Days of Heaven (The Criterion Collection) (1978)

MOVIE:

Terrence Malick is one of the greatest filmmakers alive, and after Sergio Leone he is my second favorite director of all time. In his career that spans almost 40 years he has only made four feature length films. What I love about Malick's films is that they are poetry; they break all the conventions of filmmaking. When you sit down to watch a Terrence Malick film you are readying yourself for an experience. The way he examines human nature in every single one of his films is extraordinary. Every one of his films also deals with man's impact on nature and he slowly erases the lines between sanity and insanity. His directorial debut was with Badlands starring Martin Sheen and Sissy Spacek; a haunting story of lovers on the run from the law. His next film is still undoubtedly one of the most moving pieces of cinema ever created, Days Of Heaven.

Days Of Heaven tells the story of Bill (Richard Gere) and Abby (Brooke Adams); two young people in love trying to make ends meet and find work. The two go around pretending to be brother and sister as to protect themselves from the outside world. At the beginning of the film Bill gets in a tussle at the steel mill and accidentally kills his boss. Now Bill, Abby and Linda (Linda Manz) hop a train to go work on a farm to harvest wheat. The story is told through Linda's perspective. Linda is the real sister of Bill and she is barely a teenager. It's interesting that Malick lets the story unfold through the eyes of an innocent child; I think it gives complex situations in the film a simpler point of view. As the story unfolds and they work on the farm Bill finds out that the owner of the farm is dying of a terminal illness. The farmer is played by Sam Shepard in his first major role. Bill hatches a plan for Abby to get the farmer to fall in love with her. That way when he dies he will leave all his assets to her and they will become rich. As can be imagined after a full year passes the farmer is still alive and tensions begin to grow that leads to an inevitable climax.

The number one aspect of this film that garners so much attention is the cinematography. The story goes that Nestor Almendros started the picture but about a fourth of the way through he had to leave due to a prior commitment. Cinematographer Haskell Wexler came in and shot the rest of the picture according to Almendros's standards, but in the end didn't receive any credit on the film. Almendros went on to win the Oscar for Best Cinematography that year. All quarrels aside one can't deny the brilliance of the film's photography. Every frame is crafted with absolute detail that in some cases will give you goose-bumps. They shot most of the film during "magic hour"; that twilight period right before the sun sets. It creates a perfect backlight that if framed correctly can create haunting silhouettes. It seems as if there is always a ring of fire on the horizon that is slowly getting closer, which it in fact does. During the scene of the locust plague a lantern breaks in the wheat fields and the entire farm erupts into flames. It symbolizes rage in the characters as tensions mount, but I don't want to spoil anything for those who want to experience the film for the first time. All in all this film is a visual feast that will stay in your mind's eye.

Since the film is extremely light on dialogue it relies on two major elements. Cinematography being the first thing I discussed and Ennio Morricone's score being the second. Morricone's incredibly dark and foreboding score is a haunting masterpiece. It underscores the human conflicts being depicted in the film and of course has tragedy spelled out plain and simple with the tone right from the beginning. The first time I saw the film I cried because of the subtle power of this Oscar nominated score. The haunting elements of it will resonate with you for quite some time, and honestly this score is the major source of emotion in the film. It accentuates Malick's themes perfectly.

So, what is this film ultimately about? One could spend all their time writing about a Terrence Malick film and every word could be wrong and right at the same time. His films need to be experienced, because it is absolutely impossible to try to describe how his films affect you. In my head I saw this film as an exploration of love and how human nature is a flaw that can allow our emotions to consume our rational side. If you've seen The Thin Red Line, Badlands or The New World then you should have a good idea of what Days Of Heaven will be like. It's a surprisingly short film at only 94 minutes, especially if you compare how long his last two films were. Thanks for sticking with me for this entire review/analysis. I really like to do more than the average critique when it comes to important films like this.

SPECIAL FEATURES:

Audio Commentary:

Since Terrance Malick is the most elusive filmmaker ever (not a single interview ever?) the commentary track features editor Bill Weber, art director Jack Fisk, costume designer Patricia Norris, and casting director Dianne Crittenden. This is a fascinating track that really delves into just how much detail can be found in every single frame of the movie; a must for film enthusiasts.

Audio Interview With Richard Gere:

An interview conducted in 2007 just for this release. Richard Gere examines how he came to doing the movie. He discusses how he really wasn't into film but rather theater. However, he saw Badlands and was immediately interested if Terrence Malick was directing. He does ramble a bit, but he does offer some insight. The fact that it's a 22 minute audio interview set to stills and footage of the movie makes it kind of a bore to sit through.

Video Interview With Sam Shepherd:

This 12 minute interview from 2002 is an interesting look at how Malick got Shepherd into acting. He talks about how he was more into writing at the time, but he decided to do it just for the hell of it.

Video Interview With John Bailey:

Bailey was Nestor Almendros's camera operator and this is by far the most interesting interview on the DVD. It's a 20 minute interview and it is incredibly in depth. He uses a lot of lingo that may go over the head of casual viewers. He explains in detail all the techniques they used and it really opens up a lot. It's a really fascinating interview that uses visual examples throughout as he talks.

Video Interview With Haskell Wexler:

Wexler was the cinematographer who took over for Almendros and in the end received no credit for his work on the film. In this 11 minute interview he explains his relationship with Malick and how he came to take over for Almendros. It's a great first hand account from the man himself.

41-Page Booklet:

The booklet contains an essay by Adrian Martin and a chapter from Nestor Almendros's autobiography.

VIDEO:

When you buy a Criterion DVD you are paying for perfection. This remastered version was supervised and approved by Terrence Malick. The original 1.78:1 aspect ratio is maintained exactly with absolutely zero flaws in the transfer. The new high definition transfer was created from a new 35mm interpositive struck from the 35mm A/B roll original negative. Thousands of instances of dirt and scratches were removed and the resolution is magnificent because they mastered the DVD at the highest bit rate possible. I just wonder when Criterion is going to make the move to Blu-ray?

AUDIO:

A brand new Dolby Digital 5.1 surround track was created for this release. The old track was tossed and this new track was remastered at 24-bits from the original 4.1 magnetic tracks. Every effort possible was implemented to reduce clicks, hiss and crackle. This is fantastic, I love Criterion so much.

BOTTOM LINE:

Days Of Heaven is one of my favorite films of all time and I certainly think it's Malick's best. The film will overwhelm you with its visual power and you certainly won't forget it. Criterion has done a great service by remastering this film and I can only hope that Malick's other films will eventually get the same treatment.

How fitting it is that the best movie Richard Gere has ever done, and will ever do, is the one where he probably talks the least. Of course, dialogue isn't what's so breathtakingly beautiful about Days of Heaven, one of the forgotten greats of all time. It's the cinematography (maybe the best of all time, sorry I left this off my list, folks), the sad story that runs through the film, and the overwhelmingly aching tone that just resonates from every frame. Days of Heaven is a quiet, meditative film that flies under the radar in emotion and volume for most of the time. The film roams over the open fields of its locale, half-listening to conversations (even important ones) as maybe the watchful eye of God. I saw this movie once before and bought it on a whim, and am convinced more than ever that most great movies don't reveal themselves totally on the first, or even second time. On viewing #2, I can't get Days of Heaven out of my mind. It's a beautiful, sad little tone poem that resonates more than most explosive, violent movies of the '70's. You're missing out if this one isn't on your shelf. GRADE: A+

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A few years ago Paramount Pictures unceremoniously dumped Days of Heaven on DVD with a decent transfer and no extras save a theatrical trailer. While the folks at Criterion haven't quite given it their deluxe treatment, they have provided a brand new, Terrence Malick-approved transfer that is a revelation and a few, yet substantial extras.

While it was too much to hope for a commentary by the media-shy Malick, Criterion has provided us with the next best thing: a commentary by art director Jack Fisk, editor Billy Weber (both men have worked on all of Malick's films), costume designer Patricia Norris and casting director Dianne Crittenden. Weber talks about Linda Manz's inexperience as an actress and how she kept referring to Richard Gere, Brooke Adams and Sam Shepard by their real names. Fisk talks about the challenges of constructing sets with very little preparation time. They all talk about Malick's working methods and provide fascinating insight into the director's creative process.

There is an audio interview with Richard Gere that plays over footage from the film. The actor says that the filmmaker spent a year casting and this drove him crazy and he almost left the film. Gere candidly reveals that Malick didn't really know how to direct actors and this led to some frustration on their part.

Also included is a 2002 interview with Sam Shepard who mentions that Malick was shy and almost embarrassed to ask him to be in the film. Shepard also talks about the filmmaker's attention to detail and how in awe he was of nature and his desire to capture it on film.

Finally, there are interviews with camera operators John Bailey and Haskell Wexler. Bailey says that Malick made a classic, pastoral film but with an edgy, American New Wave style. He also talks about Malick's creative process and the cameras they used. Wexler took over when the film's cinematographer Nestor Almendros left due to a prior commitment. He talks about Malick's connection to nature and his working methods.

