Predators (+ Digital Copy) (2010)

"Predators" is back to basics return for the "Predator" franchise, they have juggled the elements that made the first film successful but couldn't seem to get right for the sequel or the "Alien vs. Predator" movies. "Predators" starts with the original premise of the first movie. Eight people of different ethnicities (if not occupations) are thrown into a living green hell of a jungle except they all don't know how they got there or where they are. The only thing they're sure of is that they were involved in some war, they saw a light and the next thing they remember is waking up as they fell into the jungle.

As the eight get to know each and their surroundings, "Predators" relies on the camaraderie of the individuals and the stress of the situation for each character to reveal themselves to each other and the audience, and they discover every one may not be what they seem. There's also a nice bit of gallows humor to lighten the moments and was one of the things that gave the original "Predator" some of it's charm.

The predators have some new toys including the spiky dogs, and we learn there are two different kinds of predators, the standard one we're used to seeing is the smaller of the species and are hunted by the larger super-predator when no other game is available.

One bit of casting I was worried about was Topher Grace, the geeky Eric Forman of "That 70's Show," he seemed miscast or ill fitted for Eddie Brock in "Spiderman 3," and here he's the one element that doesn't fit, but he isn't supposed to, and he looks right for the part and delivers a role that at first looks like a straightforward but has some twists. Laurence Fishburne does a near-cameo as Noland, a soldier marooned on the planet and who may be from the Vietnam era, I think he hums a bit of Wagner's "Ride of the Valkyries" used to such great effect in Apocalypse Now.

I at first thought "Predators" was directed by Robert Rodriquez and that was one of the reasons I was looking forward to seeing the movie. I was a little disappointed that Rodriquez only produces, but this movie does incorporate some of the feel of a movie directed by Rodriquez but that may be because "Predators" is based on a screenplay Rodriguez wrote sixteen years ago . Directing is Nimrod Antal and he moves the movie tautly along never veering off course or too far off course, and he does add some visual artistry that hasn't been seen in any of the previous movies but gives us a sense of the alieness of the world the characters find themselves trapped on.

"Predators" is conscious of the events of the first "Predator" movie and the climatic battle is a tweaked version that is an homage to Arnold's battling of the predator while building on some of the inferred weaknesses of the predators. "Predators" is a good telling of a "Predator" story, using bits of the original and adding its own devices to the "Predator" mythology.

It has taken a string of awful sequels for someone such as Nimrod Antal to step up and take the Predator franchise back to its roots of gore, suspense and plain fear, but does it do these things well? "Predators" sets it story deep within the nostalgia of fans with a jungle setting similar to the original. We are introduced to an unconscious Royce, a hardened, ex-military mercenary played by Adrien Brody, free-falling from the sky over the jungle. After a warm welcome from fellow drop ins, the newly formed team of eight begin to make sense of their surroundings.

"Predators" builds the tension between the characters similarly to that of the original with fear and uncertainty clouding their minds. The eerie-ness and unfamiliarity of the environment and it's contents are also set just as in the first film. The building of this tension plays out smoothly and doesn't rush itself to get to it's point (the whole alien planet/we are being hunted/"If it bleeds, it can be killed" deal) Not until the end of the film does it feel rushed and out of balance with the beginning and midpoint. The chemistry between the characters doesn't bore at all, even with their backgrounds as "the most dangerous killers on Earth" the flow of dialect and development with each character is enough to hold the viewer's interest and move the story along realistic grounds. A very interesting note is how the characters explain their backgrounds and solidify their characters through the traps set within the film (theirs and others.) There are also many specific pieces paying homage to the original, such as the explanation of the Hunters and a few of the battle sequences.

Speaking very shortly about the gore, it plays its part in solidifying the harsh settings the characters are placed in and the brutality of the creatures they are faced against, (Most notably the campsite of the Predators and what every fan wanted to see, the taking of the "trophies.") unlike the past two sequels (*shudders*) where the first was devoid of nearly any gore and the second making it seem laughable and rendering it useless.

I have only two gripes about the film, one being the pacing near the end, (as mentioned earlier) after meeting with another survivor named Nolan (Laurence Fishburne) and the events leading to another encounter with the Predator creatures, the remaining survivors start to die off quite fast. Even though the plan made before the set chase is clear, I felt that the suspense kind of died after that leaving only one minor twist afterwards. Oh and Topher Grace (I think you will see him mentioned in many reviews to come for the movie) Didn't leave a strong enough impression. Without giving too much away about him, I believe that his character's motives could have been fleshed out a little better than the film made them.

Bottom line, "Predators" plants its feet in the ground and exclaims with confidence that "this is more than a sequel, it's a return to form." and a return very well needed. Even with it's numerous similarities, "Predators" is able to stand on it's own with a strong cast and a smooth mix of violence, gore, charisma and chemistry and screams possibilities of sequels to come.

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I don't get out to the theater much, so when my 9 and 11 year olds suggested we go to the movies on a hot and rainy Sunday, I thought it would be a nice way to spend the day with the kids. "So what'll it be boys? Toy Story 3? Despicable Me?" Their reply in unison: "PREDATORS!!!" Actually I wasn't at all surprised since lately they've been spending most of their video game time online with Aliens vs Predator. Truthfully I couldn't have been happier with their choice because that's really what I wanted to see most too.

In the end no one was disappointed. Predators is a great action movie that not only pays homage to the original, but brings the Predator franchise back to the brutal violence and fast moving story telling that made the first one a classic. Kudos to Director Nimród Antal and Producer Robert Rodriguez for not making any of the plethora of mistakes that were made with the sub-par Predator 2 or any of the AvP movies.

All the action looked real. All of the Predators (and other monsters) looked real. All of the acting is really good. Although I must say that I had a hard time swallowing Adrian Brody as the lead tough guy. Brody comes across as more of a softy to me. If I had to seek out a complaint it might be that Brody was a bit miscast, but not so much so that it took away from the thoroughly entertaining experience that I had with Predators.

The story is very similar to the first one. A group of mostly soldiers (or soldier types) are in a mysterious jungle and soon realize that there's a role reversal going on: they are no longer hunters, mercenaries or whatever; they are the hunted. And they are going to need a lot of firepower and strategy in order to walk away alive from the situation that they are in.

I guess if I had to "unEarth" another negative it would be that the storyline is quite familiar. But Antal and Rodriguez introduce enough new concepts and twists to keep this sequel pretty fresh looking and not as predictable as you may think. If you were a big fan of the 1987 cult classic like I was, I believe that you'll find that this 2010 reintroduction to the Predators will be a welcome one...like it was for me.

A few words of caution to anyone that saw my comment about bringing the kids to this movie: it is not a family film. It earns its R rating. I'm just a little more liberal when it comes to what I think will warp the little minds of today's youth. So use your discretion.

Read Best Reviews of Predators (+ Digital Copy) (2010) Here

I can only imagine someone liking this film if they've never seen the original, because it breaks no new ground in the franchise. It works double-time to copy the original's high points, right down to Adrien Brody and Alice Braga slavishly aping Arnold Schwarzenegger and Elpidia Carillo. I struggle to grasp so many creative people approaching such a popular franchise and producing such an uninspired product.

Eight people, mostly men, wake up in freefall over a bizarre jungle, strapped into chutes and packing heat, but with no idea how they got there. They are conscientiously multi-racial and multi-national, but they all speak English. Perhaps their captors checked their résumés. When strange critters with dozens of tusks attack, the humans realize they're trapped in an alien game preserve, and they're the designated prey.

First, the underrated Danny Trejo deserves better than this film gives him. Laurence Fishburne is wasted in Gary Busey's Predator 2 role. This movie offers a checklist of Unlikely Heroes Being Chased stereotypes. Adrien Brody makes a particularly unconvincing action figure. We scarcely see the shimmery effect that was so creepy in the first film. And since when does the Predator's battle cry sound like Chewbacca?

This movie does nothing to build tension. It never convinces me that these human characters deserve to live. The action scenes appear unmotivated, and the dialog sounds like it was written by a computer that ate the original script and spat back something passably similar. Robert Rodriguez is better than this, as is this cast. After interminable sequels, I wish they'd stopped after the first one.

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It's been twenty years since "Predator 2" showcased the monstrous hunter in a solo capacity. Finally, after all that time 20th Century Fox brings the hunters back to theaters with the recently released sci-fi action film, "Predators".

"Predators" follows a group of Earth's deadliest killers, led by a mysterious mercenary (Adrien Brody), who find themselves trapped on a strange world. As the group tries to find a way off the planet, they soon discover that they have been placed on this world for a reason...to be hunted. Now, they are locked in a deadly fight for survival with beings far deadlier than anything they've ever encountered.

You know, there's something about this series that's bothered me for quite some time now. It's nothing regarding the previous two films in the franchise, both of which were quite good in my opinion. No, what bothers me is why would 20th Century Fox, who owns the rights to the character, leave the series effectively dead for so long?

