Once Upon a Time in America (2011)

Okay, a four hour gangster movie is not going to be everyone's cup of tea, especially when the pacing is absolutely glacial and DeNiro and Woods aren't on-screen for about half that time because of a childhood flashback that's longer than some full movies. But, if you take this movie on the terms director Sergio Leone sets, it's a richly rewarding cinemeatic experience. I've heard the film described as "an opium dream of a gangster movie" and the pacing seems to justify such a response. But it's slow and richly detailed, and a little odd at times, for very good reasons that pay off in spades by the film's emotionally titanic (though slightly anti-climactic} finale.

Despite what can seem like turgidness on first viewing, this film is likely to stick to your ribs and merit repeat screenings. DeNiro smolders throughout, while James Woods delivers a teriffic scenery-chewing performance. The story is friendship (and betrayal, of course)--or is it Romulus and Remus? Greek tragedy, perhaps? Godfather parts 1 and 2 rolled into one film? Yes, and more. And viewers familliar with Leone only through his spagetti westerns are in for a surprise: Leone is a world-class film-maker here, capable of stunning beauty and cruelty, often within the same frame.

Does it really need to be this slow? Does the flashback to childhood need to be almost and hour and a half long (don't worry--it's absorbing enough in its own right to keep you from noticing)? Does the the chronology need to be so screwy? Does that darn phone need to ring so long? Absolutely.

Fans of Woods, DeNiro, Leone, or gangster movies in general canot afford to pass this film up. The supporting cast, especially the young actors playing the gang members in thier childhood, is also consistently stellar. Best viewed on a cold wintry afternoon when you've got plenty of time. Opium not provided.

When "Once Upon A Time in America" was initially released, there wasn't much of a stir in America due to the well-documented excision of around an hour and half of footage. But, on its release to home video, the restored, uncut version was suddenly available to American viewers. Thank God. This is a deeply moving, emotionally-wrenching film that deserves its ranks in the annals of some of the greatest motion pictures ever filmed. Movie lovers will delight in this film from frame to frame. Top-notch performances, extended sequences with attention to detail that rival the best Kubrick films, and plot twists told through inventive flashback sequences make this a movie-lovers paradise.

I remember when it first came out, I was mesmerized by it for three reasons. Firstly, when it was released there was possibly never a more violent film than this one, with the possible exception of Scarface. Thus, the action is first-rate. Secondly, the performances were all compelling. One performance that went overlooked, I think, was Tuesday Weld's volatile performance as the damaged and emotionally scarred girlfriend of the equally volatile Woods. DeNiro, of course, holds every scene he's in; there's a great sequence in the film involving crooked cop Danny Aiello and a sick practical joke played on him by the gangsters seeking to influence him; additionally, a young Jennifer Connelly gives a fine performance as the childhood sweetheart of one of the gang-members. Thirdly, the pacing of the film was deliberately extended in several sequences to allow for Ennio Morricone's haunting, melancholic, and most deeply felt musical score. When Morricone's music swells, so collectively do we, and the play on the screen becomes the ultimate tragedy that can never have a happy ending.

Some of the visuals of the film are especially striking, not the least of which is the aerial shot of DeNiro lying under a mesh cover on a mattress in an opium den, grinning goofily while he allows the opium to take its effect, and wipe away the memories of his betrayal. Other standout visuals include the shot of a frisbee flying through the air to introduce yet another flashback sequence, the opening sequences of horrifying violence, and a final sequence involving a garbage truck.

All of this together creates an unforgettable movie experience, one that will stay with the viewer for a long time.

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"Once Upon A Time In America" is director, Sergio Leone's stunning tale of organized crime and the destruction it unleashes into the lives of four life-long friends. Robert DeNiro headlines a cast of great talent that includes Joe Pesci, Treat Williams and James Woods. When this film first premiered in 1984 it was 229 minutes. However, the subject matter was considered so violent and shocking, and the pace so methodically slow that nearly 40 minutes were excised for general exhibition, rendering the story line practically incomprehensible. I am pleased to say that this new 2-disc set at last gives us the story as it was originally intended, full of robust characterizations, enthralling action sequences and filled with the sort of memorable moments that have reminded me why we all go to the movies to be entertained (not overwhelmed with way-too-many, ultra-slick digital effects!).

Warner Brothers 2 disc set does have its drawbacks. First, the movie itself is spread over two discs and, there is no polite way to say it, the interruption is obtrusive. The break happens right in the middle of a crucial scene. Interruption aside, the DVD is marred by considerable film grain and a bit of digital grit that make most of the images digitally harsh instead of creamy smooth. Many scenes offer remarkable clarity and depth while others, mostly night time or dark scenes suffer from a loss of fine detail that disappears into a haze of undistinguished muddy blacks, browns and blues. Edge enhancement, pixelization, shimmering and aliasing are present throughout the transfer, sometimes distractingly so. The audio is remixed 5.1 and is strident and lacking in tonal bass.

Extras: Pretty much a retrospective and audio commentaries. Some toss away stuff. That's it, that's all!

BOTTOM LINE: For its sheer mastery in the art of cinema story telling, I recommend "Once Upon A Time In America". The transfer leaves something to be desired but hey, it's nice to have this American classic back in the spotlight and, finally, in its full running time.

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Now, I am by no means a Sergio Leone fan, but he deserved the Oscar for Direction for this film. I firmly believe that this film stands up there with "The Godfather, Part II", "Casablanca", and "Citizen Kane" as one of the greatest films ever released (maybe the best). Sergio Leone's violent, visual, masterpiece of turn of the century Jewish boys from New York growing into a life of crime has a different effect on all those who have viewed it in its various forms. I, personally have never seen the shortened version so I can not comment on it. There isn't anything in this film that isn't worth the four hour running time. Brilliant, poetic visuals, great photography and fantastic performances across the board.

Leone touches on issues of violence (the scenes are gory and sometimes explicit), sexual depravity (its no coincidence that all sexual encounters are in unconventional places and only in Noodles' rape of Deborah does he exhibit any kind of emotion toward any of his partners, gently caressing and kissing her as he violates her in a pathetic attempt to show his love), and simply growing old (brought about by the reminisces of Noodles' childhood with a beautiful good 'ol days type feeling despite the criminal nature of his childhood) and leaves us clamoring for more after the four hours are through.

Robert DeNiro is fantastic as always as Noodles. But it is James Woods, in my opinion that steals the show as Max. William Forsythe, Treat Williams, Danny Aiello, Burt Young, Joe Pesci, Jennifer Connely and Tuesday Weld add to this film just as actors of their quality are expected to. Their performances, as well as the two leads at the very least deserved, but didn't recieve any, Academy Award nominations. (In fact, the Oscars were the only ceremony to snub this film). Ennio Morricone's score was as beautiful and evocative as one would expect from the master of the Italian score.

Worth seeing. Sit back, take the phone off the hook and prepare for a cinematic experience.

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Once again Sergio Leone proves that he is the master of the classically "American" genre film, this time training his exquisite eye from the Western to the gangster film...gangster EPIC, actually.

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This movie takes place via disjointed flashbacks over a period of fifty years, focusing on the life (and death) of crime as experienced by four childhood friends, specifically David "Noodles" Aaronson, portrayed in maturity by Robert DeNiro in another typically inspired performance.

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The movie in its American release nearly 20 years ago was absolutely butchered by the US-based distributor, with over an hour of footage removed from the feature in order to make it more managable for US audiences. The result was that the personality of the movie was essentially siphoned off and the film was savaged by film critics nationwide. When the movie was released for cable a year or so later, a fair bit of the footage was restored (and in fact another edit presented the film exclusively in chronological order from Noodles' youth to old age).

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This restored version does include as much as the film's original footage as can be accounted for (to our knowledge), and the effect is somewhat more enlightening than the cable edit I first saw (and legitimately loved) almost two decades prior. The violence edited back into the movie makes it more difficult for the viewer to find sympathy/empathy with any of the characters (which may have been a stretch to begin with)...but while the extra features are a wonderful addition to the DVD (James Woods' admission on the Leone bio piece that to this day he is asked what exactly happened in "his" last scene...and to this day he's uncertain himself...is worth the price of purchase alone. And Richard Schickel's film-length commentary track is also a joy to watch/listen to.

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But Warner Brothers REALLY dropped the ball by deciding to split the film into two equal lengths for the purpose of placing it on 2 discs; particularly when considering that in fact Leone did make provision for an intermission within 2:45 of the film's original running time. The most obvious issue is that yes, a rather crucial scene was unceremoniously interrupted as Disc One ends and resumed at the beginning of Disc Two. Arguments will be made that this was necessary to include the full-length commentary track for both discs, but even "Pulp Fiction" with a complete running time of over two-and-a-half hours was able to complete the presentation with commentary track on the same disc; you have to believe Warner Borthers could at least have done a better job with Leone's final masterpiece. As it is, the perfect realization of the film that was by all admissions nearest and dearest to the Italian film maestro's heart still eludes him, even in this digital age. Had he lived to see it, he could not have been pleased with this treatment. Nor was I. A terrific film, beautifully and lovingly shot as always, speaking to the emotions of the viewer in a way that so many American directors simply can't pull off...but once again the editors have failed the artist. I own it, and will view it regularly out of respect to its brilliance as a film, but someone should have been sacked over this DVD presentation.

