Animation - Space Battleship Yamato 2199 (Uchu Senkan Yamato 2199) 1 (BD+BOOKLET) BCXA-485 (2012)

Space Battleship Yamato has been around for nearly forty years. There's a fine line to walk when you're reintroducing the original storyline to new and old fans alike. The production team working on Yamato 2199 deserve all the praise they've been getting. They've done a wonderful job by keeping the original sound effects, the musical score should be familiar if you've seen the tv show, the updates to the mechanical (ship) designs are eye candy (it's very detailed), and the character designs have been updated with a military flair but still retain that Leiji Matsumoto flair.

Please keep in mind that this first volume only has the first two episodes. Future volumes should have four episodes per BD/DVD disc. Oh, it also comes with English subtitles. I can't help but recommend this series to fans of classic anime. You won't be disappointed.

Space Battleship Yamato 2199 is a remake of the almost 40 year old Japanese Anime, Space Battleship Yamato. For those in the know, this original series, which was actually 3 series total, was what was made into the US and Australian release called Star Blazers. That "little known" series, Star Blazers...

Story goes that the Earth is in its death throes, as the planet is being attacked by Gamilians, an advanced race of beings similar to humans with the exception of their skin color. The Earthlings have been instructed by Starsha, who has sent her 2 sisters to Earth, to use the Wave Motion Engine to journey to her home planet, Iscandar. There they will supposedly find the means to restore the decimated planet Earth to its former glory.

Thus begins an epic journey that includes great space ship battles, great character building and romance.

Something I found awesome is that I compared some of the ship battles from the first episode of 2199 to the old Yamato series and they did a great job keeping similar ship formations, attacks and so on. It's a loving nod and acknowledgment to the old series.

To help those that aren't Japanese readers/speakers, to turn on subtitles you can do it 2 ways.

1) Wait for the main program to start

2) Press the subtitle button on your remote and switch on English

The other way:

1) wait for the main program to start

2) Press your Pop Up Menu option

3) Press DOWN on your remote (ON, which appears on the pop up menu, should turn GREEN)

4) Press ENTER on the remote

5) Press Pop Up Menu again and you should have subtitles

BLU RAY REGION ENCODING: from all my testing, all of the Yamato 2199 discs released so far are Region Free and should play in any player.

Video:

One thing you can hand to just about any Japanese release is that it will have the highest quality possible, even if it might be something you wouldn't notice in practice. Yamato 2199 is no exception.

The video is encoded in AVC. The bit rate sits strong at 35 39 mbps. Given the audio is in LPCM at 2.3 mbps constant bit rate, this is about as high as I've ever seen in video bit rates.

This translates into rock solid video quality, with no compression problems to be seen. Anywhere. Ever. Simply looks amazing.

Audio:

LPCM audio running at a constant 2.3 mbps. This is a Japanese audio track only. Music is clear. Dialog is clear. Stereo separation is very good as well and they use the sound stage well.

If you are looking for English audio, similar to what Gundam Unicorn has, you will be disappointed. This disc is Japanese spoken language only. There are English subtitles, which I discuss below.

Subtitles:

I don't usually rate subtitles, but since this is a Japanese release, I felt it a good idea to add to my normal BD review format.

The subtitles are well done. White subtitles. The translations, for the most part, are spot on. They do a good job trying to capture English idioms with the translations, much the way localization generally happens when an Anime is licensed for US release. I believe the subtitle company is actually NYAV Post, which is also the company doing subs on Gundam Unicorn, which are also very good as well.

If you don't mind reading subtitles, you should have no problem understanding what's going on.

Extras:

The extras are, unfortunately, Japanese dialog only with no English subtitles. This is kind of disappointing since you pay so much for the discs, but they ARE targeted at the Japanese audience first and foremost.

On this disc, all that is included as video extras is a creditless opening and audio commentary for episode 1. The audio commentary is NOT subtitled at all either. There is also a commercial for Yamato Resurrection Director's Cut (or something like that), another series I believe that was released in 2009 or 2010. I think it's just an OVA, but not positive.

You cannot turn on the audio commentary through the audio button on the remote, it has to be done in the extras menu. If someone needs help figuring that out, leave me a comment in my review and I'll do what I can to explain how to get there.

In terms of other extras, there is a nice printed booklet included. Inside are character and mechanical designs and a synopsis. If you can't read Japanese, you can just appreciate the nice design artwork.

Packaging:

If you were lucky enough to purchase this disc during the First Run, you would have gotten a nice cardboard slip cover. Otherwise, you get the cover artwork you see in the Amazon listing above. On the back is a synopsis, disc stats and a hand full of screen captures from the included 2 episodes.

Over all:

Yes. For two episodes, this is very expensive. The thing is, the video quality and audio quality are blisteringly high. The animation quality is high. The production value is high. And it is a domestic Japanese release, where DVDs and Blu Rays cost between $25 for mainstream releases, all the way up to $100 for niche releases. This is kind of a niche release, thus the price.

And the show is... amazing. Absolutely one of the best Anime series I've seen in a long, long time. They did a fantastic job of following the old series but injecting newness into it. For me, the price was worth it (I actually ordered from Amazon Japan and got a few of the 2199 releases to save on shipping).

If you have the means, this is HIGHLY recommended. If it is ever licensed for domestic US release, buying it should become a no brainer.

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Caddyshack (2010)

A welcome HD upgrade to the classic comedy. I don't think I need to go into the plot for Caddyshack and as such I'll review the Blu-ray disc itself. The new Blu-ray has a good HD transfer, it's not the cleanest print but I don't think it's going to get any better. The sound has also been remastered to a DTS Master Audio 5.1 lossless track which is nice and expands the sound stage from the previous mono only offerings. Although strangely the original mono track is missing.

The extras are included are the Theatrical Trailer (480i) and "Caddyshack: The 19th Hole" (480i) is ported over from the previous 20th Anniversary DVD. But the real highlight is "Bio Caddyshack: The Inside Story" (HD 1080i), this new documentary is very informative and goes for over 80mins.

Overall an HD excellent upgrade over the older 20th Anniversary DVD.

