The Moment of Truth (The Criterion Collection) (1964)

The Moment of Truth follows poor Spanish youth, Miguelin, who finds fame and fortune in the ring fighting.......bulls. Director Francesco Rosi set out to fully depict bull fighting with all of its cruelty, danger, and beauty. He definitely accomplishes that task. Nearly everything in the film is authentic. The main character is an actual matador. The bull fights are real. The gore and accidents are too. There is only one professional actor in the film, an actress actually, who plays an actress. And the cinematography gorgeous inside and outside of the ring--I am particularly reminded of the scene where Miguelin walks through a field of female laborers harvesting grain. As the women fling grain in the air, it all falls like strands of gold in the background.

But The Moment of Truth is not for everyone. If you have any protective feelings toward animals, and you are going to watch this, prepare yourself. Like I said earlier, this is a bloody movie, and every time you see a bull die its gory death, you actually did see a bull die a gory death. So while the beauty of the sport comes through, so does the butchery. Finally, it seemed to me that the story was the second emphasis of the film. That's not to say its poorly acted or even without emotional content. The Moment of Truth clearly points out the nightmarish worlds Miguelin, and others in his position, felt forced to choose between. I just mean that, to me, it seemed like Rosi's main intent was to capture the full scope of bull fighting. While that may make The Moment of Truth the best movie of its kind, it also makes it, at moments, feel more like a documentary than a movie. Think about it.

"The Moment of Truth," new to Blu-ray, is an intriguing look into the life of a famous bullfighter, played by real-life bullfighting legend Miguel Mateo, known as Miguelin. Tracing his career's rise and decline with an unswerving focus on the dangerous sport, the movie is gritty, seldom turning away from its less-than-glamorous aspects.

Several Hollywood pictures have used bullfighting and its milieu ( "Blood and Sand," "The Matador," "The Bullfighter and the Lady"), but none has captured the day-to-day drama as well as "The Moment of Truth." Mateo is a charismatic actor, and his dramatic scenes outside the arena come off convincingly, particularly his romantic scenes with co-star Linda Christian.

Though the setting is Spain, the movie is in Italian with English subtitles. Blu-ray bonus extras include a 2004 interview with director Francesco Rosi, new English subtitles, and a booklet containing a critical essay.

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Every moment in Francesco Rosi's film "The Moment of Truth" is electric with life and sometimes death; and the story of a young matador's from an impoverished area of Spain to fame as a bullfighter is intriguing at every turn. Another first class Criterion edition.

Read Best Reviews of The Moment of Truth (The Criterion Collection) (1964) Here

Just finished watching a neglected jewel by renowned Italian filmaker Francesco Rossi: "Moment of Truth" (1965). It's a beautiful, thrilling and realistic poem to bullfighting, showing underbelly as well. There is more to it than just bullfighting: it begins and ends with Holy Week in Seville. It is telling us something about then fascist Spain probably morphing into something else, but always with the boots of Franco's soldiers marching at the side. But the essence of the film is the predominance of real, beautifully photographed bullfighting scenes. It stars the very great torero Miguel Mateo "Miguelín" who executes all of his own bullfighting scenes, thus the movie providing lasting testimony to his art. I am a fan of real bullfighting, not the bloodless variety. All the bull blood here is real and the bulls fight and suffer like they still do. This is not for the SPCA crowd. But it is a glorious film, and the bull fighting is truly exhilarating. Miguel Mateo died of natural causes in 2003. The film's blu-ray edition from Criterion is exemplary.

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I first saw this film many years ago, then had an opportunity to see Miguelin in Pontevedra, Spain in 1965, Unfortunately he was beyond his prime because he was a truly extraordinary matador.

What I enjoyed so much about seeing it again was the beautiful photography of Semana Santa or Holy Week in Spain, something that my wife and I have enjoyed many many times.

My only regret is that it is in Italian, not Spain.

Morgan Smith

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Days of Heaven (The Criterion Collection) (1978)

MOVIE:

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

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

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

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

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

SPECIAL FEATURES:

Audio Commentary:

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

Audio Interview With Richard Gere:

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

Video Interview With Sam Shepherd:

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

Video Interview With John Bailey:

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

Video Interview With Haskell Wexler:

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

41-Page Booklet:

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

VIDEO:

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

AUDIO:

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

BOTTOM LINE:

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

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

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

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

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

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

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

Read Best Reviews of Days of Heaven (The Criterion Collection) (1978) Here

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

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

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Universal Soldier: Regeneration (2010)

'Universal Soldier: Regeneration' finds an aging Luc Deveraux (Van Damme) struggling through behavioral therapy while a scientist sells the UNISOL technology to a terroist group. Helmed by first time director John Hyams, son of director Peter Hyams (timecop, Sudden Death). In this installment, you really get a sense the level of complication that would arise from the events of the first film, both emotionally and socially. "Soldier gets killed in war, body frozen for twenty years only to be brought back to life as a weapon, etc etc." Apparently because the second sequel was so bad and the direction the writer's took Luc Deveraux's character being ridiculous, this one pretty much ignores it. Which really, really works. Van Damme brought kickboxing to America, or at least to Hollywood and while he's always choreographed his own fight scenes; this one takes the cake(and at nearly 50!) The final battle between Lundgren and Jean-Claude here is one of the most brutal, raw, hands down best in years! If it weren't for nostalgia, I'd say this was better than the original...

15 minutes into this, I noticed something strange. I didn't want to turn it off which is pretty rare when talking about most of Van Damme's movies over the past decade. The thing that might kill this movie with some fans though, is that it is so different from the great original. It is not a polished Terminator type action flick like the original was. Director John Hyams' retelling is much grittier and with some of the locations and fights, it almost has more of a Bourne style feeling to it. The action is furiously directed...very quick with no dopey slow motion. The acting isn't great but it's decent and convincing enough...two qualities that have been lacking in recent Van Damme DTV casts. It is true that Van Damme is only sprinkled throughout, but the film is so fast moving, before you know it, you are already at the final 40 minutes ...and he owns the *beep* out of it!! There is a long tracking shot of him tearing up terrorist ass and it's probably the best action sequence he has ever been a part of. It truly gets the heart pounding, and like me, you will probably re-watch it about 10 times. It's also a refreshing blast to see Lundgren on screen even if it is pretty brief. His and JC's fight is completely different from the one in the original. There is no Hollywood gloss to it at all. This is how the fight would be if these two met up and decided to scrap and it comes of very effective. You can feel the anger and rage. All in all, Unisol: Regeneration is a solid little action flick. Other than JCVD, it's easily his best movie since Sudden Death, which happened to be given to us by another Hyams...John's father, Peter. It may not be a masterpiece and isn`t quite on par with the original but it`s still a lot of fun and it`s definitely a worthy addition to my bluray collection. I'll definitely be keeping my eye on director John Hyams. I'd like to see what he can do with a decent budget and some better filming locations. The subtle synth music score was well done too. Think along the lines of Vangelis, who created the Blade Runner soundtrack, or something John Carpenter might have composed back in the day.

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I honestly don't know what I'm more shocked by, the fact that I gave Universal Soldier: Regeneration a chance, or the fact that it turned out to be as good as it is. When a group of terrorists take over the Chernobyl nuclear reactor and threaten to release a radioactive cloud, and with an uber-advanced UniSol (former UFC champ Andrei "The Pitbull" Arlovski) at their disposal, former, deactivated UniSol Luc Deveraux (Jean-Claude Van Damme) gets called back into action. However, there's a surprise in store for Luc, in the form of his once deceased nemesis Andrew Scott (Dolph Lundgren) who has been cloned and reanimated, and looking to bring some pain of his own. While all this sounds like the recipe of a low budget, direct-to-DVD, schlock fest featuring two action stars way past their primes, Universal Soldier: Regeneration ends up surpassing both of the films to come before it, thanks to the great directing from John Hyams, who not only manages to put together some just plain brutal action sequences, but also manages to coax some great performances from Van Damme and Lundgren, as well as take advantage of Arlovski's cold menace. John's father Peter Hyams, who directed Van Damme in 90s actioners Timecop and Sudden Death, serves as the film's cinematographer, and helps give the film the surprisingly great look that it has: this certainly doesn't look like a low budget, direct-to-DVD film. All in all, Universal Soldier: Regeneration deserves a look at the very least, and if and when you do chcek it out, be prepared to be surprised with what you get here.