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Terrence Mallick's 1978 masterpiece is as strong today as when it was first released...or maybe even better now in comparison to the banal movies of today. The incredible cinematography and minimal narrative create a mood and feeling that very few films would ever even attempt...this is like a poem on film, but easily accessible and amazingly engrossing. Ennio Morricone's score is one of his best and most haunting ever. The entire cast is superb (Gere, Adams, Shepard), but the stand-out has always been young Linda Manz (who also narrates throughout in a subtle almost surreal authenticity)her low-key performance is absolutely incredible. The minimal narrative has been criticized by some, but anything more would have damaged the mood and emotion of the film. The tragic outcome of events is inevitable...so why clutter it with soap opera? Compare this film to anything else out there and you will see that it is truly one-of-a-kind. Seeing this movie again after almost 20 years reminded me how many great films came out of the 70's. It was a great period for modern cinema --maybe call them the "days of heaven" for movie-going --and Mallick's masterpiece stands tall to this day. This is a must see for any serious film buff. The only reason I give it 4 stars instead of 5 is that on the DVD some of the darker scenes are slightly murky...but overall it is still a Very Clean and Nice looking widescreen transfer. The DVD has the original kind of awkward trailer as well. Don't miss this film!

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The director, Terrence Malick, has made few films but his stature is legendary among film buffs and industry players (for different reasons). This film, which he wrote and which is possibly his best, is one reason why so many admire Malick. Winner of a well-deserved Academy Award for Cinematography by the late, great Director of Photography Nestor Almendros (who wrote a wonderful book about cinematography, by the way, called A MAN WITH A CAMERA), DAYS OF HEAVEN does nothing so well as perfectly evoke a place and time. By the way, a previous reviewer was incorrect -it was not the Great Depression, but pre-WWI. This is a film that does a lot with a little; and it is so beautiful and so well-told that one could turn the sound off and understand the whole story. Don't you dare, though: the soundtrack by Ennio Morricone and others (Leo Kottke, Doug Kershaw, Camille Saint-Saens...) provides perfect accompaniment to this spare and tragic tale.

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Every Which Way But Loose / Any Which Way You Can (Two-Movie Collection) (2011)

im giving both movies 5 stars because they are great classics . but beware of sound changes made within both movies . warner bros made changes to sound fx when philo fights . it may not bother some people but i noticed it right away and it bothers me that warner brothers chose to do this when they have plenty of room to include the original sound mix

Galen claims that the right turn scene is missing on this disc. Apparently Galen isn't aware that Every Which Way but Loose didn't contain any right-turn jokes. All of those jokes appeared in Any Which Way You Can. You can ignore the missing footage claim. Blu Ray quality of this film is lackluster. Films are what they are. Three Star all around for the quality of movies, image, and sound; more nostalgic value than anything else.

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I'm happy to report that the somewhat misleading use of the term "2 movie set", while true, is less informative than '2 Disc Set'. Yes indeed this is a 2 disc set, not '1' as widely speculated prior to release (also shown as '1 disc' on Amazon's product page).

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great,

I received the package on April 30, with 16 days in advance.

it's still a bit long 15 days for a shipment to France.

I recommend this double blu ray as it is in free zone.

The blu ray has the English language, French, Spanish and German (Mono for last three language).

PS: It would be nice to report when the blu ray are "eligible in Europe."

thank you :-)

Sorry for my english, I'm french ... "Old Europe" ...

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It's nice being able to watch Clint Eastwood's old movies remastered and in HD on Blu-ray. To top it off, both the original and sequel are on the same DVD.

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Resident Evil: Damnation (+ UltraViolet Digital Copy) (2012)

Resident Evil: Damnation improves upon the first Resident Evil CG movie, Degeneration, by leaps and bounds! Not only did Capcom tweak the appearances of the characters (and for the better!) when in comparison to the last movie, they also took many demands of the fans to heart. A good part of the appeal of the Resident Evil franchise is its trademark monsters, in which case this feature film does not fail to resurrect some of the most notorious creatures from the more classic games of the series. That does not go to say that they have done away with the new, either. With an interesting blending of creatures, Damnation takes that next step into the future of Resident Evil, teasing you with what is to come a few weeks down the line with Resident Evil 6.

The plot at first may seem difficult to follow, but with Leon Scott Kennedy holding the reigns and Ada Wong throwing him a bone here and there, the story definitely does not disappoint. Between all of the monsters, fighting, and oh yeah... more monsters... You really appreciate the effort that was placed in the finer details that truly connect this movie with the rest of the series. Whereas Degeneration felt slightly more disjointed, Damnation is much better woven into the framework of the global threat of Bio-Terror looming on the horizon. The world really is turning into a mess and it's only a matter of time before it spins horribly out of control. This gives the film the intricacies and polish that its predecessor was lacking.

If you're new to the series, the gore and rather flavorful action scenes may be enough to hook you. However, for loyal fans this is a breath of fresh air and you will feel entrenched in Leon's cause and perplexed by all of the questions the ending scenes present.

As you watch the beginning to the ending of the movie it feels like the producers and writers intentionally made the movie as a prequel to the RE6 games storyline but don't let that detract you from the entertaining story that is already in the movie itself. Like on reviewer stated the movie brings into play many of the former monsters and creatures that you see in the games as well as some cameo time with another iconic RE character as well. The CGI Animation is great and the actions is pretty good too.What is almost sadly ironically funny is that some of the fight scenes here are much better then the ones in the live action RE movies. Basically this is a must for any Resident Evil fan or those who like CGI action movies but regardless this is a nice collection to anyone's movie collection and for fans enough to tide us over until the release of RE6.

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In one of the special features on the Blu-ray, director Makoto Kamiya says he was aiming for a "Resident Evil 4" Leon and that he wanted to put Leon through hell. That is the perfect way to describe Leon's journey throughout "Damnation." The Las Plagas virus is now being used for war tactics and utilized in ways that have yet to be introduced in the games. What's great is that "Damnation" throws you into the first person perspective and makes you feel like anything can jump out at Leon and attack him at any moment. The renders as well as the computer animation are crisp and fluid at all times, especially the hosts of the Plaga, the Lickers, and the Tyrants. The only time it looks awkward is when people talk for long periods of time. You begin to notice that their facial expressions don't seem as natural as they should be, but it's easy to overlook.

The lighting in the movie really stands out, especially in the basement sequence and whenever Leon picks up a flashlight. It's just done so well, feels natural, and even helps add tension at times. "Damnation" can pat itself on the back for actually utilizing the slow-motion effect properly. Lately it seems like most Hollywood pictures use slow-motion for the most pointless sequences like when someone is just standing there in the rain or when somebody turns around. The slow-motion scenes in "Damnation" actually enhance the story and action sequences. There are effects that come out at you better than most movies that are released in or post-converted to 3D and released in theaters; there's some really amazing headshots including one where Leon shoves a crowbar through somebody's skull, a table being flipped over and a cup of tea flying at you, a water jug being kicked in your face, and the tongue of a licker jumping out at you.

The story is written in a way that seems intelligent, pulls you in, and feels like it coincides in the same universe as the games. While the screenplay isn't perfect and kind of misses its mark at times (the JD character, Leon's lame one-liners, the final speech Leon gives Buddy), it more than gets the job done and even gets pretty emotional at times.

"Resident Evil: Damnation" is the perfect reminder of how great this franchise really can be and is an ideal lead-in to "Resident Evil 6" due out October 2nd. If you'd lost faith or had been purposely distancing yourself from the atrocity that is the live-action movies (and if that's the case no one could blame you), "Damnation" is the movie for you as its predecessor "Degeneration." These CG motion pictures are what everything "Resident Evil" fans wished the movies would have been. Smart, bloody, well-written, and incredibly creepy, "Resident Evil: Damnation" more than lives up to the "Resident Evil" name.

Special Features include The DNA of Damnation (a thirty-minute making of featurette), Las Plagas: Organisms of War (around seven-minutes, be sure to watch this if you have any remaining questions after the movie), a six-minute Gag Reel, game trailers for "Resident Evil 6," "Devil May Cry," and "Dragons Dogma," and a Conceptual Art Gallery which is exclusive to the Blu-ray.

"Resident Evil: Damnation" will be released on single-disc DVD and Blu-ray this Tuesday, September 25th. The feature is presented in 1080p High Definition with a 1.78:1 aspect ratio. DTS-HD MA audio is available in English, French (PAR), and Portugese with Spanish and Thai being available in 5.1 Dolby Digital. Subtitles are available in English, English SDH, Chinese, French, Korean, Portugese, Spanish, and Thai. The movie is approximately 100 minutes long and is mastered in High Definition.

