Black Sheep (2013)

Chris Farley was a comic genius, and this film amply shows why and why he is sorely missed. As the brother of a gubernatorial candidate, he tries to help his brother's campaign, but most every attempt backfires. Sent off to the backwoods to keep him out of the way, his misadventures continue. There he pairs up with another character played by David Spade, and the two make a swell comic duo. They meet up with a carload reminiscent of DELIVERANCE. Their cabin plummets down a landslide after the balance of a balanced rock is upset in a most unlikely way. And they meet up with a crazed survivalist-type neighbor played by Gary Busey. Some of these events will all play out to make for the final resolution when they finally return to civilization. On that return, the movie's peak of zaniness is reached in an episode involving a car with a nitrous oxide booster. This underrated movie is a must for all fans of the farcical comedy genre, and a bittersweet tribute to one who shone briefly but brightly therein.

Black Sheep picks up right where Tommy Boy left off with the amazing comic pairing of Chris Farley and David Spade. This is another of the better movies to come from the cast of Saturday Night Live. I really miss seeing Farley and Spade together on film...

Most people I know place this movie second to Tommy Boy, which makes some sense, I suppose, but it has just as many laughs. The scenes with Farley and Spade together in the log cabin are priceless and hilarious.

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The reason there are so many bad reviews of this movie is because when people heard that Chris Farley (RIP) and David Spade were making another movie together, they were expecting the comic genius that was Tommy Boy. This is not Tommy Boy! You can't expect Chris and David to do the same thing in every movie or it will very soon become routine. Chris's Mike Donelly character is a little less dimwitted than his Tommy Boy character and David's Steve Dobbs character is a little more dimwitted than his Richard character. But, I will say this, Farley and Spade proove once again that they are the best comedy team since the Three Stooges. Sure this movie has it's flaws, but it's worth a look.

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Remember when David Spade was still on SNL, and he and Teri Hatcher did that "Spade In America" sketch on Weekend Update? Well, Teri Hatcher was dressed up as David Spade, and David Spade was dressed up as Teri Hatcher. To quote Teri Hatcher (playing David Spade), she summed up this movie the best: "Well, you know, I did a movie called 'Black Sheep.' Maybe you saw it the first time, when it was called 'Tommy Boy!'" David Spade's response (dressed as Teri Hatcher): "Uh.. yes. I did see that. You were great, David. I mean, you are very sexy." What a comeback...way to promote your movie there, David. Tommy Boy was good, but this one was rushed out to capitalize on that movie's popularity. Fans shunned Black Sheep. There are a couple of scenes in which one may crack a smile, but all in all it tanked at the box office, it's rank in sales is 1095 spots behind Tommy Boy, and based on the fact that it has only gotten 39 Amazon.com reviews over the past 9 years, I think it's fair to say that this movie just isn't very funny nor entertaining to most people.

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Sure this film is similar, it is also as entertaining. It is worth owning especially considering how cheap it is. Despite some claims on here this film did fine at the box office it made $32,377,000 domestically. This is good considering Tommy Boy made $32,700,000 domestically. The gross was very similar and the cost of production were on par with one another. Considering inflation was not a factor in the differing numbers as well, there is very little to indicate that this film failed. On DVD this film has sold well, granted not as well as Tommy Boy. Regardless making false claims that it tanked and does not compare is a result is simply not true. The film although similar is very good and worth the view.

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It's in the Bag (1945)

Addendum 6/8/13: This new Blu-Ray reissue IS the preferred non-voiceover version, read on.

Where to start? First, there are two versions of this hysterical farce but one of the versions is severely hampered by Fred Allen's voice overs through many of the best comedy segments. The other, and I'm guessing, "original" version involves no voice overs and this version is an unmitigated classic for which we can give a big thank you to producer Jack Skirball.

It's in the Bag is one of the screwiest comedies ever. It's the story of Fred F. Floogle(Fred Allen)an unsuccessful flea circus exhibitor and his madcap family; devoted and wholly unsatisfied wife Eve(Binnie Barnes), soon-to-be-bride daughter Marion(Gloria Pope) and genius son Homer(Richard Tyler)who is given many of the best lines though there are zillions of funny lines and millions of gags in this one-of-a-kind romp. Exterminator(Robert Benchley)is determined to not let his son Perry Parker(William Terry) marry into such an inferior family as Fred's, that is until Fred's millionaire uncle dies leaving his entire fortune to his long lost nephew, or so everyone thinks. Everyone thinks it enough to extend Fred and his family whatever they wish and they're wishing the moon. But when Fred and Eve meet with his uncle's former business partners(headed up by John Carradine in a rare, intentionally comedic role)they find that there's "no money", only a set of chairs.(This is where Mel Brook's "Twelve Chairs" may have found it's basis or vice versa if the period piece is actually from that period.)Of course Fred sells the chairs only to later dicover there's a fortune and the name of his uncle's murderer hidden in one them and now they must be retrieved. Along the way we run into Don Ameche, Jack Benny, Rudy Vallee, William Bendix, Jerry Colonna, Sidney Toler and Victor Moore to name some of the bigger names but there are what seems to be hundreds of well known faces of comedic character actors in tons of riotous bits. This movie is a real hoot. If you're old enough to understand that phrase, then this movie might be for you.

As I've said in past reviews, the fact that this and Champagne for Caesar, Ball of Fire, The Male Animal, The Senator Was Indiscreet, Cold Turkey, The Loved One, A Slight Case of Murder and Larceny Inc. plus many, many more have not been restored and tranfered to DVD format IS A CRIME.

Oh, that's Joe.

There have been numerous attempts at fashioning movie vehicles for radio stars:most of them failed to work,or work consistently well,but It's In The Bag is something of an exception.Starring Fred Allen-who had a great face for radio-and featuring cameos from Jack Benny,Robert Benchley,Don Ameche,Rudy Valee,and William Bendix,this is a simple,plot-driven movie packed full with in-jokes and tried-and-tested routines.Mel Brooks would return to the source material a Russian short story for the 1970 movie The Twelve Chairs,but the pretentiousness of that version is missing here.If you like Benny(who is on fine form) and Allen(who is at his most appealing,or least unappealing,depending on your perspective)then It's In The Bag is well worth a look.

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It's a shame that only a chosen few REALLY KNOW who Fred Allen is. In the 1940's his popularity was that of names we still cite today Jack Benny, Abbott & Costello, etc.

But in his day Fred's radio program was incredibly popular, as well as his "fued" with Jack Benny. If you love old radio, or old time comedy you will enjoy IT'S IN THE BAG. Fred Allen was, as still is, one of the smartest writers of comedy there was even today great legends such as Mel Brooks and George Carlin cite his influence.

One drawback with the film is that to get all the jokes you will need to be familiar with "the age" when the film was released since some of Fred's jokes are dated (commentary about crowded theaters comes to mind), but some of the jokes are just as fresh today as they were 56 years ago (commentary on how relatives get in the picture, why do we need to watch credits, psychoanalists, etc.)

In some ways it's a very "da-da-ist" film -as in the vein of W.C. Fields' INTERNATIONAL HOUSE. You can read the film synopsis above so I won't waste time with that I'll just say, see it for an enjoyable, smart comedy.

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this is a funny movie, though under-rated. this and what i call the companion movie called "It's a Joke, Son!" starring Kenny Delmar as 'Senator Claghorne' are must-have films for Fred Allen fans (even though Fred isn't in the second film with Delmar, it's based on a character created by Fred all the same.) On this "It's in the Bag" film, the one and only Fred Allen stars as Fred Floogle, a flea circus showman. The film is about a guy who has a wealthy relative who passes away. Fred follows human nature and starts buying expensive things and puts money on stocks. Fred thinks he's inherited his uncle's $12 million fortune but all he gets is 12 chairs after the will is read. angry, Fred has his son sell the chairs. It's only later that a vinyl record surfaces with Fred's uncle instructing him to claim the $300,000 he hid in one of the chairs! Too late...they've been sold to countless people all across town. this causes Fred to go on a wild goose chase tracking down the 12 chairs. This is where the film starts to pick up speed. An array of '40s radio stars make cameo appearances: Rudy Vallee, Don Ameche, William Bendix, and the immortal Jack Benny. Bendix spoofs his "tough-guy" build by being a cowardly leader of a gang of muggers. Ameche and Vallee hit the stage in a night-club but the bass singer is missing. Fred joins them on stage as an imposter who sings a terrible bass section {by this time in the film he's running from the police because they think Fred is working for the Bendix Gang!}. Along the way Fred encounters Mrs. Nussbaum (Minerva Pious, the same woman who played that character on Fred's radio programs) in an eerie segment that allows the viewer to see what "Allen's Alley" would've looked like had Fred went into TV. Jack Benny's scene is the stand-out of course. Cheap jokes are here...Fred acts like he's the president of a Jack Benny Fan Club and needs an item for display. Fred, of course, wants the chair that Nussbaum sold Jack. an assortment of sight-gags follow (including a cash register inside his living room and wax paper to wrap the chair in!). all the while he's being chased by a detective trying to prove that Fred is in ca-hoots with the Bendix gang. Walter Tetley has a memorable role as an elevator operator. The "immediate seating" gag is hilarious as well. Jerry Colonna, the wide mustache maniac side-kick of Bob Hope, has a zany appearance as a psychiatrist who slaps himself across the face numerous time thinking a tsetse fly is swarming his face! Victor Moore plays the campy Chef and others making cameos are John Carradine, Robert Benchley, and Binnie Barnes. Fred finally tracks down the chair with the money but reality sets in...and you'll never believe what happens next...the film is an overall lesson in greed and irrational behavior. Fred Allen was a radio comedian from 1932-1949. He's famous for his topical humor, battles over censorship, battles with network executives, the "Allen's Alley" routine that ran from 1945-1949, and his false feud with Jack Benny. Allen wrote all of the material that made it to the air...he employed several writers but they served as leg-men and joke finders, nothing more. It's said that Allen read up to 100 newspapers for material. His leg-men also scoured the headlines and back-pages of newspapers for potential material. Fred Allen hated TV...we don't really know why but some have speculated that Fred didn't have a face or a delivery for TV. to see for myself I taped a TV game show Fred hosted...i did this on a cassette and i played it back and i was amazed to hear how great it SOUNDED but it didn't feel so great WATCHING it! Due to Allen's inability to make it on TV with a major hit, the TV generation doesn't know him at all. In 1954 Allen headed to the fourth chair on the panel of "What's My Line?". Ironically, Fred died in 1956 of a heart attack amidst his popular run as a panelist on "What's My Line?"...a TV show of all things!! But, "It's In The Bag" might well be the greatest thing to showcase Fred, visually, aside from his "What's My Line?" years.