Read Best Reviews of Universal Soldier: Regeneration (2010) Here

With stolen top-secret technology, terrorists have created a next-generation Universal Soldier, an elite fighter genetically altered into a programmable killing machine. With this "UniSol" Former UFC Heavyweight Champion Andrei "The Pit Bull" Arlovski leading the way, they seize the crippled Chernobyl nuclear reactor, threatening to unleash a lethal radioactive cloud. The only one who can stop them is Luc Deveraux, a UniSol who's been decommissioned for years. Reactivated and retrained, Deveraux must make a full-out assault on the heavily armed fortress. But inside, he'll discover not one but two of these virtually indestructible warriors. Andrew Scott, Deveraux's vicious UniSol enemy from the original Universal Soldier, has been secretly reanimated and upgraded. Now, these elite fighters are locked, loaded and programmed to kill; and the fate of millions hinges on this high-action showdown. In the third and by now the last Universal Soldier series, both Van Damme and Dolph Lundgren are back for one last showdown together. Universal Soldier: Regeneration is an enjoyable movie, and leaves you with a sense that it's not over yet.

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The title really says it all. Granted, both Dolph Lundgren and Jean-Claude Van Damme aren't really on screen as much as one of their typical films but it really, really works.

The plot is simple but effective. The action is outstanding, ultra violent and rarely stops. And it's not old school action either. There's a taste of the Bourne series in some of these shoot-outs. Big marks for Director Hyams. Can't wait to see what he does next!

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Heroes: The Complete Collection (2011)

When taken one season at a time, Heroes can be a little disconcerting, and maybe even a bit confusing. As someone who had never seen the first season, and then began watching the series, missing a few episodes here and there, I found it fascinating. Watching Season One gave a sense of order to the rest of the episodes. While there are an awful lot of characters introduced after Season One, and many who die shortly thereafter (or are they really dead?), the story line which weaves in so many directions at once is intriguing. Watching the seasons again, in sequence, is awesome and makes me wish for that movie which was supposed to "wrap things up". I don't think the critics have been fair in assessing this series; it seems like there are a lot of fans who'd like to have seen Heroes continue, and who enjoyed the mental challenge of the plot twists and turns, not to mention the twists and turns of the personalities of the characters. I highly recommend this set to anyone who enjoys science fiction watch it in sequence and to really get the subtleties, try to watch without letting too much time pass between episodes and seasons. It is a fun series to follow!

Normally I do not like science fiction books or shows, but Heroe's is believable and thought out well. This is at the top of creative writing. The actors are amazing and deserve thanks for letting the audience connect with them. There is very good down to earth humor too which was important to me. As far as equality between males and females, this show was top notch and did not degrade the males like so many show do these days, I felt the last two years where just as interesting as the first two, and I was sad to see it end because those writers are so proficient in there work they would have written more captivation storys', Maybe the show just wanted to end at the top, I will be watching where these stars work next!!! I HIGHLY Recommend purchasing of this series and must say I learned a lot from the extra'.

these dvds for the commentaries which are full of whit and explained to those of is who have no clue how filming works. Ny favorite part is listening to actors speak about how the real actors are vs, what we watch on the show, CONGTATULATIOMSto all who put this show together, My house burned down I needed some good escapr tv and this show lifted my spirits!

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I am a gigantic fan of HEROES, but the packaging! It's a paper-thin box surrounding the four season sets, along with a DVD case containing the Season 2 and 3 bonus discs. Sloppy, sloppy work.

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Loved the show when it first came on and when it ended. I miss this series alot. It had alot of potential for another season and they could've ended it at season 5. The blu ray disc set is very awesome looking and the picture on my new blu ray player is crisp and clear.

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Heroes: What can I say, I enjoyed the series but was disapponted that they were not continuing with the series. I would have liked to know what happened with the the Petrely family. I know that Nathan died, but was Syler able to continue as Nathan. Did Hero save the World, I know he saved the cheerleader. There are a lot of what if's in the story. I'm sorry to see it end.

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Detective Dee & The Mystery of the Phantom Flame

"Men have weak points, just like weapons. They will also break when struck." Wu Zetian wants to become China's first Supreme Empress. While the stage and Buddah is being constructed for the inauguration strange things begin to happen. First Master Jia spontaneously com-busts, followed by more people bursting into flames. The empress wants this mystery solved before she takes over and there is only one person she can think of to solve it, Detective Dee (Lau) a prisoner in jail for treason. Can he put aside his feelings and solve the mystery of the phantom flame in time? This is not usually the type of genre I get into, but I did enjoy this movie. The tag-line says "Crouching Tiger meets Sherlock Holmes", it's hard to disagree with that statement. I will add that I think this is a type of modern Kurosawa film. The feel and the plot are something that he would do, and the ending very much reminds me of his style in the way that you aren't really sure if the ending is good or bad for those involved and makes you think. Overall, again this is not normally my type of movie but I did very much enjoy it. Good story and action. I give it a B+.

Tsui Hark is one of the most prolific directors in HK cinema history, and has churned out films like Seven Swords, Zu Warriors, the Once Upon A Time in China trilogy, Ashes of Time, and Peking Opera Blues. He's in top form in this movie, which is loosely based on a true story of an exiled detective who solves a series of murders that threaten to delay an Empress' inauguration. This movie is quite an achievement in visuals, with a great script and acting. Well worth seeing. This DVD is equally good with a crystal clear picture, and excellent sound and English subtitles.

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Tsui Hark is back, let the word be spread. Remember Robert Hans van Gulik's Judge Dee at Work: Eight Chinese Detective Stories (Judge Dee Mysteries) wonderful books ? DETECTIVE DEE is, if I'm not mistaken, the first full-length movie devoted to this character. If you like action movies, this one is clearly for you. Also note that the film was acclaimed by Positif as well as by Les Cahiers du Cinéma !! Masterpiece.

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I have to admit that I'm really getting tired of the proverbial 1 or 2 star ratings from people who, either have people over and talk during their movies, or work for a competing industry. This film is extremely entertaining and worth seeing for anybody who enjoys the assimilation of Kung-Fu and Sherlock Holmes...and who doesn't!

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Well one reviewer said they got a bootleg, another one didn't. I got a bootleg. There must be multiple versions being sold on this listing. I wouldn't take the chance. As of writing this, there are 6 or 7 sellers selling this. The official DVD is put out by VICOL ENTERTAINMENT and has both dts and Dolby audio tracks. I suggest ASKING the seller to confirm their DVD has the VICOL ENTERTAINMENT logo on it prior to ordering. There are two other versions on Amazon with a different reddish cover. That one is the official VICOL version, but there is a third VICOL release with a blue cover also as pictured on this auction. I would just ask the seller to make sure the product they are selling has the VICOL logo on the art in SHARP lettering. If you get it and the text or logos are blurry, it is probably a bootleg. What a headache to go through this....

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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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Father of the Bride (20th Anniversary Edition) / Father of the Bride: Part II (1991)

These are the modern remakes of 2 classics, yet I actually like these more. I don't seem to ever tire of seeing them. Both are heartfelt and very funny, well made entertainment. Steve Martin does his best work here. Martin Short is hilarious. The Banks' are the kind of family every girl (or boy) wishes they had. Even the inlaws are fun. For a good time, I recommend them. Enjoy! :-D

This movie is the BEST movie ever ( besides of course Father of the Bride 2) ! A must have for any family!! Steve Martin is at his best, as well as Diane Keaton and Martin Short...destin to be a CLASSIC!!

