Fear (1996)

When you see a movie edited on tv and you say "I have got to own this movie!" then you know that it is really good. I was afraid to commit to it since it seemed like a CRUSH rip-off and I didn't want it to outstand my beloved favorite movie. It didn't. But, it's still a creepy little thriller about obsession, love and murder.

Meet Nicole Walker. A 16 year old girl with sex on her mind. Her father just married a woman and has a new stepbrother. Her girlfriend Margo Masse and her friend Gary decide one day, to be late for school and to go get some food at a gritty coffee shop. Nicole glances at David but doesn't really meet him until a party later that night. When the party becomes a riot, Nicole escapes with David to sit around and talk. It's love at first sight.

One night, Nicole tells David that she's ready to have sex. He says he's with some friends and has to do something. She tells him it's alright and to come over after and she tells him the code to the front door. Well, David comes in and they have sex. A day later or so, David goes to Nicole's school to pick her up, he see's Gary hug her. Not good in David's eyes. He goes over and beats the crap out of Gary and in the process, hits Nicole in the face, giving her a black eye.

Nicole's father is more than pissed. David seems to give him the creeps. When he confronts David, David says "You know, Mr. Walker-you really aren't a f***ot." Mr. Walker tells David to stay away from Nicole. After Mr. Walker leaves, David starts hitting himself in the chest. He tells Nicole that her father hit him. So she runs off with David, feeling sorry for him. He asks her if she wants to go to a party when he brings her back to her house. She tells him no. But after a few seconds, when he leaves, she decides to drive over herself. She goes there, and looks in a window to see Margo being abused and about to be raped by her "true love" David.

She now discovers David's true dark side. She won't talk to him so he "attacks" her in a bathroom at the mall. Mr. Walker's red car gets smashed up with a note on the broken window saying "Now I've poped both your ........!"....Mr. Walker finds out where David and his gang lives and ruins the place. When the group finds the place in ruins, David knows exactly who it is. And by their law "An eye for an eye and a tooth for a ...... tooth" they decide to pay the Walker family a little visit...

What worked in this movie was the psychotic attitude of David. He's a soid good actor and a damn good liar. You know he's bad but you really like him. He seems perfect. You try to like him after his accidently hitting Nicole but it becomes harder and harder.

RECCOMENDED TO FANS OF:

Fatal Attraction (1987)

The Crush (1993)

The Stepfather (1987)

CAST

Mark Wahlberg...........David McCall

Reese Witherspoon....Nicole Walker

William L. Petersen.....Steve Walker

Amy Brenneman..........Laura Walker

Alyssa Milano..............Margo Masse

THE MOVIE: 3/4

THE PICTURE QUALITY: 10/10 Anamorphic Widescreen 2.35:1 with only a very very very small amount of grain. Basically, perfect.

THE AUDIO QUALITY: 10/10 5.1 surround is perfect for my TV's sound system. No upping the volume for me! There is also a Dolby Surround French track.

THE SPECIAL FEATURES: Production notes on the film, cast & crew bios and film credits (Only pre-FEAR movies are shown), a trailer with a lot of grain and Universal Weblinks (basically pointless).

SUBTITLES: English and spanish.

You just know when you see photo booth snaps of Nicole and David (Reese Witherspoon and Mark Wahlberg) kissing and snuggling cleverly juxtaposed with David's jailhouse mugshot on his bedroom wall...this won't be a cinematic enigma wrapped in a riddle. Fear certainly doesn't require much thought on the part of the moviegoer.

But it isn't entirely bad though, if you are prepared for predictable teen angst and psycho boyfriend antics. Reese Witherspoon plays the virgin nymphet Nicole Walker, desperately pining for brooding bad boy from the wrong side of the tracks David McCall, deliciously played by Mark Wahlberg. With the help of "gets around" pal Margo (Alyssa Milano), Nicole soon begins to develop a close bond with David, and (surprise surprise) even loses her virginity to him.

But of course, no such plot would be complete without the overprotective father, played by CSI's William Petersen. Suspicious of his daughter's new boyfriend from the start, he forbodes their relationship from the very beginning. That's when things go "psycho"...

David quickly begins to sport the crazy-serious-insane-obssessed face whenever any other guy goes near Nicole or when her father tries to keep them apart. Where does this get everyone? In a whole mess of unbelievable trouble that will leave the moviewatcher saying "hello? this would never happen!" while watching the movie through their hands.

All in all, not a terrible flick. The ending definitely could have had better closure, but you can't expect too too much given the corny plot. Oh, and of course, you get to see Mark Wahlberg without his shirt on. That, in itself, makes the movie worth at least one look. :)

Buy Fear (1996) Now

This is a little known film from the early 90's. The movie takes it's time to flesh out the characters and to build some tension, but when it lets loose, it delivers! Mark Wahlberg gives a very chilling performance as a class 'A' nut job in this above average thriller. It smells like TV, but it's much better than that. Reese Witherspoon and the rest of the cast are very good as well. I rate it 3 1/2 stars.

Read Best Reviews of Fear (1996) Here

While this movie had mixed opinions from critics, I thought it was thoroughly underrated. I didn't really see what this movie didn't have to please people around the globe. It had a story, and an intriguing one at that, it had a lot of genres to mix its story up in, it had well-developed characters especially the character of the father and it had excellent direction, acting and a great script that explores further into the world of terror. The film succeeds highly because of its characters and the original bunch they are. Reese Witherspoon plays the short-skirt wearing, blonde-haired and extremely family-bound and nice young girl that gets involved with a psychopath and doesn't know how to take it. Mark Wahlberg plays this psychopath excellently, his character is someone obsessed with Witherspoon's character and we will go to any great lengths to protect her and assure that his and her relationship is safe. And then he gets violent, very violent, and the outcome is horrifying. The father is not the most original character in the film, but the most developed. He is the caring, brave and extremely clever dad who wants the best for his daughter but doesn't want to hurt her. Anyway, enough about the characters. The rest of the movie rocks too the script is surprisingly original for its premise, taking the boy-meets-girl, girl-dumps-boy, boy-gets-angry angle to new areas in psychological horror. The suspense scenes are incredibly tense and the movie has some gut-wrenchingly scary but incredibly good ideas. I really enjoyed the director's point of view and liked the way he built his film as each of the characters slowly drifts off. I appreciated this thriller a lot and think it is worth your time, but beware, you're in for a pretty darn scary and atmospheric ride!

Want Fear (1996) Discount?

EThis was a good movie. It was very much full of suspense. Good story too. One thing it definitely supported was my strong conviction in the right to own a gun. This is a movie is a must see for a candy*** liberal do-gooder who doesn't believe in the private ownership of guns. That person might have a changed view on gun control after viewing this (I hope). I recommend this movie for Rosie O'Donnell and Michael Moore and other peeps of their ilk. This would be rather educational for them.

Save 42% Off

Snow Buddies (Two-Disc Blu-ray/DVD Combo) (2008)

This direct-to-video movie is a sequel to last year's Air Buddies. In this one, the five pups find themselves in Alaska, where they are soon befriended by Shasta, a Husky pup, and his owner, a young boy named Adam. The boy has big dreams of becoming a sled dog racer, and if the Buddies can get him to the finish line they will be on their way back home. They turn to a wise old Husky for mentorship, but on the day of the race, the Buds unexpectedly find themselves on their own. From what I've been able to see of the film I think many younger kids will love it (the puppies are cute), but adults will be bored.

Here are the bonus features:

* Audio commentary (from the dogs!).

* A blooper reel.

* A hip-hop-style music video of "Lean on Me" by "Hannah Montana" star Mitchel Musso.

* Behind the Scenes "dog-u-mentary," which gives you a tour of the set from the perspective of the video's canine stars B-Dawg, Rosebud and Mudbud.

* A featurette on the film's visual effects.

The movies are based in part on the 1997 feature film Air Bud.

I think people need to be aware that the American Humane Society WAS present during the filming of this movie and none of the animals were treated inhumanely. The same person who wrote one of the Amazon reviews also wrote the same review at several other sites and is spouting misinformation.

That being said, the movie is adorable, my child loved it. He's a fan of dogs and of dog sledding and he enjoyed every bit of it!

Buy Snow Buddies (Two-Disc Blu-ray/DVD Combo) (2008) Now

My kids loved AIR BUDDIES--they watched it non-stop and are really excited for Snow Buddies. I've already purchased this one for them as a surprise--I'm sure they'll wear it out too!

Read Best Reviews of Snow Buddies (Two-Disc Blu-ray/DVD Combo) (2008) Here

I am planning to rent the movie Snow Buddies to watch with my children. I was concerned about the several one star reviews that sited animal cruelty in the production of the film. I believe, based on reading the American Humane Society's press release, that the criticism is unfair and felt compelled to rebut those reviews. Here is a direct quote from the Humane Society's release:

"American Humane is conducting a full investigation on the trainer and breeders and following the progress of the puppies that have been retired from the production, many of whom have been placed in new adoptive homes. The company producing Snow Buddies has complied with each request from American Humane and has made changes so that working puppies will not be put in any position where they may fall ill. The film production company has been very cooperative and has suspended filming until further notice. All of the dogs in the production now have been checked and are being cared for by a veterinarian. We will continue to monitor the production and release our findings once the investigation is complete."

It may bother some folks that dogs were harmed for any reason and by any person in the making of a film. However, by the Human Society's own account, the film production company appears to have done their best to look out for the welfare of the animals. The problems seem to have been with the trainers and breeders. It seems unfair to punish the producers of the film by condemning their product when they appear to have been unaware of the possible improper conduct of the trainers and breeders.

Want Snow Buddies (Two-Disc Blu-ray/DVD Combo) (2008) Discount?