Hey, if you're reading this, you probably already know how hilarious Caddyshack is. I've gotta say I was disappointed when I purchased the 20th Anniversary DVD and it was the same thing as the 19th Anniversary VHS! I've never had the pleasure of seeing the TV version of this film, which from what I've read on other posts, has a lot of deleted footage. Why wasn't this footage included in the 20th DVD? In the trailer alone there's a bunch of scenes that aren't included in the film. How about including them? The bottom line is, while the film is great, we're starving for ALL the extra footage! I feel like I'm Spaulding and Warner Brothers is Judge Smails. "I want a hamburger, no...a cheeseburger, I want a hot dog, I want potato chips" -"You'll get nothing and like it!" Give us more!

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Y'know, I get rather disgusted when I read reviews of movies like Caddyshack which describe it as "no-brainer" and "low-brow" (see the Amazon.com review, for example). The fact is that many so-called critics really don't have a clue when it comes to comedy movies of this type. Disrespect and irreverence for the establishment has been a staple of comedy movies for years. Are the only good comedies the light-hearted drivel that the likes of Grant and Hepburn made in the 30's? Of course not!

Caddyshack features fine performances from Bill Murray, Rodney Dangerfield, Chevy Chase, Ted Knight, and of course, the gopher. This motion picture is replete with sight gags and one-liners that to this day are repeated by afficianados of clever satire.

You don't have to be a lowbrow to like this movie, and just because you think it's funny doesn't mean there's something wrong with you. Caddyshack and Animal House withstand the test of time as two of the funniest comedies ever made...and that stands for a lot! The next time you find someone who thinks you're a reprobate for liking this movie, get Carl the Greenskeeper to cut his hamstring...he'll never play golf again!

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This is one of the funniest movies ever, and with a great soundtrack with the dancing gopher! It's too bad that Hollywood doesn't have the courage to make politically incorrect comedies like this and Blazing Saddles anymore. Seems many people are afraid of "the message" this might send to the children. Well, "Caddyshack" didn't make me a boorish and dim witted misogynist, and "Blazing Saddles" didn't make me a racist. Both movies do, however, let me laugh at these people and help me see how stupid the behavior really is. Have a laugh and stop taking yourself so seriously.

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I'm not going to review the movie, as everyone reading should have already seen it considering it's more than 30 years old. I'm simply commenting on the Blu-Ray version and the picture and sound quality. Both picture and sound is excellent. I can't believe that they can make a movie that looks so grainy on DVD look so beautiful on Blu-Ray DVD. The color is very good, without being overdone, and the remastered sound is wonderful on my 7.1 surround sound stereo. Great buy and well worth $15-$20 if you're a fan of the movie.

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Smokey and the Bandit (Blu-ray + DVD + Digital Copy) (1977)

What can I say about this super cool movie that none of the other reviewers have not already said? It is one of the funniest flicks ever, it is a celebration of cool things from the 70's (and there were not too many) like CB radios, weird/wild looking cars, tight jeans and Coors beer. The story involves a pair of Truckers (Burt Renolds and Jerry Reed)and their dog Fred, who take a bet from an obnoxious Father/Son Texas oil millionaire team that they can deliver an 18 wheeler full of beer about halfway across the USA in 24hrs. They hook-up with the original runaway bride Sally Field along the way, she does the impossible before your eyes and changes out of a wedding dress into the tightest jeans ever to grace the silver screen inside a Trans Am! The jeans are so tight she might as well be naked!! It's great! They are chased by jilted groom Junior and his Daddy Texas Sheriff Buford T. Justice played by the great Jackie Gleason. The Great One plays the best southern sheriff ever as he and his son drive from one madcap scen to the next in the "evidence" as they chase the Bandit in his Trans Am from one state to the next. The cast of charcters encountered is hilarious, mobile cathouse, samurai trucker, friendly undertaker, biker gang and many keystone cops. A big 10-4 to all those who firewalled this film, a big steamy 10-200 to those who did not. Let's have a reunion Burt, Sally and Jerry could take on a new sheriff. Burts need to be in a jet black WS-6 Ram Air TA with a "screaming chicken" sticker on the hood. Pontiac should beg for it, they need an image boost. I'm outta here good buddies, look out for those "Kojacks with Kodaks"!

When originally released in 1977, SMOKEY AND THE BANDIT was second only to STAR WARS as the year's internationally top grossing film. With a simple plot and film locations around Atlanta, Georgia doubling as other states, this film fast moving fun. This film stands out among the other Burt Reynolds films (Like WW AND THE DIXIE DANCE KINGS) which were traditionally filled with car chases, country music and just plain showing-off. Though this was not his first major motion picture, Jerry (Hubbard) Reed plays his part perfectly as Burt's Bandit-Blocker bootlegging partner. SMOKEY AND THE BANDIT jump-started Sally Field's career and finally broke the typecast that she could be nothing more than television's Flying Nun. Jackie Gleason is ideal as Texas Sheriff Buford T. Justice, whose character, a man with old-fashioned southern values, chases Reynolds, Field, and Reed from Texas to Georgia. Jerry Reed wrote and sang most of the vocals in the sound track. If the theme song, East Bound and Down, doesn't have you toe-tapping by the end of the film, then you need to watch it a second time. This film was followed by two sequels which paled in comparison to the original. This is probably the only 1970's trucker-chase and laugh movie worth owning.

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Smokey and the Bandit is a dramatic comedy based on various folk legends surrounding the questionable "real-life" exploits of bandit Bo Darville and southern sheriff Buford T. Justice. Smokey (Jackie Gleason) gives a powerful performance as Justice who relentlessly pursues a new Trans Am driven by the Bandit (Burt Reynolds) and a runaway bride (Sally Field), as well as his singing buddy Cledus (Jerry Reed) who drives a semi truck full of Coors.

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Transfer looks fine, has some cool extras, but they changed the sound of the car. I've seen this movie 3,294 times or more, and I know it inside/out. A major sell for me as a kid was the car in the movie.

