Starter for 10

From a very young age, Brian Jackson has crammed his mind with facts and knowledge, and now he's off to university for more. But the most important lesson he has to learn is that knowledge and wisdom are not the same thing.

Brian quickly makes a strong impression in academia, especially when he gets onto the school team for University Challenge, the wildly popular quiz show he grew up watching with his father. But the rest of life isn't so easy: Brian falls head-over-heels for his beautiful but self-centered teammate Alice, who leads him on despite having no real interest in intimacy; his mother, now ten years widowed, has found a new lover; he just can't sort out his feelings for Rebecca, a student activist with more than a passing interest in him; his blue-collar mates from home are starting to regard him as a class traitor; and any time he tries to be clever or impulsive, it always goes awry.

James McAvoy, who has already won great critical acclaim for his skills in dramatic roles, shows that he is equally adept in comedy, giving Brian an aw-shucks charm that keeps him loveable despite his penchant for saying exactly the wrong thing. Among the rest of the cast, the two greatest standouts are Benedict Cumberbatch, who steals his every scene as the hilariously snobbish team captain, and the extraordinarily talented Rebecca Hall, who plays Rebecca with such spirit and beauty that you can't help rooting for Brian to come around and realize that she's the one for him. Veteran thespians Charles Dance and Lindsay Duncan have a brilliant cameo as Alice's parents, and Mark Gatiss makes a convicing Bamber Gascoigne (the long-time host of University Challenge, and a real-life icon of British TV).

The script is witty, and gives new twists to the traditional conventions of romantic comedy. The climax on the set of University Challenge, and an earlier scene involving a misguided reference to The Graduate, are particularly well done. I can't help feeling, though, that the movie missed a few good opportunities as well. I understand the need to streamline the story, but I can't help feeling that they streamlined too much: fun characters disappear not long after they're introduced, certain aspects of Brian's schoolyear are mentioned when they should have been shown, and so on.

All the same, I thoroughly enjoyed the movie, and highly recommend it for any fans of romantic comedy, British film, or movies with cool '80s soundtracks.

I found this movie quite charming -much to do with the fact that James McAvoy is the central figure in it...I truly think we'll find him in a lot of good films in the future, which is GREAT!-.

The movie's the story of a boy who struggles to find himself while growing up -falling in love and making mistakes on a university TV quiz show are trascendantal-

You can get easily related to it...even more if you have had interest in accumulating a lot of useless -yet fascinatingdata in your brain to feel more intellectual or to guarantee yourself a "special" place in this world. Simple,sweet, funny and as I said before...charming!

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This is a slight film, but one well worth seeing for the fine performance by James McAvoy. A plain-looking nerd who goes off to college seeking to distinguish himself both as academically knowledgeable and, at the same time, as a ladies' man, he must strike a chord in the hearts of thousands of first year undergrads just like him. What McAvoy has going for him especially is his ability to ooze charm from every pore without being in the slightest degree sickeningly sweet. It is his memorable performance which distinguishes an otherwise pretty formulaic college comedy of heartbreak and eventual triumph.

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James McAvoy has that affable quality which makes the viewer like him even when he is being a bit of a prat. That is true throughout this DVD. The storyline is a little "low key," as the adaptation of the book to the screen was not as effective as it could be, but the performances are strong, and the viewer will not feel "cheated" when he finishes watching the film.

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Those of you who read the book may be a bit disappointed by its screen adaptation, an all to common occurrence when a book becomes a film.

Placing that comment aside and reviewing this film without use of a pretense, Starter for 10 is a cute, all be it a bit campy, British comedy about the bumps and hiccups brought by coming of age, finding ones future, and facing ones past. James McAvoy does a brilliant job of making his character lovably awkward. The subtle comedy, satirical character types and romantic interfaces make this a must see for any University Challenge fan (or anyone looking for a good laugh).

1 star off only because the book was better.

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Is It Just Me (2010)

So many of the gay films that get labeled "romantic comedy" should, more accurately, be called "sex farce." They're all about giving viewers a glimpse of skin and hot sex scenes, but they're not so great at showing the truly warm, romantic side of gay relationships.

Is It Just Me bucks that trend. This is an extraordinary film in that the characters are not broadly painted stereotypes, but nuanced and interesting individuals. You may think you know what to expect from each character, but, happily, you'd likely be wrong. Not one of these characters is simple or stereotyped, and all are likable. Gay viewers will see themselves in these characters, but unlike many modern gay movies, they'll see the best parts of themselves reflected on the screen.

Surprisingly for a film of this genre, one of my favorite characters was Ernie, Xander's older roommate (played by Bruce Gray), who is both witty and truly kind. Ernie feels very real and very sweet, and you'll wish you had a gay roommate just like him.

Adam Huss also turns in a solid performance as Cameron, our protagonist's, ahem, very popular and very hunky roommate. The screenwriter could easily have painted Cameron as a cad, and the fact that he did not do so is testament to the interesting artistic choices this movie makes.

The writing and direction in this film are both spot on. This movie avoids the campy/bitchy/cynical humor that's so common in gay films these days in favor or a warm humor that makes me feel happy to be gay.

If you're looking for a warm, wise, heartwarming romantic comedy (that just happens to be gay), this is it. It's the kind of gay film you can show to your mother and not be embarrassed. I can't recommend this film highly enough.

Blaine on dating in West Hollywood: "Being just average in a world of physical perfection is the worst kind of gay purgatory."

Blaine (Nicholas Downs) is an old-fashioned guy in Los Angeles, a sweet and cute gay twenty-something who is sensitive, honest, hardworking and looking for a guy with whom he can share his life. Not into bars, casual sex and game playing, he channels his loneliness and angst into his column for a newspaper. His roommate, Cameron (Adam Huss), is a shallow, sex-obsessed gym-bunny who acts in bad movies and works as a go-go boy at a WeHo gay bar, exactly the type of guy Blaine tries to avoid. But when Blaine meets Xander (David Loren) online, a guy who seems to be perfect for him, he accidentally sends him Cameron's photo by mistake, and is convinced that Xander only wants to meet him because he looks like that. Cameron agrees to pose as Blaine at their initial meeting, to which Blaine (posing as roommate Cameron) also attends, and things go horribly wrong from here.

The "used someone else's image online" bit has been used before (most recently in a gay comedy that was very forgettable), but strikes the perfect balance here in testing Blaine to be more self-assured and confident in seeking a relationship. Also loved the inclusion of an older gay "mentor" (played by character actor Bruce Gray) for Xander. Overall, a charmingly positive and realistic story, produced and acted very well by talented professionals. A definite "keeper" for my DVD collection; plentiful extras include commentary, deleted scenes, auditions and "dating advice." Don't miss this one! Five big stars out of five!

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I wish this film had had the budget to raise the production values above that of a low budget gay film for this is a light-hearted gay romantic comedy where everything works. The characters are not caricatures and after my first viewing of this film last night it is lingering in my thoughts and I can't wait to watch it again. It is very true that self doubting Blaine (Nicholas Downs) is indeed a cutie but in the mainstream gay culture, especially the clubs, if that handsome face doesn't come with a gym well muscled bod often the nicest guys can get overlooked. It makes perfect sense when Blaine meets a Texan hottie Xander (David Loren) on line and they bond on all things that matter, not the superficial, that he gets insecure when he sees that Xander thinks he is indeed his roommate Cameron who is a muscle stud stripper for his pic was accidentally on his facebook page.

If the story line sounds silly believe me as it unfolds it makes perfect sense. Blaine is portrayed perfectly but for me the heart and soul of the film rests in Xander. David Loren takes this Texan stud and gives him the purest romantic heart and soul that any person would seek in their mate. Through Xander we see someone seeking romance, trust and sincerity. He wears his heart on his sleeve and it is a necessary reminder that there are still people like this around. Cameron, Blaine's roommate, played by Adam Huss also perfectly shows how a guy can truly be happy seeking sexual encounters, nothing serious and still have the capacity to be a good and sincere person.

All the characters here are well thought out and for the first time even the insightful older gay (played by Bruce Gray) is not over the top and very believable as a person a little jaded with age but filled with wisdom. This movie shows that romance is still a possibility, though sometimes you need to fight hard. Please ignore the low budget film work and judge it by its heart and talent involved. The blu ray is fine. The picture doesn't pop like a mainstream film. The video is in 720P and not the norm 1080p. Audio is great with a DTS HD Master audio 5.1 track. Dialogue is strong and music blends in perfectly. There are tons of extras as well. The blu ray ends up presenting itself just fine. I highly recommend this film for the romantic in you. It will touch you with these characters you can relate to. A very touching and romantic film.

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Is It Just Me? is a gay romantic comedy, that is light on the comedy but heavy on romance. The romantic leads, Blaine and Xander, are so cute and I'd take both of them over that beefcake Cameron any day. And this film really shows that honesty is the best policy. Blaine lied and almost missed out on love. If he would have told the truth in the beginning, he could have Xander much sooner. But then we wouldn't have had a movie.

As most romantic comedies are, Is It Just Me? is pretty predictable. There are two people who we think will never get together, but in the end...well, if you've seen just one romantic comedy you know what I'm talking about. There's really only one thing that I didn't like about Is It Just Me?, which isn't the fault of the filmmakers because it is realistic. And that is many gay men are shallow and would rather date a hunk with muscles than a guy who is sweet and "average" in appearance. I'm not one of those men, as I've already stated that I would take Blaine over Cameron any day. Of course, I'm "average" too.

Any way, Is It Just Me? comes recommended to anyone who is looking for a gay romance. And that ending is so sweet it took my breath away!