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DO NOT BE Fooled!!!! The original Fred Allen movie 'It's In the Bag', had Fred 'narrating' through the movie. This has been entirely cut out The worst cut is the Quartet of Rudy Vallee, Don Amache, Fred Allen & Victor Moore. It is only HALF there. The original had Fred narrating about "this group breaks windows..."

I have tried to get an original uncut but it is apparently no longer available.

DO NOT THINK YOU ARE GETTING THE ORIGINAL MOVIE...

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That Thing You Do! (1996)

Last week, I saw "That Thing You Do!" on one of the cable movie channels. I had not seen it for a while and had a couple of hours staring me down, so I sat back and watched it. The film itself is a nice piece of work by Mr. Hanks. He did himself proud. And that song! What a catchy, get-under-your-skin-in-your-brain pop tune!

Then, two days later, I was in Best Buy (humming That Thing You Do, by the way) and this new edition DVD appears before me unexpectedly, on sale. Without thinking, I bought it, took it home and I have watched it three times since (the theatrical release, once and the extended version, twice) and I will watch many times more.

This new release of That Thing You Do! underscores why "The Director's Cut" genre in DVD releases has become so invaluable to film aficionados like myself.

The theatrical version is priceless (still), but the "Director's Cut" is incredible and a major revelation. So many gaps in the plot have been filled in (gaps that I wasn't even aware of, so well put-together was the original version). This newer version has made the film a mini-masterpiece.

As in the original, the cast is excellent, the plot is believable and charming, the performances are funny, vibrant, true-to-life, and in this version, quite poignant.

Charlize Theron's character, Tina, and her relationship with Guy, in particular, suddenly become crucial elements to the early plot development (she is a minor character in the original version). Her character is fleshed-out, and she has one HYSTERICAL scene (in the dentist's chair) that caught me so off-guard with its humour, that I nearly choked to death with laughter!!

Even Tom Hanks character as the group's manager, Mr. White, becomes more developed and there is an interesting scene and dialogue when the group is in Los Angeles at "the same hotel Lucy and Ricky stayed at" between Guy (who is gently drunk), Mr. White and a guy named Lloyd.

Even The Bass Player (the Wonder's bass player who is never given a name), played by the adorable Ethan Embry, has a scene or two not in the original film that adds to the sweetness of his character (as well as some sly sexiness).

Liv Tyler's role as Jimmy's girlfriend, Faye, becomes even more developed and she is such a marvelous actress in this film. She really is the heart and soul of the movie, and the newer version only adds to her wonderful mystique in this film.

And of course, Steve Zahn as Lenny, is still as funny as ever and is the one band member who has no fear to "push the envelope" and ride the roller-coaster of success to wherever it takes them.

I recommend this new version of "That Thing You Do!" whole-heartedly. Whether it is the original or the extended-cut, it is a lively, spirited, upbeat and thoroughly delightful viewing experience.

And, I am STILL humming "That Thing You Do!"

This is a delightful movie, probably unlike any you've ever seen. All the characters are so well balanced and adorable, and their story is so well told that it makes you feel it's a true story about real people. It's refreshing, sweet, entertaining and charming.

A group of friends puts together a music band and they record a song. The song gets on the radio and quickly climbs the music charts, making them an overnight success. Their unexpected and speedily growing fame puts their relationships, as well as individual integrity and self-respect, to the test. Troubles arise, and with them the characters show their true natures, good and bad, making their musical career as a rock group as brief and ephemeral as lightning.

But despite the obstacles the characters face, a few good things derive from them, new relationships are formed, old ones are strengthened, and all the characters make the choices that allow them to successfully follow their dreams after having lived through a life-changing, once-in-a-lifetime experience.

The score of the film is great and the songs are true to the style and the music of the sixties, which is the period in which the movie takes place. The clothing and sets are accurate and the characters are wonderfully adapted to the fads of the time. The writing, plot and dialogues are superbly well done (by Tom Hanks) and makes each and every character come alive, even those with just a few minutes of screen time. The cast is exquisitely chosen, including Tom Everett Scott, Liv Tyler and Tom Hanks, and their performances are natural and enjoyable.

This movie is a delight to watch time and again; each time you'll discover new details from the richly layered, yet realistic and simple personality of each character. A must-buy for anyone who likes a movie that tells a high-quality story through the eyes of interesting and refreshing characters.

--Reviewed by M. E. Volmar

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My impression in watching this movie for the first time a few years ago is how Tom Hanks went to great lenghts to make you feel that this DID happen. (or could have happened).

The catchy tune of the same title plays like a classic. Along with the movie, check out the soundtrack and liner notes. (written by none other than Mr. A.M. White of Playtone records!) Interesting tidbits of information again form a very solid back story to this charming and funny movie.

Things like musicians last names come from Hanks' other favorite subject.. The space program. Starting with Wonders' members Lenny Haise & James Mattingly (they share last names with famous astronauts.. Fred Haise was part of the doomed Apollo 13 mission)

The theme song to "Mr. Downtown", a show about the exploits of one police sergeant named "Shakes" Lovell (probably named after Apollo 13 commander James Lovell) and the song "Voyage Around the Moon", a Ventures-ish surf rocker performed by the Saturn 5's, for a mulit-stage rocket used in the space program.

Hanks' gives impressive direction to a great cast. (Steve Zahn who plays Lenny just cracks me up every time) Every one did not only act very well in this movie, but made you really believe they could play. Tom Everett Scott who plays Guy Patterson, can play some mean drums!

This is a movie about friendship, individualism and honor.. set in simpler times... a must see!

Read Best Reviews of That Thing You Do! (1996) Here

Apparently the very-talented Tom Hanks is even more talented that we previously knew. Hanks has shown for some time that he is the closest modern actor to the late, great Jimmy Stewart in the superb naturalness of his acting in every movie genre from comedies to drama. But with this film he shows himself also to be a talented writer and director as well. The movie chronicles the rise and dissolution of a 1960's rock band which writes and records a single top-ten hit. Personally I've always wondered why so many early rock groups were one-hit-wonders. If a band is good enough to make one hit record, why isn't it capable of making several -or at least a few -more? The answer presented in this movie is that the one-hit Wonders self detruct due to a combination of ego conflicts, the pressures of success, and just the vagaries of circumstance. This movie could have been a mildly entertaining quasi-documentary. Instead, as written and directed by Hanks and played by the talented young cast he assembled -the most outstanding of whom is Tom Everett Scott and Liv Tyler (who recently played the beautiful elf Arwen in The Lord of the Rings) -this is a fun film from beginning to end. Frankly, I'm not much of a rock fan, but I loved this film. If you haven't seen it yet, please give yourself a treat and get this DVD.

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That this is a charming, fun, all-ages film is obvious simply by listening to the title song, for which the film is named. It is 1964 and 4 pals have joined together to form a band. Thee band members are instantly recognisable as "types," but the performances are so genuine and heartfelt that we forgive two-dimensionality. The lead singer (the brooding genius) has written a catchy tune that allows the band to win a battle of the bands, which in turn lands them a gig at a diner, which in turn.... Well, you get the idea. The song eventually ends up at #7 on the Billboard chart. That is the beginning of the end for the Wonders, as they start to disintegrate as a band the guitar player (the goofball) is content to enjoy the ride, the bass player (the straightlaced one) runs off to the Marine Corps, while the Brooder knows that the only way to develop is to get in the studio and cut an album of all original songs.

Holding the band together are the two central characters Liv Tyler as the Brooder's girlfriend (and unofficial 5th member) and the drummer Guy. Guy grew up destined to stay in his home town, inheriting the family business (selling appliances). He sits in the basement at night with his beat-up drum kit and plays along with jazz records. At one point, he asks a bellhop where he can find some "good" jazz, and when he passes a skill-testing question ("Who played cornet on so-and-so's album in 1956?" Of course, Guy knows the answer), he is directed to a bar and ends up meeting one of his idols, a jazz pianist who is also in audience that night.