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A Soldier's Story (1984)

A phenomenal cast brings Charles Fuller's adaptation of his Pulitzer Prize-winning play to the big screen. Howard E. Rollins, Jr., is magnetic as the Army Captain sent to investigate the murder of a black Sergeant in Louisiana during World War II; his careful detective work uncovers the complex layers of racism (both externalized and internalized) that led up to the crime. Adolph Caesar gives a superb, Oscar-nominated performance as the (unsympathetic) victim whose story is told through a series of flashbacks. And Larry Riley, David Alan Grier, Robert Townsend, and the always-magnificent Denzel Washington register strongly in important supporting roles. Effective as both a mystery and a social commentary, this worthy nominee for the 1984 Best Picture Oscar is tightly directed by Norman Jewison.

The DVD presentation of this recent screen classic offers an excellent film-to-video transfer, featuring a sharp picture and crisp sound. The disc contains both the widescreen and fullscreen editions, and includes the original theatrical trailer. Also offered is a short but very moving 1999 documentary entitled "March to Freedom", which recounts several astonishing real-life stories of racism in the American armed forces during World War II. All-in-all, this is a highly recommended DVD that deserves a place in your home video library.

A Soldier's Story simply has everything working for it, and the result is a frequently overlooked masterpiece that will add depth to any collection of American film. It works as a murder mystery and it works as an astounding inside look into cultural psychology. Certainly the themes of racism and self-hatred are universal. But this snapshot of southern race relations in 1944, seen in a military context, is also very specific, and more powerful still because of this specificity.

That these able-bodied men are not in Europe says a great deal, that they are baseball players from the Negro League tells us that even the national pastime was not truly national in 1944. When Captain Davenport, played with spellbinding dignity and power by Howard Rollins, arrives to investigate the murder of a hated drill instructor, he is the first black officer most of the men have ever encountered. Capt. Davenport's seriousness and dedication drive a wedge into the status quo, revealing layers of racism in white and black soldiers alike.

One of this movie's rewards is getting to watch familiar actors just starting their ascent, Denzel Washington, Robert Townsend (Hollywood Shuffle), and David Alan Grier to name a few. Even Philly's own chanteuse, Patti LaBelle, lends some characteristically high notes. But the star of this film is Sergeant Waters, the murdered drill instructor, played with smoldering intensity and conviction by Adolph Caesar. Hard to believe he did not receive an Oscar, after being nominated.

In Sgt. Waters, Caesar creates a man of multi-layered psychological complexity, whose hatred of blacks is more vicious than any white man's ever could be, whose assimilation of white culture is more desperate than any white man's ever is. Sgt. Waters believes himself to be a transformational man, a black who has put the embarrassing shuck-and-jive eye rolling behind him, a man who must kill his own blackness to be free. In doing so, he is responsible for the death of the film's most thoroughly innocent and likable character, C.J. Memphis, played admirably by Larry Riley.

By baiting Memphis, Sgt. Waters severs not only his ties to his true self, but to his humanity, in an attempt to further his crackpot philosophy. At this point he is more than doomed, he is damned. A Soldier's Story is not only a masterpiece of craftsmanship, it is a deeply truthful and humanistic story. Engrossing, but more than mere entertainment art.

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"A Soldier's Story" is a truly compelling film that gives the viewer a lot to think about. While this film explores the issue of racism and intra-racial prejudice, it does so without being overwhelming or preachy.

Howard Rollins gives a solid performance in the role of Captain Davenport; a stoic and principled officer who is assigned to solve the murder of a black NCO--Sgt. Vernon Waters--at a military base outside of Tynin, Louisiana. Davenport is determined to solve this murder and he's not going to let the white racist senior officers stand in his way. At the same time, he doesn't let the enlisted black soldiers suck-up to him because he's on a mission and he wants to get at the truth, no matter what.

Adolph Caesar plays the hard-ass, irascible Sgt. Waters. Caesar plays this role for all it's worth and he does a great job of making the viewer feel his contempt for southern blacks and for himself.

Robert Townsend adds a bit of comic relief to this tense drama in his role of the bumbling sycophant Coporal Ellis. For all the fawning attention he gives to Captain Davenport, you, the viewer, can understand and feel Ellis' sense of pride in working with a black officer.

Denzel Washington also gives a convincing performance in the role of Private Peterson. Peterson is the angry young black man who not only resents the white racist society in which he lives but also the blacks who try to keep other black people down. This inner rage is played out in a very tense verbal exchange between Peterson and Waters which ultimately culminates in a fight between the two men.

The only weakness this movie has is its reliance of the flashback throughout the film. At times, this technique comes across as a bit awkward but given the context of the film, this technique is appropriate.

Despite this minor criticism, I'd have to say that this is a first-rate film and I highly recommend it.

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I think the first time I saw this movie, was an edited TV version. I usually don't watch TV because I'm annoyed by commercial interruptions. But, this film captured my interest because of how well it played out as flashbacks being put together to come to a conclusion about a murder. This is a suspenseful story with an unexpected conclusion.

Tynin, Louisiana 1944. A black non-commissioned officer was murdered. Shot to death on a roadside near a bridge, outside of a predominately black army base with only white officers. A black army officer lawyer (Howard Rollins, Jr.) comes from Washington D.C. to Louisiana to investigate the murder. No one has ever seen a black officer before and white officers only heard of the possibility that a black man could be an officer. As you can imagine, this black officer doesn't get much support from the white officers on the base.

This is a powerful film of perseverance, courage, determination, pride, and accomplishment against overwhelming odds. And the cast is fabulous. Howard Rollins, Jr. Adolph Caesar, David Alan Grier, Denzel Washington, Art Evans, David Harris, Larry Riley (as C.J. Memphis), Wings Hauser, and many other stars you know you've seen before. And it even includes Patti Labelle as Big Mary belting out some fabulous Southern Rockin' Blues.

This is my very favorite film that has Denzel Washington, although "Mississippi Masala" is a close second.

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This movie takes a hard look at racism in the military duringthe 1940s ... The plot focuses around the murder of a black officer, and the Rollins character's investigation to find out who really was responsible for his death, in classic whodunit style. Especially worth noting are the performances of Adolph Caesar, Denzel Washington and Larry Riley, even though the entire cast is stellar. Patti LaBelle also has a cameo (and yes, she sings!). Riveting all around. Don't hesitate to pick this one up. END

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Mesrine: Public Enemy #1 (Part 2) (2011)

Note: This DVD presentation is a direct continuation of the Jacque Mesrine crime saga that began with "Mesrine: Killer Instinct." If you haven't seen that film, you will probably want to in advance of screening this one. Both theatrically and for DVD distribution, this film was split into two distinct parts and packaged separately. There are, however, international DVD versions available that have the complete product--if you choose to go that route and buy only one DVD, just make sure that the DVD is compatible with your DVD player.

Branded his country's Public Enemy No. 1 for his international exploits during the sixties and seventies, Jacque Mesrine's notoriety brought him a certain celebrity status. With murders, bank heists, kidnappings, and bold prison breaks--Mesrine embraced his lawlessness with a flair and flamboyance that have maintained his cult appeal even thirty years after his death. Adapting Mesrine's own memoir, writer/director Jean-Francois Richet has divided Mesrine's escapades into two feature films. The first--"Mesrine: Killer Instinct"--charts his initiation into a gangster existence and his rise to worldwide attention while this follow-up "Mesrine: Public Enemy #1" charts the height and end stages of his criminal career. Where the first installment was an episodic character study that explained Mesrine's descent into crime, this film boldly takes on the appeal of a full fledged action epic.

Don't expect any back story or recap going into "Public Enemy #1." The narrative starts right off with an exciting court house escape and the momentum rarely wanes. Vincent Cassel delivers a performance of much power and charm as the relentless Mesrine. These years (the seventies) have Cassel embracing his criminal notoriety and fame. Filled with bravado, Mesrine toys with the cops and fashions himself a true celebrity bad boy. Heck, the most brutal sequence in the film is directly related to Mesrine have received some unfavorable press! Mathieu Amalric, as a fellow escapee and part time partner, makes for an interesting foil and ally to our outlaw hero and Ludivine Sagnier has some bright spots as Mesrine's opportunistic girlfriend.

But, in truth, this picture--and indeed the entire saga--belongs to Cassel in a true star performance. The film is fast paced, surprisingly funny, and infused with high tension. Even in the finale, where you know what is going to happen, the director shoots the sequence with so much precision and tenseness--you'll be at the edge of your seat. I genuine liked the first film even if the episodic nature kept things at a somewhat superficial level. But, I loved this follow-up! One of the better true crime stories I've seen in a while, it's one I would easily recommend if you're interested in the genre. And one more shout-out to Cassel, he really is awesome! KGHarris, 4/11.

MESRINE: PUBLIC ENEMY #1 is a sequel, or actually Part II of MESRINE: KILLER INSTINCT. It is important to note this fact because for the casual viewer who picks up this DVD first there will be a lot of background story missing. Apparently there is somewhat of a cult of Mesrine devotees, so powerful was his image as the most devious criminal of the 1960s -1970s in France. Or perhaps it is the media that makes criminals like Charles Manson, Bonnie and Clyde, John Gotti, Al Capone, John Dillinger etc etc 'heros' to the public. But if examining the lives of such beings entertains you then this film may register.