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Shy boy, Blaine, meets hot nice guy, Zander, online. A couple of guys who who actually want romance instead of just sex. They seem perfect for each other. Then comes the mix-up. His roommate, Cameron, by accident, put his own picture on Blaine's profile. Ergo Zander (horrible fake-southern accent btw) thinks this wonderful guy, Blaine is stereo-typically hot. (Blaine isn't exactly ugly, kinda cute actually, just not gay-porn-star hot) Then, as anyone would expect, they are going to meet in person. Blah, blah, blah...

But seriously, Zander couldn't tell right away by Cameron's voice, diction, and overall shallow attitude that he wasn't the same guy on the phone? Plus, Zander actually meets Blaine at the same time and talks to him...

Is Zander stupid, hard of hearing, or just really oblivious? We all sound a bit different on the phone, but come on writers, few people are that stupid. It seriously bugged me throughout the movie and I am one to forgive some things where gay cinema is concerned. (Really good "gay" cinema is almost non-existent frankly.)

Also, Blaine's best female buddy sucked. I wasn't even sure why they were friends, she was about as supportive as a stranger. Hell, even his shallow roommate had more compassion and sense than her (don't remember her name...no wonder). If your're bored and want something to pass the time, rent this, stream it, whatever, just don't expect much. With a bit more filming money, a few script and direction tweaks it would have been much better.

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Being There (2009)

This is my favorite movie of all time. And I don't particularly like Peter Sellers!

It's a slow starter. First time I saw it, I remember being somewhat puzzled by the opening, where Chance is revealed as a very retarded middle-aged man, trained as a gardener, who apparantly has reached his full--and extremely limited--potential. He loses his livelihood and his sheltered place to live when "the old man"--his mysterious benefactor--dies, and the lawyers in charge of the estate evict him.

My first chuckle came soon after, when he tried using his TV remote on a mugger, trying to change the experience into something more pleasant; it wasn't until this point in the film that things began to make sense to me.

Throughout the rest of the movie, scene after scene shows 'Chauncy Gardener' as a complete misfit--and highlights how we human beings, in all our frailty, create ourselves and our world through what we decide to believe. When Chancy speaks, his words are mysterious because they are short and puzzling--when those around him try to make sense of them, they take what he says as metaphors, and read wildly profound meanings in his words.

(This leads to Jerzy Kosinski's purpose for writing the novel, to highlight the foolish way people blindly swallow whatever tripe the media--and our politicians--serve up. IMO director Hal Ashby caught Jerzy's intention with this movie even better than the book did.)

At the same time that people read wisdom into his simple words, Chauncy is fully present and honest in the moment, and the other characters--to whom this is foreign--treasure that, even while they completely miss that Chance is totally clueless as to what's really going on (with one notable exception).

The irony is that those people closest to Chauncy are led by the meanings they insert to personal growth and transformation--even, in a performance that won Melvyn Douglas a well-deserved Oscar, acceptance of approaching death, as just another season in the eternal cycle of life.

Other reviews I've read on Amazon villify the walking-on-water scene, at the end of the movie; I believe they completely miss the point.

Chance has, by chance, walked out on a stone quay in the lake, and doesn't even know that he should be drowning. He slowly bends over, inserting his umbrella into the water, and looks at it with some puzzlement; he is once again demonstrating that his total innocence is protected--and he gives the audience the experience that the characters in the movie have, namely, to read into this enigma of a film whatever meaning they choose to see.

"Being There" is one of my favorite movies of all time, starring Peter Sellers in his last major film role. How Sellers was cheated out of an Oscar is still a mystery to me, as this has to be one of the greatest performances by an actor in the last 40 years. Maybe voters for the Academy Award weren't in the mood for a black comedy, which this show is, or maybe they didn't like its political overtones? Or, maybe they just couldn't give such a serious award to someone who'd played Inspector Clouseau? In any case, this movie was way before its time in style and substance; Academy voters missed the boat. Among other things, they should have asked themselves if anyone else could have played this part so well? Could anyone else have done the blank, languid stares so convincingly? Could anyone else have delivered the dead-pan lines so flawlessly? The answers would have been a resounding, No.

The movie tells the story of a half-retarded gardener, Chance, whom one supposes is the illegitimate son of a prominent business man in Washington, D. C. This occurs in 1979, when the Carter Administration was in its last stages of faded glory. Chance, played by Peter Sellers, is left homeless when the old man dies. He then wanders the streets of the big city in search of his new life. Whatever he has learned has come from watching TV and he uses his remote control to change channels. While roaming the streets of Washington, Chance even tries his clicker in real life situations, which is very funny.

Chance then stumbles upon one of the main power brokers in D. C., a gravely-ill Ben Rand. He is played by Melvyn Douglas who won an Oscar for Best Supporting Actor in this portrayal. Rand's wife Eve, played by Shirley MacLane, falls for Chance and a tawdry affair (on her side) ensues. Later on, Chance becomes a media sensation, of sorts, and appears on late-night TV to present his simplistic views. They're all couched in terms of keeping a garden prosperous which rings a responsive chord with all concerned. Almost everyone takes Chance for a modern day genius when he really is just the opposite. Various private and government security agencies do research on Chance's background and can find nothing. He wears expensive clothes and underwear, dating from the 1930's, that apparently are hand-me-downs from the old man. It's as if Chance suddenly dropped out of the sky, which he practically has.

At Mr. Rand's funeral, the surviving power brokers talk of making Chance the next U. S. President. The closing scene shows Chance stepping out onto a lake appearing to walk on water. Maybe this is to serve as final proof that he deserves the #1 job? As far as I know, no one has ever explained the significance of the scene which is as it should be. As with the best art, it's up to the viewer to decide its meaning.

To me the movie shows the power of television and other forms of mass media in shaping the public mind. Taken to the extreme, a total idiot might be foisted off on the public to hold the highest political office if only he has the right handlers and avoids any whiff of scandal. The biting sarcasm and irony of "Being There" would not appeal to everyone's taste but most thinking adults should be captivated by the story and by Sellers' amazing performance.

Before buying the DVD, I tried to find out either on websites or on the outside of the package, if the hilarious out-takes appear on this recording. These were superimposed over the closing credits in the original version shown in theaters but often do not appear when the film is shown on TV. To my relief, the out-takes are there are and just as hilarious as I remember them.

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I don't intend to question the movie, which is excellent indeed. My rating is based on the fact, that this so-called "Deluxe Edition" is only a hoax, a bluff package.

The only bonus material are the recollections of Melvyn Douglas' granddaughter (16 minutes runtime, intercut with scenes from the movie) and the trailer.

Sorry, that's not luxurious, but simply ridiculous. Thanks Warner Bros. for another rip-off.

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This is a wonderful film that I saw theatrically some 30 years ago. This blu-ray is sharp and film like, with muted colors appropriate to the story, but still very nice to finally watch in hi def. Don't expect it to look like a modern day film. I saw several subtle things I hadn't noticed before, because of the sharp resolution.

The extras are nice, but brief. One short scene and one 'extension' plus the alternate (original) ending. Also, there's a promo piece for distributors with Peter and Hal Ashby. Nice to have these, but I'm wondering what happened to all those hours of videotapes of alternates of the whole film that I read about before. Were they poor quality or impossible to find? I heard some crumbled into dust when played back so perhaps they're gone for good.

The making of only has Illana Douglas (granddaughter of Melvyn)who was on set as a youngster. (Where is Shirley Maclaine? Most of the others are, of course, no longer with us.)

A no brainer buy for fans and if you haven't seen it rent it!

A great performance from Peter Sellers and all involved.

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This is a comedy classic. It is arguably the best film about television ever made. And it is clearly the best film about "the suit makes the man" to the extreme.

And it looks better than it ever has before.

But it could look better. Black levels are poor, with murky grays everywhere, and noise reduction has been over-used. One professional review notes: "the studio applied some aggressive Digital Noise Reduction. The problem is quite severe in some scenes, especially the opening. Film grain freezes in place while the action of the scene moves around it. Detail is mushy, and objects smear when in motion."

The sound is good. You really get the clear-but-clanky presentation of the TV shows that form the backgroun or foreground of many scenes. But beware, for some bizarre reason, the default soundtrack is not the lossless track, but the DD1.0 track. Whose silly idea was that?

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Jay and Silent Bob Strike Back (2001)

This movie was a blast, but you know that already. Read on for the

details of this fully-loaded DVD edition:

Feature Commentary Track

w/ Kevin Smith, Scott Mosier and Jason Mewes; Deleted Scenes

with Intros by Kevin Smith and members of the View Askew family; -

Jay & Silent Bob's Secret Stash w/Intros; Gag Reel w/Intro;

Internet Trailers w/Intro; TV Spots; Still

Galleries; Storyboards; Behind The Scenes Featurette;

"Morris Day and The Time Learnin' the Moves"

Featurette;

Afroman "Because I Got High" video; -

Stroke 9 "Kick Some Ass" video; Comedy Central's Reel

Comedy special; Cast and Crew Filmographies; Guide to

Morris Day and The Time; Some DVD-ROM goodies Widescreen

(2.35:1) Enhanced for 16:9 Dolby Digital 5.1 Surround Sound -

Special DVD Mix French Language Track; Spanish Subtitles

I've always heard that if you look beneath the grimy setup you'll see the beautiful interior. Well that saying is not dissimilar to the horrors of the summer movie season 2001! Some of the most anticipated flicks of the summer are huge dissappointments (ie. Scary Movie 2) and some of the best moves, the general audience are too ignorant to set foot in (ie Hedwig and the Angry Inch). Well thank god we can still depend on the rapier wit of Kevin Smith. the King of Curse Words and verbal fluency. Has given us the most entertaining installment in the View Askewniverse. Well I know it ain't saying much but "Jay and Silent Bob Strike Back" is the funniest film of the summer!!