The great thing about the film is that it is straightforward and earnest. There are no artificial obstacles set in the band's way Guy's father lets him go on tour without a second thought because he knows his son will never be happy as an appliance salesman. When the band starts its inevitable meltdown, it's because of the personalities of the band members being true to their personalities, not because some greedy executive is taking advantage of them, or some other external reason. We can therefore relax, knowing the plot isn't going to artificially jerk us around. We can laugh along at the antics on the screen and we're happy at the end, even knowing intellectually that we haven't grown as human beings in the process. The film is not perfect the title song is overplayed like a catchy advertising jingle and you get a little sick of it. But because the rest of the film is so fun, we can forgive such small problems.

Comparisons with American Graffiti are inevitable. Although they have different subjects, they both try to invoke the fun of a simpler time in the United States, that of the prosperous and morally simplistic 60's, before free love, anti-Vietnam protests, and race riots. That Thing You Do! is sort of like American Graffiti lite, and it even includes a "what happened to the main characters" synopsis at the end. It's a measure of the heart of the two films that the Bass Player becomes a marine and survives his tours of duty in Vietnam, whereas Terry in American Graffiti is killed in his tour.

Unfortunately, I've deducted a star for the poor level of extras on the DVD. There are a couple music videos (besically full-length versions of the songs), a making of short (which is a shameless extended-trailer promotional bit), and that's about it. Tom Hanks is an interesting guy, and this is his directorial debut why isn't there a director's commentary?

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Merantau (2009)

First off I would like to say that although there are comparisons to Tony Jaa in Merantau to its star Iko Uwais, that is all it is similarities. OK Iko Uwais doesn't have the same bone breaking intensity and crazy agility of Tony Jaa. However he is a superb martial-arts star in the making. While there are slight similarities to what Tony Jaa has done. Iko Uwais performs using the Indonesian martial-arts style Silat which I found very refreshing from the usual Chinese styles used in Hong Kong martial-arts Cinema and Tony Jaa's Muay Thai based performances.

The action takes a little while before it starts coming through giving the story and the characters the chance to develop. I think this pays off for the film and contrary to other reviewer's comments doesn't suffer as its director oversaw the editing of this international cut. This wasn't hacked up by a studio interference by people who had nothing to do with making the movie. Director Gareth Evans painstakingly edited the movie to lose all the extraneous material making this a leaner, meaner movie that is really very, very good.

The action sequences themselves improve with every fight getting better and better as Iko Uwais's character reluctantly unleashes more and more of his skills as he is forced to do so in his pursuit to help the young woman and her younger brother.

This is definitely one of the best martial-arts films of the last few years and is fully deserving to be in any martial-arts fans collection. If the other reviewer's 1 star rating comments about being cut are leaving you in two minds, I can tell you they are unfounded. Merantau is a very, very good movie. Still don't take my word for it rent it first and discover how good this film really is.

As for the other reviewer who thinks he could do better. Yeah right! Until this guy stops talking the talk and walks the walk, you can take that with a massive pinch of salt. Erin "Sky Blue Boy" I look forward to watching your martial-arts debut in a leading role. As you said you could do better even when you were out of shape.

By the way keep your eyes peeled for Iko Uwais in his next movie "the raid" which is now in production with Merantau director Gareth Evans behind the helm again.

Note I think this is a four-star movie and think extremely highly of this film but I have given it a five star rating because of the ridiculous ratings by a couple of reviewer's, which I believe is highly undeserving. I've seen some downright terrible movies with poor martial-arts, poor acting and little to no story. This has none of those negative qualities and I can only speak about this film with the highest of regard.

With Tony Jaa having deserted moviemaking for the monastery, the title of top international action star is left vacant and up for grabs. Would-be successors have applied en masse, from English acroartist Scott Adkins to fellow Thai national Jeeja Yanin, and with the advent of the New Year, Indonesian martial artist/soccer player Iko Uwais throws his name into the hat with a most promising entry in "Merantau". Capable of doing for the Indonesian film industry what Ong-Bak did for Thailand, it's an extremely impressive audition tape with a vaguely stripped-down feel and occasionally light on the plot definitely not the best all-around martial arts film of the last few years but more than serviceable in supplying the thrills. If nothing else, it promises a lot for both the star and director (Gareth Evans, Footsteps) should they be presented with a bigger budget. Those wary of taking a step down from the production power of Jaa's work might be leery, but action aficionados in general should be quick to help make this one into a cult classic.

The story: departing his peaceful village for his rite of passage, young silat practitioner Yuda (Uwais) travels to Jakarta, where he finds no work but a sister & brother pair of abandoned street children in need of his help (Sisca Jessica and Yusuf Aulia). Protecting them from the control of a sadistic French businessman (Mads Koudal, Six Reasons Why), Yuda needs to become the hero he never knew he was to take on an entire underground organization upholding a sex slavery circuit.

The plot is definitely modeled after "Ong Bak" and sadly serves as the major drawback of the movie. There's a good sense of righteous indignation with which Yuda beats down the sex traffickers, but the story itself is low on twists; there are a few inspired aspects concerning the relationships between the villains, but by large, there's nothing beyond the mandatory. The film's finale is built up throughout the last 40 minutes, and even though it supplies the same stellar action as the rest of the movie, the thread is worn thin even before the final battle takes place because the three before it felt like they could've been the last, as well. Considering that much of the cast is mostly composed of performers with little to no film experience (with the exception of Mads Koudal and Christine Hakim bit player in Eat Pray Love as Yuda's mother), acting is pretty decent and most slip-ups are due to the weakness of the script.

Of course, it's the action you're going to be watching this for, and I'm happy to say that it is both good and abundant. Though he'll occasionally borrow a kick or elbow strike from Jaa, Iko Uwais represents his home-learned style of pentjak silat with pride and authenticity. Throughout the course of the movie, he runs through an encyclopedia of strikes, holds and takedowns, counters and reversals, and weapons-handling that effectively defines the style as something rarely seen in movies (see Bounty Tracker for a notable exception). Despite never having made a martial arts feature before, director Evans is more than competent in shooting the fight scenes utilizing long, uninterrupted shots with unfixed cameras and just letting Iko go nuts with his abilities in general. Some stuntwork is present including an instance of a villain being struck in midair and falling over ten feet straight onto his back but unlike in most fighting movies nowadays, it doesn't take precedence: it's all about the martial arts and dangit if they're not worth the emphasis.

The production is good (the fight scenes seem a bit stripped but nevertheless clean) with a decent scope, but the world seems oddly underinhabited, especially when it comes to the big trafficking operation. "Merantau" seems to take place in a world of its own, but luckily it's a world worth revisiting one that introduces us to a very promising new star who deserves a bright future. Buy it if you appreciate solid physical action and it might just become a favorite.

Buy Merantau (2009) Now

MERANTAU (writ./dir. Gareth Evans, 2009, 134 minutes) is an awesome Indonesian film that portrays the use of the Indonesian martial art, Pentjak Silat (pronounced pen-CHAH sih-LEH) much like Steven Seagal originally exposed the good uses of AiKiDo.

Our hero Yuda (a handsome young Iko Uwais), a Minangkabau tribesman from Sumatra, goes on his traditional merantau to Jakarta, Indonesia from his tiny village. While it isn't really evident to outsiders, and not clarified in the film, the art used is a form of Silat known as "Silat Harimau" (Tiger Silat, which includes the use of the karambit "tiger claw" blade) and the Minangkabau are from Sumatra. The merantau (pronounced "mar-ahn-TAU") is a bit like the Aboriginal "walkabout", in which the person leaves the mother country alone and learns of the world outside.

Yuda immediately becomes involved with a stripper named Astri (the beautiful Sisca Jessica) and her little brother Adit (cute little Yusuf Aulia). He becomes determined to save her and her brother become a father to them in a way. Just the thing for the perfect merantau. Naturally the Muslim Yuda will tangle with evil white infidel slave-traffickers and the explosive ending will leave you weeping, as it did me.

The cinematography is quite innovative and even stunning: there's a trick I have never seen used before, yet it is so simple it will leave you gasping with wonder. The choreography is near-perfect (a few pulled punches right on camera spoil some of it). Those stunt men are the cat's meow! I have never seen stunt work like it. Also, Iko Uwais is a skilled master. The soundtrack is quite good and modern; no silly eye-rolling feeling one gets from so many Asian film soundtracks.

This film is so very important, though it is formulaic. It is awesome to finally see an Indonesian film, to see the kinds of problems they have, and to see a martial arts film centered around silat. For a short while I studied silat, and never quit loving it. Now at least there's a baseline film showing it besides the weird Ong-Bak The Thai Warrior series. It is also a hopeful reminder for today's world that Indonesia is a Muslim country.

If I haven't convinced you yet, let me just add that you should get this for its historicity alone. It's a fine film, not really for family viewing but I think teens can handle this in their stride. Just get it!

Read Best Reviews of Merantau (2009) Here

Excellent movie about a young man who must make his "Merantau" which means to leave his family and go out into the world to gain experience. He is trained in a form of self defense called silat and goes up against kidnappers who are human traffickers. The rest you must see.

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When a movie featuring a martial art I've never before witnessed on screen finally comes to film, I'm a happy man. Here that art is Silat, and while fight-choreography in movies does not equal practical application, it's always fun to see what can be done with various styles! Though this flick has received some complaints, I was not disappointed.