Sure the character appeared in the hit "versus" movie, "Alien Vs Predator" and its extremely disappointing sequel "Aliens Vs Predator: Requiem". But as a stand alone property the character proved successful, and the movies were extremely entertaining and profitable to boot. So, it's beyond me why the decision was made to shelve the property for such an extended period. Especially when so many countless sub-par horror franchises are allowed to exist long past their welcome. Anyways, I digress...

In charge of crafting a story that would serve as a hard-hitting return to the big screen for the character worthy of the original is screenwriter/director/producer Robert Rodriguez ("Sin City"). Robert's story brings the action back to a jungle atmosphere (albeit on another planet) harkening back to the first film, but ups the ante in every respect. The story is chock full of incredibly entertaining action set pieces, with a break-neck pacing to keep the momentum running full steam ahead from start to finish; however, if you're coming to this movie looking for in-depth character study, look somewhere else.

Now, that shouldn't come as any surprise to fans of the series, this franchise has never been about character development or engaging drama. It's always been about the hunt, and those who are unfortunate enough to become the hunted. I'm sure that some people (mostly critics that look down their noses at these types of movies) will view the lack of character driven drama as a weakness; if you ask me, the reason these movies work is because they never try to over complicate the situation. It's a monster movie plain and simple, and what the audience wants is to see great visual effects, incredible action, and some entertaining chase and/or fight sequences between the hunter and the hunted. In this, "Predators" absolutely nails it, and hopefully brings the series back into popularity.

On an interesting side note, Robert Rodriguez actually wrote the original script for this film prior to finishing up work on his first breakthrough hit "Desperado" in 1995. However, upon completion 20th Century Fox opted not to move forward with another sequel and shelved the project. I don't know if any of you out there really cared to know that tidbit of information, but I just wanted to throw it out there anyway. Moving on.

Assisting Robert in reinvigorating the franchise was the film's director Nimrod Antal. I wasn't sure how Nimrod would be as director for this long-awaited follow-up. I mean his previous directorial effort "Armored" was a decent enough action flick. Yet, it never really felt like it was anything great compared to any number of action movies I could find from Direct-to-DVD releases featuring the action heroes of yesteryear.

However, after seeing how Nimrod Antal handled "Predators" I have to say that he was undoubtedly the right man for the job. After all, he delivered a pulse-pounding thrill ride that blew his previous film out of the water with considerable ease. Not to mention, the previews didn't ruin every single plot point for this film, a problem that plagued "Armored" and probably led to my less than thrilled perception of the movie.

Leading the ensemble cast, and is probably the most surprising bit of casting I have seen for a movie in quite some time, is Academy Award® winner Adrien Brody ("King Kong"). When his casting was first announced, I was a little leery, as I'm sure many fans were, because Adrien didn't exactly look the part of a man that the Predator would find a challenging prey. Yet the more I read about how the idea was to distance this entry in some respects from what's come before by not going with a muscle-bound warrior, but instead utilize a more cerebral character, the more I became intrigued by the possibility he presented.

In the end, a somewhat bulked-up Adrien Brody created a believable adversary for the Predators. He blended together elements of Arnold's no-nonsense qualities with those of a keenly intelligent, semi-manipulative, world-weary individual that will do whatever it takes to survive.

Portraying some of the other collected prey for the titular characters are Topher Grace, Alice Braga, and Walton Goggins. As I stated earlier the story wasn't one that really challenged any member of the cast dramatically, granted that was never the intention. That being said, the cast didn't just slack off and phone in their performances either.

Topher Grace ("Spider-Man 3") played the kind of character that always seems to suit him perfectly, that of a sniveling weasel of a man, who always feels more important than he really is. Alice Braga ("Repo Men") as a tough-as-nails soldier was surprisingly believable in the role and helped to balance out the extreme machismo of Adrien Brody's character and most of the other cast members. Then there's actor Walton Goggins (TV's "Justified") as a convict that sets out as only being interested in self-preservation, but eventually becomes somewhat of a team player. As I said, none of them really had to stretch to flesh out their characters, but they all did well in the roles and sold them to the audience convincingly.

Making slightly extended cameo appearances in the film were actors Laurence Fishburne and Danny Trejo. Laurence was very entertaining for the brief time he was in the film as a soldier that has snapped with reality after being marooned on this planet for quite some time. Danny Trejo wasn't given a whole lot more to do in the movie than Laurence, and his role felt as if it had just been shoe-horned in to the film. This was a real shame, because Danny always delivers an interesting character every time he appears in a movie. This time though, his appearance was most likely due to the fact that he has acted in virtually every single movie Robert Rodriguez has worked on since "Desperado", so this one should be no exception. Thus, his character felt like an afterthought.

Well, after waiting so long for a third installment, it's nice to see that the "Predator" franchise hasn't lost its edge. Combining some of the best elements of the previous two films, taking the hunt off-world, plus some terrific action scenes and visual effects, makes "Predators" the triumphant return to cinema's that this series deserves.

"Predators" is rated R for violence and language.

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Feast (Unrated Edition) (2005)

I saw this movie this past weekend at one of its very rare theatrical screenings (which happened to be at the theater where co-screenwater Marcus Dunstan used to work in Macomb, IL). What the film lacks in originality and budget it makes up for in attitude and ends up a fun, entertaining movie. The plot is a simple rehash of From Dusk Til Dawn, only this time it's monsters/aliens(?) attacking the bar, and the people are trapped inside, defending themselves like the folks in both the original and remake of Night of the Living Dead. The writers know what the audience expects from a film like this, so they throw a monkey wrench in here and there to dispel a few of the B-movie horror cliches, their tongues planted firmly in cheek. This movie is down right hilarious, but there are a few surprise moments. Don't expect to be scared, but there is plenty of blood and gore. As one person said on another site, the only element missing from the classic late 80's horror flicks is the gratuitous nudity No T&A!!! (Just a little bare cleavage). The character profiles which pop up when the characters are first introduced have a Tarentino feel to them, and are a hoot. If you like From Dusk Til Dawn, Jeepers Creepers, the Evil Dead or Tales From the Crypt movies, or Return of the Living Dead, then this movie is a must see.

This movie isn't perfect, but I'm giving 5 stars for effort. Despite the low budget and no name actors, Feast delivers a fast paced, gory and wildly entertaining ride that undoubtedly deserves more respect than many big studio horror films. Special Kudos to the film's first act, which has to be one of the most original set up's in horror history. The only problem Feast really suffers from is the formulaic structure. Some reviews complain Feast lacks a plot and they're right. The story is very simple. An eclectic group of people find themselves barracaded in a rural bar while a family of deadly abject monsters with huge teeth lurk around outside. What the monsters are or where they came from is only briefly explored but it doesn't matter. The story is about the humans trying to outwit the monsters and survive. Its substance comes from the sub plot which pits man against man inside the bar. A couple of pop culture icons do appear, most notably Henry Rollins and Jason Mewes, but overall the cast is a group of new faces. Fortunately, most of them do the best job they possibly could given the dialogue and deserve recognition for helping make Feast the entertaining gore-fest it turned out to be.

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Ok. Yes. The movie is not original. The monsters, well, we've seen those kinds before. The characters, of course these are cliche characters, the movie practically points that out to you. Yet the movie is probably the best American horror movie I've seen in the past year. I'll compare this to another movie I saw yesterday (I saw Feast movie just a while ago), that movie was another cliche movie called Are You Scared. That movie compared to this movie shows just how a cliche can work well (as in Feast) and work badly (as in Are You Scared). Both copy what we've seen before, but Feast revels in the passion, the gore, the humor, something that the other cliche lacks. Yes. Nothing new under the sun you might as well say, at least in the horror genre, but this can be a good thing or a bad thing depending on how you know your work in your hands. The people that bring us Feast know what we want, know what we like, and presents it in such a twist that keeps us glued to the action throughout the whole movie...something that many other movies out there in the horror field lack these days. I really hope that the director of this, along with the actors and actresses, along with the special effects people, go a long way and will be seen again. The movie kind of reminds me of an early Stephen King (as in The Mist or Pet Semetary) or Clive Barker (Books of Blood), fast, furious, bloody, funny, and want we want in our horror.

Read Best Reviews of Feast (Unrated Edition) (2005) Here

I bought the DVD because of Navi Rawat. Love her in NUMB3RS and wanted to see her in something else. I also love the occasional horror movie, but they have to be ones that creep me out or have really "killer" special effects (pun intended).

FEAST moves a long at a rapid clip but ultimately progresses very little. The opening is interesting, especially when we see what happens to HERO right off the bat, but then it downgrades into a somewhat predictable slayride.

None of the characters were truly given the chance to come to life. They served the needs of the role, but little else. The tags identifying the characters were humorous and well done, I thought, but that was really about as much characterization as you got.

The special effects were good, and there was plenty of gore to spread around. The bar felt real because I've been in that part of the country and seen plenty of them just like it. The fact that the movie was shot almost entirely within the bar and maintained suspense is credit to the director and the actors.

FEAST is a good buddy flick for a night when you don't really want to get heavily involved in something but would like an hour and a half of diversion. You're not going to see anything overtly original, but there are some moments of the truly unexpected that do shine.