This film has all the things that make a screwball comedy perfect. Wacky Characters, Funny jokes both verbal and physical, Good storyline, great comic timing, and of course, a monkey.

Many people were afraid that Jay and Silent Bob would be unable to handle a movie on their own. Well not only did they succeed they went through the roof!!! Kevin Smith kept the jokes piled, one on top of the other and each one different and original. Though I loathe bodily function jokes, Smith managed to make them appropriate and not over use them, unlike the comically declined Wayans Brothers, who seem to think making the characters fart is like printing money. Smith on ther other hand keeps you on your toes awaiting what's gonna happen next.

"Is Jay Gonna Do What I think He's Gonna Do?" "If Silent Bob Speaks What will he say?"

Questions like that were popping in my brain because of the aggressive spontaneity of the comedy. But another thing I loved was all our old friends from the View Askewniverse (Clerks, Mallrats, Chasing Amy and one omnipotent female from Dogma.) Dante, Randal, Brodie, Holden, Banky, and even Willam the idiot Man-child. All performed once again be the same View Askew alumni and all played to perfection. And to go with them there's also stellar performances by many new faces, like Shannen Elizabeth as Jay's love-intrest Justice and also Eliza Dushku, Ali Larter, and Jen Schwalbach (Mrs. Kevin Smith) as the evil villainesses. And including great cameos by George Carlin, Marc Blucas, Seann William Scott, Jason Biggs, James Van Der Beek And God knows how many more. (She does know)

I think Every self respecting View askew fan Is required by cinematic Law to get up off their butts and see this flick. And all those poor schmucks who think The Wayans Brothers actually care about originality, NEED to watch this movie or I'll Beat the ever lovin' tar outta them.

Now I can say there were 5 good movies this summer instead of 4.

And Oh Yeah, To Jay and Silent Bob: Snooch to the Nooch and Good Bye My friends

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a lot of cursing if your sensetive to that but the rest is so fuuny (especially the scooby doo part!) best line

Jay (rapping)30 bucks little man, put that sh** in my hand!

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Who'd have anticipated it? I grew up never needing to be told "just say no to drugs". I always focused on serious subjects when contemplating what movies I'd make given a chance. And now I find myself in a world where the most innocent cinematic diversion are often silly farces about potheads. The riotous hoot "Jay and Silent Bob Strike Back" is a prime example. I wasn't sure about it all the way through. Ali Larter was recently one of my favorite actresses. At least she doesn't take such a disastrous fall herein as Kirsten Dunst did in "The Virgin Suicides". Refreshingly, Ali's character Chrissie admits to being a "bad girl cliche". She gave me pause by repreating a frequent movie assertion (hopefully strictly an urban legend) about what girls don't do. But she gives a new twist, belying the claim at a point where she nearly dooms herself and co-consrirators thereby. Hence one could make a rhyme about her role: "Ali Larter plays the ......" All in all, Jay and Silent Bob Strike Back" is one of the most surprising bits of comic relief I've seen lately.

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First and most importantly, you have to be very well prepared to watch "Jay and Silent Bob Strike Back" if you want to have any hope of enjoying it to its full potential (assume, for the sake of argument, that this is both possible and desirable). Not only do you need to watch all of writer-director Kevin Smith's earlier films (to wit, "Clerks," "Mallrats," "Chasing Amy" and "Dogma"), but you also need to have seen "American Pie," watched enough "Dawson's Creek" to know why Dawson should drown Pacey in the creek, and at least recognize every film Ben Affleck and Matt Damon have made in the past decade (know the title and a one line synopsis of what the film is about).

You need to do this for two reasons. First, it is the only way you can get all of the in-jokes in this film, which is heavily self-referential vis-a-vis the Smith oeuvre. In fact, you are better off using one hand to tick off the names of all the people from Smith's earlier films who are NOT in this movie (Stan "the Man" Lee immediately springs to mind). Second, you will need all this knowledge to be able to explain to the person next to you why Ben Affleck sometimes is playing himself, sometimes is playing somebody else (Holden McNeill from "Chasing Amy"), and sometimes is playing himself playing somebody else (Chuckie from "Good Will Hunting II: Hunting Season").

"Jay and Silent Bob Strike Back" is another one of those films where two guys go off to Hollywood to stop tinsel town from ruining their good reputations with a film. Jay (Jason Mewes) and Silent Bob (Kevin Smith) have always played small but pivotal roles in Smith's films (e.g., the "Chasing Amy" speech in "Chasing Amy"), but this time they not only get to be ABOVE the title of the film, they get to be IN the title of the film. Now, I will readily admit that I have always been one of those who could take Jay and Silent Bob in small doses, which probably explains why my favorite bits in this film usually involve other characters. However, I will admit enjoying Jay's attempt to find a nonderogatory term for women.

I have the feeling that this film is the swan song for Jay and Silent Bob. I mean, now that they have achieved titular glory, how can they go back to being the two man Greek chorus of Smith's prolonged "New Jersey Trilogy." Besides, with the appearance of virtually everyone who every appeared in a View Askew production (always good to see Joey Lauren Adams whether she is playing Alyssa Jones or not), you get the feeling the entire film is setting up a "Revenge of the Jedi" curtain call. Maybe Kevin Smith is turning a giant corner and about to start a new chapter in his life. Hey, it could happen. But I really get the feeling we have seen the last of Banky, Brody and the rest of the boys. Besides, Silent Bob speaks TWICE in this one, surely one of the signs that the end of days is nigh.

Like most View Askew productions, "Jay and Silent Bob Strike Back" is rated R for nonstop crude and sexual humor, pervasive strong language, and drug content (Actually, I did not know that the MPAA could use a word like "nonstop" in its description of a film, but certainly the term applies to everything on their little list here). So just remember to go back over Smith's earlier films before you screen this one and save yourself a lot of headaches and avoid watching it with anyone who is going to demand you justify your enjoyment every other expletive out of Jay's mouth.

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Notorious (1946)

A finely crafted, sumptuously produced romantic thriller that has the distinction of featuring director Hitchcock, and stars Grant and Bergman at their collective best. Even so, Claude Rains manages to dominate almost every scene in which he appears; his Oscar-nominated portrayal of the lovesick mama's boy engaged in espionage comes off as supremely menacing, emotionally ambiguous, and yet oddly sympathetic ... all at the same time.

The film-to-DVD transfer is quite good. There are a couple of jumps and pops in the master print that are a bit jarring, but overall it's a crisp and clean presentation with great contrast. Although the package doesn't mention it, the DVD does offer chapter search/scene selection which is always a nice perk. There aren't any of the bonus features that we spoiled DVD collectors are coming to expect (trailers, biographical sketches, etc.), but it's still a more than acceptable edition of a truly classic film.

The video transfer of new Criterion DVD version of NOTORIOUS is a bit sharper, more detailed, and has better contrast than that of the Anchor Bay DVD version released in 1999. Unfortunately, it also reveals a lot more film grains. The graininess is not noticeable in most parts of the film unless a direct comparision with Anchor Bay's transfer is made. But in a few scenes, the graininess just cannot be ignored, and could be detrimental to one's viewing pleasure. In spite of that, in my opinion the increased detail and sharpness of Criterion's transfer is still preferrable to Anchor Bay's comparatively softer and darker picture.

Regarding audio, it is no contest. Criterion's mono 1.0 sound has MUCH greater clarity, depth, details, volume than Anchor Bay's comparatively muted and muffled soundtrack. In addition, the Criterion disc also includes optional English subtitles while Anchor Bay's does not.

The Criterion DVD retains all of the supplementary material from their own CAV laserdisc version from 1991, and it adds some more...

There are two excellent audio commentary tracks. One is by Marian Keane, and it deals straight with the artistic aspects of the film by providing scene-by-scene, shot-by-shot dissertations. Commentaries like this are rare, and it is most beneficial to average viewers who want to learn more about the purposes and intentions behind every shot, every cut, every line. For instance, in a seemingly ordinary shot of a grandfather clock inside the Sebastian home, Keene analyzes the composition by pointing out the phallic symbol of the clock that suggests Alex's presence, the adjacent banister that reminds us of his mother, and the flower at the window that suggests the vulnerability of Alicia. Another commentary track, by Rudy Behlmer, was recorded for the laserdisc version, and it is the more common type of commentary, in which the commentator recounts the production's history, the logistical aspects, sypnoses of the lives and careers of the filmmakers, a few anecdotes. Behlmer mentions something omitted by Keane -Roy Webb's music (which is given a separate audio track on the DVD). At one point, he explains how the RKO Radio Picture logo was removed from the opening credits; but he refers only to the laserdisc version. This DVD version, however, restores the RKO logo.

Other extras include an all-too-brief excerpt of the short story "The Song of the Dragon" which inspired the film. There are about 40 production stills, mostly of Hitchcock, Cary Grant, and Ingrid Bergman. There is a section that explains how the many rear projection shots were done (some of the shots are quite seamless). There are a few production correspondences written by David O. Selznick, Bergman, and even FBI chief J. Edgar Hoover in response to the film's treatment of special agents. There are 4 theatrical trailers and short teasers. There is a one-minute newsreel footage of Hitchcock and Bergman arriving in England. There are script excerpts of 5 deleted scenes, and 3 alternate endings in which one or more of the four main characters get wounded or killed on screen. In a moving segment called "The Fate of the Unica Key", Marian Keane speaks on an audio track about how Bergman, during AFI's Lifetime Award ceremony for Hitchcock, handed the Unica key to the director as a token of love and respect (unfortunately, no footage of the AFI telecast is included). Last, but not least, there is a one-hour radioplay version of the film, in excellent audio quality, recorded in 1948, starring Joseph Cotten as Devlin and Bergman again as Alicia (the laserdisc version only has a 15-minute excerpt of the radioplay).