Apparently the first film in this biopic showed the development of Jacques Mesrine (Vincent Cassel) as he becomes a bank robber, kidnapper, jail breaker, etc, but this film starts with Mesrine in court form which he escapes and then proceeds to rob banks and kill people and eventually end up believing in his own grandeur as Public Enemy #1. The film was written by Abdel Raouf Dafri and director Jean-François Richet who obviously are more concerned with setting up ambushes and escapes and robberies than with character development. The is one well-written scene in the film Mesrine sneaking into a hospital where his father (Michel Duchaussoy) is dying that is true drama, but the rest is rather uncontrolled raucous crime. Vincent Cassel is such a fine actor that he is able to bring to life this atrocious character (having not seen Part 1 leaves any advantage that film may have given to his character development and why this actor suddenly has a beer gut, etc). He is abetted by Ludivine Sagnier as his pickup girlfriend Sylvia, Mathieu Almaric (another very fine French actor) as his accomplice François Besse, Samuel Le Bihan, Gérard Lanvin, Olivier Gourmet, and Georges Wilson.

The film is overly long (133 minutes) to tolerate all action/no story, but one factor remains: Vincent Cassel's performance is intriguing, right up to his grisly death scene. Not for the faint of heart or for viewers who appreciate a script with a story. Grady Harp, April 11

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Good movie! I lived there when this went down and found it true in the details. More movies like this.

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Lots of moody looks take the place of action or actual progress. Cassell is very good in both movies, as usual.

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As an American with an appreciation of French cinema, I enjoyed "Mesrine: Public Enemy #1" (MPE1), but wouldn't rank it alongside the best gangster or crime movies from the U.S. or the U.K. The filmmakers do an excellent job of recreating the scenery, clothing and hairstyles of the 1970s, and the movie has its moments of suspense. However, American audiences are likely to compare it to the many thrillers that fill our cineplexes, and MPE1 doesn't quite measure up. The gunfights and car chase scenes are just not as powerful; in fact, when a cheap Renault getaway car gets spun around and dented in MPE1, I chuckled a bit at the thought of such an underpowered car being used by criminal masterminds in a life-or-death situation. I guess it's better than a Vespa...

The primary reason why "Mesrine: Public Enemy #1" can't compare to over-the-top thrilling crime movies such as "The Dark Knight" is that MPE1 is actually based on factual people and events. There really was a Jacques Mesrine in France who robbed banks, murdered several people, and escaped from prison multiple times. MPE1 does adhere to the basic facts of Mesrine's actual life story, at least as it is captured on Wikipedia.

Vincent Cassel gives a decent performance as Mesrine. At times Mesrine's viciousness comes through, but much of the rest of the time Mesrine is clowning around or strutting about with his chest puffed out. I wondered if Cassel was perhaps playing the role a bit too much for laughs, but maybe this is the way that Mesrine really was. The chief question posed by the film is: why did Mesrine do it? At times he claims to be a revolutionary, at times he wants revenge for the suffering he and others endured in prison, at times he lusts after the money, and at other times he just appears to be doing it for the thrills. It is up to the viewer to draw a conclusion.

Ludivine Sagnier achieves absolute perfection as Syliva, Mesrine's favorite "objet d'affection". She doesn't make her appearance until halfway through the film, but oh what an entrance it is. Sylvia instantly captivates Mesrine, and Sagnier does the same with every viewer who appreciates female beauty. In all her scenes she is absolutely gorgeous, and one can see why Mesrine wanted to shower Sylvia with jewels. Sylvia herself is an interesting character, and her priorities and feelings towards Mesrine are debatable until the very last scene of the movie. Certainly Mesrine is the more famous character, but I think an interesting movie could also have been made of Sylvia's life leading up to and beyond her relationship with Mesrine.

The supporting cast is mostly excellent, especially Mathieu Amalric, who gives a haunting portrayal as a criminal associate of Mesrine's, and Georges Wilson, who gives a wonderfully understated performance as an elderly kidnap victim. The version of the film I saw was dubbed in English, which was slightly distracting, but probably less so than subtitles would have been, especially in the action sequences. All in all I would recommend MPE1 if you are interested in the Jacques Mesrine story or if you would enjoy a trip back to France in the 1970s. But if you are purely in the market for an escapist thriller, there are more thrilling options out there.

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Gattaca (1997)

Gattaca (1997) is a beautiful movie that takes place in the not-so-distant future where genetic manipulation prior to birth brings out the best qualities of the parents while eliminating the worst, specifically, predispositions to diseases, additions, poor eyesight, etc. That is, if your parents choose to do so...

The film tells the a story about Vincent Freeman (Ethan Hawke), a man born naturally, a 'God-child', one who didn't benefit from advanced technology during his development within the womb, and subsequently has various conditions many are familiar with like poor eyesight, heart problems, etc. Vincent has his sights set on the stars, wanting to travel to distant planets, visit far away places (I mean really far away) but due to advanced science, he has no chance as people can now determine the status of your health, your future health, by any number of ways, a strand of hair, a bit of spittle on a cup, a flake of skin, and while biases due to genetic profiling are illegal, the practice is common and widespread, resulting in Vincent relegated to working in less than desirable jobs like cleaning offices.

This practice of genetic stereotyping has lead to a new kind of crime, one where a person of impeccable genetic make-up but who has found themselves a victim of fate due to a permanent injury or such, can broker their identity to a natural born person, supplying that person with various blood and urine samples, strands of hair, flakes of skin, allowing that person to pose as a 'valid' individual, and garner a choice position in corporate society. Jude Law plays Jerome Eugene Morrow, a superior individual who suffered a crippling accident and has now agreed to sell his identity to Vincent Freeman, in exchange for Vincent supporting the lifestyle Jerome was accustom to prior the accident. This involves a very elaborate daily routine by Vincent, including a complete scrub down of his entire body to remove any 'loose' material that could possibly be found, analyzed, and give him away. In order for Vincent to pose as Jerome, he must carry on him samples of Jerome's blood, urine, and other identifiers at all times.

Vincent manages to pull off the sham, securing himself a position at Gattaca, a 'corporate' NASA, and is on the fast track to achieving his dream of space travel...but for one problem. A high-ranking official in Gattaca was recently murdered, and the police are thoroughly investigating all individuals. Will Vincent's shell of deception crack under close scrutiny of a murder investigation?

I really enjoyed this movie, watching for a second time last night. The picture has a very texturized feel, with the subdued lighting, immaculate sets and costumes giving the entire movie a very `noir' quality. The story was very well laid out, allowing for rich development of the main characters, creating a real interest and empathy for me for the proceedings on the screen. Ethan Hawke and Jude Law played their roles wonderfully, one as the struggling `inferior' with dreams that reach beyond his genetic make-up, and the other as the spoiled near-perfect specimen forced to deal with a physical infirmity due to fate, one that couldn't be corrected for with pre-natal DNA manipulation. Followed up with a strong supporting cast including Uma Thurman, Alan Arkin, and Elias Koteas, we are presented with a very plausible science fiction tale, one that may cause you to give some thought and provoke conversation on the concept of human messing around in Mother Nature's domain.

The picture here looks wonderful, and is available here in both full screen and wide screen anamorphic formats. Special features also include a trailer for the film, a featurette, deleted scenes, and production notes.

Cookieman108

I have two topics to mention: The "special features" and the "image quality".

It is worth noting that I own the both the original Gattaca DVD and Super-Bit version for comparison.

1) Special Features:

While maintaining the original DVD's ugly menu system, this edition contains a 22 featurette on the making of Gattaca with interviews of Ethan Hawke, Jude Law, and a number of the production crew. I enjoyed this addition. There is also a new clip on gene manipulation (history, current, and future) which was somewhat interesting.

2) Image Quality:

The original DVD was only a single layer 4.5gb disk, which resulted in a grainy image with a slightly blue tint. The Super-Bit disk was disappointingly mastered, with visible dust and hair in the copy. The Super-Bit version took on a more natural tone but suffered from over-saturated browns and greens.

Finally, this reproduction seems to have a good balance between color and image quality, although some scenes are a little grainy and the movie overall seems darker.

Conclusion:

Is it worth buying this edition if you have one of the others? Probably not, but with the HD format wars over, I might be inclined to splurge on a Blu-Ray player to give the new Blu-Ray Gattaca disk a spin.

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"Gattaca" is an incredible example of a science-fiction movie entirely based on plot, low-key twists and development, and not on special effects. Married couple Hawke and Thurman, along with Jude Law, and the direction of Andrew Nicol prove that there is no gene for the human spirit.

Vincent (Hawke) is an invalid, a "degenerate" born of natural conception without any advanced genetic engineering. Several seconds after he is born, his parents know how Vincent will die, and his life expectancy. As he grows, his heart dysfunction limits his career choices. As a result, his parents have another child, this time genetically engineered to be totally superior. The feuding siblings prove themselves over a game of swimming chicken, but it is inevitable as Anton grows more faster than Vincent that the younger child will be the favored. As a result, Vincent leaves the home and begins a job as a janitor at the Gattaca Aerospace Center, the closest he can be to his dream: the stars. But he finds that a janitor is the farthest away. Vincent trains his body and mind, but still cannot get past the cleaning job. Then, he makes a call.

