La Haine (The Criterion Collection) (1995)

i have waited forever to buy this movie states-side. the only copy i've ever owned was on vhs and i lost it a long time ago. its been so long since the movie first came out; i remember that it was available as a zone 2 dvd in a european magazine or newspaper (it is common in some countries for them to distribute dvds this way).

anyway. im curious to see what criterion adds to this movie. this movie is a definitive "hip-hop" classic. and not many people know about it here. truly a gem.

I spent $40 a few years ago to buy the Zone 2 version, which I didn't know was unplayable in my DVD player. I will gladly, but somewhat grudgingly, spend another $30 to get a copy of this movie that I can watch without limitations. Truly an eye-opening movie; France's "Boyz in tha Hood," only better in pretty much every way.

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This is one of those movies that sticks in your head. I rented it on VHS years ago when it first came out. I heard about it through its attachment to Jodi Foster's production company Egg Pictures. They help it to get released in the States. From the opening voiceover hurtling towards the ground, to the brutal ending, it will move you. The performances are terrific, and the screenplay does a fabulous job of ratcheting up the tension as the movie progresses.

Whatever your feelings and knowledge about the issues surrounding immigration, this movie shows you how from the immigrants' perspective, the tensions of their new society can clash with those of their original ethnic society into a powderkeg waiting to blow. The three main characters are young and in over their heads. Their feelings of helplessness combine with the fortuitous discovery of a policeman's lost gun to lead them where their not sure they really want to go. It's an intersting and powerful dilemma to watch.

Highly recommended!

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Hate is a strong film about lost youth where the apparent message strikes the audience in the forehead like a nail-pegged baseball bat. The story is set the day after nightly riots in a Parisian ghetto after the young Arabian man, Abdel, was brutally assaulted by the police. Vinz, Said, and Hubert are three friends of Abdel that are set adrift in anger toward the police as they try to find reason and justice within their social environment. The impulsive Vinz, performed by Vincent Cassel, acts tough as he knows that he has a gun that he found after a police officer had accidentally lost it in the riots. Said is the follower who glorifies the violence and strives to be respected as he has a twisted view of what respect is. Hubert dreams of getting out of the ghetto as he does not glorify the violence within the ghetto while his two friends do. The audience follows these three characters throughout a full day as they are sitting around, getting into trouble, and learning through their errors. Kassovitz creates an authentic and explosive atmosphere which becomes the grounds for an exhaustive examination of the socioeconomic milieu of young adults in a poor Parisian ghetto. In the end, Kassovitz succeeds in developing an excellent persuasive and disturbing cinematic experience.

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La Haine is a film that flew beneath my radar for some time. Released to critical acclaim in 1995, it won numerous awards, and earned both the support and criticism of members of the French Government at the time. It explores a day in the life of three hood kids growing up in a public housing project outside of Paris. The film effectively and at times disturbingly shows the tension between the police and Paris' minority communities. Although it is 12 years old, its exploration of police brutality and racial/class disparity is relevant and applicable to modern American society and probably more generally any society in which there is an unequal distribution of wealth.

La Haine is shot in gritty black and white, and is subtitled. Although it is a deep film, it is still an entertaining and absorbing crime/hood drama. It is raw in its depiction of kids growing up on the fringes of society. It is not pretentious or cliche like 'Crash', a film with a similar theme. This is both an artistic and entertaining film, which retains its power after multiple viewings. La Haine deserves to be watched.

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Operation Condor (2012)

How could they?! This American re-relase (complete with snazzy titles) has been cut to ribbons in a vain attempt to keep it serious! How dare they!! slapstick humour IS jackie chan. Whole scenes are actually removed from the film in order to appeal to po-faced Steven segal fans! Having seen the original version on TV, i rushed out to buy it, then being disappointed by the edited version. Its ironic that the humour is censored, rather than the violence.

Still, despite these drawbacks, Its one of Jackie's finest. Big budget (without ruining it like rush hour 2!), very funny, and highly original the fight in the wind tunnel is both spectacular and hilarious at the same time!.

Its a bit of a downer that its been edited to tone down the humour, but its still a superb Chan flick.

Jackie Chan is a physical genius and this,together with a sense of comedy and an air of winning self-deprecation,help set his movies apart from those of other action stars such as the wooden Van Damme and the pompous dirigible Seagal.The physical skills are well in evidence here as are the comedy traits -although personally I find them less well showcased this time around

Operation Condor is clearly an expensive movie and makes widespread use of well photographed North African and European locations ,in its tale of Chan and some female colleagues hunting abandoned Nazi gold in the face of opposition from Arab terrorists and one of the gold's former owners.

There are draggy bits in the middle when the story gets bogged down in broad comedic interludes ,and the dubbing throughout is execrable.All is forgiven when it comes to the climax -an elongated fight scene in a wind tunnel that has flair ,pace and panache.

The end credits show the injury sustained by Chan in making the movie when a stunt went wrong-proof that here is an action star who does not stint on placing himself on the line .Four stars for Chan -and marked down only for the dubbing and the misfiring comedy scenes which simply dont travel well to Occidental audiences

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I bought this DVD knowing it would be cut like most US films of Jackie's. The reason I bought it is because Jackie dubs his own voice I just love his voice, whether he is speaking Cantonese, Mandarin or English! It just adds so much more to the enjoyment of his movies I feel. And there are cut scenes the most obvious a very funny scene in the desert with Jackie trying to give his female off-siders water without their bumbling Arab captors knowing! Notwithstanding all this, this film is one of Jackie's best with amazing stunts and the fight scene in the wind tunnel has to be seen to be believed. A must see, whether it is this version or the original uncut Cantonese with English S/T.

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This dvd is worth the money! I'm Italian and there are a few Jackie's movies translated into my language, luckily there are the english versions... but I also like to watch them in chinese with eng subtitles...

This is a really good movie, with a bit of Indiana Jones, a bit of James Bond and Jackie's funny humor. The background is also interesting and whimsical: the desert, the nazi's base... ok, the story is not so original, but the situations that came out with Jackie and the 3 girls are funny.

And the wind tunnel scene (though it is a fake... they are not flying, there are wires to pull them around...) is GREAT!!!

A challenging movie, that gave some problems during the filming, sand was everywhere and Jackie really got hurt folling from the hanging chain in the nazi's base and dislocated his sternum...

And hey, you can watch this film just because Jackie is always the n. 1

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Las películas de Jakie Chan, aunque no son muy biuenas, valen la pena, nada más por ver todo lo que hace. Los años no le afectan.

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The Illusionist (2006)

This is an excellent gothic thriller based on the short story by Steven Millhauser, Eisenheim The Illusionist, set in late 19th century Vienna about the son of a young cabinetmaker who falls in love with a young Viennese aristocrat and is banned from seeing her as he is a basic commoner. As the legend goes about the young lad, he meets a travelling magician on the road who shows him the secrets of illusion, where he sets off to exotic lands to learn the mysteries of life. He returns to Vienna after his travels and opens a show in the great city to astonish not only Vienna's common public with his quasi supernatural illusions, but also Crown Prince Rudolf, son of Emperor Franz Josef who then reigned over the Austrian Hungarian Empire.

Originally the short story was written as a political criticism of the Monarchy, based on the scandalous incident, where the bodies of Rudolf and his mistress, Baroness Mary Vetsera were found shot in a Royal hunting lodge, apparently a murder suicide which the Royal family kept from the public for many years.

Edward Norton as Eisenheim is understated and brilliant, as the many sleight of hand tricks in the film were actually done by the gifted actor. Norton must have practiced for months to reveal such confidence and skill needed for these types of trick. However, Norton's character portrayed a perfect man of mystery, begging the question, are these mere illusions or does Eisenheim possess supernatural power, controlling matter, energy, space and time itself.

The special effects in this film are well done. My favourite illusion in the film, (and they're many) is the Excalibur Sword illusion where Eisenheim borrows Rudolf's sword, somehow magnetizes it to the stage standing straight up, asking the various aristocrats' in the audience to release it from its position. Of course none can release the sword, as they, like the Arthur legend, are not meant to be king. When Prince Rudolf attempts to pull the sword from its stationary stance, he finally does so with great effort; by causing the ruthless Prince some embarrassment, Eisenheim is now a targeted enemy of the Crown.

Paul Giamatti as the corrupt Inspector Uhl really shows what a versatile and gifted actor he really is, able to do comedy, tragedy, fantasy...a very impressive performance.

The overall look of the film had the atmosphere as if we are viewing a primary historical source, the director using 80 year old editing techniques etc., this was unusual but effective for such a mixed genre film fantasy, thriller, supernatural thriller and fairy tale romance.

When first seeing this film I was spellbound and the ending, a perfect twist, making The Illusionist a perfect example of skilful storytelling.

This is an excellent film.

Set in Vienna, filmed in Prague,and just about as lovely as anything I've seen on the large screen, "The Illusionist" stars Edward Norton as a charismatic magician, and Jessica Biel as his high-born love interest. In keeping with its magic and later, occult, theme, the film unwinds through shadow and darkness, like a carriage being horsedrawn through fin-de-siecle Europe's narrow streets. Philip Glass's minimalist score, rather than acting as an anachronism as one might expect, enhances the ethereal, other-worldly quality. Edward Norton brings to Eisenheim, the central character (the book is based on the short story "Eisenheim, the Illusionist", by Steven Millhauser)an understated quality that adds to the sense that he always knows more than we do...and more than the characters in the film, including the two that most want to undo his works of magic, Inspector Uhl and Crown Prince Leopold. Unfortunately, the latter is engaged to Dutchess Sophie van Teschen, Biel's character. Leopold's intent is not only to prevent his lower class rival's success, but to control Sophie completely. Uhl, on the other hand, continues to respect Eisenheim, even as he is carrying out the Crown Prince's orders to shut the magician's show down.

