indiana Jones: The Complete Adventures (Raiders of the Lost Ark / Temple of Doom / Last Crusade / K

Swinging onto Blu-Ray at last, INDIANA JONES: THE COMPLETE ADVENTURES is undoubtedly going to rank as one of the fall's must-have format releases. Paramount's five-disc set includes the HD debuts of "Raiders of the Lost Ark," "Indiana Jones and the Temple of Doom" and "Indiana Jones and the Last Crusade" on Blu-Ray with a fourth disc of extras and a fifth ("Indiana Jones and the Kingdom of the Crystal Skull") that some fans likely feel is best left as a beverage coaster. It's a great package that starts with new AVC encoded 1080p transfers and remixed DTS MA soundtracks of each film -and by this point, is there any reason to re-analyze Steven Spielberg and George Lucas' legendary Saturday Matinee adventures? Each entry in the original Indy trilogy is immeasurably entertaining on its own respective merits, though fans can still quibble about which one is best.

RAIDERS OF THE LOST ARK thankfully still retains its original on-screen title (despite its packaging as "Indiana Jones and the Raiders of the Lost Ark"), and remains a classic of the action-adventure genre. With a smart Lawrence Kasdan script (from a George Lucas-Philip Kaufman story), classic stunts and Spielberg working at the peak of his talent, "Raiders" is pure and unadulterated fun, with Ford introducing us to the centerpiece role of his career and Karen Allen easily providing the best female love interest of the series.

Paramount's AVC encoded transfer of "Raiders" is much more "contrasty" than I've seen the movie before and not quite as green and "lush", especially in the early jungle sequences -but it's also clear this new HD scan is light years ahead of any prior video release in terms of detail. I can't recall how the film originally appeared in theaters so it's entirely possible the color scheme is also more faithful to cinematographer Douglas Slocombe's theatrical version than the prior DVD releases certainly it's an excellent transfer overall, with fine detail visible throughout. The DTS MA soundtrack is forceful and superbly engineered, offering a broad stage for John Williams' legendary score and crisp sound effects. Three original trailers are the disc's sole extras a short teaser (selling the film on the merits of Spielberg's past blockbusters), full theatrical trailer, and a 1983 re-release trailer (from the "Superman" trailer voice-over guy) are each presented in AVC encoded 1080p.

The first sequel (technically a prequel, even though it's a standalone adventure), INDIANA JONES AND THE TEMPLE OF DOOM was controversial in its day (along with another Spielberg production, "Gremlins," it helped create the PG-13 rating, which was initiated before the summer of '84 was out), and even now it's a nasty, violent ride compared to the other Indy adventures. The script by Lucas pals Willard Huyuck and Gloria Katz ("American Graffiti") is silly and more excessive than either "Raiders" or "The Last Crusade," and Kate Capshaw's whiny Willie Scott is a comedown from Karen Allen's Marion -so much so that it's tough for "Temple of Doom" not to be compared unfavorably with its predecessor. Still, the movie's final third is a blast, and John Williams' majestic, triumphant score may be his most inspired of the series: his themes for the Indy-Willie romance, Short Round's Theme, the mine cart ride, and the regal music that accompanies our heroes through the jungles of India are simply spectacular, and when combined with the original "Raiders March," create a phenomenal underscore that effortlessly carries the audience past the sequel's lesser aspects.

Opening with the glorious musical staging of Cole Porter's "Anything Goes" (a lavish set-piece many critics rightfully noted was one of the highlights of the entire picture), "Temple of Doom" is the most colorful of the entire series in terms of its appearance, and the Blu-Ray's impressive HD transfer looks so natural that viewers can more easily spot discrepancies in the original cinematography (particularly during the climactic rope bridge sequence) they may not have noticed before. The soundtrack is again impressive, and both the original teaser and what appears to be an early (and underwhelming) theatrical trailer (running just a minute and with a 1983 copyright) included for extras.

The problems with the second film were rectified with the 1989 blockbuster INDIANA JONES AND THE LAST CRUSADE, which on a surface level sounds like a "Raiders" rehash but adds a warm, richer emotional component through Sean Connery's magnetic performance as Indy's father, Dr. Henry Jones. Connery is magnificent and his interplay with Harrison Ford is amusing and poignant, giving the movie an added human dimension absent from the amusement-park action of "Temple of Doom" and matching the level of character development found in "Raiders." John Rhys-Davies and Denholm Elliott return from the original, and the movie entertainingly reprises the quest-styled plot of "Raiders" as Indy tries to track down his father, who was lost while searching for the Holy Grail. While "The Last Crusade" may lack the freshness of the original, it's right up there in terms of my personal fondness for the material Connery and Ford are so good together that the film's strengths are only magnified on repeat viewing, and the lengthy opening sequence with River Phoenix as a younger Indy is a sheer delight, with a buoyant John Williams score to match.

Paramount's 1080p transfer is in line with the "Raiders" and "Temple of Doom" discs displaying crisp detail and a thankful lack of DNR while the DTS MA soundtrack is again effectively engineered. Both the film's original 1988 teaser (showing the crew at work on the sequel) and full theatrical trailer are included as well.

Shortly after INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL was released, I received an email from a reader saying that I was unfairly harsh on the belated and thoroughly unnecessary fourth installment in the series. Frankly, after reading my original review over again, I actually don't think I was hard enough on it!

Ranking as one of the most disposable films in director Spielberg's canon, this lightly entertaining but forgettable fantasy is compromised by a leaden David Koepp script nearly completely devoid of interesting characters, wit or innovation. While Harrison Ford still fits comfortably into his iconic role with Indy coerced into helping a group of nefarious Russians search for an ancient relic that possesses a supernatural power the film rolls snake eyes in terms of Cate Blanchett's villainess (one of many thankless roles), Indy's relationship with a young greaser (the continually charisma-challenged Shia LaBeouf) who needs his help finding a lost archeologist (John Hurt, playing what was likely Sean Connery's role) and his kidnapped mom -who turns out to be none other than Marion Ravenwood (Karen Allen, wasted in a few minutes of screen time) herself.

The film overdoses on plot exposition (the mid-section of the picture is crushingly dull, bogged down in endless babble about the skull and its power) and fails to give its terrific cast much to do. Ford is as amiable as ever but even he seems a little ill at ease with some of the leaden dialogue, which doesn't exactly crackle the way Lawrence Kasdan, Jeffrey Boam or even Willard Huyck and Gloria Katz's work did in this film's far superior predecessors.

Recalling the sluggish pacing of "The Lost World" (I cringe even writing that statement), little in Spielberg's direction clicks either: would-be comedic moments fall flat, while action scenes tend to exhibit a "been there, done that" feel at every turn. The infusion of CGI heavily used in the movie, as it turns out -is also in stark contrast to the prior films in the series (as is Janusz Kaminski's overly stylized cinematography, which does no favors for the picture either. It's amazing how claustrophobic and unappealing this movie looks, the bulk of it all too obviously having been shot on soundstages). Finally, the picture also greatly misses Sean Connery's warmth and humor as Indy's dad -so much that it's unsurprising the few times "Indy IV" manages to strike an emotional chord is in its pair of direct references to Indy's late father (Connery was contacted to appear in the film but ultimately passed on it -a wise maneuver in hindsight, particularly considering how well the third movie turned out). In the end, "Crystal Skull" commits the worst sin of all: it's completely forgettable. Five minutes after the film was over I struggled to recall the specifics of the plot or individual sequences in it, feeling as if the series truly finished with the ride off into the sunset at the end of "The Last Crusade." Everything about this entry, ultimately, screams too little, too late.

Paramount's HD presentation of the fourth film is on par with their prior Blu-Ray, boasting a clear 1080p AVC encoded transfer and DTS MA soundtrack. Three trailers (marked trailers 2-4) in HD round out the disc.

Trailers aside, all the supplements are included in the fifth Bonus Features disc, which one imagines will remain exclusive to the box-set, offering a satisfying mix of previously-released content and one significant new addition. Here's a breakdown:

On Set With Raiders of the Lost Ark: The set's big new extra is this hour-long compilation of behind-the-scenes footage from the production of "Raiders." Taken mostly from 16mm handheld camera sources with some never-before-seen outtakes from the picture mixed with candid interviews from the cast and crew and even a few deleted scenes fans should love this piece, which gives viewers a real, honest sense of the day-to-day shoot, both on-location and at Pinewood Studios in the UK. (HD)

Making The Films: The original 1981 "Making of Raiders of the Lost Ark" from Howard Kazanjian and Phillip Schuman (57 mins.) is presented here along with Laurent Bouzereau's retrospective documentaries for "Raiders," "Temple of Doom" and "Last Crusade" from the 2003 DVD box-set, each offering a 40-50 minute segment devoted to each picture (all of these segments are in standard-def). The 28-minute "Crystal Skull" Making Of, meanwhile, is presented in HD (a much longer version of this Making Of was included in the original, two-disc Blu-Ray/DVD release of the film).