He wants to be a defective ladder, or, a stand-in for a enhanced person. Vincent stands in for one of the most prized people, Jerome Morrow (Law). His disguises are perfect. Jerome supplies the blood, urine, and hair to Vincent. Then, just as Vincent is getting along at Gattaca, there is a murder of the exact mission director that was in charge of the flight to Titan that included Vincent. Enter enhance Irene (Thurman) and investigators Hugo and Josef. Vincent adequately, with the help of Jerome, sneaks past the investigators at every turn while a relationship develops between himself and Irene. Drama, suspense, incredible acting follow.

Hawke, in one of his first dramatic leads, shines as he plays an ordinary man who is extrodinary in using everyday techniques. He is the most human character in the entire movie, but holds the weight for all the the genetically enhanced. Uma Thurman, who's not given such a role as Hawke, does well with what she have. Director Niccol really accentuates on her beauty and innocence as he plays Irene, and enhance that really has no idea of the real life that Vincent is so accustomed to. There is excellent chemistry between the two. The two dated after the movie was over, and eventually were wed. There is a great supporting cast, including Alan Aarkin, Jude Law, and Ernest Borgnine.

"Gattaca" is an under-rated movie that suprises all, and wonders how much spirit we can all have.

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I must admit that this movie did not appeal to me when it was first released in theaters. However, many years ago, I rented it and was captivated by the story. Since then I've had to make do with the underwhelming DVD edition. If you are looking for a lot of action, then this movie is probably not for you. What it does offer is a fantastic story with a cast that gives top notch performances. If you already own the DVD, and are not sure if this one is worth the upgrade, believe me the Blu-ray edition blows the old DVD out of the water. The sound and picture are near perfection. The colors on the DVD version appear washed out compared to the high def color palette. While this movie won't give your surround system a major workout, it does provide very clear ambient surround effects. The special features include two new short documentaries on the making of the film. While these don't compare to some of the extras offered on other titles, they are very informative and a welcome addition to the previous version. My one fault would be that it would have been great to have at least a good commentary track, or even a picture in picture feature. But, because I feared that this movie would never get the treatment it so rightly deserves, I would still highly suggest you add this title to your Blu-ray collection.

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Gattaca totally bombed at the box office. The ... folks call it a "low-profile" release. Yeah, right. It grossed less than $10 million, despite a big budget and a big cast. But it was poorly marketed (check out the horrible trailer), and the public just didn't dig the dark subject matter without any of the usual high-tech accoutrements -such as nifty explosions, CGI characters, the like.

I however loved the lack of special effects in this movie. This is science fiction in a pure sense -not as popcorn movie, but as a thought-provoking look at what certain advances in science will bring about.

What if we could genetically engineer all human life? That question is taking on added urgency with each passing cloning revelation.

What if pollution got so bad that life expectancy rates were to drop sharply for all who did not have special genetic enhancements?

What if genetic fingerprinting technology got so good that you could not do ANYTHING without the government knowing about it, because their genetic sniffers could detect the DNA in the skin cells you shed every second?

This is not far-out sci-fi, this is plausible, near-future sci-fi.

It has excellent acting performances, including a wonderful Jude Law before he became really famous.

As added bonuses, you get a really taut thriller and a decent love story to boot.

But leave the popcorn in the cupboard: this is a pretty dark movie with a pretty bleak vision of the future. Twizzlers would be more appropriate.

Enjoy!

Die Hard (Blu-ray / DVD Combo) (2013)

At the end of the Eighties the action movie genre, which had flourished throughout the decade, began to stagnate. Cinema goers had seen enough explosions and gunfights cloned from the same formula made popular by Arnie and Sly. Both of these men were moving in the direction of comedy and action movies needed something new.. something fresh. In stepped John McTiernan and Bruce Willis with DIE HARD. Willis, most famous at the time for the comic T.V. Series 'Moonlighting', made a perfect ordinary-man-in-an-extraordinary-situation action hero. He was believeable as John McClane and not immune to being hurt. He blead and felt pain, a first for the genre. And yet his cool confident delivery of a great wisecracking, intelligent script made him all the cooler. But most credit should go to Director John McTiernan, king of the sophisticated action flick. He made action movies slick, smart and full of pace and wit while never letting up on the bullets, cars and bombs front. Special praise must go out to Alan Rickman too whose performance as chief baddie Hans is to this day one of cinemas finest, moving convincingly from cool, calm and collected to desperate and nervous, never once seeming anything less than utterly ruthless and calculating. Die Hard is a great movie for a number of reasons but adding three dimensions to the action genre is this films finest achievement and anyone who has not sampled its delights before now would be wise to get a copy as soon as possible. But don't see it on T.V. oh no, because it is never without significant and completely unnecessary extra editing for violence and language. Enjoy it on video or DVD if you can, see it in all its original splendor, it is arguably the greatest action film ever made. And then go see the sequels.. they rock too!

Because of the fact that the new Die Hard movie is coming out, 20th Century Fox has discontinued the GREAT Special Edition DVD's of the first three Die Hard DVD'S, and are replacing them with newly-packaged one-disc versions with only half of those original DVD's features. This DVD, the Special Edition Steelbook, is the only DVD that Fox has just released worth buying, because it is a repackaged edition of the original Two-Disc Special Edition of Die Hard. Hopefully Fox will do the same thing with the other Die Hard movies.

Bottom Line: Forget the new Die Hard boxset, get this instead and wait for the other ones.

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When I bought the "Die Hard Ultimate Collection" set, I really didn't think they would be able to do much with the very first Die Hard. It's a pretty old movie. I really didn't know if they could do much to improve the picture and sound quality of the movie. Well, I thought wrong, for when I watched this movie, I was completely shocked and stunned. I said to myself, "I can't believe they made this movie better."

This has to be one of the best transfers I have ever seen. The picture is ten times more crisper and sharper than the older DVD version. When the terrorists shoot out the glass windows to trap Willis, you can literally see every single piece of glass landing on the floor. Also, the sound is explosive and very impressive, especially if you can watch it in DTS. When I watched this new version of "Die Hard", it was like seeing it for the very first time.

If you are not familiar with "Die Hard", here's the story: Bruce Willis is John McClane, a very short tempered New York cop. He goes to California, hoping to patch things up with his wife, who works at the Nakatomi Plaza. All of that changes when a group of terrorists, armed to the teeth with guns and explosives, decide to take over the building. Now, the only one who can stop them is McClane, and believe, he's not too thrilled with the idea, but he knows he's the only one who stands a chance against them. McClane goes on a one-man war, running around the plaza, taking out the bad guys, and trying his best to stay alive. As soon as he hears the first gun shot, McClane knows he's about to have a very bad day.

This is a must have for anyone who loves "Die Hard". I know some might be hesitant since they already have the first box set, but believe me, it is worth it. Filled with non-stop action and thrills, "Die Hard" is a classic, and should be seen by all who loves action films. Again, I must say this is one of the best transfers I have ever seen. An easy five out of five, without question.

Read Best Reviews of Die Hard (Blu-ray / DVD Combo) (2013) Here

Die Hard Blu-ray far exceeds the Five-Star Collection version I own on DVD > I directly compared the two and the upgrades are incredible. The Blu-ray video is exceptional in almost every way. In my opinion the Blu-ray viewing exceeds the theatrical experience. The surround sound mix is sick > making great use of sub and back speakers. If you are a fan of the original Die Hard you will not be disappointed in the least with this release. Everybody knows Die Hard is one of the best action movies ever > highly entertaining and just as cool as it was 20 years ago. A classic flick given a great Blu-ray release > this is a no-brainer purchase. I highly recommend buying this Blu-ray.

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Off-duty cop (Bruce Willis) saves hostages and dispatches the sadistic bad guys against overwhelming odds; a simple plot, done many times since this 1988 thriller, but never done as effectively. The difference: This movie is well-written, well-acted, and well-directed. The script balances heart-pounding action with funny one-liners that always make me laugh out loud. Bruce Willis is wonderful as the Rambo-esque superguy who outwits, outplays, and outlasts the heavily-armed killers, and reveals just enough of his tender side to endear his character to the audience.

Willis is backed up by outstanding supporting players who add depth and surprises: Reginald Veljohnson is the sympathetic cop Willis talks to via radio during his ordeal. Alan Rickman plays the cruel, urbane gang leader with devilish flair. He is assisted by the talented Alexander Godunov as a ruthless killer.

The production values are top quality, the action never stops, and each stunt is unique and utterly stupendous. I heartily recommend Die Hard to those who love action films and those who just love excellence in film.

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BluScenes: Scenic Aquarium 1080p HD Blu-ray Disc (2012)

Excellent Blu-ray disk, It looks and sounds like a very real aqaurium:)I would recommend this to anyone who enjoys watching aquariums without the cost and care of a real one:)

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Darkness (2012)

I would say this movie was excellent but I do not think that is strong enough. The movie was outstanding in every way it kept u waiting for what was next and wanting more. Super movie!!!