On the Indonesian island of Sumatra, a young man named Yuda (Iko Uwais) is preparing for his merantau, a traditional (as opposed to capricious) rite of passage where he must make it on his own in the big city. He is excited and nervous but sets about his task with a high degree of optimism and boards a bus for Jakarta. Upon arrival, things don't turn out as planned but Yuda is determined to succeed. A little boy steals his wallet and the ensuing chase leads to him defending the boy's older sister from her abusive boss. She is then fired and isn't exactly appreciative of Yuda's skill or intervention. They go their separate ways until Yuda coincidentally finds the girl back in the clutches of her boss and some goons. Turns out the girl, Astri, was targeted by her employer to sell to some rich European brothers for international prostitution. Yuda takes her and her little brother, Adit, on the lam, with thugs-a-plenty on their tail.

Some of the criticism this movie has received is unwarranted and I'm not exactly sure why Iko Uwais is compared to Tony Jaa, though it was likely Jaa's success that enabled a project like "Merantau" to come to fruition. Vietnam's "The Rebel" (2007) probably didn't hurt either. While I suppose some physical characteristics are similar, Iko's style of fighting and acting are quite different. He is much younger than Jaa and has much more of a natural ease with dialogue. While I am a big fan of Jaa, I don't think he could pull off a character as gregarious as Iko's Yuda. While this movie doesn't exactly master the writing chops of say, the Coen Brothers, it's much more fully realized and competently directed than MANY martial arts flicks, including those starring Jaa. In terms of fights and stunts though, it doesn't quite hold up to Jaa's films. Which is not to say they are bad! Not at all! The fights in this are creative and plentiful, in addition to being well shot, performed, and edited, with few wires and reasonably long takes. Thank you!

The DVD from Magnolia has a beautiful widescreen picture with plenty of special features, including a "making of" segment, bloopers, and deleted scenes. In Indonesian (Bahasa?) with subtitles available in English and Spanish or English dubbed. If you are a fan of martial arts films, this is definitely worth a look. Certainly doesn't hurt to open to a little cultural diversity, either! Recommended.

2009

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U.S. Marshals (2012)

In 1993, Warner Brothers studios released an incredibly successful movie called "The Fugitive" starring Harrison Ford and Tommy Lee Jones, and based on the hit TV series of the same name. 5 years after the success of that film, the WB decided to release a semi-sequel/spin-off to the film focusing on the further exploits of the character of U.S. Marshal, Sam Gerard, played by Tommy Lee Jones. It was surprising that Warner Bros. wanted to explore this supporting character further, in fact it was just as surprising that they felt there could even be any chance of success with having a sequel/spin-off to a movie that was completely self-contained. But, the decision was made and Warner Bros. actually managed to re-sign Tommy Lee Jones, along with the rest of the actors that comprised his original crew of deputy U.S. Marshals, and adding Wesley Snipes and talented, yet troubled actor Robert Downey Jr. to the mix. With the cast all set, the story greenlit, and acclaimed editor turned director Stuart Baird ("Star Trek: Nemesis") helming the picture, it was time to see if Warner Bros.' gamble would pay off with "U.S. Marshals".

"U.S. Marshals" follows U.S. Marshal Sam Gerard (Tommy Lee Jones) as he pursues yet another fugitive on the loose. When a truck driver named Mark Roberts (Wesley Snipes) is involved in a car crash, the police reporting on the scene discover that this truck driver is actually wanted for a double homicide of two federal agents in New York City, and has been living in Chicago under an assumed name for the last several months. During the transfer flight from Chicago to New York, an assassination attempt on Mark's life takes place causing the plane to depressurize and crash into a river. As the police officers, including Sam Gerard who was aboard the plane overseeing the transfer of his latest prisoner, struggle to release the prisoners before they drown, Mark is released and succeeds in escaping without being noticed until the next morning. Now, Sam and his team of deputies are pursuing yet another fugitive, but they will soon find out that this is no ordinary case of murder, as the federal government gets involved by sending in an agent (Robert Downey Jr.) to oversee the pursuit, and it turns out that Mark Roberts is a former agent of the very same agency as that of the two men he is accused of murdering.

Director Stuart Baird really had his work cut out for him with this movie, not only was he tasked with the job of directing a semi-sequel/spin-off to a highly successful movie based on a TV show, but he was also forced to find a way to have Sam Gerard pursue yet another fugitive without the story seeming too much like the previous movie. Surprisingly, he succeeds rather well, there is the glaring similarity in that both fugitives only escape due to an accident (Richard Kimble escaped due to a train wreck and Mark Roberts escapes due to a plane wreck), but this can be overlooked as being a necessary plot device to realistically propel the story into motion. Otherwise, I couldn't complain about the direction of the movie, I felt that for this type of movie Stuart Baird did an overall great job of handling the material, keeping a similar tone to the first film, and yet making this one a standalone movie that doesn't require the audience to have seen or remember any of the events from "The Fugitive".

The cast for the movie was terrific. Tommy Lee Jones was wise to return to the character that won him the Oscar for Best Supporting Actor 5 years prior. I believe that ever since this movie, and even "The Fugitive" for that matter, Tommy Lee Jones has essentially played this same character in every other movie he's been in (with the exception of his role of Two-Face in "Batman Forever"), and still manages to entertain audiences with the same exact performance. The supporting actors that comprised the rest of the U.S. Marshals were just as good, if not better than they were the first time around, especially Joe Pantoliano who was given much more screen time and injected several bits of humor to lighten things up throughout the movie, while still delivering some really dramatic scenes with Tommy Lee Jones. The additions of Robert Downey Jr. and Wesley Snipes to the cast were very good choices as both are accomplished actors who handle both drama and action very well. Sometimes in sequels or spin-offs the new cast members tend to stick out a little bit because they are replacing a cast member that didn't return, so their performance seems to be a little too much like the person they are replacing instead of making the characters their own. In this instance though, both new actors do excellent jobs of making their characters their own, and quickly draw the audience in to their aspects of the story.

Even though I felt Warner Bros. had made a mistake in making this film, Stuart Baird and company managed to prove me wrong, and I must say that I completely enjoyed "U.S. Marshals", and that it was a worthy sequel/spin-off to the equally impressive film "The Fugitive".

"U.S. Marshals" is rated PG-13 for violence and language.

They could have named this one the Fugitive II and gotten away with it. There was a slight lack of originality, but the spectacular cast pulls it off. Overall the movie was good. Tommy Lee Jones does a wonderful job and Robert Downey, Jr. was memorable as well. The comic relief was a must and was appreciated as it helped counterract the amazing suspense level present. I think I will add this one to my collection.

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If you're looking for more than cheap thrills and bravado, you may be disappointed as US Marshal drags for about half an hour or so more than it needs to. But it rises above its hackneyed chase routines with Jones' commanding screen presence. Some scenes, such as the opening plane crash, are exemplary cinematography. The soundtrack effectively complements the roller-coaster action sequences. There's a surprise twist in the tale too, but don't read too much lest you should spoil it. Recommended rental, for sure.

Read Best Reviews of U.S. Marshals (2012) Here

While "U.S. Marshalls" is not really a sequel to "The Fugitive" is a worthwhile followup. This film has crisp action, good pacing, an is well acted by the lead actors. The plane crash in this movie is not as spectacular as the bus-train wreck from "The Fugitive" but it is exciting nontheless. If your looking for 2 hours of solid entertainment give "U.S. Marshalls" a look.

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One of the problems US Marhsals has is that it is suffering a bit of an identity crisis. Is it a sequel or just another insight into Gerard's job? It's a bit of a rehash of The Fugitive while falling short of being as good Gerard's obsession is more of a caricature, despite Tommy Lee Jones' best efforts to salvage it, and sometimes the script lapses into cliche, with a frankly bizarre plot which is sort of something to do with the CIA. Robert Downey Jr comes across well, as does Jones, but Wesley Snipes could have been much better. It's a good hour or so spent if you can't find The Fugitive, but otherwise it's best not to be too critical while watching it.

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White Heat (2013)

"White Heat" is unusual in that it is a genre film that is also widely considered to be film noir. It's immistakably a gangster film, yet it deviates from the conventions of that genre in that its main character, Cody Jarrett, is complex and introverted enough to be a noir protagonist. "White Heat" was masterfully directed by Raoul Walsh and features James Cagney in one of this most memorable gangster roles. Treasury Department investigator Philip Evans (John Archer) is hot on the trail of the notorious criminal Cody Jarrett (James Cagney) after the Jarrett gang has robbed a mail train, killing several people and making off with a substantial sum. In order to guarantee himself immunity from the multiple murder charge, Cody confesses to an out-of-state robbery that took place at the same time, for which he receives a couple of years in prison. But the Feds are wise to his scheme and place an undercover agent (Edmond O'Brien) in the cell with Cody, hoping to learn the identity of the person who launders money for the Jarrett gang.

The psychology of Cody Jarrett is the most striking aspect of "White Heat", and the element around which the story revolves. We are told by the federal investigators that Cody is actually "insane". He is bloodthirsty and so unstable that his pursuers fear that he will go completely off his head before they can learn anything from him. Cody also has a pathologically dependent relationship with his doting and equally ruthless mother, who is played to perfection by Margaret Wycherly. Cody is such an extreme personality that James Cagney's ability to make him completely believable is remarkable. The "good guy" undercover cop, Hank Fallon, is bland and submissive, which only increases our focus on Cody. Another striking characteristic of "White Heat" is its technophilia: The film spends a great deal of time demonstrating cutting edge surveillance technology that is used to track Cody. Cody is defeated more by technology and bureaucracy than he is by his own lunacy.