Buy Father of the Bride (20th Anniversary Edition) / Father of the Bride: Part II (1991) Now

In 1950, the American comedy "Father of the Bride" directed by Vicente Minnelli and starring Spencer Tracy, Joan Bennett, Elizabeth Taylor was a big success in the box office and nominated for several Academy Awards. The film would inspire a sequel titled "Father's Little Dividend" in 1951.

Fast forward over 40-years later and a remake of the film co-written and directed by Charles Shyer ("Alfie", "The Parent Trap", "The Odd Couple") and starring Steve Martin, Diane Keaton, Kimberly Williams-Paisley and Martin Short was released in 1991 and earned over $89 million in the box office. And like the original film, would also inspire a remake of the sequel titled "Father of the Bride Part II" featuring the original cast and would go on to earn over $76 million in the box office.

And now both films will be release together on Blu-ray courtesy of Touchstone Home Entertainment.

VIDEO:

"Father of the Bride" and "Father of the Bride: Part II" were released back in the 1990's. The video quality is much better than the previous DVD. While there is a good amount of grain and even some noise considering the age of this film, including some scenes that look soft, there were also scenes that featured a lot of detail. From the skin pores that can be seen on Steve Martin's face to the vibrant colors that can be seen throughout the film, there is definitely an upgrade in quality video-wise.

AUDIO & SUBTITLES:

As for audio, "Father of the Bride" and "Father of the Bride: Part II" is presented in English 5.1 DTS HD-MA and French 5.1 Dolby Digital and Spanish 2.0 Dolby Digital. While the lossless audio features clear dialogue and the music sounds fantastic in lossless, it's not exactly a film that utilizes the surround channels all that much, especially during crowd scenes. But nevertheless, the soundtrack does sound very good, especially over its DVD counterpart for both films.

Subtitles are provided in English SDH and Spanish.

SPECIAL FEATURES

"Father of the Bride: 20th Anniversary Edition/Father of the Bride Part II 3-Disc Combo Pack" comes with the following special features:

Father of the Bride

An Invitation to Father of the Bride (13:36) Interview with director Charles Shyer and the cast of "Father of the Bride".

Martin & Short Interview Each Other (5:13) A humorous interview between Steve Martin and Martin Short.

Audio Commentary Featuring audio commentary with co-writer and director Charles Shyer.

Father of the Bride: Part II

Theatrical Trailer (2:28) The theatrical trailer for "Father of the Bride: Part II"

Production Story (4:21) Featuring behind the scenes of "Father of the Bride: Part II" and about how a few of the talents knew each other well.

Just Between Friends (3:53) Martin Short interviews Steve Martin for "Father of the Bride: Part II".

EXTRAS:

"Father of the Bride: 20th Anniversary Edition/Father of the Bride Part II" Blu-ray comes with a separate DVD for each film.

JUDGMENT CALL:

As a fan of Steve Martin comedies, I was pleased that both "Father and the Bride" films were released on Blu-ray.

First, let's talk about the first film "Father of the Bride". What I enjoyed about the first film is how it is a film that many parents can relate to. Seeing your children grow and then eventually getting married. As a father, I sympathize with the character of George Banks and I often myself looking at photos that seem like they were taken yesterday of my child. And realizing how quickly they grow up.

And for many fathers who have daughters, you worry that make good decisions when it comes to their lives, their careers and also the person that they marry. The film focuses primarily on the father's perspective and being a concerned father but also a fiscally conservative person, I can also sympathize with George Banks characters when the price of the wedding skyrockets.

But what this film had was a lot of charm. Aside from the crazy antics of George Banks snooping around the MacKenzie home, nearly everything else with the film, many people can relate to. From a parents noticing their child and their significant other being affectionate to that first meeting between a significant other and the parent. These emotions that George is feeling, many fathers can relate to. Although, the blow up in the supermarket as George feels he is being gouged in the wallet and then losing his temper when it comes to the number of hot dog buns in a package as a sign of release, was a bit over-the-top.

But what Steve Martin film isn't? You expect a lot of hijinks from his character and for the most part, Steve Martin delivers. Also, I felt that Diane Keaton was played the wife/mother remarkably well. It's one of those films to catch actress in a different role far from the roles we have seen of her back in "The Godfather" or Woody Allens films. She played the role wonderfully and both Martin and Keaton had wonderful chemistry.

And that leads us to new actress at the time, Kimberly Williams (before she married country singer Brad Paisley and would star in the ABC sitcom "The World According to Jim"). Kimberly brought innocence to her character and for her major film debut, it was important for her to portray a variety of emotions and for the most part, she succeed.

And then you have your supporting characters, Martin Short and Steve Martin always work great together, a young Kieran Culkin brought a bit of humor to his character as well.

So, the first film I enjoyed a lot because it's a storyline that was fun, enjoyable but also a story that parents can relate to.

As for the second film, "Father of the Bride Part II", while I enjoyed the storyline of the aspect of being a new grandfather, once again, something that parents who have children that are married, viewers can sympathize.

But by having two people pregnant, it took a bit away from the primary focus from Annie and her husband and while we know that George Banks can get out of hand whenever he is stressed out, while the first film was more believable, this one was getting a bit over-the-top. Perhaps people wanted to see more of Diane Keaton and Martin Short or the usual crazy Steve Martin character portrayal but I was hoping to see more of Annie and Bryan, but instead it became more about George and Nina.

The sequel was still entertaining but not as enjoyable as the first film. The whole "Selling the house, staying at the MacKenzie residence, getting the house back" scenes felt absolutely unnecessary and took away my enjoyment from the second film. I know the reason was to show this phase that George was going through and the irrational decisions that he tends to make while stressed out but it was a bit too-over-the-top for my taste.

As for the Blu-ray release, the video and audio quality is a step ahead of its DVD counterpart. Primarily visually, the film looks good, although it does show its age at times. But the film is well-detailed and vibrant, lossless audio was good but not as immersive as I was hoping during the crowd sequences. And both films have audio commentary and a few special features. Although, there is nothing new added to this Blu-ray release.

Overall, "Father of the Bride: 20th Anniversary Edition/Father of the Bride Part II 3-Disc Combo Pack" is a good double-film set that is lighthearted, fun and enjoyable. You're literally getting one film for the price of one on Blu-ray and if you are big fans of the films and own the previous DVD versions, the upgrade to Blu-ray is well worth it.

Read Best Reviews of Father of the Bride (20th Anniversary Edition) / Father of the Bride: Part II (1991) Here

My whole family loves this movies. It's nice to have a movie the whole family can watch. Steve Martin is a great actor. We got both one and two.

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This is a movie that holds true to the American values of family. My wife loves these movies and I never watch " chick flicks" but these are great.

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Deja Vu (2006)

This was actually a film I was reluctant to see, mostly because I knew it had to do, in some part, with time traveling. Which is extremely difficult to pull off consistently and realistically, and most people fail when they try. In this movie, they didn't fail. They managed to make all the pieces fit together, and they made a very fun (albeit far fetched) enjoyable movie to watch.

Add to that the superb acting of everyone in this movie (Denzel Washington plays his role to a T) and it's one of the most solid movies I've seen in awhile. It's not *special* enough to be Oscar quality, but its a movie you can enjoy watching again and again without getting bored or tired of it. And that's worth a lot, in my opinion. :)

Déjà Vu is the perfect blend of science fiction and action film for the average movie watcher as well as the science fiction fan. At its core, it is a thrilling, well paced action adventure story about an ATF agent, Doug Carlin, investigating a terrorist bombing on a ferry full of US Navy sailors in New Orleans. 540 people are killed in the massive explosion, but one young woman's body washes up and doesn't seem to fit with the other victims; though it looks like a victim of the explosion, the body was discovered 8 minutes before the bomb went off. Other pieces of evidence regarding this victim quickly lead Carlin to roughly piece together where she fits in the puzzle; unfortunately, none of it is enough to provide leads to the perpetrator.