Though the original sound of the car in the movie was totally dubbed to make the car sound better (and sound like s stick-shift, while the car in the movie is clearly shown to be an automatic). The Special edition version tones it down and makes it sound.. ... I dunno. Bleh. Not loud, not cool. Not the Bandits Trans Am.

I'd stick with the regular DVD if you are as about the film as I am.

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I caught the tail end of this movie on cable a couple of weeks ago and it took me back almost 30 years ago when first I saw it in the theater. I was 15 and was with my whole family at the movie theater and I remember cringing at every swear word because my mom was with us. It seemed like a lot of profanity back then, but these days you'd hardly notice it.

I also remember how great of a movie it was and just had to go out and get it for my DVD collection. Well I got it yesterday and watched it last night, and even 30 years later it's still a great movie. One thing to remember is that it seems like the late 70's and early 80's were filled with movies and TV shows like this (Dukes of Hazzard ring any bells?), but Smokey and the Bandit was the first, the original, and Hal Needham deserves alot of credit for single-handedly creating a whole genre, or at least a sub-genre.

Smokey and the Bandit was a fresh movie when it came out and immensely sucessful. It came out at the height of the CB Radio craze when virtually every one was putting a CB in their cars and trucks. My Dad had one in our van and another friend of mine's Dad had one in his truck and we used to hang out in one of our driveways for hours talking away with whoever was on the CB. Of course we had to memorize the list of "10" codes, and every CB radio came with a laminated list, so you learned that 10-4 meant affirmative, 10-20 meant location, 10-10 meant taking a break, and so on.

And so the CB was a big part of Smokey and the Bandit, and so were the Jerry Reed songs like "Eastbound and Down" that made up the soundtrack. And speaking of Jerry Reed, how great was he as Cledus carrying Fred the Basset Hound around eveywhere in the truck?

Sally Field as the runaway bride picked up by the Bandit (Burt Reynolds) was a perfect role for her. And Burt Reynolds was probably the most popular movie star of the 70's. The repartee between the Bandit and Frog (Sally Fields) character was funny and perfect. "You have a really nice profile." "Yeah, I do, don't I... especially from the side." Watching Smokey and the Bandit reminds me of why Burt Reynolds was so popular during the 70's.

And then the coup of the casting was getting Jackie Gleason to play Sheriff Buford T. Justice who chases the Bandit from Terxarkana all the way back to Atlanta Georgia. Gleason is phenomenal in the role and ad-libbed a good part of his lines. Telling his inept son Junior in a perfect southern drawl, "There is no way, just no way you came from my loins. When we get home, I'm going to punch yo mama right in the mouth."

And the car, I can't mention the other actors without mentioning the other star of the show, that fantastic black Pontiac Trans Am with the 6.6 liter V-8, the T-tops and the giant golden Eagle on the hood. That car was made for the movie and sales of Pontiac Trans Ams increased 700% solely because of the movie. Everyone wanted a car like the Bandit's.

Sure parts of the movie are a little cheesy, but it has a whole lot of redeeming qualities as well. It's not a film for intellectuals, but it's a great movie for watching with friends on a Saturday night with pizza and beer. Watching it in widescreen again was wonderful too, it's really shows off the cars and the stunts a lot better.

If you're looking to build a good solid movie collection, you need some good ones from the 70's and Smokey and the Bandit is one of the best comedies of its era. I highly recommend it.

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Falling Down (Blu-ray Book Packaging) (2009)

Some people think this film is about violence or anger or racism. It's not, though. It's about sadness. The sadness that comes when life loses its meaning. The kind of sadness that can drive a man to do terrible things.

Michael Douglas stars as an unemployed defense worker who is having a very bad day. It starts with him being stuck in traffic on an L.A. freeway. No one is moving, his air conditioner is broken, and the exhaust fumes are overpowering. Finally, he abandons his car and sets out on foot. (The opening scene is an homage to the opening of Fellini's "8 1/2.")

The unnamed Douglas character, as he frequently says, is just trying to get home. He doesn't want any trouble; he just wants to see his family. Events, though, seem to conspire against him.

Along the way, he runs into a Korean grocer, Hispanic gangbangers, a homeless man, a neo-Nazi skinhead, and other colorful SoCal denizens who drive him to the edge. That's where the violence begins. This brings him to the attention of Sgt. Prendergrast (Robert Duvall), a police officer who is about to retire. Before he does, though, he is determined to catch Douglas.

Despite being on opposite sides of the law, the similarities between these two men are greater than the differences. Both of them are failures at home and at work. Both of them lead lives that have never quite lived up to their expectations; lives of "quiet desperation." The only difference is in how each man copes with his failures.

Michael Douglas is excellent in this role, playing it in a very controlled and understated way. It would have been very easy to go over the top with it, but he never does. Duvall is good, as usual, in the more reserved, low profile part.

What is most compelling about this story is how real it seems. The things Douglas does are thing we've all thought about doing. The things he feels--the anger, the helplessness--are all things we've felt. In that sense, he represents a side of ourselves; a side we don't want to admit we have, but one that we can't deny.

This is a powerful film, but I personally don't look at it as some type of social commentary or condemnation of modern society, although it certainly touches on some of the problems that will always exist among human beings. Falling Down may well have a potent effect on anyone watching it, though. It always leaves me feeling really, really weird because it touches on so many things we all have to put up with each day, presents a monster whom I can't help but sympathize with in some degree, provides us with a hero whose own life is rife with undeserved problems, and runs its course atop a strong undercurrent of sadness. Michael Douglas gives one of his better performances as Bill Foster, an unremarkable man who finds his world torn apart and finally just snaps. He has lost his wife and little girl (which is his own fault); he's lost his job, the one thing that made him feel important; he just wants things to be like they used to be. He doesn't want to sit in traffic with no air conditioning or pay almost a dollar for a little can of soda or see plastic surgeons living the life of Riley while he can't even support his little girl. His journey "home" is an extraordinary one, and the kinds of awful people he encounters on the way do nothing to help his mentality. It's hard not to cheer him on when he manages to effect an escape from a couple of gangsters trying to rob him, but acts such as holding a burger joint up just because they refuse to serve him breakfast after lunch time is, obviously, way out there. No matter what terrible things he does, though, I can't get completely past the fact that he earnestly wants to see his little girl and give her a present for her birthday; in a clearly psychotic way, I find this movie somewhat touching, and that only makes the whole experience more depressing than it already is.