The DVD: Bonus features include a documentary about the film, a theatrical trailer, an audio commentary by author and film professor Dr. Drew Casper, and a "Warner Night at the Movies" prelude to the film. If you have time, "Warner Night at the Movies" is a nice feature. With an introduction by Leonard Maltin, Warner Brothers provides a nice collection of mini-features that emulate the now-defunct tradition of showing a cartoon, a short, a newsreel, and a trailer with every theatrical film. "White Heat" was released in 1949, so we have, from 1949: a trailer for the film "The Fountainhead" (2 minutes), a newsreel of the year's highlights (1 1/2 minutes), a short "Joe McDoakes" comedy, called "So You Think You're Not Guilty" (10 minutes), based on the old vaudeville routine "Pay the Two Dollars", and a Bugs Bunny cartoon called "Homeless Hare" (7 minutes). You can also watch the featurettes separately if you like. "White Heat: Top of the World" (16 minutes) features interviews with filmmakers, critics, and theorists, including Martin Scorsese and Alain Silver, in which they discuss the film's themes, James Cagney's role, and the characters of Cody, Ma, and Cody's wife Verna, played by Virginia Mayo. The audio commentary by Drew Casper approaches "White Heat" as a gangster film, not as film noir, as this seems to be Dr. Casper's area of expertise. Casper talks about how the film was promoted, James Cagney, Freudian influences, themes, and analyzes director Raoul Walsh's style for some scenes. Subtitles are available for the film in English, Spanish, and French.

The intense character study of criminal insanity in Raoul Walsh's "White Heat" (1949) is most likely the other great Cagney performance that has endured the test of time in Warner's gangster genre. Cagney plays the psychotic and sadistic Arthur 'Cody' Jarrett, a ruthless gang leader with a penchant for deriving pleasure from the affliction of pain. Plagued by torturous headaches and a mother fixation with Freud written all over it, Cody revels in murdering his wounded accomplice during a jail break. Cody's 'ma' (Margaret Whycherly) has allowed herself the luxury to forget that she's given birth to the criminal anti-Christ. Meanwhile, Cody's wife, Verna (Virginia Mayo) flaunts her sexuality to every man she meets while enduring the brutality and neglect of her unstable husband. This, of course, ends badly for all concerned. The plot thickens when a henchman plots an 'accident' for Cody, that is foiled when an undercover cop, Vic Pardo (Edmund O'Brien) inflitrates the gang. The finale of this barn-burner will justly go down as one of the greatest in all crime films, as Cody betrayed and about to die, shouts triumphantly, "Made it, ma! Top of the world!" against the backdrop of a burning chemical plant. "White Heat" may have been a remake twice removed, but neither the 26' nor the 34' versions come close to the immediate panic and raw hysteria of this great film classic.

Warner's DVD exhibits exemplary image quality throughout. The gray scale is rich and nicely balanced with deep solid blacks, clean whites and fine distinctions of tonality. Fine details are fully realized, even during some of the darker scenes. Occasionally film grain and minor dirt and scratches appear but these will certainly not distract. The image quality overall is sharp and consistent for a presentation that will surely please. The audio is mono but extremely well balanced and very nicely represented. Extras include an adequate audio commentary by noted authoritarian, Drew Casper, a newly produced featurette which is very succinct and Leonard Maltin's hosting of "Warner's Night At The Movies". Highly recommended!

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James Cagney never exceeded, before or after, his achievement in Raoul Walsh's "White Heat," and indeed few actors have even equaled what Cagney did in that film. His performance as the evil, psychotic yet charismatic Cody Jarrett is the absolute high-water mark for the screen portrayal of a career criminal. Cagney's charisma is so overwhelming that we, the audience, despise the federal agent (Edmond O'Brien) who infiltrates Jarrett's gang and finally betrays him. O'Brien's character is as upright, courageous and resourceful as anyone could wish; yet he's just a worm compared with the breathtaking power of Cagney's Jarrett. Cagney implicates the audience in his crimes more than any of Hitchcock's villains ever did, and indirectly sounds a warning about certain other charismatic characters who have turned up now and then on the political scene. Of course a great performance can't exist in a vacuum; besides Cagney's brilliance and the yeoman service of O'Brien as the federal agent, there are superb performances by Virginia Mayo as Verna, Jarrett's treacherous, trailer-trash wife; Steve Cochran as Big Ed, the thug with big ideas but no brains or guts to back them up; and especially Margaret Wycherly as Jarrett's mom, turning her saintly-mother image from "Sergeant York" on its ear, smiling her icy smile in approval of her son's bloody predations. A brilliant melding of film noir and police procedural, "White Heat" is unquestionably one of the greatest gangster movies ever made. The new DVD of "White Heat" from Warner Brothers is a wow; the print is crisp and excellent, and there are loads of extras including an interesting featurette on the making of "White Heat" and a recreation of a 1950 "Night at the Movies" including newsreels, a short subject and a wonderful Bugs Bunny cartoon, "Homeless Hare."

Read Best Reviews of White Heat (2013) Here

It's about time! I've been waiting for "White Heat" to come out on DVD for years, and now -on the heels of the RKO film noir boxed set Warner's issued last summer -"White Heat" is finally being released as part of Warner Bros.'s gangster boxed set, with movies by James Cagney, Bogart and Cagney's rival, "Little Caesar" Edward G. Robinson!

"White Heat" is Raoul Walsh's best movie, even better than "High Sierra," which is quite similar in its plot of a gangster being hunted by the police to his ultimate demise.

It's also James Cagney's big comeback role, for which he did not receive so much as a nomination for best actor. Of course, that's par for the course for AMPAS; Movies that were ahead of their time have been overlooked for most of the Academy's history.

Although firmly ensconsed within the film noir genre, and a movie that's clearly of its time, Cagney's defining role of gangster Cody Jarrett was way ahead of its time: Never before has a thug of the silver screen been played so brutally yet so sympathetically (psychopaths were never played by such obvious leading men; they were usually women, femme fatales such as Barbara Stanwyck in "Double Indemnity" and Ann Blythe in "Mildred Pierce," or the occasional character actor like Peter Lorre, in "M"). In 1949, one didn't see "tough guy" actors such as Edward G. Robinson, Burt Lancaster and Humphrey Bogart play mental weaklings, such as Cagney portrayed in this flick. It was unheard of even for the biggest villains to be turned to mush by a psychotic disorder; Such roles would not become commonplace until the "psychological westerns" (an interesting, but largely forgetable, genre) of the 1960s. Yet, Cagney tackled this role with over-the-top aplomb and sarcastic panache.

"White Heat" boasts a sterling supporting cast, most notably Margaret Wycherly as Ma Jarrett, the hardboiled crime matriarch to whose grease-splattered apron strings mama's boy Cody desperately clings. This too required guts on Cagney's part, given the thinly veiled subplot of Cody's fixation on and fierce attachment to his mother. Although more implied than explicated, 1940s audiences got the Oedipal message.

Steve Cochran plays Big Ed, Cody's right hand man, whose backstabbing rivalry to Cody inflames Cagney's Napoleon cmoplex. "If I turned my back long enough for Big Ed to put a hole in it, there'd be a hole in it," quips Jarrett, who lacks sentiment for anyone else in the world except his ma. Edmond O'Brien turns in the movie's best supporting performance as the undercover cop, whose befriending of Cody behind bars actually betrays the cop's sympathy for Jarrett's mental plight.

"White Heat" ends in a blazing fury of cinematic pyromania, courtesy of director of photography Sid Hickox, who also photographed immortal films noir "The Big Sleep," "Dark Passage" and "To Have and Have Not."

A quintessential film noir, "White Heat" is a highly polished product of the Warner Bros. studio system, the kinda film they don't make anymore. As with all Warner's A-list movies, it features a pummeling Wagnerian soundtrack by the legendary Max Steiner. The score is one of Steiner's most intense and complements the on-screen violence with Steiner's rich use of big brass, low strings and incendiary winds and trumpets.

Put this in your DVD player, and you'll be on top of the world!

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Following the completion of "Each Dawn I Die" in 1940, James Cagney promised not to make another gangster movie. But after almost a decade of trying to change his screen image, Cagney relented in 1949 and agreed to star in the now-legendary classic, "White Heat." As the psychotic Cody Jarrett, Cagney took the gangster genre to new heights. Although certainly a gangster movie in terms of plot, "White Heat" is also a film noir with one of the most deeply disturbed protagonists of all time. One example is the unforgettable prison mess hall scene where Cody goes nuts after hearing about his mother's death. Then of course there's the explosive ending where he shouts the famous line, "Made it, Ma! Top of the world!" Needless to say, Cody Jarrett is one movie gangster you'll never forget.

As the movie opens, Cody Jarrett (Cagney) and his gang rob a train and then head for a cabin in the mountains. The Treasury agents investigating the crime have no evidence against Jarrett but are convinced that he is guilty. So they send Hank Fallon (Edmond O'Brien), an undercover agent, to infiltrate Cody's gang and get the proof he needs to convict Cody and his accomplices. When Cody is arrested for a lesser offense, Fallon becomes his cellmate and slowly wins his trust and respect. When another prisoner tries to kill Cody, Fallon saves Cody's life, and before long Fallon is learning the inner workings of Cody's gang.