When Carlin presents his information to the FBI agents in charge, they are quickly impressed by his keen ability to size up a crime scene and filter out the noise from the pertinent details. They invite him to join a new test project that uses the latest technology to analyze a crime scene. Though the FBI and scientists involved try to hide the true nature of the technology, it doesn't take agent Carlin long to realize that there is more to it than advanced surveillance camera processing. This is where the science fiction weaves itself into the crime action drama film. While testing a new high-powered telescope technology, a way to bend the fabric of space/time is discovered, allowing the ability to watch the past in "real time" exactly 4+ days before.

What makes this film work so well is that the action mostly takes place in the present, but the technology leads to some very good storytelling and the most interesting car chase ever conceived. I had read in some positive reviews that as good as it was it didn't fully make sense...well they are wrong it complete sense just pay attention to the details along the way and the story comes together nicely. Yes, there are a few inconsistencies whose explanations probably were left on the cutting room floor to keep the film well paced but they are small. If you have a basic understanding of the physics and space/time you can piece them together yourselves; if you are not, don't worry and ignore them because they don't take away from this very film.

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MOVIE: Tony Scott is one of my favorite directors and it's too bad he has had some ups and downs recently. I was really looking forward to Deja Vu after I saw the travesty that was Domino. Then Ridley's movie came out and flopped hard. So I was in the mood for a good Scott film, thankfully Deja Vu is a sharp thriller that bleeds Tony Scott's ultra visual style. The plot is a bit over the top, but it's not so preposterous that you won't be able to enjoy the film. Essentially a terrorist blows up a ferry filled with navy soldiers on leave in New Orleans. ATF Agent Doug Carlin (Denzel Washington) is assigned with the case of solving the crime and motive for destroying the ferry. An agent played by Val Kilmer offers Carlin the opportunity to solve the case by using a technology that is able to see any event 4 days in the past, a wormhole if you will. Carlin tries to map out the terrorist's location by studying a young woman's accidental involvement. The terrorists is played superbly by Jim Caviezal and the young woman is played by Paula Patton. Doug Carlin decides to use the machine to throw himself back in time to prevent the act thus saving the lives of hundreds of people. If you can suspend your belief for 2 hours then this film is simply great action entertainment.

The script was written by first time screenwriter Bill Marsilii and Terry Rossio who has gained fame for co-writing the Pirates Of The Caribbean films. Tony Scott made this film his own and kept things really tight and focused. The scenes where the group of people are searching back in time to focus on certain locations for clues reminds me of the camera work that Scott used in Enemy Of The State. Scott's last two films (3 including Beat The Devil) relied heavily on his highly stylized exposures and quick paced editing. Man On Fire used this style to perfection while Domino was just a way for him to show it off some more. Deja Vu does have that same style but there is so much less of it, very similar to the way Spy Game was shot. He uses lots of close-ups, which make the movie really tense because we are always staring right into the eyes of the characters. Every time Tony Scott works with Denzel Washington it seems like a winner. Crimson Tide and Man On Fire were two extremely extraordinary action films. We also have Jerry Bruckheimer producing, which is great because he has such a great history with both Tony Scott and Ridley Scott.

One thing that I always look forward to when I see a Tony Scott film is the score by Harry Gregson-Williams. Harry Gregson-Williams is #2 favorite composer behind Hans Zimmer, and his electronic style matches Tony Scott's vision so perfectly. Tony Scott originally worked with Hans Zimmer and Zimmer scored Days Of Thunder, Crimson Tide, The Fan, and True Romance for Tony Scott. I guess Ridley Scott decided that he wanted Hans all to himself, so Harry Gregson-Williams was assigned the job of co-composer for Enemy Of The State and the two have worked together ever since. If you recall Spy Game's score and Man On Fire's score you could probably place your finger right in the middle of those two and sort of get a feel for the score for Deja Vu. Harry Gregson-Williams didn't go balls out like he did with Domino, but resorts to the piano and the occasional single trumpet to create tension. Strings back up the electronic parts of the score that has Harry Gregson-Williams written all over it. An interesting thing to note was that he used a unique technique of having the orchestra play the music in reverse and then forwarding it in the computer so as to create a unique feel for the central theme of Deja Vu. From what I can tell he only did that on the first cue during the opening credits where we see the logos. A terrific score that really enhances the film greatly.

ACTING: When you have Denzel Washington as your lead actor it rarely means a bad movie. As I mentioned before, Denzel Washington has collaborated with Tony Scott and Jerry Bruckheimer many times before. You can sense that everyone feels like they are in their element because the cast and crew are close. Another tidbit worth mentioning is that there is one scene where we see the young woman played by Paula Patton babysitting a little girl. That girl is Elle Fanning, sister of Dakota Fanning who played Pita in Scott's Man On Fire. Anyway, back to Denzel, he creates a great character here. Jim Caviezal was actually incredibly good as the terrorist. The only downside to that role is that the guy is just mentally unstable and that's why he does everything that he does, which is not very original when it comes to bad guys these days. Paula Patton plays Claire and while she doesn't really craft a character in this film she does provide support for Denzel Washington's character. Val Kilmer enters in his middle-aged scruffy mode and isn't the main focus of the supporting cast, but his presence is nice and he adds some credibility to the cast.

BOTTOM LINE: Deja Vu may be a little farfetched, but I really liked it as a sharp and smart piece of action entertainment. It was tense and kept me involved all the way through. There were no slow pockets in the film whatsoever. The fact that the bad guy is just a man with psychological problems makes the movie a little unoriginal, but Deja Vu will entertain you and is worth the price of admission.

Read Best Reviews of Deja Vu (2006) Here

`Déjà vu' released in '05 stars some of my favorite male stars active today; Denzel Washington, Val Kilmer and James Caviezel. Add to the roster the talented Adam Goldberg and the devastatingly attractive Paula Patton and you've got all the ingredients necessary to provide a truly great viewing experience. Unfortunately even with a cast of this caliber the film doesn't quite deliver all the potential it could have.

Time travel movies are always popular but could be a little tricky at times. I think the script handles the scientific explanation of time travel and warping space surprisingly well but some sequences are a little too unrealistic and you can ask an audience to suspend reality for only so long. I also found the ending to make no sense whatsoever so that definitely is a minus. On the positive side, the romantic angle works wonderfully and Denzel Washington's love interest Paula Patton is drop dead gorgeous. `Déjà vu' combines the futuristic vision of `Minority Report' (`02) with the romantic longing of the '44 classic `Laura'. Not too bad a combination don't you think?

Repeatability Factor: Well worth at least one viewing but that's about it unless you're watching just to see Paula again.

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This film is nearly three years old but still drawing considerable comment. That should tell you something. For all its flaws, this movie is an enjoyable, fast moving action thriller that's worth the viewing.

The "science" itself relies on a science fiction cliche which doesn't hold up in reality. If you know the real science behind wormholes, the plot device may bother you to the point that your enjoyment of the movie will be lessened. But if you can allow yourself the "willing suspension of disbelief", you'll have an enjoyable experience.

Denzel Washington is one of the finest actors of our time and he shows why in this movie. His character provides the moral center and action focus of this movie. Denzel's riveting performance makes this man come alive as you see the plot unfold from his viewpoint, drawing you in and keeping you focused.

Val Kilmer is a disappointment in the way he plods through the movie. He reads his lines, but that's about it. Paula Patton does a fine job, creating a believable, vulnerable character, such that you really care about her fate. The actor who plays her father has a small role but a key one. His scenes are small but crucial, and he does a fine job.

Tony Scott's ability to craft an action thriller makes the best use of Denzel's talents and the talents of all the cast. The story moves along, never dragging nor jumping too much, and the action sequences keep you completely engaged. Scott does a fine job of combining a good action film with a well done human story. For all his technical skill, he never makes the big mistake you see in other films such as the Bourne series. In those films, the director is always saying "Look at me! Look at how I use the camera, or how I x,y,z." Scott keeps the focus on the story, and uses his considerable skill to let the story tell itself.

It's not a great social statement by any means, but it's an enjoyable evening's movie viewing experience, even with the bogus science.

