The Breed / Day of the Dead, The Need to Feed (2011)

Been wanting to get day of the dead on blu ray for awhile now,but didnt want the 3d. One bc of the bad reviews,so when I saw this deal for two movies for the price of one,i jumpd on it.good movies of separate disks.great dts 5.1 sound,and the transfer is pretty good to.highly recommend this blu ray

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In Too Deep (2012)

Great performance by LL Cool J and Omar Epps. Epps is a undercover trying to bring down a notorious gangster LL who find's himself getting in too deep he forget's who he is. You have some good actor's in this film Nina Long ,Pam Grier ,and apperiences by ,Nas ,Shyhiem ,and Jermanie Dupri. This film is worth getting and for LL fans you get to see a thug side of him.

I am an 18 year old white male from a high-class family.. I loved this movie.. The performance of Omar and ll cool j is just amazing.. i would recommend this movie to anyone who likes suspense movies and doesnt mind a movie about black suburbia

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This is a great movie with a cast of great actors. Omar Epps plays Jeff Cole a rookie detective that goes undercover as J.Reid to capture the infamous drug pusher 'God' played by LL Cool J. As Jeff plays the role he starts to really become J. Reid, his boss notices that he is in too deep and pulls him from the case and sends him away until things cools out. Thats where he meets and falls in love with Myra played by Nia Long. He eventually get put back on the case and proceeds to become J.Reid. Because god's main man crossed him J.Reid becomes his main man and god trust him with everything which brings about his down fall. Omar Epps was so convensing in this movie that I thought he wasn't going to turn him over, but in the end he remember who he is and does. Just all around great

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This film was DEEP. I have not seen it in a while, but plan to see it again. This movie is when I realized LL Cool J would not be a rapper turned actor that would end up in actors oblivion. This man had me HATING him, and I love me some Cool J. Omar Epps plays a cop who goes undercover, and has to gain the trust of a big drug lord (LL Cool J). The movie kind of reminded me of Deep Cover a little. It had that element of is he still a cop or is he a thug now element. The film is not great, but good enough to keep you interested.

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In Too Deep is a movie about a police officer who goes under cover to bust a Drug Lord. What you get in this movie are 2 strong performances by Omar Epps and LL Cool J (who is quickly showing that his greater talent lies in acting). I would recommend renting this before a purchase but this is a good movie.

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Terminator Anthology (The Terminator / Terminator 2: Judgment Day / Terminator 3: Rise of the Machi

Something I've heard people ask is why the "Terminator" movies haven't been released in a box set all together. The answer used to be simple: they were owned by separate studios. No longer will I have to throw that disappointing answer out at disgruntled fans. Warner Bros. Home Entertainment has taken possession of and released the 5-Disc collection "The Terminator Anthology" on Blu-ray.

"The Terminator Anthology" is everything an enthusiast of the franchise could ever want. You get the original classic in high-definition, the special edition and theatrical versions of "Terminator 2: Judgment Day," "Terminator 3: Rise of the Machines," and "Terminator Salvation's" director's cut and theatrical version. They're all presented in stunning high-definition transfers that make you feel like you're seeing the movies for the first time all over again.

I enjoy all the films with Arnold Schwarzenegger about the same. In retrospect, "Terminator 2: Judgment Day" is a bit tedious at points and seems overlong and bloated. People couldn't get enough of "Liquid Metal Man" when the movie came out, so I can see how 137 minutes of different appearances by him kept an audience alert in 1991. It doesn't hold the same dazzle today that it did 21 years ago.

"Terminator Salvation" is an entertaining movie even without Schwarzenegger's presence throughout. You have Christian Bale, Sam Worthington, Bryce Dallas Howard, and Anton Yelchin adding star power to it. The surprise appearance of Arnie's CGI face gave fans something to smile nostalgically about.

There are plenty of special features for consumers to be excited about. They include deleted scenes, "Making of" and "Behind the Scenes" featurettes, audio commentaries, and "Terminator 3: Rise of the Machines" contains an introduction by Arnold Schwarzenegger and a gag reel. Maximum Movie Mode for "Terminator Salvation" provides storyboard comparisons and a Terminator Mythology Timeline. Not to sound like a car salesman, but that's not all!

"The Terminator Anthology" Blu-ray collection comes housed in a cardboard sleeve which features the metallic face of a T-800 peeking out from behind a "T" on the cover. The movies are on four different discs. The fifth disc features the special features for "Terminator Salvation." This is the ideal way for consumers to get these classic films in one handy set. For many fanatics, it's a dream finally realized thanks to Warner Bros.

I am not happy that the original Terminator has been altered in this blu-ray version. The original soundtrack theme has been changed and does not sound punchy and dramatic like the original. Almost all of the sound effects have been changed. During the truck scene just before Kyle uses the bomb to destroy the large truck the Terminator is driving, as Kyle's stolen truck tumbles over that scene is cut short and Sarah screams twice in the original version, not once as in this version.

All the gun shot sound effects have been altered. No longer are they the original BOOM BOOM BOOM BOOM-BOOM but piff piff piff piff-piff. I am not a gun or violence fanatic but an original movie fanatic (perhaps nut) trying to make a point the sound effects are all a part of the original film and they create the atmosphere of what made the original film what it was.

I had purchased this set awhile ago and sat down tonight looking forward to watching "The Terminator" as I remembered it. Not so with this set. If you're looking for the original version, I would pass on this blu-ray release unless you don't mind the edits. I hope the other versions of the Terminator films have not been altered, and that there is an Easter Egg opportunity to at least view all the deleted scenes together in Terminator 2 like in Terminator 2: Extreme Edition.

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YES!!!! It's finally here! The incomparable Terminator series brought together in one well made boxset!

Being a HUGE Terminator fan, when I saw this I simply could not pass it up! Of course T2: Judgement Day will always be my favorite and is a true classic, but ALL 4 Films are very entertaining and thrilling! I was impressed with McG's take on the series with "Terminator Salvation". Well done!

I honestly hope that they don't make anymore movies because it's a wonderful series but the main story has been exhausted at this point! This excellent collection is a fine way to say farwell to the story of John Connor!

A-1 Package!!

PS: This one is NOT cheaply made this time around!

Read Best Reviews of Terminator Anthology (The Terminator / Terminator 2: Judgment Day / Terminator 3: Rise of the Machi Here

"The Terminator Anthology" is a five-disc Blu-ray set containing seven versions of the four "Terminator" movies -the four theatrical versions, two additional "Terminator: Judgment Day" editions, and the R-rated Director's Cut of "Terminator: Salvation." The first three star Arnold Schwarzenegger, the fourth stars Christian Bale. These films were released previously on Blu-ray, but this set bundles them together with a neat collection of bonus extras.

The original 1984 feature still ranks as one of the cleverest science-fiction movies of the last 30 years. The script combines the tried-and-true sci-fi ingredient of robot-run-amok with time travel, and is well served by the solid performances of Schwarzenegger, Linda Hamilton, and Michael Biehn, cool special effects, and plenty of action. Many films over the years have tried to duplicate its success but paled by comparison.

"Terminator 2: Judgment Day," gave us the unforgettable images of an evil robot (Robert Patrick) morphing into different objects via a silvery, metallic liquid -a real eye-opener at the time. Those scenes still pack a wallop.

The fourth picture has a pretty good script and Christian Bale does an acceptable job, but Schwarzenegger is sorely missed.

Bonus material includes deleted scenes, James Cameron interviews, audio commentary, behind-the-scenes videos, and multimedia galleries.

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The Blu Ray presentation is excellent. The only thing that is not good is that the lenguage spanish is not available in the both first movies!

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Shiver of the Vampires (1971)

If you've never seen a Jean Rollin film this is as good a place as any to start. His films are no doubt an aquired taste. Story is not important. Mood, composition and style is what a jean Rollin film is all about. This is one of my favorite Rollin films and if you want to wet your beak I suggest this one or Lips of Blood. Be warned! There are many people who absolutely HATE these films. I find them hypnotic and moody.

For those of you who have seen the film and are wondering if this Blu-ray edition is worth dropping $20.00: YES! For one thing you get the English dub, which I had never heard before. It's quite different from the French version, and almost turns it into a film you've never seen before. When it comes to foreign films I usually like to watch it with the original language soundtrack with English subtitles. But, I always get annoyed because no matter how fast you can read, you have to take your eyes off of the actors/action even if it's just for 2 seconds. Now you can watch in French or in English. Secondly the film has never looked this good. It isn't perfect. The original 35mm negatives had scratches on them and it appears that a great effort was done to remove them, but there are times when they couldn't get them all, especially (I'm guessing) at the beginning of each new real. Colors are much more vivid on this edition than on any other version I've seen. The film looks very good on a 16x9 T.V. I have the last dvd release and it wasn't even enhanced for 16x9, so finally we get to see the film fill the screen without being stretched or cropped.

So, for the Rollin fan this is worth picking up. If you are curious about Jean Rollin, give it a try, but know that this is NOT anything like a modern American vampire film, or even like a 70's American vampire film, or even a 50's/60's Hammer vampire film. Rollin is truly one of a kind, and that's one thing, like him or not, we can all agree on!

"Shiver of the Vampire" (1971) is directed by Jean Rollin. The movie is about a recently married couple that decide to visit relatives in Italy. But upon reaching the town where their cousins live they find out that they have become deceased. As a director Jean Rollin seems at times a bit amateurish in the way he handles timing, framing and editing of his movies as well in the lack of strong plots or characterization. The cast appears to be a mixture of naive and experienced actors. Still I can't help but find things intriguing and interesting about his films. With Jean Luc Godard films it is said that there are at least 20 minutes of interesting ideas in his films when most films have nothing of interest. The same thing might be said with Jean Rollin's films. Like a voyeur I still find myself fascinated with his films and images even when they seem lacking in sophistication at times. This film holds up well along with other Jean Rollin films like "Requiem for a Vampire" and "Fascination".

This film has evidently been remastered but there are still many instances of dust showing. In the special features there is included a two minute introduction as well as a 39 minute interview with Jean Rollin. Also included is a 20 page booklet with an essay by Tim Lucas, editor of Video Watchdog.