As the tale unwinds (and it does ever more quickly as it moves toward the end), we do learn more and more about what lies behind Eisenheim's sad eyes. When Sophie's body turns up in the river after an argument with Leopold, Eisenheim's shows take on a dark change and he becomes kind of a "John Edwards" of the 19th century...but this John Edwards can summon holographic ghosts onto the stage, much to the delight of his audience. Is he becoming more and more obsessed and perhaps insane as Sophie begins to appear in these seances? In a twinkling, we find out as much about Eisenheim as we have during the entire film, and the lines in the Sophie-Leopold-Eisenheim triangle between the innocent and the devious aren't so clear.

A film to be savored.

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The Illusionist is one of my favorite films. A unique magic/mystery/love story that is wonderfully written, perfectly cast and excellently directed and acted. The blu-ray is a solid improvement over the dvd, however, because the film was shot in a bit of a soft-focus way, it may not come across as razor-sharp as the newer blu-rays. Still, its well worth an upgrade from the dvd for such an excellent movie.

My only criticism is with the rest of the blu-ray treatment. While the picture and sound are excellent, everything else is an embarrassment. There is no main menu, no chapter selection or bookmarks, and no special features on the blu-ray disc. Just a garish intro page telling the viewer that they can access the specifications by pressing the top-menu button. That gives you access only to the audio setting. And there are no subtitle options either. Madness! Subtitles actually would help occasionally on this particular film as sometimes the actors are speaking quietly and are difficult to hear, and what they are saying is important to the mystery of the film.

This set includes the original dvd disc which DOES have a main menu with all the expected options, so the buyer gets a bizarre combination of a blu-ray disc with nothing but a hi-def picture, and a vastly inferior standard-def disc that treats the film with at least a little of the respect that it richly deserves.

In the end, I'm glad to finally have a hi-def version of The Illusionist, but I'm baffled and frustrated that Fox treated it with such contempt.

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I was taken by surprise when I saw this film I had read Steven Millhauser's short story, on which it is based, but had missed the film when it came out. The film takes the bare bones of the short story and imposes upon them the intense childhood attachment between Eisenheim and his aristocratic neighbor, and the ensuing romance touching the core of the Hapsburg dynasty shortly before it and its empire go down to ruin. Neither the childhood romance nor the rivalry with the Hapsburg heir appears in the short story. I am usually outraged when original literary works receive such treatment by Hollywood. However, in this case, I was rewarded with a lovely, romantic jewel of a film that works quite well on its own terms. The script begs one or two narrative questions, but this is one of the rare cases in which these don't matter much, overall. Contrary to the opinion expressed by a reviewer below, in my opinion the film is defined by the sense of hidden strength and longing with which Edward Norton imbues Eisenheim. The broken childhood attachment that convinces him to follow his calling as a magician, and the later reunification with his lost love that this choice brings about, make for a very satisfying journey, indeed. It is precisely Eisenheim's ability to hide his thoughts, his canny self-control, and his relationship to his magic (which is to say, his broader view of what is possible and what is not), and their ultimate triumph over blunt authority and the social order, that make the film so appealing.

The rest of the cast is very good, as well, particularly Paul Giammati as the police inspector and Rufus Sewell as the unstable and vicious Crown Prince Leopold. Jessica Biel is the weakest leak in this chain as Eisenham's (adult) love: her "Viennese" accent slips the most often, and she is not as charismatic as Norton, but she does well enough and doesn't spoil the movie. The film is set in Vienna in 1910, and the American actors, as well as the British Sewell, were coached to produce a "Viennese" accent, but it isn't, quite, and the result among the Americans is an inconsistent sound that is neither British nor Viennese, and which Biel, in particular, had trouble maintaining. There are a few narrative weakness. One is the Duchess not recognizing Eisenham, the love of her youth, 15 years later as she stares into his eyes on stage he was already an extraordinary young magician when she first knew him and already possessed of an adult voice. Then there is the little matter of the Duchess's exit, apparently with no questions from the noble family who presumably would have wished to bury her! But these quibbles, somehow, are easily set aside in the somewhat fairy-tale-like atmosphere of the film, which was imaginatively shot in sepia tones that enhanced this. This eerie atmosphere is also greatly enhanced by Philip Glass's delicate, mysterious score. Romantics, rebels, and dreamers everywhere will appreciate the themes of this film as expressed through the relationships among the characters. The magical effects, of course, are enhanced by the wonders of computer technology. One is aware of this while watching, but doesn't care.

A charming and romantic film with a truly unique feel to it, highly recommended.

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A good story, great acting, beautful sets, great costumes, special effects.. this movie has it all!

It's a clever story. You sort of know how it will end, but it moves so quickly its always two steps ahead of your ideas on how it all ties up.

This movie didn't shake up the box office. The Oscars will pass it by. The neglect is not deserved.

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Grosse Pointe Blank (15th Anniversary Edition) (1997)

I first saw this during it's initial VHS release. The story is of Martin Blank, a professional Los Angeles hit man who is drawn back to his rural hometown to both attend his high school reunion and take on a contract to whack a guy.

One of the most well-written scripts of the 90's, in my opinion, doesn't work without John Cusack being cast as Martin Blank. He sold the role perfectly, and shines throughout the film, alongside a witty, phenomenal supporting cast of Minnie Driver, Jeremy Piven, Dan Akroyd and Joan Cusack.

Often mistaken as completely morbid, the film takes on not only a tone of humor, but that of vengance and morality. You must see this film.

The DVD, on the other end, [stinks]. Yet another incredible film thrown out there on DVD with a poor transfer and a trailer for an extra. The film sounds fanastic though, and scenes such as the Akroyd/Cusack gunfight and the destruction of the mini-mart can be greatly enjoyed with a good surround sound setup.

Grosse Pointe Blank is an unusual movie. A professional hitman returns to his hometown to "do a job" and, while he's there, attend his 10 year highschool reunion. John Cusack plays the role well, charming and remarkably likeable, despite his profession. This "dark comedy" is very clever, and I rate it as one my favorite 90's films.

Too bad the DVD isn't up to par. It has next to zero extras. But even that could be passable if the picture was good. First of all, the movie is non-anamorphic. That doesn't make a difference unless you have a 16x9 television, it'll look the same on a regular tv, it's just a pet peeve of mine. But, the transfer we did get is just pathetic; it looks like a (bad) laser disc transfer. The picture is grainy, and there are some definite compression artifacts to been seen.

Bottom line: this DVD is worth buying for the movie, no doubt... and since this is the only version available, it's this or nothing. Just don't expect a really terrific picture.

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I went into a local store to check out the packaging for this 2-disc re-release, hoping that Disney would finally release a DVD of Grosse Pointe Blank with a new 16x9 anamorphic transfer. This new disc appears to be the same disc that was released in 1998, and NOT a new anamorphic widescreen transfer. On the back of the package, it still lists "Dolby Digital Surround Sound" and "1.85:1 Widescreen," the same as it did on the original DVD (and the combo GBP/High Fidelity disc that came out later). The new 2-disc release for "High Fidelity" lists the same bonus features as its original release, and showed as "Enhanced for 16x9 Televisions."

It appears the only difference between this release and the original 1998 issue is a second disc with a digital copy for portable video players and updated packaging. I didn't end up buying it based on the packaging and won't until they release a proper version for 16x9 televisions (hopefully a Blu-ray).

I am extremely disappointed that Disney would even bother to re-release such an antiquated, low-quality DVD with only the most minor of improvements (packaging, digital copy). Even if they had not added any bonus features (the original release had none to speak of), an updated anamorphic transfer wouldn't be too much to ask. Will absolutely not buy a copy of Grosse Pointe Blank until a good-quality DVD or Blu-ray is made available.

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Having seen quite a few of John Cusack's movies, I think this one hits exactly the right tone. He often plays lovable loners or losers who somehow manage to get the girl. In this film, he is the ultimate loner, a professional hitman, with very little to brag about at his 10-year high school reunion. He can't even figure out what to tell people who ask him where he's been for the past 10 years, so he tells them the truth, but nobody believes him.

Cusack's character, Martin Blank, is filled with angst, and trying to work this out in therapy. Unfortunately, his therapist (brilliantly underplayed by Alan Arkin), doesn't want to talk to him ever since Blank told the good doctor what he does for a living. The interaction between Cusack and Arkin in this film is much funnier and more real than the Billy Crystal/Robert DeNiro shtick in "Analyze This."

The heart of the film is the relationship between Blank and his high school sweetheart (Minnie Driver), whom he stood up on prom night 10 years before and never contacted again. Blank is emotionally repressed and morally confused (which is why he is well-suited to be a hitman) but Driver is still crazy about him, not believing his statement about his chosen profession. She has some huge trust issues though, what with being stood up on prom night, and all. She is somewhat willing to give him another chance. The playfulness of their interaction is charming, especially when it's tinged with irony and distrust. She doesn't want to have sex with him right away, but she would like an "airplane." (he holds her up with his feet while she pretends to fly)

The climatic scene, where Blank declares his love for Driver, acknowledges his own considerable shortcomings, and promises to change, meanwhile engaging in a gripping, over-the-top shootout with the bad guys, is absolutely perfect for what Cusack's character is about: he can't express himself unless he's pumped full of adrenaline in a battle to the death, but he doesn't want to stay trapped in this way of life.