My family loved this movie. Disney, of course, did take care of these puppies during the filming. I love the family experience that is so lacking in movies today, this one had it. It also helps to reinforce the friendship that children have with dogs and that all dogs with the proper love and care are good dogs and can be trained well. I wish there were more movies out there like this one. Thank you so much Disney.

Save 48% Off

Bad Santa (Unrated Version + Director's Cut) (2003)

If you are a fan of Bad Santa, DO NOT BUY THIS DVD. I bought it expecting extended and restored scenes, instead I got a totally different ending and hilarious scenes cut out.

This version ends with the little boy outside trying to clean up the blood on his front steps rather than giving the bully a swift kick in the nards.

One of the scenes cut out is the scene in the gym where Willie and Marcus are trying to teach the little boy how to defend himself. That was one of the funniest scenes in the movie.

The packaging is deceptive. If they had said, "new ending" on the notes, I would have left it alone. It didn't and I wasted my money. I thought I would come on here and post a warning.

For those of us who can't quite get into the Christmas spirit, "Bad Santa" is a massive preemptive strike against all of the insufferable sentimentality we're going to be subjected to a few months from now. This movie is every bit as entertaining and funny as "School Of Rock," but where "School Of Rock" succeeded through the overwhelming weight of its good intentions, "Bad Santa" (its moderately heartwarming ending notwithstanding) is all about bad intentions. This movie, especially in its powerhouse first half, displays such a commitment to mean-spiritedness that you can't help but love it.

Billy Bob Thornton's safe-cracking department-store Santa Willie is the epitome of ugliness, all the more so because he commits much of his mayhem in his work outfit. Early on we see him getting drunk and throwing up in an alley, and from there he remains in the gutter for much of the movie. He chain smokes, he wets himself in his chair, he fornicates in a dressing room, and above all, he swears. I don't find profanity inherently funny, but Thornton's acid tongue manages to turn four-letter words into weapons of unimaginable destructive power. More than anything I've seen since the "South Park" movie, "Bad Santa" manages to elevate nasty language into an art form.

Even in its moments of humanity, the movie doesn't aim too high. Willie does have a love interest, but not quite in the conventional sense: intead, it's a young bar waitress with a Santa fetish who demands that Willie wear his stocking cap during coupling. Willie also finds some meaning in his life by striking up an offbeat friendship with a fat, bullied kid named Thurman, a bond that manifests itself in one unforgettable scene when Willie beats the living hell out of the teen skateboarder who gave Thurman a black eye.

Even though it's Thornton's show, "Bad Santa" also benefits from a top-notch supporting cast. In his last film role, the late John Ritter is the picture of ineffectualism as the mall manager; Bernie Mac is admirably slimy as the self-interested security chief; and the three-foot-tall Tony Cox belies his small size with a scene-stealing performance as Willie's "elf" and partner in crime.

"Bad Santa" doesn't have an enormous level of plot development, but then it doesn't really need much. What's really important is the way the movie's cynicism slices and dices the sugary "cheer" (which is often cynical itself) that typically accompanies the holiday season. Christmas isn't all about irritating songs and people rioting in department stores over cheap presents, and we all owe a debt to "Bad Santa" for dumping a little snow on the parade.

Buy Bad Santa (Unrated Version + Director's Cut) (2003) Now

Not only is this Santa bad, he is vulgar, crass, dirty, foulmouthed, loose-moraled come to think of it, I can't imagine a worse Santa. In spite of this, Bad Santa is a brilliant dark comedy, full of huge laughs from beginning to end, as long as you can put up with all of the bad language, which has got to be close to setting a record.

Billy Bob Thornton plays Willie, an ex-con drunkard who gets a job every year at a different department store playing Santa, along with his own elf, Marcus (Tony Cox). The catch is that every Christmas Eve, Willie and Marcus rob the department store blind. Willie wants to get out of this game, but he's so irresponsible and undisciplined that every year he's in dire need of cash again and needs to pull another job. As Santa, he swears at kids, urinates on himself, and is generally the exact opposite of what you want your Santa to be.

This particular year, a young kid (Brett Kelly) who is oblivious to the fact that Willie is not, in fact, the real Santa, attaches himself to Santa. Lo and behold, the kid lives alone in a posh suburban house with only his catatonic granny, so Willie takes up residence with the kid. As Christmas Eve approaches, Marcus becomes increasingly concerned with Willie's condition, the kid becomes increasingly annoying, and Willie stays exactly the same drunk, angry, and generally foul.

Bad Santa is exactly my kind of movie unrelenting, unapologetic, inappropriate, completely distasteful, and utterly hilarious. It's essentially the anti-Christmas film. Billy Bob Thornton has an unbelievable knack for acting, and an almost poetic way of unleashing cuss after cuss. This movie gets a big thumbs up, but definitely is not suitable for kids or the easily offended.

Read Best Reviews of Bad Santa (Unrated Version + Director's Cut) (2003) Here

If you are a bah-humbug individual, a Billy Bob Thornton fan, and/or have an appreciation for dark comedy....THIS is the Christmas film for you! Oh, yes, it requires an open mind and the ability to appreciate the unique, but finally here is a holiday film for those who like their seasonal entertainment with a little less 'sugar and spice'.

First, do not take your 11 year old to see this film, as did the gentleman sitting behind me in the theater. He elected to remain even though I advised him this was an adult film (seems the R-Rating didn't seem to do the trick). I stressed that was probably not suitable for his son even if my answer to his inquiry: "Well, it's about Santa Claus isn't it?" was "YES". Because the entire answer was: "YES, but a very, very baaad Santa".

After the movie, the viewer told me that I was correct, that he should have left, and that he had in fact started to leave several times during the film, but didn't. He added that he himself did not like the film. This made be all the more curious as to exactly why he elected to watch until the credits were rolling.

All the other movie patrons must have checked the ratings (as they were all adults), read the reviews, watched the promos, and perhaps caught Billy Bob on every talk show on TV the previous week (where he spent an inordinate amount of time telling the public 'This is NOT a family film'). They also must have enjoyed the film, because they all laughed, actually, they all laughed a lot.

Being an avid, devoted fan of Thornton, I understand and would be first to admit that I am more than a little biased when it comes to Billy Bob. I think he is incapable of making a film that is not entertaining. That being said, I would have enjoyed 'Bad Santa' if Santa had been portrayed by some other actor (except perhaps Jim Carey, but I digress). However, I don't know any other actor who bring the pathos, the heart, the lewdness, the earthiness, the seediness, and the overall great performance to this film that Billy Bob did.

Billy Bob Thornton continues to explore the depths of his talent and take fans along for the ride by always finding new and unique characters to portray. Generally he does this via the 'independent' film method, because indie films provide the greater opportunities for his enormous creativity.

This time his choice was not a 'new' character, rather actually a very, very recognizable character recognizable at least by name Santa, and this time in a film by commercial film makers. That is where our acquaintance with the character of Santa ends. Willie Stokes' Santa may resemble a lot of characters that we know really exist, as opposed to old Kris Kringle. We know this because many of us have met just such confused people in our real lives, though usually not wearing red velvet suits. The individuals we knew were known to us in the guise of losers, con men, hard-drinkers, and otherwise less-than-perfect people who are just a little bit mixed up about who they are, where they are going, and exactly how to get there.

The only disagreement I would have with many of the reviewing film critics about this film is their insistence that "Bad Santa' does not have a 'good hearted' ending. I would beg to differ. While I won't give it away, I would tell you it has what might be considered an ending that is totally 'appropriate' for a holiday film such as 'Bad Santa'. It isn't an 'It's A Wonderful Life' ending, but then again the film isn't 'Miracle on 34th Street'. But we already know that because the title reveals it from the git-go. I may be a bit of a softie when it comes to kids, but I must tell you some of the tears in my eyes at various moments in 'Bad Santa' were not tears of laughter.

Speaking of kids, Brett Kelly, the young actor who plays 'the kid' in "Bad Santa" is priceless in this film and perfectly cast. Brett is the Coronji Calhoun (Tyrell Musgrove Monsters Ball) of this film. Thornton is excellent in acting in films with children, this film being no exception.

John Ritter, like Billy Bob, has played a variety of characters in a myriad of films during his career and is always 'absolutely on the mark' for the personality of each character. Rather than being 'sorry' for Ritter that his last film was 'Bad Santa'; I believe that making this film with his old friend (from 'Hearts Afire', the 80's TV series) Billy Bob Thornton, in their first film together since 'Sling Blade', was probably a tremendous source of fun and pleasure for Ritter. I am personally very glad that he and Billy Bob had the opportunity to co-star one last time before John's untimely death. While his on-screen time seemed short on this film, John Ritter, as usual, did an excellent job and was very funny, as was always his way.

Open your mind, prepare for laughter, and give yourself the gift of a different kind of holiday cheer this year go see 'Bad Santa'. If what you want for Christmas is a little break from the often false cheerfulness of the traditional and instead a swig of dark humor for the delight of your soul, 'Bad Santa' can definitely make all your wishes come true whether you have been bad or good.

Want Bad Santa (Unrated Version + Director's Cut) (2003) Discount?

Bad Santa, the new anti-holiday comedy from director Terry Zwigoff is one funny movie. It is just what you'd call hilarious and Billy Bob Thorton does make one very bad santa.

Thorton plays a lascivious, acoholic who works with an elf, (hilarious Tony Cox). They're both bad allright! They're business specializes in stealing, by working at different malls around the area and waiting for the right moments to take what they want. Soon a bartender (Lauren Graham) falls for Thorton. The story works out well, it's not amazing (obviously) but it does this movie just fine. As for humor, this movie receives a high rating on my scale. Note: If you find Christmas too sacrosant to joke about or if you don't like scenes using abusive language towards children, then you should skip this. Also Brett Kelly plays a kid, who think Thorton is a real Santa and won't leave him alone.