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Two newlyweds find themselves in the midst of bloodthirsty (and sex-crazed) vampires when they stop off to visit their last remaining relatives in France. Jean Rollin's third vampire film is no less strange, twisted, and stylish than any of his others, before or after. SHIVER OF THE VAMPIRES seems to benefit greatly from the works of Mario Bava, as the wild use of color paints the screen in similar tones of blue and red. The odd imagery has a sexy female vampire randomly appear in the most interesting of places, including the inside of a grandfather clock and dropping down through the fireplace. It is difficult to tell whether Rollin is attempting to make a pretentious art film or more sleazy Eurotrash, as several of the scenes make odd use of the camera for no apparent reason (particularly when the two vampire brothers deliver their dialog while bobbing their heads through the arms of a scale). The two foppish cousins give way to high camp, along with the progressive rock beats that line the film. Like the works of Jess Franco and Joe D'amato, SHIVER OF THE VAMPIRES and Jean Rollin will only cater to a very selective audience, though this may be a good starting point for anyone that is interested in experiencing the French Horror of the 1970's.

-Carl Manes

I Like Horror Movies

Read Best Reviews of Shiver of the Vampires (1971) Here

If you are unfamiliar with the cinema of Jean Rollin, he made erotic, gothic, atmospheric films. If nudity is not your cup of tea, don't watch his films. You won't get it. Jean Rollin was making films in the 1970's, when film makers where pushing the limits of what they could put on screen. Whether it was nudity, sex or violence. And Jean Rollin used all of them to great effect with his french gothic style to make some of the most unforgettable imagery you will ever see. In Jean Rollin's fantastic film from 1970 The Shiver Of The Vampires, this is most true.

(This is the 2nd film in a sort of Trilogy. 1: The Rape Of The Vampires (1968) 2: The Shiver Of The Vampires (1970) and 3: Requiem For A Vampire (1971))

Jean Rollin had a rather sphycadelic and comedic side, and The Shiver Of The Vampires is possibly the most psychedelic and comedic (intentionally so) of all his films. You can find plenty of other reviewers commenting on the story and what not. But I wanted to comment on this Blu-ray release. (Though I did add a detailed plot at the end of this review.)

I'm so insanely happy that Redemption has released these films that otherwise might have been thrown in the dark and never seen again, so that a new generation of film fans can see the works of genius Jean Rollin. Transferd from a beautiful 35mm print of the film, it looks better than one can imagine. It has some scratches thru out the film, which I love! It adds so much and makes you feel like you're setting in the theater in 1970! The audio sounds beautiful, especially the eerie sound effects in the night scenes! The menu is beautiful with the super cool psychedelic music from the film.It has the original french trailers for this film along with The Nude Vampire (1970) The Iron Rose (1973) Lips Of Blood (1975) and Fascination (1979) Plus the original US trailer for The Shiver Of The Vampires ALL IN HD!!! This is my first blu-ray in the "Cinema of Jean Rollin" collection. The case has the number "2" on the bottom of the side that shows when it's on a shelf. So part of the fun will be buying the rest of the collection and finding the rest of the numbers in the it! This is the first Jean Rollin film I ever saw, it was on Epix Drive-In a while ago. I have now seen most of his films and love them all, but this one holds on one of my favorites. A good start if you have never seen a Jean Rollin film before. Fascination and Lips Of Blood are also vary good starters.

A trend I see among many reviews of Jean Rollin's films on here are people saying "not a family movie." I suggest you look a little into a movie before you throw it up on the TV for grandma and the kids to see. The trailer for most of Jean Rollin's films are on YouTube. Though I must say as a word of warning, these movies are basically rated x. No one under 17 admitted.

That in mind, The cinema of Jean Rollin is exquisite, unique and beautiful to look at. And The Shiver Of The Vampires is, in my opinion, one of his best.

I did not write this, but if you are interested here is the plot in detail (some spoilers): "Two newlyweds, Isle and Antoine, are on their honeymoon, on their way to visit Isle's two cousins. When they arrive in the town they discover that her cousins died the day before. Isle and Antoine go to the chateau where they lived anyway. Once there they are greeted by two female Renfields who show them to a room.

Isle goes to the cemetery to visit the graves of her cousins, and a woman named Isabelle tells Isle that she was about to get married to both of her cousins, but in a way she was already their brides. Isle decides to sleep alone on that night because she is upset. While getting ready for bed a woman emerges from the grandfather clock. She introduces herself as Isolde and takes Isle back to the cemetery where she bites Isle in the neck. Antoine, feeling lonely, goes to see Isle, but she isn't in her room. He searches the castle and comes to the chapel where it seems a human sacrifice is taking place. Two of the participants turn out to be Isle's cousins and explain they must kill the woman or she will become like them — vampires. Antoine goes back to find Isle in her room and isn't sure whether it was all a dream.

The next morning at breakfast the Renfields tell Isle and Antoine that her cousins aren't really dead. Antoine goes to the library to meet the cousins but is instead knocked out by books. When he comes to, Antoine goes back to the dining room where he finally meets the cousins. That night Isle decided to sleep alone again, leaving Antoine angry. Isolde returns to Isle and bites her in the neck again. Isabelle tells a friend that Isle's cousins were once vampire slayers and were bitten by vampires. Isabelle later discovers that the cousins are still alive and under Isolde's control and Isolde tells her she is no longer welcome at the castle. She grabs Isabelle and pierces her breasts with her pointed nipple covers. Angry at her for doing this the cousins rape Isolde.

That night the Renfields wake Antoine and take him to the chapel where a ceremony is about to take place that involves Isle, Isolde, the Renfields and the cousins. Antoine breaks open the door to discover they have all disappeared. Not sure whether this was also a dream, he runs to Isle's room to tell her they must escape. She tells him no and that her cousins are the only family she has left, so Antoine decides to sleep on the couch in her room. The next morning Isle cries out that the sunlight hurts her eyes when Antoine opens the curtains. That night is Isle's initiation when she will be given the final kiss and made a vampire. Antoine tries to break it up by taking Isle away. The cousins follow them to a beach. Isolde tries to get into her coffin but finds it on fire. The Renfields put a cross on the tomb door, sealing Isolde inside, so Isolde bites her wrist and dies. Antoine begs Isle to go with him but she stays with her cousins as they await the sunrise."

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The Devil's Rejects (Unrated) (2006)

Devil's Rejects is amongst my favorite films, for it's great mix of humor, action/violence/gore, and character development. Most people looking at this review already know all about this movie.

The Picture on this movie doesn't seem to be all that much of an improvement. I've seen VAST differences on Blu-Rays vs DVD (Unforgiven especially!!!), and this movie just doesn't seem to have all that much extra when watching it in Hi-Def.

There are no new special features in this release, so if you already own this title on DVD, I would advise against upgrading like I did.

It's the 1970s all over again. If you're obsessed with the 1970s, like me, especially 70s drive-in classics, like me, The Devil's Rejects is a must-see. It's probably the closest thing to a 70s drive-in horror flick that's been made since the 70s. This is either a good or bad thing depending on your perspective. If you hate tasteless, gory, low-budget B-movies, then you would do well to skip The Devil's Rejects. If, however, you are passionate about Ford Administration-era low-budget flicks, then don't hesitate: see this movie.

The Devil's Rejects is Rob Zombie's spin-off/sequel to his 2003 directorial debut, House of 1000 Corpses. That film was famously dumped by its distributor, Universal Studios, and then picked up by Lion's Gate. Then upon release it was scathed by critics, but not surprisingly, managed to connect with a cult audience. Personally I found it to be the most sensational, joyous horror film I had seen in ages. It reveled in its depravity and had the ability to be both hilarious and disturbing at the same time. The Devil's Rejects is up the same alley. Not as much of a horror movie as its predecessor, The Devil's Rejects is more of an action-horror-road movie. It looks like a 30-year-old drive-in movie. If you didn't know any better, you could swear that it was filmed on a shoestring budget in the late '70s. It captures that feel extraordinarily well. The movie gets it down from the start and never strays from it, right down to the soundtrack. The first song that you hear in the movie is The Allman Brothers Band classic "Midnight Rider". The soundtrack also features Joe Walsh, Terry Reid, James Gang, Elvin Bishop, Otis Rush, etc. Not to mention a very memorable use of Lynyrd Skynyrd's "Free Bird".

If House of 1000 Corpses was Rob Zombie's homage to The Texas Chainsaw Massacre, The Devil's Rejects seems almost like an homage to Tobe Hooper's 1986 sequel, The Texas Chainsaw Massacre 2. The similarities are certainly there. William Forsythe's Sheriff Wydell is not far from Dennis Hopper's Lieutenant Lefty Enright, who maniacally pursues the family of killers to exact his revenge. The whole film reeks of Tobe Hooper worship (but not in a bad way).

The Tobe Hooper element is certainly there, but another director sprang to mind as I was watching the film. The Devil's Rejects is almost like the horror equivalent of Kill Bill, Quentin Tarantino's retro-martial arts-spaghetti western masterpiece. Upon seeing the film a second time, I was reminded of the work of yet another director: Sam Peckinpah. I don't know if Rob Zombie was directly influenced by Peckinpah (it's certainly likely), but all thoughout The Devil's Rejects I was reminded of films like The Wild Bunch, Straw Dogs and The Getaway. The first time I saw it, all I really thought of was Tobe Hooper, however I now see that The Devil's Rejects may be a bit of a Peckinpah homage as well. This certainly gives the film an element of style and class to contrast the otherwise trashy material.

Rob Zombie, just like Quentin Tarantino, is passionate about this genre of film and tries to make the ultimate drive-in homage. Just look at the roster of horror film veterans that Zombie assembled: Ken Foree, P.J. Soles, Mary Waronov, Michael Berryman, and Steve Railsback. If you know who any of these people are, then you are definitely part of the target audience for this film. Not to mention Sid Haig and Bill Moseley returning from House of 1000 Corpses.

