The Rules of the Game (The Criterion Collection) (1939)

*** NOV-22-2011: ADDED REVIEW OF 2011 BLU-RAY & DVD ***

Criterion now has released 3 editions of this French classic: 2004 DVD edition (blue cover with photos) that has been put out of print, 2011 DVD edition (bright cover with vintage drawing) that has identical content save for a revised supplement, and a corresponding 2011 Blu-ray edition that is a high-def version of the 2011 DVD.

The 2011 Blu-ray and DVD appear to have used the same source that yielded the 2004 DVD. As those who have seen the 2004 DVD know, the original source is not in the best of shape, even though it is the best material Criterion was able to get. Google "nytimes hunting rules of the game" to see the report on Criterion's effort in tracking down the best material of the film. So does this Blu-ray look as good as the "Casablanca" blu-ray, the "Gone of the Wind" blu-ray, the "It's a Mad, Mad, Mad, Mad World" blu-ray? No, it doesn't. But as usual, Criterion maintains the integrity of the picture by retaining a lot of film grains on the transfer. Other studios may use digital noise reduction (DNR) to remove those film grains to not annoy modern viewers. But Criterion consistently retains film grains on its Blu-rays, thereby retaining a lot of picture details which may have been lost otherwise had DNR been used. Those who have seen a classic film in theaters would know that film grains are inherent to the pictures from those periods. These Criterion Blu-rays therefore give you as close to a theatrical experience as you can get. This Blu-ray also offers 2-3 times higher horizontal and vertical resolutions, 6 times higher video bit rate, and 6 times higher audio bit rate compared to its DVD counterpart, although these advantages benefit more to those with large screen HDTVs and good audio systems.

So what about the revised supplement on the 2011 editions? On the 2004 edition, the filmmakers' tributes to the film is on the disc. But on the 2011 editions, they are put on the booklet.

My review of the 2004 DVD is below.

** ORIGINAL REVIEW OF CRITERION 2004 DVD EDITION, JAN-24-2004 **

On the surface, THE RULES OF THE GAME is a frivolous satire of the French ruling class during the interwar years. But beneath it, this 1939 film is a rather sweeping appraisal on human nature and how the rigidity of our society continues to undermine our humanity. With a microcosmic cast of characters that comprises of masters and servants, the film weaves an intricate plot about their love, jealousies, deceit, infidelities, hypocrisies, misunderstandings, and, at times, reconciliations, and realignments of friends and foes. Through their travails, the film depicts a symbolic breakdown, and ultimately restoration, of the prevailing social order, resulting in the film being both a comedy and a tragedy. Director Jean Renoir also acts in the film, playing the pivotal role of an outsider (obviously a stand-in for the audience). His character's futile attempts to break into the "circle" and to bring about the well-beings of his friends suggest that it is often difficult to survive under the social order, let alone change it.

The Criterion DVD is an all-region two-disc set with a newly restored video transfer and plenty of rewarding extra material. This eagerly-awaited disc was originally to be released last Fall, when Criterion had already finished a video transfer that would have looked better than any existing copy of the film. But at the last minute, Criterion received word that an earlier-generation fine-grain master of the film had been located in France, and that additional improvement, though not dramatic, could be made to the picture quality. Being the perfectionist that it often is, Criterion decided to redo the video transfer based on the fine-grain master, thus delaying the DVD's release by several months. According to the New York Times article "Hunting 'The Rules of the Game'" on Jan-18-04, the redone transfer justified the additional time and cost by yielding more details in dark areas and richer shades of grey on the picture, resulting in a less harsh look and perhaps subliminally making the characters in the film seem more sympathetic.

The DVD's video quality is indeed the best I've ever seen. Its sharpness and clarity of details are a revelation to those who have seen, for instance, Criterion's laserdisc version years ago. A digital cleanup process has been used to eliminate much (but not all) of the dirt and blemishes. The original French audio track has also been improved, and it now sounds cleaner, with almost no hiss and pops, and more detailed. In a film that relies on its numerous visual and audio details to be effective, the technical improvements made for this DVD are absolutely worthwhile and welcomed.

Accompanying the film is a superb analytical audio commentary written by film historian and Renoir's friend Alexander Sesonske, and read fluidly by Peter Bogdanovich. Recorded in 1989 for the Criterion laserdisc, this commentary analyzes the intricate relationships of the characters, how their actions often counterpoint one another's, and what Renoir intends to accomplish with them. It points out that the story creates two groups of quintets, each comprising of a husband, wife, lover, mistress, and interceding friend, and that the actions in one group are often the opposites of the other. The commentary also mentions the political climate in which Renoir made the film, as well as the classical works (such as The Marriage of Figaro) that inspired Renoir.

A 30-minute excerpt of the 1967 TV documentary "Jean Renoir, le patron", originally included in the laserdisc version, is also included in this DVD. It is essentially an interview of Renoir, who talks about his shooting style, and the themes and characters of the film. There is also a rather poignant moment of Renoir reuniting with actor Marcel Dalio at the steps of the "La Colinière," where they reminisce about their experience.

The DVD includes a great one-hour documentary on Renoir and RULES OF THE GAME, made by BBC in 1993. It recalls Renoir's childhood, upbringing, how his love of the movies developed, and his film career up to and including RULES OF THE GAME. It shows fascinating clips of his early films such as LA FILLE DE L'EAU, CHARLESTON, NANA, LA CHIENNE, BONDU SAVED FROM DROWNING, and others. It also includes comments from his family members, friends, collaborators, and other filmmakers such as Bertrand Tavernier, Bernardo Bertolucci, and Peter Bogdanovich.

Perhaps the best supplement in the whole DVD set is a "Version Comparison" that provides side-by-side comparison of the final scenes in two versions of the film: the shorter 81-minute cut which Renoir reluctantly made in response to criticisms, and the longer 106-minute version that was reconstructed in 1959 (the version used for this DVD's presentation). Film historian Christopher Faulkner's commentary provides further elucidation on the differences between the two. Thus, we can plainly see for ourselves that the shorter version drastically eliminates many of the subtleties and alters the meaning of the film's final moments completely.

Also valuable is a 10-minute interview footage of the two people who reconstructed the 1959 version, Jean Gaborit and Jacques Durand. They recall their multi-year efforts in finding film elements from all over the world, and eventually discovering several minutes of footage that was not in Renoir's original version (one of such footage is the long conversation between Octave and André at the knoll in the countryside).

Other extras include an 8-minute "video essay" (a featurette) on the film's production history, 3 interview segments, and several written tributes by today's filmmakers, which include a few pretty thoughtful mini-essays on the film as well as succinct comments such as that from Robert Altman: "THE RULES OF THE GAME taught me the rules of the game."

Jean Renoir's THE RULES OF THE GAME takes place on the eve of World War II at an aristocratic house party in an opulent chateau just outside of Paris where the overlapping `affaires d'amour' of all social classes are observed with a keen and compassionate eye. Renoir looks to the eighteenth-century world of Commedia dell'Arte and Mozartian opera, and seamlessly integrates farce with tragedy, using a classical form to offer his audience a profound and multifaceted parable on the disturbing realities that underlie the veneer of contemporary French society.

It is the middle-class aviator, André Jurieu (Roland Toutain), who embodies the film's central conflict between the private passions and a sense of obligation to a larger social body. Right at the outset of the film, he violates the unwritten "rules" of social propriety by declaring to a radio reporter his disappointment that the woman he had been courting, Christine de la Chesnaye (Nora Grégor), is not present at his reception after completing a record-breaking flight across the Atlantic. His skill with the advanced technology of aircraft is not matched by an ability to deal with people, particularly in matters of love. Indeed, André's careless and unmediated show of desire for a highborn lady not only transgresses the received law of proper social conduct but of traditional class distinctions as well.

Other characters also entertain desires that come into conflict with the social order. The Marquis, Robert de la Chesnaye (Marcel Dalio), is having a fling with Geneviève de Marrast (Mila Parély) behind Christine's back, and Geneviève is sincerely attached to him and wants for them to go away together yet he maintains the proper outward appearance, and out of politeness and consideration for his wife's feelings, keeps up the charade that their affair is a secret in spite of the fact that "everybody knows." Christine observes her husband's liaison with strange amusement, commenting that they look "very interesting" together for her adultery is a form of entertaining spectacle. But even Robert loses his cool at one point when he discovers Christine and André together in the gunroom and punches the aviator in the face.

Strangely enough, it is only the classless Pandarus-figure, Octave, who can get through to the serenely unattainable Christine because he seems to have no particular desires of his own; he only concerns himself with regulating the desires of others. Octave confesses that, like Marcello Mastrioanni in Fellini's LA DOLCE VITA, he is "a failure" who merely pleases his friends so that he may live off their wealth like "a parasite." Apparently, Christine loves him for his understanding that everything in life, every social relationship, is really a lie of some sort, and that all desire and romantic fantasy is, at bottom, a blind form of narcissistic self-deception. It seems that the two of them have come to understand the law that underpins desire "La Règle de Jeu" all too well.

As Pauline Kael has pointed out, Renoir may have conceived Robert de la Chesnaye as a composite of two different characters in GRAND ILLUSION: Marcel Dalio's rich young mercantile Jew, Rosenthal, and the generous, self-sacrificing French nobleman, De Boeldieu, played by Pierre Fresnay. Here, the director appears to equate the waning aristocracy of Old World Europe with the imminent fate of the European Jewish community in the wake of rising nationalism, militarism, and xenophobia. When a chef makes an anti-Semitic slight against the Robert, revealing the bigotry of the French working classes, it evokes the controversy surrounding the Dreyfus Affair. By the same token, the General's final comment that Robert is one of a "dying breed" not only heralds the decay of aristocratic privilege but, from the vantage point of hindsight, also seems a chilling spectre of Nazi racialist ideology and the Final Solution.