This is a dark comedy, no doubt. If you have a dark sense of humor, you should definetly look into it. Though the film is vulgar and some of the humor might be viewed as vile, it is entertaining all the way. Bad Santa is rated R for Pervasive Language, Strong Sexual Content and Some Violence. The language is consistent and seems to never end, the sexuality is fairly explicit, you mainly hear sounds, but some is shown. There are only about 3 sex scenes but none include nudity. The violence is reasonably mild, a shootout near the end, which surprisingly isn't bloody and some fistfights. Billy Bob Thorton has also received a Golden Globe nomination for Best Actor for his performance, he does make a great, bad santa, but I'm not sure if he deserves it. Other contenders include, Bill Murray for "Lost in Translation," and yet another nomination this year for Jack Nicholson for "Something's Gotta Give. All in all, a fine comedy, the one thing I might've changed was the constant profanity but I guess it helps make the movie even more funny. Worth seeing in theatres and not a bad pick for owning on Video or DVD.

Save 63% Off

Other Son (2012)

As I settled in to watch the heartfelt drama "The Other Son," I was instantly wary of its contrived set-up and principle plot thread. Like a classic soap opera, the center of this well meaning movie revolves around a switched-at-birth incident. This accident, however, is wrought with political and religious significance. One family is Israeli and one is Palestinian. What happens when the mistake is discovered as the two boys approach adulthood? Such a set-up would allow for plenty of intellectual discussion, teaching moments, and heavy handed drama. I could already see where the movie was heading. Remarkably, though, director Lorraine Levy (working with an incredibly nuanced screenplay) doesn't travel down the expected path. Instead, she takes this situation and turns it into a thoughtful, restrained, and pleasingly subtle experience. Truthfully, I loved "The Other Son." It never attempts to preach at its audience, it allows its characters to discover their own way. Once I gave in to the premise, everything else felt absolutely real and relatable.

In Tel Aviv, Joseph (Jules Sitruk) prepares for national service and it is discovered that his blood type does not match those of his parents. This fact throws his folks into a tailspin looking for a rational explanation. It is soon determined that a mix-up might have occurred during a hospital evacuation during the Gulf War eighteen years prior. The other boy, Yacine (Mehdi Dehbi), lives on the West Bank with his Palestinian family. After the initial shock, the two mothers (both super) try to navigate the complex situation and natural curiosity brings the two boys together. "The Other Son" is not really a plot driven endeavor, it is a character study that showcases how all of the principle family members might adjust to such an event. As such, I found the movie to be incredibly successful. Not only are the young stars given much attention, but we see the dynamics evolve within the families as they come to terms with this devastating development.

The revelation has major religious significance, obviously, especially as Joseph is declared no longer Jewish. And a number of political prejudices are confronted as supposed enemies are now united as family. The movie doesn't make bold proclamations on these topics, though, the character wrestle believably with the issues raised and that's where Levy's subtlety is appreciated and invaluable. The impact and the power of the film really snuck up on me and got under my skin. In the end, I felt a true part of this journey toward identity. The entire international cast is top notch and I've found myself thinking about "The Other Son" with some frequency since watching it. A great drama for adults, I give this one my highest recommendation due to its perfectly balanced restraint. KGHarris, 3/13.

Alternately "schmaltzy" and alternately realistic, this film is a subtitled depiction of present-day Middle-East tensions personified by the use of an uncanny family drama. Very good acting and colorful footage of ethnic locales adds to the enjoyment level. There are, however, some elements of the story that seem to stretch rationale belief in their treatment of deep-seated political hatred and religious confrontation. To avoid "spoilers", I won't elaborate. Also be advised that there is some English dialogue, and when it is spoken, the subtitles vanish. Which is a disservice to the hearing impaired.

Buy Other Son (2012) Now

Originally saw this it a local Jewish film festival. Great great movie about a Palestinian baby and a Jewish baby accidentally switched during a rocket raid when the nurses were scrambling to the bomb shelter.The fact is discovered 17 years later. Incredible portrait of parents, children, love, conflict, family and a glimpse of the war between Jews and Palestinians. Powerful, moving, disturbing and yet a real soul searcher about what the word "son" means to Mothers. P, Walnut Creek, CA

Read Best Reviews of Other Son (2012) Here

It is a superb film, fascinating and touching.

Wonderfully played and directed.

A beautiful story that touched my heart, really !

Want Other Son (2012) Discount?

"The Other Son" tells of Tel Aviv resident Joseph (Jules Sitruk) who, as he is preparing to join the Israeli army for his national service, discovers he is not his parents' biological son, and that he was accidentally switched at birth with Yacine (Mehdi Dehbi), the son of a Palestinian family from the West Bank. At the time of the boys' birth, during the first Gulf War, a missile attack forced the hospital's evacuation, and in the confusion, they were sent home with the wrong parents. Now, 18 years later, this revelation turns the lives of the two families upside down, forcing them to reassess their identities, their values, and their beliefs.

Writer/director Lorraine Levy and co-writer Nathalie Saugeon focus on how the young men and their families deal with the situation, with awkward visits among newfound relatives across the border and arguments within the families about years spent haboring an "enemy." Performances are first-rate, particularly those of the two young leads, and the story is compelling.

The film is in French, with English subtitles. Bonus extras include making-of featurette, deleted scenes, and bloopers.

Save 40% Off

Withnail and I (1987)

Somewhere in the tenebrous recesses of our souls is the saving ability to laugh in recognition at our most forlorn circumstances. The funniest films mine this trove of despairing exigencies in an urgent, played-for-real mode. And none do it better than WITHNAIL & I, now available in a superb uncut version on DVD.

Bruce Robinson, the sometime actor and screenwriter ("The Killing Fields"), made his 1986 directorial debut with his semi-autobiographical screenplay that is widely considered the greatest neglected comedy of all time. The slender plot is simple. Flatmates Richard E. Grant (Withnail) and Paul McGann (& I) are two stoned, hungry, broke, and out-of-work actors wallowing in self-made squalor. When they get an opportunity to spend a weekend in the country cottage of Withnail's three hundred pound Uncle Montague, they go, hoping to "rejuvenate." What ensues is an extraordinarily deranged weekend of drunken delusion and distraught discovery that you will never forget. To reveal any more story details would be a gross disservice to those who have not yet found this wonderfully twisted, honest and perfect film.

Richard Griffiths is unsettling as the campy, dissolute predator cousin Montague and Ralph Brown is spot-on as Danny, the slow-talking, menacing but philosophical dope dealer. Hard to believe this was Richard E. Grant's first film. Even harder to believe is that he is a non-drinker who doesn't smoke.

Perfectly cast, nearly every spoken line is unfiltered emotional truth and most are quotable -especially the caustic diatribes of drunken, acerbic Grant. And the scenes themselves are brilliant set-pieces that unfold like diamonds in the rough being cut to gem-stone perfection.

After experiencing this unblinking look back at the end of the 60s in a London suburb where a tenuous friendship, high expectations and unfulfilled dreams collide during a disastrous weekend getaway, you too will laugh when you next hear the opening riffs of Jimmy Hendrix's "Voodoo Child." And you will understand when someone blurts out in a restaurant, "We want the finest wines available to humanity. We want them here and we want them NOW!. And cake."

This new Criterion widescreen version is clean and sharp and there's a too-short bonus interview with Robinson, Brown, Grant and McGann.

You must trust me on this one, so right now, get on line and order this extraordinary movie. It's one to own and watch at least once a month. It will put everything in the proper perspective and cure what ails you. Highest recommendation.

Criterion has done a wonderful job with this DVD release of WITHNAIL & I. The picture looks sharp, the sound is clear, and the extras are a lot of fun. The biggest difference for me was that the only video version of this film I owned was the full-screen version that contains numerous edits. Watching this film uncut for the first time in years really pointed out how much I had been missing with the video version. Getting this DVD is definitely worth the money.

The film itself is a joy to experience. While the plot cannot be accused of being overcomplicated, this simplicity is more than made up for in the wonderful characters and brilliant dialogue (virtually none of which can be quoted in an all-ages forum such as this). Loosely narrated by Paul McGann's "I" character, this film depicts a brief period in the life of two struggling actors as they attempt to find booze, drugs and jobs in the dying days of the 1960s. The movie covers a wide spectrum from some scenes featuring the funniest lines that you'll ever hear to small touching moments that are surprisingly moving. This is highly recommended to anyone who enjoys good moviemaking.

Every character in the picture is superbly acted and written for. It's a testament to Bruce Robinson's directing skills that the characters compliment each other so well instead of clashing and overbearing the others as could so easily have happened. The secondary characters work as well as the leads and each one adds their unique flavour to the mixture. Robinson doesn't make the mistake of giving the smaller parts too much on-screen time and having them overstay their welcome. Each character says and does no more than they need to and leaves everyone wanting more.

Richard E. Grant and Paul McGann are perfectly cast in their roles. Each bile-covered insult roles off of Grant's tongue as if he'd been swearing at McGann all his life. It's amazing that Grant is a teetotaler in real life and was relying on pure skill for most of his inspiration. Excellent acting.

The documentary that is included on the DVD is 30 minutes long and quite excellent. There are interviews with Richard E. Grant (Withnail), Paul McGann (...& I), Bruce Robinson (writer/director), Ralph Brown (Danny) and a host of other people related to the production. It's a funny and enthralling look at the people and ideas behind the film. Just fast-forward through the trainspotters.