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This review refers to the Criterion Collection DVD of Alfred Hitchcock's "Notorious".....

The master of suspense, Alfred Hitchcock, gives us another edge of your seat thriller. He combines, mystery,romance, and the evil's of Nazism in this chilling story.It takes place shortly after WWII. Alicia(Ingrid Bergman) is a woman with a past. Her father has just been convicted of spying. American agent Devlin(Cary Grant), enlists Alicia to infiltrate a Nazi spy ring.After her father's conviction, Alicia can prove her own patriotism by cooperating in this manner. She finds herself right in the thick of things and her own life in danger after she goes as far as to marry Alex(Claude Rains), one of the very powerful, rich and dangerous ring leaders of the group. Alex is on to her and tries to methodically get rid of his beautiful wife.Can the handsome "Dev" rescue the woman he has come to love so much before tragedy strikes.?

You'll delight to find Hitch's trademarks all through the film. The camera angles are definitive,the trademark staircase scene, the passion between Grant and Bergman electrifying,Claude Rains is terrifying, and the story a rollercoaster of suspense filled moments. There isn't a more perfect film I can think of.

Looking for Hitch: A little over an hour in you can have a little drink with him.(Not too much though, the Champagne needs to last the night at this party).

I am always happy to report on a great restoration of a classic film. This one made in 1946 is a beautiful, crisp, clean transfer to this DVD. The Black and White images are sharp and you will notice the attention that was made to every detail during the filming. The tears streaming down Ingrid's face look like drops of crystal. It's amazing. The sound is in Dolby Dig Mono and is very good. There are lots of "extras" on this edition. Among them is some great commentary from Marian Keane(she is a film scholar and talks alot about camera angles and other pertinent facts to the film) which you can listen to during the film if you choose, You can isolate that wonderful soundtrack,there is correspondce between Selznick and others connected to the film,TWO booklets, one about Hitch's Notorious and other films and another listing Criterions releases. And there is much more(see tech info for complete list).There are also subtitles which may be helpful to hearing impaired viewers.

You do get your money's worth on this one. However, if you are not as interested in the extras and are just looking to view this fabulous classic, there is another edition by Anchor Bay which costs much less. Although I have not viewed this particular Anchor Bay Release I do have many others by them and have always been more than happy with their treatment of the transfer.

Kick back with Cary, Ingrid and Hitch for a day of suspense and romance..........Laurie

More Hitch(see my reviews for film details):The Lady Vanishes / 39 Steps

Secret Agent

Read Best Reviews of Notorious (1946) Here

Notorious (1946) is a stellar achievement from director Alfred Hitchcock and master screenwriter Ben Hecht with Oscar worthy performances from all 3 principal stars, Cary Grant, Ingrid Bergman and the ever Oscar worthy Claude Rains. It is hands down somewhere (arguable I suppose) in the top 5 films Mr. Hitchcock has ever made and sports a truly nuanced and multifaceted performance by Cary Grant who proves in THIS film he is not just a pretty face but a very fine actor who was capable of much more than he is usually given credit for.

With that said, this review will focus on the technical aspects, both audio and video, of this Blu Ray presentation rather than the film content itself. If you are a casual viewer or someone who can not abide film grain, this transfer will most likely be less than satisfactory for your tastes and you could easily get by with the latest DVD version. I am, however, a MAJOR fan of Cary Grant and fully intend to purchase each and every title of his that becomes available on Blu Ray This review is for those of you who are OCD about the video/audio quality of B&W classics and need to know if it is worth spending again for this title. If this sounds like you, then read on!

The disc itself is housed in an appallingly cheap Eco-Case with equally appalling cover art. (I use the term "art" loosely here) The media is of good quality, not the cheap super thin discs that have been going around lately. The disc has color printing on it, the same as the case cover. The transfer uses the AVC codec with an average transfer rate of 38 MBPS on a 50 gig disc and presented in it's original full frame aspect ratio.

I read numerous online reviews regarding this transfer before purchasing, so I pretty much knew what I was getting myself into. I will be right upfront and state that although this is NOT the level of visual quality I had hoped for, it is still a large step ahead of any other transfer currently available. It would take a frame by frame restoration done from an original camera negative (similar to what was done with 'Ben-Hur' or 'The 10 Commandments') to improve much on the visual quality and I am afraid that studio profits trump my own personal wishes here. It is a real shame that Cary Grant's films are not shown the same reverence and care that are given to Bogart's in the Blu Ray market.

Bottom Line: 'Notorious', while a true cinematic masterpiece just doesn't get the same amount of respect shown to it as other titles from the same time period. The image quality at times achieves great heights of both clarity and stability, but at others reveals a troubled and damaged source. I would have to say after viewing that this transfer did NOT come from an original negative or any negative at all, rather from a decent quality print of dubious origins that has been cleaned up and scanned in at 1080p. While the bit rate of this transfer remains consistently high during the film, there is little depth to be had, and at times much noise , chemical damage to the nitrate/emulsion resulting in discolored contrast 'stripes' from time to time , film warping and a few scenes that seem to be sourced from lower resolution material of some kind.

Close-Ups, in particular, are very very good. The fine detail revealed during close-ups easily trumps anything you could ever see on even the best DVD transfer. If you screen this transfer in full 1080p with 24 frames engaged you will be treated to something very very close to a theatrical presentation. Once you overlook the downside of the source material, this Blu Ray can and will provide you with a very nice overall rendering, despite the print damage. Upon close inspection I found no instances of missing frames, although the bit rate is SO HIGH that occasional my equipment dropped one or two from time to time and upon rewinding and replaying it could not be repeated so this was not a fault of the transfer. For most of the film the contrast remains good and on a calibrated display you will mostly see things the way they were meant to be seen, although during the moments when a different source appeared to be used the contrast will be too dark or even too high depending on the scene.

These is all really REALLY picky observations, but I write most of my Blu Ray reviews for people who enjoy seeing their favorites in pristine condition and unfortunately 'Notorious' is not among them. The average viewer will be put off quickly by the amount of film grain visible. Of course if you remove the visible grain, you also remove the TRUE details which exist in the print so I prefer the grain to be left in and apply my own desired amount of DNR if I deem necessary.

Sound quality is fine. It is MONO but rendered in DTS-HD Master Audio into two identical 'stereo' channels. Selecting the stereo option on your receiver will yield a nice mono spread, otherwise your surround decoder may send all the sound directly to your center channel. Either way it sounds fine and there was no instance of any gross level distortion, clicks, pops or excessive hiss, although being an old analog recording SOME hiss is expected and excessive hiss removal can degrade the overall fidelity. The sound is fine, I thought it was actually a bit better than the visual presentation.

Extras included are ported over from the last DVD release and are fairly extensive. Commentaries from two Film Professors, various documentaries on the film and Hitchcock, a radio drama with Ingrid Bergman and Joseph Cotton, the original films trailer, an audio only interview with Hitch by Peter Bogdanovich and more. I watched/listened to them all and enjoyed them very much, being a fan of the film.

Overall, the Blu Ray release of 'Notorious' satisfies me, while still leaving a LOT to be desired. Unfortunately that seems to be the case with many classic Blu Ray releases. The studios are giving us just enough to make us happy, and not much more. This transfer does not begin to reach the heights of 'Casablanca', 'Maltese Falcon' or 'The Treasure of the Sierra Madre' and that is a real shame. Hopefully the upcoming release of 'To Catch a Thief' will make up for this fairly lackluster Blu Ray. Being a Cary Grant fan, I will continue to purchase every Blu Ray title he is in as it comes out, but like the latest Criterion release of 'Charade', this version of 'Notorious' misses the mark somewhat.

Recommended Highly for fans, but not so much so for the casual viewer.......

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One of Alfred Hitchcock's most complex romances features two of his favorite stars (Gary Grant and Ingrid Bergman) in the lead roles. Set against a background of spies and counterspies, Notorious remains first and foremost a love story. When Alicia Huberman (Bergman), the daughter of a convicted Nazi is hired as a double agent, she discovers she's in for more than she bargained for. While assigned to uncover scientific secrets from Germans hiding in Brazil, Bergman makes the ultimate sacrifice for her country by marrying her father's former conspirator, Alexander Sebastian (Claude Rains). Bergman is desperately in love with American agent T. R. Devlin (Grant), who she believes has deserted her emotionally, but marries Rains almost out of spite rather than pure patriotism. Through the many plot twists and turns, Bergman and Grant realize their true feelings for one another. A truly wonderful suspense, Hitchcock gets amazing performances from his cast. Bergman (never more beautiful or appealing) and Grant are excellent as the lovers who can't seem to express their mutual affection. Both seem ready to explode from all the pent up emotions. Rains is perfect as the mama's boy Nazi leader, and what a mother German actress Leopoldine Konstantin is in her only American film! The plot was so original that the writers of Mission Impossible II ripped it off (including the contact meeting scene at the racetrack!) with less than mediocre success.