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This movie was slow in the beginning 5-10 mins but after they show the first person using their mind to control lickers it gets better. The russian nemesis's(or whatever they are calledthey were used in RE:Umbrella Chronicles too) are f@###kin awesome as unstoppable beasts trying to kill leon and that other guy using las plagas to control lickers. Man the last 30 mins of this movie are worth buying the movie for, Ada wong is in this too. So much action and story, this is way better than RE: Retribution. I give this movie a 10/10, only downside is it's a little slow in the beginning.

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Finally...an adaptation that is worthy of being called a Resident evil movie. Resident Evil: Damnation rose to the occasion on this second installment of the CG movies. It does a great job of captivating a viewing experience that will appeal to hardcore fans of the video game franchise as well as viewers who are unfamiliar with the games. The storyline was thoughtful, entertaining and engaging. The mood and tone of the film stays true to the games and the overall themes conveyed in the game come through in the film beautifully-without making it any less of a film. As I watched the film I felt myself being immersed in the gameplay all over again when the composition of a scene looked eerily familiar to one I remembered from one of the games. Leon and Ada's characters remain respectful to their originals in the game and are not overshadowed by characters created in the adaptation. BOW's do not become uncharacteristically humanized -or beautified into infected superhuman heroines in tight clothes--insuring the integrity and the severity of the threat they pose. In essence, this was a film made with the intention of making a respectful adaptation of the Resident Evil Games franchise--not a series of shameless mockeries disguised as Resident Evil live action films. In surmise, yes, you have the introduction of new characters and a new setting but the overall important core elements of a Resident Evil based movie are not lost unlike the live action films. If you want to experience the survival horror series Resident Evil without playing the games or if you just want to see a good CG horror / action / zombie movie, then this movie is a must see.

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Hidden Blade (2004)

I thought that director Yôji Yamada could not possibly top Twilight Samurai, but I was wrong. This is a great film for even those that are not martial arts fans. The acting is great, the screenplay is excellent and believable. Director Yamada also had great cinematographers and music.

Since the story for both Twilight Samurai and Hidden Blade were written by the same author and took place in the same part of Japan, one reviewer unfairly indicated the story was a rehash of the first. Definitely, I disagree with this assessment.

I don't want to give anything away. For those that are like me, be sure to have a box of tissues handy when you see this memorable film. I rented it and was so taken by the film (even watching it twice during the same weekend), that I purchased the DVD immediately from Amazon.

Yoji Yamada's "Twilight Samurai" was an extraordinary treat. Following in similar footsteps, "The Hidden Blade" is again a samurai tale where a lower samurai must weigh matters of principle against what is politically and financially advantageous. Shown at film festivals in Berlin & Newport Beach, the main character is Munezo Katagiri whose sister marries out of the household. Masatoshi Magase who played so romantically as the second love interest in "The Sea Is Watching" does the title role. He's very sensitive and honest, but a bit out of touch with his own emotional needs. Takako Matsu who has only made 3 films including 2006's "Suite Dreams" plays the housekeeper Kie. She works hard and lovingly takes care of Katagiri's house. Matsu's beautiful good looks and expressive face make her a charmer. Caste issues divide her from the samurai. When Kie marries, her new family abuses and fails to appreciate her. This results in her illness and rescue by Katagiri who barges into the household and rescues Kie from her own husband! Kie is nursed back to health. Meanwhile Yaichiro Hazama is from the same samurai clan and has gone to the big city of Edo where he gets caught in a plot to overthrow the Emperor. He's brought back home in a basket and imprisoned, rather than being given the dignity of hari kiri. The authorities come to Katagiri and give him the charge of dueling with Hazama, who breaks out of prison and holes up in a rural hut. The lovely Reiko Takashima plays Hazama's wife and comes to barter with the only commodity she has, her body, to try and save her husband's life. She goes to the Chief in charge (forgot his title) and makes a similar deal when Katagiri refuses her. Unfortunately, the unscrupulous Chief has no intention of freeing Hazama and fails to inform Katagiri as he has promised Mrs. Hazama he would do. Min Tanaka who played in "Twilight Samurai" is the retired martial arts instructor Toda who gave Katagiri knowledge of a special move called the Devil's Claw. Now living in a pastoral setting, he gives Katagiri a few last tips. The duel takes place with Katagiri surviving. The Chief suffers justice at Katagiri's hands with the lightning fast Devil's Claw dispatching him to the next world. Deciding to follow Toda's example, Katagiri renounces his pledge as samurai and sweetly approaches Kie who has not remarried and no longer has a caste restriction separating her from the man she obviously loves. There is a real sweetness and innocence in the story of "Hidden Blade" that shows a moral compass. The performances, direction and cinematography are first-rate. Bravo!

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Wow! What a delight. I picked "Hidden Blade"up from the local video store on the way home from work. It was just on a whim, based mainly upon superficialities (the cover art, the interesting title, the intriguing plot summary on the back), but am I ever glad I did.

This movie is an absolute gem, packed with engaging storylines and intricate character development. There isn't a tremendous amount of action, per se, but the few scenes demonstrate excellent technique. I was glued to the set the entire movie and was saddened when the movie came to a close at the end.

Pick this up for a wonderful human story satisfy your nostalgic longing for days of love and honor.

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Having been thrilled by the director's movie "Twilight Samurai",

I ordered this film. By itself, it is good period drama of the

19th century Samurai period...basically the story of an honorable samurai in a dishonorable world. However, I felt that

the plot and motifs were quite similar to Twilight Samurai. Given the choice of the two films, I would recommend Twilight over this one. I didn't quite get the point of seeing two

very similar movies.

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this is a very good movie, quite different from the other samurai movies. it's quite romantic too. a real gem. a samurai with conscience and principles, a country girl with pure heart, loyalty and love. grab this one and enjoy.

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Even the Rain

EVEN THE RAIN (También la lluvia) is a brilliant metaphor of a story written by Paul Laverty based on an actual event and directed with considerable skill by Icíar Bollaín, the great Spanish actress, writer and director. This film is one of those rare 'docudramas' that bring to light historical 'secrets' that beg to be shared. In 2000 an American water company bought the water supply from the Bolivian government and the citizens of Bolivia were banned from collecting rainwater which had become corporate property. This resulted in a violent protest against the government by the indigenous Indians and the citizenry of Cochambamba, Bolivia who claimed their rights to the natural gifts of nature even the rain. Laverty and Bollaín expose this injustice through a well-conceived story within a story.

Spanish film director Sebastián (Gael García Bernal), his cynical producer Costa (Luis Tosar), and crew including Antón (Karra Elejalde) have come to Cochabamba, Bolivia to shoot their film about Christopher Columbus (played by actor Antón Karra Elejalde) and his first explorations, revealing the way the Spaniards treated the native Indians: Costa has chosen the place because he can get cheap labor in using local actors and extras to keep within the small budget of the film. Sebastián is the compassionate one who wants the Indians treated well, hiring a mouthy young Indian named Hatuey/Daniel (Juan Carlos Aduviri) when he claims he and his family are being unjustly overlooked as actor candidates. The filming goes well, with the exception of some minor glitches for particular scenes the Indians find too dangerous, until a conflict develops over the governmental privatization of the water supply. Daniel becomes an activist against the government who plan a 300% increase in price of water the average daily income for the Indians is $2. a day! and the conditions in the city become unfriendly for the film to continue. Bloody violence and chaos breakout and many citizens are being killed or jailed. It is at this point that the caring Sebastián finally decides that he and his crew must flee, and with some role reversal, Costa stays behind to protect Daniel's family.

According to Bollaín, 'It was the gold 500 years ago, and now it's the water, which is the gold of the 21st century. Before it was the Crown of Spain and the pope who approved the conquest. Now it is the new theologians, the IMF and the World Bank. Again it's the word from above, saying, 'This is right.' The Spanish filmmakers in the film-within-a-film are caught in the middle. They have the attitude of neo-conquerors they go there because it's cheap. But they're also trying to make a film that casts a different look on the conquest. And it's an adventure.'

Iciar Bollaín directs this epic film with great dignity and with a keen observation of how history, even inadvertently, repeats itself. The cinematography by Alex Catalán and the musical score by Alberto Iglesias add immeasurably to the film's success. The cast of extras is exceptional and very well directed. Both Gael García Bernal and Luis Tosar deliver intensely considered performances as does Juan Carlos Aduviri as the key central figure Daniel. Hopefully this film, nominated for Best Foreign Film in the 2010 Academy Awards. In Spanish with English subtitles. Grady Harp, May 11

This is an excellent film based upon reams of historical evidence as documented by such acclaimed historians as Howard Zinn (A Peoples History of the United States) and David Stannard (American Holocaust) and others. Its subtle, if not so subtle, comparisons with the greed for gold and exploitation of Indigenous Peoples by the original conquistadors and other "discoverers" of the now so called Americas with the present day call for privatization of water by the International Monetary Fund is extremely poignant and moving. That "we the people" will not let elite policymakers in collusion with governments get away with exploiting resources, like water, fundamental to human survival was a major message that the world witnessed in the uprisings in Bolivia roughly a decade ago. Well acted and emotionally compelling, it is also interspersed with real life stories of sacrifice and heroism to help loved ones in need. Human Rights and Social Justice: Social Action and Service for the Helping and Health Professions

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The movie tells the story of Native South Americans who are fighting for basic resources to survive. The struggles that began with the Spanish terrorists hundreds of years ago (circa 15th century) continue into the present day in this film. It's worth viewing. It sparked my interest in learning more about present day Bolivia.