Christine's Austrian origin alludes to the looming war with Germany and seems a prediction of France's collaboration under the Vichy régime. Likewise, the reference to Schumacher's home of Alsace-Lorraine, the highly contested land ceded to the Germans at the end of the Franco-Prussian war in 1871 and then returned to France with the Treaty of Versailles in 1919, highlights an old geopolitical conflict between the two countries. The indiscriminate destruction of life in the rabbit and pheasant hunt sequence forecasts the waste and destruction of the war to come.

Renoir's approach to mise-en-scène is especially groundbreaking. He employs seamless cutting as well as long continuous takes and tracking shots which follow the characters as they move from one space to the next in a manner that anticipates the graceful circling, panning, sensuously kinetic camera of Welles, Ophüls, Godard, Resnais, Bertolucci and others. He uses deep-focus compositions, avoiding close-ups by putting many actors in the frame at the same time to suggest multiple viewpoints. The balustrades of La Colinière and the languorous tracking shots down the long corridors undoubtedly inspired those in LAST YEAR AT MARIENBAD while the checkered floor suggests a harlequinade and a chess board upon which the characters maneuver themselves in relation to each other like the similarly checkered shuffleboard floor in Antonioni's LA NOTTE or the geometrically precise arrangement of the garden in MARIENBAD. (Interestingly enough, Coco Chanel designed the costumes for both THE RULES OF THE GAME and LAST YEAR AT MARIENBAD).

Octave's gorilla suit at the party implies a regression of human behavior to a more primitive state, setting up a conflict between barbarism and civilized life, between the savage realities of human desire and the law of the social contract that contains them as theatrical spectacle. The Shakespearean convention of "the play within the play" appears just as it does in THE GOLDEN COACH in various forms throughout the film, the most ominous being the `danse macabre,' echoed in the séance and ritual journey to the realm of the dead in LA DOLCE VITA, suggesting that Renoir's superficial `affaires d'amour' are really a dance of death heralding the apocalyptic destruction of the old Europe.

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No history of cinema would be complete without "The Rules of the Game" (1939). Director Jean Renoir's brilliant, perceptive study of a dying French aristocracy remains among the finest examples of visual poetry captured on film as evidenced in the savage "rabbit hunt" and the haunting final shot. Along with "Grand Illusion" (1937), "The Rules of the Game" represents the high-water mark of Renoir's career. It's as close to perfection as a film can get.

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I had no idea what to expect before watching this film. I purposefully kept myself ignorant of it because I wanted to experience it as fresh as possible. All I knew was that, for years, it has consistently placed second on the Sight & Sound polls of the greatest films of all time (Citizen Kane always comes in first). Now, knowing that a film is considered one of the greatest of all time sometimes means that you are in for a snore. There are some so-called "classics" that just bore me to tears (The Conformist or L'Aventura spring to mind).

Yes, this is one of the greatest movies ever made. Yes, it is a satire on aristocratic society at the time. Yes, it was badly received and banned by the Nazis. Blah, blah, blah who cares? The amazing thing is what a joy this movie is to watch. It is genuinely funny. I often hear it cited as the main influence on Robert Altman, and now I can understand why. Instead of criticizing Paul Thomas Anderson for copying Altman, we should appreciate Altman imitating Renoir. Here we see the big cast without any real central character, the anarchic humor, and the brisk energy that moves everything along.

Like everything in the Criterion Collection, this print LOOKS VERY GOOD. This is all the more important since the original negative had been destroyed in World War II and for years only second-rate prints were available. There is a second disc that documents all the travails that this film went through, and how it was edited to several different versions. The version we have now was restored in the fifties outside (but with the blessing of) Renoir. This print is 98 minutes long. The original was 91 minutes, and we are still missing an unimportant scene from that original version. I would have liked to have had a new documentary with more commentary from contemporary filmmakers (especially Altman who admits that he learned "the rules of the game from The Rules of the Game"). However, there is a voice-over commentary track by Peter Bogdonavich, who is as good a film scholar as they come.

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`The Rules of the Game', written and directed by Jean Renoir is considered by most to be one of the top ten movies of all time, commonly spoken of in the same class as Fellini's `La Dolce Vita', Kurasawa's `The Seven Samurai', Wells `Citizen Kane', Eisenstein's `Battleship Potemkin' and Kubrick's `2001' I completely agree with this assessment, but with a comments on why this movie is so much different than these others.

There are many things you can appreciate about this movie with nothing more than the English translation of the dialogue. I confess that I had to be prompted to appreciate this, but a careful viewer should be able to see how skillful Renoir and his cameramen are in making long focus shots where both foreground and background action can be seen in clear focus. The camera work may not be quite as dramatic as Eisenstein or Wells, but it is effective nonetheless. And, like these other directors, the camera shots are not done just to be clever. They are always used to capture something important, as when we see action down a hall in the middle background that puts the lie to the dialogue in the foreground.

Another cinematic trick is how Renoir ties together several scenes by some perfectly logical devices. The most dramatic is in the first few scenes where many of the principle characters are introduced at widely separate locations by the device of having all the characters either contributing to or listening to the same radio broadcast upon the arrival of aviator, Andre Jurieu at a Paris airport upon repeating the transatlantic flight of Charles Lindbergh.

While the cinematic devices and stage directions contribute much, the meat of the film is in the relations between the eight principal characters, forming three interlocking romantic triangles among the bourgeoisie and a parallel triangle in the servant class, linked by the `classless' character, Octave (played by Renoir himself). These various interlocking romances drive most of the action throughout the movie, and are, collectively, evidence of a rottenness in the fabric of French society. Part of the greatness of this movie is that the malady Renoir depicts probably cannot be summarized in a few words, which is why we need a two hour movie to fully play it out.

Unfortunately for the modern American viewer who does not know French and whose knowledge of French 20th century history may be a bit weak, there is much in this movie which will be missed. The first is as simple as some word usages common to European languages but foreign to modern English. French and German both have two different modes of addressing people. One is polite and respectful for business colleagues, superiors, distant relatives, and just about everything except close relatives such as spouse, children, and close friends. The use of one form of address or the other is a dead giveaway to some aspects of the relation between people in drama. The second is present in English, but probably not very familiar to the average speaker. This is the difference between `good-bye' and `farewell'. The first simply means you are leaving for the moment, and expect to see the listener again soon. The latter means you are parting company for good, as when you are breaking a relationship and leaving for a distant land. I experienced how dramatic this difference was when I was leaving a company in Germany after a summer employment and used the German form of `farewell' and found my listeners were really touched by the distinction.

An even more important background element is the fact that this movie was filmed just a few months before the outbreak of World War II, and everyone knew it was coming. Thus, anything said to reflect on the soundness of the French culture or `backbone' could be taken as a serious criticism of the French state. Another subtlety is the fact that the lead actress, Nora Gregor, is from Strasbourg, a German city that just happens to be in France as a result of World War I.

The film is subtitled a `dramatic fantasy' which takes some of the bite out of the social satire, but not much. On a visceral level, I can't find a single major character with whom I am sympathetic. They are all tangled up in what seem like such shallow relationships, where the principle male character's interest in mechanical toys seems more important to him than his relation with his wife.

This DVD includes the single most useful extra, an English commentary track written by film scholar, Alexander Sesonske and read by the noted director and film commentator, Peter Bogdanovich. This commentary illuminates almost all of the things that may be hidden by the language and the historical context.

Most of the other extras support our understanding of the film, our appreciation of how it went from commercial flop in 1939 to its appreciation as a great film today, and our appreciation of what Renoir had to do to get the film made.

While I do not know if older versions of the film are available, it is worth warning that this particular 106 minute version of the film is actually 12 minutes longer than Renoir's original release and almost 20 minutes longer than the version cut down after the original critical and commercial failure of the 92 minute version. While I cannot be absolutely sure the long version is better than the original, the film is so important that every scrap of information we have about the film is valuable.

One contribution of some extras is testimonials by major directors such as Francois Truffaut and Bernardo Bertolluci on how this film influenced their careers. If I were to find anything at all objectionable about this package it is the fact that the booklet is printed with white text on a dark gray and is very difficult to read.

This is a very important movie indeed!

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Patriot Games (1992)

This is one of my all-time favorite political thrillers. This film successfully, and even brilliantly brings Tom Clancy's novel "Patriot Games" to the screen in an effective manner that is a delight to watch. The direction and acting are excellent. The musical score is superb, and this is one of those movies in which the soundtrack almost comes to dominate one's impression of the movie. This is not to take away from a bravo performance by Harrison Ford, who effectively pulls off his Jack Ryan character. I originally had my doubts about Ford as Jack Ryan, but Ford succeeds excellently.

The direction of this film is particularly good. The artistic direction, effectively combined with the haunting, wistful, musical score make this film unforgettable, and several cuts above the usual political thriller. This is a thoughtful, intelligent film but nevertheless contains plenty of fast-paced action. The plot moves smartly, but never features action just for the sake of action.

This is a film that most viewers will enjoy many times.