Ahh, yes... Sid Haig and Bill Moseley. This movie absolutely belongs to them!! Haig and Moseley own the screen! These two actors alone make the film a must-see. They are awesome! If you liked Sid Haig's Captain Spaulding character from the first film, you will be delighted to know that he plays a much bigger part in this one. Sid Haig is a devilish delight as the mad clown, Captain Spaulding. Bill Moseley simply rules as Otis! He is a bad M.F. These two awesome performances carry the movie. Also worth mentioning is William Forsythe who is excellent as Sheriff Wydell, the obsessed lawman who is trying to track down Captain Spaulding and his cohorts. Next to Sid Haig and Bill Moseley, Forsythe gives one of the best performances in the movie. However, I really miss Karen Black as Mother Firefly. Not to say that Leslie Easterbrook isn't good in the role, but I think she goes a bit over the top. Karen Black would have brought a graceful sensuality to the character, and probably a bit of restraint.

So, is The Devil's Rejects a good movie? Well, that's not an easy question. The short answer is probably "no, it's not". By the conventional definition, it would probably not be labeled a cinematic triumph. However, Rob Zombie does a fine job directing and his dialog is deliciously profane. For those who like this sort of thing, the movie is a blast. Finally, allow me to state a blunt warning: If you are looking for a good, scary horror movie, The Devil's Rejects is probably not what you're looking for. If you like horror movies like The Ring and The Grudge, The Devil's Rejects is DEFINITELY not what you're looking for. Simply put, if you like modern horror movies a lot, you will probably not like The Devil's Rejects. On the other hand if you recognize Ken Foree from his roles in George Romero's Dawn of the Dead and Stuart Gordon's From Beyond, and you know Michael Berryman as the "freaky-looking guy" from The Hills Have Eyes, then yes, The Devil's Rejects is certainly for you. If you treasure your copy of VideoHound's "Cult Flicks and Trash Pics", then yes, this is for you. If you're not too squeamish, you'll probably have a bloody good time.

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The Devil's Rejects, Rob Zombie's follow up to his surprise hit House of 1000 Corpses, is one of the few horror sequels that manages to not only live up to the original, but it also manages to surpass it. Influenced by the classic exploitation/horror films of years past (Last House on the Left, the original Texas Chainsaw Massacre), Zombie has given the Devil's Rejects a much grittier look than his last film, as the story picks up with the homicidal Firefly family on the run from the law. Captain Spaulding (Sid Haig), Otis (Bill Moseley), and Baby (Sheri Moon Zombie) are on the lam from a revenge driven and slightly deranged sheriff (William Forsythe) who plans to give the killers a taste of their own medicine. Along the way, the trio adds more to the body count, resulting in a climactic bloody showdown that is surprisingly well weaved. While it doesn't necessarily offer anything new to the horror genre, it doesn't try to, and the cast that Rob Zombie has assembled here does great work. Haig walks the line between frightening and hilarious as the clown faced Captain Spaulding, while Moseley is less over the top this time around as Otis, but he is all the more subdued and terrifying. Leslie Easterbrook (replacing Karen Black) as Mama Firefly is a bit overacted, while Moon is once again seductively scary as Baby, while Forsythe almost steals the entire movie. Zombie has again assembled a supporting cast of older horror film and cult favorites, including the original Dawn of the Dead's Ken Foree, Hills Have Eyes icon Michael Berryman, Danny Trejo, PJ Soles, Priscilla Barnes, Steve Railsback, and former pro wrestler Diamond Dallas Paige; most of which are pretty memorable. Pushing the limits of it's R rating, the Devil's Rejects is not for the faint hearted, and while it may drag a bit towards the end (you are guaranteed to never listen to "Freebird" the same way again), this is a real treat for older horror fans looking for a film that recaptures the unpredictability and tension of the genre.

Read Best Reviews of The Devil's Rejects (Unrated) (2006) Here

You would think that killing plus Rob Zombie, plus cool music, plus lots of long greasy hair, plus funky clothing and unshowered bodies, plus blood guts and gore would equal a pretty cool movie but in this case, it just equals a stinker!

The movie looks cool but it has NO PLOT! Sure, old slasher movies are violent (and had cheesy effects and didn't look as good) but they had more story and they were scary. This movie wasn't scary, suspenseful or eerie, it was just violent and relied so much on shock value that it failed to be shocking after a while. I would tell you fine readers more about the story but there isn't much to tell. Psychotic and sadistic killers go on a killing spree, there is lots of cool music and it's filmed like a music video, the end. Now maybe you won't have to waste your time watching it!

I thought the ending fell flat and I just didn't care what happened to any of the characters. I am all for gore and violence but please, Rob (though you are awesome and talented) next time make it have a point! Personally I think Rob Zombie needs to stick to music and leave acting and screenwriting to people who can actually act and write. I might have liked this if it had more 'meat' to the story, I felt something was missing.

I know a lot of people liked this movie and I will say it has some visual elements which are pretty cool so I did give it an extra star for ambiance and appearance. It also had a fast pace and that was good. It wasn't my thing but if you like senseless killing, tons of gore and don't care about the lack of story, you might like this.

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In a film world overrun with "torture cinema," Rob Zombie's "The Devil's Rejects" both embraces this current trend and hearkens back to a more innocent time--the exploitation era of the seventies where films of this type found underground success. Following up the chaotic, and not very satisfying, "House of 1000 Corpses"--"The Devil's Rejects" continues the saga of the murderous Firefly clan. But where "House" was an amped-up, kaleidoscopic music video of carnage and macabre humor with no particular plot--at least "Rejects" has Zombie embracing aspects of legitimate film technique and story telling narrative. Much more accomplished than its predecessor, however, doesn't make it much more entertaining. To be clear, I am not one who thinks that violence in films is the end of our society. I have embraced many films within this genre for various reasons, I just happen to think "The Devil's Rejects" commits the greatest sin of all--it creates no suspense.

The film's plot, as if it matters, revolves around the Firefly family as previously mentioned. Their home, and the site of countless previous murders, is raided by the police in the film's opening moments. A close knit group, to be sure (especially for psychopaths), brother Otis and sister Baby escape and arrange to meet up with their father Captain Spaulding who runs around like a maniacal clown. First stopping at a desolate motel to murder and torture at random, and later moving on to a house of ill repute--mayhem follows this wacky bunch! Hot on their trail, however, is Sheriff Wydell--who has a personal agenda of his own.

I credit Zombie for effectively recreating the gritty feeling of a seventies exploitation flick. The setting and mood are spot-on. I, also, enjoyed some of the cameos from a roster of forgotten or B-movie stars that populate the picture. I think there was fun to be had here--I just didn't have it. The humor fell flat, the brutality felt familiar, and the lack of dramatic tension left me feeling nothing. A film of this type needs to generate suspense to be successful and through all the bloodlust, nothing approximating real emotional consequence evolved until the film's ending. I credit William Forsythe, as the sheriff, for this last minute reprieve of excitement. His performance hits all the right notes in an over-the-top spectacle of madness and revenge.

This endgame, only the final 20 minutes of the film, really does ramp up the tension. The sadistic retribution and raw power within this segment is so much more satisfying than anything that has preceded it--for the first time, the film connects at a visceral and emotional level. But, alas, it's too late to salvage the picture. A 4 star ending on a 1 star movie--I can only round up the overall score to 2. I know that this film has its admirers, I just didn't see anything particularly new. But more critical was the sense of apathy I had throughout--who knew that vicious serial killing could be so flat and uninvolving? KGHarris, 03/07

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A Little Bit of Heaven (2011)

Without revealing any real spoilers I have to say...

I'm not much for the "Chick Flick"/romance genre, but this movie wowed me.

Kate Hudson put in a performance of such quality, that I haven't seen from her since "How to Lose a Guy in 10 Days". She starts out fun and flirty with a bit of despicable mixed in. Then her character moved me to a bit of hatred for the treatment she issued to her family and friends. Then towards the end she made me fall in love with her character and almost come to tears for her predicament.

There's a lot of teaching, learning and cameraderie throughout the movie. There are laughs shared and tears shed between the characters. Every single moment within the movie feels genuine, and I can genuinely see myself or anybody else going through the same phases if faced with a similar situation. I honestly wouldn't be surprised to find out that this was based on a true life story(don't remember seeing that stated anywhere in the movie though).

This movie has sufficient humor to be a comedy, sufficient grief to be a tragedy and just enough love to be a romance that doesn't make you nauseous. There is only one truly over the top moment in the movie, but it's at the end. The biggest tragedy is this movie will only be in limited release at a few theatres just weeks before the DVD comes out.

If you are looking for a good combination of laughter and real life human drama with the spice of true love this is the movie. A fenomenal cast, Gael Garcia is a perfect cast for it, his crying is so passionate and sincere. Kate Hudson is a spectacular romatic gender actress. It's a light and sensitive movie about what it takes to come to peace with yourself when your time is up.

Positively recommend it.

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At the advertising agency Marley is asked if she is losing weight, a question that drives Marley to the doctor. Her new physician is Dr. Julian Goldstein (Gael García Bernal), a handsome but shy and dedicated young man who examines Marley and sedates her for colonoscopy: while Marley is under medication she dreams of being in heaven next to God (Whoopi Goldberg) who tells her she is dying and gives her three wishes Marley chooses a million dollars, a chance to fly, and to find love. Upon awakening she is informed she has extensive colon cancer and Dr. Goldstein suggests she see a Dr. Sanders (Alan Dale) who offers her two choices extensive chemotherapy or death. Marley chooses the former and from there she begins to alter her relationships with everyone around her. She gradually falls in love with Dr. Goldstein, confronts her parents and friends with her news, and the manner in which they accept her fate is where the film alters to a tender heart-warming gentle string of events that should be seen instead of read.