Not overly engaging or very memorable. One thing i didn't like is the lack of subtitles. In a film like this where people talk softly or with thick accents, subtitles really help. Nothing i dislike more than having to crank the volume to hear a conversation then have music BLAST out of nowhere a second after for a cheap scare. One other problem is doing the shakey camera garbage. Yeah yeah, he was trying to go for camera effects.... pfffft more like, "I cannot create real tension, through creative lighting or dialog so i'll shake the camera instead" It doesn't happen alot, but i am just getting tired of horror films using shakey cam as a crutch for creating tension i guess it is replacing the blasting music jump scare. So it kinda missed the mark on being a memorable "chilling" horror film and falls into the "It's ok" category.

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The Devil Wears Prada (2006)

My wife and I, huge fans of `America's Next Top Model' and `Project Runway', were very excited about seeing this film. Why it took us this long still baffles me, but as of Friday night we had the pleasure of seeing `The Devil Wears Prada' and let me just say that it was quite the pleasure. Now, most if not all the praise has been heaped on the shoulders of Meryl Streep, and while she was outstanding, this film is more than just a Meryl painted canvas. There are four brilliant performances in this film and they all are deserving of praise.

First is Anne Hathaway who plays Andrea Sachs, a young aspiring journalist who takes a job working as Miranda Priestly assistant at `Runway Magazine'. Anne Hathaway proves with her performance that she's all grown up. No, that's not to take away from her more adult roles in more adult films like `Havoc' and the masterpiece `Brokeback Mountain', but here Anne proves that she can do adult comedy, not falling back into her teen goofiness that made her famous in `The Princess Diaries' but keeping everything smart and mature. She has enough poise and grace to match wits with Miranda, and she does so elegantly.

Next up is Emily Blunt who plays Emily, Miranda's first assistant (there are two, Andrea being the second). Emily has worked her butt off to get to where she is, slaving for the unruly Priestly and it's all about to pay off with a trip alongside Miranda to Paris. The only thing standing in her way is Andrea, for if Andrea fails miserably then it reflects poorly on Emily. Emily Blunt turns out I think the best performance of the bunch for she has enough sass, enough attitude and enough wit to make her pop out from the screen and stand out no matter who is sharing the screen with her.

Stanley Tucci also does wonderfully here as Nigel, Miranda's second in command. He is there to make sure everything is perfect, and also help Andrea adjust. Stanley always has done great backup work, playing second hand man to just about everyone, but here he really makes his performance his own and owns it. He delivers some of the funniest lines in the film but he never feels like the `token gay guy'...he's needed in this film, not filler, and he commands his scenes and really stands out amidst the crowd.

And then, of course, we have Meryl Streep who plays the ruthless tyrant known as Miranda Priestly. What I was most impressed about was the way Meryl underplays every word, every emotion, every scene, which is not what I expected. I really expected her to go all Glen Close and reincarnate Cruella but she didn't (thankfully) and instead turned out one of the most inspired performances of the year. She must have had fun playing the snooty self absorbed and above all selfish editor-in-chief of `Runway'. She lets us see inside her character briefly (when crying over another failed marriage) but her character is more about shutting off feeling in order to succeed and so we don't get to see the real Miranda because we're not supposed to.

Carried by these four brilliant performances `The Devil Wears Prada' is a fabulous film that will make you laugh and make you smile and will impress almost anyone. The script is brilliantly adapted from Lauren Weisberger's novel, and while it's not an exact replica (are any adaptations these days?) it carries the same wit but smoothes things out to make it more approachable and, in my eyes, more enjoyable. Bravo!

Meryl Streep is absolutely hilarious playing Miranda Priestly, the editor of the world famous fashion magazine "Runway". Along comes Andrea (Andi) Sachs for a job interview. She recently graduated from Northwestern University as a journalism major. Emily, the first assistant to Miranda, nearly snickers in Andrea's face as she looks her up and down and makes snobbish critical remarks about her unfashionable ordinairy clothes. Everyone in the office is calm, casual, and laid back until they learn Miranda Priestly is returning to the office when they go into "high alert".

The grand entrance by Miranda is superb, her haughty but elegant manner is perfect, with one breath and in one single sentence she rattles off six or seven commands to her assisant. Everyone jumps to attention and gets into action ... Andrea's interview is nearly cut short when Miranda notes she lacks the fashion background Miranda is looking for. However Miranda is won over by Andi's sincere work ethic and despite misgivings hires her. As second assistant, Andi manages to pull off miracle after miracle to make things happen for Miranda. It is when she does the impossible: obtains a publisher's copy of the latest Harry Potter book for Miranda's twin daughters that Andi's star at Runway begins to rise but at a huge cost to her personal life. Through a series of most auspicious but unexpected events, it is Andi who goes to the spring Paris fashion show with Miranda and a very select group of Runway staff. In Paris Andi comes to terms with her own values and resolves some personal struggles about her job and what she wants from life ...

The film is a parody about the serious competition which exists in the fashion and magazine publishing industries. The tensions, dramas, and back-stabbing are clearly evident. Dealing with the stresses and strains associated with trying to separate one's personal and professional life is very difficult. It becomes clear, the price of success means favoring work over family and friends . As Miranda Priestly said to Andi after returning from the spring Paris fashion show and as she stepped out from the limo amidst photographers and reporters: "They all want to be us" ... This film is most highly recommended a sparkling gem of a film. Erika Borsos (pepper flower)

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While this film highlights how a college student makes the leap from school to professional life, I also believe that it highlights Meryl Streep's enormous talent although she is not the lead character. She gives such a commanding performance as the dominant impossible boss. In fact there are several outstanding supporting characters such as Stanley Tucci. He is priceless as the guy you love to hate. A really good script, plus great actors equal a great movie!

Read Best Reviews of The Devil Wears Prada (2006) Here

Well, I'm all over the map about this movie, I really am, finding something to agree with in almost every review here, including the least positive.

The positives are these: I adore the look and pace of the film, the to-die-for clothes of course, and the performances (first and foremost) of the great Streep as the towering, terrifying Miranda, the winning Hathaway as the perpetually harassed Andrea, the dependable Tucci as Miranda's long-suffering, witty-wise second-in-command Nigel, and the wonderful Emily Blunt as the bitchy, put-upon first assistant...uh, Emily. All of them--especially Streep, Tucci and Blunt--bring both bite and (mostly hidden) heart to what could have been a collective phone-in of annoying caricatures. And though we really only get glimpses of him here and there, I also enjoyed Rich Sommers's endearing turn as the sweetest of Andy's circle, Doug.

I am seriously ambivalent however, about what the message of this movie is supposed to be, especially to women, and the alarm bells really go off when--SPOILER ALERT--Andy reconciles with her sulky boyfriend, Nate, telling him he was "right about everything."

What? What exactly was he so "right" about??

I don't know about you, but I found Nate, the boyfriend character, absolutely insufferable through almost the whole of the movie. I'm pretty sure he was supposed to be the voice of reason that tries hard to keep Andy grounded and remind her what's truly important, but he came off instead as a sulky brat who could not accept his girlfriend's growing pains as she labored to cope with an impossibly demanding, first ever grown-up job that nothing in her easy-going schoolgirl existence had prepared her for. Were there no demands being placed on him in HIS choice of career? Was his job supposed to be the more important one?

Ditto Andy's best friend, Lily, who seemed to me increasingly more jealous of Andy rather than supportive of her; Lily too was pursuing Bright Lights-Big City dreams that demanded a lot from a young newcomer, after all, so how is it that she had such a hard time with Andrea's chaotic ups and downs? Where did Lily get off being so judgmental and disapproving? This is friendship? I watch these performances and can't decide whether actors Adrian Grenier and Tracie Thoms made poor choices in their playing of difficult characters, or if the characters as written were simply impossible to like. Either way, both were a whiny pain, especially Nate, and Andy's mea culpas to him near the film's conclusion were tough to take.

No one disputes that Miranda Priestley was a Boss From Hell who routinely wiped her feet on her young assistants, particularly Andrea, but we also see that ultimately Miranda was as human as anyone else, a glamorous workhorse whose alley-fighter smarts hid real pain, and it should be said that Andy--who was in the beginning quite smug in her disdain of all the fashionista "shallowness" that surrounded her--had a knocking down or two coming. (I loved the way Nigel simultaneously comforted and took Andy to task after an especially bad morning.) If Miranda put Andy through the wringer--and she did--well, she also taught her some important things (sometimes unwittingly) about hard work, hanging tough, and the choices we make in life to get to where we want to go (or need to stay). Andy could have quit at the end of her first week (I think I would have), but no matter how bad or insanely silly things got, she didn't, at least not immediately. On some level she became aware that she was getting an education she wouldn't get anywhere else from anyone else, and there was value in that. I think she knew that; I hope she knew that. I hope the audience does, too.

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This could easily be dismissed as another "little-fish-in-a-big-pond" story, but the wonderful script and fine acting by all sets it high above the rest. Meryl Streep was terrific, though she was allowed to show a soft side a few times, which took away from the "bite" that may have been implied by the title. (I had a boss like that, but mine was meaner and showed less sensitivity). Streep is not the main character, however, and Anne Hathaway shows command in the central role. There's excellent support from Adrian Grenier, Stanley Tucci and Emily Blunt. The shots of New York City (and of Paris) are grand and impressive, and, as one would expect, the costume designs are stunning, though few are original for this film. David Frankel's direction kept things moving at a swift pace, and the DVD extras are entertaining and informative. I enjoyed "The Devil Wears Prada" very much.