For sheer excitement on the edge of your not-so-easy chair, there's nothing like a good Jack Ryan story, and I think this is the best of them. The plot involves one of the most obsessed bad guys you'll ever see, a fanatically militant member of an IRA splinter group whose attack on the British royal family is thwarted almost unconsciously by Ryan, who is visiting England as a tourist/lecturer. Now ex-CIA, Ryan's family is nearby, and family is central in this tale of the cold-blooded world of international espionage and terrorism. The family angle is one that keeps the story so chilling throughout, as the terrorist's brother is shot to death by Ryan as he ruins their try on the royals, and our star villain then sets out to stalk Ryan and his wife and daughter.

The film moves at an almost perfect pace, and unveils to us some modern aspects of this shadowy world. For instance, even Ryan, played with understated perfection by Harrison Ford, is creeped out by his participation in a nighttime strike on a desert camp believed to be IRA training ground. In this scene he and several other jacket-and-tie types watch soldiers take out this nest of vipers a half-world away, thanks to infrared and satellite technology, all while detached voices calmly note "Target neutralized" and spies dressed like businessmen smile and nod while whispering to one another in thorough detachment from the blood and guts of the operation. All this technology and we are not removed from the days of the rich people perching on hills near the battles of Civil War days, sipping tea while viewing the entertainment.

I cannot give less than five stars to a film that draws me in so completely as this one, making me feel the tension with such clarity and indeed making it so easy to actually hate the villain. Yet the film strikes sour notes with the drunken Richard Harris's half-hearted performance as an IRA bigwig, and with the cliched ending moment of an otherwise superb boat chase at the film's climax. Two distracting moments would mean a score of 9 on a scale of 1 to 10, or, in Amazon terms, 4-1/2 stars. These being minor, a full five stars is quite reasonable. Nearly a perfect action film; even the understated music score is just so right that it can't be imagined being done any other way.

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I agree that this Blu-ray could have been done a lot better but it is a definite improvement from the SD version. If you are a fan of this movie and HD this is the best you are going to get for at least a while so you have to take it or leave it. I don't regret buying it. I don't know what some of these other reviews are talking about with flashes of light, etc. I have two different players and a 60" and 40" screen and I didn't see any of that on either of them.

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In typical studio fashion, Paramount has transfered this exact same master that was temporarily released on HD DVD early this year which was a mixed bag and not what these films, the fans of the films, or high def owners deserve.

I really enjoy the first 3 Jack Ryan films, the 4th not so much because of Ben Affleck and because it's just too out of sync with the previous trilogy. The first 3 are classic political thrillers that do a great job of bringing Tom Clancy's books to the big screen. His vision and Jack Ryan character are for the most part, executed very well on these films. Many have their preferences as the stronger and better of the bunch but I like Hunt for Red October, Patriot Games and Clear and Present Danger individually for their own qualities and suspenseful action.

I've seen all of the Jack Ryan's on HD DVD, and sure enough, the Blu Ray's are exactly the same. Which is too bad because Paramount didn't do a very good job remastering them and they just don't look nearly as good as they should in hi def. I suspect that many Blu Ray owners will be pretty disappointed with the lack of visual pop that they're hoping for. Each of the Jack Ryan's looks better than the one before it which is typical as newer films upgrade easier to high def. And at least they all look better than their standard def counterparts. The problem is, is that most hi def owners have seen older films than these look better than these. Which brings us to wonder, what went wrong here? Granted, these films are a difficult upgrade as most of the scenes take place inside a submarine, house, office, or outside on overcast days, making it more difficult to provide that 3D pop we're looking for. But there are specks and dirt in the transfers and while I didn't find them in abundance or distracting, I do feel it's inexcusable at this point in the Hi Def's life cycle, especially for these movies. There's no reason for them not to be squeaky clean by now, even if they're going to look a little flat. But they are the best transfers available and the best we'll see until they provide us a proper remastering. But one is due.

The audio, well this is finally where these discs pop. And I mean POP!!! We're given some truly thunderous transfers here in Dolby TrueHD. These films sounded good to begin with on standard dvd (especially October) but these new transfers are just incredible. They easily trounce the old ones. The scores, sound effects, gun shots and explosions are absolutely thrilling. This is all moot if you don't have a proper surround system to decode and dish out the TrueHD tracks though. If thats the case, then you may want to consider keeping your standard discs if you have them because the audio is the clear selling point for the upgrade.

Despite my dissatisfaction with the flimsy visual upgrades, I'm still satisfied with these discs. I'd recommend them for any Blu Ray (and home theater) owner looking for a worthy upgrade for their favorite Tom Clancy films. Again, I stress you'll be much more impressed by the HD audio here rather than the passable but not demo worthy HD video. I give this set a 4 out of five because even though difficult, I believe if they really wanted to, Paramount could've and should've given these films a better makeover than they got. The powerful audio will help ease the disappointment with the video. Overall, I still recommend them.

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Though I really like the movie, this might be the worst looking blu-ray movie I've seen, and I own about 50. There is all kinds of light colored pixelization in the darker parts of the film that pulsates and distracts. I tried to find a feedback system on Paramount's web page, but no such thing seems to exist.

Very disappointing.

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The Duellists (1977)

Based on Joseph Conrad's book "The Duel", the true story of a 30-year feud between two Napoleonic cavalry officers, "The Duellists" was Ridley Scott's first major film. Starring Keith Carradine as the pompous D'Hubert and a particularly menacing Harvey Keitel as Feraud, the film climbs inside the minds of two men for whom honor is more important than life itself.

The two antagonists begin their series of bloody encounters when D'Hubert is ordered by his commanding general to arrest Feraud for wounding the local mayor's nephew in a duel. Feraud, in a hopelessly irrational state, challenges D'Hubert to a duel, which is carried out more or less on the spot. D'Hubert comes off slightly better in the initial encounter, which only serves to fuel Feraud's rage, and the course of the film is set.

The cinematography of this film, shot by Frank Tidy, is almost beyond comparison. The previous versions on VHS simply looked muddy and rather washed out. The colors lacked any real saturation, rendering Feraud's bottle-green dolman black and it almost looked like a poor quality black and white in some scenes, especially those set in Napoleon's abortive Russian campaign.

The DVD transfer, by contrast, is staggeringly beautiful and releases colors, which I did not realize existed in the original. I am, by coincidence, a professional cameraman and I rate this as the best shot film I have ever seen. The only criticism I have is a somewhat inconsistent use of graduated filters, which, whilst they were probably quite innovative for their day, don't always work well. Grads are always a problem and any film made since will tend to suffer the same way. A very minor point.

The costumes and settings; mostly in The Dordogne, make the film not only totally authentic but defy the viewer to believe that it was made on a shoestring budget. The visual splendour challenges any modern filmaker to create the same effect without spending a vault full of money to achieve it. That is only part of the appeal of the film.

The acting performances, particularly by Keitel, want for nothing. The scene with Feraud standing on a cliff overlooking the river valley, taken in context, makes you realise that his life and pretensions to honor have been for nothing. His mania for revenge has cost him everything. Melded to the other performances with superlative skill by Ridley Scott, this film is a masterpiece and has now gone from a film I liked a lot to one which is now firmly wedged in my top ten. Like as not, it will stay there for a long time.

Director Ridley Scott (Thelma & Louise, Gladiator, Alien) made his directorial debut with this overlooked gem THE DUELLISTS, based on a story by Joseph Conrad. Released in 1977, the movie didn't make much of an impact in the US, although it was nominated for the Golden Palm at Cannes and won Scott the coveted Best First Work at that festival.

The movie chronicles the long-lasting feud between two French officers, the hot-headed Feraud (played by Harvey Keitel) and the more even-keeled D'Hubbert (played by Keith Carradine), during the Napoleonic wars. The feud has murky beginnings, but it lasts for decades due to the lead characters' desires to avoid losing their "honor." As they cross paths during various parts of their lives, they duel.

The duel scenes are well-filmed and add a great deal of excitement to the plot. The main story is also interesting, as the men's duels forge an unlikely relationship between them. The lead actors do a passable job in their roles, although they seem out of place amongst the largely British supporting players; Keitel actually seems more at place in the film, despite his eastern accent. Finally, the cinematography is stunning, and it's one of the most beautiful looking films of its period; the look of the film is a bit like "Barry Lyndon," although the tone is warmer. Overall, this film is an intriguing part of the Ridley Scott canon; it stands among his best works and one of the most overlooked films of the 70s.

DVD extras: director's commentary with Ridley Scott, and director Keith Reynolds also interviews Scott.

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This stunning film is incredibly beautiful to watch; the scenary, script, and actors are wonderful. This is a highly intelligent piece of work, so many films are sheer pap, driven by special effects, and soundtrack franchises; in contrast the Duellists is a work of art which has a great integrity.

Apart from a great personal interest in history, I am an experienced fencer with foil, epee and sabre and this film contains the most brutally accurate swordplay I have ever seen. As other reviewers pointed out, this is no Errol Flynn picture. It confronts romantic notions with some stark truths. I find it hard to watch the sabre duel in the cellar which lays bare the result of carving human meat with edged steel.

The historical realism of The Duellists is spot on down to the smallest details of Napoleonic campaigning. The horrible scenes set in the Russian snows vividly bring home something of the agony in 1812.

I find this a very subtle film, posing questions for each viewer to answer in their own way. The actors do not parade convenient 20th Century attitudes; the pain of D'Hubert's mistress is deeply poignant.