Behind the Scenes: A number of featurettes from the 2003 DVD Indy box-set include a John Williams interview in "The Music of Indiana Jones," plus "The Stunts of Indiana Jones," "The Sound of Indiana Jones," and "The Light and Magic of Indiana Jones." Brought over from the 2008 DVD release are "Raiders: The Melting Face!", "Indiana Jones and the Creepy Crawlies," "Travel With Indiana Jones: Locations," "Indy's Women: The American Film Institute Tribute," and "Indy's Friends and Enemies." Reprieved from the original "Crystal Skull" release are "Iconic Props," "The Effects of Indy" and "Adventures in Post-Production." Note that these "Kingdom of the Crystal Skull" featurettes are presented in standard-def (the original Blu-Ray of the film offered these same segments in HD) while several other "Crystal Skull" featurettes from the prior release aren't included here at all.

Completists who enjoy "Crystal Skull" may want to hold onto the original BD release of the film for its more extensive supplements otherwise, this set contains basically all of the extras from the prior Indy DVD releases, sans storyboard galleries.

Ultimately, Paramount has delivered a great-looking, and sonically superior, Blu-Ray set that pays tribute to the work of Steven Spielberg, George Lucas, Douglas Slocombe, John Williams and all the other master craftspeople involved in the production of the Indiana Jones series. Highly recommended, just as one would hope!

I am an Indiana Jones fan through and through. I have been since I saw "Raiders of the Lost Ark" as a child in 1981. The Blu-ray release of such a monumental piece of film history merits taking the day off work and viewing all the entries of the series. Yes, that DOES include "The Temple of Doom" and "The Kingdom of the Crystal Skull."

"Indiana Jones: The Complete Adventures" is what every fan of the archaeologist adventurer has been waiting for since the inception of Blu-ray. It features every film in beautiful high-definition with "Raiders of the Lost Ark" getting the special restoration treatment. The film looks beautiful both at home and on the big-screen. I took my boys to see it in the theater. The film brought tears to my eyes as I thought about the first time I saw it so many years ago and what it meant to me. This was a life-changing event for me much like seeing Star Wars was a few years earlier.

I want to stop and focus on "Raiders" for a moment since it's the one that got the most attention. It doesn't lose any of its classic grainy film look. It's just cleaned up and more vibrant. The latest restoration of "Jaws" for Blu-ray somehow looks better, but maybe that's because it needed more work to begin with.

Strangely, they didn't tidy up any of the visual effects the way George Lucas is known to do with his space saga. The movie is still effective exactly how it is. However, it would be interesting to see the effects-heavy ending with some of that ILM wizardry put to work on it.

"Indiana Jones and the Temple of Doom" is just as much fun as it always has been. This is probably the second least favorite film in the franchise behind "The Kingdom of the Crystal Skull" for most fanatics. It's still a thrilling rollercoaster ride with some great humor thrown in.

"Indiana Jones and the Last Crusade" to this day wraps up the first three films in the "original" trilogy perfectly. It brings back Sallah and Brody and takes us back into the desert to battle Nazis. It also introduces us to Indy's father, who couldn't be anyone else BUT James Bond. Sean Connery delivers a humorous and heartfelt performance as the father of the most famous archaeologist adventurer. Harrison Ford and Connery trade quips and bicker amongst each other in such a convincing manner, you'd think they were really related to each other. It also brings the subject of the quest full circle back to a Christian artifact. Many viewers would agree they were the most successful entries in the series.

"Indiana Jones and the Kingdom of the Crystal Skull" is definitely the most hated of the series. I get in an argument at least once a week with some crazed Indy fan who whines about how this movie single-handedly destroyed their enjoyment of the entire franchise or wishes it was never made. Some people are so ungrateful. Steven Spielberg delivered a fun adventure that looks and feels very much like it belongs right next to the rest of the films.

The complainers about Indy surviving an atomic explosion after being catapulted through the air to land safely in the desert have selective memory loss. Apparently they don't remember other fantastical moments in the series like the Ark of the Covenant melting people and disintegrating a troop of Nazi officers. How about jumping out of a plane in a raft and landing safely in a river? When was the last time you walked across a canyon on an invisible bridge? Also, the search for three magic rocks is waaaaay off base when compared to ancient alien astronauts. It's unbelievable here, but we sure can accept if for Prometheus.

Bonus features for the set include "Making of" documentaries for every film and several "Behind the Scenes" featurettes. There are teaser and theatrical trailers for each film on each disc as well. There's enough bonus material to merit a fifth disc. Strangely, many of the extras for "The Kingdom of the Crystal Skull" are not found here. Completists might throw a bit of a fit over that. I say just keep your original copy of the movie on Blu-ray if you really want it.

The "Indiana Jones: The Complete Adventures" Blu-ray set will look immaculate sitting next to your "Star Wars" Blu-ray set. The packaging is the same material and style. They look like they belong together with their matching Lucasfilm logos on the spines. It's strange how movies that continue to make an immeasurable impact on people can fit into such a small space on a shelf. They also remind me of how much thanks I owe to George Lucas and Steven Spielberg for a memorable childhood. Any fanboy or girl who grew up with these films and says differently is lying to themselves.

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Okay, I believe we all know who Indiana Jones, is, right? I grew up with Indy and my kids will be the same. This new box-set is the definitive Indy box-set. This set features the original classic trilogy plus the newest addition, "The Kingdom of the Crystal Skull". Just like the set that came out in May for the 4th movie, this set comes with the new special editions of the original 3 movies. The best part about this set is that the 4th movie is the 2-Disc special edition and not the lame 1-disc version. My only complaints with this set are 1) that the DVD cases are those really lame slim cases and not regular sized DVD cases and 2) the bonus disc from the original trilogy boxset is missing (although the special features makeup for that is most respects) and 3) while the cover is cool, the order of each movie cover is weird; you start from the top right and work your way around. All in all, this is the best Indy box-set out there and it's worth getting. Here's my ratings for each movie:

Raiders of the Lost Ark: 5/5

The Temple of Doom: 4/5

The Last Crusade: 5/5

The Kingdom of the Crystal Skull: 3.5/5

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Yes, it's finally out!! Been waiting so long! But... Not sure if everyone else is oblivious to the risk of this collection but read on...

What is seriously going on with the execs who make the decisions for these long awaited collections? Is it a conspiracy for companies to give us bad packaging in hopes we ruin the product in hopes we buy it again after we ruin them over a long period? I'm not a movie troller who hates movies and Indiana Jones is one of the greatest franchises ever, I'm just fed up with these horrible packaging ideas. Basically the Indiana Jones Adventures is in identical packaging to the Clint Eastwood collection which was one of the worst packaging ideas ever. Here's the main issue, these treasured movies are stuffed in between two pieces of hard abrasive cardboard. In order to pull a movie out, you have to grab both sides of the disc right near the edge, immediately putting finger prints on the information side of the disc. Not to mention pulling it out on the bare cardboard as it's packed in so tight. Do this over a period of time, you're asking for trouble. Even trouble, i noticed a tiny 2cm scratch on Raiders the FIRST time I pulled it out from rubbing against the cardboard. Mind you, these blu ray discs can withstand scratches, but how much and for how long do you want to chance it? It's packed in so tight, it's just bound to happen when one day you're gonna freeze up thanks to a nice scratch from your case. IF you buy this collection which I still say you should, just take them out safely as you can and store them in a regular DVD Case. A major pain and yes, the case is basically worthless and nice to look at, but don't risk it if you want to savior this collection that is wonderful if you can salvage it before ruining it. Some people have said squeeze the cardboard to loosen and wait for it to fall out, I did try this on Raiders and temple and the disc did not move

If you want to know about the movies, on how they look, I actually think the older movies look even better than Skulls. Obviously the first 3 classics got the most love. Skulls is inferior, so we know why though. The extras are great, a nice documentary of watching Raiders with lots of deleted scenes and lost footage is an amazing find. Bonus materials are amazing! Just be really careful taking these movies out of the cases. Feel free to use Crystal Skulls as a coffee cup holder. ;)

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Anyone who knows Indiana Jones already knows the plots of these films, so I won't pontificate on those details, and will get right to the transfers:

The Picture (Raiders):

The picture is very sharp, and the dark scenes show exceptionally deep shadow areas and rich colors, especially in the Ravenwood bar, which looks absolutely gorgeous, even more real than I remember it looking in cinemas, but I'm saddened to see that the highlights in the bright outdoor daylight scenes are largely blown out, white, gone.