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Seems at times like being behind the scenes of a Werner Herzog film. The play of the filming of Christopher Columbus' first voyage and its effect on the natives against the current plight of the Bolivian cast working in the film while at the same time fighting for access to water in their city is remarkably effective in demonstrating how little has changed over the centuries. Insightful, funny, passionate, touching, and ultimately uplifting.

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Set in Bolivia, this Spanish film stars Gael Garcia Bernal (`Amores Perros', `Bad Education' and `Rudi y Cursi') as film director Sebastian. He is making a film in the Cochabamba region with his exec producer Costa (Luis Tosar `Cell 211', `Mr Nice' and `Miami Vice'). They have chosen the area because they are on a limited budget and know they can hire local extras for next to nothing.

At auditioning a feisty Indian, Daniel kicks up a fuss about not getting a screen test, Sebastian decides to take him on. They are shooting a film about Columbus set in 1511, and they want to use contemporary accounts as much as possible to keep it accurate. They are also keen to show how the Indians were exploited by the Spanish Empire and show a few good men who stood up for the Indians and the tyranny of the Church.

Things go well at first and the historical scenes are absolutely brilliant would make an excellent film in itself to be honest. But then they discover that Daniel is a leading activist against the privatisation of water or more accurately the theft of water, which is referenced in the title of the film. The local police enforce the foreign privately owned water companies policies and as water means life, it is only inevitable that the Indians will fight back.

So as filming rolls on, the five hundred year old events start to have a strange resonance with what is actually taking place in the present, and the parallels with the Conquistadors is only too obvious.

This then is a truly brilliant piece of cinema; you almost get two films in one or three if you include the people making a documentary of the making of the film. Yes it sounds complicated but it really works. The framing of the shots is superb, the scenery stunning, all the actors do an excellent job and some of the crowd scenes have a real feeling of documentary which all adds to the realism. It is also shamelessly emotional and I suppose it was inevitable given the subject matter and had me moved a couple of times, so I can not recommend highly enough. In Spanish, with some English and sub titles that are sometimes slightly obscured, but still alright, this is a film for anyone who likes their cinema slightly different or indeed likes world cinema. This was written by the uber talented Paul Laverty (`The Wind That Shakes The barley', `Sweet Sixteen' and `Route Irish') and I cant wait to see his next offering (`The Angels Share') until then I will watch this again as it is just that good.

The Sunset Limited (2011)

"The Sunset Limited" is a theater lover's dream! This HBO production takes the brilliant Cormac McCarthy's existential treatise about life and faith and adapts it with precision to the small screen. If, however, you are NOT a theater fan and are coming into this film blindly--I do think it's quite important that you know what you're getting into. This is a two person dialogue--that's it! For just under ninety minutes, two men sit in a shabby one room apartment and discuss the philosophical nature of man's reality. With a heavy reliance on religion and man's obligation to one another, "The Sunset Limited" unfolds with a surprising urgency and even poetry. It might not sound like thrilling entertainment but McCarthy's words filtered through the estimable talents of Tommy Lee Jones and Samuel Jackson make this a can't miss proposition for adult viewers. It is for lovers of word and thought--and, indeed, it's not for everyone. But it is a great way to get a prestigious theater piece to an audience that might not otherwise have the opportunity of enjoying it.

So, for that, we've got to thank HBO (the undisputed leader in TV movie productions) and Tommy Lee Jones who also takes a producer and the directing credit for this intimate work. Set in Jackson's apartment, "The Sunset Limited" unravels in real time in the aftermath of an incident at the local train station. Jackson attempts to engage Jones in a discussion about what happened as well as keeping him safe from further harm. A former convict, Jackson's real life stories are filled with harrowing details and his redemption provides ample evidence of a greater good. Jones, an intellectual with a more pragmatic worldview, spars back with an elaborate cynicism. In this contest of words, will Jones embrace the notion that perhaps life has more to offer if only he's willing to accept it? Or will Jackson start to doubt his own convictions in view of his new friend's influence?

I know my presentation of McCarthy's play might sound a bit dry--but make no mistake, "The Sunset Limited" is also filled with great warmth and unexpected humor. Jones is stilted and disaffected, making the most of the more uptight role. It is underplayed to perfection. He all but gives the stage to the more showy Jackson. This is, without a doubt, one of the meatier roles that Jackson has sunk his teeth into in recent years--and his relish is obvious. He elicits the piece's biggest laughs and tells its most vivid stories--it is a riveting performance. The devastating climax arrives courtesy of Jackson who just might have met his match with the intrepid and stubborn Jones. A cerebral and intimate chamber piece, I reiterate that this film will not be embraced by everyone! However, if the idea of seeing the work of one of our greatest writers performed by two acting powerhouses appeals to you--what's not to appreciate? KGHarris, 2/11.

Sunset Limited is a new HBO film that is located entirely in a dirty studio apartment in New York. Only two characters are presented in the film and their names are Black and White. One man, White, has decided that he is going to kill himself and the other is attempting to talk him out of it. Tommy Lee Jones plays White, the man who attempted to commit suicide by leaping into a train, and the character Black is played by Samuel L Jackson, who saved White from being hit by the train. The theme of the movie is Black trying to find out what is so bad that would make the intelligent character, White, end his life and how Black can keep White from trying to do it again as soon as he leaves the apartment.

The entire movie takes place inside Black's apartment as he tries to argue White into choosing life.

For 90 minutes they have a theological debate about God and their purpose on this earth. The debates are powerful and the conversations moving. Sunset limited makes up for the fact that it consists of no beautiful panoramic screen shots and channels all of its artistic energy into enhancing the script. The director chooses to set the scene with words of poetry rather than with colorful images. The decision to paint the movie through words rather than pictures is very rare and ends up adding a fantastic element to the Sunset Limited.

An incredibly dark tale but a very worthwhile film to watch.

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I just watched The Sunset Limited last night. ABSOLUTELY one of the best movies/plays I have seen in the past 10 years. The quality of the acting and interacting, as well as movement and camera angles between Tommy Lee Jones and Samuel L. Jackson is great to see. The dialogue is fresh, real, and sensitive to both sides hence, "Black" & "White."

The camera angles in the last few moments and the last phrase uttered by "Black" is powerfully and dramatically well done.

Doug Flor

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Wow, This is a very deep and intellectual film! I'm a minister, andI was so drawn in, so mesmerized by the dialogue and the intensity of Black and White. At first, I really thought that every person in the congregation I minister to should watch this film....... However, as I began to look further at reviews and what other's thought, I now think this film probably needs to be viewed with some caution. This could confuse some people and actually draw some folks into despair. Despair....... (WARNING: MY POST FROM HERE FORWARD CONTAINS SPOILERS!!!) that's ultimately the gospel White is preaching. There was a part of my soul that could identify and understand his points. I think most humans have felt those moments at times in their lives. But, there was one thing White said that really stood out to me. It was something I wish Black would have caught on to. He kept asking God for the words..... I have no idea, if this will be helpful to those of you who have posted on this, but this was my thought. White says, he wants the "peace of darkness." But, I don't believe there is ANY peace in darkness! Think about it, when you walk into a dark, unfamiliar room, the first thing you want to do is turn on a light! If not you may stub your toe, walk into a door, or worse someone or something could be lying in wait. Darkness does not provide peace! In truth, in provides more despair! So White was only going to go from despair to true despair! From darkness to eternal darkness. Of course this is my belief, and you are free to disagree with it. But I have definitely done my share of soul searching and in16 years of ministry have stared deep DARK DESPAIR in the face. And these words I tell you about darkness are not just what I think. But I believe it is the TRUTH. We live in a world that doesn't believe in truth much anymore. But I wholeheartedly believe in it. God Is Truth. God Is Love. And God is LIGHT. These were things I found comfort in at the end of this film. I have to believe in an existence that contains REAL truth. Quite honestly, I just can't understand how anyone can believe in anything else. But, obviously White did. And I'm sure to some, White made a lot of sense. For those, I pray as Black did that they too can someday, come into the Light. Thanks for reading my comment.