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F**k this s**t was the line. Well, I guess you can say what you want when your son is directing the movie and doing a right fine job, I might say.

Feast is a frenetic gore fest that takes the edge off with a lot of comic relief. Lots of pulling the rug out from underneath you and a very effective monster gimmick keeps the viewer involved right to the end. I not totally enamored with the cinematic style during the action scenes but after Savings Private Ryan this has been the norm and probably will be for a long time and besides it covers for a lot of budget constraints.

Overall, a lot of fun, who's going to win, who's dog meat. This is an excellent GreenLight entry. Highly Recommended

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It's a Wonderful Life Giftset (Blu-ray + Bell Ornament) (1946)

Rather than review the content of this almost universally beloved film, I'm just going to comment about the quality of the 2006 60th Anniversary Edition DVD itself. I've since written an updated review about a new edition of this title, now available in a "Two-Disc Collector's Set." Please find that review -which was posted on December 13, 2008. (Amazon has posted my 2006 review in both places -even though the "60th Anniversary Edition" DVD is DIFFERENT from the "Two-Disc Collector's Set". Read my write-up for the "Two-Disc Collector's Set" -again, it's DATED 2008 and too early to rank among the "most helpful" reviews -to better decide which product you prefer.)

I've owned nearly every version of this title in almost every format available on home video during the past 25 years. It's true that the CONTENT of this Viacom/Paramount DVD -including its special features -is identical to the Republic Pictures Home Video release more than 10 years ago.

However, this 60th Anniversary edition is spectacular for several different and extremely important reasons. (I'll address the criticisms some people have leveled about the sound on this 2006 DVD in a little bit, so stick with me.)

You don't have to be a technical expert to immediately notice the striking improvement of the picture AND sound in this 2006 edition. The print is crystal-clear and in my view, has more vividness and sharpness than ALL other previous releases of this title on home video.

Proof? I put my "old" THX-version DVD issued by Republic Pictures / Artisan Home Video (the former DVD gold standard for this title) -into my Sony multi-changer DVD player -and watched and listened to every frame of this film AND its special features. I stopped and started this "older" DVD in several spots -and stopped and started the new 2006 Paramount edition repeatedly -so I could compare quality almost "side-by-side."

Hands down -this 2006 version is fabulous. The spots and dirt have been wiped clean, the sharpness and contrast are arguably better than what film audiences saw 60 years ago. There are no ragged spots, no jumped frames and no lint, fiber or hair fragments along the edges or jumping across the screen. I believe the technicians at Paramount (which acquired Republic Pictures Home Video) -digitally cleaned EVERY frame of the last DVD release -so that the film now looks like a million dollars. It's almost too pristine, if there is such a thing. No jump cuts, no "jump ahead" sound breaks, no fogged-out scenes, nothing ragged -with the result being the cleanest and purest version of "It's A Wonderful Life" ever issued in home video history.

It gets better. English subtitles were available on older DVD versions of this title, but the 2006 version has a cleaner typeface, wiping out some of the confusing and unnecessary attributions of "who's saying what" that were disruptive to some hearing-impaired viewers. In this 2006 version, you'll get a mostly straight, line-by-line reading of what's being said -as it's being said.

Meanwhile, the DVD's special features -which include the same pair of documentaries produced in 1990 and 1991 -are identical in that they were shot on video tape hence there isn't much improvement in picture quality. However, subtitles that WERE NOT available for these special features -are NOW available in this 2006 edition. The only "extra" to the previous "gold standard" that remains unchanged -is the original 1946 trailer. Subtitles are not available and it has the same raggedness and dirt commonly seen with vintage trailers stored separately from the films they used to advertise.

I'm highly critical of re-issued DVDs that seem nothing more than an excuse to squeeze more dollars out of buyers for the same material with new packaging. But this 2006 Paramount DVD version of "It's A Wonderful Life" is the best to date. It is NOT in color. (I own a colorized version for younger people who can't stand black-and-white. Despite controversy surrounding colorization, know that the 2007 "Two-Disc Collector's Set" has the same 2006 60th Anniversary black-and-white edition you see here -plus a new "colorized" version. This version uses the same pristine print -but has the added bonus of boasting the best "color" hues ever seen for this film, using the latest image technology available. Despite my preference for black-and-white, the quality of this new colorized version is impressive.)

Meanwhile, let's address the criticisms about the sound on this new DVD. Go back a little bit. Much was made when Republic Pictures Home Video got the THX LucasFilm sound system seal of approval for "It's A Wonderful Life" during the 1990s. But it was still two-channel mono with negligible equalization of sound effects. In this 2006 DVD, you'll get consistent two-channel mono and decent sound equalization to minimize "booming" and over-modulated portions in the film. In the old versions, you had to turn down the volume a notch during the musical portions -and turn it back up when the dialogue came back. It's a nit-pick, but you really notice the difference if you're crazy enough to do a side-by-side comparison like I did.

As for the digital sound "pops" that perfectionists keep bringing up -they're right. They're even in the spots noted by another fine reviewer who listed time codes where you can find them. But in my view, unless you brace yourselves for them to arrive like a booming train -unless you purposely crank up your speakers to carry sound throughout your house -yeah, you "might" be annoyed if you demand the same perfection for a film made in 1946 as you would for a film made in 2006. Honestly, the disproportionate attention given to these digital "pops" is, in my view, giving fence-sitters the impression that they're supersonic cracks of lightning that will make people jump out of their seats. I didn't twitch at all. They almost "blended" into the 60-year-old soundtrack. Yes, I know they're digital defects, but do you remember the zillion "pops" scattered throughout dirty prints of "It's A Wonderful Life" with filthy optical soundtracks? The audio on this 2006 DVD still wins. You have EVERY RIGHT to demand perfection for your dollars. But as a person who's more fastidious than average -I don't believe most buyers will care about a few "pops" in a film that's this old. Combine the overall improvements with the relatively low cost of this DVD -and I still say this is the BEST experience of "It's A Wonderful Life" I've ever SEEN and HEARD on home video.

Finally, another reason to buy this DVD. It's old news to some, but it's not widely known that this version of "It's A Wonderful Life" can only be broadcast by NBC. It used to air a zillion times during the holidays on every TV station on earth. It was a quick way to get tired of even a super film you think you know by heart. But Viacom/Paramount now owns this version of "It's A Wonderful Life" outright and NBC has exclusive licensing rights to air it just once or twice after Thanksgiving. This is a good thing for future generations to appreciate.

So junk the old, buy this version and be happy. It may feel painful, but it's worth it. And no, I DON'T work for Amazon NOR for Paramount Home Video.

On November 4, 2006, I posted a review noting the side-by-side differences between the "60th Anniversary Edition of It's A Wonderful Life" vs. all other editions of this film released on home video during the past 25 years. I still stand by that review.

The "Two-Disc Collector's Set" is a different product. While it contains the same 60th Anniversary DVD in pristine black-and-white is ALSO includes a second DVD a colorized version of "It's A Wonderful Life" that boasts the best color hues I've seen to date!

If you're like me -and you prefer black-and-white films to stay black-and-white fine. But I bought this 2-disc set because I was curious about how FAR digital image technology has come since the controversial practice of colorizing black-and-white films began more than two decades ago. In short, the colorization here is spectacular.

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DISC ONE -There are NO differences between the first disc in this "Two-Disc Collector's Set" and the superbly restored black-and-white DVD released in 2006. Disc One is EXACTLY THE SAME as the 60th Anniversary Edition of "It's A Wonderful Life." It has the SAME special features, documentaries, trailers and improved subtitles. The three-to-four VERY MINOR digital sound pops that tekkies brought up in 2006 are still present but as I wrote then they WON'T be a big deal for most families watching a film like this made more than 60 years ago.

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DISC TWO -This disc has the same pristine movie in "COLOR." The results are stunning. Disc Two offers optional subtitles and NO extras and NO digital sound pops!

In my 2006 review of the 60th Anniversary Edition, I noted why I kept a "colorized" version of "It's A Wonderful Life" on video tape (Republic Pictures Home Video, 1989). Most youngsters prefer color. As they get older, they come around to appreciating the artistry of black-and-white. But early on, they still find it "boring."

I recommend fans AND critics of colorization to at least "preview" how much has changed since those chalky crayon efforts of the 1980s. A high-tech company founded in 2001 called Legend Films, which specializes in restoring, colorizing and adding digital special effects to NEW and OLD films was commissioned to colorize "It's A Wonderful Life" for this "Two-Disc Collector's Set."

While the results don't match the color of today's live action films, they're still remarkable. Given the titanic advances in digital special effects since 1989, I shouldn't have been surprised. It isn't Technicolor, but the skin tones and background colors are more lifelike, enabling "It's A Wonderful Life" to JUMP off the screen like never before. It looks brighter, cleaner and more beautiful. You can almost smell Donna Reed's hair and see the panic in her brown eyes when James Stewart hovers over her when they're on the phone in the scene just before they get married.