This is either a problem with the transfer, or the source, the original film negative. If the latter, it's so sad to see a great film like Raiders fade over time. If the former, we'll have to wait for yet another transfer. If I remember correctly, Lowry Digital Studios did the restorations for DVD back in 2003. I'm guessing the 2012 archivists, at Lowry or another facility, didn't use that old Lowry transfer for blu-ray because it was a much lower res scan than the 4k scan done here.

The transfer of Raiders also carries with it what another reviewer described as an "orange teel"; that is, everything is colored in a kind of golden amber warmth. This is great in the Raven bar and in the Idol's temple when Indy is bathed in the shaft of light emanating from the golden Idol itself, but, in other scenes, like the thunderstorm in the desert at night when the Arabs are uncovering the Well of Souls, the scene should be more blue, and is instead, in the amber tint of this transfer, kind of a neutral gray.

Compared to Temple, Crusade and even Crystal Skull, which look perfect, sadly, I have to give the visual transfer of Raiders only a 3.5 out of 5 stars. The transfer and restoration artists ALMOST got this transfer right, but, sadly, they blew it on maintaining the color and contrast. If director Steven Spielberg himself approved this transfer, he either didn't view it on a correctly calibrated monitor, or he's going senile.

Considering that Raiders of the Lost Ark is my favorite, and, arguably, the best movie in the whole Indiana Jones series, this transfer is a bit disheartening and disappointing, to say the least. To some of you who weren't born yet in 1981 when Raiders was originally released in cinemas, so you never got to see it on the big screen, and thus you have no reference for what Raiders is supposed to look like, you'll enjoy it just fine.

If you already own the DVD of Raiders, hold onto it, as it is, minus the standard-definition limitations of DVD, closer to Raiders' original, true cinematic vision.

The Sound (Raiders):

Some sound-FX and dialogue are crystal clear, with some new effects added, like dripping water in the South American temple and some new "pfew!" sound-FX of the poison darts spitting at Indy when he removes the Idol from its pedestal and flees as all hell breaks loose (YES! Thanks, Ben Burtt!), others less than stellar, a bit muted, and, like the Jaws transfer for blu-ray, sound mixers added that extra reverb to John Williams' classic score...broadened the spaciousness and cavernousness of the music, but the music now lacks the definition and clarity of the highs found on previous releases. Sounds like the London Symphony Orchestra is performing at a ball game. Enveloping, and yet lacking definition. Disappointing. I have to give the sound of Raiders a 4 out of 5 stars.

Now, onto Temple and Crusade...

The picture:

I'm only guessing here, and could be wrong, but it looks like these ARE the earlier, and excellent 2003 Lowry digital transfers done for the DVDs, now shown in their native high-res format, instead of being down-rezzed by the picture-quality limitations of DVD. They look great! The color red is more prevalent on the blu-rays of Temple and Crusade than on their corresponding DVDs, which is especially useful, and wonderful, inside the Temple of Doom, with all the red presumably coming from fiery volcanic fissures. This is a masterwork of film lighting from the late, great cinematographer Douglas Sloccombe, and is presented here gorgeously. Bravo!

The sound:

It has some nice new discreet directionality in the rear surrounds, which is especially evident in Crusade, when the Messerchmidts are chasing Indy and his dad. And John Williams' scores have never sounded better!

Kingdom of the Crystal Skull:

Picture quality seems to be the same as the previous blu-ray, which already looked quite good, faithful to Skull's theatrical release. The main difference here is the sound has been updated to DTS-HD, adding more depth to the soundtrack.

The extras from the DVD set are all here, with some new additions:

On Set With Raiders of the Lost Ark, which I found particularly rivetting, about the increasingly lost, dying art of on-set live action production. It shows the miracle of what was accomplished in-camera, with very little reliance on post-production, until we get to the opening of the Ark of the Covenant, with director Steven Spielberg saying how hard it is to explain to actors something that they can't see, and won't be there until post-production visual FX are completed. What I found most captivating about watching this footage is it shows just how tireless Steven Spielberg is. He really deserves all the money and credit he gets, because he works very hard. And he clearly LOVES what he is doing, making movies!

The original 1981 featurette, The Making of Raiders of the Lost Ark

The Melting Head, showcasing a modern reenactment of what was required to make Toht's head melt.

Indy's Women, showing a recent AFI interview with all three leading ladies in the classic trilogy, Karen Allen from Raiders, Kate Capshaw from Temple and Allison Doody from Crusade, talking about their characters and the experience of working on a tough, physical movie.

and probably one or two features I left out. It's a schmorgasbord. Enjoy!

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

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

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

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

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

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

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

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

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This movie is a WINNER!

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

What a good ol'fashion mystery! ENJOY!

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

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

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

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

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

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

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

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

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

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

more unpredictable.

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

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

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

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

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The Sandlot (1993)

There really is no plot, yet you don't care. There's no real subtext to the entire thing, but that doesn't matter. The actors are all kids and they play baseball...and it's SO SIMPLE.

One of those little films that walked quietly into theaters in 1993 and left just as quietly with little fanfare(which is probably why Fox was hesitant on releasing a DVD) not ONLY happens to be one of the greatest SLEEPERS of all-time, it's also one of the greatest SPORTS films of all-time, ranking with "Field of Dreams", "Bull Durham", "Major League", "The Natural", and "The Longest Yard", to name a few.

This movie is good, so sweetly and innocently GOOD, that you don't care if the obnoxious happens or that a main plot-point happens to be the kids retrieving a prize/signed baseball(by Babe Ruth of all players) from the jaws of a dog-beast-monster-thing.

No, if there was something that James Earl Jones was right about in FIELD OF DREAMS(and he's in here too as a modern-day Boo Radley), it was that baseball brings us back to the times when we were young and apathetic to the world around us. The same applies here.

This film will make you forget about your problems and redirect your focus on your youth and the times you had fun with your best friends.

No matter if those times were spent on a surburban street where the foul poles were really parallel phone poles on either sides of the street or you sat on the porch watching us while drinking lemonade and listening to Ray Charles, those are the good times we remember...

Take a look for yourself...

The DVD has a beautiful 2:35.1 widescreen transfer(it was originally shot in 70mm Panavision) but is lacking in extras. Still, a good cheap DVD with a great film...that's all we ask for sometimes.

-Matt

Back in 1993, two movies involving baseball and children, The Sandlot and Rookie of the Year, came out in the theaters about the same time, both being released by Twentieth Century Fox. I remember Rookie of the Year was pushed hard by the studio while The Sandlot got much less advertising and publicity, which was too bad because I always thought The Sandlot was a much better film.

Scotty Smalls, his mother (Karen Allen), and his step dad (Dennis Leary) just moved into the neighborhood and Scotty is having problems acclimating himself to his social surroundings. An intelligent boy (an egghead), he lacks certain abilities most boys have, like knowing how to catch and throw a ball, any basic baseball rules, or who's the Great Bambino. The movie does an excellent job in providing just enough depth into these characters to provide a sense of the family dynamic given that Allen and Leary have limited screen time. In attempting to join a neighborhood pick up game, Scotty's lack of rudimentary baseball skills is made painfully apparent, to which all the boys except Bennie, the best player of the bunch, let their derisive comments fly. Bennie, feeling a bit sorry for the new kid, gives Scotty a couple of tips and a little extra help in a well hit fly ball that gives Scotty a measure of confidence and helps bring him into the gang. Once Scotty's accepted into the group the movie delves into a plot involving a priceless baseball and a local dog with a mythical reputation. What I really liked was how all the boys came together to help a friend in need, and it was an automatic response. If someone in the circle needs help, the group rallies around, regardless, as they would have done the same for any other member. While a seemingly natural trait in children (atleast in this movie), it seems to be one that becomes lost as we grow older, as seen in Scotty's step dad and his reluctance to play catch with Scotty because he has too much work and doesn't have the time. What is so great about this movie is while it's set in the 50's, the story appeals to most anyone. Whether or not we all had that one great summer or just fond remembrances of childhood friends and activities in general, the movie serves to help recall days when things were simple, and summers were made up of endless possibilities. While watching this movie, I thought about friends I had when I was a kid, phrases we used, nicknames, activities, etc.

No real extras on this disc, but a great presentation of a wonderful movie. My favorite part involved one of the boys called Squints, a smaller boy with great, big glasses, and scene with curvaceous, older, female lifeguard at the local pool.

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I first saw The Sandlot when I was eight years old, and have found myself watching it every year since.

The Sandlot is a film about a kid named Scotty Smalls, who moves to a new town and tries to make friends before school starts.

He walks across a small suburban baseball field where eight kids his age play daily, and he turns up one day, plays terribly and ends up joining the gang anyway.

Soon, the team find themselves in trouble after 'Smalls', as he is affectionately nicknamed, hits a Babe Ruth signed baseball into the yard of an almighty dog, who as rumor has it once ate a kid in the area.