It is so rewarding to see Kate Hudson expand her acting talent into a serious role and she manages to find that perfect balance between the lighthearted personality we all recognize and the empathetic and vulnerable woman she becomes. Gael García Bernal assumes a new type of role and is completely charming and loveable. There is a fine cameo by Peter Dinklage a Special Escort hired by neighbor Peter to give Marley `a little bit of heaven' and Kathy Bates, Lucy Punch, and Romany Malco are particularly fine. This film will likely bring a few tears to the viewer's eyes, but those releases of emotion just make us feel better about life. Despite the few over the edge silly parts in the film this is a solid little gem that should find an appreciative audience when it reaches the theaters. Grady Harp, April 12

Read Best Reviews of A Little Bit of Heaven (2011) Here

kate hudson is amazing in this story....such a beautiful movie. Funny as she usually is but with a different twist this time. Please take the time to watch this movie you will not regret it. Awesome cast

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The reviews run from almost zero to stellar responses. some reviewers reference folks they know who have one form of cancer or another[all cancers are NOT the same!],and how the script doesn't accurately portray the real struggle[s] as they see it through the eyes of friends,etc. or from reading books, watching documentaries,etc. this is a movie, folks, and so saying Hollywood sold out is kinda surprising to me; i halfway anticipate a 'sell-out' anytime hollywood tackles subjects such as cancer..as a person living with two last-stage lymphomas, i could if so desired pick apart its fragmented nature, or the plot holes, or a number of other things, e.g., underdeveloped character. played by Gael Bernal Garcia, Treat Williams,etc. but that would be picking and missing the point at least in the opinion of someone living with end-stage disease[s]. what i got from the movie, aside from ms. hudson's extraordinary performance, was that for some[?] or many[?] of us it often takes something, some kind of life shattering/life-threatening event to wake us up and out of our daily robotic way[s] of living and focus perhaps for the first time ever on what's REALLY important!! and it brilliantly shows the difficulties faced by the patient her or himself as to how to communicate with friends/family so as to not burden them while simultaneously informing them of your feelings, and also trying to care about their feelings too which is an ENORMOUS undertaking....and unless one is a patient, you just ain't gonna get it....so the messages contained in this yes less than ideal movie are critical and crucial IN EVERYONE'S LIFE, NOT JUST THOSE WITH LIFE-THREATENING ILLNESS!!! WAKE UP BEFORE IT WELL MIGHT BE TOO LATE!!!

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Blood Diamond (2007)

MOVIE: Edward Zwick's films always strike a good chord with me because of their incredible emotional impact. The Last Samurai left such a grand impact on me that I was in tears at its incredible and emotional climax. The Blood Diamond does the same thing by establishing strong central characters with a clear objective that makes the film gripping and tense. The story revolves around Solomon Vandy (Djimon Hounsou) a local fisherman whose village is raided by local militia who are at civil war over the control over the diamond fields. These events took place in the late 90's and it serves as the backdrop of the film. Danny Archer (Leonardo DiCaprio) is a Rhodesian smuggler who works for a corporate diamond company in London he also works as a mercenary. He smuggles diamonds to the corporations so that they can remove them off of the market thus keeping supply low and demand high, that way they spike the prices. After Vendi is removed from his village and his family separated, he is put to work in the diamond fields where he comes across a pink diamond so rare that it could change the fate of not only his life but a nation's. Vandy is able to escape his imprisonment by the rebels but is put in prison by the police, and in prison he meets Danny Archer who now wants to set his sights on the hidden diamond. When Archer meets Maddy Bowen (Jennifer Connelly), an American journalist, she believes that his story holds the key to revealing the truth behind the diamond corporations. When Vandy's son is recruited by the rebels he sets out on a quest to find his son while Archer wants the diamond so that he can leave Africa and start his troubled life over. Arnold Vosloo plays a general who is also after the diamond. So we have four people after one small stone for four different reasons.

The film has many sides to it. At times it's a dark look into the social and economical conflicts of Africa, sometimes it becomes a burning commentary on the nature of man, but overall this film is an intimate story of three characters placed within the setting. The main objective of the film is to tell the story of the characters where as in films like Tears Of The Sun or Black Hawk Down it's more about sending a central message. I'm not saying the latter films are bad, I enjoyed Tears Of The Suns and Black Hawk Down immensely. I'm also not saying that Blood Diamond is not trying to send a central message either. It's just that Blood Diamond really tries to tell a story, just like Zwick did with The Last Samurai. While the film portrayed a civil struggle in Japan it was more focused on Tom Cruise's and Ken Watanabe's characters so that when tragedy struck it had a strong emotional impact on the audience. Blood Diamond is not only emotional but it's incredibly tense and thrilling. There is lots of action in the film and the final air raid was executed perfectly. The story is solid and the film is an immense accomplishment. The reason why I knocked off half a star from my final rating was that I had two minor problems with the movie. There were places where a few tweaks could have heightened the emotional impact of the film and have kept the pace of the film more consistent. However, it is whithout a doubt that the film was superbly edited. The pace and structure were very consistant and strong. I was pleased by the script, Charles Leavitt did a fine job with the screenplay even though he has taken a long break from writing since his last effort with K-Pax. The second thing that bothered me was that once the movie ends and the credits start to roll we are hit with this hardcore rap song. I was absolutely shocked and disapointed with the decision to use rap in the end credits, it ruined the lasting effect of the film within a split second.

The film also displays some incredible artistic efforts. The cinematography is absolutely stunning. There is a very good chance that Eduardo Serra should be one of the directors of photography nominated this year at the Oscars. Some of the shots were truly breathtaking and of course you have to give credit to beautiful landscapes of Africa. The film's score was composed by James Newton Howard who relied heavily on African vocals for the amazing score. I have to mention here that Hans Zimmer is the pioneer of incorporating native sounds into a film's score based on location. Zimmer made African vocals his speciality with films like A World Apart, The Power Of One, The Lion King, and Tears Of The Sun. You have to acknowledge the Zimmer style in the score, but James Newton Howard makes it completely his own and delivers an amazing score. There were scenes where I wished the score was more prominent, but overall I was very happy with the musical efforts. All of the artistic efforts put together with the story make Blood Diamond what it is.

ACTING: Does Leonardo DiCaprio give his best performance yet? In my opinion I really think so. He was amazing in the film and created a perfectly accessible character that we cared for. Many people are criticizing his accent when in fact he is using an extremely authentic Rhodesian accent. People assume that since he is white and an African he must be South African. That's not the case here, people. DiCaprio does an amazing job with the role. Djimon Hounsou is also equally amazing in the film. There are a few intimate scenes with his son that will bring you to tears. He plays an uneducated fisherman with his only interests in his family, but it is his character that shows the good of mankind in the middle of this mess. Jennifer Connelly is a great actress and she portrays a journalist just as a journalist would act. She uses her wits and looks to get the story, but her priorities are not to make headlines but rather to help change the world for the better. Arnold Vosloo has a small role in the film, but I like him and think he's an underrated actor. People will recognize him from The Mummy films and his guest role on the show 24. The acting in this film is superb, the characters all carry the film and make it something to remember.

BOTTOM LINE: Blood Diamond is gripping, thrilling and emotional. I shed some tears when I saw The Last Samurai and I indeed shed some tears when I saw Blood Diamond. It's an action film with so much substance, it really pulls you in as an audience member. The few structural problems and the rap song at the end credits are not enough for me not to highly recomend this film.

I am going to keep this review relevant to the movie and the reasons why you should buy this on DVD:

1. Leonardo DiCaprio's Performance: This film in my opinion features the best ever performance extracted from Leonardo DiCaprio on film. He is flawless here as a South Africa white who needs to discover whether material wealth means more to him than human emotion and sentiment. I have never been a huge fan of Leo (though yes, he was wonderful in "What's Eating Gilbert Grape" and "The Beach") but this film alongwith "The Departed" really opened my eyes. Granted he is a physically splendid creation, but his use of language, intonation and emotion were at the forefront of this movie, and the only downside to his performance is that it totally overshadowed the other actors.

2. Djimon Hounsou's performance : This was an actor I first noticed in "Amistad" and he just keeps getting better and better. He is one actor who looks about 25 even though hes well past 40, and has an incredible range. His role as a traumatized father looking for his son in the middle of riot torn Africa will be remembered years to come, however, he is not as radiant as Leonardo here, and for that reason alone I think he is thought of as a "supporting actor" here. If you pay attention, you will actually see that he gets MORE screen time than Leo.

3. Jennifer Connelly : I think she is one of the most ill-utilized actresses we have today, and the director doesn't do much with her here either, which is a pity. However, her role is quite effective for what it is the downside being that she has zero chemistry with Leo in every regard.

4. Cinematography : The effect here was to present Africa as a beautiful nation though ridden with political problems and woes. To see these violent images portrayed against a backdrop of the most gorgeous sunsets and tropical rainforests was a bit bizarre which I suppose was the effect. The visuals are lush and evocative, and captures the mood of the era and environment perfectly.

5. Direction & Story : The director knew a good thing when he saw it. This is a very character driven story and you have to FEEL for the characters' emotions if you want to get anywhere. On the surface, its a simple tale thats been told a million different ways, but the political statements this movie makes is way ahead of its' time, I thought (much like the Angelina Jolie starrer "Beyond Borders" which was a masterpiece in its' own right).

It goes without saying that Leonardo DiCaprio carries this film on his capable shoulders and takes you through almost three gripping hours of it without making you look at your watch. This is what real acting and filmmaking is all about. If you do decide to buy this, let Leo be your number one reason.

To wrap it up, this is a must have 2-DVD Edition of the film and I can state that this is one movie you will be watching over and over. I saw this just after "The Departed", which is the only other movie this year I could possibly watch again. These two films finally signal the true emergence of America's greatest living actor Leonardo DiCaprio.

Buy Blood Diamond (2007) Now

As we reach the end of any calendar year, the major studios roll out their big guns--the films they think have the best chance of grabbing Oscar gold. These tend to be big budget affairs, with big stars, and often with serious or important themes. Well, "Blood Diamond" arrives with just such expectations. A well meaning and "important" film about exploitation and atrocities in Sierra Leone's diamond trade, "Blood Diamond" casts Leonardo DiCaprio, Jennifer Connelly, and Djimon Hounsou as the central characters in an exciting, and sometimes heartbreaking, look at the cost of commercialism in international trading.