Think of well-preserved color movies made during the 1940s or 1950s that weren't in Technicolor, but shot on different color film stock that's still beautiful today. That's what the new colorized version of "It's A Wonderful Life" looks like. It's "vintage" color, not "contemporary" color. And unless you're a technician who understands things like fading or shifting colors, you might not be able to tell the difference between what's original or colorized. Why? Because most of us are conditioned to expect LESS technical sophistication from films made in 1946 vs. 2006.

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Yes, colorization does alter an artist's "original vision." But the technology behind it has improved tremendously in 20 years. What this means to the future of colorizing black-and-white films, including "untouchable" classics is a subject for another day.

The solution for tekkies? Buy this "Two-Disc Collector's Set," put colorized Disc Two into your player and simply turn down the color on your TV! You'll now have the cleanest SOUND and PICTURE of "It's A Wonderful Life" ever better than it was for audiences in 1946! Moreover, it'll be easier to get your kids to watch the colorized version before "they graduate" to the black-and-white original. I hope this helps.

Buy It's a Wonderful Life Giftset (Blu-ray + Bell Ornament) (1946) Now

If you are reading this review you likely already know and love this movie. For me, it is the epitome of holiday movies with great acting along with a terrific script and tight direction. If you have never seen it in some ways I envy you just buy it and enjoy!

As I was growing up this film was shown repeatedly on television as it had lapsed into the public domain. Somehow, it was retrieved from public domain with some legal wrangling and though at first I thought of that as a bad thing the quality of the film has benefited now that there is money to be made on this old classic. The initial DVDs available for this film from the public domain era were very poor quality and only recently were better scans completed. That process has been taken to "the nth degree" for the blu-ray release.

For this review I did watch the first few minutes of the Republic Pictures DVD version which last time I checked into this was the best transfer available. I recall when first seeing it that it was far superior to other versions and light-years ahead of the worn prints that used to be shown on TV. I played it on an upscaling player (actually my Sony Blu-Ray player). I then put in the Blu-Ray version and I was blown away at the improvement. The quality is really striking with facial detail and readable text, for example, on the bottles in Mr. Gower's Pharmacy. The print is totally clean and is as others have pointed out shown in the correct aspect ratio in which it was made. This means there are black bars at the sides on a wide-screen TV and this is normal and how it should be. To fill a wide screen TV would mean either stretching things so that the thin James Stewart starts to look more like Alfred Hitchcock or cutting off the top and bottom of the picture. Either of those options would go a long way toward destroying this classic. Sound quality is also excellent and clean.

As I write this I am watching the colorized version which I feel is less impressive. While colorization has come a long way and looks less like paint-by-numbers than it used to it is still obviously added color and just distracting for us purists that love the original B&W. That said, I wonder if the colorized version will be something that might make this film more accessible to kids (though I am planning on showing the original to my 5 and 7 year old kids!)

All in all, this is a fantastic buy and is a must-have for those that love this film and have a blu-ray player. I highly recommend it.

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Buyers beware....This supposedly "new" 60th Anniversary Edition of "It's a Wonderful Life" is THE EXACT SAME DISC AS THE PREVIOUSLY RELEASED VERSION FROM REPUBLIC PICTURES / ARTISAN!!!! The only differencne is that the new version is from the Scrooges at Paramount DVD and they've added new cover art (whoop-de-doo).

In addition, the "new" disc has the same bonus features and the same B&W transfer as the older edition. Paramount desperately needs to GIVE THIS FILM A REAL SPECIAL EDITON and stop suckering consumers into buying a product they already own!!!!!

By the way, there is NO COLORIZED VERSION on the 60th Anniversary DVD or the older release. Amazon has mistakenly listed this title as "color" and misled several reviewers to say that there actually was a colorized print on the disc. THIS IS WRONG!

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A beautifully crafted film that proved to be the apex of triple Oscar-winner (1934, 1936, 1938) Frank Capra's distinguished career, and the epitome of his cycle of works celebrating the "common man". Mr. Deeds found himself suddenly wealthy, Mr. Smith went to Washington as a Senator, and John Doe became the focus of a socio-political movement; but "Life"'s George Bailey never distinguishes himself outside of his small hometown of Bedford Falls --his brother Harry is the one who becomes a war hero, and his friend Sam Wainwright is the one who achieves financial success. George's triumph is simply his personal integrity, his code of ethics, and his strength of character --his goodness, if you will --during the unexciting course of his ordinary, mundane existence. In this respect, George is more an Everyman than any other Capra protagonist, inviting strong audience identification and response.

In one of the most exquisite performances ever given in an American film, James Stewart is superb as George. It's not an easy role to play because so much screen time is spent focusing on George's subtle reactions to the world around him. One incredible moment comes at the train station when George slowly begins to absorb the news of his brother's recent marriage and new career opportunity, and how his brother's fortune will destroy his own hopes of leaving Bedford Falls and the family business. Stewart's face is extraordinary in this scene, as surprised realization fades into quiet disappointment and finally, gentle graciousness and acceptance. Stewart's tour de force is given strong support by a superb cast of Capra stalwarts, including Lionel Barrymore, Thomas Mitchell, H. B. Warner, and the phenomenal Beulah Bondi (as George's mother). And Donna Reed, in one of her first romantic leading roles after a number of years playing supporting ingenues and bits, is excellent in the warm but unglamorous role of George's loving wife, Mary.

The Republic Home Video DVD is definitely the edition of this classic to own. Like the LaserDisc before it, the DVD offers a crystal clear, beautifully restored film-to-video transfer which will amaze and delight anyone who is familiar only with the horrible multi-generational VHS cassettes, or the awful colorized version, that were commonly screened back in the late 1970's and 1980's. There are some nice bonus features on the DVD, including a "making of" documentary and the theatrical trailer. This is one DVD that you'll never regret adding to your home theatre collection!

Trivia note: If you're a fan of this movie, try finding a copy of film historian David Thomson's 1985 novel "Suspects" which continues George's story and relates the characters from this movie to many others (did you know that Donna Reed's "Mary Bailey" is actually the sister of Gene Tierney's "Laura"?!, etc.) ... great fun!

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Gate of Hell (Criterion Collection) (1953)

In 1953, Teinosuke Kinugasa (1896-1982) directed and co-adapted the historical play entitled "Jigokumon" (English transliteration of the Japanese title), which was written by Kan Kikuchi (1888-1948). The film's name (the same as the play) translates into English as "Gate of Hell", and was released theatrically in the U.S. in 1954. The story takes place in 12th-century Japan during the Heian period and at the start of a revolt. During the confusion and fear running rampant through the royal palace in Kyoto, a lady of the court, Lady Kesa (Machiko Kyô), is rescued by a soldier named Moritoh (Kazuo Hasegawa, 1908-1984). After the revolt fails, Moritoh is told that he can have anything that he wants, and what he wants is Lady Kesa to be his wife. He is quickly told, however, that she is already married to Wataru Watanabe (Isao Yamagata, 1915-1996). Rather than seek something different, Moritoh becomes dangerously obsessed with Lady Kesa.

Filmed in beautiful & vibrant color (probably one of the first color films from Japan), the cinematography in "Gate of Hell" is exquisite. The story is by no means dated, though it does become somewhat predictable. Still, it is both compelling and engaging and the acting is superb, especially Machiko Kyô. Memorable scenes in the film include the confusion at the royal palace, Laky Kesa hiding from traitorous soldiers, Moritoh meeting Lady Kesa and her aunt after the revolt, Moritoh given the choice of his heart's desire, the horse races, Moritoh at the home of Lady Kesa's aunt, and the ending scenes. The makeup used on Moritoh could have been better.

The film won several awards including an Oscar for Best Costume Design, an Honorary Academy Award for Best Foreign Language Film and the prestigious Grand Prize at the Cannes Film Festival in France. Overall, I rate "Gate of Hell" with 4 out of 5 stars. Hopefully, the film will be fully restored and released on DVD one day. I highly recommend the film.

I first saw this at a revival in the early eighties and couldn't believe how beautiful it was. Then I got this video and was suprized that it wasn't nearlly as beautiful as I remembered. The reason wasn't a bad memory, but the original prints used for showings have rotted in film vaults, and have become blurry, faded, and scrathy. I was very disappointed that Home Vision didn't present this digitally remastered and restored with new computer subtitles (the subtitles are quite crude). That's the reason I didn't give this five stars other than that, this is one of Japan's greatest masterpieces. The ending is pretty sad but has a beautiful ending. The degree that Moritoh will go to get Kesa is trully horrifying and Moritoh transforms from a herioc samurai warrior and hero of the film to a maniacal barbarian and villian. Recommended, but maybe the more picky film viewer who has an outburst everytime a scratch line goes down a film should perhaps wait until this is restored to the experiance it once was.

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Gate of Hell (Teinosuke Kinugasa, 1953)

The 1950s in Japan were a great time for costume dramas. Witness Gate of Hell (Jigokumon), Teinosuke Kinugasa's multi-Western-award-winning (Oscar: Best Foreign Film and Best Costume Design, New York Film Critics' Circle: Best Foreign Film, BAFTA Best Film, Cannes Grand Prize) flick about obsessive love and its inevitable end.