The gang tries all sorts of methods to get the ball back, and this results in an extremely funny and enjoyable film.

The Sandlot is a great watch, and you will find the whole family stuck infront of the TV for this one.

Read Best Reviews of The Sandlot (1993) Here

This is absolutely a great movie. But I cannot be the only parent who was horrified to find I was showing my three boys a movie that is filled with cuss words. Maybe you are ok with a "family feature" in which s--t is used half a dozen times. But not everyone is, and parents need to be aware that this movie goes beyond the d--n and son of a b---norm for PG. If a "edited for tv" version of this existed I'd recommend it to anyone. But can you imagine how many grandparents pick up this "family classic" for their little grandsons, having no idea that their little boys are about to sit through six or eight "s--t"s and almost as many "son of a b----"s? I'm not a prude when it comes to adults' movies. And if parents are fine with their kids hearing these words in a movie, fine. But for anyone who is concerned about this, it is amazing how rarely you'll find any kind of notice attached to this movie. Parents, and grandparents, ought to be able to make an informed decision.

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This movie is a RIOT! I am 36 years old and have been watching this movie with my kids for YEARS! I rarely watch any movie even twice, but I absolutely LOVE this one and so do my kids. It is a true Classic. We just bought a new DVD player and immediately and unanamously decided our first movie would be Sandlot. (To our disappointment it isnt on DVD yet). Dont rent it, BUY it! It totally reminded me of being a kid in the 60's/early 70's, especially since it took place in the San Fernando Valley. The director did a truly superb job in getting the awesome acting job out of these kids. It's not over acted they all seem so believable, maybe thats why its so great. Squints is hysterical! p.s. If you like this type of movie and want to see something similar about a bunch of 12 yr old girls and their adventures in the same time period (60's). Check out "Now and Then" it's also pretty funny, geared more towards girls, but my boys enjoyed it too.

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Into the Blue

One truly great thing about this movie is that it is not in the least pretentious, overblown, pompous, puffed up, or heavy handed. Neither does it hit you over the head with an overload of CGI and special effects nor wallow in personal issues like so many film today.

This movie is basically a swimming trunks and bikini action adventure flick. so, if want some good shots of Jessica Alba (Sam) in a bikini swimming this movie is for you.

But there is more to "Into the Blue" than that. And it is not a teenager kind of film (i don't think there is one teenager in it, although ofcourse they may enjoy it like anybody else). Jessica Alba was probably about 23 years old when she was making the movie and Paul Walker (Jared) was at least 31.

i'm not going into basic plot details (that has been done by others here) just some fun observations.

Sam has a kissy-kissy ralationship with boyfriend Jared. in the first half of the film this actually becomes a turn off it was funny when one of the characters actually tells them to basically 'knock it off ' when they start in on one of their run-of-the-mill kissing scenes. one thing more about turn-offs in the movie, *(SPOILER WITHOUT TELLING YOU WHO OR HOW)* when one of the main characters gets seriously injured and dies there is hardly any real or true concern for her life expressed by anyone.

But the film does mangage to finally get into some actual story-telling with some good twists and turns. a bit far-fetched and drawn out near the end but that's what makes it fun!!.

So for me "Into the Blue" gets 4 stars; it has a good moral to it about the real treasure found in one's own heart, it had good nature photograghy of the ocean -and it was just plain fun!!

It turned out to be pretty good.

INTO THE BLUE surprises. Despite an opening sequence that is frightening and grisly, this film starts with the feeling that it is another pretty people at the beach flick mindless, but visually attractive 'what I did last summer on the waves' story. But stay tuned: this is a film of visual splendor and tense intrigue and action that is up there with the best of them.

Amidst some of the most spectacular underwater sea photography on record blooms a story of friends with polar priorities: Jared (Paul Walker) and Sam (Jessica Alba) live the simple life in the Bahamas, sport diving, looking for lost treasure ships as a hobby; visiting lawyer friend Bryce (Scott Caan) and his just-met current squeeze Amanda (Ashley Scott) have dubious pasts and are out for the quick buck no matter the dangers. This quartet spends the first part of the film diving and playing underwater with the glorious sea life until the unexpected discovery of a submerged airplane (recall the opening sequence) containing vast amounts of cocaine changes the playing board. Jared and Sam won't deal in drug trafficking while Bryce and Amanda are unable to resist. Once this strident mark is hit the movie becomes a fast paced intrigue of good vs evil, crime, police corruption, all mixed with chase sequences both on land and underwater. Tragedies occur, priorities alter and the polarities among friends are tested.

Even if the story of sunken treasure and drug trafficking weren't as well written as they are, this film would be well worth the time spent just watching some of the finest underwater choreography on a stage both fascinating and gorgeous and with a cast of beautiful bodies in synch with the splendor. The cast is good and certainly beyond even the eye-candy appeal of each of the actors. Peter Zuccarini's underwater cinematography deserves Oscar attention; Shane Hurlbut controls the above water cinematography well. But director John Stockwell is to be commended for the pacing of this edge-of-the-seat story and that is saying a lot for a film that is close to two hours long! Yes there are chinks in the mortar of the story and moments where the audience must suspend belief (just how long can Paul Walker hold his breath anyway?), but in the end this is a film that deserves serious attention from the movie audience. It is better than you would expect! Grady Harp, December 05

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I have no idea if this movie is any good. I watched the whole thing and all I can tell you is that Jessica Alba is in a bikini a good part of the time and swimming. If they would have made a movie with 99% of it her swimming under water in that bikini, which the bottoms seemed about 2 sizes too small) I would rave about it too.

Alba... bikini... wet... swim...

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I grabbed this flick from the shelf on a very wet and miserable day at my local Target.... craving the Summer sun and needing an island vacation....

The cover appealled to me for these reasons and I admit I was not at all disappointed in the movie. The scenery was indeed spectacular. The underwater diving/snorkling scenes were clear, crisp, and just what the doctor ordered. Even the sharks and rays made it all quite beautiful.

OK, enough of the shallow stuff.... the movie was indeed much like the 70's flick "The Deep" which I enjoyed back then as well. The characters of Jared and Sam were pretty believable poor, honest, and happy folks (most of us would love to really be this happy let's face it!) The introduction of Bryce (played by Scott Caan) really created an interesting balance of characters and how each reacted to the many dangers, twists, etc.

Overall, the bikinis and the buff guys added to the adventure many of us would love to have in our generally boring lives. Would I want to deal with Tiger Sharks? No, but a little excitement would beat the heck out of my boring 9-5 job every day.

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As I sat down to watch "Into the Blue", I knew exactly what I was in for. There would surely be lots of ocean, lots of beautiful underwater scenery, some gorgeous fish, and a semi-coherent plot-line. Additionally, I knew that it was a safe bet to expect plenty of the incredibly beautiful Jessica Alba in a bikini for the guys, and a considerable amount of camera time for a shirtless Paul Walker for the ladies. What I didn't expect, what nobody could have possibly expected, however, was COKE ADDICTED SHARKS! Allow me explain.

The premise of the movie starts off simply enough. Walker is a down on his luck diver, underwater scuba instructor with a penchant for disobedience. Basically it's "Fast and the Furious" if swimming replaces the driving. His girlfriend, Alba, is an instructor at what looks like a SeaWorld rip-off, and inexplicably is with the guy who has no money or possessions. So, right off the bat, all viewers can easily place this movie into the fiction category. They are "in love" despite their meager incomes and the fact that they are scraping by in the world. Walker, however, has dreams of striking it rich by finding treasure in the ocean, despite the fact that he's a borderline homeless guy that still gets to sleep with Jessica Alba. The plot thickens...

Upon eventually finding his buried treasure, a ship called the Zephyr, he and a few friends also happen upon a crashed/sunken airplane filled with tons of cocaine. They debate about using the drugs to fund their treasure finding expeditions, something they can't do presently because of their impoverished state. After mulling it over time and again, arguing and pondering the ramifications of illegal drug trafficking, they inevitably get involved. And this, my friends, is where it gets good.

There are numerous diving scenes where Alba and Walker, although it's hard to notice Walker with Alba swimming around, go down for the treasure and drugs. Unfortunately for the divers, but incredibly fortunate for the viewers, some of the cocaine packing gets a little loose. Sure enough, it's turned the entire ocean into a big swimming cokehead convention. Sharks have bloodshot eyes; fish are fidgeting as they swim by, and the manta rays are pimping themselves for some unknown reason.

What follows is a combination of "Jaws", "Cool Runnings", every episode of the original "Star Trek", and a smidge Scooby Doo antics. Sharks eat people; Jamaicans are rampant; the sole, inconsequential character from the Alba and Walker crew dies, and there is a ridiculously convoluted and complicated trap set up to catch the bad guys. Bad guys lose/die; good guys win.