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Having Samuel L Jackson and Tommy Lee Jones play the roles of Black and White, the two main characters in The Sunset Limited, is certainly bringing two outstanding talents together to provide this play with the best possible conditions for success. It is a bleak picture these two actors paint as they perform the minimalistic script of Cormac McCarthy. This play is very different from the novels of McCarthy for in the film dialogue is central whereas in his novels, dialogue is often extremely minimal whereas the plot is full of physical action and the writing is full of poetic descriptions of landscape. The play contrasts the faith of an ex-convict black man with the existential despair of a white college professor. The despair of the college professor however is not about personal conditions or circumstances but rather is complete despair around the condition of human life and human potential and human nature. The play is basically a dialogue between these two characters in a spare one room in a public housing project where the ex-convict lives. McCarthy is very poetic, even in dialogue that is philosophically charged. Tommy Lee Jones and Samuel Jackson make the dialogue come alive. After seeing the film, I suggest you reflect on who gets all the good lines. In my opinion, Black, the man of faith and human resiliency is naturally appealing and his language is extremely colorful. On the other hand, as a man who has just attempted suicide, White, is restrained and depressed. His world view is very dark, considering that he is not really committing suicide due to personal circumstances but due to the fact that humanity is so worthless and life for all humans is meaningless. Black tries to confront these concepts throughout the play. In the same way that McCarthy's novels are not for every reader, this play with its philosophical armature clearly visible may not be for every viewer. However it is stimulating to see two fine actors give outstanding performances of this script and pull out every bit of pathos from the philosophical dialogue.

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Legend (Ultimate Edition) (1986)

LEGEND never really found an audience in theatres despite Ridley Scott and Universal's constant tinkering with the final cut. Seems many movies of this era were victims of audience test screenings, and the desire to give people a commercial product that went down easy -see BRAZIL for a prime example of how studios think (the "love conquers all" version). So LEGEND was severely edited and rescored with a hasty (but often effective score by TANGERINE DREAM). It was short on plot and long on art direction, but sumptuous visuals and an all-out acting job by Tim Curry and make-up artist Rick Bottin made the movie an easy favorite of many fantasy fans. The movie looks stunning, and the story is a universal plunge into archetypes. Nothing wrong with that, it certainly worked for STAR WARS!

This DVD collection gives you two versions of LEGEND -the original director's cut with over twenty minutes of added footage and the original Goldsmith score; and in addition, you get the original US release. In essence you get two different movies! The moods vary, the characters seem a little different, with whole new speeches and images to enjoy. If you are a fan of the movie or Ridley Scott it's a MUST-HAVE! This is what DVD dreams are made of. While many bemoan the fact BLADE RUNNER does not come with its 2 versions -the fact is other than the narration and the happy ending, there is not MUCH different. But here we have a case where you can see what happens to a movie as it goes through development HELL. Fascinating stuff, and it comes LOADED with extras.

The only downside is the director's cut gets the royal treatment of a 5.1 sound mix while the other version gets a 2 channel Dolby mix, and even the video quality seems different with again the director's cut looking better than the theatrical release. But at last we can see a widescreen version of either cut, and we get a lot of extras that explain some of why the movie is the way it ended up. Beautiful images, two good soundtracks (I like both though the mood changes), and basically strong performances. LEGEND is a waking dream!

jerry goldsmith is widely considered to be one of the best creators of movie music alive. he once gave an interview where he said that the score for 'Legend' was his favorite thing he'd ever written. when this movie was released, however, the people at the studio decided that "the kids" just wouldn't get it, so they replaced it with a pop-y bit from tangerine dream. furthermore, scenes were cut, and the action was speeded up so that the movie could be marketed to a younger crowd. problem solved: this is a 2 disc set so you can compare and contrast the two versions: one with jerry goldsmith's score restored and finally bringing the "international" cut to the u.s., the other being the u.s. theatrical cut. this movie is incredible, but certainly not for everyone. the early tom cruise is fun to watch, tim curry is his usual over-the-top self, and mia sara is quite attractive as the princess(?) lilly. at its heart, this is a good vs. evil quest film, with the usual fantasy trappings of that sort used to wonderful effect. the movie is visually stunning, but it relies on more archtypical characters rather than character development. just because it has unicorns, fairies, goblins, swords, magic, etc., does not make this a children's film. i heartily recommend this one to any fan of sheer eye candy, fantasy, or fairy tales.

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As long as unicorns roam the earth evil can never harm the pure of heart, and that is why the prince of Darkness has sent his most foulest goblins out into the very daylight he seeks to destroy forever to cut off the horns of the last two remaining. But when Jack (the forest boy, played by a very young Tom Cruise) takes Lily (a royal princess, played by the beautiful Mia Sara) to see them, she does the forbidden and touches these ancient creatures. Lily soon discovers it was she who unintentionally lured the unicorns into the goblin's trap; enabling them to shoot the poison stinger into one of the "beasts", as they call them, with a clear view. She vows to make things right again as the land becomes shrouded in a blanket of snow and tries to protect the last unicorn standing but is too frail to defend even herself. She then is captured, along with the unicorn, and taken back to the great tree where the wicked come to sacrifice. There the prince of Darkness yearns for a companion and tries to make Lily one of them by tempting her with jewels and power while Jack and his new friends Gump, a jealous sprite and some other nymphs, device a plan to save Lily, the unicorn, and the world before it's covered in eternal shadow.

Legend wasn't too well received in theaters and was not a favorite among most critics but it has quickly become a cult classic with fantasy lovers like me. Considering the low budget director Ridley Scott was given in order to make this film in the mid-80s, I thought they did a wonderful job in bringing William Hjortsberg's dark fairytale to life, which was written specifically for the screen. I also felt the entire cast put on remarkable performances especially Tim Curry who went through hell (pun intended) to look as devilish as he does here...

Within this two-disc set is two versions of the film. One is the director's cut, as it was intended to be seen, and the other is the U.S. theatrical version, which I personally prefer, as do many others apparently. There are many extended scenes in the director's cut that were taken out of the U.S. release to trim down the overall running time but I felt the U.S. version simply flowed better. It also features a more dramatic score by Jerry Goldsmith instead of the more emotional score by Tangerine Dream and doesn't include the closing credits song "Is Your Love Strong Enough?" by Brian Ferry, ending the movie on a more magical note. But still, it was nice to see both versions and to compare the two. There's also a lot of bonus materials in the limited edition of Legend that many fans will be very grateful for.

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Well, I have never found the movie LEGEND to be one of the more satisfying movie experiences in my years of watching films. Though sporting a beautiful visual style and striking cinematography, I found the story to be very thin and uninteresting. Regardless of Tim Curry's incredible performance as Darkness, I was never really drawn into the plot in any way what-so-ever! The electronic score by the pop group Tangerine Dream didn't help matters. The added songs, which were VERY out of place for a fantasy film of this nature, literally sent me running away never wanting to return. Such was my experience with director Ridley Scott's fourth screen adventure.

After reading numerous stories about the film being tinkered with by studio executives, I was always a bit curious as to what it would have been like in its original form. I felt that it was very unfortunate that Jerry Goldsmith, a composer of many beloved movie scores including ALIEN, POLTERGEIST, and several STAR TREK films, would have his score unceremoniously ripped away from the film and replaced with a pop score in an effort to appeal more to the masses. What would the film be like with his original score intact again? These were wishful daydreams that I never expected to see happen. I was wrong.

LEGEND Ultimate Edition DVD is a wonderful release that is well worth the money. Finally, Ridley Scott has been afforded the chance to go back and fix his movie, restoring it to his original vision, along with the original music. The changes have done wonders for my overall enjoyment of this film. Firstly, the Goldsmith score immediately helps to draw you into this fantasy world and never lets you go. The conclusion of the film being set to actual music instead of pop-singing is awesome to say the least! Twenty-four minutes have been added to the movie, allowing the story to proceed at a more natural pace. The quick edits designed to get us to the action were painfully obvious in the American cut of the movie, but here we are allowed to actually get to know the characters and to care for them. So much more is revealed about the relationship between Jack and Lily instead of simply "telling" us that they are in love like the previous release did.

The extended version gives us plenty of additional details, so the opening scroll of the previous edition is wisely avoided this time around. The audience is smart enough to figure out what is going on in the movie without having to read several paragraphs at the beginning. This change now lets you feel that you are actually "viewing" the complete story instead of picking up in the middle of it. Now there is no need to be caught up on what exactly is going on before you even get started!

Some of the dialogue has been altered too, as well as some of the actual scenes themselves. Changes have been made to the voice of Darkness' Father when he instructs his son on how to "win" Lily. The dialogue has been altered to some degree also, and all for the better I might add. The mood in Darkness' halls is now even more creepy, and the actual seduction of Lily has a more haunting element than before. Now we actually see several shots of the dark phantom -like face of Darkness, with his glowing green eyes, secretly watching Lily shots that was pretty much absent from the American cut of the film. Very eerie! Also, a wise choice was made to remove the scenes that actually show Darkness at the beginning of the film. This sequence is now carried out using different camera angles during his conversation with Blix, being careful never to show Darkness himself. We do not lay eyes on the true face of Darkness until Lily does, and it is so much more effective that way! Also, the opening dialogue with Darkness at the beginning of the film has been altered.