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12 Rounds (Extreme Cut) (2009)

If nothing else one has to give credit to the WWE for attempting to spread out further than the squared circle. While their attempt at a new football franchise failed, their diving into the world of film has done well for them. Some movies hit highs and some drop to lows but they're almost always entertaining. They also provide a jumping board for the careers of their wrestlers. Such is the case with John Cena.

Cena has starred in one film already, the well received THE MARINE. An action film seemed a natural leap for him and he did a fine job handling acting and action chores both with ease. The next step was finding a follow up vehicle and that came about with the new release 12 ROUNDS.

Cena stars as New Orleans policeman Danny Fisher who winds up by circumstance in the middle of an FBI hunt to track down a terrorist named Miles Jackson (Aidan Gillen). A chase follows and after he stops the terrorist, Jackson tells his girlfriend to run before he takes the time to notice an oncoming truck in her path. Blaming Fisher for her death, he swears they'll meet again.

Fast forward one year later and Danny is now a detective. He heads to work only to get a phone call. It's Jackson and he informs Danny that he's taken Danny's girlfriend Molly (Ashley Scott) hostage. Just to let him know he's serious, Jackson blows up Danny and Molly's house while Danny watches. He then tells him they're going to play a game with the life of Molly hanging in the balance. All Danny has to do is win the majority of the 12 rounds Jackson has planned for him.

Danny contacts his partner on the force for assistance and then heads out to take on the first round. Each one sets him up for a life or death situation for either himself or some innocent person who finds themselves involved in helping him. While he rejoices at the wins, he begins to feel guilty over the losses as they involve the death or injury of someone else.

Along the way the FBI become involved since they've been watching all along. Of course Danny's not to keen to work with them since they failed to notify him earlier of the prison break involving Jackson. Unlikely allies begin to work together to try and take down this mad man while saving Molly at the same time.

Steve Harris stars as Special Agent George Aiken, the main agent in charge of catching Jackson from the start. His concerns focus more on the recapture than on saving Molly. Of course this results in head to head conflict with Danny and his goal of saving the woman he loves. Agent Aiken has a personal reason for wanting Jackson caught as well but eventually realizes he may have put his personal interests above the life of this woman.

The clock is ticking and with only so many hours allotted for Danny to complete all of his tasks, he struggles to find a way to beat Jackson at his own game. Beaten down, battered along the way, the final showdown approaches. Only then will we discover who wins and who loses the game of 12 rounds.

Cena does a fine job here with only one problem. He's never given much chance to act. Perhaps that's the intention, giving him just enough moments to convince people of his sincerity but for the most part just jumping, running and fighting to reach the films conclusion. Cena can do a decent job of acting but unless he's given the opportunity, his chances of a long term career in film dwindles.

While the film does offer the requisite amount of action with minimal amount of plot, the twists and turns Jackson puts Danny through are original for the most part. But as I was watching this film I kept thinking I'd seen it before. It was only after I was reminded by a friend that I put it all together and realized that Bruce Willis was pretty much put through the paces of games that kept him running in DIE HARD 3. While this film is not an exact copy, the overall feeling creeps in at times.

That being said, it remains a fine piece of entertainment. The production values are well done and all the money spent to make the picture shows on the screen. Rarely has New Orleans looked this good and with the bad press of Katrina, it's nice to see the locale used once again.

All in all you won't do wrong by renting this film to watch. And for Cena fans, you'll want to add it to your collection. But let's hope that he gets the chance to stretch himself a little further in his next film. Only then can he hope to achieve greater stardom rather than find himself in the straight to DVD category.

The last time I watched a WWE movie starring John Cena... let's just say, I love my action hot and heavy and ended up VERY satisfied, haha.

So it's absolutely NO surprise to me that 12 Rounds is a classic.

So many things to admire about a movie like this... of course you can't take the good without the bad. The first 15 minutes were some of the most predictable and generic cheesiness I have ever seen in my life.

I was almost ready to turn the movie off after those horrible 15 minutes, but then... John Cena began the chase, and when the storyline finally kicked in, this movie completely blew me away.

Everything from car crashes to explosions to shootings... 12 Rounds does it all.

I can't imagine how difficult it was to film something like this. I can't imagine how much money it cost to waste all those vehicles! Actually the same thought comes to mind with ANY action movie. It must cost a fortune.

John Cena proves why he was chosen for this rolehis acting skills are almost as good as his performance in the ring. He truly has a career as a movie star when his wrestling career is over.

The storyline is about John Cena's character accidentally killing a woman. To make a long story short, he goes to arrest a bad man, the wife/girlfriend of this man happens to be hit by a car right in front of them, so the guy takes it personally and, one year later when he mysteriously gets out of jail, he decides to take his revenge against Cena.

His revenge happens to be a carefully orchestrated and elaborate set of rounds that Cena MUST follow, or else his wife dies.

This movie is highly recommended for those who love movies such as Speed. GREAT edge of your seat action.

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Great Action movie. Especially for all the John Cena fans. I found that this movie is better than The Marine.

Read Best Reviews of 12 Rounds (Extreme Cut) (2009) Here

In his film debut, The Marine (2005), John Cena played a character trying to save his abducted wife from danger. A similar theme is the driving force in his second film, 12 Rounds (2009), where Cena is a cop trying to keep his girlfriend alive, by completing a series of harrowing tasks. Set in New Orleans, and directed by noted action specialist Renny Harlin (Cliffhanger, Die Hard 2), the film features some solidly executed action sequences, tied together fairly well, by an elaborate storyline.

At a routine traffic stop, officer Danny Fisher (Cena) and his partner Hank Carver (Brian J. White) cross paths with Miles Jackson (Aidan Gillen), a big time jewel thief, and murderer, and his girlfriend Erica (Taylor Cole). Fisher runs down Jackson, and makes an arrest, but in the process, Erica is hit by a truck and killed.

Approaching the one year anniversary of Erica's death, Jackson abducts Fisher's girlfriend Molly (Ashley Scott), and blows up the house she shares with Fisher. In order to save her life, Danny must complete twelve rounds of challenging tasks. Taking place within a single day, the tasks build up in intensity. In one round, Fisher drives a fire engine through heavy traffic, crushing anything in the way. But Fisher does not always succeed, as in another round, a man falls to his death, before Fisher can pull him off the top of an elevator car. Also actively involved in the pursuit of Jackson, are FBI special agents George Aiken (Steve Harris) and Ray Santiago (Gonzalo Menendez), who have been tracking him for some time.

The game appears to be nearing a tragic conclusion, when a lead that Carver was following, causes Fisher to reexamine the day's events. Like a magician, Jackson has been using misdirection, while setting in place the pieces of a grand scheme, where Molly's skills as a pilot, will play a key part. These events unfold very quickly, and feel somewhat rushed. The final action sequence involving a helicopter, features Cena's only real fight scene, and with a dizzying number of quick cuts, it does not play that well. After being a prisoner for most of the movie, when given a chance to shine, Molly doesn't exactly impress with her flying skills. The ending lacks realism, and puts a goofy topping on what was a film with a generally serious tone.

Although there are certainly weak points, the storyline has some clever aspects, that with a little more polish, and better pacing, could have resulted in a much stronger film. Rushing things at the end, and not giving the audience a chance to appreciate what Miles Jackson was trying to do, seems like a wasted opportunity.

Some may feel that John Cena should stick with wrestling, but the man definitely has a future in films. His screen presence stronger, and his acting is much improved, and working with Renny Harlin, was a big step up. If Cena can land a role with more variety, it might be interesting to see what he can do. A commentary track by Harlin, and a second with writer Daniel Kunka and Cena, provide an abundance of information about the production of the film, and such things as Cena's favorite beer, and fear of heights. Both the theatrical PG13, and unrated versions of the film are included.

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This was an exciting, gripping movie. The action and FX were gripping. Which, to me, is what it's all abount!