Robert Duvall is indeed quite good as the good cop, Prendergast, pursuing this vigilante on his last day before retirement. His life is no dream either, but of course he handles his own problems in a way quite unlike our man Foster does. His wife is clearly disturbed, made frighteningly burdensome and vulnerable by the death of their own little girl and an earlier wounding of her husband on the job. For her benefit, he took a desk job and is forced to put up with a lot of jokes and insults from his fellow cops, including his own boss. Except for his partner, all of the cops in this film are as unfeeling and cruel as some of the shady characters Foster meets up with during his journey home, and that is to me one of the more disturbing aspects of this film.

One of the things I liked most about Falling Down was its attempt to portray Foster as one very disturbed man and not a stand-in for any type of stereotypical vigilante; one character in particular makes this point quite clearly when, discovering that Foster doesn't actually agree with him in his own twisted, stereotypically extremist mindset, he asks the man just what kind of vigilante he is supposed to be. My own thinking is that Falling Down is not meant to be a warning about a group of potential Bill Fosters festering in the midst of society; instead, by showing us what happens to one man, it is warning us to walk carefully on our own journeys and to be careful to keep our tempers in check even when the world seems to be out to get us. At the same time, it doesn't imply that we should roll over and play dead whenever a problem comes our way, using the character of Prendergast to show us that we can and should stand up for ourselves but only in constructive ways. I really have a lot of conflicting emotions about this film, but the one thing I am sure of is that Falling Down is an unforgettable motion picture well worth seeing.

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Movie Critics are morons. All of these characters ARE stereotypes, as are the characters in 85% of Hollywood's movies today. Panning this movie for it's blatent use of these cliched people kind of misses 'the point' they were looking for. People are ugly, racist, and selfish. This man (with serious emotional problems) takes a look around his world (downtown LA) and slowly begins breaking down. How many of us can identify with the idea of the American Dream gone wrong? Being menaced by a gang? Being lied to by advertising? 'they lie to everybody'. Micheal Douglas portrayal of a Joe Blow gone bad is mesmerizing. Unlike 'Payback', I actually found myself rooting for the 'bad guy'. What Douglas does is ugly, what we all see everyday is ugly. Robert Duvall (as mentioned before) is rock solid.

The DVD's main benefit is crystal clear audio and video. It features scene selection and the trailer. Had it included a few extras (Like a MD or RD commentary track, I'd rate it a 5). This movie is about the 'average man' in a cruddy world who can't take it anymore. He could have been someone you worked with, or saw when you're getting off the bus, or waitied in line behind. And THAT was the point of this movie.

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Joel Schumacher's 1992 movie "Falling Down" is a chillingly powerful film that seems to get often misinterpreted. Don't get the wrong idea, there definitely IS substance to this movie--it's not just some kind of freak show.

Michael Douglas, in a spellbinding performance, plays William Foster, a man who totally collapses emotionally while stuck in traffic one morning. He ditches his car, leaving it right in the middle of the roadway, and begins an on-foot trek 'home' through the streets of Los Angeles. What follows is a day of extremely tempermental and violent behavior from Foster, lashing out against a Korean shop owner who 'won't make change', Latino gang members who accuse him of invading their territory, a fast food restaurant that's 'stopped serving breakfast', and a neo-Nazi gun shop owner who already has some frightening issues of his own.

With its story of a white man 'fighting back' against urban decay, "Falling Down" is similar to the 1970 film "Joe" (starring Peter Boyle). A deeper peek though reveals "Falling Down" to be kind of a cross between "Five Easy Pieces" and "Taxi Driver", both masterpieces in their own right--William Foster's wildly erratic and tempermental behavior strongly brings to mind the former's Robert Dupea (Jack Nicholson), while the good-guy-turned-violent reactionary element of Foster isn't too far off from the latter's Travis Bickle (Robert De Niro).

Michael Douglas is clearly the perfect actor for the role of William Foster. Douglas' terrific knacks for subtlety and dry humor are key ingredients to making his character, despite all of his fits of violence, frighteningly sympathetic. It never appears that Foster derives any amount of pleasure or satisfaction from his violent reactions--it's as if he thinks he is merely 'bringing justice' to the inadequacies of everyday life.

We learn that Foster's ultimate destination is to return to his ex-wife's home for his daughter's birthday. We learn from the ex-wife (played by Barbara Hershey) that she has a court order against him from seeing her or the daughter. She admits that he never actually resorted to violence against her on the daughter, but that she "thinks he could".

Robert Duvall plays Prendergast, an about-to-retire cop. Despite the fact that it's originally intended to be Prendergast's last day on the job, he becomes immersed in the trail being left by Foster. The two finally encounter each other in the movie's powerful 'big climax'--by this time, Foster has definitely reached the point of insanity, or as he says in his own words a bit earlier on in the film, "past the point of no return".

Michael Douglas makes it seems as though this kind of devastating emotional collapse could easily happen to just about any 'average Joe', and that's where a great deal of the film's power lies. "Falling Down" is a thought-provoking movie that really stays with you.

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This film is absolutely mesmerizing. Michael Douglas snaps one day and goes wandering through Los Angeles. I think it's interesting when you read reviews on this movie from people in the midwest who don't get this movie. People in L.A. on the other hand certainly do get it. I can tell you from personal experience of living there and being held at gun point by scumbags that anyone could be pushed over the edge in LA. I found this movie to be laugh-out-loud funny especially when Michael Douglas orders a "Whammy Burger" and when he tries out his rocket launcher after an argument with a Cal-Trans employee. "There's nothing wrong with the road, but I'll give you something to fix." I don't think people outside of LA can appreciate that scene as much. And watching Michael Douglas on that golf course had my side hurting for days from painful laughter. Yes, it's sick but the way he looks down at the old guy and says, "And now you're going to die...with that silly hat on", was fantastic. And how about the scene with the white supremist? If you think this movie had too many stereotypes, then you've never been to LA. It's a sick place with sick people where sick things happen. Yes, it's awful that people get shot, but a lot of people in LA deserve what happens to them which this film boldy proves. Studies have shown that the combination of stress, traffic jams, and smog can make someone lose it. What's the point? The point is you should appreciate wherever you live as long as it's not there. Michael Douglas should have got an Oscar for his performance. This was the best movie of the year although it's obviously not for all tastes.