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Strictly Ballroom (IMPORT - Region B)

Baz Luhrmann at his finest. This terrific film is really three movies in one. First, there's the tremendous dance movie whcih centers on Scott Hastings (Paul Mecurio) and his struggles to introduce 'new steps' to the sheltered world of Austrailian ballroom dancing. For dance afficiandos, despite the broad comedy that infuses the movie, the dancing is the real thing. Mecurio is a formally trained dancer and you simply can't fake, edit, or body-double the moves he pulls off in this film. Even if you're not a dancer, Mecurio's athletiscism alone is worth seeing.

The second movie is a Dirty Dancing-style, boy-meets-ugly-duckling tale. The story allows you to peek behind the covers of a first generation Australian and her awkward attempts to fit into a new culture while maintaining her European ties at home.

The third movie is what sets Strictly Ballroom apart from the field tremendously funny, broad caricatures squabbling around the periphery of Scott and his struggle to bring his 'new steps' to the Pan-Pacific Championships. Pat Thompson is hysterical as Doug's mother Shirley, and Bill Hunter is wonderfully over-the-top as dancing kingmaker Barry Fife ('There are no new steps!'). But attention first-time viewers keep your eyes on Barry Otto as Scott's father, Doug Hastings. This odd, seemingly shell of a man is actually the emotional core of the film. He provides the movies funniest moments (particularly as other reviewers have alluded to a flashback sequence so over-the-top hilarious that it defies description) and its most relevatory ones.

Play this film over and over again and you will never be disappointed.

This Australian gem is one of those rare films that entertains, thrills and pokes fun at an established activiity (in this case, a ballroom dance federation).

To take this film seriously is to miss out on one of the great moviegoing/ moviewatching experiences of the 1990s.

In a nutshell, an up-and-coming champion ballroom dancer gets bored dancing the same tired steps that everyone has danced in competition the past 50 years and wants to break out and do things his way. Of course, his way is the better way, but that causes all the angst, high drama, dashed hopes and utter hilarity that ensues as forces clash to prevent the young man from taking the ballroom dancing world by storm and up to a new level.

Of course, it's what we've all, always, expected: Things don't change in such events because those who judge and teach can only judge/teach that with which they are familiar.

The cast is perfect, from the dashing young lead embodied by Australian ballet principal Paul Mercurio to the shy, at-first clumsy female lead played by Tara Morice (who also lends her vocals to Cyndi Lauper's "Time After Time" in a stunning rooftop pas de deux as she starts learning how to dance with him).

Paul's mother -beautifully and hysterically portrayed by Pat Thomson -and his seemingly introverted, odd father -a wonderfully giddy Barry Otto -are perfectly realized, as are all the other roles, including Bill Hunter's terrifically change-resistant Barry Fife, president of the dance federation.

This is probably Baz Luhrmann's most mainstream movie, since it's more firmly grounded in the now than anything else he's done.

Be on the lookout for a stunning cinematic moment during an outdoor sequence at the girl's house with the lead learning from her father how to correctly dance the Paso Dobles. When it's clear he's gotten the hang of it, the camera does a closeup on him turning and then cuts to an oncoming train, that parallels the house, sweeping down the lower right of the screen. It's one of those Luhrmann touches that set him apart from most other working directors.

"Strictly Ballroom" is a wonderful entertainment that flows along so quickly..and has dramatic highs...and even more thrilling dancing highs...that most of you will be very sorry when it's over.

But never fear...it holds up very well on repeat viewings. It's one of my most-played videos.

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Okay, maybe that's an overstatement, but the first time I watched this movie, I checked it out of the library. I was a recently divorced single parent of two, struggling with a house note and bills I couldn't pay. On this particular day, I was fighting a bad cold, and feeling generally tired and unhappy. I took this movie out based only on the "Two Thumbs Up" recommendation of Siskel & Ebert at the bottom of the case. After viewing this film, I felt energized and full of good humor. I eventually bought it and have shared it with my mom, sister, kids, friends, and new husband. They all loved it! Where do I start? 1. The performances. Everyone in this movie is wonderful. They are believable and credible even though the material is completely over the top so much of the time. I love these people. 2. Then there's the romance. The main love story is very sweet, but all throughout the film, you feel like romance is literally in the air. It's also amazing how much sensuality is conveyed without any overt sexuality. 3. The dancing. I never gave ballroom dancing a thought until I saw this movie. Now, I love watching it. 4. The family relationships. They may seem unbelievable, but that mother is all too familiar to me. 5. Paul Mercurio--he's hot! Enough said.

This movie is funny, touching, and like nothing I've ever seen before or since. I can't even compare it to anything else. I'm happy to see how favorably other people have reviewed it.

Read Best Reviews of Strictly Ballroom (IMPORT - Region B) Here

I skimmed through several reviews and kept seeing comparisons to Dirty Dancing. This movie can't even be compared to that!!! First of all, the dancing in SB moves the plot along, while in DD, it could be edited out and no one would know it was ever there. Secondly, this movie is the MASTERPIECE that DD is not and will never, ever be. Every thing about this movie is perfect--I especially love the chemistry between Paul Mercurio and Tara Morice. They really make Scott and Fran credible and believable characters. Being that this is a small movie, it really works--and that is probably why it is better than anything Hollywood has produced in some time. And charming extras to the movie-Tara Morice sings the TIME AFTER TIME song that runs throughout some of the movie. Paul Mercurio did his own dancing--including adding additional choreography. (He was a former ballet dancer before making this movie as his acting debut.) There are many others, but I'll leave you to discover them.

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The story is pretty conventional : since childhood Scott Hastings' parents have pointed him towards the Pan-Pacific Grand Prix Amateur

Championships. But in direct contravention of the rules and traditions of ballroom dancing (which have as much to do with the teaching of dance to

willing customers as with dance itself), Scott has recently developed a dangerous desire to dance his own "crowd-pleasing steps". When Scott's

partner leaves him, he's forced to audition new ones, none of whom are very satisfactory, until, improbably, the homely and awkward Fran, who

usually has to dance with another girl, demonstrates that she understands what he's aiming at. As Scott's mother and teacher try to find a more

acceptable alternative, Scott and Fran practice in secret, eventually receiving assistance from Fran's aforementioned father and her loving

grandmother, who does a mean rumba herself.

What follows is largely predictable but still endearingly romantic and exciting. Baz Luhrmann, who had directed a stage version of the story for some

ten years before turning it into a movie, brings a pulsing energy (which mixes soundtrack, color, and motion in fascinating ways) and an off-kilter

sense of humor to the film that make it quite distinctive. If you liked Mr. Luhrmann's Moulin Rouge but thought it was a bit over-the-top, you'll like

this one much better.

The best aspect of the film though is the way in which Scott, who when we meet him is totally self-absorbed, has to learn that for all his desire to

express himself in dance, he must do so together with his partner. He and Fran must communicate with one another, share themselves, and be able to

yield something of the personal in order to be true to their art. They must respect the conventions of ballroom dance, with its basis in the couple,

even as they expand its possibilities and violate the self-serving diktats of the corrupt elders who run the competitions. So much of modern art and

literature celebrates egotistical individualism unfettered by any restraint; it's unusual to find such a compelling story about the requirement of

submerging purely selfish concerns in order to achieve higher purposes.

One of the leitmotifs of the film is that "A life lived in fear is a life half-lived". Much of the atomization of modern life is a function of fear, a fear of

being hurt by those we open up to. Scott begins the film as only half of a couple, unable to share anything, even a dance, with his partner. He is

living only a half-life. But he becomes wholly human, begins to live a whole life, when he becomes a true partner with Fran. It's rare enough to see

such profound truth portrayed in film, but that it's done here such a joyous and exuberant fashion makes this a remarkable movie.

GRADE : A+

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Bridge to Terabithia (2007)

I watched "The Bridge to Terabithia" on a whim with my wife and daughter with little foreknowledge of the plot. I'd never read the Newbery Award-winning book by Katherine Paterson, and I'd seen only one trailer for the film, which left me with the impression it would be a Narnia knock-off. It's not.

I'm not dissing "The Chronicles of Narnia," which in its way was a remarkable film. But "Terabithia" didn't deserve the CGI-laden marketing campaign it received; far from a fantasy blockbuster, this is a deep and thoughtful movie that places substance over sparkle -a rare treat in the sprawling field of youth-oriented theater. It ranks up there with one of my favorites, "The Secret of Roan Inish," which accomplished more with no special effects than most family-friendly movies could with a billion-dollar budget.

But I just can't shake "Terabithia" from my head, a fact owed mostly to the performance of AnnaSophia Robb. As Leslie, a spirited young girl with a fiery imagination and endless good cheer, AnnaSophia captured my heart. She's the kind of person you want to know when you're a child and, as my wife remarked midway through the film, she's the sort of young woman you'd be happy to see your daughter grow up to be.

An outsider despite her youthful good looks and family wealth, she finds her perfect match in Jesse (Joss Hutcherson), another outsider who has withdrawn into his art to escape a chilly home life and his own problems at school. Together, they discover a secret getaway that might seem like a fairly ordinary patch of woods to most people; to them, it's a magical world replete with fantastic creatures, hidden dangers and amazing triumphs. It's here the special effects intrude more than accentuate the film; the story would have benefited from a vaguer sense of Jesse and Leslie's own wonder. We don't need to see CGI creatures to believe that these two children do.

The strength here, besides outstanding performances from the two lead actors, is the impact of a story that knows no amount of fantasy can prevent real-life tragedies from occurring. And the tragedy here -it's hard to write about it without giving it away -slams into unsuspecting viewers like a sudden kick to the gut.