Moritoh (Genji Monogatari's Kazuo Hasegawa) helps put down a revolt, and is rewarded with anything he desires. What he desires is the beautiful Kesa (Ugikusa's Machiko Kyo), but he finds out that Kesa is already married to another samurai, Wataru (Isao Yamagata of The Seven Samurai). This knowledge doesn't faze Moritoh in the least; he sets about trying to win Kesa's love by proving himself a better warrior than her husband.

It is a good film, but it could have been a better one. Midnight Eye's summary of the film says that "Kinugasa himself was fully aware of his picture's dramatic weaknesses, and blamed intervention from his producer, an under-developed script and a rushed working schedule due to a release date fixed in advance. Whilst impressive in its performances, and the ambition and scale of its production, with a little more attention to plotting, one gets the feeling that it could have been a truly great film." This is quite the case. While it is undeniably a stunning picture, even by today's standards-the rather primitive film stock (this was Japan's first color film) does nothing to mask the intricacy of the set design, the brilliant, almost expressionist color scheme, or Kinugasa's excellent eye when it comes to action scenes-the plot is presented in almost stop-motion fashion, with one excellently-acted scene after another, but nothing to tie them together.

This does not, by any means, mean you should avoid this movie. Any film containing Machiko Kyo, possibly the single most beautiful actress working in filmdom in the 1950s, and certainly one of the handful of the most talented, is well worth watching. Hasegawa makes Moritoh into a figure who is less frightening than pathetic, a man who is driven solely by his demons, who has entirely lost his soul to obsession, while Yamagata plays Wataru as a blissfully ignorant chap who is given every opportunity to see tragedy rushing towards him, but refuses until it's on his doorstep staring him in the face. It could have been great, but because it's not doesn't mean it's not good. ***

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This film wowed the critics when it first came out in the 1950's. The extraordinary medieval costumes and exquisite color compositions dazzled the audiences. Today, even Martin Scorsese ranks the movie among his top 10 of foreign films. It must have influenced so many Japanese directors when they attempted to create their own epics.

Obviously, I prefer the masterpieces of Kurosawa or Kobayashi or Mizoguchi. This is a very good film rather than a great one. Nevertheless...this movie grows on you. Other reviewers discuss the basic plot: Moritoh, a warrior who quashes a revolt, is to be rewarded for his bravery by the emperor's regent. He is asked to choose any gift from the emperor. During the revolt, he encounters the beautiful Lady Kesa, who is kind to him. Like a fool, he demands that he be given Lady Kesa as a wife, even though she is already married to a lord of higher class. Everyone asks him to desist.. but pride, madness, and desire prevent him from doing so. He vows to destroy anyone who stands in his path and goes so far as to kidnap his prize. On the other side of the wall, rather than defend his wife from such outrageous conduct, Lady Kesa's intellectual husband takes no violent action to protect her.

The scenes are enhanced by the exaggerated dramatic, strong movements of Moritoh against the delicate movements of Kesa. Notwithstanding, she is just as strong a character as he is. I give this movie 5 stars because I felt this was Machiko Kyo's best performance. Every gesture of hers can be studied for meaning.

The ending of the film grabs me so much because it is pregnant with so much significance. Don't rush to judgment think about it. There are secrets to the ending.

Postcript: The Blu-Ray quality is marvelous don't even think about seeing the movie in any other format. I also love the glorious poster artwork on the cover of this Criterion Edition.

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I saw this last night on TCM, which, BTW, is a rare treasure on the medium of the "idiot box". Isn't it remarkable that this movie is 53 years old, and it still sparkles? What an accomplishment! It had the ingredients of a truly great film complex characters that are developed fully and efficiently, great story-telling with attention to details, and good acting a little stylized, but keep in mind that that impression might be due partially to Westerners unfamiliarity with Japanese culture, and partially to how the definition of "good acting" has evolved.

I love the film's nobility and moral rectitude. Those were the days when (and we were in a culture where) "doing the right thing" was the expected norm. It was seen in Moritoh's loyalty at the price of at least it seems at the time expediency, which was preceded by Kesa's unflinching sense of duty and willingness to lay down her own life. This is the beauty of Kesa's "soul" that Moritoh found out all-too-late he failed to see, which manifested itself as bookends in the plot, but is in fact the moral center of the movie. Such ideals are no longer frequently or fully embraced these days. Look at how we glorify criminals in shows like The Sopranos and Thief. I also liked how the plot falls together: Kesa's readiness to sacrifice herself at the outset of the story made her self-immolation at the end of the film ring true. The little details: remember the talk of chestnuts when Moritoh first saw Kesa with her aunt? We saw later on those very chestnuts hanging on the swaying trees during Moritoh's unfortunate night time visit. When Wataru and Kesa took what turned out to be their last walk in the garden under a full moon, it was all peace and serenity. The very same setting is transformed sinister and ominous just moments later, with the moon now hidden by clouds, as Moritoh slowly emerges out of the darkness in the background a truly masterful and memorable scene in the history of cinema.

The theme of "folly" pervades the movie: we see a lot of it just from one character, Lord Kiyamori and he's a top dog and a leader! His son had to advise him to act quickly to quash the uprising when we first see him. He then failed to reward Kesa, who is every bit as deserving as Moritoh of recognition. Even if you chalk that failure up to the times and the culture, you can't excuse his Jephthah-like stupidity and arrogance in giving Moritoh pretty much carte-blanche in his wish for a reward. What's more, we have his incessant and insensitive teasing instrumental in precipitating the tragedy, in that it made the proud Moritoh all the more determined to have Kesa. Was Wataru cowardly, foolish, or both, when he "threw" the race? Lest you missed it, there's the cruel irony of Moritoh's comment after his brother's treachery resulted in his execution, "My brother was a foolish man". Moritoh proved to be no Solomon.

I thought it was a little frustrating to watch Kesa's helplessness when Moritoh blackmailed her. Surely there's another way out, woman! But I suppose that's part of the tragic theme: all the characters had strengths as well as tragic flaws. At the risk of second-guessing the director of a great movie, I felt that he could have kept the identity of the person in bed a secret until the moment of truth, but I'm sure I need to remind myself that this is not meant to be a thriller. I'd like to watch this movie again, maybe along with a movie it reminds me of: Kurosawa's Ran.

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Woochi the Demon Slayer

I bought this based on a trailer I viewed on another Cine-Asia production I purchased: Detective Dee & The Mystery of the Phantom Flame [Blu-ray]. This movie comes out of Korea, whereas "Dee" is a Hong Kong film (I rated "Dee" at 5 stars). "Woochi" also goes under a couple of alternate titles including Jeon Woo Chi (The Tao Fighter) and Jeon Woo Chi (Taoist Wizard).

Though listed as playable in region B/2 (Europe, Greenland, French territories, Middle East, Africa, Australia and New Zealand) when I bought it, this is another Cine-Asia production that appears to be region free (i.e., I can play it on my US of A cheapo Magnavox blu-ray player). However, just like the Detective Dee film, trying to play most of the extras, such as "deleted scenes," resulted in the same frantic "Not Support!!!" message. This is likely because most of the special features are in the PAL format which my poor console apparently can't handle. Again, the movie itself plays fine.

I play this on a 40 inch HD TV via HDMI hookup, and the quality appears to be as good as blu-ray cuts usually are, but not exceptionally so. This version (Cine-Asia blu-ray) is in Korean audio with English subtitles. It's a bit long at 136 minutes, but since I don't see a lot of Korean films, the costumes and settings are interesting enough so that when things are a bit slow I just enjoy looking at the differences. A good editor could probably tighten this up a bit, but you might lose some of the dense plot and make it even more confusing. In any case, it's the action and special effects sequences that make this a fun film to watch. Without giving much away, I particularly liked the creative use of paper as a magical element.

The modern day sequences in the movie reminded me, in a good way, quite a bit of Big Trouble in Little China. You have a humorously portrayed protagonist fighting ancient supernatural creatures in the streets of a modern city. I think they're both films in the same spirit of rollicking good fun not requiring a lot of intellectual analysis to enjoy. This movie goes on our Saturday night get-together with friends for watching a movie while eating pizza.

Oh. The giant goblin ninja bunny really rocks. Bunnies! If there were more, or longer, scenes with the giant goblin ninja bunny, I might have bumped this up to five stars even with all of the other issues.

Long ago there were demons locked in the heavens guarded by a person playing a magic flute. The demons escaped and came to earth in human form, the flute likewise came to earth. The demons are in human form looking for the flute. Meanwhile there are two rival Tao groups after the flute wanting to contain the demons.

The story becomes complex. One "self taught" Tao Master in Jeon Woo-chi (Dong-won Kang) who likes to play tricks and seeks fame against the basic Tao code. There is also a woman who doesn't like needle work, and a man who acts as Woo-Chi's horse, but is really a dog. There are three Shinsuns who work for the opposing Tao master. Oh yeah, there is a bronze sword too.