Buy Withnail and I (1987) Now

This is not, as others have mentioned merely a vapid view of the 1960s or a drunken homoerotic frolic in an English countryside. It represents all those men and women who have battled long and hard to achieve some sort of authenticity. Withnal wants to act in something worth while, 'I' wants to do the same but has much more class and is not locked into a decaying and fluid so called post modern world, represented by collapsing buildings they both visit and live in, decayed old pubs inhabited by violent drunken louts who want to hurt and maim in their pain of loss. Then there is their old Jaguar one eye one window wiper and two very drunk survivors. This is a meditation on the qualities of past values and modern chaos. The end leaves one sad and uncomfortable as Withnal speaks from Shakespeare 'what a piece of work is man', the irony is almost too hard to bear as Withnal speaks to a wolf behind the zoo bars and as rain upon rain washes away the old world. This a film everyone should watch and is for anyone who wonders about the old, the nostalgia for the past and the new modern and careless world of today. The wolf pacing in front of the zoo bars mirrors the human pacing outside the fence, both are locked into their worlds. Withnal is beautiful in his aloneness and 'I' works to represent those that can make transitions from old values to new worlds, but does he lose something in the process? The musis is also fantastic and I wish I could buy and album of the music, the initial saxaphone rendition of a whiter shade of pale is beyond beautiful. Watch it at least 10 times.

Read Best Reviews of Withnail and I (1987) Here

Withnail & I is one of the greatest films ever made funny, poignant and superbly written, acted and directed.

So, it is such an appalling shame that this NTSC VHS version is so poor. It is hideously cut in places leaving out parts of scenes and some of the funniest dialogue. This leaves you confused when the narrative shifts suddenly when you were expecting the uncut version. For me, this rendered this version unwatchable.

Buy a PAL compatible VHS player and buy the uncut European version from amazon.co.uk, wait for the DVD or wait for the full version to be shown on the Independent Film Channel and record it, but stay away from this turkey!

Want Withnail and I (1987) Discount?

Another cult movie has just entered the Criterion collection : british writer-director Bruce Robinson's 1986 WITHNAIL AND I starring Richard E. Grant and Paul McGann, both excellent. Richard Griffith as the cousin Montague and Ralph Brown as " The Hippie Philosopher " are hilarious. This film is a valuable addition to your library if you like english comedies, the sixties or simply a smart movie.

WITHNAIL AND I is greatly autobiographical. Bruce Robinson's 25 minutes interview featuring home movies and photographies shot in London in the mid-sixties is very instructive ; one understands soon that Withnail and ("I") Peter's life pictured in the movie has been the normal life of a large number of the english teenagers of the sixties. The character of "Withnail" played by an hallucinated Richard E. Grant, who in the real life doesn't drink alcoholic beverages, will certainly stay in the annals of Movie History.

If WITHNAIL AND I moves us so much, it's because this nostalgic movie is about lost hopes, about the green pastures of our youth when the world was ready to be conquered and waiting for us. Withnail is a pathetic character who could have been a genius in any artistic domain but who didn't create anything because, after all, it wasn't so important.

Apart of the Bruce Robinson interview ( look carefully at the level of the red wine in his glass... ), one will also find in this Criterion presentation a limited-edition of a poster, a theatrical trailer, liner notes by Robinson, various pre-production photos and english subtitles.

A DVD zone nostalgy.

Save 28% Off

Ferris Bueller's Day Off (Bueller... Bueller... Edition) (1986)

Film buffs, DVD collectors, and John Hughes fans beware! The "Bueller...Bueller..." edition DVD does not include the commentary track by writer/producer/director John Hughes which was included on the original 1999/2000 DVD release. It is a great commentary and is sorely missed from this edition.

I first saw "Ferris Bueller's Day Off" in 1991, and I've LOVED it ever since. I was so thrilled to see that Paramount was giving this classic film an upgraded DVD Special Edition. Upon seeing it however, I must say that I'm pretty disappointed. The extras, although enjoyable, are sorely lacking what they could and SHOULD be. Most of the film's major stars (and sometimes even minor ones like Kristy Swanson and Richard Edson) provide some updated interviews that are fun to watch. But, the bonus material and interviews featuring Mia Sara are all from 1986! She obviously CAN'T be that busy these days, so doesn't it make sense that an updated interview with her could have been included?

Also, the shooting script for this movie contains MANY deleted scenes and dialogue, some of which were a GREAT read and are bound to have been filmed. Ferris going through the house looking for money in some STRANGE places (all while the Pink Floyd tune "Money" was playing), as well as Cameron's dad seeing his 1961 Ferarri being driven through Chicago's streets by the two parking garage employees would have been GREAT to see. However, the ONLY deleted scene we get here is a behind-the-scenes version of the waiter at Chez Qui telling the trio that the food they were eating was pancreas (which of course was referred to later by Ferris in the taxi). No true special edition DVD should be without a deleted scenes section. VERY disappointing.

Next, this edition (like the original) does NOT include a theatrical trailer. It's rare for even a bare bones DVD not to include at least one trailer, but nearly UNHEARD of for a special edition! It's bound to still exist, and I can't beleive that it's THAT hard to find that they could not have dug it up for this "special" edition.

Finally, the original DVD, while lacking a trailer, DID include a GREAT feature-length commentary track by writer/director John Hughes. However, that commentary track is NOT included here! That was either a severe oversight or a downright mean move by Paramount. How hard would it have been to reproduce it here? In effect, its omission forces anyone who bought the original DVD and wants to upgrade to the special edition to keep the original instead of selling or trading it, all because they want to retain the commentary. Paramount should have at least made it possible that owning this new DVD would provide the most complete "Ferris" experience presently possible by itself, but without the original's commentary it doesn't.

In summary, if you bought the original DVD, then I advise you to keep it and just rent this new version to give the special features a look. Save the rest of what you would otherwise spend on this to put towards something more worthwhile. If you have NOT bought the original DVD however, then this would be a worthwhile purchase to own the extras that were not present on the original. But, do rent the original to give a listen to that AWESOME commentary track by John Hughes.

Buy Ferris Bueller's Day Off (Bueller... Bueller... Edition) (1986) Now

I am a teenager. I still enjoy(?) the joys(?) of high school. And let me say that Ferris Bueller's Day Off is still pertinent, as well as enjoyable.

I've seen the ending numerous times on TV, but this very night I decided to watch the whole thing. I rented it with a friend and loved it. Tomorrow I will go out and buy the DVD.

John Hughes was one of the precursors of such great writer-directors as Kevin Smith, and this film is evidence. It may have different focuses and some might find this difficult to interpret, as some reviews have said.

I say "Bull." This film captures high school. Even if all the teachers aren't as boring, the administration is still spreading the same lies that the principal character does in the film. He tries for authority and only pulls off incompetence.

With humor, light youthful cynicism, and carefree but intelligent views on life, I can attest to Ferris's own accuracy. I may not be as successful, but I see myself as a Buellerist(even if it wasn't intended).

So what if the movie ends seriously? That's what high school is! There're good times, hilarious times. And then there's learning who you are. Coming to terms. I was moved by Ferris Bueller's Day Off. In a world where accuracy often means disgusting, hack films like American Pie, this movie captured school days masterfully. Films that take the act of growing up and make it a sick joke are insulting, in my opinion. American Pie featured the darker side of growing up. People who are self-centered and petty. What a life, to start in such a way. Ferris Bueller is shown to be human and moral as he speaks about his friends, however. His analyses are wonderful, and caring while not being sugar-coated. The film was true but tasteful, succinctly and accurately showing the trials of growing up.

It's over-the-top, but anyone who was interesting in high school(and childhood in general), I'm sure, can attest to memories that seem larger-than-life. While it may be difficult to watch Ferris Bueller run up slides and jump on trampolines all to get home with a serious eye, one must admit that when one looks back at school, some things are like that, even if only in your mind.

Ferris Bueller's Day Off works on levels that only one who is or has been young can appreciate.

Read Best Reviews of Ferris Bueller's Day Off (Bueller... Bueller... Edition) (1986) Here

Part 1: The Movie

If the measure of a film's popularity is how many times you've seen it, then Ferris Bueller's Day Off is my favorite movie. I've seen it 16 times: 13 in the theatre during its original run, once on videotape, twice on a recently purchased DVD (once each with and without the director's commentary track).

Plot: One fine day toward the end of his senior year in high school, a young man named Ferris Bueller (Matthew Broderick) ditches school and, with best friend Cameron Frye (Alan Ruck) and girlfriend Paige Peterson (Mia Sara) heads for the big city seeking adventure. Beneath surface events, Ferris' "day off" is a last ditch rescue mission designed to save Cameron's soul. This is his last chance to help Cameron, because after this school year's over they'll go to separate colleges and, effectively, a friendship that's endured since the fifth grade will be over, Cameron will be beyond Ferris' reach and aid.

Ferris Bueller's Day Off has an elegantly simple, effective story structure, a classic example of separate plotlines that move concurrently, then tie themselves together at the end. There are two plot threads in this movie: (1) The story of what Ferris, Cameron and Paige do during the day off, and how these characters, primarily Cameron, are affected and changed by it. (2) The attempts of Ferris' sister Jean and Dean of Students Edward R. Rooney to expose Ferris. At the end of the movie, the two plotlines converge and resolve each other when Ferris, Jean and Rooney come together at last, and it's Jean, changed by the events of her own "day off," who finally saves Ferris from Rooney.

Matthew Broderick plays Ferris, for all his fast talk and con artist ways, as really the most innocent character in the movie, almost childlike in his belief he can accomplish anything. Ferris Bueller is an ultimate refutation of one of the great archetypes of comedy, The Fool.