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Fallen (2012)

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

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

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

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

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

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

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

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

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

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

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

The Premise:

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

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

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

Special Features:

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

-Production Notes

-Cast & Crew bios

-Theatrical Trailer

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

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

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

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

Read Best Reviews of Fallen (2012) Here

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

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

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Star Trek II: The Wrath of Khan (Restored) (2010)

I just bought this DVD..., and the verdict is in: It's a blast!!!

THE MOVIE: Certanily one of the best Star Trek movies. Although the main plot about revenge is a bit too basic, the sub-plots, including the addition of Kirk's ex-wife and son, makes the movie better. The action is well paced and the special effects are marevelous. Also, the "expanded director's edition" featured on this DVD adds about 5 extra minutes to the movie. The added footage does little to help the plot, but does a great deal to flesh out more of the minor characters, such as Kirk's son and Lt. Saavik. Also, the last 15 minutes of the film (some added dialogue was put in there to have a little bit more emotional impact at the end of the film) made me jump the grade of the film from a "B" to an "A+."

THE DVD: In addition to having a crisp, clear picture transfer of the film with oustanding sound, the first disc has a nice audio commentary from the director and an even nicer text commentary from Michael Okuda, co-author of the Star Trek Encyclopedia. (That guy knows EVERY SINGLE LITTLE DETAIL THAT OTHER PEOPLE WOULD NOT EVEN KNOW A THING ABOUT that regards to Star Trek.) The second disc contains the following:

1) The Captain's Log: A 27-minute documentary featuring brand new interviews with Leonard Nimoy, William Shatner, director Nicholas Meyer, Ricardo Montalban, and others. They talk about how they originally intended to put the film together, how they eventually ended up completing that task, and other things.

2) Designing Khan: A 23-minute documentary that features interviews with director Nicholas Meyers, the costume designer, and the production designer. They discuss the transitions they made in costume and production design from the ST:TMP to ST2:TWOK.

3) Visual Effects: An 18-minute featurette that has interviews with the FX crew. They explain how they executed and completed the FX shots. (Big surprise there)

4) The Star Trek Universe: A 28-minute documetary that features interviews with two Star Trek novel writers. They discuss how they fill in the gaps between the movies with their books and where they get their ideas.

5) Original Interviews: Basically 10 minutes of interviews (from 1982) featuring William Shatner, Leonard Nimoy, Ricardo Montalban, and Deforest Kelley.

6) Archives: The archives feature 10 original storyboard sequences. (That sure beats the storyboard archives on the ST:TMP DVD, which features a mere 3 storyboard sequences.) There is also a thatrical trailer.

So, there you have it. A great movie with a packed DVD equals a great purchase. Buy as soon as possible.

1982; 116 minutes; Rated PG for mild obscenity, some sequences of sc-fi action/violence, and brief shots of the aftermaths of brutal murders.

(I DO think this movie should have been rated PG-13, but the rating didn't exist then. See and judge for yourself.)...

I'm relatively new to the whole Blu-ray thing; indeed, I resisted buying a Blu-ray player for a long time because I imagined that older movies (e.g., Wrath of Khan) would look grainy and dated in this format, which mercilessly exposes the flaws in older film prints.

So I was pleasantly surprised when "Wrath of Khan" ended up looking, to me, rather good on Blu-ray. It's by no means a perfect print; for example, there's usually some fuzz (or whatever the technical term is) visible on scenes with dark lighting, such as when the Enterprise bridge goes to red alert. But by and large, this print is much nicer than the previous DVD versions.

I compared some DVD scenes to Blu-ray ones to determine whether the upgrade was worth it, and I think it was. Check out the scene when Spock gives Kirk his birthday present; on Blu-ray, you can see all the fine details on that giant globe they're standing next to, whereas on the DVD print it just looks like some glass blob. Similarly, the nebula scenes look much clearer on the Blu-ray.

Some fans seem annoyed that "digital noise reduction" has been applied to the Star Trek movies. Again, I'm no technical expert, but I believe this means that the artifacting/fuzz/whatever-you-call-it has been digitally "painted out" to give the film a cleaner look. This has led some fans to complain that the ST films now look artificially painted over, or waxy, or whatever. I sympathize with this complaint, but I think there's a tough choice to be made here; either studios can digitally "paint out" flaws, resulting in a slightly artificial look, or they can leave the flaws in, resulting in a distracting grainy look. Based on my Blu-ray experiences so far, I favor the noise reduction; for example, the Star Trek Blu-rays look much nicer to me than Fargo, which looks like it was shot through a layer of gauze.

The only real disappointment is that "Wrath of Khan" is only available in its theatrical cut, not the (slightly) better extended cut. It's a shame that Paramount doesn't give you a choice between the two versions; for "Khan," I'd pick the extended cut, and for "Undiscovered Country" I'd go with the theatrical one, but so far Paramount has not released versions that offer the option of switching.

But still, I think "Khan" looks so much nicer as a Blu-ray that I'd rather watch this copy than the special edition DVD. I don't even have a problem with the much-loathed "Delta shield" menu, which may be basic, but has a certain elegance to it...