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Vanya on 42nd Street (Criterion Collection) (1994)

I remembered loving this "small" film when I saw it in the theater, so I knew I'd be happy with the DVD, whether it had any extras or not (it doesn't). Although Julianne Moore has made it big since making Uncle Vanya ("Boogie Nights," "Nine Months," "The End of the Affair"), and her lovely face dominates the DVD cover, "Uncle Vanya on 42nd Street" is truly ensemble acting at its best. Wallace Shawn as the title character does a powerful job of holding the viewer's interest, even though his Vanya is riddled with smugness, envy, self-pity, and lethargy. There are things about his performance that make you wonder if Louis Malle wasn't thinking of "Uncle Vanya" as a sequel to "My Dinner with Andre" (especially since Andre Gregory plays the director who has gathered his troupe of actors to rehearse Uncle Vanya in the falling down New Amsterdam Theater in New York City). In both movies, Shawn plays a man facing a mid-life crises, plagued with self-doubt and floundering around, looking for reasons to go on.

What struck me on my recent viewing of the film was how timeless Checkhov's story really is. Like Jane Austen, he has a great ability to find the universal in the pettiness of highly-controlled domestic life. In comparing Mamet's rendering with Paul Schmidt's excellent recent translation, it seems Mamet did a good job of crafting speakable lines. He modernized the play without wrenching it from its original time or setting. Since the performance we see is a final run-through, not a dress rehearsal, we receive no visual clues as to when the play within the movie actually begins. Malle's light hand in this regard only reinforces the dubiousness of the distinction between theater/art and reality (a much discussed subject in "My Dinner with Andre").

The decision to film "Uncle Vanya" in the decaying New Amsterdam Theater was an inspired one. When Dr. Astrov (Larry Pine), the play's most forward-looking character, bemoans the cultural and spiritual devastation caused by deforestation and human indifference to the environment, one can't help but think of the plight of 42nd Street itself. The New Amsterdam's resurrection--thanks to Disney dollars--as the current home of "The Lion King" is not without it's ironies. As all of the characters in "Uncle Vanya" are painfully aware, our futures are always purchased at a very high price. And the losses we are likely to experience as we move towards those futures may be greater than any of us will be able to bear.

"Uncle Vanya on 42nd Street" is one of those great works of art, like Eugene O'Neill's "A Long Day's Journey into Night," that makes you stop and take stock of your life.

Director Louis Malle, a decade or so after My Dinner with Andre, teamed once again with Andre Gregory and Wallace Shawn to create Vanya on 42nd Street, and the second film is even more brilliant than the first. To help actors keep up their acting chops between jobs, Gregory staged recurring performances of Chekhov's Uncle Vanya in a decrepit, abandoned Broadway theater (since renovated by Disney to accommodate The Lion King) and inviting selected guests to witness the proceedings. As filmed by Malle, this performance comes as close to smashing the barriers between film and theater as any films ever made (even Olivier's films of Henry V and Hamlet didn't succeed quite as well). Although the performances of Wallace Shawn, Julianne Moore and other New York actors are uniformly impressive, the standout is Brooke Smith, an actress of whom I know little (save for a guest shot on "Law and Order"). This movie shows us what a genius we lost when Louis Malle died, much too young.

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This film removes the old stigma surrounding Chekhov and allows audiences of all ages and backgrounds to access the brilliance, pain, laughter, and humanity of his work. It may even motivate some viewers to seek out more of his writings. The direction by Louis Maller, the translation by David Mamet and all of the performances are the most gripping, realistic, entrancing I've ever seen of "Uncle Vanya". It shows what can be achieved with no set, no costumes, just great actors, with a great script, doing what they do best.

SEE THIS FILM!

Read Best Reviews of Vanya on 42nd Street (Criterion Collection) (1994) Here

If anything in life is certain it is that if you didn't like Louis Malle's "My Dinner with Andre" you won't like his "Vanya on 42nd Street. But even this cannot be entirely depended on, because if you have matured as a movie viewer since seeing "Andre", you might find yourself unexpectedly able to appreciate "Vanya".

Both films are superficially minimalist, relying on script and acting talent to entertain, although Malle's shot selection is also an important element of Vanya. The only real effect is a recorded voice-over sequence for Julianne Moore's character Yelana. As the voice-over plays Yelana's thoughts, the camera is tight on her face and Moore's facial expressions must subtly mirror her thoughts. This is a routine "film" device but in this stage-film context it provides Malle an opportunity to simultaneously utilize the best of both mediums. Acting for camera is different than acting for the stage, particularly in the degree of expression dimension. In this sequence Moore must act for the camera while pretending to be acting for a theater audience. I think this was the best sequence in the film, tight shots like this are an area where the film performance is more demanding than a live stage performance.

The opening scenes of "Vanya on 42nd Street" suggest "My Dinner with Andre", as each member of the scattered ensemble makes their way through the crowded streets of Manhattan for a rehearsal at the rundown New Amsterdam Theater. Once inside they exchange casual conversation and before we realize it the play has started. The lighting has been subtly altered and a large table on the stage has become a sitting room on a rural estate in Russia. But this is not a dress rehearsal and the cast performs in their street clothes.

The subject of Anton Chekhov's late 19th century play is what use should we make of our lives? The deeper subject is the moment of introspection when one confronts the fear that they have wasted theirs. Some complain that since the play is a translation from Russian and is over 100 years old, it reflects a culture too foreign to be of relevance today. While they are correct about regular reminders that the setting is not contemporary, you just as regularly find yourself surprised that Chekhov's subject and theme are so universal and timeless.

During Sonya's long monologue to close the film (perfectly handled by Brooke Smith who literally glows from the moment you see her in the first crowd scene) I was reminded of Virginia Woolf's likewise introspective "Mrs. Dalloway"-written 30 years later in England. Sonya closes the play by expressing her hopes that while we can do nothing but endure in this life, at least we may find a perfect mercy beyond the grave. Clarissa Dalloway looks through a bookshop window to find the passage "Fear no more the heat o' the sun/Nor the furious winter's rages".

Then again, what do I know? I'm only a child.

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This statement belongs to a clever dialogue between the doctor and Vanya's niece in the middle of the night. Few directors along the history of the cinema have been able this brilliant and enviable opportunity to express with major solemnity, supreme conviction and admirable honesty, his last creative Op. like Louis Malle, a very prominent director who adapted the powerful, incisive and even neo existential play of Chejov around a crumbling and abandoned theater in Manhattan, where Malle accents and carves in relief not only his profound love for the actuality of this work; he makes a true tour de force around the lives and times of these personages where every one has something to hide, miss and love. Nobody is happy because there is not any innocent happiness. There `s a lot of issues to be considered, analyzed and scrutinized that you will have to watch several times to taste, delight and enjoy it due its single grandness. Filmed with outstanding realism, wondrous angle shots, suggestive illumination and supported by a formidable cast in which nothing is out of control. Marvelously made and one of my twenty top films of the Nineties.

In case you just have only heard about it, get close and convince by yourself. This is a masterpiece, under any possible angle.

A must-see for the students of acting and formidable evidence the theater may be conveyed to the cinematic stage, with pristine elegance.

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Alien (1979)

Amazon's reviewer calls this movie overrated and drawn out, while the Leonard Maltin movie guide review seems a bit baffled that some people like this kind of entertainment. Don't listen to either of them. Alien is, quite simply, one of the best movies ever made in both the sci-fi and horror genres. Those who complain that the film takes too long to get going suffer from some kind of cinematic attention span disorder; Ridley Scott draws his scenes out because he wants to build tension and establish a sense of realism before introducing H.R. Giger's terrifying creation. Unfortunately we can all see that the monster is just a guy in a suit during the closing sequences when Scott finally lets us see what the big slimy nemesis really looks like, but otherwise the film hasn't aged a bit since it came out two decades ago. The DVD is great too, with excellent picture quality and a really great commentary track, despite some disastrously inappropriate menu screens (the interfaces are all CG-rendered glitz, which really doesn't go with a movie known for its slow, elegant, quiet suspense). Anyone with any interest in horror or science fiction films in general should pick up this classic immediately.