Parents of younger viewers should be prepared to have a long and serious talk with their children after this movie, but that's not a recommendation to avoid it. "Terabithia" deserves to be seen, discussed and seen again. (Although use some discretion; very young children should wait before seeing this.) My thanks to director Gabor Csupo, as well as writer Paterson, for giving kids something honest and real rather than another serving of high-energy fluff.

by Tom Knapp, Rambles.(n e t) editor

I read the original book The Bridge to Terabithia when I was a kid. I don't remember very much from the book, but I remembered the general premise and the ending. When I originally read it, I really liked the book. So, obviously, when hearing that they were making it into a movie, I was very skeptical. Most good books don't translate into good movies. Then I saw the previews for the movie, and I was even more skeptical. This was not a book about fantasy lands and magical beings. This is no Chronicles of Narnia. I think it's much better, but it's certainly different.

This movie is about friendship, and imagination. It's the story of two fifth-graders, Jesse and Leslie, next-door neighbors, who are both outcasts. They aren't readily accepted in school, and aren't in love with their home lives, either. They grow a fast friendship where they "travel" to an imaginary land, Terabithia. In reality, it's just the woods behind their houses. All of the CGI that you see advertised is simply their imagination, and there's really very little of it. Just about every CGI-animated scene in the movie is shown in the previews. That is NOT what this movie is about, although that's what Disney would have you believe. It's about imagination and creativity, and how children should be encouraged to use that imagination.

I have a problem with all of the parents giving this movie terrible reviews because they say it's not child-appropriate. I don't have an opinion as to whether or not it's appropriate for children, that's for each individual parent to decide. Some kids can handle it, some can't. It doesn't take much research, however, to find out that this is not the happiest of stories. Any parent who really cares about what their kids see is going to research the movie BEFORE allowing their kids to see it. That involves either looking it up online, asking friends who have already seen it (or read the book), or watching it themselves FIRST to screen what their children see. I will not ruin the story by saying what happens, but if you really want to know, spend five minutes doing some research. Read the other reviews on this page, for crying out loud. But if you bring your kids to a movie that you haven't researched at all and it's not what you expect, don't blame the movie for your lack of effort. I understand Disney falsely advertised this movie, of course they did. Advertising it as another Chronicles of Narnia is certainly going to bring more sales in. But this movie is VERY GOOD. One reviewer said you have to be masochistic to enjoy a movie like this. I don't believe that's true. You simply have to appreciate a well-told story. Sometimes life sucks, and sometimes really terrible things happen. That's what the book was about, and this movie is faithful to that story.

I'm in my mid-twenties. When I went to see this, I went with a few friends of mine, all of us adults. Every one of us loved it. The two main actors (the two kids) are REALLY good. Jesse is the introvert and Leslie is the extrovert. You really buy into their friendship as you watch them learn to know one another. You want Jesse to punch the bully in the face; you want Leslie to stand up to the eighth-grader.

By the end, you could hear plenty of sniffles throughout the audience, including coming from my friends. Heck, I knew the story beforehand, and I still teared up. It's difficult to watch, but I believe the story was handled with very much care by Disney. Overall, this is an excellent movie, if not with reservations. If you're concerned with what your children see, then spend some time and find out what's in the plotline. But this movie is really good.

Buy Bridge to Terabithia (2007) Now

I know absolutely nothing about the young adult novel that this film, "Bridge to Terabithia," is based on. For this reason, I will only review this film for its contents and not on how well it translates the book to the screen. With that said, I can claim that "Bridge to Terabithia" is just one more wonderful film that's been produced as of late for youngsters that's based on a book or book series. Produced by Walden Media and Walt Disney Pictures, this film tells the story of Jesse Aarons (Josh Hutcherson of "Zathura"), a boy who lives in poverty but escapes from reality through drawing fantastical creatures and worlds. When a new neighbor moves in who marches to the beat of a different drum, the two of them combine their imaginations to create the kingdom of Terabithia. The neighbor is Leslie Burke, and she's played by the likeable and enthusiastic AnnaSophia Robb ("Because of Winn-Dixie," "Charlie and the Chocolate Factory"). She and Jesse take their personal miseries from school and at home and turn them into trolls, evil squirrels, grenade-like pinecones and a whole slew of other creatures. All of the bad people of Terabithia are lead by the Dark Master, a smoky, phantom-like creature.

As the story unfolds, Jesse and Leslie form a strong friendship both in reality and in fantasy. When Jesse is asked to go to the museum by his music teacher (the excellent Zooey Deschanel), he intentionally leaves Leslie behind. Why? Because like any most boys in middle school he happens to have a crush on his music teacher (It's Zooey Deschanel, who wouldn't?). When a tragedy occurs, Jesse's worlds, real and fantasy, experience dramatic changes.

"Bridge to Terabithia" is essentially a coming-of-age tale where kids who aren't quite children but haven't yet reached adulthood come to feel the consequences of reality. Jesse and Leslie love their fantasy world, but each day brings more reality with it. The cast is headed up by Hutcherson, Robb, and young Bailee Madison (Jesse's cute little sister, May Belle). The supporting cast includes Deschanel, the always reliably gruff Robert Patrick ("Terminator 2") and Lauren Clinton. While the adults play key roles in this film, it's really all about the kids.

The special effects are very good, though most pre-teens will pick up on their limitations. However, the special effects take a backseat to the story, which is always refreshing to see these days.

Parents with younger children should know that the tragedy aforemetioned may be very tough for youngsters to take. I won't go into details, but just know that it's one of the gravest tragedies that can occur in anyone's life. There are also two instances of strong language. The "d" word is used repetively in both of them. One occurs in the back of a truck after church and the other happens in the greenhouse at Jesse's home when he loses his father's keys. Other than that, there isn't anything in the film that you really need to look out for.

As a fantasy tale, "Terabithia" works well. It works better as a film about a young boy and his friend who come to terms with reality. I highly recommend this film for families, just be prepared to do some heavy explaining with younger children (under eight) when reality really, really hits home. Fans of this movie may also enjoy "The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe," the "Harry Potter" films (although as Harry gets older, the movies and books become geared more towards older children), and "The Neverending Story." Also, even though I haven't read this particular book, I have read plenty of other young adult books in my day. Pick up "A Wrinkle In Time" by Madeleine L'Engle, any of the "Harry Potter" books, or any other wonderful child and pre-teen fantasy for your children to read if they enjoy this film.

Highly recommended.

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Katherine Paterson's Bridge to Terabithia YA 1977 novel is a classic. One I never read when I was a kid, but I understand it's quite beloved and indeed sacred to some -not the least of which is Paterson's son David, for whom the book was written and who also shares a screenwriting credit on the film. So, everything had to be just right: from the human-being casting, to the use of special effects which help bring the fantasy kingdom of Terabithia to life.

When the movie came out on the big screen earlier this year every trailer, TV spot and preview showed trolls, ogres, and magical, spontaneously self-buildings bridges springing up. It looked like Lord of Rings on kiddie-safe steroids. But the movie itself isn't about all that, which understandably wrought a bit of a backlash from those not familiar with the novel's very real, grounded themes about regular kids and their very normal day-to-day struggles.

The story follows Jesse (Josh Hutcherson), a fifth-grader who's not terribly popular. There is nothing wrong with him, but there's nothing "right" either. He's not outgoing, rich or popular, but he is something of an athlete -that is, until the new student in his class, a slip of a girl named Leslie (AnnaSophia Robb) beats him in a footrace. At first, he holds a grudge but before long the two dreamy, artistic kids become best friends, and allies against the school's bully brigade. Their secret refuge is a tree-house in the woods, a place Leslie calls Terabithia. The children imagine all sorts of wondrous and scary things there, in an attempt to free their minds from their otherwise troubled lives (Jesse's parents are struggling financially, while only-child Leslie feels neglected by her busy dad and mom).

Since Disney optioned this book, you can bet there's some tears to be jerked -but it's an ultimately uplifting, beautiful and honest portrayal of life-lessons learnt in childhood. Hutcherson and Robb are very well-cast and their acting is pretty much flawless (none of the "cutesy" or "obnoxious" child-actor antics here). Real kudos go to director Gabor Csupo, who not only grasped (as best as I can tell) the source material, but added cinematic dimension to it for those who are not familiar with the novel. (I'm looking forward to seeing what he does with his next project, The Moon Princess -based on a book I did read, and loved!, as a child: The Little White Horse, by Elizabeth Goudge).

The DVD offers an array of extras (and nice supplements, such as closed captions for the hearing-impaired), my favorite of which was a solid featurette on Katherine Paterson's Bridge to Terabithia novel. It offers interviews not only with the author herself, but insight from teachers who've assigned the book to their classes over the years, plus excerpts from the text and illustrations.

Over all, Bridge to Terabithia is a definite must-buy DVD for kids and Disney-weaned adults alike.

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I must admit I did not discover the book until the early 1990s as part of a children's Lit class. Even so, the haunting tale of Jess and Leslie stayed with me ever since, and I was both concerned and delighted when I heard of the Disney version's coming release. Someone earlier said the trailers were misleading, and they were but intentionally so. Anyone who had read the book prior to seeing this tale KNOWS it's not about the special effects. So where does that leave us? With a slew of unbelieveable performances.

I knew of Robert Patrick mainly through the Terminator 2 and X-Files, so I wondered if he could pull off a role like this. The man is magnificent as Jess' father. Rough, rugged, and tough, he looks like a man who's fought with the devil and spit in his eye...yet he is tender and caring towards his son when tragedy strikes...and not one scene of it feels false or fake.