The movie in and of itself is worthwhile. I don't feel like I wasted my money. What needs to be made clear, however, is that this movie took the next step. They breached a horizon that has never been previously approached. The touched upon a concept with unfathomable possibilities: COCAINE ADDICTED SHARKS! Think about the possibilities; really, think about it. Tell me you can't think of another 10 movies with animals addicted to drugs as the major factor in any one of the rising action, climax, falling action, or denouement.

What a great friggin' idea.

Hachi: A Dog's Tale (2010)

As a grown man not prone to crying, by the end of this film I was a blubbering mess, and I've probably not shed a tear in more than ten years. Anyone who loves dogs, I imagine, will be in the same state after witnessing the amazing loyalty displayed by one selfless canine.

I'd actually heard the story many times. A loyal dog returns to train station to meet his master even after he dies. But the film really brings the point home following the entire life span of the dog. But what I feel makes this film stand out is how it shows the perspective of the dog, a great reminder that "Hachi" is the protagonist in the film and giving insight into the emotions he felt. Additionally, the dog was portrayed as a dog, not a human character in a dog suit capable of impossible feats and acts, which for me, made the story so much more enjoyable and made the dog so much more believable.

Please disregard the one-star rating given by the Akita breeder in Nevada who didn't really rate the film so much as criticize peoples tendency to purchase dogs because of movie influences. It should also be noted that the Japanese Akita as a breed would have most likely disappeared had it not been for the original Hachi's popularity in Japan during the 1930's when the story was popularized by local newspapers of the time.

I would rate this as probably the best dog movie ever to come out of Hollywood. If you've made it so far as to read reviews, you really should just buy it. I can't imagine any dog lover being disappointed in this magnificent film.

From Tokyo, where the film has just opened: In Japan, most people know about Hachiko, especially in Tokyo; his statue is a popular meeting place in the Shibuya shopping area. The true story of Hachiko is just as well known here in Japan. In this review, I assume that you know the basic story outline. Still, if you wish to avoid what you may consider a spoiler concerning a turning point in the story, then avoid reading after this paragraph, as I discuss a central plot point--but not one which really gives too much away, any more than it spoils the movie "Titanic" to know that at some point, they hit an iceberg. Still, I wanted to warn you just in case--someone who never heard of the Titanic before might enjoy the whole iceberg twist.

The story: a faithful dog comes to meet his master at the train station every evening when he returns home, and when the master, a college professor, dies at his school and does not return, Hachiko continues to come and wait at the station every day for nine years to wait for his master's return. The very thought of such a loyal, sweet animal being so, well, doggedly committed to finding his master is bound to bring tears to most people's eyes--and it didn't fail here, with there being a considerable amount of sniffling and eye-dabbing in the theater. "Not a dry eye in the house" comes to mind. If you like schmaltzy tearjerkers and cute fuzzy dogs, then this is your kind of movie.

The basic story remains the same as the actual one, but builds up a new human dram around the dog story--which succeeds in not detracting from the central story at the same time. You never stray far from the dog, it's clear that Hachi is the protagonist and at most we spend three minutes away from him at any one time. Nevertheless, the characters are fairly well developed for what they are--supporting roles. Joan Allen does a good job as the wife reluctant to allow another dog in the family after the last one left them. Jason Alexander has a bit of fun as the self-centered station manager, and recognizable character actor Erick Avari does an excellent job as a hot dog and coffee vendor outside the station. Cary-Hiroyuki Tagawa did surprisingly well as the Japanese expert at the college. But the dog is the star, and does a good job of keeping our attention.

I contrast this with a movie from last year in Japan, "The Tale of Mari & 3 Puppies," about a Shiba Inu dog owned by a family when a large earthquake hits the region. The movie, billed primarily as a dog movie, mostly focused on the family and featured more than a little over-acting from the supporting cast, and failed to show us the cute doggies so much. In "Hachi," it's the reverse--you get lots of dog time, but also a nicely-rounded drama with good acting all around.

A few things were overdone, but not to bad effect. At the movie's outset, we see Hachi as having been sent, unattended in a bamboo cage, all the way from Japan--not just Japan, but from a Buddhist temple in Japan--only to be lost on the last leg of his journey when he falls off of a handcart at Gere's train station. That (a) the person pulling the cart could be so careless and (b) that whatever local person paid so much money to have the dog shipped and then never inquire as to what happened to him, well, is kind of pushing it. It feels as if Gere wanted to put in a nice Buddhist reference and have Hachiko's tale be a bit more dramatic. You kind of roll your eyes at all this, but it doesn't get in the way of the story. None of the overdone bits go so far as to really distract from the story, and they do work well at the emotional level. In the end, what you have is a fun little drama about an adorable, faithful dog with a tearful ending; the movie does very well being what it is supposed to be.

A bit of background: the story of Hachiko is not completely without controversy. There are some who claim that the story was deliberately popularized in fascist pre-war Japan as a means of inculcating loyalty to the emperor and to the state--the idea being that Hachiko's utter faithfulness up to the bitter end was a model that the government wanted the people to follow in supporting the state. Of course, Gere's film does not come close to this; there is even a specific reference to loyalty as pertaining to those one loves. Other detractors of the story contend that Hachiko was not being faithful to his owner, but had simply become addicted to the treats given to him by shops and vendors near the station (interestingly also included in the new film).

A small note: Hachiko, both in reality and in most of the film, was an Akita, but in this movie, Hachiko the puppy was played by a Shiba Inu, a smaller, related breed whose main difference is in their size and temperament. Despite being regarded as a "goof" in the IMDB database, this was an intentional choice by the film's producers, who decided that a Shiba puppy would be easier to handle, easier to train for what was needed--so says a book released in Japan concerning the film.

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"Hachiko: A Dog's Tale" is directed by Lasse Hallstrom (The Cider House Rules), and is based loosely on the real life story of a dog, named Hachiko, who was born in Odate, Japan in 1923. His master, Dr. Eisaburg Ueno, was a professor at the University of Tokyo who died in 1925. Hachiko returned to the Shibuya train station the next day, and every day for the next nine years until he died in 1934. Today, outside the Shibuya train station, where Hachiko waited, is a bronze statue of Hachiko.

In this particular movie we have a similar story, only the dog is in transport to the United States, where he escapes, and ends up in Parker Wilson's (Richard Gere) possession. Parker eventually decides to keep the dog since the owner cannot be found. Hachiko, or Hachi, as he is usually called here, at one point breaks free of his yard, and follows Parker to the train station. Eventually Hachi is allowed to accompany Paker to the train station everyday. But at one point Parker never returns to the train station, since he has died at the university.

The movie then becomes a tale of a loyalty that reaches far into the bonds of memory. Hachiko never realizes that his master has died, and even though he never sees his master again, he never forgets him. What is Hachi's purpose now that his master has died? His purpose seems to be to wait for his master who will never return. It is at once moving and heartrending, as it is a tragedy of sorts, and one that is only resolved once Hachiko also dies. This is a beautifully told tale that makes one think about the things that are important for us to go on living, even after those that we have loved have died.

Read Best Reviews of Hachi: A Dog's Tale (2010) Here

As the owner of an Akita for almost 12 years (now at 'The Bridge'), I have been anxiously waiting for the Hachiko Monogatari, 1987 Japanese production, to be adapted for the American audience. I was so pleased that they kept the story simple; one of a man and his dog, of forging bonds of unconditional love and devotion. And, even though I knew the story very well and, prepared myself in advance, the tears were inevitable.

Going straight to DVD, this film will not be a big money maker, therefore, I consider it a timeless gift and treasure, from all involved with the project. It was not easy, taking a year to complete, clearly becoming a labor of love. Watching Gere interact with the dogs, you can tell he is truly in his element. The joy on his face makes you believe that Hachi really is his devoted companion. I truly thank and respect Gere for joining such a challenging endeavor and I can't think of anyone more perfect for the role of the sensitive Professor.

Throughout the film, it was made fairly clear, that Akitas are not typical dogs. This was further evidenced in the 'Making of the Film.' The trainers thought they had met their match, when two months into the project, the dogs simply would not perform. They found that Akitas are no trick-ponies; they are stubborn and don't suffer foolish tasks. With much patience, the project was eventually successful. You will also find a comment following the credits about how Akitas are NOT for everyone. I consider these additions to the film to represent responsible education regarding Akita ownership, and, I applaud them for the inclusions.

I must add, that although I dearly love Akitas, they are not the only breed with histories of bravery and devotion. Given proper training and bonding, some mixed breed dogs that we unfortunately see chained in backyards, might show the same call of duty. It's not so much about the breed, but creating the connection---opening one's heart, and truly letting that furry creature in, which Gere lovingly demonstrates in the film.

I think Hachiko's story is a good reminder, that ALL dogs have thinking, emotive minds; that they are, family, not something to be possessed. That said, Hachi will continue to educate us from the grave, for generations to come. I can't think of a more profound legacy.