The Fool is a person of childlike innocence, who naively believes he can accomplish anything, and our amusement comes from watching him fail. The classic example of The Fool is Charlie Brown. For decades, Lucy Van Pelt said to him, "Come on, Charlie Brown, kick the football, I won't move it." Time after time, he fell for it. When Lucy swiped the ball out of the way at the last moment and he went flying through the air to crash down on his back, we laughed and said to ourselves, "What a moron! I'd never be tricked like that." We felt good about ourselves by contrast. The thing is, our amusement at The Fool is essentially meanspirited and soul-deadening. The Fool says to us, "You can't win. The game is fixed. Any belief in yourself, that you can accomplish wonders, is false and foredoomed to failure." What Ferris Bueller says to us is, "If you believe in yourself....you can accomplish anything." Then he goes ahead and does exactly that, right before our eyes.

I first saw Ferris Bueller's Day Off in 1986 at the Ventura Boulevard Cinema in the San Fernando Valley. It played there for, like, four or five months. It was incredible. People simply didn't get tired of seeing it, thus the long engagement especially by LA standards where movies tend to be there and gone. Though Matthew Broderick's portrayal of Ferris is obviously the linchpin that holds the movie together, what really made the film for me, bringing me back to see it time and again, was Alan Ruck as Cameron Frye. Without getting into a display of emotional scars here, let's just say that while I admired Ferris, I identified strongly with Cameron. Ferris is the kid we all wished we could be. Cameron is the kid so many of us really were. When Cameron explodes all over the Ferrari, he's expressing the rage for all of us.

It's a wonderful fantasy there could be such a friend as Ferris, who could see our (Cameron's) pain, would move heaven and earth to help him, and the person would find the strength to take advantage of it. There's a bit of a messiah complex to Ferris Bueller, a desire to save those he deems worthy of salvation. I'm sure one of the reasons he's been friends with Cameron for so long is that Cameron so obviously needs help. Cameron Frye is a long running personal project for Ferris Bueller, and one of the engines driving Ferris' actions in the movie is the realization he's running out of time, if he wants to effect lasting, positive change in Cameron's life it's got to be NOW. My favorite moment of the film, really THE pivotal moment, is when Cameron says, "No. I'll take the heat." And sitting there in the theatre, I smiled and whispered, "Good for you."

Part 2: Cast and Characters

The four main characters, Ferris Bueller (Matthew Broderick), Cameron Frye (Alan Ruck), Paige Peterson (Mia Sara) and Edward R. Rooney (Jeffrey Jones) are perfectly cast. Really, all four actors do such marvelous work it's impossible to imagine anyone else in these roles.

Of Matthew Broderick's portrayal of Ferris Bueller, what can I say? Wonderful. Beyond that, any poor words of mine couldn't do his work here justice. For there it stands, magnificent in its own right. See the movie, you'll know what I mean.

For all the talk I've heard over the years of Ferris being "the perfect kid," he's hardly a perfect person. There are aspects to his personality that aren't particularly admirable. He's deceitful and manipulative, probably a compulsive liar. When things don't go his way he becomes aggressive and abusive, shown most extremely when he slaps Cameron. But Ferris does have many good qualities. His lies are frequently in the service of the underdog, his deceptions designed to punish those who really have it coming. While Ferris manipulates those around him in the movie, most notably Cameron, he justifies it by saying it's really for Cameron's own good. From what we see in the film, he's absolutely right.

It's interesting to note that, based on the director's commentary, I've always seen Ferris as being a much nicer person than his creator does. One of Ferris' most impressive qualities is a complete lack of snobbishness. We see from Ferris' home life his parents are solidly middle class. Cameron's family is rich. Paige, by her class and polish, was probably born with a silver spoon in her mouth, too. But Ferris can be friends with a white trash greaser like Garth Volbeck (Charlie Sheen's druggie character) as easily as a rich kid like Cameron. He simply doesn't see any reason he shouldn't. This total absence of classism is one of the things that wins Ferris such admiration among his peers. His friends at school go from the top of the social structure all the way to the bottom. When Grace, Rooney's secretary, lists all the various cliques at school that adore Ferris, and sums up, "They think he's a righteous dude," she's right. He IS a righteous dude. To paraphrase Kipling, all men count with him, but none too much. ["If" by Rudyard Kipling.] That whole "walk with kings nor lose the common touch" thing isn't an unattainable ideal with Ferris. It's who he is.

For all his prevarication, when Ferris realizes he must take responsibility for his actions, or even something not, strictly speaking, his fault, to protect a friend, he'll do it. Something else people admire about him. After the Ferrari goes though the window and into the ravine, this is the only time in the movie Ferris is scared. He knows this is bigtime. This isn't ditching school, it's the destruction of a $200,000 automobile. When he says to Cameron, "We'll tell your father I did it. I'll take the heat," he means it. When push comes to shove, when the rubber meets the road, Ferris is a stand-up guy.

Alan Ruck is amazingly good as Cameron Frye. All four leads seem chosen for their mobile, expressive features, but none more so than Ruck. I'm telling ya, the face of Plastic Man, folks. Ruck's features are so malleable he reminds me of a young Jim Carrey without the goofiness.

Mia Sara, as John Hughes says during the director's commentary, is a perfect Paige Peterson. This role required someone very pretty, very elegant, but also strong enough to tolerate and control Ferris Bueller. I would go further. Not only tolerate enjoy. There's a theory in psychology called relationship balancing, the idea we subconsciously look for a partner who's strong where we're weak. Thus these two people together form in essence one fully functional personality. Paige is stable, and quite up to keeping her cool in the face of Ferris' weirdness. When Ferris asks her, "You want to get married?" I'm sure at least part of the reason is to tweak her, to see how she reacts. She's completely unfazed, just takes it in stride. It makes sense a person with Ferris' chaotic lifestyle would be attracted to someone with her poise. But also, beneath that calm exterior, there's enough of a wild child to Paige she can truly enjoy Ferris, and pitch in wholeheartedly, a willing partner in crime to his schemes. Really, she's perfect for him.

Could anyone else on Earth have portrayed Edward R. Rooney as well as Jeffrey Jones? I think not. It's totally believable that Rooney and Ferris would loathe each other. Rooney is the sort of stupid, pompous, authoritarian control freak that a free spirit like Ferris would instantly, and correctly, recognize as a natural enemy. And vice versa.

These four actors, all arguably doing the best work of their careers, are the heart of this movie.

Part 3: The DVD

There's only one "extra" on the DVD. John Hughes' (writer and director of Ferris Bueller's Day Off) commentary track can be run with the movie. Much more so than many director tracks, there's some really good stuff here. For instance:

* Matthew Broderick and Alan Ruck worked extensively with each other on Broadway before doing Ferris Bueller's Day Off, which helps explain their easy chemistry. It's no stretch to watch these two guys react to each other, and believe they've been friends for years.

* The best bit of commentary, for my money, is when Hughes discusses the sequence set in the Art Institute of Chicago, which was a kind of sanctuary for him when he was in high school. The paintings in this scene are those that were his favorites. Hughes' tone of voice, the emotions he expresses during this scene, are really touching. Prior to Ferris Bueller's Day Off, the interior of this building had never been filmed for a movie, and it was a big deal for Hughes to go back to this place that had been so important to him, and show people how beautiful it is.

* Charlie Sheen was only brought in for one day to play Garth Volbeck during the police station scene. With little or no time to rehearse, he burned up the celluloid anyway. If I can believe the Internet, Charlie stayed awake for 48 hours before shooting to give himself the proper strung-out look. In this scene he looks so much like his Dad at the same age it's eerie.

* The parade sequence was filmed during a real parade in downtown Chicago. This wasn't a situation where the street was cordoned off and filled with extras. The Ferris crew had a float in the actual parade. No one knew who they were. The crowd didn't know, probably the city fathers didn't know. When the music for "Twist and Shout" started blasting, totally of their own accord, people from the surrounding areas were drawn in, started dancing and singing along. All the shots of individual faces from the crowd weren't actors, they were "real people," there because they wanted to be, looking like they were having fun because they were. The construction worker dancing on a scaffold, way up on that half-finished building? A real construction worker. John Hughes saw him dancing, grabbed a cameraman and said, "You've got to get this guy." Then he looked at the street, saw it absolutely packed with thousands of people, all dancing and singing along with "Ferris," totally into it, and said to the guy on the camera crane, "TELL me we got that shot." Because there's no way they could have afforded to stage it, or even imagined something that wild. It just happened. TOO cool.

* There were several sequences actually filmed but cut from the final version of Ferris Bueller's Day Off. In one, Ferris goes on a radio program and talks about wanting to be the first teenager to ride the space shuttle. This was actually included in what would have been the final cut, and a trailer went out with some of that material in it. Unfortunately, the day after the trailer was released the Challenger exploded; the studio pulled the trailer and Hughes had to recut the movie to trim the shuttle stuff. I actually remember that trailer. I saw it during the day or two it was in release. If I remember correctly, a voice asks various people, "What do you think of Ferris Bueller?" and one of the respondents, a high school kid, says, "Ferris Bueller? He's going to be the first teenager to ride the space shuttle."

* Also cut was Ferris' relationship with the Volbecks, the Charlie Sheen character's family. Garth Volbeck's father owns the tow company that hauls away Ed Rooney's car.

* Another excised bit: In the restaurant, when Ferris, Paige and Cameron are brought menus, none of them want to admit they can't read French so they order something, then start eating, having no idea what it is. Then we get to see their reactions when they find out it's pancreas. This is referred to later in the cab scene when Ferris, listing to Cameron the things they've done that day, says, "We ate pancreas."