Edward Zwick (who has courted Oscar before with "Glory" and "The Last Samurai") sets a very serious tone from the beginning--it seems clear that this film wants to parlay a message, to expose the injustices done in the name of Western greed. The setup covers extremely familiar territory and the message is blunt and obvious. No one, at this point, will deny that what is depicted here is harrowing--the problem is that it isn't particularly surprising or edifying. He's preaching to the choir. A lot of films have broken this ground before to astonishing affect, "Blood Diamond" as a message movie lacks a certain amount of originality and subtlety. That doesn't make it a bad movie, by any stretch, but I wasn't enlightened by the subject matter.

But the curious thing about "Blood Diamond," though, is just as I was tempted to dismiss it as a heavy-handed drama--I got wrapped up in it. Why? Well, it's a heck of an action picture and it boasts terrific performances. DiCaprio plays a rogue, ethically challenged, illegal diamond trader who is looking to make a big score. Hounsou, who has lost his son to the rebels, has hidden an invaluable diamond which he hopes to leverage to bring his family back together. And Connelly is an American journalist who wants to expose the corruption inherent in the trafficking of diamonds. All three are at the top of their game. Hounsou is absolutely riveting in an emotional powerhouse of a performance. DiCaprio acquits himself well with a Rhodesian accent and displays many layers to the morally questionable anti-hero.

The film is technically impressive--the cinematography and score earn high marks. But it's the brutal and compelling action sequences that will stick with you. There is much violence to be had in "Blood Diamond," much death and bloodshed. Our trio constantly find themselves on the wrong side of a gun fight or even worse--trapped between rebels warring with soldiers. Theses scenes are done with such precision, such excitement, and such realism--you almost forget that the film wants to teach you a lesson too. I almost wish that Zwick would have just trusted a simpler story and let us draw our own moral conclusions.

Ultimately, I really admired "Blood Diamond"--it has the power to excite you and move you. Far from a perfect film, it is eminently watchable. The tidy ending was a bit over-the-top for my taste, as well, but by then I'd really enjoyed the journey. A solid 3 1/2 star rating, I'm rounding up for the action set pieces. KGHarris, 12/06.

Read Best Reviews of Blood Diamond (2007) Here

Greed is the dark heart of "Blood Diamond," director Edward Zwick's ("The Last Samurai") uncompromising look into the underground trafficking of illegally-traded gems in sub-Saharan Africa. Greed of corrupt men for power, greed of an amoral mercenary willing to sacrifice anything for a chance to escape Africa, greed of Western businessmen who seek to artificially control the diamond market, and the greed of a simple man for his family's return. This movie powerfully demonstrates the valuelessness of a human life to those persons obsessed with blood diamond collection in war-ravaged Sierra Leone.

Djimon Hounsou plays Solomon Vandy, a simple fisherman and father of two who witnesses his idyllic existence crumble before his eyes. Rebels seeking new recruits, slaves, and random carnage swarm into his village. They select his adolescent son and other young men as future cadets in their guerilla army--following suitable brainwashing and manipulation techniques--before then getting down to the real business of slave collection. Seemingly devoid of any mental workings besides casual sadism, these bandits top-off their kidnapping and slave-taking exercise with the mutilation and execution of men deemed too troublesome for them to bother with. Vandy is rescued from dismemberment at the last minute when the rebels recognize his strength, seeing it as an asset they can utilize in their constant search for capital: the blood diamond pits. Condemned to toiling underneath the blazing sun with nary a chance of reaping any benefit (besides possible continued survival) for his efforts, Vandy happens to discover an egg-sized blood diamond hidden in the streambed. Hiding it underneath his foot, he buries it when the rebel encampment is attacked by government troops. The only witness to his "theft" is the wounded slave captain--now captured, along with Vandy, by government forces--who swears that the former fisherman will soon be begging to reveal the diamond's whereabouts.

Parallel to Djimon's character's storyline is the tale of Danny Archer (Leonardo DiCaprio), an opportunistic solider of fortune caught within a dichotomy of conflicting motivation. He desires escape from Africa at any cost, yet secretly knows that his blood will someday mix with the earth of his homeland. Perhaps it is this realization that he is doomed which propels Archer forward: in every action and every word, he seems to be daring destiny to obliterate him. Taken in and trained from a young age by Colonel Coetzee (Arnold Vosloo), Archer is easily the most dangerous entity alive on the continent: ruthless, misanthropic, callous, manipulative, and incredibly lethal with bullet and blade. After a close-call haggling with rebel leaders over fair prices for blood diamonds, Archer is arrested for smuggling while crossing the Sierra Leone border. It is here that he intercepts the distraught Vandy and begins weaving a plan to save himself from the war-torn country: by dangling the freedom of the fisherman's family as bait to cajole Vandy into revealing the gigantic diamond's location. Solomon, though a simple man, is not so easily fooled. He eventually agrees to help Archer--but only if the mercenary agrees to help locate his family and also permit Solomon to be his travel companion.

There is barely time for indrawn breath during the watching of this movie. Action sequences are furious, brutal, and frequent. The pace of the movie is frenetic. The score is perfect throughout. The "education" of Vandy's son by the rebels is heart-wrenching. Solomon's overarching belief that fatherhood trumps all initially feels naïve, but is eventually revealed to be the singularly most powerful force in the entire movie. Danny's character--the realist mercenary who seems most capable of surviving, when compared to Vandy--shows the most evolution, shedding layers of the personality onion until an actual human appears. He is moved to reveal an element of his past to the beautiful American reporter (Jennifer Connelly), whose persistence and mutual survivorship cements a bond they both were too proud to admit from their first meeting. Archer and Vandy relationship morphs into something beautiful when a sacrifice is needed, prompting Solomon to reverse that remarkably chauvinistic statement made by Rudyard Kipling over one hundred years ago: the "white man's burden."

This is hands-down Djimon's most impressive performance: I have never seen him better represent a character. In fact, he blurs the line between character and actor, totally suspending my disbelief to the point where I "knew" him only as Vandy. I have been told by an acquaintance--currently living in Zimbabwe (formerly Rhodesia)--that DiCaprio's accent is spot-on. In addition, he was utterly believable as heartless mercenary, and his later transformation was also quite convincing. The action sequences were, as mentioned, jaw-dropping in their intensity, but never felt gratuitous or over-the-top.

Easily one of my five favorite movies of 2006--miss it, and you risk missing some of the finest cinematographic wizardry and directorial finesse of cinema from the last year, period.

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To be perfectly honest, I had steered clear of this film in theaters because Oscar-nomination notwithstanding I dreaded the notion of potentially spending 143 minutes with Leonardo DiCaprio doing a bad South African accent in Dolby Mondo Super StereoSurround. I mean, I have already in my lifetime endured Kevin Costner's Robin Hood and Brad Pitt's Troy on the big screen (who could forget Brad screaming "Take it it's YAWWWWS!" in his British-by-way-of-Brooklyn accent? And don't even ask me to describe Costner's...). So, even though others assured me that Leo nailed the accent, I hope you can understand why I wouldn't want to risk another American Movie Star Mangling of an overseas accent in a heightened sensory environment.

But now that I've viewed this film in the safety of my own home with my crappy TV speakers (and my pause button at the ready), I must say that not only did DiCaprio nail the accent, but he concurrently crafted his best character and performance to date in Daniel Archer, the jaded, seen-it-all diamond smuggler who just as the main character Solomon (Djimon Hounsou) hides and buries a valuable diamond has hidden and buried his humanity deep within himself. And though he sets off to find Solomon's diamond, we also see whether he can unearth his humanity along the way. Leo adds an amazing muscular menace and aged world-weariness that I honestly didn't think he was capable of (and this is from someone who already appreciated him as an actor) (if not a dialectician).

The performance by Djimon Hounsou as stoic fisherman Solomon Vandy is almost equally stellar. We invest in the quest completely as the wise and quiet Solomon (whose wife calls him "Solo") sets off alone and separated from his family, trying to find his son, who is (to him) infinitely more valuable than the diamond he has buried. Jennifer Connelly (who, unbeknownst to the director, had already done a lot of work with UNICEF when she was cast) also adds depth in what could have been a throwaway and/or cliched role as the brash American photojournalist Maddy Bowen.

Finally, enough cannot be said about director Ed Zwick, who has already spent a good deal of his career perfecting the balance of the action movie and the more contemplative, message-driven drama (Glory, Courage Under Fire, The Last Samurai to name a few). With "Blood Diamond," he most successfully negotiates the territory between conventional action movie entertainment and more political, emotional, and darker material.

For the action scenes, the constant camera movement creates not only a documentary feel to the incessant and chaotic scenes of combat, but a sense of urgency to the events (eventually) found in the frame. The violence is almost too real, and the acts perpetrated (in many cases by children) are almost too disturbing such a gorgeous land frames such unspeakably evil acts, which ultimately adds greater weight to the messages of the film.

As to the message, I've heard complaints that this movie tries to bludgeon you with its politics, but I found it to actually be quite subtle, the speechifying kept to a minimum and, when employed, use to enhance and advance the arc/understanding of the character as much as the overarching ideology.

And, for me, the "would you put a diamond on your finger if you knew it cost someone their hand" motif while tremendously important is just one theme among many in this nuanced and layered work. The film also manages to effortlessly examine other issues, such as: what is truly more valuable, material possessions or human empathy? Where is the line between journalism and exploitation, and when is it appropriate (if ever) to cross that line? Finally, can speaking up help change the world, and furthermore can a nation's problems be helped through the advocacy of foreign visitors, who may actually know little about the culture they are trying to change?

While Zwick and his cast may or may not be changing the world with this (mostly) American movie about an African problem, at the very least he has made an exceptionally moving film whether you're in the mood to be educated or entertained.

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Forbidden Zone (Arrow Video) (1982)

This movie is weird, period. It's got an Eraserhead vibe (probably from the black/white), and I pick up Un Chien Andalou, probably from having no idea what's coming next. The dark frame corners of the B/W stock also evoke the early parts of The Wizard of Oz, conjuring dread and foreboding. Other than that, leave your film references behind, and set your mind for new experience.