This is a beautifully rendered, family film---one that, once watched, will never be forgotten. It is destined to become a classic. I can't recommend it highly enough; just have tissues at hand.

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This brilliant film, full of magnificent performances, does not preach, but will pierce the hardest heart.

I extend my deepest appreciation to Mr. Hallstrom, Richard Gere, Joan Allen, and the Akita trainers for bringing this unforgettable story into my home, where it will be enjoyed again, and again.

My wife, who NEVER comments on a movie, said "That was one of the best movies I have ever seen."

Our 14-year-old Beagle usually rests in one place for ten minutes and moves to another spot in the room. While we watched HACHI, she remained between us on the sofa for the entire movie. She sensed our contentedness and rose only to lick our faces during the film's powerful emotional scenes.

Kudos to Mr. Gere for his diligence in making his relationship with the dogs feel genuine...and for the most amazing death scene I have ever witnessed portrayed in a film.

Since the real HACHIKO died in 1934, this film was long overdue, but more than worth the wait.

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One Night With the King (2006)

The first time I went to see this movie, I enjoyed it (despite the obvious production flaws), but I was thoroughly overwhelmed by all the history & all the strange names & all the multiple/twisty-turny plotlines & so I walked out of the theater feeling like I didn't really grasp everything that happened ...

So then I went home & read the entire book of Esther (it doesn't take very long -it's a small book) & then went BACK to the theater & watched the movie AGAIN ...

BIG DIFFERENCE!

At that point, I was also able to identify all the "poetic license" that was taken with the book of Esther, but I do NOT think that it detracted from the overall message & profound truth of the Biblical story -rather, I think that it ENHANCED it.

And now, after watching "One Night With The King," the book of Esther is very REAL to me -like it NEVER has been before.

********

NOTE: IF YOU FOUND THIS REVIEW HELPFUL, THEN PLEASE GO & GIVE MY "THE LAST MIMZY" REVIEW A VOTE, BECAUSE IT IS CURRENTLY BEING SLAMMED BY FOLKS WHO THINK IT IS WRONG TO WRITE A MOVIE REVIEW FROM A CHRISTIAN PERSPECTIVE. AND, IF YOU'RE REALLY FEELING GENEROUS, THEN PLEASE ALSO VOTE FOR MY "DADDY'S LITTLE GIRLS," "UNACCOMPANIED MINORS," "APOCALYPTO" & "WE ARE MARSHALL" REVIEWS. (THINK OF IT AS A "RANDOM ACT OF KINDNESS" ;) THANK YOU! & LOTS OF HUGS & BLESSINGS TO ALL MY BROTHERS & SISTERS IN CHRIST

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Murder in the First (2012)

This is a remarkable piece of Hollywood filmmaking, one of the best big studio efforts of the 90's and it was so poorly marketed that few have seen or heard of this picture.

The too often (and sometimes easily) dismissed Kevin Bacon is here Henri Young, a role as powerfully haunting as any actor could dream of. With an uncannily natural affinity for Henri, Bacon finds his way into the marrow of this tortured, downtrodden prisoner. In what could have too easily turned into a over-the-top "Look, Ma, I'm acting!" role, Bacon strikes a balance that is unique and rare. Unafraid of any aspect of Henri it becomes a performance nothing less than astonishing in its honesty.

The first 20 minutes presents us with the naked, filthy animal the system wishes to portray him as Henri. Yet, even here, with little more than a mad scene comprised of grunts, screams and incoherent mumblings about baseball, multiplication tables and The Lord's Prayer, Bacon makes Henri shine beneath the hair and grime introducing us to a pitiable sorrowful man not only wronged by the system, but utterly destroyed then forgotten by it. This is one of those rare performances where the work outshines the actor I'd forgotten entirely I was even watching an actor.

It's a hard heart that will not be moved by Henri and Bacon should look back at this performance with nothing but pride. (The fact he was not nominated for an Oscar is astonishing as his performance.)

Christian Slater gives one of his best performances as well and Gary Oldman is, (predictably) wonderfully evil as is William H. Macy. The court room scenes fairly crackle, but ultimately the heart and soul of this movie is found in Kevin Bacon's Henri.

Everything else about this production shines with 30 year old director, Marc Rocco at the helm, giving a strong vision to the entire proceeding. San Francisco looks marvelous and Christopher Young's soundtrack (eerily foreshadowing Kamen's score for "Band of Brothers") adds the final overwhelming touch.

Not to be missed.

Based on true-life events, "Murder In The First" premiered in U.S. movie theaters in January 1995 and stars Kevin Bacon as Henri Young, a 28-year-old man who (as depicted in the film) stole five dollars and ended up doing 3-plus years in the solitary "dungeons" of Alcatraz prison in San Francisco in the late 1930s and early 1940s.

Upon looking up some information on the Internet regarding the "real" Henri Young, it seems that the filmmakers of this finely-crafted and well-shot Warner Brothers' drama did, indeed, dish up a liberal dose of "dramatic license" regarding the true events in Mr. Young's life. But, I suppose, this is to be expected from a Hollywood story depicting real-life people and events.

One thing that's been fictionalized for the movie is the brief scene when we find out that Young died while still behind Alcatraz bars. It's never fully explained in the film just exactly HOW Young died while still in prison. I think this should have been more thoroughly spelled out in the movie (even from a "fictionalized" point-of-view).

Evidently, according to info I can gather, Young did NOT die while in prison, and, in fact, might still be alive to this day. Young disappeared after being paroled from a Washington State prison in 1972, after serving additional prison time for another murder. (Sounds like another "D.B. Cooper" type of saga.)

"Artistic filmmaking license" notwithstanding, "Murder In The First" is an excellent piece of motion-picture entertainment, IMO. Bacon is just terrific in his role as the beaten, nearly-savage Young, who was confined to the pitch-black solitary confinement area of Alcatraz for more than 1,000 days before finally being released from the "dungeon".

Gary Oldman and Christian Slater also display their considerable acting chops in this film, along with R. Lee Ermey, who plays the Judge at Young's murder trial. You'll want to slap Ermey silly after a few scenes as the obnoxious "Judge Clawson" here. He's quite effective and humorous (although not altogether believable) as the rather overbearing chief court official.

This film has a classy style to it, with many interesting camera angles and camera movements employed by the movie's brain trust, headed by Director Marc Rocco. I particularly liked the way Rocco moves the camera in circles during the first scene featuring Slater and Bacon, with the camera moving non-stop as it circles completely around Bacon's/(Young's) jail cell. An effective way to present this scene, rather than just "planting" two cameras in the cell and cutting between still shots of the two actors.

This DVD version of "Murder In The First" offers up a dual-sided disc, with a Full-Frame (1.33:1) version on one side, and a nice, crisp-looking Anamorphically-enhanced Widescreen (1.85:1) version on the other side. Colors look rich and well-rendered here, IMO, with many scenes exuding a deliberately-grainier "1940's" look and feel to them.

The sound gets good marks here too. It's not a full-blooded 5.1-channel track utilized for this DVD, but the Dolby Digital 2.0 Surround Stereo soundtrack fills the speakers very nicely nonetheless. There's a good musical score too.

More about this DVD ....................

>> Extra Bonus Material -None at all.

>> Chapter List? -Yes; located inside the "Snapper" DVD case (38 total chapter stops included).

>> Languages -English and French (both in DD 2.0 Surround).

>> Subtitles -English and French.

>> Region Encoding -"Region 1".

>> MPAA Rating -R.

Parting Thoughts ....... 1995's "Murder In The First" is a Grade-A motion picture, serving nicely as a good character study of one Mr. Henri Young, and at the same time doubling as a dandy "courtroom drama", too. A most-worthy 122-minute experience.

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The performances in this film are gripping. I actually believed in the plight of Henri Young, portrayed by Kevin Bacon. I wanted to be as good a Public Defender (This is what I do for a living) as Christian Slater portrayed in the film (oddly, the character's last name he uses is one of the real-life escapees). The judge, played by R. Lee Ermey, actually reminds of some of the judges I have been in front of his iron disipline is that convincing. Then, to my shock, I found out that the truth had been stretched beyond all recognition.

The movie itself deserves at least four stars for the performances, particularly by Bacon, who should have been at least nominated for an Oscar for this film. The DVD must have been made at the beginning of DVD technology. If a director's cut DVD is complete with interviews, historical perspectives (why did the jury do what it did, anyway? I don't believe the Federal Board of Prisons and its smear job of Henri Young any more than I believe the version proffered by the director of this film) and the like then I will certainly buy it. Until then, I recommend that you rent this film, or buy a used copy.

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I don't have to think twice in agreeing that Oscar Committee closed its eyes in the year this movie was released.