It would have been nice to have the original trailer, revised trailer, and deleted scenes included on the DVD. While chances of seeing that level of work put into the DVD for a 20 year old movie, no matter how good, are slim (even assuming the chopped footage still exists) I can dream that maybe one day, on a future version of this DVD, it might happen. I'd buy it in a heartbeat.

While we're on the subject of wishes, why oh why was the music from Ferris Bueller's Day Off never released as a soundtrack? A crime, since it's got one of best combination of songs I've ever heard in a movie. Another "I'd buy it in a heartbeat" situation that'll probably never happen at this late date.

The later "Bueller, Bueller" edition of the film does not feature this excellent commentary track.

Want Ferris Bueller's Day Off (Bueller... Bueller... Edition) (1986) Discount?

The 5 stars is only in direct relation to what's ON this 'Bueller...Bueller..." edition and the film ITSELF. Would it have been soooooo difficult to transfer the old commentary from the bare bones edition of the film from 1999? It's a good thing i noticed before i sold it back to my local FYE for credit on the future purchase of what....maybe the THIRD release of FERRIS? Now i have to find a way to put the old dvd in the case with the new edition taking care not to scratch either. Too much time and energy on my part. THAT'S YOUR JOB, PARAMOUNT!!!!!! Where's the notoriously cut scene with the bong hit??? No out-takes?? I find that hard to believe. A great feel good film with some good bonus features leaves me hoping i don't get hit by a bus before they release the 25th anniversary edition in 2011. When PARAMOUNT will 'ONE UP' their usual DOUBLE DIPPING into fans' pockets with the DOUBLE DISC version this film originally deserved....

Okay...if you're a fan...just buy the damn thing because it's a must have for your film library and what IS included is pretty darn good...but there should've been more...and i KNOW there IS more...

C'mon...someone with brains at Paramount...SAVE FARRIS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Billy Jack (1971)

I have always been puzzled by the hostile reaction of critics to Billy Jack. The puzzling aspect is not the negativity itself, but rather the almost blanket misrepresentation or to be charitable misunderstanding, of what the movie is about. Thus potential buyers are disserviced by the prevailing conventional wisdom i.e. "Billy Jack preaches peace while practising violence"; "Billy Jack wants to have its cake and eat it with regard to pacifism"; "the film is hypocritical" etc. In reality, the character of Billy Jack NEVER preaches peace. The only hint of this being true comes when he REJECTS Delores Taylor's view that violence in the face of violent bigotry won't solve anything. Given his instincts as a Shoshone warrior and a Green Beret trained (ironically by the US government) for war against the extent of brutality of the bigots he faces, there is clearly no room for touchy-feely encounter sessions. These morons are not merely exercising speech, thought or association, but systematic physical violence on the defenceless. So Billy Jack's struggle to reconcile his violent rage with the principles of the Freedom School is a lost cause from the outset(which Billy himself admits when referring to his efforts to embrace the pacifist influence of the Freedom School he says to a racist bully, "I try, I really try ... but when I see this girl of such a beautiful spirit suffer this indignity ... I just go BERSERK! ") To critics safely weaned on the quiet, unthreatening dignity of Sidney Poitier, the Billy Jack character threatened equivalent response to oppression that cared neither for the approval, feelings or physical well-being of knowing oppressors. Revolutionary indeed! And while Virgil Tibbs would soak it up, confident his own intellectual superiority will bring justice in the end, Billy Jack will not give an inch of ground to people who had already stolen enough. Result: the bigots NEVER mess with HIM in the first instance always someone weaker. Yet, it is precisely here that the movie parts company with the character in terms of point-of-view. For while Billy is clear in cause and action, the movie is purposefully less so. In the end, Billy's actions result in his arrest. Whether the actual benefits of his actions (guarantee of the Freedom School's existence; annual gubernatorial progress review of Indian affairs etc.) have been worth the cost or have, in reality, made any real difference to the overall mileu of oppression is left debatable. NOT because the movie "has its cake and eats it", but because there are no glib, easy answers by which to provide neat resolutions. Should Billy be praised, condemned or something in-between? The movie honestly doesn't know and sensibly leaves this to the viewer to decide. Coming from a society where the issue of defensive violence in the face of apartheid brutality was always an ongoing anxiety, the movie's delineation of contradictory but related progressive tendencies did not ring false at all. In fact, its pioneering depiction (try and dispute that!) of race conflict from the point of view of the oppressed was deemed so incendiary by the apartheid government that it was banned (along with Soldier Blue and Jesus Christ Superstar). Yet, even here South of the equator, Billy Jack was a movie phenomenon in the 1970s, as we attended secret underground viewings with our parents one eye on the lookout for security police raids. Check out the initial, aloof response of US critics at the time and you'll also see life imitating art in ironic ways as critics retreated into their smug class and race cocoons in an effort to bury Billy Jack. Yet today, given its box office numbers and its massive international impact, Billy Jack ranks as the best example of the intermittent disjuncture between film critics and the movie-going public. Billy Jack may seem naive now and the experimental theatre scenes now suggest Zanuck may have been right (for the wrong reasons) to want them excluded but its nobility is untainted. Forget the sour mumblings of mainstream critics (the same people who proclaimed True Lies "a quality movie")and make this great movie a part of your collection. As a straight action movie, you'd be hard-pressed to find better contemporaries (yes, Billy Jack may have dated somewhat but has anyone checked out Bullitt or The French Connection recently?). As an action movie with some things on its mind other than fast cars, big explosions and blonde babes, I defy anyone to find me an equal. In any case, the title song ("One Tin Soldier") by Coven is in and of itself worth the unbelievable DVD purchase price. From its spectacular Mustang-rustling opening sequence to Billy's final surrender, Billy Jack remains one of the best examples of independent movie-making at its most threatening to the Establishment. Today, only John Sayles and Ken Loach can still lay claim to that honor. I had been looking for copies of Billy Jack and Born Losers (the orginal Billy Jack movie) for almost 15 years before discovering it for sale on this site. Since receiving my shipment, I have watched them repeatedly and not been disappointed. Neither will you.

Some people just don't get it. Tom Laughlin wrote the script, directed, starred, and controlled distribution for Billy Jack because no major studio wanted to support a film that exposed bigotry and prejudice in Amercian society. Laughlin staged a one man stand against the commercial capitalists who controlled the movie industry and won. Laughlin's unprecendented move to control the film's distribution rights opened the door for future independent film making to reach mass audiences. Laughlin's struggle against studio powers mirrored Billy Jack's inner angst towards violence, peace, and civil libertites. Sure the film's message of a counterculture existing in a deeply rooted, cynical, white Southern/Western community seems overbearingly blatant, but the film still stands firm as a testimony of one man challenging the morals and values that define his world. Who cares if the Indian attire used in the spirtual dance did not comform to the actual Indian dress used in such a ceremony? There have been many big budget Hollywood extravaganzas that neglected to follow proper uniform codes. Check out Tora Tora Tora and many of the medals, stripes, and,insignias used on the military uniforms are incorrect. The fight scenecs in Billy Jack, which Laughlin also coreographed, are exceptional. No film has been able to capture the realistic grace, power, and balance of martial arts evident in Billy Jack. Until Billy Jack no Hollywood film dealt with the inconsistences and racism towards Native Amercian Indians that exists in our country. If Billy Jack's message was too strong and straightforward for the Amercian public to swallow, then these critics should stay home and watch the old cowboy and Indian movies that feature the All-American hero John Wayne. I'll take Billy Jack, I mean Tom Laughlin anyday.

Buy Billy Jack (1971) Now

Any film whose main thread is that it takes an extremely violent advocate of non-violence to truly protect the non-violent, immediately has my full attention and respect. If I could have only been around in the early seventies to watch hordes of stringy-haired American middle to upper class youth cheer, in all seriousness, a denim-clad white guy kicking the living hell out of (and in some cases even kill) anyone who doesn't practice the appropriate level of peace and understanding, I would have truly been in heaven. This movie and it's enduring popularity have confirmed what I have always suspected: disagree with a pacifist and they would like nothing more than to place your head on a pike.

If a person could have jammed anymore sixties clichés into an hour and a half, I'd like to watch their movie, too. Leading the pack would be the connection to "Indians", followed by ear-ringing singalongs at the school.....being bitten by rattlesnakes in a "purification process"....guerilla theater.......expressing yourself......"squares"......and on and on.

Jean is the lady that runs the school and, despite a notable lack of physical contact, is Billy Jack's lady. She is the good cop to his bad and spends a great deal of time doing one of two things: trying to talk Billy Jack out of collapsing your windpipe OR sneering with satisfaction once he actually does it. Jean's philosophy is plain and straightforward: there isn't a problem in the world that couldn't be solved in a peaceful manner if people would just love one another....and if that doesn't work, I'll un-cage Billy Jack and set him out to snapping your limbs like twigs. She also has the most unusual set of sideburns I've ever seen in my life.

There's not been a movie made that I'd rather watch than this one. Buy it. Quickly.

Read Best Reviews of Billy Jack (1971) Here

You don't get/watch this movie for the production values. You don't get this movie for the 70's nostalgia or the flower-power hippie esque themes.

You get this movie because of a very simple thing. Sometimes a man's gotta do what a man's gotta do. This movie is about having the courage to do what's right no matter the cost.

Billy Jack is the archetype of the great protector who turns to violence because sometimes it's the only way. And this movie is the 300 of the seventies.

Ironic how true it all rings when we look at the battles Tom Laughlin had with hollywood and with the government when it came to making and screening the Billy Jack Movies.

Want Billy Jack (1971) Discount?