What is there to say about Zooey Deschanel (sp?) except that the woman is an immense, and so far, undertapped talent. Discovered in Will Farrell's "Elf", she once again shines as the school's music teacher.

The film, however, belongs to Jess and Leslie, and the supporting actors obviously knew and understood this. There is not a single adult that gives a heavy-handed performance. From the girls who play Jess' teenage sisters, all the way to his initially mean-spirited teacher at the beginnings of the film, each one shines in his or her own right. Their performances are moving and just right.

The stars are magnificent: Josh and AnnaSophia are perfectly cast. I know several people thought Miss Robb was a little too "modern" or "perfect-looking" for the role of Leslie, but I would strongly disagree. She is the perfect tomboy....note the scene in which she wears a beautiful dress to church, along with combat boots. It is her spark, her zest for life, that helps make the last half of the movie what it is. Josh is fantastic as Jess as he slowly suspends belief in order to join Leslie in the world of Terabithia...and no young man has ever dealt with such harsh tragedy on screen better than he. Oh, and the musical score is superb. This is truly the first flawless film of 2007.

You are forewarned...boxes of kleenex are strongly recommended for viewing of this film if you've not seen it. I have seen it 3 times and every time I have spent the last half hour in tears. This is Disney magic at it's best, reminiscient of their work in the 1970s (Old Yeller, etc.). You will laugh, and unless you have a heart of stone, you WILL cry...but most of all, you will find a message of the heart that will stand for eternity.

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Burlesque Blu Ray Combo Pack with Exclusive Corset (2011)

What's up with all the flack this movie's been getting from critics? It's absolutely dazzling! This has to be one of the best musicals of the past decade. The musical numbers are phenomenal, the costumes are fabulous, and Christina is just marvelous. I've always known she was a great talent but I think this movie is just what she needed to showcase that talent. Her acting was good, her dancing was on point and what can I say about that voice? I'm not a fan of Cher but I really enjoyed her in this movie. Christina and her have great chemistry. The love story was also really cute. I'm salivating for this to come out on DVD/blu-ray so I can watch it over and over again!

Burlesque is awesome! Its pure entertainment. Singing, dancing, acting, romance oh my! The cast is wonderful! A classic story told again in a throwback to the musicals which is a formula that always works with the right people and the right music and in the right setting and it works here. I am bias to Christina Aguilera. :) She's an amazing singer and I am pleased to say in her acting debut she is terrific. I adore her with the very handsome and sexy Cam Gigandet. :) Who by the way can offer me a box of Famous Amos cookies ANYTIME! lol Anyone who likes musicals and romance or just wants to get away from movies about gangsters, pyschos and dead bodies will definitely enjoy this enjoyable movie. I love it!

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I've seen this movie three times in the theater and left feeling energized every time!!! Pure entertainment! The kind of movie that you can see repeatedly and love more each time.

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After reading the review by Robert Horton I wondered if he had actually seen this movie. I loved Burlesque the first time and loved it the second time and am waiting for the DVD to be released. It is totally entertaining and at times I almost applauded after some of the dance numbers. Cher does a stand up job in her role but if you don't like Cher go see this movie for Christina Aguilara....she blew me away with her talent. It is a feel good movie that will leave you wanting the soundtrack.

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Guys, don't be afraid to see the film "Burlesque" with your wives. Ladies, don't feel guilty asking your husbands to go. I caught the film over the weekend with my wife Alison (her pick), and ended up enjoying it quite a bit.

Christina Aquilera is both down-to-earth and sexy as the country girl who wants to make it in the big city, Cher lords it over everyone as the tough-but-lovable boss of the burlesque house, and Stanley Tucci is once again everyone's gay best friend. Making all of the preceding palatable to the guys in the audience is the general air of sexiness pervading the proceedings, in large part generated by the wonderfully skimpy costumes worn by Ms. Aquilera and the variety of women performing on stage with her. The songs are very good, too.

Trust me, guys, if you owe your wife a movie pick after dragging her to numerous sci-fi action thrillers, you can do worse than heading out to this one. Kudos to writer/director Steve Antin for delivering a fun night at the movies.

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Mazinkaiser SKL (2011)

This 3 episode OVA is AWESOME, no other words can describe it. The story of this OVA is very weak and there's barely any character development, but what this OVA lacks in story and character development, it makes up for with probably the Most Awesome Mecha fight scenes that are almost as amazing as the mecha fight scenes in Tengen Toppa Gurren Lagann. The story here is really just an excuse to show these Awesome fight scenes and that alone is enough to overlook the OVA's flaws and consider it to be the most awesome OVA ever. Now if you want a mecha show that has a deep story with strong character development and where the Mech's have a more significant meaning to the show's story, then this OVA is not for you, but if you want some Hardcore Mech fight scenes, than this OVA is definitely for you.

One thing I should mention about the DVD is that there are NO Special Features, all there is is just trailers for Queen's Blade, Moribito, Kite Liberator, GaoGaiGar and some Computer Game. Also the DVD is Bilingual meaning its got an English Dub and a Japanese Language track with Optional English Subtitles. Personally I find the Sub to be Better, the English Dub in my opinion is Passable, so I would recommend sticking with the Sub, unless you really like to watch your Anime Dubbed only. One last thing, This OVA is a stand-Alone, meaning you don't need to know anything about the previous Mazinkaiser OVA released by ADV films or the Mazinger Z universe to get it, nor do you need to know anything about Go Nagai, The creator of Mazinger Z, however if you are a fan of Go Nagai's work, then you might Notice some references to Go Nagai's other works.

this is one of the best animes i have ever ever ever seen the animation is colorful and leaves no marks of a cheaply done anime the story only serves the purpose to have massive armies of mechs going at it and of course to showcase the mazinger robot in action. About the story it is there but one must pay attention to what is going on or else you can get lost trying to follow the story.

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Part of the collection Ive been missing. I grew up on these videos and characters. There is nothing more important than reliving heroic characters you admired growing up! Awesome.

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Mazinkaisser SKL looks amazing on blu-ray. There is a story, its not complicated, that's not why you watch this. The robot design is badass, the animation superb and the music rocks, that is why you watch this.

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I love having complete collections not only does it save more space on your book case but it also has all the episodes that you can watch again and again. This anime had pretty artwork and i love the plot just wish they made more of this anime.

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I Know What You Did Last Summer / I Still Know What You Did Last Summer (2010)

As previously mentioned: there is absolutely nothing special about the dvd for the first movie in this set. It contains none of the special features that are listed on the packaging including the short film, documentary, photo gallery, or music video. This is a perfect example of false advertising designed by a studio to rip customers off. Do not buy this set. If you have already purchased it, find your receipt and return it to the store for a refund.

You can write Sony Pictures an email at SPHE_Customer_Service@spe.sony.com and they will send you an address to send your copy back so they can replace it with the previous set that did have the features...I have already recieved my replacement set and am quite happy with it.

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I've always had a guilty little weak spot for these two flicks and I'm very glad to say that the blu-ray transfer is great...especially in the dark scenes...which are abundant...tho the second movie is a little brighter being set in the island resort and all...the sound is much better on the blu-rays than the dvds...in short I think it's worth the upgrade for anyone who really likes these two movies and the great casts involved at the time...you'll be glad you did...

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One of my favorite things to do is sit in front of the television in the middle of the night, and watch a cheesy horror flick. It is extremely fun to do. So, in my mind, you can't go wrong with pretty much any horror film that came out of the nineties well, anything that came after SCREAM.

I have to say that these two films are dear to my heart. I adore them in all of their gory cheesiness, from Jennifer Love Hewitt's overwrought and occasionally hilarious performance "WHAT ARE YOU WAITING FOR, HUH?!" to the ridiculous and implausible storylines, not to mention the rest of the performances from the casts of both films. Here, most of us were introduced to the likes of Sarah Michelle Gellar, Ryan Phillippe, and Freddie Prinze, Jr. Well, that goes for me at least. Some of their careers have prospered, and as for the others, who knows.

With the first film, you have the traditional set up. After a fourth of July party, four teens find themselves in a hit and run situation. The victim dies. Of course, they all freak out and in a desperate attempt to salvage their reputations and avoid time in jail, they agree to dump the body. Well, they attempt to toss him off of a dock at first, but he unexpectantly springs back to life at the last second. Everyone screams, including us in the audience. This doesn't stop them from tossing him in anyways. They all make a pact to never speak of that night. Well, a year passes and they start getting letters that say I KNOW WHAT YOU DID LAST SUMMER. A man in a slicker with a fish hook starts terrorizing them, and

this is where the fun begins. You all know what happens. B-movie midnight glee! You even get a cameo from Anne Heche! What could possibly go wrong?!

Thankfully, in 1998, only a year after the first film talk about a rushed production the folks at Columbia/Tristar gave us I STILL KNOW. Doesn't do as well at the box office, but doesn't entirely fail miserably either. This time, Jennifer Love Hewitt, Brandy, and Mekhi Phifer find themselves at the sharp end of the fisherman's hook. Jennifer reprises her role from the first film, as does Freddie Prinze, Jr. This time we find Jennifer's character at college. She is still haunted by the events of the first film, and refuses to go back home to Southport, North Carolina. Another reason that she does not want to go home is because dun, dun, dunnn! it is the fourth of July. Freddie tries to convince her to come home for the Croaker Pageant, but she declines, telling him that she's just not ready to go back. Of course, he thinks it's his fault, and sulks away. Little does Jen know that her boyfriend plans on marrying her, and has already bought the ring. In the meantime, her roommate, played by Brandy in a "so bad it's good" performance, gets a phone call from a local radio station. They end up winning a free trip to the Bahamas. Well, to make a long story short, they end up in the Bahamas during storm season in a nearly empty hotel. Back home, Freddie runs into the fisherman and heads to the Bahamas in a hurry to save his future fiance. Mekhi Phifer desperately tries to bed Brandy throughout the whole movie, but to no avail. The killer slices and dices various hotel staff, including a pothead played by none other than an uncredited Jack Black. All the while, Freddie races against time to save his beloved. In a moment of desperation, he hocks her engagement ring for a gun. So sad. So melodramatic. So fun to watch!