One of the very best movies I have ever seen that fall in the likes of The Green Mile and the Shawshank Redemption.

Kevin Bacon was outstanding and so was Christian Slater.

The picturization of the brutality was sometimes disturbing, but yet moving.

Definitely, this movie will be counted as a Masterpiece in Kevin Bacon's Filmography.

This is what I call Asbolute MAGIC.

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Having just come off this year's Oscars, one need look no further than MURDER IN THE FIRST to see how the awards are merely an extravagant popularity contest that more often than not misses truly outstanding performances. Kevin Bacon's performance in this powerful film is tremendous and more than worthy of just a nomination, but a winner. Kevin brilliantly captures the person who is Henri Young. Physically, emotionally, Bacon brings a rare depth to a complex and wrongly treated person. Christian Slater, who I have long considered an average performer, also shines in this role as David, the public defender who fights to show the real villain Alcatraz itself. Gary Oldman is superb as the assistant warden to whom cruelty and inhumanity is as natural as drinking water. Embeth Davidtz, William H. Macy, Kyra Sedgwick (as a hooker who tries to "service" Henri) and even the hammy F. Lee Ermey provide excellent support. To those reviewers who claimed the movie was phoney, poo poo on you. I found myself riveted to the screen and Bacon's performance alone should earn the movie five stars!

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Star Trek IV: The Voyage Home (Remastered) (2010)

With many fans disappointed following the release of the third "Star Trek" film in 1984, "Star Trek III: The Search for Spock", Paramount Pictures produced one of the best "Star Trek" films of all time in 1986: "Star Trek IV: The Voyage Home". Returning to the director's chair for what was only his second directorship of a big-screen motion picture was Leonard Nimoy, but this time, Nimoy had much better material to work with from the films many writers. Nimoy (who actually took on-screen credit for writing) worked with returning writer Harve Bennett to write a brilliant story, and Bennett worked on the screenplay along with three additional writers: Steve Meerson, Peter Krikes and Nicholas Meyer (who directed the highly successful "Star Trek II: The Wrath of Kahn" in 1982). Under the watchful eye of Gene Roddenberry, these men were able to recapture the spirit of the original "Star Trek" television series more than any other preceding or proceeding "Star Trek" film.

Having restored Spock's (Leonard Nimoy) life via the Genesis planet and a return to the planet Vulcan during the third film, the crew of the lost U.S.S. Enterprise now waits on Vulcan for repairs on their captured Klingon scout-class ship, as well as for Spock to retrain his mind, before returning to Earth to face various charges for having disobeyed orders. The crew includes Admiral James T. Kirk (William Shatner), Dr. Leonard 'Bones' McCoy (DeForest Kelley), Commander Montgomery 'Scotty' Scott (James Doohan), Commader Hikaru Sulu (George Takei), Commander Pavel Chekov (Walter Koenig) and Commander Uhura (Nichelle Nichols). The Klingons are also very angry with Kirk as expressed by the Klingon Ambassador (John Schuck) to the Federation President (Robert Ellenstein) in front of the full Federation Council, but the cool logic of Vulcan Ambassador Sarek (Mark Lenard) prevails. While on Vulcan, Spock gets to spend time with his human mother, Amanda (Jane Wyatt, who once played his mother in the 1967 "Star Trek" television series episode "Journey to Babel"). Also, a brief appearance is made by Lt. Saavic (Robin Curtis), who unfortunately never returns in any other "Star Trek" film. With their Klingon ship ready for departure, Spock and his Enterprise shipmates begin their voyage to Earth; but unknown to them, a bizarre space probe also en route for Earth has been wreaking havoc on any ship that approaches it. Arriving at Earth first, the probe turns Earth's atmosphere into chaos as it waits for a signal that the Federation cannot discern. Receiving a planetary distress call from Earth, Spock identifies what the probe wants: communication with long extinct whales. To save Earth, Kirk makes the decision for them to travel back in time to bring back whales to the present.

"Star Trek IV: The Voyage Home" has more memorable scenes than could be mentioned here, but some of the best include: McCoy's conversations with Spock, the crew on the streets of twentieth-century San Francisco, Uhura and Chekov looking for nuclear vessels, McCoy and Scotty visiting the production facility, Kirk & Spock on a city bus, Kirk & Spock's conversations with Dr. Gillian Taylor (Catherine Hicks), Kirk's dinner with Gillian, and McCoy with Kirk & Gillian at the city hospital. Everyone's acting (including Shatner) was very good for this film, but what makes this film stand out from the rest is the emphasis on all of the original crew members. Each of the crew members have time on screen, contribute to the story and have a reasonable amount of dialog. Other familiar "Star Trek" characters have cameos in the film: Dr. Christine Chapel (Majel Barrett) and Janice Rand (Grace Lee Whitney). Another cast member in this film who later plays a pivotal role in the sixth "Star Trek" film is Admiral Cartwright (Brock Peters).

Overall, my rating of for "Star Trek IV: The Voyage Home" is a resounding 5 out of 5 stars. This film, along with the 1982 film "Star Trek II: The Wrath of Kahn" and the later 1996 film "Star Trek VIII: First Contact", are the three best films ever made of the franchise; but this film will always stand out as being the most humorous, having the best & most memorable dialog and having the greatest spirit of the three. I highly recommend it to everyone who, in any form, has liked "Star Trek".

Star Trek IV The Voyage Home, in my opinion, is clearly one of the best out of the TOS six. Although not as high in the suspense aspect, like Leonard Nimoy says, it was good to lighten up a bit and have a good time with Star Trek. While other reviewers might feel the humurous aspects of this film wearout after repeated viewings. I understand that statement, but don't feel the same. I can still get a laugh out of these scenes even though I've seen them more times than I can remember. I especially love the scene with Scotty being handed a mouse and him trying to talk to it. Again, one of the best Star Trek films out of the original six. If you're one of the few people who've not seen this or are new to the genre, I definitely suggest you add this DVD to your collection.

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Who cares if it's the best Trek movie or not? If you've been watching the special features on the past three special edition DVDs, you know that the best part of them is Shatner's comments on the movies. He's a nutbar and immensely entertaining because of it. I can't wait to hear him on a commentary track for the whole movie. That's why I'm going to buy this thing. And that's why I can't wait for the special edition of the next one (IT'S THE ONE HE DIRECTED HIMSELF!!!). This is a must own for anyone with a morbid sense of humor and curiosity.

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I was completely astounded by the quality of this DVD. This is the first time Paramount has used a dual-layered disc for the "Star Trek" films. The quality is 2 times better than the other Trek DVDs because they use 2 times the data. It's unfortunate that Paramount didn't have the foresight to use dual layered discs for their other Trek DVDs. Popping this DVD in the player was like watching the movie for the first time. The sound quality and picture quality is absolutely flawless. The quality of the transfer is remarkable. I've been use to watching the film on fuzzy VHS and poor quality broadcasts, so this was an exciting discovery for me. I can't wait for the ST III to come out on DVD, I'm sure the film quality will also be a big improvement. Go buy this DVD, you haven't seen this film until you buy it.

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Star Trek IV Review

With the success of Star Trek III: The Search for Spock, writer-producer Harve Bennett and director Leonard Nimoy were given the green light by Paramount to wrap up the storyline that began with Star Trek II: The Wrath of Khan. There were several plot strands left to tie up, after all, what with Spock having to be re-educated and Kirk and his crew facing a court-martial for the actions they took in the rescue of their half-Vulcan comrade.

Set barely three months after the events of the third film, Star Trek IV opens with a mysterious alien probe cruising toward the Terran system. Its passage immobilizes any starship it passes as it inexorably makes its way to Earth.

Meanwhile, on Vulcan, Spock (Leonard Nimoy) hurriedly undergoes retraining of his mind. In a wonderfully written scene, the former Enterprise science officer breezes through the quizzes a computer tosses at him until he is stumped by the question "How do you feel?"

Spock's human mother, Amanda (Jane Wyatt, reprising her role from The Original Series' "Journey to Babel") hears the computer repeating the question over and over and sidles over to her son. "What's wrong?"

"I do not understand the question, Mother," says a puzzled Spock.

Amanda explains that the retraining of Spock's mind has been in the Vulcan way, but that the computer knows that Spock is half-human, and that his feelings will surface. Spock is skeptical about the concept of having human emotions (since in the series he strived to be more Vulcan-than-thou), but his mother explains that he is alive at that moment because his friends acted out of their emotional nature, disregarding the "logic" of simply obeying Starfleet orders and refraining from fetching Spock from the Genesis planet.

On Earth, the Klingon ambassador (John Schuck) warns the Federation that there will be no peace while Kirk remains alive and unpunished for stealing the Klingon Bird-of-Prey and defeating its crew (preventing Cmdr. Kruge from obtaining the secrets of Genesis). The Federation president promises there will be a court martial, but the Klingons scoff at this.