If anyone enjoyed this film I strongly suggest reading Joseph Conrad's short story The Duel. Ridley Scott remains virtually 90% faithful to Joseph Conrad, but the ending of the original story has one subtle embellishment the film does not develop.

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"The Duellists" is, in my opinion, Ridley Scott's best film. I liked "Blade Runner" a lot when I was younger, but now it seems the only thing that really knocks me out about it is Rutger Hauer's towering performance. The fabulously romantic love scene between Sean Young and Harrison Ford excluded, the level of 'purity' or cinematic poetry in "Blade Runner" doesn't really take off until Hauer makes his dynamic appearance. I loved "1492: Conquest of Paradise" when I caught it in its full glory in the theatres, and thought Depardieu's 'miscasting' was paradoxically GENIUS CASTING because it provided a certain humorous element to the film, thus adding a highly enjoyable level of camp to an already fantastic film. But NO FILM I've ever seen loses as much from not being shown on the big-screen; the ONLY PLACE to see 1492 is on a HUGE screen, not on your TV. "The Duellists" is much less handicapped in this respect, it doesn't really deal with huge panoramic vistas like sailing ships on a sea, just a couple of guys in beautifully authentic and pristine French locations clanging their swords viciously.

"The Duellists" follows the lives of two officers in Napoleon's army, played by Harvey Keitel and Keith Carradine, through a period of some 20 years. Early on, Keitel is insulted by the way Carradine addresses him in a famous Lady's drawing room and demands satisfaction in a duel. Carradine agrees and proceeds to whip him. Not only does Keitel not give up and let it end there, but he continues to hold a grudge for years, forcing Carradine into more duels every time they meet, sometimes winning, sometimes losing, until things come to a final head in a climactic duel on Carradine's estate, after he's retired as a General! That's basically it, as far as a conventional "plot" is concerned. But the WAY IT IS HANDLED is PURE POETRY and speaks volumes that no conventional plot could ever speak. Scott allows room for the viewer's imagination to actively participate in his 'period' film and that's what those who don't like the film REFUSE TO DO (because they've been conditioned to judge a film by its more superficial 'plot' elements and dismiss it).

The acting is first rate, the attention to period detail ABSOLUTELY AWE-INSPIRING (on a Barry Lyndon level), the locations gorgeously photographed--you literally feel like you've entered the early 19th century and can smell its odors. As for the DUELS themselves, they're some of the greatest sequences I've ever seen in any film, and certainly the best and most authentic 'swordfighting' ever put on film (Keitel and Carradine must've spent months with fencing instructors). Last but not passed, the highly poignant themes Ridley weaves into this gothic-sword masterpiece (without any trace of heavy-handedness) about 'the absurdity of conceit' and the lengths men will go to to protect their 'honor,' are anything but trivial, they're timeless and universal (and always ripe for some reversal).

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Ridley Scott has a fine eye. Many of his films are not my favorites because of their high-concept stories, but visually, few directors can touch Scott's sense of space, time, and composition. This little-seen gem is comparable only to Stanley Kubrick's masterpiece "Barry Lyndon" in its attempt to create the ambient light and sense of place of the late 1700's -early 1800's.

Based on a story by Joseph Conrad, chosen because the rights had lapsed, the film concerns two French hussar officers, one of whom, played with republican fervor by Harvey Keitel, is quick to anger and to duel. His nemesis is the aristocratic officer played by Robert Carradine, who doesn't understand why Keitel hates him so much. The film follows their careers in the Napoleonic wars over the course of fifteen years, from the early triumphs of l'Emporer in Lubeck, to the disaster of Russia, and the return of the Bourbon's. Despite their long-standing animosity, Carradine even saves Keitel from the guillotine, for which he his repayed with disdain and aggression.

This story is episodic, and there are many loose ends, but who cares? This is one of the most astonishing films ever made in its meticulousness, it's bravery (not cow-towing to hi-key filmic conventions), it's invention (a budget of only $900,000 dollars?!) and in the totally successful vision the filmmakers put up on the screen. Films costing 10 times as much or more are not so riviting as this film.

Scott did have to compromise; he wished for Michael York and Oliver Reed, but the financiers wanted American actors. Even though Carradine is occasionally weak, Keitel is intense throughout.

The Duellist is one of my favorite films. The DVD transfer is immaculate and the special features give us interviews with Ridley Scott, and the film's composers notes on his musical choices.

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Night of the Demons 2 (1994)

Night of the Demons 2 disappointed many people, mostly due to the fact that they seemed to expect something more akin to its predecessor. I don't count myself amongst those individuals, however, because I've come to expect sequels, especially the 1980s horror-based ones, to become more humorous as they progress. Personally, I thought this movie was actually very enjoyable, in part because of the return of Hull House and our favorite possession candidate and in part because of the humor involved. Sequels that take themselves too seriously oftentimes fail as frightening follow-ups.

The movie borders around Halloween once more, the only time the demons can truly be a happy-go-luck bringer of evil. Enter a group of kids from St. Rita's Academy that thought it would be fun to have a party at the infamous Hull House, and you have yourself the beginning of a bloodbath. Added into the story are a few new concepts as well, like the question of what would happen if something were carried across the underground stream keeping the world from Hull House, plus the mainstay of victims-a-plenty living the atypical horror movie life.

If you like movies that can provide a good laugh, some gore, nuns throwing down with the forces of evil, and the always acclaimed Angela, then this is for you.

Highly enjoyable sequel features another group of teens going back to the same mansion. As before, all hell breaks loose eventually. Played more for laughs, this one's just as fun as its predecessor(though the pacing isn't quite as good as the original)and it has even more gore, nudity, and lesbian kisses (Cristi Harris, yum!)! Steve Johnson's make-up effects are excellent and probably his best work to date.

*** 1/2 out of *****

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I been a fan of horror movies since i was 7 years old. That is over two decades. When someone asks me what my favorite horror movies are, i usually tell them there are too many titles to name. But i can always give them one answer that has remained steady since 1994. Which just so happens to be the release year of that one movie. Night of the Demons 2! It is the epitome of what a low budget horror movie should be, and i mean that in the best way possible. Amelia Kinkade and Zoe Trilling really steal the show, especially with their provocative dance at the school's halloween party while under possesion. That along with their steamy kiss, it is guarenteed to get you hot under the colar. Zoe Trilling can almost hypmotize you with her emerald green eyes and magnificent upper extremities. That along with a brilliant dialouge (i.e. "Save a little room for the holy ghost") It is guarenteed to keep a smile on your face. I highly suggest you pick up a copy, grab some pop corn and snuggle up on the couch for this winner!!!!!!

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Ok, I must say this . . . the movie is worth the scene with the chick stripping to Morbid Angel alone in itself! I got a great kick out of watching this movie. I looked for a long time and ordered it from Amazon. Got to love those B-movie horror flicks, the ones that you find on late night tv and crave seeing again!

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Night of the demons 2 is has good has the original in every way. The acting is very convincng, the special effects are magnificent, the story is intriging. I love it, in every aspect.

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Band of Brothers (2008)

That modesty and that sentiment seems to be shared by all the survivors of Easy Company, 506th PRI, and many of them can't hold back the tears as they mumble it. One of the great benefits of this marvelous series was the closeup interviews of the real men portrayed, those wonderful old seamed faces, breaking at last with emotion as they recall their experiences and the love of their comrades and the pain of loss of other friends. It moves me greatly, and I'm glad the Extras in this set has an extended documentary re-tracing the time-frame of the film with these real veterans recalling the action we've seen re-created.

Brought with loving care and fanatic attention to detail by producers Steven Spielberg & Tom Hanks and their carefully chosen band of producers, directors and actors, this is an unsentimental, near-documentary telling of the story of Easy Co. from training to D-Day, Hedge Row fighting, Operation Market Garden, Bastogne, into Germany, liberation of Death Camps, and the capture of Berchesgarden & Hitler's Eagle's Nest.

Throughout it all, the aim has been to tell it straight and get it right. They have done so in remarkable style. The truth HAS enough drama, and the various episodes reveal it. We get to know these men and care about them. We marvel at their endurance and the way they go about getting the job done, professionally, and with matter-of-fact, everyday courage. It is a true tribute to the Citizen Soldiers who won the war.

With 10 episodes and lots of extra goodies, presented within an exceptional package, there is just too much to review here. Some memorable moments: the harrowing jump into the explosive, tracer-lit night skies of Normandy; the assault on the 88's; Winter's killing the young German; the episode dedictated to the Medic; the monstrous artillery barrage on the men in the snowy forest of Bastogne; the shock of the farmer's wife on seeing the closeup hand-to-hand killing of the German by "Bull"; and finally, the incredibly moving scenes of the liberation of the Concentration Camp, and the final days of Easy at the War's end.

These last episodes are all the more powerful because we have followed Easy Co. and these men and have seen the death so random and arbitrary around and among them that a slow emotional tension has been built that we now realize with the intensity of anger/pity/horror at the Camps and the bittersweet joy and subsequent farewell of VE day.

I could cite great moments by each individual actor, and nicely played and effectively understated but powerfully emotional scenes but suffice it to say this is an ensemble piece with superb performances throughout. The quiet power of the different episodes underscores how wonderfully written the entire piece is, and with corresponding excellent direction and production values.

A one-of-a-kind production, having the time to tell the tale with detail and care, and with all involved doing honor to the men who lived it. And finally, there are those men, bringing it all back to the reality of real lives lived. Exceptional stuff.