"Alien" is one of the most intense Sci-Fi thrillers to have ever graced the silver screen or the home theater in any format! It is the film's intensity that provides such an incredible draw to this extraordinary film. If you're looking for a lot of action, this film is not really what you're looking for; "Aliens" is where the intensity and action comes into play in the line of Alien movies; the whole theme behind "Alien" is to scare to pants off of you with extremely intense scenes and if you've never seen this movie before, it may very well do just that! Never before in the history of this genre had there been a film of this magnitude and few have matched it in it's intensity since.

Now, with this latest release, fans of "Alien" are treated to the best release of this film yet. The very first thing you'll notice when you put this DVD into your player is that you have the option of playing either the 1979 Theatrical Release or a 2003 Director's Cut. The 2003 Director's Cut is preceded by an interesting introduction by Ridley Scott himself. This cut is put together seamlessly and the additions to the film add just that much more flavor to the film, making it that much better. The only downside to this edition and I believe this just stems from the time in which this film was made, was the audio. Despite having the options of THX and 5.1 Dolby Surround or 5.1 DTS, the audio playback just isn't what it should be.

Copious amounts of credit and accolades go to the incredible cast for this outstanding cinematic treasure! Although I wouldn't go so far as to say that "Alien" is "the" movie that made Sigourney Weaver a star, I would say that it was the one that made her a superstar! And since the release of this film and the following three in the Alien legacy, she will forever be known for these roles and probably very few others, except maybe her role in "Ghostbusters."

Director Ridley Scott, who has directed some of the most influential films in just over the past quarter century, deserves high praise and acclaim for "Alien" and the direction he took this film in. There are several directors out there that may have made as many or more films than he has but few have enjoyed the success he has had and a lot of that success can be directly attributed to the work he did on this film!

The Premise:

Although never clearly defined as to when, it is the future and America has expanded Earth's atmosphere and is sending mining ships out there... The Nostromo, a civilian mining vessel is making the return trip home from an expedition and the crew is in cryo-freeze for the trip home but "Mother" the ships computer wakes them up to investigate what appears to be an alien SOS message.

As the crew goes through the necessary steps to investigate the signal on a small planetoid, the tension builds right to the moment that Kane (John Hurt) is deep within the bowels of the alien ship and is leaning over what appears to be an egg...

What follows from there is most certainly one of the most intense Sci-Fi thrillers ever to have been brought to the silver screen. I highly recommend this exceptional film to any and all who're fans of movies in this genre. {ssintrepid}

Special Features:

For those that have been waiting for a special edition DVD of "Alien" with all of the bells and whistles, this edition is most assuredly it!

-1979 Theatrical Version (Deleted/Extended Scene Index) (Alien Vs. Predator Teaser Trailer)

-2003 Director's Cut (Ridley Scott Introduction) (Deleted Footage Marker)

-Full Length Audio Commentary with Director Ridley Scot, Writer Dan O'Bannon, Executive Producer Ronald Shusett, Editor Terry Rawlings, Actors; Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton and John Hurt (Both Versions) +

-Behind the Scenes Featurettes:

*"Star Beast: Developing the Story"

*"The Visualists: Direction and Design"

*"Truckers in Space: Casting"

*"Future Tense: Music and Editing"

*"Outward Bound: Visual Effects"

*"A Nightmare Fulfilled: Reaction to the Film"

*"Fear of the Unknown: Shepperton Studios, 1978"

*"The Darkest Reaches: Nostromo and Alien Planet"

*"The Eighth Passenger: Creature Design"

*"The Chestburster" Multi-Angle Sequence with Optional Commentary by Ridley Scott

-Sigourney Weaver Screen Test with Optional Commentary by Ridley Scott

-Still Photo Galleries

-Deleted & Extended Scenes

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ALIEN received mixed reviews when it debuted in 1979--largely from science fiction critics, who accused it of being little more than a sort of "Friday the 13th in Outer Space," a blood-and-gore horror flick given a futuristic twist via some problematic special effects. But while these accusations have more than a little truth, it has been an incredibly influential film--and even today, in the wake of CGI effects, it still holds up extremely, extremely well.

The story is well known: the crew of an interstellar craft responds to what seems a distress signal, only to encounter a remarkably lethal alien life form that boards their ship and sets about picking them off one by one. Some of the special effects are weak (the alien spacecraft and the android "revival" are fairly notorious). There is little in the way of character development, the film has a fairly slow pace, and the story itself is predictable; you can usually guess who is going to die next.

BUT. The art designs are incredible: the entire look of the film, from the commercial nature of the spacecraft to the iconographic alien itself (brilliantly envisioned by Giger) is right on the money. Director Ridley Scott encouraged his cast to ad lib from the script, and the result is a shocking sense of realism--and the somewhat slow pace of the film and the predictablity of the story gives it a sense of relentless and ever-mounting paranoia that is greatly enhanced by the tight sets and camera set-ups. With its odd mixture of womb-like organics and cold mechanics, ALIEN is a film calculated to send even the most slightly claustrophobic viewer into a fit of hysteria.

The entire cast, led by Tom Skerrit and Sigorney Weaver, is very, very good--and the film abounds with memorable images and scenes ranging from John Hurt's encounter with the alien egg to Skerrit's search of the ship air ducts to Weaver's terrifying race against time as the ship counts down to self-destruct. Seldom has any film been so consistent in design, cast, direction, and out-and-out fear factor, and although certain aspects of ALIEN are open to legitimate criticism the end result is powerful enough to bring it in at a full five stars. A word of warning, however: you'll need to send the kids to bed for this one. And you'll probably be up half the night afterward yourself! Recommended.

Read Best Reviews of Alien (1979) Here

Many have tried and failed to repeat its success, but nothing can beat the masterpiece that is Alien. Unleashed at cinemas in 1979, the film is a flat-out classic sci-fi horror flick, using extreme moments of suspense to build up the scary scenes. Directed by Ridley Scott, the film is a ground-breaking classic that still holds up amazingly well today, and made an international superstar if Sigourney Weaver.

In Alien, the terror begins when the crew of the spaceship Nostromo are instructed to investigate a transmission from a desolate planet, as they are on their way back home to Earth. Upon their arrival, they make a horrifying discovery a life form that attaches itself to the victims face, using it as a host before breeding inside the body. The life form then removes itself, waiting for the young it has planted inside the human victim to be born and explode through the stomach. A gruesome description indeed, which is why the film is so brilliant. The alien is now on board the spaceship after it exploded through the stomach of one of the spaceship's crew, all because the remaining crew foolishly let him back on board. It's now up to the crew to stop this alien menace, and fight not only for their own survival, but the survival of all mankind.

Sigourney Weaver stars as Ellen Ripley in her film debut role. Weaver is absolutely perfect for the role, and was practically the first girl-power type female heroine who single-handedly carries this international blockbuster right through until the final minutes. John Hurt also plays Kane to excellent effect, especially in his death scene as he frantically wriggles on the table with the alien inside him. Harry Dean Stanton is brilliant as Brett, as is Tom Skerritt as Dallas. Yaphet Kotto is also perfectly cast as Parker, who provides many on-screen laughs. Veronica Kartwright (who later went on to star in The X-Files some 20 years later) stars as the loveable Lambert, the only other female member of the crew along with Ripley. Ian Holm as Ash is absolutely brilliant in his role as the android secretly sent on board to bring back the alien life-form, while in his eyes, and "Mother's" all other crew members are expendable. The acting in this film is really first-rate, which is another big factor in why the film works so well.