All of the actors are wonderful, especially Joan Cusack as John's office manager and the person who needles him into going to his reunion and rejoining the human race. Dan Akyroyd is also a hoot.

Everything works in this movie. It's a black comedy/screwball romance/action flick with subtle, clever dialogue, cool music and beautiful scenery. It is completely irreverent, but hopeful and life-affirming, as well.

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If I'm correct, after this movie came out, all the big Cusack fan sites started. Coincidence? I think no compadre. I know I definatly fell head over heels for John Cusack after this movie, not only because of his performance, but because he also wrote the movie, produced it, and supervised the soundtrack (which also kicks some serious boo-tay, featuring some great 80s hits such as: "Blister In the Sun"-by The Violent Femmes, and "Rudie Can't Fail" by The Clash. A little trivia for you...When John Cusack and his buddies at New Crime Productions were writing the script to this movie, they kept The Clash in mind throughout and had Joe Strummer write the score for the movie.)

I was a little dispointed in the DVD version of this movie because of the lack of extras. I was hoping for some commentary or deleted scenes, but alas, all you are left with is the trailer and some "suggested titles," which bore everyone to death. Still, it is wide-screen and the movie is amazing by itself so the rating will not be lowered.

I'm sure everyone viewing this review has seen the movie, but I'll outline the plot for the unblessed among you.

Plot: Martin Q. Blank doesn't know what to do with his life. He has the money, car, but his life feels empty. His therapist reminds him that the angst over killing a lot of people might have something to do with this (He's a lonegunman, professional killer, hitman, however you'd like to describe that profession.) He and his assistant (a brilliant Joan Cusack...what great genes that family has) tell Martin to go back to his high school reunion on the way to do a hit to reunite with his old girlfriend...the one he ditched on prom night and has not stopped dreaming about since. Chaos insues when after not joining a hitman's union fronted by Grocer (a phycotic hitman with frayed nerves), plans to kill Martin by siccing Feds on him after he performs his hit. In the process of reuniting with Debbi, (Minnie Driver, love that woman, she is funny and great in this movie) he realizes that there is so much more to life that he overlooked. It so cute when he holds that baby at the reunion...he realizes the value of human life when he looks into the baby's eyes...a very touching moment.

Does Martin deserve a second shot? (Bad pun, I know) Will he redeem himself? What will Debbi do when she finds out what he really does for a living? Will Martin ever live down his shame at being know as "poodle puncher?" Watch the movie one time to find out, and twenty more times for fun and the joy of seeing John kick some butt (he does all his own kick-boxing stunts that he learned in Say Anything...his kick-boxing instructor also plays the "thug" that is trying to kill him) and wear all black suits. Great plot, witty dialogue, wonderful cast, plus John's friend George Piven's in it. Amazing John movie, definatly in my top five list.

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The Grass is Greener (1960)

What a wonderful movie. Who could ask for more, with a cast including Cary Grant and Robert Mitchum? Not to mention a duel, a missing mink coat, mushrooms, British manors and fishing?

A wonderful romance, that shows how fate and middle age can come together and create havoc on the seemingly happy, if not a bit dull, life of a settled English couple, whose large country estate doubles as a tourist atrraction to support itself. (with lots of American tourists who leave apple cores and sticky bits of paper all over the grounds!)

To make ends meet, the wife also happens to run a thriving mushroom growing business in the cellar! (phew that was a long sentence!)

Robert Mitchum is one of these camera toting tourist who "mistakenly" wanders into the private portion of the house, finding Lady Rile and the sparks fly!

It's a charming old-fashioned adult romantic farce, that's not too far fetched.

I don't even know what Dundee cake is, but I like this movie. Cary Grant as the befuddled, cool, supercilious, angry, calm, loving, clever, wronged, vengeful, forgiving Lord Rhyall does indeed excel. Deborah Kerr as the lady of the house who falls for Robert Mitchum, quite good. Mitchum's not bad at playing the cad. Jean Simmons as the bibulous, gossipy friend Hattie -priceless.

But the dialogue, the verbal joustings, the rapid-fire wit: a marvel. As it turns out, there's jousting of a non-verbal variety, too. There's a weekend spent fishing. There are mysteries solved. There are lies covered and uncovered. There are knowing glances. There are panicky schemes and "friendly" phone calls. And most of the time, for the happy viewer, there is laughter. And admiration of this very elegant, very witty, funny and serious film.

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The movie is delightful, the DVD copy is very satisfactory. Its letterbox format is perfect for this movie, much better than an ananorphic format would have been.

My only complaint is that although the DVD is advertised as "Closed-Captioned" it has the "CC" logo on the case the DVD has NO captioning. This is quite disappointing for those who need captions.

Still, this DVD is the best way to see "The Grass Is Greener" outside of a movie theater.

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The perfect marriage of Kerr and Grant hits a snag when dapper, and loaded, American tourist Mitchum shows up at their grand English country home. While these three hold their own in their respective roles, it is Jean Simmons as the not to subtle and nosy best friend of the couple who steals the show. Her complete enjoyment of everyone else's discomfort is a delight and the writing is witty yet dead on caustic too. Just the scene where she shows up at the house to "comfort" Grant is enough to make any viewer love this film. Definitely a must-see.

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This has always been a favorite film of mine. The story is old-fashioned yet fun and the cast is divine. Despite having the VHS, I wanted more and ordered the DVD.

Beware! This DVD claims on its packaging to have Closed Captioning, but it does NOT!! No subtitles in any language, no line 21 captioning.

Nor does it have anything else. "Interactive Menus" means scene selections. This plain vanilla release doesn't even have a trailer. This film and cast deserves better and I see no reason Lion's Gate reissued this DVD with nothing added.

Since I bought it online, I can't return it and neither Lion's Gate nor Artisan will take it back despite the error in labeling and false advertising which is not the fault of the people I bought it from.

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Death Wish 3 (1985)

I know that Michael Winner got his start making comedies, then turned to making blunt and chilling action movies such as The Stone Killer, The Mechanic and the first Death Wish. However Death Wish 3 is so over the top that I have to wonder if Winner wasn't winking at the audience and one or two scenes seem to be making some kind of satirical statement about this kind of entertainment catharsis. Paul Kersey returns to New York City to visit an old war buddy, but finds his friend dying from a beating given by the local thugs. Kersey is arrested and, while in the local jail, has a run in with the gang leader, a psychotic named Fraker (played with just the right amount of swagger by Gavan O'Herlihy). The police chief (Ed Lauter) is so frustrated with Fraker's gang running (and ruining) the neighborhood that he releases Kersey and wishes him happy shooting. "You're turning me loose?" Kersey asks. "I'm turning you loose." The cop replies. What follows is a series of action set pieces that build to a riot in a payback hungry world gone mad. As many others have noted, this movie is utterly over the top and quite laughter inducing. I cannot tell if it is truly meant to be a subtle parody of Death Wish/urban warfare movies or if it is so stupid that it just plays that way. Did Michael Winner not do his job, or did he do it too well? Watch, enjoy, and decide for yourself. Highly recommended and an essential for both Bronson and/or bad movie fans everywhere.

DEATH WISH 3 is, for its time, an extremely violent movie. Paul Kersey (Charles Bronson) is a seemingly placid soul who goes about killing several hundred thugs and crooks in 1980's NYC. The "plot" finds Kersey returning to NYC where he visits an old war buddy, whom Kersey finds dying on his apartment floor, a victim of intruding gangs. Having lost his friend, Kersey decides to move into his buddy's old apartment and take up a war against the gangs overrunning the neighborhood. I wouldn't even say this is a tale of revenge, because you never get the sense that Kersey gives a damn about his friend's death. It's basically an invitation to kill, something Kersey accepts when a police commissioner asks for "help" in thinning out the criminal herds.

Kersey, a character born from the "silent majority" of the Nixon Era, has no character arc, no narrative, no place to go where he will eventually find peace. This movie is a showcase for violence-funny, absurd, over-the-top violence. Whether on purpose or not, there are several classic moments that make this movie worthwhile. And Bronson's deadpan delivery makes his sparse dialogue memorable. This is crude, terrible filmmaking that I greatly enjoyed to the very end.

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... for messing up such a great movie! Movies like this one need special treatment. Putting this out in fullscreen is like giving it no attention at all. It's a shame because today even ultra-low budget films are being properly remastered for DVD releases. It seems that MGM does not realise at all the cult status of this movieI mean there are countless people out there who have been waiting for a decent release of this movie. I don't consider this an upgrade to my old, fullscreen VHS so I won't be buying it.

As for the movie itself... no words could possibly describe it. It just reaches perfection.

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A discussion of Charles Bronson that fails to mention the "Death Wish" series isn't really a discussion at all. The first entry in this seminal series arrived on the scene in 1974 during a period in American history when all types of crimes skyrocketed. We can thank the moral laxity inflicted on the rest of us by the Counterculture for the increased numbers of murders, arsons, burglaries, robberies, rapes, and countless other forms of physical and mental assaults that soon became common occurrences on every street in the country. A large percentage of the population, referred to by Nixon as "The Silent Majority," ached to find a way to fight back against the vermin committing these atrocities. Since our embrace of vigilante justice faded away due to the abuses of lynching in the South, and our legal system began letting the scum back out on the streets, only Hollywood seemed to offer refuge to the growing number of victims. Enter the revenge and vigilante genre, the most notable entries of which consisted of the Clint Eastwood "Dirty Harry" pictures. In these films, a cop or outraged citizen would hunt down criminals outside the law, meting out a savage brand of justice we could all cheer about. Enter the "Death Wish" franchise.