The film contains magic and illusion. It freely mixes the two. It takes place 500 years in the past and the present. It has magician battles, gravity defying moves, CG monster effects, and some humor. The modern Woo-Chi assumes the clothes of the "King of Pop."

The English translation sounded like a bad spaghetti western. The deleted scenes are in Korean with subtitles available. Like many eastern films, it is easy to lose yourself in the characters and story so you must pay attention. This film isn't for everyone.

Parental Guide: No f-bombs, sex, or nudity. soft 4 stars

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This was a great sorcery martial art film. It had some great fight scenes and cool sorcery and some funny humor. Woochi is worth the price.

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First, I bought in BR just because it was 6 USD.

Second, I already had a very strong concept and solid of the art and quality of Korean cinema.

Third, I was expecting something funny and amusing.

The story and plot are more of the same (the battle of the Good versus the Evil) but with different twists and out of clichés characters.

Graphics are cool. Not that state-of-the-art of Hollywood limitless budgets but pretty decent to get excited.

Characters are just magnificent.

The fact the story moves from ancient times to modern back and forth instinctively is a very nice point (like in Highlander).

I highly recommend it.

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But good Japanese kung fu movie better in three d, mostly for anime lovers though if you like anime and watch this movie you'll know what I mean.

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Dante's Peak (1997)

The 'old-fashioned' disaster movie scenario enjoyed a brief resurgence in the latter half of the 90s. After the success of Twister and ID4, films like Hard Rain, Titanic, Armageddon and Deep Impact followed in its wake. Like the two competing asteroid movies, Dante's Peak was in competition with the imaginatively named Volcano as THE Lava flow of 1997. Which one is better? Well, comparing the two is like comparing an atomic blast to a popping pimple.

Pierce Brosnan is Harry Dalton, a Vulcanologist (or James Bond in disguise if you want) who predicts a major eruption in the quaint Pacific-Northwestern town of Dante's Peak. No one wants to listen to him since the town has just been named the 2nd most desirable place to live in America and is in the early stages of a thriving economy. It's the politics from Jaws all over again. Despite being shouted down by his superiors, Harry sticks around to keep his eye on the imposing mountain and woo Mayor Wando (Linda Hamilton), who is the only one who believes the 4000-year dormant volcano might blow its top.

If you've seen one disaster movie, you've seen 'em all in terms of character importance. Yes, it's bloody obvious who is going to die, some of these people might as well have a death clock counting down stuck on their foreheads. And the panicking idiot mobs don't deserve anything less firey. When will nameless extras learn that following the crowd isn't the best way? I guess this is the weakest part of Dante's Peak, it never really distances itself from that single, eternal cliché of disaster films.

But the film is really nothing but a showcase for special effects and it does them surprisingly well. Made before the extreme popularity of CGI, Dante's Peak has a lot of real-life destruction, in-camera effects and stunt-work. Yes, there is a fair bit of CGI and for a 10-year-old film they still hold up really well. All Volano (Zzzz...) had to offer was a very, very slight lava flow and an unintentionally hilarious scene with a melting man but with Dante's Peak we get earthquakes, boiled skinny dippers, lakes of acid, ash blizzards that create a unique atmosphere, thunder and lightning, red hot boulders raining down from the sky, mudslides, lava (of course), a massive pyroclastic cloud and lots of deep, deep bass sound effects.

It's not a life-changing film by any means, but as disaster movies go it's one of the best, has an occasionally spooky score and entertains really well despite Brosnan taking it all so seriously. I would have given it a higher rating if they killed the dog (more original) and deleted the annoying Grant Heslov's utterly pointless character.

The Blu Ray presents the film is gorgeous 1080p 2.35:1 with a brilliant DTS HD-MA sound design. The best of the extras from the SD-DVD are ported over, but why the horrible new cover?

Dante's Peak seems like the ideal place to live... the serenity of the mountainous landscape and the friendly atmosphere seems to wipe out the fact that the town is nestled at the base of a dormant volcano. However, when the U.S.G.S. begins to pick up signals from the volcano that indicate a possible eruption, they send Harry Dalton (Pierce Brosnan) to investigate. While there, he befriends town mayor Rachel Wando (Linda Hamilton) and informs her of the risks. When he begins to get the city council into an uproar, his advisor shows up to cool things down and wards off any ideas of an eruption. But the symptoms begin to grow, and soon, ash and rock are flying in the sky as the mountain explodes upon the small township. It's a race for survival for Dalton and Wando, as they must search for Wando's children and get them out before the impending final showdown with the volcano. Digital Domain's special effects contribute so much to the story, making it real and placing its characters in real peril. Suspense, action, romance and a terrific cast make this disaster movie a winner. The DTS version is remarkable, and it is recommended that this be the version you buy.

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In 1997 there were two eagerly anticipated volcano movies released. Dante's Peak was more of a blockbuster hit, with more entertainment value, but not very accurate from a geologist's standpoint.

Had it been based on reality instead of Hollywood, they all would have died early in the movie. You can't drive through lava. Since it can get up to 2000 degrees, the vehicle would have perished immediately. I also don't know many metal objects like a small boat that can survive direct contact with acid elements and remain floating indefinitely.

With all that said it was a good entertaining movie. Pierce Brosnan is always a must see!

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"Dante's Peak" is one of the disaster movies that really brings the genre to a super peak, with a realistic and thrilling earth-shaking (in this case literally) catastrophe, high octane action, glorious cinematography capturing great natural beauty, and high-quality characters and relationships. It is, of course, about a volcano, one of the most powerful forces in nature, and it successfully captures the grandeur and terror of such an event. I've always found volcanoes fascinating they're terrifically destructive, and of course tragic for the havoc they wreak, both when they're near human habitation and when they're in the 'isolated' wilderness where the other creatures are the sole recipients of their explosive force. And yet they're undeniably beautiful, like a sunset or a howling snowstorm, and they're in fact an essential part of the inner workings of the earth. Also, although there is often a lot of death associated with volcanoes as acre after acre gets burnt up or covered with ash, they're also, paradoxically, major bringers of life. Even extremely barren, infertile lands with usually burst forth with new life within a few years of a volcano, because they bring forth such rich new nutrients in their lava.

"Dante's Peak" is smart by not having the disaster hit five minutes after the opening credits have finished rolling; there have been some movies of this nature over the years that have made just that mistake. This one though is perfectly paced throughout. There is plently of tight build-up and a couple of tragic harbingers of the bigger calamity to come. The action in the latter parts of the movie is explosive and exhilirating, among the best. It's interesting that "Dante's Peak" has managed to position itself as one of the greatest action movies without any real bad guys. There are some unlikable characters short-sighted, arrogant, condescending but that's all. They're jerks, but they're not characters who are going to go out and kill somebody. So in this tremendous action movie there's no one shooting at each other, no swordplay, no high-impact kick battles. Don't get me wrong I love the kind of movies represented by "Lethal Weapon", "Timebomb", "True Lies", "Out Of Time", all that; and I generally even more love the more fantastical, really grand movies like "Superman Returns", "Star Wars", "Lord Of The Rings", "Spider-Man", all that stuff. But it's neat that a movie missing so many of the great staples of action fare has also brought itself up into the cream of the crop.

The visuals of "Dante's Peak" are awesome. The volcanic effects are extremely realistic, and just the natural splendor is great. As mentioned, the cinematography is incredible, although there is admittedly one wonderful shot that was promising to be truly spectacular but gets hampered a bit by the camera being in the wrong angle to capture it all. A very minor quibble. It would also be an extremely minor quibble if one was to spend too much time focusing on the improbably high number of razor-thin escapes by some of the characters. Movie makers Are allowed some artistic licences even in realistic scenarios after all, and besides, in a case where two outcomes are possible but one quite a bit more likely, you don't have to go with the most likely one Every time. You shouldn't also go with the most unlikely every time either or it loses its believability and tension, and "Dante's Peak" doesn't do that. It stays on just the right tip of the balancing scale.

Excellent stuff; for more disaster-oriented greats I also recommend "Deep Impact" and "Titanic".

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WOW!!! This video transfer is the best HD-DVD video transfer I think I have had the pleasure of viewing. It is absolutely brilliant, it may not be everyones "cup of tea" as far as storylines go but you cannot fault the transfers they are fantastic.

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Casablanca / The African Queen (2013)

I pre-ordered this 2 months ago and just got it today(3/12).

They have the picture of the 70th anniversary edition of Casablanca on the case but it is NOT! It is the old 2008 Blu-Ray release!

For those of you that don't know this, the studio released a 70th anniversary edition of Casablanca last year that got a 4K transfer yielding much better picture quality and a DTS-HD Master Audio track for better sound. This package has the 2008 version with standard Dolby Digital and an inferior picture transfer. Why would this not be disclosed?

Needless to say I am returning this today. Obviously very disappointed.

*Update 3-21-13*

I opened it and sure enough it is the newest version. Just wrong information on the back that caused me to think otherwise. Very relieved.