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Drew Barrymore (2012)

Drew Barrymore has really grown as an actress. These three movies not only show that but also her comedic talents. These are no brain er movies that are just fun to watch. Seeing Hugh Grant dancing and singing was a great treat. For the price you can't beat this deal.

Here are three movies, starring Drew Barrymore, that are just plain fun to watch. Lots of laughs with great co-stars.

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If you're a fan of Drew Barrymore, this is a definite buy. I honestly bought it more for "The Wedding Singer" as that movie always makes me laugh. However, I really did like the movie "Music and Lyrics" with Hugh Grant and "Going The Distance" was one I had never seen and was pleased with as well. The blu-ray transfer looked great on all three movies, and when I bought this, it was only $10 so you couldn't ask for a better deal to have three good movies at this price!!

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As always. Drew Barrymore shines in these three movies. Hughly recommended for all three of these. My favorite DB movies are "EverAfter" ,"Never Been Kissed" and "Duplex."

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Because the movie was a Blu-ray and it had all the upgrades from the standard DVD and huge upgrades from the older VHS tapes; "The movie picture and sound was Grrrrrrrreat!!!! Their speedy service was awesome and as such, I hope to purchase more from them in the future too!

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The Magic of Belle Isle (2012)

"I respect consistency". Author Monte Wildhorn (Morgan Freeman) says it best, if I were to refer it toward the apt direction of Rob Reiner, in this melodic and poetic spin on this movie.

Rob Reiner weaves a story throughout a story, while Freeman and Virginia Madsen (Charlotte O'Neil) dance triumphantly within it's web. The movie is candidly real, hopelessly romantic, and overwhelmingly personal. I laughed out loud and was just as moved to tears all through.

Just a simple plot, with a burnt-out, disgruntled author (alcohol swilling and unflinchingly sarcastic) and a struggling mother (positive and beautiful although lonely) next door. In this setting there is nothing new. There is, although, so much depth to the main characters, the people of the town riddled throughout and in Wildhorn's life.

It is in this that makes this particular movie so worth your time; The ride from point A to point B.

What first may appear to be predictable may not end in the way it will seem at the outset. This is a movie of the heart; one that has the power to tug tightly on the emotions of those who are prone to love these types of films.

Monte possesses the most foul attitude because of life's mis dealt cards that he's holding. As he moves into a new town for the summer, he begins to meet people (usually on his terms) and slowly begins to see people for how they really are. He may be in a deep grip of emotional pain in the beginning of the movie, although so are so many others in their own lives.

Charlotte, living next to Monte, begins a guarded then easy friendship with him. Her three daughters are interacting, with a first uncomfortable Monte, soon after as the author side of him begins to appeal to all of them in different ways.

The dialogue in this interactive movie is stellar, quick-witted and lovely. Reiner uses visual stills that are able to pull as much emotion as any compelling conversation. Of this, I so enjoyed the careful framing of faces and objects as basic as Monte's typewriter.

I found also that the music in the movie is as inspiring as any of the delightful characters. Of definite noting is the Soundtrack, with a featured solo piano by Marc Shaiman. The high standard of the music is worth the while to listen to through the end credits.

This is storytelling at it's pinnacle. You will laugh, cry, ebb and flow through this piece of cinematic Magic.

Just watched this movie, I thought it was wonderful! Very refreshing content and character. Love Morgan Freeman as an actor and Rob Reiner as a Director!

Plan to watch again before rental expires, definately a must for the collection.

A must see movie!

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It is difficult to add to all the superlatives about this film. Great story. The kids in the film are wonderful, particularly the middle daughter. This film is about creativity and inspiration, but it is also about the way human beings depend upon each other for that magic we call a good life, a life worth living. This is one of those little gems, like Field of Dreams, that makes film-making itself appear to be magic.

Read Best Reviews of The Magic of Belle Isle (2012) Here

MAGIC OF BELLE ISLE (Dir. Rob Reiner, 2012, 110 minutes) is a nice, quiet family film that is also a Morgan Freeman extravaganza (comparatively speaking). I just loved it, but it may not be to everyone's liking in this hyperkinetic, wire-fu-violence-driven cinema atmosphere.

Freeman plays grumpy, washed-up alcoholic Western writer Monte Wildhorn (great imagination with the character's name, but don't let that put you off). He decides to summer-sit a house at a location I understand is Greenwood Lake, NY but is called Belle Island Village according to the town limit's sign. This confused me since they are clearly not on an island but at the lakeshore (someone refers to the lake), with some weird rocklike forested island (clearly CGI) off the coast, an island also called Belle Isle (or Belle Island, take your pick).

By the way, Mr. Helper, "belle île" is the correct term for "beautiful island" in French. Some cultures spell it "ille" and my great-great grandmother, who was Belgian, might have said "île jolie". So I do suppose "belle isle" is the acceptable Anglicization; I was certainly not questioning that nor does my review even address that.

Another helping hand informs me: 'As Monty and Henry ride into town, a sign is seen which says "Welcome to Belle Isle".' That is very good to know, I was certain I'd seen the sign in the movie but could not recall what it said. So ... welcome to Belle Isle VILLAGE, everyone! Because that is exactly what that sign says, even though the denizens call it Belle Isle.

Anyway, Wildhorn has long since abandoned writing and devotes himself to guzzling booze. That is, until a fine lady and her three young daughters enter his life and cheer him right up, the end. I have to say it is a miracle and a marvel to see Freeman giving such a performance with his sadly acquired handicaps and elements of his wheelchair-bound character reflect that loudly here.

There is no swearing, no ugliness of situation and no awkward stupidity in the storyline. I see all that as major in this day and age. One bit of language is "Jesus H. Christ" which is so hilariously surprising I hit the ceiling laughing when I heard the lines. Fred Willard as a local eccentric certainly spices the thing nicely.

Virginia Madsen hands in a worthy performance as the divorced mother of three girls, and the girls themselves are charming (with the exception of the unfortunate Madeline Carroll as Willoe Tree; Carroll is always cast as a nasty little teen witch and incidentally is some sort of cousin of my wife's).

Saying which, my wife caught a gander at some of this film and sourly asked me what was so special about it. Well, I have reviewed it, it has a happy ending in spite of the wacky characters, and is fully a Morgan Freeman movie. If that doesn't tell you what is special about it, then you are a lost cause indeed.

Perhaps in that instance you'd prefer a zombie-killing video game instead.

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I had never heard of this movie, but I rented it because of Morgan Freeman acting in it. This movie made me laugh, cry, and was a great treat. This is my new favorite movie. I love how the lives intertwine and the healing winds through everyones life in a touching and believable way. It was charming, and even when it took predictable turns they were unpredictable and clever. I would definitely watch it again.

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Shrek 2 (Two-Disc Blu-ray 3D/DVD Combo) (2004)

STORY: This fairy tale satire continues right from the first movie as Shrek and Fiona are on their honeymoon. Prince Charming finally reaches the castle only to find the "gender confused" big bad wolf reading Pork Illustrated. The movie is basically focusing on the self awareness of who Shrek and Fiona really are. The fairy godmother of Fiona and the mother of Charming is out to make sure that Fiona falls in love with Charming and not Shrek. As Shrek is lost in the woods he stumbles upon the masterfully crafted character that is Puss In Boots. Puss is probably one of the greatest fictional characters of all time, he is played to perfection by Antonio Banderas. The first Shrek was a slight satire on the fairy tale genre. Shrek 2 is an unbelievable high on satirical parody (if that makes sense). The pop culture references come flying in one after the other. I really feel that any body under 12 will not get most of the jokes made in this movie. For the kids we have the farting and the burping and for the more learned individual we have references to gender confused wolves, cats on catnip, meeting the in-laws, crazy wooden boys with strange fetishes, the ass, and tons more. There is no way that anybody cannot watch this movie and not laugh. If you need to compare Shrek 2 to something look at it as a lighter version of a Family Guy, Airplane, or Hot Shots type of thing. While the references are not as exaggerated as they are in parodies such as Hot Shots, they are very well placed and well executed. While many people feel that the story and the "heart" that the first movie had was lost within the many gags there is still that "heart" that the characters possess. Yes, the ending is your typical fairy tale ending that has a valuable moral, but then again this is a fairy tale. This movie is smart, funny, and overall a well-crafted piece of work.

ACTING: All the former cast members return as well as the noticeable additions of John Cleese, Julie Andrews, and Antonio Banderas. I can't express just how funny Puss In Boots is. Without Puss the movie would without a doubt have been really boring and "kiddyish" if you will. The most humorous jokes are deployed in the film's ending which is a hysterical romp. John Cleese plays the enraged father and Julie Andrews as the accepting mother. Prince Charming is played by Rupert Everett, and really his only funny scene was when they stopped by drive thru and he got a kiddie meal and was wearing one of those paper crowns as found in burger king. The cast makes the film, Puss makes the film.