The sequel to the first film, 1982's "Death Wish 2," apparently earned enough money that the folks at Cannon followed up with a third entry. B-movie fans will give thanks for this decision for centuries to come because "Death Wish 3" is one of the greatest schlock action films ever made. Paul Kersey (Bronson), apparently finding some time between losing family members, decides to visit an old war buddy named Charley who just happens to live in a slum that resembles in no small way Beirut at the height of its civil war. Unfortunately, a gang of vicious killers led by the nightmarish Fraker (Gavan O'Herlihy) runs the neighborhood, and they deliver a savage beating to Charley mere minutes before Kersey arrives. To say Charley doesn't pull through because of his injuries shouldn't be necessary. Unnecessary to say too is that Kersey is about to go on another rampage. He teams up with several of his late friend's neighbors, including an elderly Jewish couple, a Hispanic couple (Marina Sirtis plays the woman!), and Bennett (Martin Balsam) to throw back the forces of darkness. Fortunately for Kersey, the local cops are sick of all the gang activity, so precinct chief Shriker (Ed Lauter) gives our hero free reign to murder and mutilate at random. An overworked public defender by the name of Kathryn Davis (Deborah Raffin) serves as Kersey's potential love interest.

Kersey sets up little tricks to bait the gang. He buys a car and purposefully places it outside to draw thieves. When he hears the windows breaking, he goes outside and guns them down. Paul also helps out his neighbors by placing traps underneath windows that puncture feet and knock out teeth. His biggest contribution to neighborhood safety comes when he and his buddy Wildey (watch and see) put a guffawing mugger by the name of Giggler out of business for good. Fraker attempts to crack down on the neighborhood by killing a few of the residents, blowing up Bennett's small business, and trying to assassinate Kersey. Nothing works, however, so Fraker calls in reinforcements in the shape of a biker gang. All heck breaks out as the neighborhood turns into a war zone. Kersey jogs around the streets toting a machine gun Charley kept hidden for just such an occasion. The cops join in the fun too, but aren't nearly as successful until Shriker joins Kersey for a series of scenes that resemble an arcade shooting game. Oh, I can't forget about the neighbors; they all grab weapons and head out to kick some serious you know what. The violence in the last part of "Death Wish 3" is so over the top as to defy description. Bodies topple off of buildings, people run around on fire shrieking at the top of their lungs, and explosions rock the neighborhood.

A short review simply doesn't do this film justice. It's so ridiculous in every aspect that one could write a book about it. It's also, however, stupendously entertaining. I howl at the top of my lungs every time I see the scene where Fraker calls for help. He says something along the lines of "Hey, this is Mandy Fraker. I'm going to need some guys up here." MANDY? His name is MANDY Fraker? What are the names of his top lieutenants, Murray and Maurice? Oh man! Another gut buster is what happens to Kathryn Davis. In true "Death Wish" form, the plot requires her to perish horribly just as she and Paul strike up a relationship. Never mind the fact that the Davis character is young enough to be Kersey's granddaughter. It feels like the filmmakers just threw this subplot in because someone recalled that Kersey lost important females in his life in the previous two pictures. But the best part of the film occurs when we see the gang members sitting around after the demise of the Giggler. One of them says with all the gravitas of a Royal Shakespearean actor, "They killed the Giggler, man. THEY KILLED THE GIGGLER!" This is the most brilliant piece of dialogue I've ever heard in a B-movie.

The only extra on the disc is a trailer, and the transfer is only fullscreen, but it's enough to have this classic on DVD. By far the most entertaining entry in the "Death Wish" series, Bronson followed "Death Wish 3" with another one in the eighties and one in the nineties before the series finally folded. Charles Bronson passed away in 2003, perhaps never fully knowing his importance to the low budget action potboiler genre. Those of us who love the "Death Wish" films can only rewatch them and dream...

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"This time it's war" is the slogan for Death Wish 4, but I think that would really apply to this one. When you hit the last twenty mintues or so of this film, it does turn to all out war! This has got to be the most blown-out-of-proportion sequel of all time next to the second Rambo film. Bronson's no longer prowling the streets and taking out punks here and there-This time he literally has an all out war with them! Coming back to NY, he finds his Korean war buddy murdered. This is the catalyst for another bloodbath, but he gets the green light when this "dude" talking cop tells(actually he threatens) Bronson to start up again. The neighborhood is completely overrun by gangs with reversed mohawks. In fact, this neighborhood makes south central LA look like Beverly Hills. But Bronson's in town now! Well, these schmucks should know by now that you don't mess with this man. Bronson goes toe to toe with the gang leader who likes to get "High! High! HIGH!", along with other assorted punks including Bill S. Preston-Esquire from Bill and Ted's Excellent Adventure. By the last act, the neighborhood turns into a war zone between punks and apartment residents. Considering the place looked like a war zone to begin with, the surrounding communities don't seem to take notice. This film is pretty outrageous. It's like a comic book or a video game put on film. It's wild. It also has one of the funniest scenes I have ever seen in a film: Bronson buys a junker car, then parks it in front of his apartment and waits for someone to mess with it. He 's invited to dinner at the neighbor's house, and while eating he hears someone messing with the car. He goes outside and blows away the two guys stripping the car, then just walks back in and sits down to dinner. That is the definitive Bronson moment. So, read all of the reviews here, especially the bad ones, then run out and watch this, pronto! People seem to hate this movie for the same reasons it's so entertaining. Come on, there wasn't supposed to be any kind of message to this film. This is 100% junk food entertainment and should be taken as such. The positive reviews "got it" if you know what I mean.

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Source Code (Blu-Ray +DVD) (2011)

SOURCE CODE has an element that is lacking in too many of the Hollywood CGI sci-fi experimental movies that are so very cloned these day humanity. Much of the credit for this quality comes from the intelligent and imaginative writing of Ben Ripley and the tight direction by Duncan Jones, but the main reason this film works so well is the presence of charismatic and fine acting by Jake Gyllenhaal.

The story borders on the obtuse: a device has been invented by Dr. Rutledge (Jeffrey Wright) that can maintain a person in a state of recall much the way a light bulb has a glow after it has been extinguished. Rutledge has placed helicopter pilot Colter Stevens (Jake Gyllenhaal), who is missing in action in Afghanistan, in a capsule that is capable, under the direction of military officer Goodwin (Vera Farmiga), of projecting Stevens onto a train entering Chicago that has been planted with a bomb in order to discover the perpetrator who is apparently planning another bomb that will decimate the city of Chicago. It is a back and forth series of 8 minute exercises, each time Stevens relives the moments before a bomb detonation and gradually learns the the device and its owner. On board the train he meets Christina (Michelle Monaghan) who 'sees' Stevens as her boyfriend Sean and during these repeat flashbacks Stevens and Christina form a bond that makes Stevens re-think his 'purpose' in this military gimmicky.

*In the hands of the wrong people this little venture would seem trite and silly, but with this crew of creators it becomes a puzzle that touches on tension, fear, humor, and warmth. That is what a superb cast can do with any material, but with this particular strange tale it works perfectly. Grady Harp, July 11

I'm not going to tell you what this movie is about.

Why, you ask?

Any info will ruin the experience.

And what an experience it was.

Here's what I liked.

Brilliant storytelling.

Incredible acting from everyone.

Direction, pacing, score were all top notch.

Anything I didn't like?

No.

This film does what so few films do, it will make you think.

It touches on so MANY different themes.

Right.

Wrong.

Good.

Evil.

Moral.

Ethical.

This life.

The next.

And pretty much everything in between.

Brilliant.

In an age of movies filled with senseless violence, unnecessary nudity and swearing that would make a truck driver blush, it's refreshing to see a movie that simply does what films should do....tells a story.

A grand story that I give my highest recommendation.

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Acting awesome

Plot awesome

Directing -awesome

Effectsawesome

If you still enjoy being treated as an intelligent human being without compromising creativity, action, supsense, drama, sensuality, fun and believability in a movie then this one is for you. Awesome movie.

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I had been waiting for Source Code to come out since I saw the first trailer. Captain Colter Stevens is a helicopter pilot forced to relive the life of one Sean Fentress in order to catch a bomber. The premise is pure genius and the repeating of the same scene is kept fresh by the characters and the small changes that occur. Jake Gyllenhaal is a perfect fit for the main character. He is great at confused and wonderful as sympathetic. Michelle Monaghan is great playing off his character and Vera Farmiga is just terrific as she has to display multiple emotions with just her face. Jeffrey Wright's character is the only one not fully fleshed out but the movie doesn't really focus on him. Yes the ending might upset some people but it opens up a slew of questions (I've read so much stuff that people have written afterward) which is the hallmark of a good movie. Everyone should see this, especially fans of Fringe and the Matrix. I disagree with those who say it's like Groundhog day; it isn't.

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I thought this movie was really good up until the last 10 minutes when the wheels came off and it got all sappy. A sad ending would have made more sense.

Man Who Shook the Hand of Vicente Fernandez (2012)

GREAT MOVIE WITH ERNEST BORGNINE.

I LOVE VICENTE FERNANDEZ AS A SINGER AND ERNEST BORGNINE AS AN ACTOR.