Band of Brothers is an awe inspiring and visually stunning tribute, not only to Easy Company, 506th Parachute Infantry Regiment, 101st Airborne Division, but to the "Greatest Generation." But for their sacrifices, would we share the freedoms we so cherish and covet to our vests today! Tom Hanks and Steven Spielberg deserve all of the awards and accolades they received for bringing this epic to HBO and now this incredible DVD box set!

Part 1 Currahee Currahee is a wonderful beginning to this unprecedented HBO miniseries. Outside of the movie "Saving Private Ryan" there has never before been such a realistic series such as this one. Currahee poignantly highlights the training that was necessary for the newly designed Airborne Infantry. While some may think that Captain Sobel was a complete idiot, in all truth, his combat skills were obviously lacking however, as a trainer, he put Easy Company in a very good position as a well trained unit.

Part 2 Day of Days D-Day has arrived and Easy Company makes the jump that they've been preparing two years for. As history unfolds, the German flak has caused nearly every plane to miss their designated drop zone. 1LT Winters finds he's in Normandy, lost his weapon and his company. He finally arrives at the assembly area and is given the mission to take out a German artillery position. Day of Days is an excellent episode that doesn't miss out on 1LT Winters depth of emotions as he loses his first soldier in combat.

Part 3 Carentan Easy Company is ordered in to take the French village of Carentan. While encountering only minor resistance, they take light casualties. After successfully taking the town, they're ordered to move on to the next objective. En route, they encounter the German force sent to retake Carentan. They stalemate for the evening, expecting to forge a full assault in the morning. The Germans have other plans though and counter attack in the morning with a combined force of mechanized infantry and armor. Fortunately for Easy Company, they are finally rescued by the 2nd Armored Division. Shortly after this action they are lucky enough to get some R&R back in England. The show ends with orders back to the front and a very poignant final scene to yet another wonderful episode.

Part 4 Replacements Replacements jumps forward to September and Easy Company is on R&R in England. They're called into Operation Market Garden. Easy Company is given the mission to take Eindhoven, Holland. They were told they would be running into light resistance. Operation Market Garden turns into a huge failure and the Allied Forces are turned back with heavy casualties. Sgt "Bull" Randleman is quite unfortunate enough to get stuck behind enemy lines. "Replacements" is another excellent episode.

Part 5 Crossroads Crossroads is one of the best shows of the whole miniseries. Captain Winters, due to the costs of war, garners advancement from Easy Company Commander to Battalion Executive Officer. The episode is shown, through the eyes of Captain Winters as he is preparing a report on the actions of October 5th when he led his company in the attack of a German SS position. The more telling part is later in the episode when he gets an R&R in Paris and the horrors of war catch up to him.

Part 6 Bastogne To quote Captain Winters, "we're paratroopers; we're supposed to be surrounded." Bastogne tells the tale, from Easy Companies point of view, about the 101st Airborne Infantry being surrounded by German forces and holding the line during the Battle of the Bulge. This is also the combat action where the Commanding General of the 101st Airborne replied to the German Commanders request for their surrender, "nuts."

Part 7 The Breaking Point January 1945 and Easy Company is on the verge of attacking the Germans in Foy, Belgium. Due to heavy resistance, Easy Company endures nearly a month of being barraged by German artillery on the front line. This episode is very telling as far as the how demoralizing the artillery can be.

Part 8 The Last Patrol Easy Company is on the front line in the Alsacian town of Haguenau. They now have the sense that the war is coming to a close, as they are just across the river from Germany. The brigade commander orders a patrol across the border to secure German prisoners. This episode again brings to the forefront the emotions of the soldiers as they again are counted on to accomplish their mission!

Part 9 Why We Fight This episode is clearly the most poignant of the series as Easy Company finds and liberates a concentration camp. Although there had been rumors of these concentration camps, no once could truly comprehend what they were about until they were faced with them! This episode alone should've garnered several awards.

Part 10 Points Easy Company takes Eagles Nest, Hitler's mountaintop fortress. The company settles in as an occupation force, yet expecting to be redeployed to the Japanese warfront. A very emotional what happened to several of the units members after the war. Overall, this episode is a fantastic conclusion to the "Band of Brother."

Disk Seven

We Stand Alone Together: The Men of Easy Company An outstanding documentary containing interviews with surviving members of Easy Company! Once you've seen all of the episodes, this documentary introduces you to the real members of Easy Company.

Ron Livingston's Video Diaries This is an exceptional set of clips filmed by Ron Livingston, who played Lieutenant Nixon, covering the "actor boot camp" run by Captain Dale Dye, USMC Retired.

HBO's The Making of Band of Brothers' This is another excellent "Making of" clip by HBO, covering the creation of this spectacular miniseries! {ssintrepid}

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I have to say that this series blew me away. I was so impressed with the effort put into Saving Private Ryan to give it a documentary look and feel. Band Of Brothers falls from the same tree. Once again, Hanks and Spielberg reunite to produce this epic cable series of WW2 as told by the men themselves. Every episode has interviews from the soldiers who were there. Very realistic and emotional stuff.

First off, the set comes in a metal box with fold out style disk holders. Exactly like the standard dvd edtion a few years ago.

The Blu-Ray edition has 6 disks total. 2 episodes per disk on the first 5 with many, many extras on number 6.

The quality of the picture is perfect. These films were shot with tons of natural grain for that documentary style look. The lenses also give the look of a 40's camera used in the field. Although the film itself is washed out and very rough, it has awesome detail. You will notice so many things going on in the background. The size of the shots sometimes leave you in awe. The blacks are sometimes unstable, but that is the intent. The daytime scenes are beautiful in their full scope. The greatest thing about this series is the uncompromising attention to detail. From the uniforms to the weapons. The skintones are spot on and very nice looking with great detail. The majority of these episodes were shot outdoors. So, the landscapes look fantastic! From the coast of France, to the mountains of Austria, this has some amazing and beautiful scenery. While the picture may be " washed out ", it looks and feels just as you would expect from the point of view from a combat photographer. The battle scenes are simply unbelievable. It takes you to a new level realism.

The sound is second to none. You will easily be blown away with the audio track quality. You have to turn down the volume at many points during battle scenes. The voices are crisp and clean, but the battle scenes really rock your sound system. All of your speakers get a good workout. The subwoofer really hammers out the explosions. The rear speakers have tons of gunfire from all directions, as do the side speakers. You will have a true surround sound experience. Many movies do not make full use of the full audio possibilities. This one does!

There are great extras here as well. Great in depth interviews from the soldiers themselves. A really cool making of documentary called " We stand together: The men of easy company " And many other things for the history buff. Cant say enough about this product. If you are a war genre lover, this is one of the best. If you love history, and dont want a watered down, made for Hollywood war film. This is how it happened as told by the men of the 506th E Co. You will have a new respect for these guys who gave so much. It is hard to believe that some people could give so much for so little. Thank god they did.

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First of all let me just say that i have never seen Band of brothers before so I'm not a blind fanboy or anything like that , and because I'm not an american so i thought this mini series is not going to be interesting to me , However this mini series is highly praised everywhere and it have 9.6 score on IMDB plus it won the Golden Globe award and Emmy as the BEST series made for TV , so i said to myself lets give it try

So far i have seen only 5 episodes on the BLU-RAY and i have to say that the picture quality is insanely good i own over 30 Blu ray movies and series like Planet Earth, Band of brothers picture quality beat every movie i have ever seen ,yes even Disney Blu rays like pirates, the colors is perfect and its crystal clear, its just UNREAL how good its, i was really surprised i didn't expect TV series picture quality to beat Movies picture quality (Its simply the Best picture quality so far on blu ray to me, but sometimes picture quality jump from crystal clear to "extremely" Grainy on some parts which is intended i believe)

Blu-ray.com reviewed the series today also and gave the picture quality 5/5 and everything else 5/5 kinda XD

I have only seen 5 episodes so far! and i don't want it to end ;( that's why i'm watching it slowly, to be honest i have always hated and avoided World war Movies because to me they are boring as hell, i have heard the story god damn million time in books/video games and Hollywood movies even school books and most of the times each version of the movie is different so you don't know which version is real or accurate about what happened in the world war 2 because a lot of movie directors change events and make them different to sell tickets, but with band of brothers the men who went to the war speaks to you and tell you there REAL story "there is picture in picture mode where you can watch the movie and small screen like 1/4 of the TV pop and the Real people who was at the event speaks and its optional"

Band of brothers is a masterpiece its Story,Characters,Script, Events,Sound is too good plus its very emotional story.... i don't know where to start about this series it just blow my mind from its goodness

I hope this review was helpful to you

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My father was 22 years old when he left Philadelphia and joined the army in the spring of 1942 he volunteered for the 101st, in the summer of 1942 he left Philadelphia and found himself at Camp Toccoa, he was not in Easy Company, I don't know the name of his company.

He was a sergeant and squad leader he named his squad "Maguire's Magpies". He fought in France, Holland and Bastogne. Out of the original squad of 12 that landed in Normandy only 4 men survived the war, 8 men were killed in action during the following twelve months. And 6 of the replacements were killed in action as well. He himself received 2 Purple Hearts, the original squad and the replacements endured 150% casualities.

My father died in 1988 so he'll never read the book, or see Band of Brothers. When I was young I would pump him for information about the war, he told me everything. We discussed his experience at length, over the years he told me all the details. So much so, that when I read the Ambrose book it was like I had already read the book. But I wasn't prepared for the visual images in the Band of Brothers, I was overwhelmed, the intensity and the brutality of what my father and his fellow soldiers experienced brought me to tears. This production is a fitting tribute to the ultimate sacrifices that these young men made.