BOTTOM LINE: The kids will not find this one funny except for the small amount of fart gags. The people who will find this the most amusing will be in the range of 15 to about 50. Anything above 50 might find any kind of animation too childish and will probably stay away from this one unless they have young kids. The animation by Dreamworks is fantastic as well, make note of the scene in the rain and just how realistic the natural surroundings look. Shrek 2 is faster and funnier than the original and should become a classic just because of how smart the movie is.

I first saw this with some friends, then took my parents to see it the next day. I was amazed at how many little nuances I missed the first time around. This film is jam-packed with hidden tongue-in-cheek jokes and visual humor there is so much detail. This film is a delight for young children to the senior set and everyone inbetween.

Eddie Murphy is back as the lovable Donkey his is perfect in this role and personally, I think he (Donkey) should have his own spin-off movie. This one character is a movie unto himself.

Joining the crew from the original Shrek installment are Julie Andrews (Fiona's mother), John Cleese (her father), Antonio Banderas (Puss-n-Boots) and Jennifer Saunders (the naughty Fairy Godmother).

The clever ways in which the screenwriters twisted the fairytale characters while still giving them reverence and respect is enough to make you cry from laughing so hard. There are inferences to movies such as "Flashdance" and "Mission Impossible" and many others. Pinnocchio is no doubt a wooden embodiment of Michael Jackson (high-pitched voice, good dancer, longs to be a little boy, etc.) and there are many inferences to famous people... there is even a helicopter view of police chasing a white bronco!

There were very few moments in this film in which I was not laughing outloud or doubled-over and in those few instances, it was to catch my breath.

This film is an instant classic that is safe to show to your kids and grandkids from now until generations to come.

On top of the fantastic animation and lovable characters, the underlying story is an awesome theme to teach to children: it's not how you look or how other people treat you that matters it's the content of your character and how much you love others. I cannot recommend this film enough it is one of the best of the year.

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The story begins somewhat where the last Shrek film left off, with a twist.

Get used to there being a twist...

The story begins with the recitation of another standard fairy tale opening, that one might think as an ending, where Prince Charming (charmingly voiced by Rupert Everett) dashes through incredible perils to reach the unfortunate-cursed princess, Fiona, as his kiss is the only thing that will break the curse. The only problem here: when he arrives to kiss the fair princess, he is greeted by another story-book character who informs him she is on her honeymoon.

Honeymoon?

The stage is set for a frolic of fairy-tale proportions. The main characters are back Shrek (Mike Myers) in his typical ogre self (who knew ogres spoke with muddled Celtic accents?); Fiona, every inch the ogre herself night and day (reprised by Cameron Diaz remember the tale from the first film where she was beautiful by day and hideous by night), is blissful on her honeymoon with Shrek. They return home to be greeted by Donkey (once again the humourous Eddie Murphy), to almost immediately be summoned to Fiona's home by her parents, the king and queen, so that they may meet the husband (not quite the prince they were expecting) and be welcomed into the kingdom of Far, Far Away, which is, true to its word, far, far away (are we there yet? is the constant refrain during the journey).

It is quite delightful to imagine John Cleese and Julie Andrews as the king and queen; their characters do not imitate their features physically, but their standard screen personae come through their voices and characterisations. Rupert Everett as Prince Charming, the scheming social climber, is very well done, with typical British fop panache. However, there is no mistaking Jennifer Saunders (Absolutely Fabulous) as the Fairy Godmother (who, it turns out, is Prince Charming's mother, and given that it is Rupert Everett, well, enough said...) the animation captures the twinkle in her eye and the sardonic smile as she holds the king to ransom for the secret that he hides (she once granted a wish to him, which is hinted at early on in the film see if you can predict what it is!).

The king and queen are not surprisingly shocked to discover the ogre-ific state of their only daughter, not to mention the son-in-law; the king decides to do away with Shrek, hiring a hit man (in this instance, a hit cat), Puss-in-boots, voiced by an over-the-top Antonio Banderas. Attacking with the grace of a cat, he is nonetheless thwarted in his charge by a nasty hairball, and joins with the quest to find Happily Ever After-effects with Shrek and Donkey.

There are some good songs here, remakes of popular songs sung with style that befits a fairy-tale, medieval recreation of Hollywood/Hollyweird. Just as Fiona had her surprise chance to be an ogre in the first film, Shrek gets his chance to be drop-dead gorgeous in this film, by stealing the Fairy Godmother's potion for Happily Ever Afters. Donkey shares in this potion and becomes a dashing stallion. So, everyone will live happily ever after, right?

Right, but again, there's a twist (and I'm not going to tell you what it is).

There are lots of cameos Larry King voices the ugly sister, and Joan Rivers voices her own characters as the red-carpet announcer at the royal banquet akin to the Oscar ceremonies. There are one-liners galore, so many it is hard to recall them all take a notebook with you to the cinema!

One of the trademarks of Shrek is its homage to various other films try to make all the connections Flashdance, Lord of the Rings, Ghostbusters, you name it, it is satirised. The same holds true for various fairy tales the three blind mice, little Red Riding Hood, Sleeping Beauty, even Pretty Woman!

The animation quality is superb, and shows just how astonishingly lifelike modern computer-generated graphics have become. An interesting effect, rather like a cross between clay-mation types of physical movements and hand-drawn facial expressions, the type of animation here is approaching lifelike and realistic, again with the twist of being almost puppet-like, to fit the fairy-tale aspect of the film.

Stay through the credits! Why people get up and leave the cinema as soon as the names start I shall never understand, but they missed out the bonus scene at the end, that is well worth the wait (Banderas, as Puss-in-boots, heading off for the Kit-Kat Club, begins the scene, and it just goes on from there).

This is a film for children of all ages, with enough humour for adults to keep them interested, and a classic tale, with modern twists, to delight all audiences.

Read Best Reviews of Shrek 2 (Two-Disc Blu-ray 3D/DVD Combo) (2004) Here

I have never seen an animated movie of this quality. Finding Nemo was impressive visually, but the story, character expression and humour is geared more to children.

IMO Shrek 2 edges it in visuals and production value, and trounces it in terms of soundtrack, story, characters, humour and dialogue. The wit is on an adult level while keeping a childish verve and innocence. I have never come across this before in animated feature films.

Myers, Murphy and Saunders are brilliant. The visuals are wonderful. Bravo Dreamworks!

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The people writing reviews here need to remember, we aren't reviewing the movie. We are reviewing the DVD. We all know its a great movie. In fact, most of us have already seen the movie at least once. That sad fact here is that the dvd is a RIP OFF.

I agree with all the previous complaints.

1 Disc, as compared to most major budget kids movies being released with an entire extra disc of features.

Movie Previews, that they actually LOCK YOUR KEYPAD so you are forced to watch everytime you put the dvd in. This I find SO insulting. I paid good money for this dvd. It shouldn't be like this.

The release of this dvd is even so cheap, there isn't even an INSERT inside the dvd case. The total presentation of this DVD is so shoddy and pathetic. I really wish I could take it back, but sadly most places I know have a firm policy that you cant return dvds, only trade them for the same title. Sad. Because this DVD is a total rip off.

Buy this DVD ONLY if you *LOVE* this movie and can't possibly wait to see if a Special Edition or two disc set is released in a year. Because if you are a true DVD collector, you *WILL* be dissapointed with this DVD.

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Good Morning, Vietnam (25th Anniversary Edition) (1987)

Many have tried to dismiss this film as nothing more than a comedic vehicle for Robin Williams. The concept of making light of the horrors of war, particularily Vietnam since it's still so recent in the minds of many turns alot of viewers off to the important potential lessons to be learned in this wonderfully insightful movie.

Based on the true life accounts of Air Force officer and D.J. Adrian Cronauer we get a birds' eye view into the strict and ridiculous bureaucracy that can at times reign over military policy and in effect hamper the morale and efforts of the American military.

Cronauer provided a much needed spontaneity to the air waves of Vietnam radio and brought however briefly to the American soldiers the contemporary music they wanted to hear. There is alot to laugh at in this film, what else could you expect with the likes of Robin Williams in the lead role. However there is much more going on than what first meets the eye. The concepts of acceptance, friendship, trust and love soon become entangled into the comedic elements which lead to the sad and poignant realization that cultural differences can't always be overcome by good intentions. A bittersweet truth so poignantly conveyed by the beautiful Trinh when rebuffing the romantic advances of Cronauer with the statement, "Vietnam ladies not friends."

This film will definitely make you laugh. It will also make you cry and even more importantly make you think. In the final analysis that's what it's all about. There are many wonderful performances in this movie complimenting Robin Williams amazing tour-de-force. My two favorites are Tung Than Tran as 'Phan' and Chintara Sukapatana as 'Trinh.'

Highly Recommended!!

This review refers to "Good Morning Vietnam"(VHS/Touchstone)

The V.P., a V.I.P., the P.C., on the Q.T, the V.C, MIA and K.P.

Who else can take all these initials, string them into one sentence and have us in hysterics. Only Robin Williams. The one liners are fast and non stop. He's absolutely perfect as he portrays the real life Adrian Cronauer, an armed forces DJ who shakes things up a bit in Saigon 1965.