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In the wake of Robert Wise's "director's edition" of STAR TREK: THE MOTION PICTURE, it was only a matter of time before Nicholas Meyer's STAR TREK II: THE WRATH OF KHAN was awarded the same treatment. Half a year later, KHAN does indeed get the royal treatment with a 2-disc set loaded with extras and fan tidbits galore. The package includes a slightly extended "director's cut" of KHAN that restores a critical plot point (namely, the young cadet who dies in Scotty's arms is actually Scotty's nephew) and a few brief clippings of dialogue (mostly back-and-forth exchanges among the main cast); a commentary by Meyer in which he discusses both the film and his approaches to filmmaking; a text commentary by STAR TREK's long-time technical point man Michael Okuda that's packed with more fanboy knowledge than a game of Trivial Pursuit; cast interviews from 1982 (in which Leonard Nimoy wears a pink and white striped suit that makes him look like a pimp); three documentaries covering the making of the film; "A Novel Approach," a documentary where TREK authors Julia Ecklar and Greg Cox discuss how KHAN's plot elements spun off into the TREK novels; the film's FX storyboards; and of course, the theatrical trailer. Let's look at each of these:

THE DIRECTOR'S CUT OF KHAN the film makes a bit more sense now that the scenes establishing the doomed cadet as Scotty's nephew have been restored, and the restored dialogue adds a little extra kick to the proceedings (it's especially funny to hear Spock respond to Kirk's telling him about his son with a disinterested "Fascinating"). But the film is still as tightly structured and fast-paced as it's ever been; the added footage does nothing to slow the film down or to harm the story (although some nit-pickers will make the hilarious claim that the whopping THREE minutes restored to the film "butcher" it and ruin the pace-how can this be when the added three minutes are spread out over the whole film?). Rather, it gives it a bit more punch. As for the look of the film, it's certainly a lot cleaner and brighter than most other prints, but even with the digital re-mastering, there's still a lot of visible film grain. Like STAR TREK: THE MOTION PICTURE before it, KHAN looks its age regardless of the print quality. But this is a minor detail. Overall the film looks pretty good.

COMMENTARIES both interesting and enjoyable. Meyer's regular guy vibe and insights into the making of the film are engaging, and Okuda's trivia-heavy text comments are a joy for anyone who thrives on knowing useless fanboy tidbits.

CAST INTERVIEWS a unusual time capsule in which the film's leads plug the film. But let's face it; the coolest thing about this insert is seeing Leonard Nimoy dressed like a pimp. Spock in a pink suit is perhaps the greatest source of laughs you'll ever find.

DOCUMENTARIES by far, the coolest of these is "Where No Man Has Gone Before," which covers the stylish FX work ILM did on the film. The giddiness with which the film's FX crew recalls their work on the film is enormously contagious. "Designing KHAN," about the film's costume and set designs, is pretty good, too. "Captain's Log," about the overall making of the film, is uneven though. Where Meyer, producer Harve Bennett, and Ricardo Montalban are discussing what went into the making of the film, William Shatner spends his time being a total wiseacre, either mercilessly razzing his pal Nimoy ("I think the death scene would have been better if we DIDN'T see him thru the glass!" and "Oh, he knew he was coming back, he set me up to think he was leaving...I'll get him one day!") or joking about how he used women's cosmetics to look younger. And Nimoy is no better, cracking wise about how much older Shatner is than he. (For those of you wondering, this is how they act around each other all the time.) The insight/clowning-around mixture simply doesn't jell. But to be fair, at least Nicholas Meyer is finally acknowledged as the author of KHAN's shooting script, not Jack Sowards as has been erroneously credited. "A Novel Approach" is interesting, but dry; it bogs down when the authors recite passages from the novels. The moments where they discuss how KHAN formed the backbone of their work and display their fan knowledge are the most enjoyable, even if the supertitles used during the film clips steer too much into jokiness.

STORYBOARDS mind-blowing. We're treated to the conceptual sketches of the film's FX shots (including the combat sequences, which match those in the finished film almost exactly), as well as some terrific concepts for the opening title sequence and the "Spock monologue" finale that really should have been used in the film. Illustrated by the late Mike Minor, these storyboards read like a really good comic book.

THEATRICAL TRAILER pretty dramatic for a teaser, and it gives a good idea of what the film was going to be.

Despite a couple of rocky patches, the "director's edition" of STAR TREK II: THE WRATH OF KHAN is a worthy package to a really good film. Highly recommended.

Read Best Reviews of Star Trek II: The Wrath of Khan (Restored) (2010) Here

Considered the best Star Trek film to date. The film is a virtual Horatio Hornblower in outer space. Wrath Of Khan is a gripping adventure reminisent of a 1957 WWII film "The Enemy Below." Ricardo Montalban is superb at Khan Noonan Singh, genetically modified super madman from the late 20th century. Awoken on a sleeper ship in the 23rd century by Capt Kirk and crew, only to be exiled on unstable planet. Khan seeks revenge on Kirk in the worst way, as he hijacks a Federation starship as well as a device that could literally destroy the galaxy. The best line in the film:

Admiral James T. Kirk: Khan, you bloodsucker! You're gonna have to do your own dirty work now, do you hear me? Do you? Khan: Kirk! You're still alive, old friend! Admiral James T. Kirk: Still, "old friend!" You've managed to kill everyone else but like a poor marksman, you keep missing the target. Khan: Perhaps I no longer need to try, Admiral. [beams the Genesis device away] Admiral James T. Kirk: Khan... Khan, you've got Genesis, but you don't have me. You were going to kill me, Khan. You're gonna have to come down here. You're gonna have to come down here. Khan: I've done far worse than kill you, Admiral. I've hurt you. And I wish to go on hurting you. I shall leave you as you left me, as you left her: marooned for all eternity in the center of a dead planet, buried alive. Buried alive. Kirk: KHAAANNNN! KHAAANNNN!

Wrath Of Khan also stars Kristie Alley (of Cheers, and Veronica's Closet). It was Krisitie's 1st roll on the big screen, playing Lt. Saavik, Spock's protegee. Great acting by Montalban and terrific over-acting by Shatner. Star Trek II is a tour de force. A must have for the Trekkie and sci-fi collector.