You've got to watch this film at least twice, ideally a couple weeks apart, before you decide that it's the worst film you've ever seen (a typical first reaction). Now, the weirdest movie you've ever seen--yeah, that's a spot-on description-but it's not the worst, by far. Save that crucial tag for Madonna's desecration of Swept Away, John Wayne in The Conqueror, Caddyshack 2.

I saw this B/W classic for the first time in a 1984 university film class. The prof warned us that it was racist, misogynistic, anti-Semitic, violent, vulgar and scatological (her words). And she was and remains exactly right. I sat through the 73-odd minutes of this thing (shown on film, no less), and when it was over I wasn't quite sure what I'd seen. I remember a strange and heavy feeling of dread and confusion that hung with me for a few days, like I'd seen something deeply disturbing but couldn't yet make sense of it. But I'd also laughed, hard, at a number of the scenes in the film.

It wasn't until a good ten years later I got my hands on a bootleg VHS copy, and I bought my own copy (signed!) from the Richard Elfman web site two years ago. It was only on second and subsequent viewings that I figured out exactly what the story was, and then really started to see the subtlety of the film, to appreciate and enjoy it more.

It opens in the kitchen at breakfast, with the family in intentionally awful stage makeup, sitting in mismatched chairs on a set with ultra low-budge hand-painted elementary school play backdrops. The psychotic mom gets knocked cold by dad when she talks too much. Then they have to tie up Grandpa before the kids go to school. And that's in the first couple of minutes.

Then school, where the scenes are pure nightmare, just chaos, with the grotesque images of the teacher and students, hideous caricatures of kids that I knew, and you'll recognize as well. Then in the middle of this highly disorienting scene comes the "Alphabet Song/Swinging the Alphabet," with the "F" and "G" verses corrupted thoroughly and hilariously.

Then we descend to the underworld and by way of introduction to the Sixth Dimension, watch two guys in jock straps sing a goofy song in a boxing ring, followed by a frog-headed guy doing some soft-shoe, and a seriously creepy version of "Bim Bam Boom."

The crass racial and ethnic stereotypes flit in and out, amateurish, really, in their insertion, and having little relation to the movie itself. Right at the beginning there's a black-face guy, described as local pimp Huckleberry P. Jones, with his bad suit and boxing gloves, no less. The Hercules patriarch has a horribly dubbed Yiddish accent, and we even run across Jewish money lenders down in the Sixth Dimension. I don't really get their placement or function in the film, other than visual distraction, or misfiring attempts at comedy.

And some violence. A guy gets shot at school, although it's pantomime-corny. There is some serious fisticuffs, but it's also hammy. A knife goes right through a thigh, but it's a cheezy effect. But when Grandpa Hercules fights the gorilla he ends up literally bashing its head into ground meat, and that's a pretty disturbing close-up, even in B/W. The queen gets shot, somewhat graphically, with a little bit of blood. The two queens end up at the bottom of the pit, their bodies run through with steel blades. And Squeezit loses his head, although he doesn't really die, and the head even sprouts wings to flit around as a cheezy Sixth Dimension mascot.

And some nudity. The excruciatingly nubile Princess wears nothing but tight high-rise briefs, pumps, and gloves for the entire film. There's a wacky kind of topless cattle drive of young ladies, comical and erotic in its own strange way. There's a lot of comically strange/strangely comical frottage going on, mostly Flash and Gramps grabbing various Sixth Dimension denizens. Nothing graphic at all, but the MPAA would call it sexual content.

And fun with trivia: 1) Uber-nerds will recognize the Forbidden Zone theme as that from the short-lived Dilbert TV show from a few years back; 2) Music nerds also will recognize an original recording of "Pico and Sepulveda," which was for many decades the backing/theme song of the Doctor Demento radio show (The Very Best of Dr. Demento).

Lastly, get that soundtrack (Forbidden Zone). If you like a good mix of music, you'll love the CD. If you're expecting raw Oingo Boingo, you'll be disappointed. Sure, they're there, but not in the kind of depth and orchestration you're probably looking for. There's a couple old-timey tunes ("Bim Bam Boom," "Some of These Days"), lots of Danny Elfman's original score, and the sorrowfully too-short "Squeezit The Moocher." For whatever sad reason, "Pico and Sepulveda" is not included in this release.

Bottom line: This is just one of those cult films you have to be able to say you've seen. If you're looking for slick production and deep, deep artistic symbolism and staging, you'll be hugely disappointed. You may not like it at first, it being more confusing than anything, but if you've got an open mind and tend toward black humor, and if you watch it more than once, you'll enjoy it. If you're looking for something seriously off the wall, a film like none other you've ever seen, then this is the one you've been waiting for.

It's a good day when "Forbidden Zone" gets a DVD release! Better yet, this is a valuable addition to the Fantoma disc, and not really a substitution.

I don't normally purchase or even watch colorized versions of black and white films, but Richard Elfman seemed to make a compelling case that he intended "Forbidden Zone" to be released in color. I certainly do not begrudge the man for making a living, and he honors our pocketbooks by making the new release different enough to warrant a look.

In the color version, one notices details that aren't as readily apparent as in the original black and white version. The sets seem to be made of cardboard and butcher block paper that is clear in the original version, but is blazingly obvious in the colorized version.

Colorization aside, how is this version different? This DVD is lacking the commentary of the original release, the documentary and the isolated score (this is bad.) On the plus side, the new DVD has a DTS 5.1 track, and a promo for a Japanese audience. However, the deal-maker is the pop-up trivia that is truly interesting although somewhat redundant of the previous DVD director's commentary.

The colorization is quite good (who knew French's bathrobe was yellow), and adds to the surreal quality of the picture instead of being a distraction.

I don't normally like double DVD releases, but in this case I will make a strong exception. Recommended!

Buy Forbidden Zone (Arrow Video) (1982) Now

Once upon a time, way back in the 1970?s, there was a magical land called Southern California. It was in this place that two brothers, Richard and Danny Elfman, devised an avant-garde musical comedy troupe, called The Mystic Knights of the Oingo Boingo. In 1980, they decided to form a loose story based around some of their performance pieces and make a movie. That movie is the legendary Forbidden Zone. Since my fourteen-year old vhs tape of this movie is rotting on the shelf as I write this, I couldn?t be happier to see its release on dvd.

Okay, the film is a certified nut case of a movie, filmed over the course of maybe a week in and around the LA area. It?s in black and white, not because of any artistic vision ? it was just cheaper that way. But it works ? the film is a (tribute, send up?) of 1930?s era musicals, with standout music by Josephine Baker and Cab Calloway and centers around the Hercules family and the strange portal to the 6th Dimension that exists in their basement. The world this takes place in is filled with strange imagery, amazing music, and more oddities than a sane person could hope to count. We have a human-size dancing frog, jockstrap-clad Kipper Kids, Herv? Villechaize as the king of the 6th Dimension, a chicken-boy who is able to communicate telepathically with his transvestite brother, Joe Spinell as a drunker sailor, classroom violence, a Jewish wrestler fighting a guy in an ape suit, and Danny Elfman playing Satan while singing ?Minnie the Moocher.? You get the idea; this is not a normal film. Although it borrows from the works of Olsen & Johnson (Hellzapoppin? & Crazy House), this is still a truly unique cinema experience.

The advance word from Richard Elfman is that this dvd will have a re-mastered print of the film, deleted scenes, interviews, and archival footage! For any fan of Danny Elfman, Oingo Boingo, or just incredibly strange films made by talented people, you simply can?t miss this one.

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Forbidden Zone could be the most eye-openingly bizarre film ever made, surpassing even Eraserhead. The fact that it is cheaply made and often inept is most definitely an asset in a world this surreal conventional filmmaking techniques would seem out of place. In any case, there is no question that anyone interested in underground movies needs to purchase this. Its dismissal by critics and its unpopularity have both been unfair hamperings on its reputation. In actuality, its artistic vision is as singular and imaginative as Eraserhead's, or any cult classic for that matter. Rarely has cardboard been the vehicle for such a visionary production design.

There is so much to take note of but I would single out the 'Bim bam boom' musical number with the mumbling boxers, the inexplicable antics in the classroom, and Danny Elfman's totally suave appearance as Satan towards the end as truly classic moments in the world of cult movies. They manage to be disturbingly surreal and amusingly silly and cartoonish at the same time. I want to extend my recommendation beyond the intellectuals and outsiders; even more conventionally-minded people may be taken in by Forbidden Zone's utter loopiness and triumphant imagination.

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This is an awesome find and collector's dream. The film, about a porthole to the Sixth Dimension and a most unusual family's discovery of it, is a bizarre low budget delight in b&w featuring original music by Oingo Boingo and vintage music by Cab Calloway and Miguelito Valdez. Another reviewer pretty much summed things up but I'd like to mention that if you're a fan of the late, great Susan Tyrrell, she's on fine display here. She plays the wicked Queen of the Sixth Dimension and sings a great song "Witch's Egg" which she also helped compose. Herve Villechaize is the King ("He's a little man but he carries a big stick"), Marie-Pascale Elfman, Viva, Toshiro Baloney and the Kipper Kids also star. This little gem is obviously not for everyone, but if you've never seen it it's worth a look. For fans of "Forbidden Zone" it's debut on DVD is a celebration. I've had the soundtrack on a Varese Sarabande CD for some time and my VHS tape is long gone. I'm truly looking forward to this release. Enjoy.

All Things Fall Apart (2011)

"It's just a challenge, just another challenge that's all" Deon (50 cent) is a college football superstar. He is set to win the Heisman Trophy, play in the national championship football game and be one of the top picks in the NFL draft. Weeks before his big game he is rushed to the doctors and is diagnosed with a tumor. His days of football are over, and he is left to try and start a new life. Going in I was very worried...a movie written by and starring 50 cent...oh God...here we go. I was very very surprised at how good it was. I'm not saying this can compete with "Remember The Titans" or "Express", but I really enjoyed this movie. I have never been impressed by 50 Cent's acting, but he was actually really good in this. I may have been distracted by the physical change that he went through. Going from a ripped football player to a 160 pound cancer patient is actually pretty impressive and for someone to go to that length for a movie shows how important this was to him. Overall, a surprisingly good sports movie with a surprising performance by Curtis Jackson. I give it a B+.