Other scenes have been extended too, including Jack's encounter with the horrific Meg Mucklebones in the swamp. This sequence was a waste of time in the American version, but here it is very entertaining, with Jack being forced to attempt to sweet talk this ugly monstrosity to save his own skin. Very entertaining to say the least. Also included is a scene where Jack must solve a riddle presented by Gump in punishment for the "sin" of revealing the Unicorns to a mortal. These added sequences make the film more believable in my opinion, as opposed to the all-too-quick pacing of the edited version!

Note that there are a couple of scenes that are included in the American Edit that are not in the Director's Cut. Firstly, there is a lot more kissing between Jack and Lily at the beginning of the film. This is a good exclusion to make seeing that this works against the image of Lily being the "pure and innocent" victim in the story. Secondly, there is a scene in which Jack and Gump are attacked by some sort of long clawed dwarf monsters while in the dungeon halls of Darkness' lair. The scene is only a few seconds long, but did not really serve the story in any way. Thirdly, the scene in which Gump places the broken horn of the Unicorn back onto its forehead is nowhere to be found. I find this omission to be very puzzling, seeing that this is a very important element in the conclusion of the story. The movie does show the two Unicorns together, but the scene of it being restored should have been kept for the Director's Edition of the film.

I recommend this DVD to anyone who was ever even remotely interested in this film before. If you did not like it, give the alternate version presented here a chance. I don't think you will be disappointed!

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AS usual, the professional movie reviewers have no idea what to think of a fantasy film. It is beautifully filmed, that they agree on, but the point of the movie is lost on them. Not so myself. The play of light between the good characters is perfect: Jack and Lily, Lily and the unicorn, Jack and the elves, especially Gump. They are loving folk with playful hearts, and the courage to face what might destroy their happiness. Lily is probably the bravest film princess I've ever seen. These displays of good are built alongside and contrasting to the fabulous evil of Tim Curry's Darkness and his despicable servants. I would pay a lot to see the European release; there are clues all over the American release of what was cut from the storyline. What is that globe the Gump holds? Why does the bucket-headed elf have a goat or pig's hoof instead of a hand? Anyway, this is a marvelous film, and just because the story doesn't drill its way into your head like a crusader's mace doesn't mean it's a bad film.

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Hysteria (2012)

"Hysteria" (95 min.) brings the highly unlikely (but we are reminded at the beginning of the film that "This movie is based on true events. Really.") story of a young doctor Dr. Mortimer Granville (played by Hugh Dancy) in London, 1880, who is struggling but eventually finds a job with Dr. Robert Dalrymple (played brillantly by Jonathan Pryce) who is treating women for the so-called hysteria disease, really a catch-all for any and all things supposedly wrong with women in those days. The treatment is nothing else but to touch these women's private parts until they reach "paroxysmal convulsions" (wink, wink). The young doctor along with his buddy eventually come up with a mechanical device, which became the vibrator (still the number one sex toy in the world today, we are reminded at the end of the movie).

But the movie in fact is much more about Granville's romantic interplay with the 2 daughters of Dalrymple, Emily (played by Felicity Jones), who is "daddy's girl" and to whom Granville gets engaged, and Charlotte (played by Maggie Gyllenhaal), the "rebel" daughter who has set up a social center to help the poor. I don't want to give away much more from the plot, you'll just have to see for yourself how it all plays out.

Maggie Gyllenhall really shines in this movie. I couldn't help but think how much she reminded me of Diane Keaton in her late 70s performances (think Annie Hall). That aside, this movie is a pleasant romcom, nothing more, nothing less. And no, not an "important movie" about women's empowerment as some other reviews here (who obviously did not see the movie) are suggesting.

When, some time ago, I'd heard that Maggie Gyllenhaal was making a movie about the invention of the vibrator, I was excited. I mean, I love Maggie and I love vibrators so what more could I ask for in the way of entertainment? But time went by and I heard nothing about it. I'd almost forgotten it completely when, checking out the new offerings on Amazon (because as I've told you repeatedly for months now, NETFLIX SUCKS), there it was! Yippee!

I had fresh coffee, a French toast bagel with honey walnut cream cheese and a movie about vibrators. A near-perfect Saturday morning.

Honestly, I expected the movie to be interesting, perhaps even enlightening in an indie film kinda way, considered that it apparently got so little press I wasn't even aware it had opened. But what i got was a delighful little movie that had me chuckling and laughing out loud. Considering the subject, it gives the term "a feel-good movie" a whole new meaning.

Even better, the basic facts of the movie are true.

In England of the 1890's -the height of Victorian prudery, where furniture was draped with heavy fabric to prevent the scandalous sight of carved table "legs" giving rise to lascivious thoughts -the average doctor killed more patients than he saved. Medicine was still medieval, and leeching was still being prescribed even for broken bones.

Mortimer Granville, a young doctor who eagerly embraces all the cutting-edge research of the day, finds himself discharged from one hospital after another for his strange new ideas about "germs" and hand washing. In desperation, he ends up at the door of Dr. Dalrymple, who is eager for help in his thriving and lucrative practice treating "female hysteria."

Hysteria, an affliction of the female nervous system thought to stem from a disorder of the uterus, was at the time the catch-all diagnosis for just about every female ailment, particularly melancholia, nervousness, frigidity, nymphomania and excitability. What we realize now, of course, was that these women were actually suffering -and often quite seriously -from the sheer frustration of the limited, tedious and repressed lives they were forced to live.

A well-bred young woman had no choice but to marry a man she barely knew, submit to his "carnal lusts" with no preparation or expectation of pleasure, run his household, bear his children and do it all while smiling, biting her tongue and wearing a corset. Who wouldn't be depressed, frustrated and, yes, hysterical?

In extreme cases, hysterectomies were performed to remove the "offending" organs. Which says a lot about the complete and utter bigoted ignorance of men in understanding and valuing women's lives and bodies.

It should be noted that only well-to-do women suffered from hysteria. Poor women were too busy simply trying to survive, and barely had access to medical treatment for life-threatening emergencies.

Dr. Dalrymple -superbly played by Jonathan Pryce -specializes in the treatment of hysteria through "medicinal massage" to "lessen the tensions in the womb." With complete sincerity, he explains to Granville (played by Hugh Dancy) that his patients experience "paroxysms" -not to be confused with sexual pleasure, which women are of course incapable of experiencing without masculine penetration.

Granville becomes the doctor's assistant, and is soon suffering intense carpel tunnel and muscle cramps from the prolonged daily "massage" of dozens of women. When idly playing with his friend's new invention -an electric duster -he notices the vibrations bring amazing relief to his near-crippled hand.

Which leads to a moment of spectacular genius for which I am eternally grateful.

There's a love story, too, but it dovetails nicely with the theme of the movie, which is about women taking control of their lives. Maggie plays Dr. Dalrymple's "other" daughter, a passionate suffragette and doer of good works in the poorest parts of London. She sparkles. I think this may be my favorite role for her.

So, let's give a hand (metaphorically speaking) to Dr. Mortimer Granville, the inventor of the vibrator! Perhaps we should all celebrate a "paroxysm" in his honor.

Seriously, check out this very funny and enjoyable movie. If it sounds "risqué" it's really not. There's no nudity, no bad language, and only one kiss in the whole movie. It was actually amazing that they could deal with the subject matter in such a Victorian way. One reviewer has expressed his disgust at watching an "old dried up woman" experiencing pleasure in a completely demure and ladylike way. You'd have to be a serious prude or a sexist, ageist grump to characterize the scene in such a dismissive way. Maybe the more conservative of you might not want to watch it with your parents or children, but my mom would laugh right along with me.

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Yes, Hysteria really is about the invention of the vibrator in Victorian England. And in my opinion it is adorable. Not everyone's cup of tea I realize. If the subject matter makes you a little uncomfortable, then give this one a pass. I can certainly see that certain conservatives would not be amused by this premise.

If however you find it amusing that someone made a romantic comedy about...well...you know what... then you will have a lovely light evening with lots of laughs.

Read Best Reviews of Hysteria (2012) Here

A deliciously fun treatment based (loosely) on the true story of the invention of the personal vibrator.

Dr. Mortimer Granville, a young, inspiring doctor is fired from many jobs in London hospitals due to his firm belief in Germ Theory the idea that infections were caused by germs. Not being a popular theory at the time, he was terminated repeatedly by the "solid Victorian medical foundation" for believing in "quackery."

The only job he can find is with a private practice that prevalently deals with women in the grips of "Hysteria" a quaint, Victorian term for women that are in essence, sex-starved. The treatment? To manually stimulate women with hand massaging until orgasm, thereby relieving the tension and associated emotional stress that comes with the condition. Since this is definitely a temporary relief, obviously the young and attractive doctor soon finds himself overrun with current and new patients leading to the development of a unique form of handstrain! Most certainly, alternative forms of stimulation for women need to be found to keep up.