We enjoyed watching these two movies. We made popcorn and curled up and watched them and really enjoyed them. Very happy.

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Two excellent Humphrey Bogart movies and great price. Happy to add these to our library. Would highly recommend this package.

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These are two of the most beloved movies in film history for many good reasons. They have their flaws, of course, but what movie doesn't? Bogie, Bergman and Hepburn are at the top of their acting game.

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Before buying, I wanted to be sure that the 'Casablanca' transfer was the newer, far superior one, and according to reviews, it is. The two-disc package arrived quickly, and the discs play great.

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Ronin (1998)

This is one of my favorite movies. Unfortunately, MGM decided to pull a fast one and release a lobotomized Blu-ray version.

First of all, it uses old-school, low bitrate MPEG-2 encoding (so much for the the "superior" picture quality of Blu-Ray).

Fine, I could have lived with that... except for the fact that, as others have mentioned, the Blu-ray release contains absolutely no special features at all! None. Zip. Zilch. Nada. Not even the stuff on the DVD release! WTF!?!?

I suppose MGM will eventually come out with a "Special Edition" Blu-Ray with the missing features, expecting us to also purchase that. No Way!!!

I'm returning this for a refund. I've spent quite a bit of money buying stuff off of Amazon over the years, and this is the first time I'm returning anything. It should tell you how ticked off I am about this.

Also, Amazon really needs to segregate the reviews for the Blu-ray release from the DVD reviews. It's sometimes very difficult to wade through 100s of reviews to find out if the Blu-ray release is worth buying over the DVD release.

I actually saw Ronin in the theater when I was in high school. I had no idea what to expect, but I ended up loving it. It had such a great sense of style, it didn't spoon feed the plot to you, and featured fantastic action scenes. To this day it has my favorite car chase scenes.

So when I heard it was coming out on Blu-Ray, I was excited. I love the high definition picture and high quality sound that Blu-Ray offers, as well as the ability to fit those and a slew of extras on a single disc.

Unfortunately, MGM/Fox decided to treat this great movie poorly for its Blu-Ray debut. The picture quality is improved, but not up to par with the more impressive Blu-Ray catalog releases we've seen so far. It is a single-layered release (using only 25GB of the 50GB available on a dual-layered disc), and uses a compression codec (MPEG-2) that has largely been abandoned in favor of better ones.

Worse, all the great extras from both DVDs are absent from the Blu-Ray. Even the original DVD from 1999(!) had a commentary and alternate ending. The 2006 DVD had those, a documentary, and a bunch of featurettes.

All in all, this Blu-Ray takes one baby-step forward, and several big steps backward. This disc is behind the DVD that is 10 years its senior. Sadly I'll be waiting to purchase this until MGM treats this movie with the respect it deserves (the respect they gave it 3 years ago).

Buy Ronin (1998) Now

The definition of the Japanese word ronin describes it as a samurai who has lost his master from the ruin of or the fall of his master. John Frankenheimer (with some final draft help with the script from David Mamet) takes this notion of a masterless samurai and brings to it a post-Cold War setting and sensibility that more than pay homage to the great stories and film of the ronin. One particular story about ronin that Frankenheimer references in detail is the classic story of the 47 Ronin. Ronin shows that in the latter-stages of his career, Frankenheimer was still the master of the political/spy-thriller genre. He infuses the film with a real hard-edge and was able to mix together both intelligence and energy in both the quieter and action-packed sequences in the film.

The film begins quietly with the introduction of the characters to be involved. We meet each individual in this quiet 10-minute scene that shows Frankenheimer's skill as a director more than Michael Bay can in two-hours of mind-numbing action. Robert De Niro as one of the two American mercenaries (or contractors) instantly becomes the focal point for everyone. His casual, but attentive reconnoitering of the Paris bar where the first meet occurs helps build tension without being overt. It's with the introduction of Jean Reno as the Frenchman in the group that we get the buddy-film dynamic as De Niro and Reno quickly create a believable camaraderie born of the times for such men during and after the Cold War. The rest of the cast is rounded out by an excellent and high-energy turn from Sean Bean as an English contractor who might not be all that he brags to be. The other American in the group was played by Skipp Sudduth who in his own understated way more than kept up with the high-caliber of actors around him. Finishing off and adding the darker and seedier aspects of the cast were Stellan Skarsgard as a former Eastern Bloc (maybe ex-KGB) operative and Jonathan Pryce as a wanted IRA commander wanted by all. The only break in all the male testosterone in the film was able played by the beautiful, yet tough Natasha McElhone. Like Sudduth, McElhone more than keeps up and matches acting skills with the likes of De Niro, Reno and Skarsgard.

The film moves from the meeting of the group to the actual operation which brought all these disparate characters together. Taking a page from Hitchcock, Frankenheimer and Mamet introduces what would become the film's MacGuffin. A MacGuffin being a plot device which helps motivates each character of its importance and yet we're left to believe only that the item is important without ever finding out why. The MacGuffin in Ronin ends up being a silver case which the IRA terrorists, the Russian Mob and seemingly every intelligence agency in Europe wants to get their hands on. It's up to De Niro and his group to steal the case from another party and this was where Frankenheimer's skill in seemlessly blending spy-thriller and action film shows. From the set-up of the team and their plans, to a near double-cross during an arms deal to the actual operation to take the case, Ronin begins to move at a clipped and tension-filled pace. There's no overly extraneous dialogue. Mamet's script-doctoring fleshes out the story and adds a sense and feel of intelligent professionalism to the characters. Outside of the Bean's braggart Englishman who gets his commeuppance from DeNiro's strict professional, everyone in the group had a skill to contribute to the operation and all did it well and believable.

The action sequences mostly involved car chases through the narrow streets of Nice, France to the metropolitan thoroughfares and tunnels of Paris. Frankenheimer shines in creating and directing these sequences. Sequences which he'd decided against the use of CGI. Using what he'd learned and perfected from his own past as a former race car driver and from his own classic film Grand Prix, Frankenheimer used real life cars and drove them through real (albeit choreographed) traffic to give the sequences that sense of reality and speed that one couldn't get with CGI. The car chase scene within the Paris thoroughfare tunnel against traffic has to go down as one of the best car chase put on film. I and those I saw the film with were on the edge of our seats as both protagonists and antagonists weaved their way through Parisian traffic at high-speed and gunfire. The crashes caused by this car chase looked believable and horrific yet the audience doesn't glance away from the screen. With just abit of help from second unit directors Luc Etienne and Michel Cheyko, Frankenheimer pretty much did most of the filming of the car chases. At times being in the car itself and doing some of the driving.

The story itself, after all the characterizations and high-energy, tense action sequences, was really bare bones and in itself its own MacGuffin. The story just becomes a prop device to help show the mercenaries' special sense of honor in regards to working with people who might've been enemies in the past and the murky world they now live in after the collapse of the black and white sensibility that was the Cold War. One little bit of trivia that I found interesting was the fact that Ronin included quite abit of actors who portrayed past James Bond villains: Sean Bean (Janus), Jonathan Pryce (Carver) and Michael Lonsdale (Drax).

In the end, Ronin became the last great film from a great director. I don't count Reindeer Games as anything but Frankenheimer picking up a check and the studio dabbling overmuch in the final look and feel of that film. Frankenheimer's Ronin is a blend of smart dialogue, hard-edged characters, and tense-filled action that he manages to blend together to make a fine and intelligent film. The story may not have made real sense in the end, but the journey the audience takes with DeNiro, Reno and McElhone's character in getting there made for a great time for all.

Read Best Reviews of Ronin (1998) Here

This movie is an instant classic for Robert De Niro and Jean Reno fans. Natascha McElhone is a lovely dazzler combining a sensuous understated beauty with a journeyman actor's presence. With a simple look or a roll of her eyes she speaks volumes. De Niro has never been tougher or more compelling as the everyman, Sam. He reminds me of Bogart in his grittier roles. Jean Reno is quickly becomming one of my favorite actors. He is a man's man with a sincere delivery and deep sad eyes. He also adds the aura of the world weary but stoic Frenchman to the mix. I love French and the bits of French dialogue interspersed in the movie resonate with wryness. The interplay and rapport between the Jean Reno and Robert DeNiro characters plays true and is one of my favorite things about this relatively realistic action film. Frankenheimer has a superb eye for detail and the cutters have done a marvelous job. This story will keep you on edge for most of its running length. The action scenes are cut in broad swaths that leave you wanting more. Get this film and an Audi S8 while you're at it. You wont be sorry.

Want Ronin (1998) Discount?

When I first heard about Ronin on TV, I knew I had to go see it. I was not disappointed. Great action sequences (including two of the best car chases in film), a solid plot, and outstanding acting by Robert De Niro, Jean Reno, and Jonathan Pryce made this movie my favorite. I have personally seen Ronin seven times, and each time I am amazed by the quality of the film.

There's more to this movie than the action sequences, and it recalls the days when action movies were not just pure action all the time. When I first saw the samurai minature sequence, I thought it was uncessary and boring, but after time, I have come to think it an interesting and important part of the story. Some people might find Ronin a bit boring at times, but it has a strong plotline that is unpredicatble, and just enough action without going overboard.