The one star reviews cutting down at the knees the inconsistent behavior of praising peace at a cost of viloence, are naive and short sighted. THAT IS THE POINT! Helllooooo! Has anyone looked, read ," American Democracy" or looked at the White man's plight preaching peace, serenity at the cost of lives , religion and nonetary gain. Even in this era, sad to say have not changed at all.

This movie was very brave, unique, and risky. Shame on the narrow minded individuals that cannot see the message for the perceived blatent hypocrisy. That was the point.

This movie should be viewed by all that have a passion to reach out to the victims of the world, the minorites and those that have been unfairly treated.

Dan Williams, author of, " Above His Shoulders."

Save 31% Off

Gamera: Guardian of Universe & Gamera: Attack of (2010)

Gamera's first BD release in the US is great. While not entirely perfect, as it's lacking any extras and other small flaws, the video is excellent and audio very good as well. My only complaint, as stated, are the lack of extras, and some of the onscreen Japanese text goes untranslated (all of the dialogue is subtitled, though). Given the extremely cheap price and quality I'd highly recommend this to all kaiju fans, and monster fans in general. These are two of the best Gamera films and the BD quality only makes them better.

Two of the best Japanese monster movies in one Blu-Ray package. Though I love Godzilla as the king of the monster, as movies, the Heisei Gamera series beats most Godzilla movies hands down. GAMERA is probably the most realistic (as in, how people and the government would respond if giant monsters appear) movie ever made. Its sequel, LEGION, expands on the idea and how realistically the military would respond to giant monsters, strategically, as well as legally. All in the crisp Blu-Ray glory.

Buy Gamera: Guardian of Universe & Gamera: Attack of (2010) Now

I gave this a high mark simply because I love these two movies and there are some improvements --The blu-ray does a lot for GOTU as far as picture quality but falls short on "Legion"

I really did not notice much in the difference on "Legion" mostly because my 240hz tv and Blu-ray player already does an incredible job of upconverting ---so I can see the advantage for people who have 60hz tv's. The big difference on GOTU is the 16:9 aspect ratio -- which is a great improvement from the DVD version.

Now for the bad ----No special features, at all! Advent of Legion is one of my favorite movies of all time and one of the reasons is because of the "Lake Texarkana Gamera" version on the DVD. Don't get me wrong, I love the movie as is but the "LTG" version is a riot and losing that as a special feature kind of sucks.

All in all, it is worth the money, just don't expect your favorite special features or much of a menu at all ---still, for the average fan who wants better picture quality for two of the best Japanese monster films out there, you won't be wasting your money.

Read Best Reviews of Gamera: Guardian of Universe & Gamera: Attack of (2010) Here

The GAMERA Trilogy of the 1990's is regarded far-and-wide as some of the best monster movies ever made, recapturing the long-lost essence of the 1960's "Monster Boom" which gave us classics like MOTHRA VS. GODZILLA, ATRAGON and GHIDORAH: THE THREE HEADED MONSTER. The Gamera Trilogy boasts strong human characters, great effects for a budgeted 90's monster series, and a spectacular finale in the third film that is one of the best genre deconstructions to be found on either side of the pacific. Gamera himself is a character with a defined arc his reconnection with humanity after his long sleep, his climactic battle which strains his relationship with mankind, losing his connection as well as his sympathy, and his eventual redemption. It's darn good stuff.

While it's really, really nice to have both of these films available in a slick, cleaned-up format (as opposed to the rather sinfully bad transfers on the ADV releases), it's unfortunate that it's only two of the three, and it's a rather barebones release. It's also a shame that all three films couldn't be released in a single package, perhaps as a three-disc set to maximize quality.

Still, for the price and for the films themselves, this is a definite must-buy. Ridiculously cheap and nice transfers to boot, it's a welcomed addition to the collection. Not to mention the promised GAMERA 3 Blu-ray on the way that should hopefully be a meatier release. Just get it! :)

Want Gamera: Guardian of Universe & Gamera: Attack of (2010) Discount?

Love this movie and this BD doesn't disappoint. I picked it up for $9 but now it's $5? Amazing price! Great quality!

Save 60% Off

Fallen (2012)

Fallen is underrated, as I felt it wasn't nowhere near as bad as some critics said it to be. It's a very interesting mix of The Exorcist and The Silence of the Lambs and Seven. The result is one of the best thrillers of the decade. It's not quite up there with Lambs or Seven but it's as good as Arlington Road and is significantly superior to The Bone Collector and Kiss the Girls.

The plot is about Detective John Hobbes (Denzel Washington), who has just captured serial killer Edgar Reese (Elias Koteas). Before Reese is executed, he speaks to Hobbes in a strange language and tells him a riddle, asking him why there's a space between Lyons and Spakowsky. Hobbes doesn't think much of this and watches silently as Reese is executed in the gas chamber.

The next day, another murder occurs, and Hobbes and his partner Jonesy (John Goodman) check it out. To his shock, Hobbes finds the same riddle Reese told him scrawled on the wall of the victim's apartment. Unraveling the clue and with the help of an intelligent woman named Gretta Milano (Embeth Davidtz), he discovers that a demon called Azazel had inhibited the body of Reese and can switch from one human host another with a simple touch.

The premise itself is chilling, yet I was a bit hesitant to watch this film. The critics' reviews were mixed but all of them seemed to agree that the film was a bit slow moving. The truth is, Fallen is a bit slow for the first forty or so minutes, but the last eighty minutes are full of intriguing ideas that are well explored along with plenty of extremely suspenseful scenes, especially the ending, which, by the way, has a great twist.

Regarding the suspenseful moments of the film, they can truly be described as edge of your seat. One of the most harrowing sequences in this film is an original chase scene that involves the domino effect, where the demon chases after Davidtz by passing from one human host to another. There's also the chilling scenes where Washington has to try and keep up with who Azazel has just possessed.

Fallen's greatest aspect, despite all those truly thrilling and very suspenseful scenes, is its ending. It first involves a very clever plan being unfolded by one of the characters and ends with a great and unpredictable plot twist. This is truly one of the most unpredictable endings I have seen. It might not have as much of the shock power as the edgy (and twisty) climaxes of Seven and Arlington Road (or for that matter, The Sixth Sense), but it's just as surprising if not more.

The performances in this film are solid. Denzel Washington is fine as the detective who is much more clever than Azazel thinks. John Goodman is his usual solid self as Hobbes' partner, and he excels in this role, proving he has a lot of range ever since his show Roseanne was cancelled. Embeth Davidtz's performance is okay though her character is slightly underwritten. The real scene stealer, though, is Elias Koteas. Though he's in the film for five minutes his Edgar Reese character is scary and actually a bit fun to watch. Most of the characters are well-developed and this helps us care for Hobbes and his family.

The script by Nicholas Kazan is well-written and the twist in the end makes it better to appreciate and Gregory Hoblit's use of a dark, edgy atmosphere and mood is undeniably effective.

Simply put, "Fallen" is a pure classic in the psychological thriller genre! Very few films in this genre that attempt such status actually ever achieve as successfully as this film does. From the very beginning of this film to the end it is an intense, script and character driven silver screen masterpiece. One of the most interesting aspects of this film is that it can be watched over and over again, given time in between viewings, and one can pick up different things every time, making it that much better.

Performance wise, Denzel Washington delivers one of his most powerful and memorable performances in this fine film. Of course, over the years he's proven himself to be one of Hollywood's finest in that very few films of his are less than spectacular. This particular role for him almost engenders the aura that it was specifically written with him in mind as the lead. John Goodman's performance is right on par with his usual style of acting, making the film that much better. Donald Sutherland's performances over the years have been, to me, somewhat spotty with his performance in this film being one of his better ones. The only other film that I've watched in which Embeth Davidtz, and incredibly beautiful actress, has starred in was "Schindler's List." Her performance in "Fallen" is extremely memorable, leaving one to the conclusion that they should check out her other films. Of special note is seeing a pre "Sopranos" performance by James Gandolfini.

It's official, I'm a fan of Director Gregory Hoblit's films as he's not only deftly directed this fine film but other enjoyable films such as "Frequency" and "Hart's War." Granted, he benefited greatly from the superior script of "Fallen," it's the style in which he portrayed this film that makes it such a powerful, edge of your seat film.

The Premise:

Denzel Washington plays homicide detective John Hobbes. Shortly after watching the execution of Edgar Reese (Elias Koteas), many of the same things that were happening to Detective Hobbes prior to capturing Reese start happening again but wait a minute, it was Reese that was doing these things before but that's impossible because he was executed.

What follows from there is one of the most intense and powerful psychological thriller to ever grace the silver screen as detective Hobbes starts to learn just exactly who or what he's dealing with...

The only true surprise in this film is that it didn't really gain overwhelming critical support when it was in the theaters. I highly recommend this film to any and all who are fans of films in this genre as it can only be described as tops in the genre. {ssintrepid}

Special Features:

-Feature Length Audio Commentary by Director Gregory Hoblit, Screenwriter Nicholas Kazan and Producer Charles Roven

-Production Notes

-Cast & Crew bios

-Theatrical Trailer

Buy Fallen (2012) Now

This gets good marks simply because it is such an interesting, involving story that hooks you right away and every time you watch it and doesn't overwhelm you with violence and gore.

Denzel Washington is appealing as always as the good guy and John Goodman is surprisingly low-key for most of the movie. All the characters are very interesting and the special effects are creepy. The story is pure "Hollywood theology" mean also means the characters include the heroes in here have no clue about God or the purpose of life.

The DVD provides excellent entertainment. The visuals are decent on this disc and sound-effects are chilling in spots. As the demon sees through the eyes of people and passes by with these "whoosh" sounds, it's very effective. As mentioned, the film doesn't need a lot of violence to succeed with it's horror-type tale.