Since the first two were released, there has recently been a straight to video sequel, I'LL ALWAYS KNOW. Haven't seen it yet, but it probably doesn't hold a candle to the first two. The SCREAM films were great, don't get me wrong. However, as far as nineties horror films go, these were the best.

They don't make 'em like they used to.

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I hate it when studios release DVDs w/ features that aren't even on the discs. Albeit, I was interested in the bonus features "supposedly" on the first DVD, and disappointed, I never owned the original DVDs so this is okay. Yeah, I was pissed because I wanted the features but, oh well, can we sue the studios? I honestly don't know. But for the price I paid for these DVDs (13 dollars) I'll deal, just like J.Lo Hewitt does in that video on disc 2.

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Mean Streets (2012)

"Mean Streets," simply put, is the greatest independent film ever made. At the very least, it pioneered what modern audiences have come to associate with the best of indie cinema, and what, by the late '90s, has become so essential to our perception of so-called "hip" movies that the once daring and exhilarating techniques are now mostly used as frustrating cliches. The picture itself, made in 1973, is most famous for kick-starting three major careers. Martin Scorsese and Robert DeNiro later collaborated as a director/actor team on four more masterpieces: "Taxi Driver," "Raging Bull" "The King of Comedy" and "Goodfellas." Harvey Keitel, in the leading role, went on to play other memorable characters, like "Pulp Fiction"'s Mr. Wolf. Cast as Charlie , a small-time, young gangster in New York's Little Italy, Keitel struggles to make sense of his Catholic background and help his troubled friend (DeNiro) stay out of the powerful Mafia players' way. What seems to be a familiar scenario, used as far back as the classic Bogart/Cagney vehicles, gets an unusually complex treatment from Scorsese. A conventional, linear plot structure with big speeches and witty one-liners from main characters is abandoned for a grittier, naturalistic approach. The film consists of a series of telling episodes, related only through their participants. "Mean Streets" has much more in common with the works of Italian Neo-realism or French New Wave, rather than a typical gangster drama. Its unorthodox, original, yet unpretentious camera work gives the film an unprecedented vitality that young filmmakers have attempted to recreate for decades. Now commonplace shots, such as a subtitled introduction of a particular character, a fight sequence tracked through the four corners of a room in a single take, a swaying hand-held camera to create the sense of an alcohol-induced stupor, have all been popularized through this movie, a veritable Bible of dynamic cinematography. Another revolutionary aspect of "Mean Streets" is the virtual lack of a script. Most of the key scenes were almost fully improvised, thus sounding far more authentic than the old-style, theatrical delivery used in most American films up to that time. The actors' speech is so profanity-ridden that no screenwriter of the time could have possibly doctored anything even close. De Niro's flamboyant turn as a youth on the edge of sanity is unlike anything before. In fact,the swear-fests of later crime movies (and indie classics like "Clerks") owe a direct debt to his extraordinary performance as Johnny Boy. One of Scorcese's most groundbraking achievements was his incorporation of popular songs into the soundtrack. All of the icluded music originates elsewhereItalian traditional recordings (Opera arias, Folk tunes) and for the most part, glorious, irresistable Rock'n'Roll of the early 60's (Motown, the Stones, Girl Groups, DooWop).The easily identifiable hits serve as atmospheric settings, adding an extra, personal dimension to any given scene. George Lucas' "American Graffiti", released in the same year, operated by the same principle, establishing a tradition that seems to expand with every coming year. As it is often the case with true independent cinema, "Mean Streets" was ignored at the box office, despite an underground acclaim which helped launch not only the great talents behind it, but an entire school of filmmaking.

If Mean Streets did nothing more than introduce Martin Scorsese, Robert de Niro and Harvey Keitel to the general filmgoing public (although not the first film for any of the three, it certainly was the first film to capture the attention of the critics and public), then it would still deserve to be considered one of the most important of all contemporary films. But the film is much more it established the interwoven themes which Scorsese, perhaps the greatest living film-maker now that Stanley Kubrick has died, carries through virtually the entire spectrum of his work. See this film, and then watch Taxi Driver, Raging Bull, and Goodfellas and see how a master director developed his craft. Even so, Mean Streets is arguably Scorsese's best film: because the style was so innovative, the rawness and violence of both the treatment of the subject matter and of the two lead performances perhaps had a greater impact than anything either the director or the actors have done since. De Niro's stunning performance as Johnny Boy takes on the proportions of a Greek tragic hero, moving steadily toward his violent and inevitable destiny. In one fell swoop he established himself as one of the greatest actors of his generation (and would go on with Scorsese to achieve his greatest triumph Raging Bull). Keitel, a Scorsese regular from the latter's very first film (Who's That Knocking At My Door), has never been better.

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The first time I saw "Mean Streets" was on a double-bill with "Straw Dogs" at a repertory film house off the University of Pennsylvania in 1981. Now I can't put my put my finger on it but I had seen "Raging Bull" shortly before this but that film did not have the visceral impact on me that "Mean Streets" did. Where do you begin with this film? The dynamic soundtrack, the neighborhood ambiance, the great editing and cinematography. Primarily this film has two great characters in Harvey Keitel's "Charlie" and Robert DeNiro's "Johnny-Boy". They couldn't be more polar opposites. Charlie is essentially a moral man who tries to make peace with the immoral world in which he inhabits. Johnny-Boy is a loose cannon, oblivious to the choices that he makes, whose world could blow up in his face and he wouldn't have a clue. Charlie is misguided by feeling that he has to make some sort of penance in reigning in Johnny-Boy. Charlie doesn't realize how impossible this task is in the world he inhabits where order and chaos co-exist and order is enforced at the point of a gun. Both Keitel and DeNiro make dynamic entrances in this film even though they had previously appeared in more obscure films. One note about the commentary track on this special edition. A gripe I've had about previous editions of Scorsese films is that they lacked a commentary track, however, maybe I should have kept my peace. His commentary doesn't seem to be specific to the action on the screen and he speaks a lot of film-school arcana. It's intermittently interesting but not greatly so.

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I am a longtime fan of both Martin Scorsese and Robert DeNiro. Scorsese's "Mean Streets" is one of my alltime favorite crime movies.

Charlie(Harvey Keitel) is an up-and-coming hood in New York City's Little Italy. Charlie wants to save his half-wit best friend, Johnny Boy(Robert DeNiro), who is in deep debt to a loan shark. The ultimate result is tragedy.

Scorsese's "Mean Streets" is one of the greatest movies of the 1970s. "Mean Streets" was the first collaboration between DeNiro and Scorsese and also the film that brought both of them to national prominence. The story primarily focuses on Keitel's character, so I don't understand why DeNiro received top billing. The great performances by DeNiro and Keitel gave a hint to the stardom that would later be achieved by these two performers. Robert DeNiro may be the very last of the great movie actors. He is the ONLY present day actor who comes close to matching Marlon Brando for sheer talent and charisma. DeNiro completely immerses himself into the role of Johnny Boy. Scorsese also weaves strong themes of religion and redemption into his film. All of Scorsese's films are marked by intense realism. The low budget-"Mean Streets" has a strong grittiness that is sorely lacking in even Francis Ford Coppola's "Godfather" masterpieces.

I have already seen this movie six times and can stand to see it several times more. Well-recommended.

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Ah yes..the film that started a collaboration for the books. 'Mean Streets' paired a young director and a young actor who shared the common goal of looking to get their big break.

Martin Scorsese and Robert De Niro together for the first time.

This movie started a relationship that spans eight films and sparked creative genius from behind-the-camera as well as in front of the camera that has yet to be duplicated.

'Mean Streets' offers a little insight into a world that's both fascinating and dangerous, thanks to Scorsese's semi-autobiographical references he incorporated into this film.

Harvey Keitel plays a young Italian named Charlie. As Johnny-Boy so eloquently puts it, "Charlies likes everybody. Everybody likes Charlie." He struggles to live his life with some degree of normalcy, but immediately feels the pressures of his Little Italy neighborhood. He feels he has to save Johnny-Boy from a life of gambling and heavy debt, but when he can't, the climax begins to unfold. A far cry from his 'Sport' characterization in "Taxi Driver," Harvey Keitel gives a great and sympathy-evoking performance.

Robert De Niro plays Johnny-Boy, Charlie's childhood friend who's a bit unbalanced and a lot in debt. This role here offers a foreshadowing in the roles that good 'ol Bobby D. would later become famous for. ::Ahem:: 'Travis Bickle' in "Taxi Driver." Johnny-Boy is enjoyable, from his entrance into Charlie's bar right up to the climatic end (I'm not giving it away.)De Niro is astounding, and I'm not saying that just because he's my favorite actor on the face of this green earth. He's really captivating. It's extremely hard to take your eyes off of him because of his character's unpredicatability. All I could say when I finished watching this movie was.."WOW.."

If you're a Scorsese fan,get this film. If you're a De Niro fan, get this film. If you're both, get this film.

...If you want to see where genius comes from, get this film.

Oh yeah!! And keep you're eyes peeled for a cameo by Scorsese.

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