THE LAST MOVIE ERNEST BORGNINE DID, WONDERFUL JOB DONE.

THANK YOU.

This movie is one that I'd like to watch more than once. It is funny, entertaining, inspiring, and one I'd recommend to anyone! It's a uniquely creative film that left a few tears in my eyes. Must see!

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Rex is s a retired DJ who feels like he's a failure because he never fulfilled his dream of getting the lead role in a Western. After a back injury lands him in a nursing home, his obsession with all things cowboy seems to come to life. There's a villainous doctor trying to take advantage of a pretty nurse and an old bully whose son owns the place who calls all the shots. Corners are cut, employees are taken advantage of, and both the residents and the staff are praying for a hero. They find it an unlikely and sometimes grumpy old man. Its takes a while for Rex and the staff to warm to each other, but once they learn he met and shook the hand of a local celebrity back in his radio days, he becomes a living legend and he stands up to doctors and old bullies alike.

I liked this movie more than I expected to. I thought it was cute the way they tied life in the nursing home into Rex's cowboy obsession. Mr. Walker and his henchmen ride around on their scooters instead of horses. The quickest draw is a card game instead of a shoot out. Standing up to the villains in a big part of the film, but Rex also has to realize that even though he never landed the lead role in a film, he's still a star in the eyes of his family. Ernest Borgnine gave a stunning and realistic performance in his film, which was a wonderful finale to a lifetime of great accomplishments. 4 Stars

***Please note that I received no form of monetary compensation for this post. I did receive a sample of the product to try in order to write a fair and honest review. The opinions expressed in this review are my own and were not influenced in any way. ***

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Minority Report (2002)

This is a review of the BD version of the film. I am sure most reading know the atory, so I won't get into all of that, though it must be said it is a chliing. exciting, and brilliant vision of the future down to its details. I have seen a couple of reviews that note the issue of "grain" on the image. Here's the deal with that...the grain is supposed to be there. The most common misconception about bluray is that it offers a more enhanced and retouched version of a film. High Definition lets you see the film as it was intended by the filmmakers. Mostb SD DVD has been treated with something called Digital Noise Reduction (DNR). This wipes the image so that it is smooth and waxy. It also distorts the colors, textures, and the original artistic vision. Bluray provides deeper colors, blacks, eliminates edge enhancement, halos, and other issues. Minority Report is intended and was shot to have a gritty feel, hence the grain. This is how the film is supposed to look. It has a kind of washed out, skip bleached look with lots of swirling film grain. This creates an emotional impact that informs the story and the characters. This movie looks fabulous. The grain renders the fine details and textures much harder to see in 480i. 1080p allows us to see it as it looked in the editing bay. Colors are fully accurate and resolved. Blacks are inky and detail is gorgeous, making the special effects all the more dazzling. This transfer was closely supervised and approved by Spielberg. It is the best this film will ever look and the HD DTS soundtrack is tight, robust and exciting. This is one of the films I have been waiting to see in this format and it exceeded my expectations.

I probably would have waited until Minority Report hit the rental stands if it weren't for all the five-star ratings critics have been giving this movie. After being digitally assaulted by the current crop of high-budget special effects films like Spiderman and Attack of the Clones, I was already weary of acting and storyline taking a backseat to gee-whiz computer graphics. I underestimated Spielberg's ability.

So what is the plot exactly? Well, dear reader, take comfort in knowing I will not spoil the movie for you. In the year 2054, Americans are subjected to Gap clothing stores (that scan your retina and hard-sell khakis by your name) as well as USA Today newspapers with animated front page covers that update in real-time. Tom Cruise is John Anderton, Washington D.C.'s top-cop in the experimental pre-crime unit that seeks out and eliminates would-be murderers through the use of precognitive beings that are able to sense murders shortly before they happen. The premise sounds wonderful until John discovers he's about to murder someone he has never met. This is the story on the surface yet it is not the story. I fear many will avoid this movie because this is all they will expect. I will stump for this movie because it's not just an action-thriller and it's not just a thinking-man's science-fiction movie. What lies beneath the story is much deeper and darker.

You see, even in knowing the future, Mr. Anderton is confronted with an awful dilemma. How can he prevent himself from killing the person he is supposed to murder if he has never seen the person he is supposed to kill or the location the murder is supposed to take place? Is the future preordained or does man create his own destiny? As Anderton uncovers the answers to these questions, viewers will find that this is not the underlying story either.

Minority Report is a dark and disturbing vision of the future made believable with Cruise's much more human characterization of Anderton than his previous Mission Impossible persona. Samantha Morton, Colin Farrell, and the incomparable Max von Sydow all serve to effectively help and hinder Anderton's quest. Are there flaws in the movie? Perhaps. The action scenes are impressive and appropriate, but one particular scene in the LEXUS factory contained so much eyeball-jarring camera manipulation that I felt I was hit by a "sick stick." And speaking of brand-names, reviewers complain of the blatant commercialization of the movie. Without question, an obscene amount of advertising permeates almost every frame. Did Spielberg sell out to the highest bidder or is he making a statement about the not-so-distant future, or even the present? I'll let you decide. Finally, the fact this movie received a PG-13 rating is a statement in itself. I remember all the controversy generated by parent-groups when Poltergeist received a PG rating. It seems so long ago...

Yet credit must go to Steven Spielberg as there was much of this movie that could've been done ineffectively. After the disappointing box-office numbers of A.I., many (including myself) were expecting a dumbed-down formulaic hack to swing alongside the rest of the massives. Instead, Spielberg shows he's master of the technology as the impressive display of visuals serve to add to, not overwhelm the story. By the time the movie ends, you may find yourself pondering the kind of questions only philosophers argued over.

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This is a movie that I was unfortunately unable to see at the theaters and regretted it then and even more so now, seeing how great a movie it is. You can normally expect a Steven Spielberg film to contain; stunning imagery, intense suspense and an overly enthralling film, which he delivers perfectly in this film. Minority Report is an absolutely riveting film that will have you going from the moment the film starts to the very last second. Tom Cruise's more recent films really haven't really lived up to expectations, not so in this film. He seems to be completely in his stride with this role. He performs brilliantly in this film. Nods to Max Von Sydow as well. If you're into action/mystery films with a good dose of Science Fiction tossed in for good measure, this is your film. Minority Report is a must for your DVD collection!

The premise:

It is the year 2054 and the film takes place in Washington D. C. For the past several years, murder is all but a thing of the past. With the advent of the Pre Crime division, where three pre-cogs, see a murder before it happens. Tom Cruise plays the chief of the Pre Crimes division, leading the troops in the apprehension of these criminals who haven't, yet are about to commit murder. His character is plagued by the murder of his son, six years prior and is suffering the emotional damage from that murder. The pre-cogs, foretell a murder and as Tom Cruise is working his amazing futuristic computer to discover who the murderer is, he finds that it is he who is the murderer. And so goes the film as he makes his way out of the Pre Crime building and starts on his quest to figure out who has set him up.

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The latest from the master of film, Steven Spielberg, Minority Report is a very entertaining film. Minority Report, starring Tom Cruise, Colin Farrell and others, is about a man in the future, who is being hunted for a Pre-Crime he does not believe he will commit. He has a certain amount of time before the pre-crime is supposed to take place, and tries to search for answers before it is too late. (This is a very, extremely, dumbed down version of the synopsis)

Spielberg tried to draw on the film noir genre to make the film, and doing this definitely gave the film a much more dark feeling overall. There was a certain sense of mystery to the whole movie, and while it is fairly predictable who the villain is,(there are only a limited amount of main characters in the movie, which is why it is predictable) the ride to get to that point where the movie reveals the villain is altogether thrilling, and visually astonishing.

As much as others have said the movie is loaded with action, I have to disagree. The movie has a couple nice action sequences, yes, but in reality, considering the movie's long running time, there weren't that many. The reason why the movie seemed action filled from beginning to end was really because Spielberg truly was able to convey a sense of excitement and intrigue through the dialogue. It reminds me of what the movie "The Beach" wanted to be -a thriller without the action, but where "The Beach" failed, Minority Report has succeeded.

That is not to say there aren't some nice scenes with action of course. The one I loved the most was the sequence where John Anderton (Tom Cruise) has to jump from one car to another, while all the cars are going down a literally vertical highway (the futuristic highways remind me of rollercoasters).

Many felt that the ending to this was way too drawn out, and similar to Spielberg's last movie AI, should have cut out the last 20 minutes or so. I disagree, as I felt the last part of the movie gave it that finishing touch that makes it even more film noir like.

Spielberg has also revealed a darker and more morbid sense of humor that may have come from his tangle with Kubrick in AI. One of the scenes that perfectly illustrates this new Kubrickan Spielberg is one where a man in the movie has to chase after his own eyeballs, bouncing down a hallway -something that is sickeningly funny, and definitely a type of scene that was previously not part of Spielberg's film vocab.

Overall, Minority Report is a thoughtful thriller that definitely warrants at least one viewing.

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Minority Report is a spectacular science fiction masterpiece directed by the great Steven Spielberg and loosely adapted from a short story by Philip K. Dick, one of the fathers of the cyberpunk genre. The movie shows us a world filled with dazzling technology but tells a personal story of a man who is betrayed by the system he worked for. There's plenty of action throughout the film but there's also some philosophy to make you think for hours after the end.