One note about the final scene. if you get confused, you aren't alone. Maybe I'm not too bright because it took me a couple of viewings to see it all in perspective.

Read Best Reviews of Fallen (2012) Here

Fallen is a dark supernatural thriller that is definitely worth watching. The plot is very clever, beautifully constructed and acted, with a superbly thought-provoking ending. Denzel Washington does a really good job as the homicide detective Hobbes being chased by the fallen angel Azazel. Excellent support is provided by John Goodman as his partner. The film is genuinely creepy in places and Azazel's transference from person to person produces some really good scenes. Overall, this movie was excellent, thanks to the superb acting from all the cast, and the great direction of the film. Highly recommended.

Want Fallen (2012) Discount?

This super natural thriller is great. I don't think Washington could ever make a bad movie.

Save 25% Off

Abbott and Costello Meet Frankenstein (Blu-ray + DVD + Digital Copy) (1948)

Hello All

I was just wandering through amazon and came upon this section and was just delighted to find "A&C meet Frankenstein" getting such nice compliments.

I would like to let you all know that my father Robert Lees and his writing partner and an old family friend, Freddy Rinaldo, wrote this film.

Freddy is no longer with us but my father is still, all of 92 years old, and is thrilled that after all these years you all like the film.

A little addenda:

You all must remember that A&C were essentially radio comedians,

and it was from his training in radio that Costello had the bad habit of coming unglued if he didn't consistantly get laughs from the crew for each gag each take, no matter how many takes were involved in getting a scene right.. For him the crew was a live audience, so if he didn't take the house down, he would put in another piece of business and reinvent the scene on the spot until he did and he was very inventive! I don't know how successfull they were, but they tried to take him aside and explain how important it was to actually follow the script!! Dad said that Lugosi enjoyed this aspect of Costello very much although I'm not so sure whether the director did, or the writers either for that matter.

Both Dad and Fred respected the "horror/terror" genre in literature very much noting to me when I was younger how complex and interesting the form had become in the hands of writers like Dunsynane Tolstoy Lovecraft Saki,or Poe to name a few.

Tolstoy wrote some strange and luminous things in this old form, once a short story about a Vampyre.

But in those days and by the time Universal Studios got through exploiting it all, "The Wolfman meets Dracula, meets Frankenstein,meets the Mummy, meets the Andrews Sisters" well, lets just say that the bloom was well off the rose.....

And so the object for them was not to parody the genre (at least the serious part) but to parody what Universal Studios had by this time done to the genre....

One of my favorite parts in the film is that sublimely dysfunctional chase scene at the end.

And its true, they had a blast writing the movie.

Lou Costello was always the master of strangulated, speechless terror, so putting Abbott & Costello in a movie with the Wolfman, Dracula and the Frankenstein Monster was inspired. Getting Lon Chaney, Jr., Bela Lugosi and Glenn Strange to play the Terror Trio was just icing on the cake. This time around Bud and Lou play Chick Young and Wilbur Gray, a pair of railroad baggage clerks in LaMiranda, Florida, who have to deliver two large crates to MacDougal's House of Horrors. Inside are Dracula and the Frankenstein Monster, but of course they escape. To make things worse, Wilbur's beautiful girlfriend, Sandra Mornay (Lenore Aubert), is really a mad scientist who wants to put Wilbur's brain in the Monster. Fortunately, Lawrence Talbot (Chaney) has arrived from Europe on the trail of the monsters.

It is rather amazing how long this film goes with Wilbur being the only one to spot the monsters. The comedy in this movie is something of a departure for the comedy team, because it relies more on situational humor and not as much on the "Who's On First" word play. The scene pantomime scene with Lou on the Monster's lap is great, as is the final chase scene with the boys encountering one monster after another. "Abbott and Costello Meet Frankenstein" is the first and the best of the boy's comic team-ups, which does not deserve the reputation it has in some quarters for having made the Universal monsters creatures of ridicule. That might be true of later Abbott & Costello monster comedies, but the charge would be truer of "House of Dracula" than this film, which has the same respect for the monsters as does "Young Frankentstein." Trivia Note: While filming the scene where the Monster throws Sandra through the lab window, Strange was knocked over and broke his ankle. Chaney, who had played the Monster in "Ghost of Frankenstein," volunteered to step in and once again don the makeup and he is the one who re-shot the scene that appears in the movie.

Buy Abbott and Costello Meet Frankenstein (Blu-ray + DVD + Digital Copy) (1948) Now

Abbott and Costello's best known and perhaps best film has them meeting Lon Chaney Jr. as the Wolfman, then Bela Lugosi as Dracula, then Glenn Strange as Frankenstein and then. . . . The plot revolves around the idea that the perfect new brain for the Monster should be a simple one -on that's easy to control. Lou Costello's is simple enough. The slapstick begins when Bud and Lou refuse to believe Larry Talbot (Lon) is the wolfman. The best non-monster bits are variations on what Bud and Lou did in the still funny, Hold That Ghost. You will note that Dracula can be seen in mirrors and that he would not have really died from a long fall (that's not being left out in the sun or getting a stake in the heart). But who cares, this is a silly, enjoyable slapstick that gives us both Lon Chaney Jr. and Bela Lugosi doing a wonderful job acting straight against the boy's antics. Glenn Strange is the Monster. Vincent Price does a cameo. (1948 Directed by Charles Barton).

Read Best Reviews of Abbott and Costello Meet Frankenstein (Blu-ray + DVD + Digital Copy) (1948) Here

Universal's legendary, all-time classic comedy paired Abbott & Costello with a series of movie monsters, including Bela Lugosi essaying Dracula for only the second time on-screen, Lon Chaney, Jr. as Larry Talbot (aka the Wolfman), and Glenn Strange as Frankenstein (there's also a fun cameo by another Universal monster favorite at the very end). "Abbott & Costello Meet Frankenstein" also revitalized A&C's film career for years to come (with the boys meeting everyone from Dr. Jekyll and Mr. Hyde to "The Killer...Boris Karloff"), and still holds up tremendously well especially for any fan of the classic Universal monster movies. The comedy in Robert Lees, Frederic Rinaldo and John Grant's script deftly bridges A&C's antics with a basically respectful treatment of Dracula, Frankenstein and crew, allowing for the film to recreate the feel of the studio's Golden Age chillers in a hilarious setting that never ceases to entertain.

Universal's Blu-Ray presentation of the film, out next week, is terrific: the AVC encoded 1080p transfer is natural in appearance and allows the film, warts and all, to "breathe," so to speak, without any obvious filtering or excessive DNR. The DTS MA mono sound is acceptable, and extras carried over from the prior DVD include Gregory W. Mank's commentary and the David J. Skal-hosted DVD featurette "Abbott & Costello Meet the Monsters" (though, as with the recent Blu-Ray of "Jaws," this featurette is presented in a heavily compressed, terrible-looking standard-def encode). Two Universal 100 Years featurettes and the trailer are also included, plus the trailer, a DVD and digital copy.

EDIT Some users asked if the DVD contained this set is also remastered. IT IS NOT. In fact it's the same "Comedy Legends" older DVD pressing...so don't buy this set if you are not interested in the Blu-Ray.

Want Abbott and Costello Meet Frankenstein (Blu-ray + DVD + Digital Copy) (1948) Discount?

Regardless of whether you have ever seen Abbott & Costello or not, this is a DVD you simply cannot pass up. I highly recommend this film because not only is it excellent, Abbott and Costello are always winners! As usual, Abbott is sarcastic and Costello is loveable and charming.



Bud Abbott and Lou Costello star in this hilarious horror/comedy that has not only one but three of Universal's classic monsters: Frankenstein, Count Dracula and the Wolfman.



Abbott plays Chic Young and Costello is Wilbur Grey. Both men work as baggage handlers in Florida. After a brief meeting with Wilbur's beautiful girlfriend Sandra(Lenore Aubert), Wilbur takes a mysterious phone call from Lawrence Talbot (the wonderful Lon Chaney Jr.) about two crates to be delivered to the McDougal House of Horrors.



Thinking nothing of it, the eternally scared Wilbur goes about his business. When Chic and Wilbur get the crates for Mr. McDougal (Frank Ferguson) in a rather unusual manner, McDougal insists the men deliver them personally so the insurance company can inspect the deliveries.



After a hilarious delivery scene, Count Dracula (the immortal Bela Lugosi) and the Frankenstein monster (Glenn Strange) escape the House of Horrors and go to the home of Dr. Sandra Mornay! Dr. Mornay and Count Dracula want Wilbur's brain so they can revive the Frankenstein monster.



Added to the mix is a lovely insurance inspector, Joan Raymond (Jane Randolph) who is 'interested' in Wilbur for the purpose of her investigation. Chic simply cannot understand why so many beautiful women are in love with Wilbur!



I was very pleased to see the classic stars Lon Chaney Jr., Bela Lugosi and Glenn Strange in this film. All three men were just as splendid at comedy as they were in their horror roles. I also found this movie to have some very good special effects for its time. The scene where Dracula changes from a bat to a man is excellent. Vincent Price, a true master of horror himself, appears as the voice of the Invisible Man at the end of the film.



This film also has some great trivia. Lon Chaney Jr. worked as both the Wolfman and the Frankenstein monster on some scenes after Glenn Strange broke his ankle during filming. Boris Karloff also did some promotional work for the film. Check out the Internet Movie Database for more trivia!



Will Dracula and Sandra get Wilbur's brain? Will Wilbur get the girl? Will Chic ever give Wilbur the respect he deserves? Get the DVD and find out!

Save 22% Off