This DVD doesn't have many extra features at all, although I absolutely loved the director's commentary. Otherwise, it's sorely lacking in features, despite the alternate ending. I wish that MGM would have released this as a special edition it would have been my favorite DVD of all time still, I highly recommend it because Ronin is such an awesome movie.

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Kate & Leopold (Director's Cut) (2001)

This s just a great movie. A simple little boy meets girl; boy, Leopold, likes girl; girl, Kate, likes boy. The problem is Leopold is from another time, the past, and does not belong here! Kate's current boyfriend, Stuart, figured out how to time travel to the past and Leopold accidentally followed him back from the past to the current time. The problem: get Leopold back to the past. And oh no, Leopold is Stuart's great, great grandfather. Worse yet, Kate (grandma?) may belong in the past with Leopold, not the future! And who the heck is Otis? Watch the movie and find out. It is a wonderful nights entertainment.

ACTUALY IT IS A WELL THOUGHT OUT MOVIE WITH

NEAR PERFECT CASTING. "THE DOG THAT SAW A RAINBOW"

IS SOMETHING TO MUSE OVER.

Buy Kate & Leopold (Director's Cut) (2001) Now

This movie handles the time travel by use of a Time Portal, with apparently two fixed points in

time. When the 20th Century man follows the 21st Century time-traveler thru the time portal,

he quickly adapts to his new surroundings. His romantic techniques seem very effective.

I recommend watching this movie at least a couple of times. It's really well done and doesn't

appear to have any irregularity.

Read Best Reviews of Kate & Leopold (Director's Cut) (2001) Here

This was a very cute past meets present flick. I would recommend it, even my boyfriend said it was good (and he is uber picky!)

Want Kate & Leopold (Director's Cut) (2001) Discount?

Like Somewhere in Time, just relax and enjoy. The cast flows wonderfully together and great for a lazy afternoon. Big bowl of popcorn recommended.

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Spy Kids: All The Time In The World Combo (2011)

Director Robert Rodriguez seems determined to keep the "Spy Kids" franchise alive at all costs. "Spy Kids: All The Time In The World" is essentially a reboot as opposed to a true sequel as it launches viewers upon the adventures of a new central family. Yes, original kids Alexa Vega and Daryl Sabara are on hand as grown counterparts of themselves, but it feels as if they are passing the torch to the younger generation. While this, the fourth in the series, has much of the visual inventiveness you've come to appreciate from Rodriguez, it does lack some of the easy charm of the first couple of pictures. Trading cleverness for obvious humor, though, has its drawbacks. Thankfully, on on-demand, we are spared the theater's Aroma-Scope scratch cards that surely promised a plethora of unpleasant smells. (For the record, I liked it when John Waters did it, but that was a different story entirely). The movie plays to a certain demographic--if you think passing gas, vomit, and other bodily emissions are hysterical, this might be just up your alley. I always hear the argument "but the movie is for kids" when people are defending entertainment of this type, but the point seems rather irrelevant when you think of all the good kids' movies with genuine smarts.

Jessica Alba plays Vega and Sabara's aunt. She, too, is a spy. Upon giving birth to her daughter, she decides to quit this dangerous occupation to focus on her new baby, husband (Joel McHale), and step kids (Rowan Blanchard and Mason Cook). However, when a nefarious mastermind starts moving time forward at an alarming rate--the fate of the very world is in jeopardy. She has had prior dealings with another criminal who holds the key to this mystery, so she is drafted back into service. This being "Spy Kids," though, Blanchard and Cook are soon up to their little necks in danger as well. Will these darn kids be able to save humankind? I won't ruin the surprise. Jeremy Piven is cast as Alba's superior at the agency, and Ricky Gervais provides unusual support. Everyone is game and, as I said, certain visuals are fun to watch. But that being the case, I found most of the actual humor forced and flat. There are only so many times passing gas can effectively be used as a punchline!

The movie, despite its slapstick silliness, wants to have its share of warm moments as well with the family drawing closer. I never really responded to Blanchard, though, who needed more discipline than understanding. I love Jeremy Piven, who despite having a large role, is never given any real comedy. And Gervais, to my mind, is a comic genius but his running monologue is uninspired and obvious. All the elements were here to make a good picture, I even liked the plot well enough--the screenplay just needed that extra push to make it more fun and funnier. Mostly for the kids, I can't really make this much of a recommendation. It's easy enough to watch (since I didn't have to smell it), I just wanted to laugh along. Overall, about 2 1/2 stars but I'll round up for the kiddies. KGHarris, 11/11.

My kids ages 5 and 7 really liked this film, so I decided to rate it 4 stars, although on my own I would have given it 3 (I am not the target demographic after all.) I think Antonio Banderas and Alexa Vega lifted these films a bit in the past, and without them, it is feeling tired. In this one, a new generation of parents and kids are introduced, and they do OK, but lack the charisma of the original. The tone of the movie is different too much more focus on humor, and a fair amount of slapstick. The highlight for me was Ricky Gervais voicing a robotic dog he gets some of the best lines of the film, although my kids didn't quite get him. Jeremy Piven has some good moments as a two-faced agent/villain, but he also overplays it at times. Jessica Alba and Danny Trejo are fine, but don't compare to Banderas and Vega.

The plot is so-so, although I did appreciate the stepmother/blended family theme, as I do think that is relevant to many modern families. I also appreciated that even though this is an action movie, it is more focused on humor than violence. And as I said, my kids really loved it, they were riveted throughout, so for a family film, that gets it to 4 stars in my book.

Buy Spy Kids: All The Time In The World Combo (2011) Now

Director Robert Rodriguez seems determined to keep the "Spy Kids" franchise alive at all costs. "Spy Kids: All The Time In The World" is essentially a reboot as opposed to a true sequel as it launches viewers upon the adventures of a new central family. Yes, original kids Alexa Vega and Daryl Sabara are on hand as grown counterparts of themselves, but it feels as if they are passing the torch to the younger generation. While this, the fourth in the series, has much of the visual inventiveness you've come to appreciate from Rodriguez, it does lack some of the easy charm of the first couple of pictures. Trading cleverness for obvious humor, though, has its drawbacks. Thankfully, on DVD, we are spared the theater's Aroma-Scope scratch cards that surely promised a plethora of unpleasant smells. (For the record, I liked it when John Waters did it, but that was a different story entirely). The movie plays to a certain demographic--if you think passing gas, vomit, and other bodily emissions are hysterical, this might be just up your alley. I always hear the argument "but the movie is for kids" when people are defending entertainment of this type, but the point seems rather irrelevant when you think of all the good kids' movies with genuine smarts.

Jessica Alba plays Vega and Sabara's aunt. She, too, is a spy. Upon giving birth to her daughter, she decides to quit this dangerous occupation to focus on her new baby, husband (Joel McHale), and step kids (Rowan Blanchard and Mason Cook). However, when a nefarious mastermind starts moving time forward at an alarming rate--the fate of the very world is in jeopardy. She has had prior dealings with another criminal who holds the key to this mystery, so she is drafted back into service. This being "Spy Kids," though, Blanchard and Cook are soon up to their little necks in danger as well. Will these darn kids be able to save humankind? I won't ruin the surprise. Jeremy Piven is cast as Alba's superior at the agency, and Ricky Gervais provides unusual support. Everyone is game and, as I said, certain visuals are fun to watch. But that being the case, I found most of the actual humor forced and flat. There are only so many times passing gas can effectively be used as a punchline!

The movie, despite its slapstick silliness, wants to have its share of warm moments as well with the family drawing closer. I never really responded to Blanchard, though, who needed more discipline than understanding. I love Jeremy Piven, who despite having a large role, is never given any real comedy. And Gervais, to my mind, is a comic genius but his running monologue is uninspired and obvious. All the elements were here to make a good picture, I even liked the plot well enough--the screenplay just needed that extra push to make it more fun and funnier. Mostly for the kids, I can't really make this much of a recommendation. It's easy enough to watch (since I didn't have to smell it), I just wanted to laugh along.

3-D: For those with 3-D technology, the film comes across well in that regard. The fanciful scenes have a real depth with the extra dimension, but there aren't really out-of-screen shots to take it to the next level. Neither the best or worst the technology has to offer, this doesn't elevate the movie to a different level of quality. Overall, about 2 1/2 stars but I'll round up for the kiddies. KGHarris, 11/11.

Read Best Reviews of Spy Kids: All The Time In The World Combo (2011) Here

If your kids are into super heroes and love to be sneaky, this is one of the movies they will love. My daughter is into all the Spy Kids movies and loves to watch story unfold. Although not as good as the 1st (are they ever really?) It was fun to watch my daughters reaction to some of the stunts and equipment the kids used in the movie.

Want Spy Kids: All The Time In The World Combo (2011) Discount?

It was a good movie for kids, and kinda hokie but fun to watch. The 3d is done well, lots of 3d pop outs, was definitley worth the money i spent on the 3d blu ray.