Glad someone was finally realistic that sometimes there is no happy ending. You have to make the most of this life right here right now.

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50 Cent plays Deon, a college football star running back headed for the NFL and life on Easy Street. He has everything, fame, parties, girls etc. His kid brother, Sean rejects 50 cents lifestyle. He is the more studious type I gathered from the stereotypical glasses that he wears. Mom is Deon's main cheerleader, and dad, who has been there, wants Deon to be a more aggressive ball hog and less of a team player in order to attract the pro scouts. Even at home, Sean (Cedric Sanders) plays second fiddle to the football star. Deon can have any girl he wants, including the girl dating his brother.

However...Thing Fall Apart. Deon has the big "C" growing in his chest. Ray Liotta plays the doctor. While the family is in a waiting room, Ray comes in with an x-ray and shows the family the giant tumor in Deon's chest. Radiation and chemo. Dad, concerned about Deon's draft pick, wants to keep a lid on this in order to deceive the NFL. Mom is not crazy about the idea.

As Deon's life whittles away, he finds doors that were once opened to him have closed and life without being a football star is hard. Curtis' acting ability has improved since the last time I saw him, although it still leaves much to be desired. Strong performances by the supporting cast (not Ray Liotta of course.) There were some minor plot issues. Cedric Sanders made the movie more than 50 Cent.

F-bomb, sex, sex talk, no nudity

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I read an article last month about movies going straight to DVD and this one was mentioned. I remember there being controversy about 50 Cent losing a bunch of weight, but I thought the photos were fake for so long that I didn't bother following up to find out it really was for a movie. But that article made me curious about this film so I rented it.

And man, was this ever a movie! I really enjoyed it. I started off looking at the film kinda side-eyed when I saw that terribly fake dreadlock wig on 50 Cent's head (reminded me of Shemar Moore's wig in "Tyler Perry's Diary of a Mad Black Woman") but the movie got better. Originally I thought 50 Cent could only play the role of himself well (ex. "Get Rich Or Die Tryin' (Full Screen Edition)") but he was REALLY good in this film.

He plays a star college football player who is trying to make it to the majors when he finds out he has cancer. This isn't just a movie about sports though. It's actually quite political and gets into the problems with the health care system. While watching this film, I kept thinking of an excellent book I recently read called "Hot Cripple: An Incurable Smart-ass Takes on the Health Care System and Lives to Tell the Tale." There's a couple love stories. Friendships tested. And the dialogue amused me because it was so realistical, especially his motormouth, vulgar friend. This should've hit movie theaters, but it's worth buying either way.

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Maybe i am dating myself but this was like watching a 2 hour afterschool special from the 70's.it was not good or bad, the characters were not developed enough to sympathize with. it had potential to be a "Brian Song" with more character development but it seemed rushed and out of order.!! give a A plus for effort and a c for character developing.

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My Son John (1952)

One of the best things to happen in the world of home video in recent days has been Paramount releasing a virtual explosion of classic titles on both Blu-ray and DVD under the Olive Films label. The stellar releases continue with MY SON JOHN, an anti-Communist picture from the early fifties that's part political thriller and part family drama, featuring an outstanding cast that includes Helen Hayes, Dean Jagger, Van Heflin and, in his final screen appearance (he died during the film's production), the great Robert Walker.

The story concerns some proudly patriotic and religious parents (Hayes and Jagger) who begin to have suspicions that their oldest son (Walker) is a Communist. Walker gives a fascinating performance, similar to his role in Hitchcock's STRANGERS ON A TRAIN but this time giving his character a kind of scoffing arrogance to go along with his sinister charm. You get the feeling that this guy is so much smarter than everyone else that he finds their beliefs and traditions rather amusing.

Script-wise, the film has some weaknesses. There seems to be a conscious effort to avoid any specific explanations of what's going on regarding unlawful activities: we never really learn exactly what John has done or get any insight into his political philosophy other than a few vague inferences here and there. One keeps hoping that John and his father will have a meaningful conversation about the relative merits of communism versus democracy, but it doesn't happen. This is one case in which some over-the-top patriotism would have added some punch to the story. Further, the fact that Robert Walker died before the film was completed (the shots of him in the last part of the movie are taken from STRANGERS ON A TRAIN) leads to a somewhat unsatisfying ending.

Script problems aside, MY SON JOHN is one of those movies that can be appreciated both as a drama and as a historical document in the sense that it's very much a product of the time in which it was produced. Admittedly, it's not for the casual viewer some people would undoubtedly find it too long and overly talky. It's not as entertaining as THE RED MENACE or as well done as I WAS A COMMUNIST FOR THE FBI. However, if you're someone who enjoys watching fine actors and loves films that reflect a particular period in history, MY SON JOHN is a thought-provoking movie that will stay in your memory long after you've seen it.

I have just recieved and watched the Blu-ray version of "My Son John".. I'de seen it when I was a teen ager in the 50's and I thought it was pretty slow, but interesting. I went to see it because of Robert Walker who had been MGM'S Golden Boy next door. He was such a sweet charming guy in those Golden Age of MGM films. But of course Walker never got a chance to really act until he got from beneath MGM's grasp. Like he did in Hitchcock's "Strangers On A Train". And I don't believe that Leo McCarey produced or directed anything quite like this either. Poor Robert Walker had a sad personal life and I believe it showed in his face in this film. And it's a shame that he passed away, because he had just proven what a great actor he really was. But I don't believe they had the help back in the early 50's that they do now. Help that may have saved Robert Walker. Helen Hayes was also very good, but I thought that half her scenes were drawn out too long and very overacted. (excuse me Helen Hayes fans, but that's the way I saw it)

I know they probably didn't know really how to deal with communism on film 'back in the day', but some of the scenes were very vague. And like Kurt Corbin said in his review that it was hard to catch onto what Robert Walker's character "John" was really up to. And I really couldn't really tell if he was 'all that bad'. Because my open-mind is set in the new millennium, not in the early 50's. What was John really up to?

What were the unlawful activities? Yes it was rather vague. But I do remember as a child and teenager the sence of patriotism all around me. I sort of miss that 'long ago feeling'. I'm afraid with all that's going on today people don't know what to believe anymore and that's a damn shame. Dean Jagger was also very stong as a real old fashioned patriot. God bless his character. And I remember many like that. Oh yeah. So I say this is 'a time capsule of the way people thought back in the day. And God bless each and every one of them. Bob "Ziggy" Anderson

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Produced during the Second Red Scare and the McCarthy era, My Son John, embodies the patriotism and paranoia of the early fifties. Robert Walker's last role is intended as a moral lesson for "good Americans" but also panders to the fears of a nation fresh out of a world war with facism, entering a cold war with communism and engaged in a "non-war" police action in Korea.

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Worth watching if only for the "key in the hand" moment a real Leo McCary movie manipulation, but it gets me every time. (I wonder if Emilio Estavez "borrowed" it for a moment in "Bobby.")

It may be time bound, but don't kid yourself that those kinds of personalities do not still exist, whatever your political or religious point of view may be.

In any case, strong performances from professionals who know their craft. It's a good watch.

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FANTASTIC FILM WITH A STUNNING PERFORMANCE BY HELEN HAYES AND ROBERT WALKER. THE FILM CREATES THROUGH A GOOD STORY LINE AND EXCELLENT DIALOGUE THE SICKNESS OF PARANOIA THAT ENVELOPED AMERICA DURING AMERICA'S DARKEST TIME.

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The Longest Day (1962)

The Longest Day (1962 film)

In 1959, 15 years after the Allied invasion of Normandy, former war correspondent Cornelius Ryan wrote The Longest Day, his popular and critically-acclaimed account of the D-Day landings. Based on painstaking research and interviews with Allied and German veterans and the French civilians swept up in the events of June 6, 1944, The Longest Day remains among the best books on the topic.

It is not surprising, then, that 20th Century-Fox studio chief Darryl F. Zanuck bought the film rights and asked Ryan, (who, besides having been a reporter, had also written plays) to adapt The Longest Day into a screenplay for a major motion picture. Zanuck, who had served in the Army Signal Corps as a lieutenant colonel and helped document the D-Day landings, had always wanted to make a feature film about the invasion. He also had another pressing reason to make what he thought would be a big hit: 20th Century-Fox, nearly crippled by box office flops and the costly production of Cleopatra, was on the brink of bankruptcy.

In order to attract audiences, Zanuck and his massive production team assembled a cast almost as large as the actual invasion force. 48 major international stars from three countries were signed on to what a World War II trivia book described as "the most expensive black-and-white movie made." Shot in studios near Paris and on the Mediterranean island of Corsica, The Longest Day required not one but three directors. Andrew Marton shot the American exterior episodes, Bernhard Wicki handled the German exterior episodes, and Ken Annakin directed the British exterior episodes. Overseeing the entire project were Zanuck and Associate Producer Elmo Williams, who would later executive produce the Japanese-American Pearl Harbor classic, Tora! Tora! Tora!

The movie basically follows the book's structure in its three major acts: The Wait, about the preparations on both sides for the invasion; The Night, about the night airborne assault; and The Day, about the landings on the five invasion beaches. The DVD breaks these three acts into 12 chapters.

While by early 21st Century standards The Longest Day's combat scenes are rather tame there are no extremely gory scenes as explicit as those in Saving Private Ryan they do capture the vastness and complexity of the Normandy landings. Shot in a semi-documentary style (major characters are introduced with identifying "credits" so we know who is who), The Longest Day is as accurate as a 1962-era film studio could depict an actual event. The black-and-white presentation allows insertion of a few snippets of actual documentary footage (mainly of German soldiers marching through Paris and running to their fortifications near the beaches) seamlessly into the film. Of course, some characters (such as Eddie Albert's Col. Thompson) seem to be composites or even fictitious, and some actors (such as John Wayne and Robert Ryan) look nothing like the officers they are portraying. Wayne plays Lt. Col. Benjamin Vandenvoort, who in 1944 was in his 30s, while Ryan plays Brig. Gen. James "Slim Jim" Gavin, who at 38 was the Army's youngest general. (The more accurate, but far less popular sequel, A Bridge Too Far, cast Ryan O'Neal as Gavin.)