Even as the Enterprise crew aboard their stolen Klingon vessel races home to face the consequences of their actions, the alien probe arrives. Sending a signal to Earth's ocean, it disrupts the planet's climate, causing chaos and world-wide disasters.

The Voyage Home had a tortuous development. At first, the original screenplay by Peter Krikes and Steve Meerson focused on a time travel story tailor-made for guest star Eddie Murphy. Fans heard about this and as with the death of Spock and the destruction of the Enterprise protested. Paramount also resisted the idea of mixing two of the studio's franchises, so Murphy and Star Trek never did mix. There was also some nasty behind-the-scenes wrangling about the screenplay, because the Krikes-Meerson version was heavily rewritten by Nicholas Meyer and Harve Bennett an incident overlooked in the documentaries and commentaries. Eventually the original writers won shared credit for the screenplay, and The Voyage Home was released in the summer of 1986. Notably, this more light-hearted film had major crossover appeal, charming not only Star Trek fans, but also wider audiences.

With its clever script and wonderful mix of sci-fi adventure, social commentary, comedy, romance, and drama, Star Trek IV became the most popular entry of the 10 movies made between 1979 and 2002.

This Collector's Edition offers one disc with the theatrical cut of the movie, enhanced with a new menu, Dolby surround sound, a commentary track by director Leonard Nimoy and actor William Shatner, plus a text commentary by Star Trek Encyclopedia authors Mike and Denise Okuda. The second disc comes with the usual documentaries, interviews, and the theatrical trailer.

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Field of Dreams (Blu-ray + DVD) (1989)

I love baseball. Not only in its purest form is it the greatest game ever invented, it is also the only game that completely and thoroughly transcends and binds our country to past, present, and future--generation to generation.

Director Phil Alden Robinson's FIELD OF DREAMS pays homage to baseball's majestic, magical link to nostalgia. When a struggling Iowa farmer, Ray Kinsella (Kevin Costner) begins "hearing voices" and subsequently plows under his cornfield and builds a baseball diamond, he becomes a pariah to his community--to his family. But Ray knows he's tapped into a special level of consiousness: a beautiful, soothing karma that slowly but wonderfully manifests itself throughout this incredible film. The baseball field itself becomes a portal to another world, enabling players from baseball's Golden Age to return. To play baseball. As the film draws to its dramatic, moving ending, Ray surveys his field of dreams and remarks, "This is perfect."

And it is.

Kevin Costner turns in his finest performance. Ray Liotta, Amy Madigan, Timothy Busfield, and the great Burt Lancaster are exceptional. But it is James Earl Jones, who plays disgruntled author Terrence Mann and eventual soul mate to Kinsella, who is the catalyst that takes this film to a higher level. And FIELD OF DREAMS goes to that level, and beyond, like a homerun leaving the upper deck. Highly, highly recommended.

OK, I'll start by admitting my bias when it comes to this film. Field of Dreams is my favorite all-time movie--there, I've said it! So this release was obviously among my first HD DVD purchases, and I have to say I wasn't disappointed in the least. It looks and sounds better than ever. A lot of reviewers have taken this HD DVD to task for the apparent grain and false hues in the image, but my conclusion is that this transfer is the very best that can be had from the original film stock. The release shouldn't really be criticized for decisions the director and DP made 15 years ago! So, yes, I agree that this isn't the best image I've seen on HD DVD, but it ain't bad, either. By no means does it distract from the engrossing, emotional storyline. The extras, ported over from the 15th anniversary DVD release, are abundant and interesting, especially for the legions of fans still captivated by this film. They just don't make 'em like this anymore, so don't dare miss this movie (and HD DVD), which makes you who believe that anything is possible if you have faith.

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Field of Dreams is an incredible movie. It is about the importance and timeliness of belief and hope and family and even baseball. It has a fine cast with Kevin Costner, Ray Liotta, James Earl Jones and Burt Lancaster and Amy Madigan who all work so well together. This is also one of a handful of movies that is even better then the book.

I also agree with and want to thank a prior reviewer who suggested keeping your old Field of Dreams DVD (mine is the Collectors Edition) and buying the new two DVD version (rather than trading the older version for the newer one). The extras on both are great. I especially loved the deleted scenes included in the new version as well as a piece on how people still visit the field where the movie was made. Still, The Making of Field of Dreams on the earlier DVD, which is not included in the new version, taught me much about the movie and movie making and added to my appreciation of the movie. If you can--keep both copies in your DVD library.

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I saw Field of Dreams in 1989 at the theater with my wife and cried my eyes out at the end of it. She thought I was totally crazy and freaked out over the tears that I was shedding over a movie about baseball. When she asked me what was wrong, I didn't know what to say because I had no control over the tears that were flowing. It surprised me as much as it did her. I've since seen Field of Dreams about twenty-five times, and it's now an American classic. I no longer break out in tears when viewing the film, but my eyes still get kind of watery for the magic of the movie hasn't diminished with time. It's just as powerful now as it was eighteen years ago.

As all of you probably know by now, Field of Dreams deals with an Iowa farmer named Ray Kinsella (played wonderfully by Kevin Costner), who hears a mysterious voice in his cornfield one day, saying the famous words, "If you build it, he will come." Since Ray's the only person who can hear the voice, he has to wonder if maybe he's going just a little bit crazy. As the movie progresses, Ray decides to do what the "voice" wants and plows under a third of his major crop so that he can build a baseball diamond for no apparent reason. Now, everybody in town thinks he's absolutely nuts. His wife, Annie (played by Amy Madigan), sticks by him through thick and thin, but she does worry about how all the mounting bills are going to get paid. In time, however, the ghosts of baseball players from the past appear from out of the cornfield to play on this rather unique ball diamond, including the legendary "Shoeless" Joe Jackson (played by Ray Liotta in one of his first acting roles). The catch here is that only Ray and his family can see the ghosts. With the bank threatening to foreclose on the farm, the "voice" tells Ray to go on a long journey to get a reclusive novelist, Terence Mann (played by James Earl Jones), who lives in Boston and an elderly doctor, Archibald "Moonlight" Graham (played by the late Burt Lancaster), who lives in Minnesota, and to bring them both back to the ball field. What happens after that is for the viewer to find out as the film delves into the emotional need for a special "reunion" and the sheer magic of making your dreams come true.

Let me just say that at the end of the film, the camera rises up to show hundreds of cars approaching the Kinsella farm at night, which is poetic in that it eventually happened in real life. Since 1989, over a million people from all over the world have visited the real Field of Dreams, which is located on the eastern side of Iowa about seven miles outside of Dyersville. This movie not only touched my heart, but evidently the hearts of millions of others. It was even nominated for an Academy Award for Best Picture of 1989. I consider this film to be # 1 on my personal top-10 list because it not only deals with the reunion of father and son, but the possibility that you can actually make your dreams come true if you believe in yourself. This special two-disc anniversary edition is definitely worth the upgrade. I spent the money without a second thought. The first disc contains the complete theatrical release, plus a full-length commentary by its director, Phil Alden Robinson, and the director of photography, John Lindley. The second disc contains a number of featurettes. The first is a thirty-minute get together between Kevin Costner and three baseball stars, Bret Saberhagen, Johnny Bench, and George Brett. They watch the movie at Kevin's house and then discuss their careers in baseball, their sons, and how the movie has affected their lives. The second feature is a look at Galena, Illinois, which was used in the movie to represent the small city where "Moonlight" Graham lived--Chisholm, Minnesota. The third feature is a look at the real Field of Dreams outside of Dyersville, Iowa, and how it's grown since its construction in 1988. This is a great little documentary that discusses how this magical field has affected the hundreds of thousands of people who have visited it over the last fifteen years. The fourth feature is the Bravo show: From Page to Script, which deals with the novel, Field of Dreams, and how it was turned into an Academy Award nominated movie. If you love the film, you're going to enjoy this fifty-minute documentary. You finally get to meet the author of the book, William Kinsella, and to hear how the director, Phil Alden Robinson, began to doubt himself during the making of the film. All in all, this is a very special movie with wonderful behind-the-scenes stuff that certainly adds to the enjoyment of the movie. As Phil Robinson says, though the film didn't win Best Picture of 1989, it turned out to be a movie that literally changes people's lives for the better. That's the big reward for him. Highly recommended.

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I lost my Father Bob almost 11 years ago and my life changed forever. Every time I see this film, I think about my regrets, my past, and my Father. I cry every single time I see this great American classic film. I always feel better at the end of the film. As an aspiring Screenwriter, I urge everyone who has lost a parent or love baseball or love film, to own this film. Learn from it and learn that perhaps dreams can come true. And perhaps Heaven is somewhere in Iowa...

-Mark McLaughlin, marknetproductions.dyndns.ws

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