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1982's STAR TREK THE WRATH OF KHAN was a dream come true for TREK fans everywhere. The return of series' villain Khan Noonian Singh, consumed by his obsession to exact revenge on Admiral Kirk for the death of his wife, resulted in a TREK that was bolder and more dramatic than ever before, (or since -take note, Rick Berman!) Key to the rebirth was the hiring of director Nicholas Meyer, an admitted novice to the STAR TREK phenomenon who nonetheless drew an astounding, best-ever performance from Shatner and created a taut, tightly-paced adventure in the tradition of the series' finest episodes. As usual, DeForest Kelley steals scene after scene.

From the very beginning, Paramount has lead the charge in packing their DVD's with supplementary materials, and this disc doesn't disappoint. For starters, there are two VERY cool behind-the-scenes documentaries: STAR TREK: RECAPTURING THE MAGIC explores the effort that went into ensuring the film FELT like STAR TREK, while the second documentary, IKE EISENMANN: FROM WITCH MOUNTAIN TO THE MILKY WAY, examines in exhausting detail how the actor went from child star at Disney to his tour of duty aboard the Enterprise in KHAN. Both shorts are interesting and informative, and above all, fun. But the studio didn't stop there; in addition to the documentaries, we get a pristine transfer of the film's original theatrical trailer, a generous collection of TV spots, and a rare, seldom seen teaser trailer created expressly for the Polish market. But the real jewel of the extras is the inclusion of an entire taping of The Merv Griffin Show from 1982 featuring Shatner, Nimoy, and Kelley, just prior to the release of the film. That alone would have been sufficient to make the disc a must-buy, but Paramount ups the ante by giving us not one, not two, but 25 audio commentaries!!! This treasure trove of extras, combined with the dynamic picture and sound of the film transfer, will have TREK fans everywhere rushing to beam this one up!

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The Shawshank Redemption (2008)

It has long been my contention that it is the moviemaker's task to hold the viewer's attention, not to burden him with his self-indulgent, difficult-to-follow symbolisms.

That having been said, I find it difficult to find another movie I would recommend more highly than The Shawshank Redemption. Without any high-adrenaline action sequences or steamy sex scenes (two sure-fire ways to get the vewer's attention), this film somehow has the power to make you sit through all 142 minutes without for a moment getting bored. And I challenge anyone who has seen it to delete any scene, even any minute, from the final edit. The fact is, you can't. Because every single scene is an essential element that contributes to the final result: a masterpiece that captures the drama of enduring friendship and resiliency of the human spirit more powerfully than any other film ever made. Even those who normally do not watch movies with a critical eye will find themselves so drawn into this experience. I really can't say enough about this film. Suffice it to say that this is certainly the Greatest Movie Not to Win an Oscar. (Since Citizen Kane, at least. )

Actually, I can forgive the Film Academy for not honoring this film with the Oscars I firmly believe it deserved. But when the American Film Institute in 1998 put together their list of The 100 Greatest Movies of all time (covering the period from 1896-1996), and so myopically overlooked Shawshank in favor of such titles as Rocky, Dr. Strangelove, Network, and Jaws, well, I thought that was absolutely ridiculous.

I wouldn't hesitate to put it in the top five of all time.

Every so often, a certain type of movie comes along that deeply moves anyone who watches it. This movie is grand in scope and scale, its character portrayals so moving and so real, that you cannot help becoming completely engrossed by it. I believe that the Shawshank Redemption is one of these movies. Often times, movies based on books are sub par, with the common complaint being, "The book is better." Well I, for one, have read the book and watched the movie, and I assure you that the movie is not a let down at all, but rather a triumph of modern cinema. The DVD disc itself is a little thin on features, but at an average price of about $15, anyone with a DVD player and a taste for Drama(or anyone who simply likes excellent movies) should own this movie on DVD. Now, on to the movie itself. The Shawshank Redemption saw career-defining performances from many of its cast members,including Tim Robbins, who became a top star after his incredible performance, and Morgan Freeman, who added to his already impressive list of accolades with his perfect supporting role. Robbins plays Andy Dufresne, a Maine banker who is unjustly convicted of killing his wife and her lover after he discovers that she is having an affair. Andy is a true outsider in the bleak world of Shawshank prison, an educated man not used to violence and despair that are an everyday part of prison life. Robbins plays this part to perfection, showing emotional vulnerability, as well as the stregnth to overcome the greatest adversity. Freeman plays Red, "The man who can get it all," a prisoner serving a life sentence for murder, who befriends Andy. Red adapts to his life in prison by becoming a source for bringing outside goods to prisoners. The interplay between Robbins and Freeman is one of the highlights of the movie, as these two wonderful actors test each other's limits. James Whitmore plays Brooks Hatlin, a man who spends his entire life in Shawshank as a librarian. Once released,as an old man, Brooks finds that he would rather die that live another day in a unfamiliar world. His character is a tragic example of how the human mind can become so attached to its circumstances(even the blak setting of a prison) that it simply cannot let go of them. Bob Gunton takes a memorable turn as Bible-quoting Warden Samuel Norton, whose facade of morality is merely a mask for his depraved behavior and illegal activites. Frank Darabont, who wrote the screenplay and directed this movie,is a master of skilfully portraying human emotions. He deserves all the credit he gets for helping to shape this memorable movie experience. Stepen King's brilliance shines through, as his ability to create complex and memorable characters is evident in this movie. The bottom line is this: The Shawshank Redemption is a monumental achievement in motion picture history. It is defined by a memorable story, engrossing character performances, and one of the most truly gratifying endings I have ever seen in a movie. This is truly one of the greatest movies ever made.

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The Movie:

Every so often in everyone's life, they walk out of a movie that they consider perfect. A movie where you don't sit through it and think to yourself how you might have done it all differently had you been the director. I have a couple of movies like that, and "The Shawshank Redemption" is one of them. I still remember clearly walking out of the theater in 1994 and thinking that I've just seen one of the best movies that I'll ever have the pleasure of sitting through. A movie so elegant and emotional that is perfect in its way of storytelling. A movie that is about how hope can never die. The movie earned several Academy Award nominations that were certainly well-deserved, but it left theaters all too quickly. Over the years though, it has gained a strong cult following.