Minority Report is set in Washington, in the year 2054 and it's a great time to live in. The world has changed considerably and advanced technology pervades every aspect of life. Moving pictures draw your attention to every ad and poster. Holograms enable you to live out your wildest fantasies. Mag-lev vehicles ensure that 'car accidents' are a thing of the past. Retinal scanners are everywhere and the cops have jetpacks so the potential criminal has nowhere to run. In fact there hasn't been a single murder in Washington for six years thanks to a group of psychics who see every murder that's going to happen in the future. The police arrest these would-be criminals and place them in suspended animation. It's a good thing the system can't be tampered with and the precogs are never wrong.

At least that's what John Anderton the chief of police thinks until the precogs show him killing someone he doesn't even know. He must use all of his skills to escape and outwit the now-hostile system and find out the truth about the precogs, the conspiracies and his own destiny. All the actors give great performances, especially Tom Cruise and Samantha Morton.

Can we make choices that change our destiny or is the future inevitable. Is it fair to imprison someone for a crime they didn't commit...yet? Is this a worthy price to pay to maintain a murder-free society? Minority Report will give you a lot to think about and its engrossing mystery will keep you engaged until the very end. However, it is not a happy movie and some scenes are very heartbreaking so stay away if you don't like that sort of thing.

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Diamonds Are Forever (2013)

Although Diamonds Are Forever is a fairly weak entry in the James Bond series, the special edition DVD of this movie must rank among the best of all the 007 releases. The half-hour Inside Diamonds Are Forever documentary is both outstanding and informative, featuring such items as the background story behind Mr. Wint and Mr. Kidd (including recent interviews with actors Bruce Glover and Putter Smith), and a fascinating revelation by Jimmy Dean, who admitted to some discomfort in portraying a thinly-disguised Howard Hughes-type character when his real life boss at the time was, in fact, Howard Hughes. The 45-minute biography of Cubby Broccoli is almost worth the price of the DVD alone, and the inclusion of four deleted scenes nicely pieces together what was originally an editing nightmare for this film, especially Plenty's mysterious appearance in Tiffany's pool. One final note: the Bond filmmakers have always prided themselves in delivering sanitized sex scenes without resorting to gratuitous frontal nudity. However, when running the scene in which Bond helps Marie "get something off her chest" in slow motion, during the pre-titles sequence, her left breast, including full nipple, is clearly revealed. In real time, the scene plays so fast that nothing can be seen, but it's a much different story in slow motion.

This Bond movie has it ALL. No doubt one of my favorites in the whole 007 empire. Tiffany Case is probably my favorite BOND girl, because she is no doubt the bad girl of BOND girls. The action in this movie only stops to let the clevage show, in short there is never a dull moment in this 007.

Sean Connery flirts with ALL the chicks, if he had class in the original handful of movies, well he completely did away with that in this venture. He's a wise cracker in this one, which adds a lot of wit to this. Quirky, clever dialouge all around...

"Which do yo prefer, blondes or brunettes?"

"Either, as long as the collars match the cuffs."

Then theres Plenty O'Toole (ha hah) also a very attractive little chick, even though she gets drowned somewhat early on in the film.. oh well, it left more room for Tiffany Case to run around half naked for the rest of the time.... Outstanding rump shot while she's switching the cassette tape inside the laborotary. "Showing a little more cheek than usual, Miss Case?"

Lets not forget that Q is very present in this one, like when he's rigging the slots in the casino, and wins every time. There is also a whole cast of other great characters in this, and the plot goes from one place to the next very rapidly... sometimes the 007 movies can get a little slow, but this one never stops.. even the opening credits with the theme sung by Shirley Bassey is pretty cool. If you don't really get down on the BOND franchise, you still may like this, as just a witty, fun, action movie. Jimmy Dean (yeah, the sausage guy) plays billionaire William Whyte.. another fine addition. By the way, in case I didn't mention it, Tiffany Case is like the hottest BOND girl ever... IMHO.

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Extremely stylish James Bond film, which ushered in the "just for fun era" that didn't end (but was interrupted by For Your Eyes only) until Roger Moore's retirement in 1985. However, this one has several qualities which most of those others don't. First, Sean Connery's back and gives his most complete acting performance in a Bond film. I personally enjoy him more in this film than in any of his other Bonds. It was, for my money, his most relaxed and confident performance. And his less than perfect appearance, though shocking to some, made his portrayal of the world-weary Bond all the more appropriate. Second, the dialogue here is masterful and, for once, truly funny in an ultra-sophisticated sort of way; the witicisms are incredible clever, maybe more so than in any Bond before or since. You have to watch this one over and over just to catch all the ingenious banter. I also really enjoyed all the supporting characters performances as well. While he might have been a little more threatening, Charles Gray's Blofeld is the most memorable of the bunch, and I'd like to think that someone who plots world domination must be somewhat sophisticated and intelligent, rather than just a raving megalamaniac (Pleasance) or a mobster-like neanderthal (Savalas). Next, the producers opted for an older Bond Girl, ala Pussy Galore in Goldfinger, in casting Jill St. John as Tiffany Case and it works well. It would have been hard to stomach a twentish, innocent-looking hardbody in the role of this jaded, international smuggler. Also, in spite of being older and heavier than most Bond girls, Miss St. John comes across as one of the sexiest Bond girls ever and seems to perfectly compliment the aging Connery. The funny but deadly homosexual assassins Wynt and Kidd were perfectly cast, too. Now those are different Bond henchman! But again, there are many things different about this one. As I alluded to in my opening sentence, there's something inately stylish about this film as it possesses a surrealism that seems to be lacking in many of the later Bond films. The characters and sequences have a certain fanciful quality to them. Even the clothing/costumes worn by the characters stand out. The outfits of Tiffany Case and Blofeld especially. And strangely enough, they don't seem as dated as those worn in the two Roger Roger films that followed. Connery, too looks more at home in his suits and and tux than in any of his other Bonds. The moody music is great too. The opening title theme seems to get everything off to a "glittering" start. I liked the music accompanying the fight scenes and action sequences and for that reason was a little disappointed that John Barry opted to use the "James Bond Theme" for the climactic oil rig sequence instead of expounding on the film's score. I keep thinking of the moon buggy chase scene where Connery's knocks the guy off the ATV and the music kicks in as he drives away with Jill St. John observing from the outside, now that was excitng! Why couldn't Barry have come up with something similar for the finale? At other times, the music was appropriately eerie (the early South African scenes) and elegant (the scene at Tiffany's flat and the casino scene). While the plot once again deals with science fiction and the villain threatening the entire world, this time there's a couple of kickers, which I won't go into for fear of spoiling it for those who haven't yet seen this one. Suffice to say though that it's nice to know for once how the villain came upon the capital and means to execute his plan. In conclusion, I think anyone would find this Bond movie one the the most enjoyable of the series if they put it in the right mindset. It made a steady climb into my top five because the more I watched it, the more things I picked up on that made me like it even more. It's just fantastic fun, and last time I checked, there's nothing wrong with that.

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Sean Connery returned in the seventh Bond film after George Lazenby's one movie interlude. Of all the Connery Bond films, this one was probably the most jam-packed with goodies. Of course, the goodies may distract some from the plot line, but they sure are fun.

The basic story, with numerous distractions, is that Ernst Blofeld is using diamonds to create an ultra powerful space laser that will allow him (not that you would have guessed) to blackmail the world for more millions than anyone could count in 1971. This Bond film has numerous subplots that nearly become vignettes in themselves.

At the very beginning of the movie we have an opening scene where Connery rips the bikini top off a beautiful woman while quipping that he wants her to get something off her chest. After a flash of breast, clearly seen in slow motion on DVD, the next scene leads to Bond finding Blofeld in a secret lair. The purpose of the secret lair later turns up as one of the subplots in the movie, and partially explains why Blofeld is hard to kill (can we say doubles?). The opening scene is loaded with tongue-in-cheek remarks that become the hallmark of this film, and presage the Roger Moore tendency to do the same.

The opening credits feature Shirley Bassey of "Goldfinger" fame belting out "Diamonds Are Forever," another wonderful Bond song.

Once you get into the actual movie, the details are so numerous that to describe them all would take more space than I have available. Some highlights:

Jill St. John is beautiful, looking really great in a bikini in this movie.

Mr. Kidd and Mr. Wint, two hit men that normally do a good job, but struggle with Bond, are the first overtly gay men in a Bond movie.

Thumper and Bambi; no Disney characters here, and must be seen to be believed.

Bond's Mustang Mach I; holy shades of the early 70's.

Gadgets, gadgets, and even more gadgets.

Here's a trick. Starting out by tipping your car up on the right two wheels, and somehow popping it up on the left two wheels during the chase.

Exiting from a hidden underground tunnel through a camouflaged exit that Batman would have been ecstatic to have.

Desert chase in a moon buggy.

Being trapped in an underground pipe and chased by an automatic welder.

Climbing up the outside of a hotel, with walls that are angled out.

The closing scene of this movie will seem familiar. Just as in "Thunderball," we have an assault on an enemy stronghold at sea. Last time it was ships and boats attacking a heavily defended Disco Valente. This time it's helicopter gun ships assaulting an oil platform with machine guns.

The Ultimate Edition provides extremely clean picture, worth having if you are either upgrading from VHS or have the first DVD release of this movie. If you have the Special Edition, you may wish to pass this version by.