While Cody is in jail, his rival, "Big Ed" Sommers (Steve Cochran), takes over Jarrett's gang and seduces Jarrett's treacherous wife Verna (Virginia Mayo). Cody's mother (Margaret Wycherly) finds out about Ed and Verna and makes plans to get payback for her loyal, loving son. But when she confronts the two she is murdered, and when this news reaches Cody in prison, he goes berserk. After calming down, Cody plans and executes a brilliant escape from the prison along with several cellmates, including Fallon. Fallon desperately tries to stay in touch with the Treasury agents, but Cody is dangerously on edge and the smallest mistake could cost Fallon his life.

After getting payback on Ed and Verna, Cody takes charge of his gang and plans a robbery on a chemical plant. After hearing all the details, Fallon gets word to the T-men, and an ambush is waiting for Jarrett and his gang when the attempted robbery begins. As his gang members are gunned down one by one Cody goes completely nuts, climbs on top of one of the gasoline tanks, and starts shooting, and the rest is movie history. Few movie gangsters have ever had such a spectacular death scene as Cody Jarrett. And no one else could've played Cody Jarrett better than Cagney.

The Warner dvd of "White Heat" has an excellent image and audio quality, plus very good bonus features including a commentary by film historian Dr. Drew Casper and a new featurette that includes interviews with famous directors like Martin Scorsese. In "White Heat," Cagney gave one of his very best performances, and Virginia Mayo, Edmond O'Brien, and Steve Cochran were terrific as usual. Despite Mayo's good looks, she convincingly played one of the most unattractive tramps of film noir, who snores while sleeping and spits in public. Both O'Brien and Cochran appeared in numerous noir films, and although they were both very talented neither one became a big star. Of course, Cagney is the real reason why this movie remains so enjoyable. For anyone who likes great movies, this dvd is a must!

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Lone Wolf & Cub Complete (1972)

For pure, unadulterated, visceral entertainment, the "Lone Wolf and Cub" series can't be beat. The acting, directing, the screenplays, and the cinematography are all top notch. The action sequences have to be seen to be believed. Each and every film feature loads of "money shots". Fans of Tarantino will immediately see where he drew much of his inspiration for the "Kill Bill" series. I suspect that these movies were an influence on "Mighty Python and the Holy Grail" as well. Another little known fact is that the manga that this is based upon was also the inspiration for "Road to Perdition".

People with no experience with Japanese cinema will probably find these movies to be very bizarre the first time they see them. They depict a culture whose morals and values are quite different from Western standards. Its not uncommon in these movies for someone to kill, or commit suicide, for reasons not easily comprehended. Examples: in Volume 2, a cult of female ninjas brutally dismember and kill one of their allies, just to prove a point (that they're superior fighters). In volume 6, one thug after another joyfully sacrifice their lives in order to help a princess perfect her killing technique. In volume 3, following a brutal rape and murder, a Samurai attempts to help the criminals cover up their atrocity. His actions are depicted as honorable behavior.

The main character, Ogami Itto, can only be described as an anti-hero. An assassin by trade, he describes himself as evil, a demon, "one who walks along the crossroads of Hell". He will kill anyone for 500 pieces of gold, even women and children. The opening scene in the first film sets the tone of the series, when Ogami, the official executioner of the Shogun, brutally decapitates a toddler. Even so, he is portayed throughout the series as a very sympathetic, honorable character. You will find yourself rooting for him and his son.

I can't say enough good things about these movies. They are so satisfying on every level. You'll get a rush at the over-the-top scenes of violence. You may even begin to question your Westernized notions of morality. Be cautioned though: these movies are not for the squeamish. Volume 1 and 3, in particular, feature very disturbing depictions of rape and murder. Don't say I didn't warn you.

Lone Wolf and Cub is a series of films from 1970s Japan.

The story goes that Ogami Itto is Second to the Shogunate. He falls from grace due to some backstabbing and plotting. As his wife has been killed, he offers his son the option of joining his mother, or joining him in his path to Hell. His son, a toddler, takes the latter. Ogami becomes an assassin for hire, and as he has his son with him, they are the Lone Wolf and Cub.

You can read more about the movies themselves on the Internet. All you need to know for this review is that there are 6 films in total and you get all six in this set on 2 Blu Ray discs.

Video-

This is... a bit of a mixed bag. The transfer, overall, is very crisp and clean from what I can tell. The issue comes in with what is known as DNR (Digital Noise Reduction). Animeigo has made the decision to tweak the quality levels using DNR and as a result, some of the finer details are lost. Over all it doesn't seem TOO over used, but it IS used and there are occasions when it is noticeable if you know what to look for.

The video is n 1080p HD, of course. And it looks good, but could have been "better," in my opinion, had they left out the DNR or dialed it down a little. In comparison to the DVD, which is obviously SD, there is still a lot of extra quality in the Blu Ray.

Audio-

LPCM. Completely uncompressd audio taken from the source. You won't find a better sounding version of LWC's films.

It also needs to be noted, in case there is confusion, that this is in Japanese language ONLY. There is NO OPTION for spoken English language. There are, of course, English subtitles are obviously provided and, if you so choose, can be turned off. However, the subtitles can ONLY be controlled through the remote there is no subtitle option for on the menus.

If you want spoken English and don't mind the films being edited together, check out the Shogun Assassin 5 Film Collector's Edition [Blu-ray] set instead. The edited films are the reason you can't have spoken English with this set.

Menus -

Uhm... what menus? When you put the discs in, you see the Animeigo logo, a disclaimer that if you want subtitles on/off you have to use the remote and then... you're presented with a still shot of Ogami with a menu along the bottom with a choice of which of the 3 films you would like to watch. The option under each film is for chapter selection and an option to look at liner notes about each film.

I guess you don't need menus, really, since the films are what matters.

Packaging-

Kind of lame, but I think this has more to do with the age of the film and lack of more materials.

You have the image on the front, shown on the Amazon page, and a few screen shots on the back. A short description is included as well.

Final thoughts-

These are some of the finest Samurai films ever produced. Animeigo has done a good job with the Blu Ray transfer, though the extra DNR caused me to drop the ranking to 4 stars instead of 5. If you don't care about DNR or won't notice it, then this is a 5 star release.

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"Lone Wolf and Cub" is the pinnacle of Asian grindhouse cinema and the most action-packed and downright cool series of samurai films ever made. The violence is brutal, the sex (both forced and consensual) is plentiful, the characters are memorable, and there is a lot of subtle humor and beautiful Japanese culture to be enjoyed as well. I cannot recommend these six films enough.

Beginning as the Shogun's personal executioner, our anti-hero Ogami Itto is framed by the jealous and ambitious Yagyu clan's shadow ops; his wife murdered in the process. In his rage, Itto takes his young son, Daigoro, and declares them to be demons, apart from the world of men to live as assassins for hire. His primary target: the head of the Shadow Yagyus, a decrepit old warrior known as Retsudo. Along the way he encounters hidden ninja and other Yagyu warriors, deadly kunoichi, clan heads in need of his services, friendly villagers, prostitutes, yakuza, Retsudo's skilled offspring, and many more, most of whom will either be diced up by his sword, or by his enemies'. Thankfully, Lone Wolf and Cub are more than ready for whatever comes their way. Ogami Itto pushes his son around in a modified baby cart that is packed full of hidden surprises for anyone who wishes to take his head. And nobody is his equal with a sword. Nobody. Amusingly, Daigoro manages to rack up a little body count of his own and embarks on his own little adventures from time to time too.

The first film "Sword of Vengeance" focuses on Ogami Itto's first clashes with the Shadow Yagyu clan; playing a bloody game of chess as the disgraced samurai embarks upon his demon's journey by outwitting Retsudo and escaping to the open road. "Baby Cart at the River Styx" is my favorite film of the series and features a deadly band of lady shinobi (kunoichi), and a mission which pits Lone Wolf and Cub against a trio of skilled and honorable warriors with brutal weapons who have been hired to protect his target. "Baby Cart to Hades" (best title ever!) has Itto sacrificing his own body to protect a lowly prostitute in need and features one of the greatest action sequences ever filmed as our (anti)hero single-handedly battles an entire force of Yagyu troopers and kills ever last one. Awesome. "Baby Cart in Peril" features a heroic female samurai with tattoos who fights topless (for distraction, see?). In order to retrieve the information vital to his mission in "Baby Cart in the Land of Demons" Lone Wolf and Cub must past the deadly tests put forth by five of the clans retainers who can appear anywhere at any time. Lastly "White Heaven in Hell" pits Ogami Itto and son against a Yagyu clan desperate to finally avenge their shame by ending their lives. Lord Retsudo orders every person who helps or even speaks to them to be put to death. As Itto flees civilization into the frozen mountains, Retsudo sends his supernaturally-powered ninja to stalk him while the remainder of the clan's army is brought up for the end game. All of these films are must-sees for martial-arts and action fans.

The bonus features include many trailers, particularly for Zatoichi films (Shintaro Katsu -who played the legendary blind swordsmanproduced the first three films and cast this brother, Tomisaburo Wakayama, as Ogami Itto). Each disc also features extensive and informative notes about Japanese history and culture to help put some of the events in the films in perspective. Good stuff.