Accuracy goes out the window in at least one respect, and this one is at the top of most D-Day veterans' list of gripes. While the movie does mention the awful conditions on the transports and landing craft ("Man, that stink! Diesel oil, backed up toilets, vomit. And there ain't no place to get sick in!" gripes one soldier to Roddy McDowell), when the Allied soldiers get out of the landing craft, they hit the beaches running and screaming like banshees. In Stephen E. Ambrose's 1994 D-Day, June 6, 1944, veterans scoff at Zanuck's fanciful depiction, pointing out that they were too tired and too sick to run across the beach, much less yell like Confederates at Gettysburg.

Nevertheless, The Longest Day remains one of the best war movies ever made. Released in October of 1962 and enjoying a long run at the theaters, it was the box office's top draw for 1963, earning an Academy Award for special effects and, luckily for Zanuck, saving 20th Century Fox from bankruptcy.

The DVD presents The Longest Day to its original CinemaScope wide screen presentation, improving on the CBS-Fox two-cassette VHS version, which was released on the usual pan-and-scan "full screen" re-edit. Other improvements are a sound remastering by THX and a few tiny bits of additional footage. The single disc, however, has very few extra features; only the theatrical trailers to The Longest Day, Patton, and Tora! Tora! Tora!

Here we have the consummate of all war movies of the D-Day invasion of Normandy in WWII in a 2-disc release.

Disk 2 bonus features include A Day To Remember; Longest Day: A Salute to Courage; Backstory The Longest Day; D-Day Revisted; Richard Zannuck on The Longest Day and a Still Gallery, all well worth owning this release.

However, in 2000 when FOX released a new digital but non-anamorphic transfer, they wisely placed the German and French subtitles in the lower "black bar" area left vacant due to the letterbox format, making for a very pleasant viewing experience. In this release the subtitles are restored back onto the main body of the film. As the text is white and the film being B&W, this makes for a very fatiguing 3 hours of viewing. Sometimes the text just disappears in the white portions of the film.

***Mini update! As someone politely pointed out, with newer HI-DEF 16 x 9 widescreen TV's, the subtitle text would disappear with the non-anamorphic 2000 version. As HDTV has superb color and grayscale resolution, this is probably a moot point. As I and many are still waiting for HDTV prices to come down & the technology to go up, it may be advantageous to own both sets.

Otherwise a great movie portraying a fairly realistic look at that fateful day of June 6, 1944. Filmed appropriately in Black & White with complementing WWII stock footage. This is a film for the whole family as it truly does represent the carnage of war without the blood and gore that can disturb some viewers (like myself).

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The first time I saw "The Longest Day" in a movie theater they got a couple of the reels mixed up. The only way I knew this was that every time a major figure shows up in the film we are told their name, rank and unit. This mistake did not hurt the film all that much because this sprawling story of the D-Day invasion sixty years ago today was so huge and complex that it had four directors: Ken Annakin (British scenes), Andrew Marton (American scenes) Bernhard Wicki (German scenes), and the uncredited Darryl F. Zanuck. Granted, the realism of the opening scenes of "Saving Private Ryan" make the storming of Omaha Beach in this 1962 film look like a walk on the beach in comparison, but "The Longest Day" remains along with "Battleground" one of the most realistic portrayals of what it was like for the infantry in World War II from what we will know have to call the old school Hollywood and which ended with "A Bridge Too Far" in 1977.

Based on Cornelius Ryan's celebrated book of the same title, "The Longest Day" is almost three hours long and has one of the largest all star casts every assembled (42 international stars according to the poster), albeit with big names like John Wayne, Henry Fonda, Robert Mitchem, Richard Burton, and Rod Steiger playing supporting roles because, to tell the truth, there is nothing else to play in this film. If you are telling the story of D-Day, no single figure is going to emerge as the star, which is the point (Gen. Dwight D. Eisenhower, played by an uncredited Henry Grace, has one scene). Sean Connery was about to become famous as James Bond in "Dr. No," and familiar faces include Red Buttons, Curt Jürgens, Edmond O'Brien, Kenneth More, Robert Ryan, Robert Wagner, Eddie Albert, Roddy McDowell, Peter Lawford, George Segal, Gert Fröbe, and Jeffrey Hunter. The idea of throwing in teen idols like Paul Anka, Fabian, Sal Mineo and Tommy Sands makes sense because a generation earlier they would have been storming the beaches of Normandy. However, you might have a hard time picking up the likes of Richard Dawson and Bernard Fox in the crowd. Several minor players in the film were involved in D-Day, and the piper playing as Lord Lovat's commandos storm ashore is the man himself, Bill Millin. The key thing is that the story being told is so big that it gobbles up all the stars.

The film shows events on both sides of the English Channel both before and during D-Day. On the side of the Allies there is the bad weather, troops tired from being on constant alert for several days, and the sheer size and importance of what is about to happen. Meanwhile the Germans are confident the Allies will attack at Calais and certainly wait for better weather, which explains why the key commanders are away from the front. One of the strengths of this film is that it also tells the story from the German's side. Not only do we get necessary exposition and explication concerning German troop movements before and during June 6, 1944, but there is also the human element of Maj. Werner Pluskat (Hans Christian Blech), the guy sitting on the Atlantic Wall who looks out one morning and suddenly sees the Allied invasion fleet when the fog lifts and we hear the "da da da daaah" of Beethoven's 5th (it is also Morse Code for "V," used to denote "Victory" by the Allies). It is Field Marshal Erwin Rommel (Werner Hinz) himself who calls the coming battle "the longest day." There are also the efforts of the French Resistance ("Wounds my heart with a monotonous languor") and French troops in helping to free their own country as well as the British efforts, so this is not just the Americans versus the Germans.

There are several sequences that stand out, most notably the paratroopers of the 101st Airborne landing directly into Ste. Mère-Eglise and being butchered by German troops. The shots of a a terrified and helpless Red Buttons stuck on a church steeple are probably the most memorable in the film, as is the reaction of John Wayne's colonel when he sees the carnage and orders the bodies be cut down. The assault on the cliffs at Omaha also stands out, with Mitchem sending a series of men off to their deaths trying to blow a hole open to get the troops off the beach. Again, there is not the bloody carnage of Spielerg's "Saving Private Ryan," but the scene still retains an emotional power even by contemporary war movie standards.

"The Longest Day" was the most expensive black & white film ever made until "Schindler's List" in 1993 and in both instances not using color works; after all, our "memory" of World War II is based on black & white images. The DVD has some solid extras, with "Hollywood Backstory: The Longest Day" providing a 25-minute documentary on the making of the film, focusing primarily on Zanuck and a 50-minute documentary on "D-Day Revisited," while offers the rather strange sight of Zanuck telling strangers about D-Day and providing historical commentary mixed with clips from the film. In addition to the trailer for "The Longest Day" you get those for "Tora! Tora! Tora!" (certainly a comparable film), "Patton," and "The Thin Red Line."

Certainly "The Longest Day" is one of the best World War II films, even if we now have to talk about it as representing the old school of that genre. At some point, given the success of "Saving Private Ryan" and the early chapters of "Band of Brothers," I would expect that someone is going to again try and do the macro view of D-Day. But clearly the next time around it is going to take a mini-series or limited series format to come up with something grander than this 1962 film.

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The Longest Day has been a favorite of mine since I first saw it as a kid in the late 70's. It led me into an interest in the Invasion of Normandy. Since then I have read a dozen books on the subject including Ryan's book The Longest Day as well as Ambrose's D-Day: The Sixth of June. This movie is a far superior "historical document" than Saving Private Ryan. Although I agree that comparing the two is like comparing apples and oranges I still can't help doing it. TLD is an ensemble cast movie that seeks to teach the viewer about D-Day itself. The actors play real people (generals mostly) who have an impact on the battle. SPR is concerned with a fictional group of rangers looking for an equally fictional Private Ryan. There isn't much history to be gleaned from that movie. While I admit that SPR presents a more grusomely bloody (and accurate) view of the battle on the Normany beaches themselves, it is not concerned with telling the story of D-Day. I have a feeling that the majority of the people who saw SPR in theaters were unfamiliar with the historical events surrounding this great battle. It is unlikely that their knowledge of D-Day was increased as a result of seeing SPR. If you have seen SPR but not TLD, do yourself a favor and watch TLD. It will at least give you context for what you saw in Spielberg's movie.

The Longest Day is epic storytelling at its best. If SPR has a cast of dozens, TLD has a cast of thousands. In addition, the movie is very accurate as far as Hollywood movies go. I should also mention that TLD has excellent acting, cinematography, and directing. Do yourself a favor and watch this one in a letterbox presentation.

Which is the better movie? I personally believe The Longest Day to be better although Saving Private Ryan is still good in its own right.

Other great epic war movies with ensemble casts that attempt to present the historical "big picture" include Tora! Tora! Tora!, A Bridge Too Far, and Gettysburg. The Longest Day is my favorite although Gettysburg presents strong competition. Great biopic epics include Patton and Lawrence of Arabia.

Perhaps the ultimate movie would be a version of The Longest Day with Saving Private Ryan's gory realism. Sadly, such a movie will probably never be made. Still, The Longest Day stands on its own just fine without it.

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I am a fan of WWII movies. I was looking forward to the arrival of this two disk set. The Film is of course magnificent. I was looking forware to the addition stuff that now comes with DVDs, commentary, interviews, making of films, featurettes, etc. Afterall, there are lots of historians and others who will add to the filmit self. I was wrong. the commentaries are so bad I could hardly make myself finish them. Neither commentaters was prepared. The other matterial was also very poorly done as commpared to what is available on the History Chan and other sources.

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