Heaped on top is his employer, who with two daughters is pushing his "proper" one toward our protagonist for marriage, while the wild, wooly socially unacceptable daughter is the one who actually attracts him.

A comedic, fun historical piece that romps through the bedroom without being dirty or crass and handles delicate subjects beautifully without being dull or "prim." Definitely not for the kiddies (simply for the subject matter instead of any particular scene/situation; I don't think there was one even partially nude scene) but enough fun for adults on a Friday night to snuggle with popcorn and wine to enjoy.

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We see how the first mechanical vibrator was invented in the name of medical science. This is a sly R-rated in-crowd joke that becomes semi-militant when it launches into what was done to women in the latter 1800s (pre-Suffragette). If they were unhappy with their lives they were deemed "hysterical," sent to mental institutions, and if they had the temerity to object, were subjected to mandatory hysterectomies. This was before Lister's ideas about sanitation were widely accepted by the medical community, so this often was a death sentence.

That being said, let's focus on the sly humor:

* Jonathan Pryce ("Very Annie Mary") is Dr. Dalrymple, a charlatan who treats women suffering from hysteria through "manipulation" that results in "paroxysms," after which the women are "greatly relieved." His waiting room is jammed with "sufferers."

* Hugh Dancy ("Adam") is Dr. Mortimer Granville, the physician who really DID develop the first vibrator, which remains the most popular "sex toy" in the world. After Dr. Dalrymple hires him, it's clear that our hero soon suffers from Carpal Tunnel Syndrome, so he has to invent something! His treatment was for muscle aches, as masturbation was considered deviant.

* Maggie Gyllenhaal ("Crazy Heart") is Dr. Dalrymple's progressive daughter Charlotte; she runs a soup kitchen, teaches children to read (and wash their hands), and then to cap it off, passes out literature that promotes women's right to vote. Hussy!

* Rupert Everett ("Wild Target") has a blast as the tinkerer Edmund St. John-Smythe, Dr Granville's good friend and collaborator. Edmund is always struggling with one invention or another and is constantly trying to get that new-fangled gadget, the telephone, to work: "Ahoy! Ahoy! Is anyone there?"

* Felicity Jones ("Like Crazy") is Dr. Dalrymple's other (perfect) daughter Emily: acquiescent, cultured, well-groomed and lovely.

Hugh Dancy always impresses me, as does Maggie Gyllenhaal, so I was happy to sign up to be notified when Amazon has this available.

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Student Bodies and Jekyll & Hyde Together Again (2011)

If you grew up with either or both of these hilarious 80's classics, you will want to own this double blu-ray. Yes, it's two discs... one for each film. This is the absolute best these movies have ever looked. There is some grain, but they are presented in widescreen with the proper aspect ratio for this blu-ray presentation. The clarity is almost too good because you see little flaws you may not have noticed way back when in a theater near you... or on late night cable back in the day. If you love either of these campy but well made comedies (very much a product of their time but still TOTALLY AWESOME!!)don't hesitate to pick up this double bill. I love both of these movies as Student Bodies is the greatest parody of 80's slasher films that ever was or will ever be and Mark Blankfield (from TV's FRIDAY'S back in the 80's) was an absolute genius and it's a shame he didn't do more. Jekyll and Hyde... Together Again is a showcase for Mark and the lovely Bess Armstrong as well.

When I received the product I could hear a disk rattling in the case before I opened it. The Jekyll and Hyde diskwas loose but didn't appear scratched so I tried playing it but it didn't work in by bluray dvd player. I then tried it in my computer and my computer recognized it as a movie but said "disk corrupted" and didn't play it. I asked for a return online and Amazons service was great. I returned the old one and got a replacement shipped out. When the replacement arrived the same disk was loose in the case and again it didn't look scratched. I tried to play it but got the same error. I think the problem is in the way the movie is burned for both disks to be messed up.

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Jekyll and Hyde is undoubtedly one of the funniest movies of its time that was grossly overlooked. Now it's a cult classic and deservedly so. If you don't laugh at this one, you're brain dead.

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Jekyll and Hyde is old but still funny. Student Bodies is really bad. I'm wonder why there are in one box.

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I had to get this, I grew up watching Student Bodies all the time on cable. It took forever for it to be released on DVD in the US and now it on Blu Ray. Its credited as the 1st horror parody movie ever. Its very cheesy and the acting isn't the best but I love this movie.

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John Q / Pelican Brief / Training Day (2012)

Plenty of others have summarized the films before and said whether or not they liked them so I will dispense with that and focus strictly on the quality of the transfer of the 3 films to Blu Ray.

'Training Day' on BluRay was better than I expected once the disc was in. The Mbps rate ranged between the low teens and mid twenties at best. You would expect to see a lot of grain in this film, especially because there were so many dark scenes but the transfer wasn't bad and had good, warm color grading, natural skin tones and was free from artifacts, dirt or ghosting. However, I did see in one scene where the car turns right in front of some overhanging phone/electric lines some very real stair-stepping in the lines themselves. My gut feeling is that the transfer to blu ray was just that, a transfer without any serious remastering. This means that the Standard Def version wasn't bad either and I doubt you would see much difference from the upgrade to Blu Ray. The lack of an upgrade of the audio bolsters my thoughts on this. The audio is lossy Dolby Digital 5.1. You can get used to listening to lossy audio until you hear the difference between it and a lossless version. Very disappointed in the audio, not because the levels were poor or the dialogue unintelligible, but because the panning and use of the discreet channels for foley fx would have been greatly enhanced if the audio had been a lossless one. However, most of the audio is strictly across the front stage. Great movie though and too bad it was not really remastered. There were unfinished deleted scenes and an alternate ending scene as well as trailers, commentary and music videos.

'Pelican Brief' -Exciting political thriller. There was great color with a soft muted focus, realistic grading, no artifacts or problems that I could see. Mbps from 7 to 35.

The audio was Dolby Digital HD lossless which is always good , however the

audio is spread across the front stage with no real use of your surround system for panning or Foley FX or sub for this dialogue driven film. You do need to go to the audio menu as the film defaults to compressed Dolby Digital 5.1 There were no extras of any kind other than a trailer.

'John Q'-Great medical thriller. Video-some early grain especially in the background but appears to clear up. Mbps is high 20's to low 30's. The Audio defaults to DD 5.1 so be sure to change to PCM HD lossless in the menu.

Audio is primarily dialogue ,but both sound stages are used for soundtrack and ambience and even some discreet foley fx from both front and rear channels. Lots of extras including alternative and deleted scenes, commentary and more. Over all, 5 star movie and 4 star transfer

While it is great to get 3 movies on 3 separate discs for such a low price, if you already have them on Standard Def DVDs, do not expect to see a remarkable difference between the two formats if you see any difference at all.

Hopefully, this review has been of some help to you in determining your purchase, hope I am on the correct path with a review of the transfer quality as opposed to providing plot summaries.

Thanks

Triple Feature on Blu Ray with Denzel Washington are Training Day : released 2001 R rated action crime film directed by Antoine Fuqua starring Denzel Washington as Alonso Harris a corrupt senior undercover narcotic detective & Ethan Hawke as the rookie straight cop Jake Hoyt who just been assigned with Denzel Washington and has to prove himself to be an undercover narcotic officer and The Story follows the 2 L A P D Narcotic detectives over a 24 hour period in gang neighborhoods of North West & South Central Los Angeles .

John Q is a film directed by Nick Cassavetes released 2002 a PG Drama about John Quincy Archibald ( Denzel Washington ) a father who's son is diagnose with an enlarge heart and than finds out he cannot receive a transplant because the insurance will not cover him therefor decides to take the hospital staff & patients hostage until the hospital puts he's sons name on the recipients list a touchy story with a kinda happy ending and a good documentary about health care & lack of organ donors and the people in need of them with real patients interviews .

Also starring Robert Duvall Anne Heche James Woods Ray Liotta & Eddie Griffin .

The Pelican Brief is based on a book written by John Grisham a PG suspense crime thriller released 1993 & directed by Alan J. Pakula starring Julia Roberts as a young law student Darvy Shaw and Denzel Washington as the Washington Herald political Reporter Gray Grantham and starts with a couple of supreme court justices being murderer and law student Julia Roberts suspects the real motive is greed so writes a legal brief and shows it to her professor lover & mentor Sam Shepard who gives a copy to his friend John Heard at the FBI and this is where the trouble starts with corruption politics and greedy businessman trying to get rid of Julia Roberts o anyone else involve .

The Denzel Washington triple feature are Three really good Blu Ray Movies with a Great Picture Sound and Value .

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it is always a good deal when the price is right and the all three movies are the movies that you want. most of the time you get two out of three, but today was a win win for me.

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When I received the package, only 1 blu ray disc Pelican brief and not 3 blu ray disc as stated on the cover.