If you're looking for unrelenting action, brutal gore, a protagonist who is an unstoppable bada$#, and a story that has coolness around every corner then this is a series you must look into. It's a great place to start if you're looking to get into samurai films and this set belongs in the DVD library of all professing to be fans of the genre. Buy these films and enter the Crossroads to Hell.

Read Best Reviews of Lone Wolf & Cub Complete (1972) Here

I'm a huge fan of martial arts films in general, samurais in particular. Part of the problem, for me, in finding samurai films I'd like is the tendency of Japanese filmamkers to include odd humor and action scenes that are too unbelievable. Now, I like unrealistic action fights, I can watch Drunken Master 2 or Crouching Tiger,Hidden Dragon all day, but sometimes you can take fantasy too far--in the anime version of Samurai Showdown, Haohmaru the samurai defeats a swarm of bees with his sword by chopping them up. A bit too much.

The reason I bring this up is to let anyone who has the same taste as I do in martial arts films (fantasy fighting with some gravity to it) know that they'll enjoy these movies as much as anything they've seen.

First off, the story is just great in each film. You really can't predict the actions and decisions that lead hero, Ogami Itto, will make. He's the perfect samurai character, grim, silent, and ruthlessly efficient. I was a bit leary about Tomisaburo Wakaya, as he's not the vision of the ultimate samurai, but his fine acting and martial arts chops make you forget about his double chin. Upon first seeing him, I wished they had cast an actor who looked mroe like the comicbook Ogami Itto--twenty minutes into a film, I forgot all about the comics.

The action is just incredibly well done. It's not the beautiful, agile swordplay of the Chinese sword films, but it has an elegance to it. Whereas the Chinese like to draw out a fight and have both warriors display every move in their arsenal, the Japanese directors tend to focus on a single, perfect stroke. The fights are fast and furious, with limbs and fountains of blood. For those seeking to avoid blood and guts, you might want to rethink getting this. Just think of the final action scene in the phenomenal Kill Bill Vol. 1, where the bride decimates the Crazy 88. Now imagine that scene with someone who actually knows martial arts, and you'll get the idea.

Anyway, let me just say that these six flicks are MY Star Wars. The ultimate samurai saga, bar none. If only Kenji Masume and Kazuo Koike would ahve made a Musashi film.

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(2008 HOLIDAY TEAM)This "Lone Wolf and Cub Complete Series" release from Animeigo is one of the best arguments for changing over to Blu Ray that I have ever seen. It isn't that it is stuffed full of extra features and funky junk that you will look at once and then never again--it's how all six films in the series have been put on two disks, then packed into a single, slim box.

Seriously, I panicked a little when I got this in the mail. I figured something was wrong, that maybe they had only sent me the first flick instead of the complete series. I couldn't believe it until I popped the disk in my player; This set is actually all six films--with the best quality releases ever seen--packed efficiently into a tiny little package. As someone who is a bit of a film junky, and whose house is overflowing with giant, six film box sets, I really appreciate the space. I want to convert everything I own to little packages like this.

That's the packaging; now how are the films? Obviously, the Lone Wolf and Cub series is a bonafide classic. Adapted from the comic series by Koike Kazuo and Kojima Goseki, "Lone Wolf and Cub" may be one of the first comic-to-film adaptations to really nail it. No surprise since Koike also wrote the screenplays. Produced Katsu Shintaro--flush from his Zatoichi fame--who hired his brother Wakayama Tomisaburo as the assassin Ogami Itto, Some might see a bit of nepotism there; tubby, middle-aged Wakayama is hardly anyone's idea of a dashing action hero. But Wakayama is well known as being one of the best true swordsmen to make a career as an actor. Most actor's just faked it. With Wakayama, you are getting something closer to the real deal.

But that is about where reality ends. Lone Wolf and Cub are what I think of as "Cinematic Samurai." Far from the considered humanism of Kurosawa or the socio-political commentary of Kobayashi, these flicks are full-on over-the-top ultra-violent unapologetic male power fantasies. They eschew any form of realism. Blood doesn't trickle from a wound, it bursts forward like a geyser, and with enough blood to paint a house red. Swords can be thrown like darts and never miss their mark. People don't stand still and fight, they leap and bound with superhuman vigor. And one man can cut down an army, so long as they aren't named characters. These are the kind of flicks that inspired Tarantino and Frank Miller. They are a hell of a lot of fun.

The six films are:

Sword of Vengence 1972 Any movie that starts out with the beheading of a 3-year old child is making a statement as to where it stands. If you can't get by that scene, best to just pop the disk out and never watch the series again. The first "Lone Wolf and Cub" flick is a solemn, gloomy affair. Ogami Itto and his child Daigo are on the run for a crime they didn't commit, and wind up with a troop of mountain bandits who want to sport with the father and son before killing them.

Baby Cart at the River Styx 1972 The unquestioned best film in the series. Elite squads of female assassins, the three Lords of Death, and--best of all--Daigo gets into the action. When that cherubic little face hits a button on the baby cart and a big spear comes shooting out, you know this series has leapt beyond it's humble beginnings an into something spectacular.

Baby Cart to Hades 1972 Ruminations on the Way of the Warrior and a concealed Gatling gun are the memorable moments of the third Lone Wolf and Cub flick. There is a danger of escalation, of films going so over-the-top that they move into parody, but the fine balance is still maintained no matter how wild the action gets.

Baby Cart in Peril 1972 Daigo is getting a little too big for his famous baby cart in this film, and decides to head out for some adventures on his own. Meanwhile, Ogami is engaged in a battle with the beautiful--and perpetually topless--female assassin Oyuki. Nice showdown in this film, with no easy win for Ogami.

Baby Cart in the Land of Demons 1973 Name aside, the baby cart is mostly gone now as Ogami and Daigo head out on their separate adventures. Ogami proves he is no hero as he takes on the assassination of a young girl fated to succeed the local daimyo.

White Heaven in Hell 1974 The last film in the series takes some new twists and turns, including supernatural elements and a final showdown with Ogami's longtime enemy who has pursued him throughout the series. The famous baby cart returns with a vengeance, and Ogami manages to slaughter an entire army. He pulls off 150 on-screen kills in this film, the most of any individual character in a movie.

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Thunderstruck (Blu-ray + DVD + Ultraviolet Digital Copy Combo Pack) (2012)

Every now and then, a film comes along and changes our perspective into the realm of logic and life. A film that warps reality, forcing the viewer to completely re think their entire life. A film that leaves you in such awe, words can do no justice. I have seen this film more times than I can count, and every single time I finish it, I want to immediately watch it again.

To start out, the director. When my children have children, they'll talk about the great directors making some of the best cinema of the 21st century. Paul Thomas Anderson, David Fincher, Terrance Malick and now John Whitesell. After previously directing the brilliant Big Momma's House trilogy, which are on par with the Star Trek Trilogy (Wrath of Khan, Search for Spock, The Voyage Home), the Lord of the Rings films, the Star Wars films and the Dollars films. Along with Malibu's Most Wanted, proving that Jamie Kennedy deserves an Oscar, and Deck the Halls with the comedy duo of Matthew Broderick and Danny Devito, in the shadow of Abbot and Costello. This is a man who has a vision to change the way we think but Thunderstruck completely wipes the floor with his other films. "Wipes the floor", get it?

I'm no sports fan but Kevin Durant needs to put down the basketball, and pick up an Oscar. He completely sells his role and you see him not as an actor, but as a man. On top of that, newcomer Taylor Gray, the Marlon Brando of the 21st century. You feel his struggles, see his anguish, jump for joy when he succeeds, mixes the bag of emotions that you won't be able to help yourself from. I found myself in tears walking out of the cinema, from his groundbreaking performance that not even the great Daniel Day Lewis can poke at. Once I left the theater and immediately purchased my ticket for the next showing, I had such tears in my eyes that after they hit the ticket, you could barely read the title.

It mixes comedy and drama well, going back to my previous point of the film stupendously mixing the emotions. At one moment, you laughing your basketballs off at the perfect chemistry of Durant and Gray as they struggle trying to get their powers back. You feel the anger when Gray's bullies rough him up with some foul talk, unaware of the genius in front of them. Feel the joy of their companionship and how the thing that brings them together is a game of basketball.

Aside from the acting, the writings is on par and doesn't feel outdated with it's various references. The film required two writers since it can't take just one to create a masterpiece. Eric Champnella who's previous work is Mr. 3000, the definitive baseball film, and the straight to Disney Channel (should've been permanently in cinemas) Mailed to the Chief. The other writer should also be noted, Jeff Farley who had a brilliant role as Tabby's Security Officer in the mind blowing Ace Ventura: Pet Detective Jr.

I could write a book on the brilliance of this film but words can do it no justice. It just HAS TO be seen to be believed. Make way for your top favorite films list, if this doesn't crack the top 3, don't ever act like you know cinema. Please, PLEASE experience this masterful, genius, brilliant work before you die. I PROMISE you won't regret it.

Sixteen-year old Brian (Taylor Gray) wants to be on the high school basketball team, but he has no skills. After Brian meets Kevin Durant, his game is perfected.

Although I'm not very interested in basketball, I enjoyed this movie. The beginning was okay, but it became much more entertaining once Alan (Durant's Agent played by Brandon T. Jackson) figured out what happened. Jackson's performance was as funny as I expected it to be. There are also important messages for young people about friendship and 'fitting in' I liked that.