My father traveled to Europe for business frequently in the 60's and 70's. He would take time on this trips to visit France, Holland and Belgium, he would locate that certain village, and find that particular farm field or forest where one of his "brothers" had fallen, he never forgot how special and exceptional these young men were.

My father is still the most exceptional human being I have known in my life, seeing this production gave me a great insight to his personality. He was a person who truly appreciated what life had to offer, he was active, loving, funny and always emphasized the positive. Those thirteen months in 1944-45, gave him an understanding of humanity that few of us possess.

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Above the Law (2009)

I remember first watching this movie on VHS back in the late 80's. I had first started taking martial arts, and some guys in my class had seen the film and said it was a "must rent." I took their advice and was astonished.

Nobody had shown anything like that on film since the days of Bruce Lee. Seagal was a hard core "street smart" style of Aikido that blew myself, and many other viewers away. This is the film that eventually made Steven Seagal the biggest star since Stallone and Schwartzenegger.

Wrapped around the movie was an intriguing story, a good supporting cast (including Pam Grier and Sharon Stone) and good direction by Andrew Davis (who would direct Seagal in his one other decent movie "Under Siege" and would go on to direct "The Fugitive").

The story is about Nico Toscani, a martial arts expert who is hired by the CIA and serves in Vietnam. While working on what he believes is a routine drug deal, instead of finding illegal narcotics, he finds a shipload of explosives. The perpetrators are mysteriously released by the federal government, which upsets the Toscani, who has a reputation for being a hot-headed rogue. His refusal to give up on the case leads him down the path of what turns out to be a very large conspiracy.

Yes the plot is somewhat of a cliche, but Seagal is slim, confident, and sharp in this film. He looks every bit the part, and he plays the role in a very natural manner that works for this type of movie. The action is top-notch and the supporting characters help fill in the plot and make the movie enjoyable to watch.

I consider this and Under Siege to be Seagal's two best movies in terms of action and plot. If you enjoy martial arts, or just action movies in general, I don't think you'll be disappointed with Above The Law.

Once upon a time, an ex-CIA martial arts master quit the CIA and wrote a movie with a new plot but a character that seemed a lot like the writer

Steven Seagal is best known for his action movies, in particular the parts where he does his hand to hand thing. In his case, he's an aikido expert, and that's hard to explain. Most martial arts movies talk about Kung Fu and Tae Kwan Do where people punch and kick and you can generally tell what's going on. Aikido, on the other hand, is about redirecting an opponent, making him basically want to fall down. In the movie, it looks a lot like a bad guy rushes as Seagal, he touches them with his little finger and then they decide to throw themselves in the air in ways you thought were impossible. The moves take, oh, about two seconds to perform, with Seagal's part being only about 2 microseconds. If you want to watch Seagal in classic aikido action, be prepared to pause, slow motion and rewind. It's amazing looking and absolutley bizzare (since being marveled by the movie, i have gone out and studied aikido, and it seems even more impressive, although realistic, now)

The movie's about an ex-CIA officer turned Chicago cop (and, in my opinion, an extremely unlikeable one; that macho Italian family man thing to me just looks like a dull-witted bully control freak). He runs into some old CIA friends from 'nam who are doing naughty things

This movie has a plot, and a darn good one at that. It's a very, very interesting movie, much unlike, say, all the big budget movies he did after this one. While his later movies are bad jokes, new age mantras and B-movies, this one is really, really good. There are only a realistic number of fight scenes (gosh, i wish there were more, but that would have changed it from a drama to an action film, which this really isn't), but they are wonderful

Bottom line, this movie is awesome. i don't know if Seagal wrote and directed the later films he did (he was close to a one man production company on this one), but i wish he'd turn down those big budget formula films he's been doing and go back to doing the realistic, semi-autobiographical films like this one. He's mostly considered a joke now, but when this movie came out, when he was Seagal the writer and not Seagal the action hero, he was revered, and for good reason

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This movie is among the the best and most thrilling of the post Harry Callihan, 1980's genre of cop movies. As Nico Toscani, a naturally macho yet morally upright and skilled cop (who is also ex-CIA and former Aikido instructor), Seagal is impressive and yet so refreshingly believable. The short martial arts action sequences are first rate no drawn out Hong Kong formula stuff. The cafe jazz music score is memorable and rightly paced for the exciting car tailing sequences through downtown Chicago.

Nico Toscani's Sicilian background adds to the color of the drama. There are even hints of his family background being not too far removed from the wiseguys. I mentioned Nico being macho. I'd like to qualify this by saying that he's not devoid of charm and his role is less one-dimentional than one would expect. The tough-guy persona is just a facade for an individual with strong convictions and a democratic political outlook. Equally competent is Nico's partner, Delores Jackson, played candidly by the veteran Pam Grier. The main villain, the pure evil CIA doctor Zagon, is played by the veteran villain actor Henry Silva.

Don't expect any critics' choice awards for this movie, because the script does have its share of cliches. Seagal plays a cop who is on to something very big, defies higher authority and, as expected, is taken off the case like in so many other cop movies of the genre. The outcome is predictable. You know that good is going to triumph over evil in this movie. Despite it's predictability, the plot is fresh and to a great extent realistic. Most importantly it's entertaining.

There are surprisingly bold political statements made in this movie about the dubious role played by the CIA in the affairs of many a third world country. These statements are not too far fetched and must never be underplayed when you consider the "blowback" CIA jargon for repercussions being felt to this day. There are far too few movies being made these days that hold the government accountable. Unfortunately it's usually the ordinary citizen who becomes the indirect victim to the follies of an agency whose modus operandii includes criminal conduct and whose agents operate "Above the Law".

The impressive and ship-shape Seagal in this movie inspires you to ditch your six-pack of beer for a six-pack of Gatorade. He inspires you to reach into your closet for your old karate uniform or gym gear and to whip yourself back into physical and mental shape. Too bad Seagal has physically floundered since then. He does have the potential to stay there. One would hope that he would take his cues from Eastwood and Bronson, both of whose careers have had them stay in shape and play lead roles well into their sixties and seventies.

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Personally, I find that the first three minutes of the movie are the absolute best. It's a brief view of Mr. Seagal running an Aikido class and demonstrating technique. Since he is wearing a hakama, his footwork is hard to follow (which is the purpose), and the motions are extreme, but it is interesting to watch. I'd even be willing to bet that the freestyle sparring is neither choreographed or the blows pulled. For that bit alone, the movie is worth purchasing.

There are a few problems that might cause the purist to cringe. The goal of Aikido is to execute technique with a minimum of movement, and it is not intended to be as agressive as it is in this movie.

Nevertheless, this is a very good movie. Enough plot to fill the space between the fight scenes, and the fight scenes are very well executed. As has been pointed out, you realy need to watch the scenes in slow motion to appreciate them, but that's half the fun.

Steven Seagal tends to try much too hard, and there are moments where it's just a bit cheesy, but you can't have everything.

This is a must view for someone who appreciates the "art" in martial arts (the technique is amazing!), and is probably pretty decent (though a bit slow) for the action movie fan.

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Personally, I really like Steven Seagal. His demeanor, his persona, and his martial arts stature are all very complementary to his hollywood style.

Above the law is a cop thriller, and would be a mediocre one, if not for one man. That man is Nico Tosconi.

The Italian loner cop, played by seagal, kicks the crap out of about 35 guys, with about 5 major fight scenes where you will stop and say "Wow!"

Definetly one of Seagal's best (Along with 'Out for Justice') And I suggest watching it solely for the stellar martial arts/Aikido action!

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Stripes (Extended Cut) (1981)

Nope! It's NOT just the same movie simply put:

You haven't actually seen Bill Murray's 'STRIPES' until you obtain this 2005 re-release DVD!

The bonus scenes featured DOES INDEED answer various inquiries we once had re this comedy:

e.g. why are those 2 guys ALONE sitting against the EM-50 in Italy before they take it for a spin?....and when in Germany Russell flat-out refuses to rescue the captured troops with the other three in the EM-50, what made him change his mind? (to mention a few)..

Another one of the deleted scenes is the (talked-about) 7-minute "South America" segment

where we DO see another side of Harold Ramis while Murray is truly hilarious!

A BETTER print with superior STEREO 5.1 dolby sound now vs the previous mono DVD, including a great feature in two parts -"Stars & Stripes" that will leave you dazzled in understanding this entire film: how it was made, rare image stills, and how the actors (a good number of them)

felt in doing the film along with Murray himself, being interviewed from of all places TOKYO!

This new DVD gives you 2 movie options:

1.) the EXTENDED version featuring the deleted scenes-

(with added option of audio commentary from the director and head writer)

2.) the ORIGINAL theatrical version-

*BOTH WS*

There's also the option of seeing all SIX bonus scenes one after the other -

The EXTENDED version does a fine editing job inserting the deleted scenes at the right places,

even indicating (via small permanent text) where these bonus scenes START and END -

-an extremely smooth flow minus any pauses or audio dropouts...

However on this strange ORIGINAL version, there ARE crude pauses/slight audio drops only at the marks where the deleted scenes were MEANT to be placed (or were previously removed),

it's as if they didn't (wouldn't or couldn't) simply EMPLOY the main original print for this DVD -

-unsmooth/choppy at these marks, esp when the guys drive to Germany and meet the girls -

e.g. Murray hugs P.J. Soles with the line: "I Brought The Magic Suitcase"..