Many scenes from Alien are classics, and are all equally scary. The first really scary scene we witness is when Kane investigates the egg in which the life-form is waiting to spring out onto his face. The noise it makes is enough to give anyone nightmares, and the deathly silence that proceeds after the event is truly eerie. The first extremely shocking scene we get is when the alien explodes from Kane's stomach. The noises it makes, and the screams of pain and terror from the crew members is most disturbing, rivalling anything previously set in horror films such as the scenes from The Exorcist. Ripley's confrontation with the robot Ash is truly terrifying. After she discovers exactly why he is on board and what the truth behind their the mission, he tries to kill her, by blocking all the exits in the spaceship. It's only when the remaining crew (those who haven't been killed off by the alien) come to her rescue that Ash reveals his true self, spinning around the room with white liquid exploding from every orifice. Before long, Ripley is the only surviving member of the crew. On her own, she proves herself to be a true action hero as she finally defeats the alien on board.

All in all, Alien is a terrific sci-fi horror movie that plays with your senses incredibly well. Nothing happens for the first 30 minutes, and that is exactly the director's intent. By doing so, a feeling of extreme suspense is instantly formed, leaving you on the edge of your seat until the very end. When you think of the film when not watching it, you'll think of the long corridors and the eerie silence that stalks them, as these are the scenes that you remember most vividly because of the suspense created.

I urge anyone who hasn't seen Alien to pick up a copy and watch it today, because you really are missing out on a landmark film that redefined the way people think of space, and the horror movie genre in general. As they say, "In Space, No One Can Hear You Scream."

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That was the fitting tagline to this 1979 classic. Alien is certainly a masterpiece of the Sci-Fi/Horror genre. Ridley Scott's richly atmospheric and lavishily detailed direction immediately makes this a film that stands high above all of its rivals.

The story itself is simple and harkens back to those 1950's space creature pictures. The production design is simply marvelous. The design of the Nostromo is filled with realistic details, and creates a claustiphobic atmosphere. H.R Giger's contribution is simply breathtaking. His design of the derilict spaceship and the Alien itself has been much imitated since. The seven foot creature is truly a work of art. Only Aliens came close to really recaptuing the striking horror and beauty of the creature.

The cast which featured Sigourney Weaver in her debut, Tom Skerritt, Ian Holm. Yaphet Kotto, John Hurt, Veronica Cartwright and Harry Dean Stanton is diverse and each adds something to the film. The music score by Jerry Goldsmith is filled with all sorts of eerie & strange sounds and creates a stomach churning atmosphere.

The pace of the film is slow by todays standards, but it's what creates the build up for the several shocking encounters with the Alien. The 20th anniversary DVD is fiiled with extras, looks and sounds terrific and is a must have for fans of this film.

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Electra Glide in Blue (1973)

"Electra Glide In Blue" is easily one of my favourite "unknown" films of the 1970's. This was the first (and only) movie directed by rock producer James William Guercio, and in my book it is a top class effort.

Robert Blake ( from TV's "Baretta" ) plays ex-Marine now Arizona motorcycle cop, John Wintergreen, desperate to trade his Harley Davidson Electra Glide police motorbike in for four wheels and join the Stockman Motors detectives division. That opportunity presents itself soon enough, when Wintergreen comes across a gunned down corpse in an dilapidated shack and the puzzle of was it just suicide, or was it murder. Blinded by the supposed granduer of the detective's role, Wintergreen becomes sorely disheartened to find out that the grass is not always greener on the other side of the hill. Exposed to bigotry, hate and injustice, his lofty opinions of his police superiors quickly crumble as he realises the brutal and impersonal nature of their personalities.

The talented and versatile cast is what makes "Electra Glide in Blue" really crackle....Billy Green Bush plays Wintergreen's partner "Zipper" Davis...an abusive and arrogant police officer who is ultimately so insecure and lonely. The talented actor Mitchell Ryan plays head of detectives Harve Poole, another bombastic and narcisstic man seething with resentment and insecurities wracking his life. Jeannine Riley is the lonely, heartbroken waitress ?Joelene"....seeking warmth and affection in the arms of the local police officers....and the wonderful character actor, Royal Dano, is the tired and irritable Coroner. Plus, I can't leave out veteran character actor, Elisha Cook Jr., as the half witted desert loner, Willy. In the early 1970's, Guercio had produced several albums for rock group "Chicago" and he cast several band members in minor roles in "Electra Glide"....trumpeter Lee Loughnane is "Pig Man", singer/bassist Peter Cetera plays biker "Bob Zemko", guitarist Terry Kath is "Killer" ( Kath died tragically in Jan. 1978 from a gun accident ) and session musician David "Hawk" Wolinski as the harassed VW minibus driver.

Add to this fine cast some spectacular cinematography of the stunning Arizona landscape and a haunting and somewhat foreboding soundtrack...and you have an interesting, thought provoking and powerful film that keep's surprising you right up until the final frames.

A worthy addition to your collection of great 1970's films.....

This film is a disjointed, unfocused, cynical, at times brilliant look at the life of a motorcycle cop in Arizona. Robert Blake plays John Wintergreen, a sympathetic loner and dreamer who aspires to be a detective. The suicide of an old drifter in the desert is quickly seen by Blake as a murder and his attempts to convince his superiors to investigate is met at first with derision. Through Blake's eyes we see a country torn apart: apathetic, neurotic, berift of dreams, lonely, capable of frightening acts of violence. An examination of the mindset of the early seventies and a film that is sometimes know as the "anti Easy Rider." Blake has rarely been better.

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This episodic and leisurely paced crime thriller/character study was one of the last of the true "60's" films (even though it was released in 1973). The twist here is that the existential anti-hero isn't riding a chopper or racing across America in a Challenger to keep one step ahead of "The Man" but in fact IS "The Man" --a motorcycle cop! One-shot director James William Guercio, previously known for producing the band Chicago and creating the Caribou Records label, does an admirable job (and leaves one wondering why he didn't continue to pursue filmmaking). Robert Blake delivers his second-best ever perfomance ("In Cold Blood" remains his highest watermark) as a highway patrolman yearning for a more glamourous (to his perception, at least) posting as a homicide detective. All the supporting actors are superb, and the expansive cinematography recalls "Vanishing Point" and "Badlands" with its sweeping vistas of the American West. A sleeper worth a look.

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Aaahhhh ... the memories this brings back! I have always wondered why this movie died away instead of being hailed as a classic. It has only been since Robert Blake's trouble with "that thang he married" that this movie has gotten back into the public's eye.

I remember standing in a block-long line to get into our tiny theatre to see this one. I didn't get in the first night and had to go back the next night. It was so worth the wait! I would stand in line again to watch it today ... if I didn't already own it on VHS.

I loved the character Willie, the crazy old desert rat. But Robert blake was just out of sight with this performance. It was his best ... without competition. He just really got into this role to the max.

The ending is haunting! It has stayed with me all these years. Each time I watch it, I get chills. If you have not seen this movie, order a copy today.

I really believe this movie holds a special place in every motorcycle rider's heart. Most 'Nam vets that I know can tell you all about this movie. Obviously it touched a special spot with them too.

Get it today and join our cult following of this forgotten classic.

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This review is for the blu-ray import. Movie is 112 minutes, widescreen, no subtitles, only special features are a trailer and a ten minute intro by James Guercio. Picture quality is excellent except for some occasional sprinkles in the middle. Great movie, waited for a blu-ray release, and despite the high price I am satisfied with it, at least until something better comes along. The widescreen hi-def picture really brings out the beauty of the desert in the outdoor vista scenes. Another scene is in the beginning when John sneaks up on Zipper with his magnum, you can make out the lettering on the gun barrel, try that with VHS tape or a standard DVD. The colors are vibrant, no apparent fading. The sound is great, didn't notice any defects. Love the music, bought the soundtrack separately on CD. What can I say about this movie except that if you saw this in your youth, it must of made quite an impression for you to try to find it again. Motorcycles, good and bad cops, hippies, bike chases, great acting by most of the stars, and iconic 70's jazz/rock music that make this a very enjoyable film. Guercio in his intro talks a little about the making of this movie and what he had to do to keep it under budget. Maybe in retrospect it was a labor of love for him to put up with all the constraints and to persevere and try to create an important American film (his words). A very 70's movie touching on the social changes America was going through for better or worse.

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