The Ultimate Edition does have some features not present in the Special Edition. There are two more deleted scenes, one of Shady Tree being killed and one of the Mustang coming from the alley in the proper direction. There is footage of the oil rig attack that was deleted. Test footage of the satellite and explosions are included. Extensive footage of the elevator fight scene forms its own feature. A 1971 BBC interview with Sean Connery is another feature. Note that the Ultimate Edition claims that all these features were never previously seen on DVD, even though four of the deleted scenes were included in the Special Edition. One of my favorite features in the Ultimate Edition is the slide show feature used for the image gallery.

As with the Special Edition, an audio commentary and two featurettes are included.

This movie is one of my personal Bond favorites. However, I like it for the science fiction gadget aspects more than being a spy movie. As a spy movie it is probably too contrived and cute, and while occasional tongue-in-cheek may relieve tension, here it becomes too omnipresent for some. I rate this movie 5 stars because it is just way too fun and has many cool gadgets for 1971. This movie is worthy of your attention and a bowl of popcorn.

Enjoy!

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Poor Roger Moore. Those critics and James Bond fans who disliked the cartoony direction the 007 series took in the 1970's continue to point the accusing finger at TV's "The Saint." They should take aim at screenwriter Tom Mankiewicz instead. The scribe, who later went on to contribute to the "Superman" films before reaching his peak as the director of Dan Ackroyd's big screen desecration of "Dragnet," is the man responsible for turning Bond into a less bumbling version of Inspector Clouseau. But the blame really belongs to the producers and United Artists (then owned by Transamerica, not MGM) which insisted the series turn as far away as possible from the more somber tone of "On Her Majesty's Secret Service." The result is this unimpressive follow-up, the pedestrian "Diamonds Are Forever." And Sean Connery, lured back to his star making role after newcomer George Lazenby abruptly quit the series after one film, is said to have encouraged this new emphasis on humor.

"Diamonds Are Forever" isn't quite a laugh-fest, but it fails to achieve what its producers intended, namely to return the series to the glory days of "Goldfinger." This film was intentionally crafted to resemble the 1964 classic that turned Bond into a phenomenon. It returns 007 to American soil, in this case, Las Vegas, as well as brings Shirley Bassey back to sing the excellent title song, and has Guy Hamilton taking a second shot as director, a position he would retain for two more films.

The film's biggest problem is the way it completely ignores the climax of "OHMSS" even as Bond once more clashes with Ernst Stavro Blofeld, whose actions brought Lazenby's Bond to tears (dry ones, no emotional outbursts from 007) and who is now portrayed by Charles Gray, who becomes the third actor to show his face as Bond's version of Professor Moriarty. Everything about the film is routine, including Jill St. John who looks lovely but is as overly familiar as everything else in the movie.

At first glance, Connery's appearance is jarring: heavier than when we saw him last in "You Only Live Twice," but with a more hirsute hairpiece. Before long, however, you forget about his battle with the aging process and settle back to enjoy his performance.

You can settle back and enjoy the film, too, especially John Barry's score and that silly car chase, but "Diamonds Are Forever" is one of the series' least memorable installments.

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Angel Heart (1987)

This is an intriguing, unusual, beautifully directed, highly atmospheric film that successfully crosses any number of genre: film noir, thriller, mystery, and horror. The plot is simple. In the mid nineteen fifties, a mysterious and slightly sinister business man, Louis Cypher (Robert De Niro), hires Brooklyn gumshoe, Harry Angel (Mickey Rourke), for a missing person case. Angel's investigation, for which he is being paid a princely sum for the time, takes him from Harlem to New Orleans, as he looks for a former crooner named Johnny Favorite, who sometime during the early nineteen forties apparently welched on a business deal with Louis Cypher and hasn't been heard from since.

What happens when Angel gets to New Orleans will be infused with voodoo rites, ritual murders and taboo sex. The Big Easy is hardly that for our erstwhile detective, as he becomes susceptible to a series of initially puzzling flashbacks. Moreover, it seems that everyone with whom he meets, who had a connection to our missing crooner, ends up being savagely murdered. When he meets with a tarot card reader (Charlotte Rampling), it is just the beginning of the end for our increasingly disheveled gumshoe. His introduction to the gorgeous Epiphany (Lisa Bonet), a seventeen year old voodoo queen, later leads to a coupling that is played with singularly wild abandon. Both of these women have a connection to our mysterious missing person, Johnny Favorite, who, it turns out, may have given the Devil a run for his money in the evil department.

Robert De Niro is sensational in the highly stylized, role of Louis Cypher. He imbues the role with just the right amount of sardonic humor and restrained menace so as to make the character memorable. De Niro leaves an indelible imprint on every scene in which he is in. Mickey Rourke, who is in nearly every scene in this film, shows that he has the ability to carry a movie, as he is simply terrific as the private detective who is slowly unraveling. As the film progresses, the toll that the investigation is taking on the tormented Angel is evident on his face. Angst ridden, bleary eyed, and disheveled, Angel is definitely involved in the biggest case of his life. As he gets closer to the truth of what happened to Johnny Favorite, the more his life seems to be spinning out of control. Rourke manages to convey all this, no easy task. The supporting cast is uniformly excellent and adds to the flavor of this delicious gumbo of a film, which is reminiscent of Goethe's Faust. Undoubtedly, this film is one of Alan Parker's best directorial efforts. Bravo!

One of the greatest aspects about this film (to me) is that it is not quite a horror film, not quite a straight supernatural thriller and not totally a gritty detective movie either. It has elements of all three but does not stay consistently with the theme of any. The critics who called it "provocative and original" were correct because if nothing else, _Angel Heart_ is indeed those two things.

On the surface, the plot seems simple. A private investigator named Harry Angel (Mickey Rourke) is hired by Louis Cyphre (Robert De Niro) to find a big band singer from the 1940s, Johnny Favorite. Angel is hesitant at first but he accepts the job because it pays well. From the beginning of the investigation, Angel learns that Favorite must have had plenty of secrets to hide. I don't want to give too much of the plot away so if you want to watch the film without knowing much about its twists and turns, don't read on. Anyhow, it seems that Favorite had powerful friends who took him out of the hospital he was staying at after the war and he disappeared. Because he had been badly injured, his face was still in bandages when he left so it was possible that Johnny didn't even look like Johnny anymore. As Angel probes deeper and deeper, dead bodies begin to pile up and Angel gets involved with Epiphany (Lisa Bonet), a voodoo priestess who could well be underhandedly included in a diabolical scheme with Favorite. In the film, Angel leaves New York for New Orleans to learn more about the occult practices Favorite was part of. This differs from the novel in which the setting stays in New York throughout. By the last twenty minutes of the film, the audience will discover the dark truth about Johnny Favorite at the same time (or maybe before if you've been paying attention) Angel does.

Mickey Rourke does an excellent job of portraying Harry Angel and Robert De Niro, though not an obvious choice for bringing to life the book's version of Louis Cyphre, is fantastic. De Niro plays Cyphre with such skill that even if you find the supernatural premise to be hokey or contrived, you will feel intimidated by his commanding prowess. As one reviewer already mentioned, the cinematography is excellent. The setting, lighting, and lack of bright, vibrant colors give the film a dark, noir feeling that it retains all the way through. I would recommend this film to anyone who enjoys trying to crack how movies will end, anyone who likes detective stories and anyone with an interest in the supernatural.

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Film: 5.0/5.0; Video: 4.0/5.0; Audio: 3.5/5.0

Obviously due to Mickey Rourke's well-earned success and critical acclaim with last year's "The Wrestler", we now receive a fairly expedient release of Alan Parker's "Angel Heart" on the Blu-Ray format, released on the long-defunct Carolco pictures from 1987.

First off I must mention that I am a big fan of this title. It is not a movie which will appeal to everyone, but I really enjoy the overall visual style and the feel (of impending doom) together with the scenery and the truly awesome music and sound cues which makes this a very original piece, and not in any way reminiscent of a typical 80s film. Coupled with a compelling story based on William Hjortsberg's novel "Falling Angel" and top-notch performances throughout makes this one well worth watching over again.

Ironically, this movie was released just before Mickey Rourke intensified his self-destructive process (which coincidentally is what makes "The Wrestler" so good as well, since it parallels Mickey's own strides in life over almost the same period of time covered in that film), a time which--according to his interviews--he was in the process of losing his house (the interviewer actually repeats himself over and over asking Rourke about "why he chose to make the film"). :)

I don't know if it was this pressure which brought out his performance, but nevertheless it is something to behold--especially near the end where he goes all out and almost loses his voice.

The rest of the cast is excellent as well. Lisa Bonet and Charlotte Rampling offer memorable performances, not mentioning the scene in which Bonet almost got kicked off "The Cosby Show" for doing. ;)

As for the technical quality of this release, it is quite decent. The film does show its age in certain scenes and background detail, but it is overall quite acceptable. Not much tinkering has been done to make it artificially sharper or "smoother" using DNR, edge enchancement, et al.

The sound (which is afforded a DTS HD Master Audio track) is quite good as well. Obviously the music really benefits (Courtney Pine's saxophones sound glorious). One small negative point is that it has a little muddy bass (which the original DVD also had), and some scenes did not deliver as much punch as I would have wanted to. Other than that, it was given a quite respectable treatment overall.

Dialogue was also intelligible throughout the feature--better so than many newer 90s releases which have made it onto Blu-Ray.

All in all, I can highly recommend this title if you are looking for something a little out of the ordinary. It has quite a few memorable scenes and the performances and music alone makes this a strong buy.

One of Alan Parker's best.