That very scene literally disappears thus disappoints on this ORG version -

One Major Blunder:

A bonus scene w/P.J. Soles (there's MORE of her) & Murray in a hotel bedroom from Germany

is in fact the EXACT same bedroom set in a PREVIOUS short scene where she pulls Bill out of the trunk at General Barnacy's house; When you compare the two you'll believe they intended this to be START of the 'Barnacy Bedroom' segment..

But overall (the pauses & blunder notwithstanding), they did a great job

in christening this DVD as: "The ULTIMATE Stripes"

definately worth forking over (at best) a Hamilton and an Abe for...

The mark of a great comedy is that it remains funny after numerous viewings. "Stripes" (the 1981 release that helped make Bill Murray a star) passes this litmus test with flying colors. Now at last there is a DVD release, replete with extras, worthy of this enduring comedy.

Ivan Reitman directed Murray, Harold Ramis (who has subsequently directed many comedies of his own) and a great supporting cast led by John Candy as new recruits in the U.S. Army.

The wonderful veteran actor Warren Oates, who died shortly after the film's release, is their tough-as-nails drill sergeant. The by-play between Murray and Oates (opposites don't always attract) is priceless.

Suffice it to say that hilarity ensues, with the improbable unit putting on a virtuoso performance at their graduation ceremony ("That's the fact Jack!) sans their injured sergeant. This leads to them being charged with the security of a new super weaponized mobile home (it's called an, "urban assault vehicle") in Europe. Improbable? Absolutely. Hilarious? Most definitely.

Murray and Ramis also each has a lovely MP to accompany him on the duo's escapades as the ribaldry doesn't stop until the closing credits.

You can watch the "Stripes" with deleted scenes included or without.

The obvious highlight of the DVD extras is an hour long documentary on the movie with all principles interviewed (at his insistence, Murray's interview is done in black light). It is one of the better retrospectives of its kind.

And "Stripes" is one of the best comedies of this or any other time.

Buy Stripes (Extended Cut) (1981) Now

Absolutely one of the funniest movies ever made. It would definitely have to be highly ranked, if only for the fact that it is possibly the most quoted movie of all time. Who among us has never said "Lighten up, Francis" or "You can't leave, all the plant are gonna die! ". Bill Murray is at his best, and Harold Ramis is the perfect straight man for him. Add in a supporting cast that includes John Candy, Judge Rheinhold, John Laroquette and Sean Young, and you have something pretty special. Also, gains points for the fact that it doesn't start to fade out at the end, like many comedies do when the decide to get "message-y". It just keeps up the energy and humor right up to (and including) the credits. To this day, the only movie I have ever enjoyed so much that I went right back to see it the very next night.

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Stripes was one of my favorite movies as a kid, and I'm happy to say that I still find it just as funny today. This extended cut adds several deleted scenes, some good, some not-so-good. My personal favorite is one where Harold Ramis' character reaches the breaking point and he and Murray go AWOL, hitching a ride on a cargo plane and parachuting into South America. This scene gives Harold Ramis a chance to shine, and is very funny, but during the commentary track it is mentioned that it was cut from the film (despite being a favorite of the studio execs) because it didn't seem to fit in the film from a pacing aspect (it is suggested it would've gone well over the end credits, but this was before such a thing was common).

Speaking of the commentary track, it isn't mentioned on the packaging, but it's there, and includes director Ivan Reitman and writer/producer Dan Goldberg. And apparently, the extended cut wasn't Reitman's idea -some of the deleted scenes he prefers to not have in the film. The DVD also includes a nice 2-part documentary which includes interviews with the cast.

A great film!

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I'm a bit perplexed by the reviews criticizing this movie because of its unrealistic depiction of the Army. Do these same people complain that "Animal House" doesn't accurately display college life or that "Vacation" isn't what a family trip across the country is really like? (Hey, I live in St. Louis and could easily take exception to the outright offensive inaccuracies in "Vacation", but I still love the movie!) This is a comedy, folks. It's not "Saving Private Ryan" or "Band of Brothers", and it never claims or tries to be. It uses exaggeration and absurdities to make us laugh. It isn't striving for realism, although to its credit, I have heard plenty of people say that this is the best movie they've ever seen at giving you the feel for what its like going into the service, and that their own drill instructor was identical to Sgt Hulka.

The first half of this movie is just about the funniest comedy ever made. Bill Murray and Harold Ramis are the perfect slobs with shiftless lives who try to maintain what's left of their dignity by enlisting in the Army. Their chemistry is wonderful and they truly are believable as out-of-shape but likable losers. Virtually every line and every character is memorable (Psycho, Ox, Cruiser, that lady in the cab, John Laroquette, and of course Russell and Winger), and this has to be the most quotable movie in history. No, John Candy would not have spoken to a superior officer that way when he gets off the bus (or at least not have gotten away with it), but that's what's so funny about it! And speaking of Sgt. Hulka, Warren Oates should have been given an Oscar nomination for this role. He's the high point of the movie for me, and his intense, over the top performance reminds me of Robert Shaw in "Jaws"some actors are so good that they can chew scenery and get away with it. So for the first half of the movie, there's not an unfunny moment. Maybe basic training isn't like this, but the scenes are so well-done that a generation of adolescent guys has grown up thinking that it is and have no doubt gone into the military with this movie in the back of their minds.

The second half of the movie sort of devolves into a bearable but not great action movie, with its contrived plot about the stolen military RV and the rescue mission across the Czech border. Still, the same characters are present and continue to sustain the movie until the end. Great music, tooI don't think this has ever been issued as a soundtrack but it contains one of the most memorable themes ever written for a movie.

The DVD itself is passableno extras, somewhat grainy video, unspectacular sound. But we surived watching it over and over again on basic cable with plenty of edits and subpar picture quality, so I can't complain too much. I suppose someday it will be given a "Special Edition" with a commentary and a retrospective from the stars, but the movie stands on its own without anything fancy.

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Kite Runner, The (2013)

Khaled Hosseini's THE KITE RUNNER was one of those first novels that captured both public interest and the hearts of the many who read this story of childhood unconditional love and redemption set against three stormy decades in Afghanistan. Though Hosseini was approached about the story's adaptation to the screen soon after the novel was published, there seems to have been a rush to get the visual form of the poetic novel before the audience, a journey besieged by unsuspected political intervention and criticism by the Afghan government. But after seeing the film, this intrigue heightens the intent of those involved in translating the book to film writer David Benioff and director Marc Forster.

People may argue both sides of whether or not the dialog be in Afghan languages (Dari, Pashtu,Urdu) with English subtitles or be in English throughout: the choice of using both languages is severely hampered by the decision to place the Afghan translations in an overlay on the screen while the English subtitles are place off the viewing field. A small point, perhaps, but one that makes the first viewing of the film difficult to follow visually. As far as the actors are concerned, the two young lads who were chosen to portray Amir (Zekeria Ebrahimi) and Hassan (Ahmad Khan Mahmidzada) are perfect: closest of friends living in a household where one (Amir) is the son of the master of the house and the other (Hassan) is the son of the grounds and house keeper a factor that serves to underline class differences that will later become increasingly poignant. The boys are inseparable, reading stories together and flying kites in competitions each lad specializing in one of those pastimes. But disaster crumbles the boys' victory in the kite flying contest when Hassan is beaten and raped by the town bullies while Amir cowardly runs for safety, deserting his friend. Suddenly the Russians invade and that change factors into the need for Amir and his father to move to America where Amir is educated and becomes a writer. Twenty years pass. After the fall of Afghanistan to the Russians and subsequently to the Taliban, Amir (now actor Khalid Abdalla) receives a telephone plea from Hassan's father to return to Kabul. Amir, now married and a successful writer, feels the need to return to amend for his past omission as well as to assuage Amir's fears. When he arrives in Kabul he encounters a war torn country he no longer recognizes, discovers past secrets as to his and Hassan's true identities, and sets out on a journey to bring closure to a childhood love and promise. It is a touching tale of redemption and the strongest echo of the magic of the novel.

THE KITE RUNNER as both novel and film will appeal to all audiences sensitive to scars that wars leave on children and adults alike. For this viewer the film lacks the intensity of the book in that the time spent with the childhood of the two boys feels secondary to the personal journey of the adult Amir. But that is not to say the film is less powerful in the end: the story is one that leaves an imprint on the audience that last long past the ending credits. Grady Harp, March 08

I read this book a few years ago and loved it. And, frankly, I was worried that the filmmakers might ruin the movie. That silly worry of mine sure was wrong though. I know it doesn't seem possible, but the movie was even better than the book. I think that it was because the act of reading allowed me to put the book down and pick it up at a later time. The movie, however, is right there, in your face, and doesn't give the viewer any reprieve from the compelling plot or the constant tension. I knew the story of course, and during one of the crucial scenes I found myself crying real tears even before one particular awful scene happened. And then I watched it in horror in full living color, knowing what would happen next and understanding that there were no easy answers.

This is the story of a friendship between two boys in Afghanistan. It starts in the 1970's before the Communists and before the Taliban. Life was complex enough then even without the awful politics which came later. Amir was the only son of a wealthy businessman and rather shy. Hassan was the son of a servant and of a lower class social group. Amir and Hassan shared a deep friendship despite the social differences between them and were a team in one of the big events in their town a kite flying contest. At the very moment of victory though, there is a tragic act of aggression against Hassan which changes the relationship between the two boys forever. Each of the boys suffers in his own way. For Amir, it affects his life forever. All of this is set against an historical background of Afghanistan when it was secular and modern, especially for the upper classes. Women were free to go around unveiled. Books of all kind were available, although, shamefully, boys like Hassan were not taught to read.