Cronauer is a hip DJ, who tries to the chagrin of his lieutanant, to bring a little fun into the lives of the weary soldiers in Viet Nam. He livens up the base and surrounding Saigon with funny characters,absurd news stories(the real ones are edited), and some Rock and Roll, as the Vietnam War occurs around them. The Lt. is more of a Lawrence Welk/Jim Nabors kind of a guy and is appalled at this DJ's style.But nothing can stop this wild and crazy guy from his mission. The script is rollicking good fun, and of course all that great music from the 60's is on tap. But there are poignant moments and a serious nature to this film as well. The war still goes on, and for the people of Saigon it is tragic.As Cronauer finds out when he befriends the townspeople.

Williams' immense talent explodes in this film. He is both funny and compassionate. But he is not alone in making this film the classic it has become. It is directed by the brillant Barry Levinson(Rain Man/The Natural),who always knows how to pull us into a story and keep us there.The supporting cast is marvelous and play right to Williams. It includes the wonderful character

actor Noble Willingham, Bruno Kirby,Forest Whitaker, Robert Wuhl and I must also make mention of Tung Thanh Tran, who plays Tuan/aka Phan Duc To.

A story of Vietnam like no other. It's one I can pull out and watch anytime without tiring of it. The VHS is a good quality. It has nice picture and hi-fi Stereo sound.It has closed captioned for hearing impaired as well. If you haven't seen it in a while, watch it again, and remember why you liked it so much the first time around. For those that have not seen it, you

are in for a real treat.

Thanks and enjoy...Laurie

recommended reading:

Into the DMZ A Battle History of Operation Hickory, May 1967, Vietnam(see my review for bnook details)

Buy Good Morning, Vietnam (25th Anniversary Edition) (1987) Now

i love good morning vietnam because robin williams does an amazing job of balancing humor and drama. this is one of my favorite movies of all time, and i highly reccommend it to everybody. you've got to watch it more than once, because you'll see something new or catch another sly joke each time.

Read Best Reviews of Good Morning, Vietnam (25th Anniversary Edition) (1987) Here

Robin Williams is exceptional (as usual) as the controversial radio disc-jockey Adrian Cronauer who is sent to Vietnam during the war to lift the military morale with his special brand of on-air banter. Cronauer's improvised, lightning-speed monologues keep getting him into strife with his superiors, yet are adored by the soldiers who avidly listen to him. While stationed in the war-torn country, Cronauer meets and gets to know some of the locals intimately, and learns about the catastrophes and disasters that lie beneath the airwaves through which his flippantly humourous broadcasts are transmitted.

Cronauer's radio persona is an accurate mirror of Williams himself, yet he also portrays well the man who becomes more human and vulnerable as a result of his exposure to the situation in his new environment.

GMV is both side-splittingly hilarious, touching and at times devastating, as we witness the horrors of war contrasted against the light-hearted satirical entertainment of Cronauer's on-air speeches. There has also never been a more ironic use of Louis Armstrong's "What A Wonderful World" than here, played as a background to a heartbreaking montage of tragic images.

The soundtrack is also excellent, blending some appropriately upbeat period tunes with snippets of Williams funniest monologues.

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My 1* rating is for the DVD, not the movie which is 5*.

Most poeople will have seen this film on video and tv and enjoyed it, some of you old folks may have even seen it at the cinema. I think that this is a great film and it belongs in my favourite collection.

A lot of reviews here talk about the film so I wont. I just bought the DVD and watched it, although I have the video as well.

The picture quality was bad, fuzzy and grainy in many places, and I mean the picture, not the mpeg compression.

It was possible in quite a few places to see the mpeg rings. The sound was average, not brilliant but not poor.

There are no real extra features to talk about.

So given that this movie has a great following in many countries I would have expected the DVD conversion crew to have done a much better job.

With no extras and not been a really long film there is no reason to allow compression rings to be visible, where they are visible the conversion people just have to lower the compression rate for that part, and us the viewers would never know.

It appears that all they did was to copy the old movie onto a DVD without any effort, knowing that many people will buy the DVD. I think that the video copy I have matches the DVD for picture quality, not for sound of course.

If you have Good Morning Vietnam on video treasure it and save yourself £15 ($20). Maybe in the future a 'special' anniversary edition will be released that the producers will have invested both time and money in to give us a DVD worth buying, of course they could just release it again as is for all us muggs to be ripped off again.

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Hara-Kiri: Death of a Samurai (2011)

We all have certain films that really resonate with us, that we remember distinctively and decisively for any number of reasons. For me, Masaki Kobayashi's 1962 classic "Harakiri" is one of those experiences. I didn't know anything about the movie before I sat down to watch it, and it absolutely blew me away. A quiet morality play that really challenges the notion of what honor means, "Harakiri" has a power, honesty, and emotional impact that is earned through a surprisingly understated narrative device. Instead of explosive dramatics, the screenplay takes its time in unraveling. And this focus on character development makes the ultimate confrontation both heartrending and harrowing! When I heard that prolific Japanese filmmaker Takashi Miike was on board for a remake, I had feelings of both optimism and apprehension. I think the original holds up quite well and there is little to improve. But I've followed Miike for years and loved much of his work. Though, to be fair, I don't know that I've ever considered him understated in his projects! However, my worries were unfounded. Miike approaches "Hara-Kiri: Death of a Samurai" with a real sense of respect, restraint and maturity.

In many ways, maybe our era of financial turmoil is the perfect time to resurrect this story. "Hara-Kiri: Death of a Samurai" tells of a time when many legendary swordsmen found themselves struggling to get by. These ronin, having no house or master, were left with little but their honor and their swords to survive in economically challenging times. As "Hara-Kiri" opens, a samurai named Hanshiro (Ebizo Ichikawa) approaches the house of the ruling lord to request the opportunity to commit ritual suicide (considered an honorable death) in the courtyard. This has become somewhat of a trend, though. Desperate samurai are reported to be proffering these noble requests in order to save face but actually secure a position or at least a few coins from the wealthy estates. In an attempt to discourage Hanshiro, he is told an unpleasant tale of the last samurai who made such an offer in this house. But Hanshiro is undaunted and seems to have an agenda of his own. As the personal tale unfolds, "Hara-Kiri" becomes a slow burn morality play about suffering, sacrifice, and real honor.

Miike really takes his time in "Hara-Kiri," and this may be off-putting to those anticipating a traditional Japanese epic with plenty of sword play. The opening sequences in the movie provide at least one unforgettable scene that Miike draws out beyond all reason for the exquisite anguish of it all. Truly remarkable. And the end is fully satisfying as well. But most of "Hara-Kiri" is an extremely intimate story. A tale of family, young love, and sacrifice that is bleak and unforgiving. Ichikawa is absolutely fantastic as Hanshiro, and Eita is terrific as the young samurai who initiates the tale. I'm pleased that Miike has brought this classic tale back into the spotlight. The original (available in the Criterion Collection) is still one of my all time favorites, but this update is certainly worth the time for adult audiences. Remember, though, this is not a frenetic Miike actioner. It unfolds like a good book. Patience is both required and rewarded with this story, it is not for those expecting non-stop carnage and mayhem. KGHarris, 1/13.

Takashi Miichi's remake of the iconic 1962 "Hara Kiri," directed by Masaki Kobayashi, in color and 3-D for theater-goers, would surely be acclaimed as a near masterwork, a return to the cinematic artistry that made Kobayashi and Kurosawa sublime in their time. Unfortunately for Miichi, too many of us remember the original in all its black-and-white starkness and moodiness. Remaking Hara Kiri is as presumptuous as rewriting Hamlet or recomposing The Marriage of Figaro. The good news is that Miichi follows the script and the ineluctable timing of Kobayashi's classic almost scene for scene... until the climax, the furor that erupts in the last ten minutes. To compare the climactic scenes would constitute an atrocious spoilage, so I won't. But I will say that Miichi's finale discards the profound historical significance of Kobayashi's. Both films are quite worth seeing, believe me, even on successive evenings.

The most salient difference, nevertheless, needs to be expressed. The original starred Tatsuyo Nakadai, whose ferocity and intensity made him the Dark counterpart to the lustiness and mirth of Toshiro Mifune. Nobody could match Nakadai in this role; Ebizo Ichikawa earns my admiration for trying.

Buy Hara-Kiri: Death of a Samurai (2011) Now

The movie is not spectacular, but like "the twilight samurai", it moves at a slow pace presenting an intimate view of the life in the lower strata of the samurai caste.

Using an intense story for an exploration on the nature of that culture's concept of honor.

Read Best Reviews of Hara-Kiri: Death of a Samurai (2011) Here

This movie was terrific. Some may not understand it, but for those who understand the way of the samurai and Japanese honor, you will really enjoy this movie. Not to give spoilers, but keep in mind during watching this that the main character isn't out for just revenge, he's out for honor and you will understand how it ends a lot more. Every flashback is important and every part of the storyline that is explained contains pertinent information. This is not a movie where you can not pay attention and grasp the full meaning. This being said,it is also not for the light of heart. You will be saddened, you will be shocked and let down at things. But all these elements combine to make a solid movie. If you study their culture and understand the Japanese, you will absolutely understand and honor this movie for the work of art it is. The cast and crew were chosen very wisely, and each plays their role greatly. Please enjoy !!

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WOW just wow what a great film. I saw the 1962 Hara-Kiri and I was dying to see this one. (haha)

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