(On an a related note, I see to my horror that this is scheduled for a remake to be released in 2011. Why do these so-called "moviemakers" always feel the need to subject the most unique & iconic masterpieces to this abhorrent practice? Create something thoughtful & original instead. Oh wait, you're unable to as that would require some ounce of talent. My bad.)

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Most of Parker's films are visually interesting. This one is viscerally mesmerizing, as well, partly because he captures the essential undulent, oily sleaziness of the Big Easy so adroitly. I lived in New Orleans for five years and can spot a fraudulent, comercially bent take when I see one (Clint Eastwood comes to mind). Mickey Rourke was one of those hit or miss actors of the 90s (I was one of those who actually liked him in "Barfly"). In this instance he is more than adequate, and he rolls along with the punchy, quirky script like the prize fighter he longed to be. Lisa Bonet, as the Nubian Lolita, is perfectly cast. No need to provide spoilers here, but the ending is one of the all time greatest, where any ambiguity that the filmmaker might have set up for us is exquisitely resolved. Certainly not one of the deepest cinema excursions ever attempted, but one of the most enjoyable, particularly for those who like a little spice and suspense in their gumbo.

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Director Alan Parker said once he wanted to work in every genre of film before he died. He might as well have retired after making "Angel Heart" because the movie exists simultaneously as film noir, a 50s pulp detective story, a horror movie, and a supernatural thriller. Mickey Rourke is outstanding as Harry Angel, a down-on-his-luck (is there any other kind?) private eye in post-WWII New York who gets hired by a sinister and enigmatic "businessman" named Louis Cyphere (Robert DeNiro, looking almost exactly like his favorite director, Martin Scorsese). Cyphere wants Angel to track down a crooner named Johnny Favorite who owes Cyphere....something. Angel goes from New York to New Orleans on his quest for the missing Johnny Favorite, and on the way becomes progressively more unwashed, unshaven, bleary-eyed, sweaty, beaten up, and desperate as his seemingly routine mission uncovers a hidden world or voodoo, murder, and identity theft. Rourke never had a better performance in his Hollywood career than his turn as the fallen Angel, though he was largely stereotyped after this film to play only scumbags or sex freaks, so maybe it wasn't worth it....we all lost a fine actor....anyway the cast is excellent all around, particularly Lisa Bonet, who should have stayed in feature films but like Rourke took more flack for her intensely explicit sweat-and-blood love scene with Rourke than she got praise for her performance as Epiphany, Angel's sex-interest. "Angel Heart" is an absolute must for fans of detective fiction, horror and most especially, film noir -Parker does a superb job of creating not only the time period, but a brooding, stylish atmospehre. The flick took a major beating from some critics for being too ugly, too dark, too shocking, too sexual and too disturbing, but I think they miss the point. It's suppposed to be, and it is. Highly recommended.

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The Samurai Trilogy (The Criterion Collection) (1956)

The content has been summarized by others. For the person who has not seen these films, the summary cannot convey the content of these 3 films.

In short, the story of perhaps the greatest master of Japanese sword skill ever, a historical/almost mythical figure from 1600 feudal Japan.

The 3 movies tell of his evolution from a young hot head with exceptional ability, to a master of both his martial art and of life from a Japanese Shinto perspective.

These films are full of Japanese culture and mentality.

The actors are spell binding.

The fight sceens are believable and of the highest standard. (No, the actors cannot walk up walls!!! and fly through the air!!!).

The story for me, was and is deeply moving.

Do not misunderstand, my insight and identification does not parallel that of the main character, but it is a story which has become part of me.

I do not know if this will appeal to every one.

It is in Japanese with subtitles.

Some parts of the film become slow.

Nonetheless, for me, this is a masterpiece and one of my all time favorites.

It is timeless.

This film marks the glorious conclusion to the Samurai Trilogy and the ascent of Musashi Miyamoto to spiritual perfection, Musashi Kensei (The Sword-Saint). TOSHIRO MIFUNE, one of the world's greatest actors, delivers a memorable performance as the master at the peak of his enlightenment.

Several years have goneby and Musashi Miyamoto has emerged invincible in over SIXTY duels. Interestingly enough, one sees no pride or ambition in Musashi's manner. He turns down job offers from important lords, including the Shogun's martial arts teacher. In the meantime, Kojiro Sasaki (Koji Tsuruta) regrets the little recognition he has so far received, and seeks to duel Musashi and attain immortal fame.

Otsu (the beautiful Kaoru Yachigusa), the quintessence of loyalty, has fervently sought to see Musashi once again, having parted unwillingly in Part II. In like manner, Akemi (charming Mariko Okada) maintains hope of seeing Musashi, having through a tragic turn of events wound up as a courtesan in a geisha house. Yet both women defy their seeming fates and separately seek Musashi, a testament to the power of love. Musashi himself has not forgotten his love for Otsu, expressed in his Kwannon statuettes made in her likeness. In a poignant paradox, Musashi escapes fame and the follies of this world as a farmer, having once been in that position and dreaming of fame.

In the meantime, Kojiro's skill is finally recognized and he comes under the employ of the Shogun.

The romance between Musashi and the two women is tragically resolved, and a battle between Musashi and a group of bandits proves very costly. Yet Kensei maintains his poise and graciously accepts Kojiro's challenge to a DUEL AT GANTRYU ISLAND. The perfection of Musashi's technique evident in the fact that he carves an oar into a sword on the trip to the island, using wood against the steel of the deadly Swallow Cut. ONE OF THE MOST MOMENTOUS SCENES IN JAPANESE MOTION PICTURE HISTORY.

Hiroshi Inagaki once more deliviers a beautifully directed and cinematographed motion picture. The color is surely the finest in the trilogy, in particular the opening sequence with Kojiro amidst the waterfall and rainbow, and the duel at dawn with its stunning red and gold -Atsushi Yasumoto's photography is brilliant.Ikuma Dan's score is less triumphant and more peaceful and contemplative (though no less dramatic). The pacing is more deliberate, but the strong characters and riveting storyline more than compensate.

This duel establishes MUSASHI MIYAMOTO as the Greatest Swordsman in History. After this battle, he no longer uses real swords in combat, only wooden ones. He goes on to write A BOOK OF FIVE RINGS (a must-have), "A guide for men who want to learn strategy," required reading for kendo students and Japanese businessmen to this day. Musashi Miyamoto Kensei represents the ability in all of us to attain perfect understanding.

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While I don't think these films are quite up to the level of the other great Japanese samurai films of the 1950s (such as Sansho the Bailiff & Seven Samurai), the really great things about the Samurai Trilogy for me were in the marvelous use of natural surroundings, the attractive Japanese leading ladies, and above all being able to see Toshiro Mifune starring in color.

Regarding the DVD transfer, let me first say that I am a frugal guy who does not think that any DVD, however good the transfer, is ever worth 30 bucks. That said, I don't know what all the fuss is about over the image quality on these disks. The film was not released in widescreen so the full-screen image is correct. The only scenes which are perhaps too dark are in the end of the second film, because it was filmed that way originally! The VHS is even darker as far as I could tell. I have 20/40 vision, yet I had absolutely no problem reading the subtitles ever in any of the three films. The image quality in general is not Jeanne d'Arc but it certainly never came close to impairing my ability to enjoy the films. Finally, there are no special features beyond theatrical trailers on any of the DVDs, but the three-pack is also priced cheaper than any other Criterion issues (less than $20/disc) so why complain!

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Blu-ray picture is simply amazing, especially considering this film is almost 60 yrs old. Many scenes are so crystal-clear and detailed you truly feel like you're actually there as an observer instead of watching a film. Detail is razor-sharp; you can see intricate fabric textures and very fine face details in closeup shots. In carefully-lit interior scenes, color is rich but not over-saturated; outdoor scenes are good but not quite as vibrant. Insert says "These new high-definition digital transfers were created on a Spirit Datacine from 35mm low-contrast prints struck from the original camera negatives." Also color fluctuations, scratches, splices, jitter, flicker, etc. were corrected.

Highly recommended definitely a big step up from the DVD version.

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The main thing missing is the much anticipated commentary track. I got so used to Seven Samurai, Yojimbo, and others that I got spoiled with. I know this is not a Kurosawa masterpiece but it's still a masterpiece on its own. Wish they had a commentary track with Stephen Prince. Anyways...for each of the 3 films, William Wilson, gives the historical info on the real Musashi Miyamoto and how it relates to the film where many parts are fictitious for entertainment purposes and you'll find them in the "supplements" section.

They put the 2 bluray discs on one spindle which is divided top and bottom and the booklet on the left side on a single bluray case. I have a slight gripe about this set up. First, the films can't be sold separately because 2 movies are on 1 50gb bluray dual layer and the 3rd movie is on the 2nd bluray 25gb single layer. So, wanting a collector's item goes right out the door due to not having individualized packaging just like Yojimbo and Sanjuro.

The films are in it's original 1.33:1 aspect ratio at 1080p HD and amazon's listing at 1.77:1 is incorrect. When viewing on your widescreen TV, you'll see 2 black bars to the sides just like Seven Samurai. The picture quality is definitely leaps and bounds superior to that of the 2004 criterion DVD release. The colors are vibrant and the contrast is maxed out. Almost feels like I'm watching something new entirely. Some might be turned off by the heavy grain quality but keep in mind this film is old. In todays standards with recent films, the grainy quality would be unacceptable. Audio has been improved as well with a noticeable higher Mhz monaural. If you're watching on a 120Hz or 240Hz refresh rate TV, go ahead and turn them off, it gets distracting with the blurriness of movements.

Recommended.

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