Then the world turned topsy turvy. Amir and his father had to flee for their lives and wound up in California. Amir marries, becomes a writer. And then, now, twenty years later, he receives a call from his father's friend who has fled to Pakistan. "You must come back" is the message. This is the time of the Taliban. Life is horrible in Afghanistan. But Amir, now a man, is given the opportunity to do an heroic act. How this all plays out is scary and uplifting and real. I was sitting at the edge of my seat in the movie theater even though I knew how it would all turn out.

I loved this film. The casting was excellent. Filmed in California and China, all of the actors seemed to be Afghanistani and the dialog was in Dari, Pashtu, Urdu and Russian as well as English. I particularly liked the performance of Homayoun Ershadi who played the father with wisdom and strength even when his fortune was reversed and he worked at a convenience store in California and sold merchandise at a flea market on weekends. There is a sense of authenticity throughout. Mostly, though, it was the theme that drove the film, a universal theme of sin and redemption and how a person can have a second chance to go from cowardice to courage.

I live in New York City and the film opened in one of the art theaters. This might mean that it may never go mainstream. If this is true, it is a shame. The film was a winner all the way. Yes, it is disturbing and might just haunt your dreams. Clearly, it is for adults only too. In spite of all the horror though, it ends with an inspiring and uplifting note. Don't miss this very important film. I give it my very highest recommendation.

Buy Kite Runner, The (2013) Now

Quite simply, "The Kite Runner" is magnificent. Based on the acclaimed bestselling novel by Khaled Hosseini, the film is epic in scope, spanning a number of decades, continents, and cultures, and yet it remains intimate and personal in terms of its characters and their stories. It is spectacularly photographed, sensitively directed, hauntingly scored, and impeccably acted by a brilliant cast whose performances are meticulously nuanced. Even the opening credit sequence is fascinating, foreshadowing through calligraphy the differences in Western and Middle Eastern culture that will be a subtheme of the movie.

The story opens in 21st century San Francisco, where a young man from Afghanistan (the charismatic Khalid Abdalla as Amir) has just published his first novel. In flashbacks, he recalls his childhood in Afghanistan, and particularly his relationship with his best friend Hassan, the child of his father's oldest friend and live-in servant. The two boys (played by Zekeria Ebrahemi and Ahmad Khan Mahmidzada, both of whom turn in performances of amazing depth) are eventually driven apart by an act of childish cowardice by the young Amir. They lose contact all together after the Soviet invasion of Afghanistan, at which time Amir and his father (Homayon Ashadi in a wonderfully understated performance) flee to Pakistan and then eventually to America. Years pass, and then, finally, the adult Amir is provided with an opportunity to redeem himself. The decision that he makes, and the consequences that unfold, bring the story full circle to its powerful conclusion.

I was fortunate enough to see this film as part of a single screening that played to a sold-out audience (dozens and dozens of disappointed cinemagoers ended up being turned away after demand exceeded supply), and expectations were almost impossibly high. Happily, Marc Forster (who also directed "Finding Neverland", "Monster's Ball", and is currently set to direct the 22nd James Bond film) and company satisfied even the most demanding members of the audience, as ripples of gentle laughter gave way to surpised gasps and finally to unsentimental tears as the story unfolded. Here is a film destined to win over audiences and critics alike, one that will undoubtedly end up being one of the year's short list of bona fide masterpieces.

Read Best Reviews of Kite Runner, The (2013) Here

Khaled Hosseini's novel The Kite Runner is one of the most moving books of the modern era, a story that has touched the lives of countless millions across the world. Published in over 30 countries, The Kite Runner is at the same time one of the most touching and heartbreaking stories ever written and an educational read which will open your eyes to the history and culture of a country few can even find on a map. It is, needless to say, a fascinating read which opens the reader's eyes to the beauty and devastation which is Afghanistan.

When I heard that there was a film adaptation coming out based on this magnificent novel I had my doubts on whether or not it could actually be done. The book isn't heavy on action or suspense; instead most of the depth and the meat of the story is told though exposition, in the mind of the main character and would be extremely difficult, if not down right impossible, to film. The strength of the story lay in its rich three-dimensional characters which are very hard to transfer from the pages of a book to the big screen.

For what it is the movie adaptation of The Kite Runner really isn't that bad a film. I'm not sure how someone who has never read the book would react to this film because quite frankly I am in love with Hosseini's writing. The film may actually be quite entertaining for one who isn't familiar with the book, and if that is the case by all means to not allow this review to damper your desire to pick up a copy of this movie, but for someone who has invested time and energy (both very well spent) on reading the book and getting to know the characters the film adaptation will seen bland, unemotional, and lacking the depth and heart which made the book such an epic masterpiece. Although for the most part the dialogue stays true to the book, it cuts parts out which should have stayed in. for instance when Baba is confronting the Russian soldier in the book he cries out "war doesn't negate decency" but that is only half of what he said, the whole quote goes, "war doesn't negate decency, it demands it." It's a very subtle difference but it does change the meaning of the scene.

There is also a lot left out of the film which, in my opinion, should have made their way in one way or another. If you haven't read the book you have no idea that Assefs mother is from Germany and that his hero is Adolph Hitler, even his famous brass knuckles which are such terrifying symbol in the book are left out completely. Hassan's cleft lip is gone, Ali's crippled right leg left on the cutting room floor. The film moves so fast though the flashbacks in the beginning, where the emotional impact is felt the most in the novel, that all depth is sucked right out of it. The characters aren't fully developed, their motivations left unexplored and unexplained.

The film simply goes too fast to be able to explore the depth of the characters in a way they deserved. Too many details about the characters are left out, too many important events skimmed over, too little detail poured into explaining everyone's motivations. The friction between the different ethnic groups, the Pashtuns and the Hazara's, so vital to the message of the book, is used as nothing more then a plot device and no attempt is made to educate the public on just what these groups are. Honestly how many people know what the difference is? And yet without knowing the history of these groups and their backgrounds the story looses a lot of its driving force.

Not to say this film doesn't have its high points. No matter how much time and effort a writer pours into his or her story they can never match the detail that a simple picture can bring. Seeing Afghanistan in ruins, the burnt out tanks, the men hanging from trees as warnings, the berka clad women being stoned to death in the most brutal of ways, brought a new light to Hosseini's novel, and for that I thank this film. Being able to see the nation of Afghanistan outside of news footage of the war and one bad Rambo movie brought new light to that nation's peril. But the most fascination aspect of this movie are, of all things, the kits from which the novel and film get their names. the scenes with the boys and later with Amir as an adult flying kites were moving, spectacular, and haunting all at the same time. Who knew seeing a kite flying majestically in the sky could be so moving?

If you haven't read the book, you may like, nay maybe even love this film, but for those of you who have, like me, this movie will feel watered down, rushed, and lacking the same depth and emotion as the brilliant novel. Its still a good movie, don't get me wrong, but there is simply too much left out. I've always thought The Kite Runner was an un-filmable book, it simply is too deep to recreate in a satisfactory way on the big screen. If you haven't read the book, go for it, if you have then get ready for a disappointment.

Replay value; moderate.

Want Kite Runner, The (2013) Discount?

Whether you've read the best-selling first novel by Khaled Hosseini or not, this is a haunting movie that will drain your emotions, moisten your eyes and bring out your goose bumps. Mostly faithful to the book, the film tries its best to capture the gut wrenching emotional drama of the story and its unforgettable characters, and it succeeds in doing so to a large extent.

SLASS (Slightly Longer Attention Span Summary)

1. Amir is a boy who lives in Kabul (prior to the Soviet invasion) with his wealthy widowed father. He has a vivid imagination, and is working on writing a story

2. He is an introverted child who is bullied by other boys, and never defends himself. He wants desperately to be accepted by his father, who sees him as a weakling. In simple language, Amir is a wuss.

3. His loyal companion and friend is a servant boy named Hassan

4. Hassan wields a mean slingshot and isn't afraid to use it. He is devoted to Amir. Not having had the opportunity to go to school, he can't read or write, but makes up for it with his courage and commitment.

5. Both boys are good at the sport of kite fighting. Hassan is especially good at retrieving kites that have been cut away during the competition, having a sixth sense where they are going to land.

6. An incident occurs where Amir wusses out yet again. This changes the boys' relationship forever.

7. When the Soviets come calling, Amir and his father have to leave rather quickly, eventually ending up in California. A family friend named Rahim Khan keeps an eye on the house.

8. Amir grows up and lives his life (partly shown)

9. Hassan grows up and lives his life (not shown)

10. Rahim Khan calls from Pakistan, giving Amir a chance to prove whether he does, in fact, have a backbone.

11. Amir digs deep

12. His return to kite flying brings new hope

For the parts of the movie where the actors speak Dari Persian, there are subtitles in English. Otherwise, it's in English, and I didn't find this to be a problem. It would have been impossible for the film to bring out some of the trauma and inner turmoil that make the novel so memorable, and some of the more brutal and tragic scenes have been trimmed, so for the full experience you really need to read the book, if you haven't already.

With excellent acting by the two young men playing Amir and Hassan, this is a movie you won't forget in a hurry. Highly recommended but walk with your hankie or a pack of tissues.

Amanda Richards, April 15, 2008

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