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Three great movies for one low price? Can't go wrong with that. I have no need for the special features or additional footage that most people complain about. I'm happy enough having three movies for an excellent price.

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Cohen & Tate (1988)

A taut, terrically filmed duel of wits between a little boy and two hired killers who kidnapped him. The film contains strong performances and gripping camerawork and editing. An underseen 80's classic that was completely ripped off by Elmore Leonard in his novel "KILLSHOT." A must see for Roy Schiedler's icy turn as a hired killer with a samurai streak of honor and Baldwin's frightening psychopathic partner. A reliably crack job of directing from Eric Red, of "THE HITCHER," "NEAR DARK" and "BODY PARTS."

i don't care that it's burned (can be backuped easily on a HD), but to see this in Widescreen Anamorphic is SUCH a beautiful Wonder! and it even has the Original Trailer! i could not be happier with this. Thanks!

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For any fan of Adam Baldwin (Firefly fans I'm talking to you), Cohen and Tate is a thrilling romp that follows two mob hitmen as they try to deliver a young witness to their boss. Unfortunately for them, the kid's a conniving little snot who figures out how to play his captors against one another and does so with annoying dexterity.

Adam Baldwin gives a vicious performance as the hot-headed Tate, though a lot of his dialogue is badly dubbed over for content (despite the movie's R rating). Roy Scheider is ice-cold as Cohen, conceivable as a veteran killer suffering from hearing loss.

The movie as a whole isn't the greatest, but it's not so much the plot that drives this movie. The characters of Cohen and Tate, their conflicting natures and constitutions is what makes this movie worth your time. As the tension mounts, you can sense the characters' hatred for one another. When the movie reaches it's climax, you don't really care who gets killed but you really want someone to get it. One day I would love to see this movie released to DVD with Baldwin's original dialogue restored.

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Roy Scheider (as Cohen) and Adam Baldwin (as Tate) are bickering mob hit men who kidnap a 9-year old kid who witnessed a mob-related killing. They also kill his parents. Cohen is older and more logical, Tate is a violet hot-head who wants nothing more than to kill the little boy. Pretty much all of this film takes place over a few hours one night on the road, as the trio head back to the city. It's very tense, clever, and well-written, and delivers an unconventional, powerful ending. The kid is never annoying, only cries once, and is portrayed as calm and cunning without being ridiculously precocious. The only downfall is Adam Baldwin's amateurish, too-obvious, over-the-top performance, and that unfortunately prevents this from being a classic. Also, Baldwin spews expletives left and right, however many of them are badly dubbed over as "sucker" or "freakin." That doesn't really make sense. But, at least Baldwin constantly threats the kid, hits him, and points giant guns in his face. That's fun. I really loved this film; you can get it cheap on VHS in a cut-out bin near you.

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This is one cool thriller that takes place in the course of one night, Roy Scheider & Adam Baldwin are two hitman who are to bring back a kid who may have witnessed somthing he shouldn't have, it is clear from the start that the two men don't like each other & the kid plays on this to his advantage in the hopes of escaping, Baldwin is the younger of the two & is a hothead with a short temper, Scheider is a veteran who is all business & knows that being careful is better than being over the top, this puts the men at odds with each other, what makes this one fun to watch is seeing the kid play the two men against each other, there isn't much I can say without giving away a few surprises, but this is one neat road thriller that got very little attention when released in 1989, it was defiantely shot on a real road & is a cool suspense thrllier with a satisfying ending, if you like road thrills, this is one to get.

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Mental (Blu-ray + Digital Copy + UltraViolet) (2013)

It's a story too weird to be true -after his wife is committed to a mental hospital, a neglectful politician hires a hitchhiker to care for his kids.

But it actually was true, and it happened to the family of Australian director P. J. Hogan when he was a child. Years later, he sculpted this too-weird-even-for-sitcoms story into a delightfully peculiar, over-the-top comedy with potty humor, musical numbers and the occasional pickled shark. But it has a bittersweet core about loss, disappointment and mental illness.

Sweet Shirley Moochmoore (Rebecca Gibney) is treated badly by everybody -her cheating, neglectful husband Barry (Anthony Lapaglia), her snobby neighbor Nancy (Kerry Fox), her doll-obsessed sister Doris (Caroline Goodall) and even the girls at a local coffee shop. So she eventually has a nervous breakdown, and ends up in a mental institution.

Barry demands that his five daughters claim she's "on holiday in Wollongong," mainly because he's up for reelection and doesn't want the bad press. But he quickly discovers that they can't run the house themselves -especially since all five are convinced that they suffer from various mental illnesses. So he hires a random hitchhiker named Shaz (Toni Collette) to look after them, and goes back to ignoring his family.

At first Shaz terrifies the girls, but she quickly converts them to her life philosophy: the "normal" world (especially Australia) is insane, and the "crazy" unconventional people are normal. She teaches the girls to mess with the bullies in their lives, and even encourages teenage Coral (Lily Sullivan) to pursue her first romance. But what does Shaz have to do with a mysterious shark hunter (Liev Schreiber) and what is her real goal?

"Mental" is one of those "heartwarming" comedies that would feel corny if it was just churned out of Hollywood. But since the story comes from someone who actually lived it, it has a very genuine feeling -especially since it tackles some heavy issues, such as mental illness. Not only does poor Shirley have a nervous breakdown after years of being treated horribly, but one of her daughters suffers from full-blown schizophrenia.

And despite that, it's still uproariously funny. Hogan makes the whole thing just a little too colorful, zany and over-the-top. It's a live-action cartoon. He careens us through the over-the-top antics of Shaz and the girls --they trash their neighbor's all-white house in a really gross way, Shaz beats up the donut girls, and attempt a commando-style infiltration of a shark exhibit. But Hogan never loses sight of the bittersweetness of a messed-up family, and never stops making you want to see things turn out all right.

If there's a complaint, it's that the movie sometimes doesn't seem to draw a distinction between real mental illness and being beaten down by life. Perhaps that's the point, but that's sort of like saying that Crohn's disease isn't too different from being pressured to go on a diet.

Toni Colette is absolutely brilliant as Shaz -a surly, wild woman with a pitbull and knife in her boot, who never hesitates to kick normalcy in the face. But we get glimpses of a very troubled, sometimes "mental" woman underneath it all, and it leaves you wondering if she wants the Moochmore girls to replace something missing in her own life.

And the rest of the cast is quite good also -Sullivan, Bethany Whitmore, Chelsea Bennett and Nicole Freeman are simply delightful as the girls, especially Malorie O'Neill's heartbreaking depiction of a schizophrenic child who isn't getting the help she needs. Gibney is heartbreaking as a sweet, gentle woman who has been beaten down by life, and finally gains some strength on her own. And... well, Liev Schrieber is just hilarious when he's being tortured by an acoustic guitar.

"Mental" is one of those rare comedies that can tackle heavy subjects without losing its wacky, wild attitude -and Toni Colette's Shaz is worth the price of admission alone. Bring us the mechanical man!

This movie has it all! Humour, heart,compassion, life lessons and on and on. Toni Colette gives an outstanding performance along with her co-stars.

It had me laughing and crying all at the same time. It will be one I will watch over and over again. Definitely one to buy..a keeper. Highly recommended!

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Enjoyed this movie and the lesson taught and learned! This was very entertaining, far from ordinary, looking for funny and a movie that leaves you smiling watch this!

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Shirley (Rebecca Gibney) and her family of girls all think they are crazy. They self-diagnose from the Internet. Barry, their absentee father (Anthony LaPaglia), is also the mayor of the town. He decides to solve the issue by having Shirley committed and provides for the girls by putting Shaz (Toni Collette) in charge of them. He picked her up hitch hiking.

Shaz has her own way of doing things and explains that all of Australia is crazy. Her antics have an ulterior motive which we discover late in the film. Shaz has a refreshing brutal honesty to her approach.

The movie is a bit long. The first hour is zany and will have you laughing out loud. The film then shifts into a more serious mode, imitating a dark comedy up to the heart warming ending that brings it home from the opening. Good one P.J. Hogan.

The film is a must for quirky indie lovers.

Parental Guide: F-bomb, groping, brief nudity (Lily Sullivan, Sam Clark-rear)

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I have always been a fan of Toni Collette's work. I passed by this movie several times as I thought it was just another poorly written or directed movie that it seems like so many well heeled actors have been picking up lately and audiences have been disappointed in. I finally was desperate for something to watch and so picked "Mental", while keeping my expectations low. It grabbed me right away with the opening sequence of this mother and her rendition of The Sound of Music. The movie was awkwardly funny, plot left you unaware of what was coming next, I laughed until I cried and then the serious moments through me for a loop, cried than too. Maybe it was just my day to feel "Mental", but this movie was such an unexpected surprise for me that I am proud to get a chance to put in a review and hope it encourages others to give it a chance, and than hang on for the ride!

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