Thunderstruck is a good family film.

Favorite Line: Coach, is that from Hoosiers?

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This movie is basically "Like Mike" as a kid, in this case with no basketball talent, gets an NBA stars talent transferred to him. Not through magic shoes though in this case it's just like Space Jam where the talent is transferred through the ball.

The kid is usually picked on but because of his new basketball talent he becomes popular and shows up his bully before he becomes a jerk himself.

The basketball in it is pretty fake as the kid dunking looks like he's flying rather than jumping and the same play is shown a few times but from slightly different angles and supposed to be different plays. Mixed in are some Kevin Durant highlights/lowlights from actual games.

Durant plays himself and it is a good thing they gave him an energetic manager to pair next to him as otherwise his scenes are fairly boring. A Durant fan might like seeing him but he's not in it that much besides shooting poorly in a gym on a few occasions and trying to get his talent back from the kid

The highlight of the film is the charming Tristin Mays as Isabel. She plays the female lead of the movie and the love interest to Brian. She liked him for him and before his basketball transformation and calls him out for turning into a conceited jerk later on in the movie who's more focused on living the good life than staying true to his friends

In the end though the message is that teamwork and effort can trump overall talent and Brian somehow does more with a lack of talent than Kevin Durant ever did as he switched talents with Brian and is doing terrible in the NBA while Brian enjoys all of his success and no amount of practice has improved Durant's game. Brian does well with his lack of talent though and even after the switch back occurs he's supposedly better at basketball even though he practiced a lot before the switch and still stunk

Some mixed messages and limited basketball realism but recommended if you have small children who are a fan of the Thunder and or Kevin Durant

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Good story, decent acting, everyone in the family enjoyed the movie from kids to adults. I would recommend for an all around entertaining family movie.

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Reminds me of too many others like it. Remember Space Jam? It was a bit entertaining though, at that price.

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Out of Time (2003)

"Out of Time" is the story of Banyan Keys chief of police Whitlock (Denzel Washington), a man in the middle of a divorce he does not want. Whitlock turns to his old high-school sweetheart, Ann Harrison (Sanaa Lathan) for solace, only to learn that she has terminal cancer and cannot afford the alternative treatment that might be her only hope. Whitlock can't just watch Ann die, so he steals a large chunk of money he bagged in a drug bust from his own department and lets her have it. But then Ann and her abusive husband Chris (Dean Cain)go up in smoke in an apparent arson, triggering a legal fallout that leaves Whitlock struggling to tie up all the loose ends as his life unravels around him.

"Out of Time" is a somewhat formulaic but still successful mystery/suspenser that slowly pulls the viewer into the web along with Chief Whitlock until there's no escape. Fans of this kind of movie will see a lot of familiar set-ups and plot devices, but the strong cast makes the story work as a whole even if you think you've got it all figured out. Washington's hapless cop is unfailingly appealing, even if he is guilty of some terrible lapses in judgment (but then aren't we all from time to time?). Cain and Lathan likewise do well with their roles, and Eva Mendes is a standout as Whitlock's estranged wife, a homicide detective in her own right who slowly discovers more than she wants to about her husband's role in the Harrison case. Will Whitlock be able to put the puzzle together in time to save his skin from a looming murder rap? And will Mendes help pull him out of the fire, or push him all the way under? You can't stop watching til you know the answers.

The film's seedy, noirish atmosphere is a great plus as well, and if it's not original "Out of Time" is still entertaining. Overall it's worth 3.5 stars, and certainly a movie you want to watch at least once if you like mystery or suspense films. Like many of its kind, however, it may not hold up to multiple viewings once you've learned the secrets, so it may be one to rent rather than buy. Either way, it's a great way to energize a lazy evening.

This is probably the most Hitchcockian thriller to come down the pike in a decade or so. You have the flawed man unjustly accused. You have a femme fatale who may or may not be dead. Thorny relationships with women. Atmosphere by the bucketload. Sexy, slightly violent, a tad morbid, bundles of wit and humor.

This was a sadly ignored film during its' theatrical run. Denzel does his canon proud with another strong performance. While it's not flashy or subtle, it's exactly what the film demands. It fits.

The women are, putting it bluntly, absolutely smoking hot. Eva Mendes and Sanaa Lathan are fine actresses, and do nice work here. But in often skimpy clothes in that Miami wet heat, they could recite the phone book and most males would be entranced.

Dean Cain is terrific as "the bad guy". His scenes with Denzel show him stepping up to the plate admirably. You'd expect Washington to blow him off the screen...and he doesn't. At all.

The screenplay has some nice twists and turns. A veteran moviegoer will recognize or anticipate a few of them, but I guarantee there will be several scenes or lines that'll raise everyone's eyebrows. It's not perfect; there are some clunky lines sprinkled here and there.

Carl Franklin is a talented director, no question, and this simply will add to his reputation. Again, not flashy, but this story will perfectly told.

A special mention is necessary on behalf of John Billingsley. This movie will have people sitting up saying, "who IS this guy?" He's an absolute laugh riot. Every time he's on the screen he's hysterical. His lines have the same improvisatory feel that Bill Murray's did in "Tootsie" (which most were, apparently).

This is a perfect movie for adults interested in an awesome crime thriller.

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I really enjoyed this movie! There was thrill, suspense, romance, and excitement. I would recommend this movie to any movie lover. Denzel, Sanaa, Eva, and Dean were all HOT in this movie! I loved the whole story line. There were a few parts that may be too explicit for young children, so beware parents!!! I have seen this movie on several occasions and it is like the very first time everytime I see it. This one is a classic, it should be a new addition to everyone's movie collection. I suggest this movie to anyone, especially Denzel lovers, he looked great in this one LADIES!!! Trust me! Check it out for yourself I'd like to hear what anyone has to say about it!!!

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"Out of Time" is a tautly paced crime thriller about a small town Florida cop investigating a double homicide in which all evidence points to him as the prime suspect. Despite the film's morally clouded ending, director Carl Franklin navigates the plot turns and twists with workmanlike efficiency, resulting in an engaging neo-noir tale of lust, greed and deception.

In my opinion, this film is a marvel, the plot twists every scene, and it leaves you on the edge of your seat every second. I'll admit, the start might be a little slow, but it is easily made up for by the rest of the film.

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`Out of Time', a Denzel Washington thriller showcase directed by Carl Franklin is an object lesson in how to put a character into a bad situation, then turn up the heat until it seems he cannot escape his predicament, and he feels the pressure all the more so because it was created to a great extent through his own mistakes. It is easy to put heroic people into desperate situations, subject to terror and the brink of death, yet their entire predicament is for a just cause. The feeling you have, for example, for Frodo and Samwise on the slopes of Mount Doom surrounded by lava is quite different from the feelings you have for Washington's character. This is true not the least because it is so much easier to associate with a person bound in a web of his own mistakes than it is with a hobbit bound in the web of a giant spider.

This is the stuff that tragedies are made from, except that instead of being destroyed by the situation of his own making; the hero does manage to make it out in the nick of time. The best part of his ultimate liberation is that it is brought about by the help of a very good friend who covers for him on two critical points in the story without even being asked and with an assist from his estranged wife who also happens to be a police officer working on the case which drives the plot.

Washington is the chief of police for a small town on a small Florida key island, very similar to his role in his earlier movie `The Mighty Quinn'. His recently separated wife is a homicide lieutenant in some much larger, overlapping jurisdiction, possibly the Miami / Dade police force. Washington's best friend is the local medical examiner. In the opening of the movie, it is revealed that Washington is having an affair with an extremely attractive local dental technician married to a former NFL football player who is currently employed as a security guard at the local hospital. It is also revealed that Washington has about 450 thousand dollars in cash in his office safe confiscated from a recent drug bust.

The main action of the story is set in motion when Washington's mistress talks Washington to accompany her to her oncologist who reveals that an earlier malignancy has reoccurred and is in an incurable state. After the expected distress, compounded by what is believed to is an abusive husband, the woman signs a 1 million-dollar life insurance policy over to Washington as beneficiary. Washington, thinking the drug money will be tied up in court procedures for months, turns it over to his girlfriend in order to get expensive experimental treatment for cancer. Shortly thereafter, bodies of girlfriend and husband are found in the ruins of their house set on fire by arson shortly after a witness sees Washington running away from the victims' house.

All this easily adds up to evidence against Washington, giving him clear means, motive, and opportunity. The pressure mounts as Washington's wife is assigned the case and sets up shop in the town's little police station, right outside Washington's office. The pressure gets turned up as the head of the Miami DEA office calls Washington for the drug money and wants it `yesterday'. So, the second act is largely Washington desperately working at staying one step ahead of both his wife and the DEA.

The average viewer will figure out part of the mystery with little trouble, but I won't spoil the fun by revealing it here. The full story, however, is not revealed until the very end. And, the construction of the problem for Washington and his being able to resolve it at the very last minute makes great entertainment spiced up by the very believable situation. There is an almost dreamlike quality to Washington's predicament. No matter what he does, things just seem to get worse, without quite catching up to him.

The resolution between Washington and his wife after the case is closed seems a bit improbable, but I can live with that. This is by far the most excitement I have experienced with a PG-13 movie in quite a long time. The writers were even able to keep the body count down, limited to the immediate perps of the crime.

Highly recommended for all with reasonably good nerves.

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