The movie stars Tim Robbins in one of his very best performances as Andrew Dufresne, a quiet man who is convicted of the murder of his wife and is sent to Shawshank prison. It's there he meets "Red", a convict played by Morgan Freeman who gets things from the outside for a price. He first sees Andy as he's lead into the prison and predicts that he won't last long inside the prison walls. Over time though, he's suprised that the young man is able to survive and soon, the two become friends with respect for each other. Andy is not a man who "fights the system". He spends his days in his own quiet world, a courage that the other prisoners don't quite understand at first. Robbins has built this character in a way that we the performance is not showy, but subtle. The result is that we want to know more and when we do begin to understand his ways, that only makes us want him to succeed that much more. I won't go into much more in the way of detail about the movie; if you haven't seen it, I don't want to ruin any of the enjoyment of the movie; if you have, I'm sure you already have your feelings about the movie. This is a movie that's not depressing; it has a lot of life to it and I think that when they look back at the 90's, they will see that this is one of the best pictures that was released during this time.

Yes, Warner Brothers has proven to made an error in judgement about their way of going about putting this DVD out. There was an announcement over a year ago, I believe; then previous announcements came later after the first delay promising a director's commentary, then a Morgan Freeman commentary, then, in the final moments before the DVD is released this week...nothing. It's a shame, as "Shawshank" is a film deserving of much more. I suppose part of me is happy with the fact that this film is finally on DVD, although if this is the final product, there is no reason in my mind that this couldn't have been released a long, is an excellent looking image. One of the best cinematographers in the business (Roger Deakins"Fargo") did the filming on this picture and the pale colors are represented well throughout the picture, mainly browns and greys. Like the movie, there is an elegance to the visual style on this picture that is apparent in every movie that Deakins has worked on. Images are clear and crisp throughout; sharp, but not overly sharp for a "smooth" feeling that looks very film-like.

There are few problems, and none of them are terribly distracting at all. There is a slight shimmering in a scene or two and some very small instances of grain. Other than that, this is an excellent looking image that will certainly beautiful sound mix. It's also a newly remastered 5.1 mix. It's not flashy or showy, nor does it need to be. It does however, do what it needs to do best very well. The score by Thomas Newman is absolutely wonderful and it sounds clear and crisp throughout the picture. Surrounds are put into use occasionally, but always in a subtle way that is right for the picture. What I was pleased about most though, was how rich and clean the score sounded on this DVD. Dialogue is clear and without problems as well. Again, Non-animated main menus that have the score playing in the dissapointment of this DVD; all that's included is the trailer and some production stills.

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Final Thoughts Although it's unfortunate that this isn't the special edition that it should have been it is a must for any collection. I'm happy the film is finally being realized by more and more people as a classic piece of filmmaking, which I've always considered it to be.

Read Best Reviews of The Shawshank Redemption (2008) Here

The Shawshank Redemption is a character study in which the audience can develop a healthy and well-earned respect for a man whose spirit will not be crushed. We get to know these people, and writer and first-time director Frank Darabont is able to make us care for them in a way that makes the relatively slow pace of the film more than bearable. Shawshank transcends its genre much the way Cool Hand Luke did all those years ago, but while Paul Newman's Luke was a smiling, hardened con, with a longing for escape, Robbins, in a superb performance, makes Andy's intellect and imagination his salvation. It's a beautiful film that is able to portray the power of hope through the eyes of a rich and rewarding character. A man brutalized but not beaten by a corrupt system.

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The Shawshank Redemption is by far, one of the greatest movies of all time. It is ultimate story of how hope truly never dies, and how good things finally happen to good people.

Tim Robbins, in his finest acting job to date, plays the wrongly convicted Andrew Dufresne. He is sent to Shawshank Prison for killing his wife and her lover, and there he meets Red, played by the ever talented (and one of the best voice-over voices of all time) Morgan Freeman. The chemistry between the two is so amazing throughout the entire movie, and you can clearly see it flow.

You really begin to feel for Andy and his quiet demeanor peppered with subtle emotions. Just when you think the movie is going a certain way, the plot takes an incredible turn that leaves you sitting there with your mouth open. From this point, just when you think the film is heading towards its almost certain climax, it twists another way, leaving you sitting there, not being able to control your giddy smile.

The film is wonderfully written, and the actors were superb. It has a beautiful flow to it, and you can't help but enjoy the masterpiece that you are viewing. You will definately be pleasantly satisfied. This film is an excellent addition to anyone's video collection.

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Gate of Hell (Criterion Collection) (1953)

In 1953, Teinosuke Kinugasa (1896-1982) directed and co-adapted the historical play entitled "Jigokumon" (English transliteration of the Japanese title), which was written by Kan Kikuchi (1888-1948). The film's name (the same as the play) translates into English as "Gate of Hell", and was released theatrically in the U.S. in 1954. The story takes place in 12th-century Japan during the Heian period and at the start of a revolt. During the confusion and fear running rampant through the royal palace in Kyoto, a lady of the court, Lady Kesa (Machiko Kyô), is rescued by a soldier named Moritoh (Kazuo Hasegawa, 1908-1984). After the revolt fails, Moritoh is told that he can have anything that he wants, and what he wants is Lady Kesa to be his wife. He is quickly told, however, that she is already married to Wataru Watanabe (Isao Yamagata, 1915-1996). Rather than seek something different, Moritoh becomes dangerously obsessed with Lady Kesa.

Filmed in beautiful & vibrant color (probably one of the first color films from Japan), the cinematography in "Gate of Hell" is exquisite. The story is by no means dated, though it does become somewhat predictable. Still, it is both compelling and engaging and the acting is superb, especially Machiko Kyô. Memorable scenes in the film include the confusion at the royal palace, Laky Kesa hiding from traitorous soldiers, Moritoh meeting Lady Kesa and her aunt after the revolt, Moritoh given the choice of his heart's desire, the horse races, Moritoh at the home of Lady Kesa's aunt, and the ending scenes. The makeup used on Moritoh could have been better.

The film won several awards including an Oscar for Best Costume Design, an Honorary Academy Award for Best Foreign Language Film and the prestigious Grand Prize at the Cannes Film Festival in France. Overall, I rate "Gate of Hell" with 4 out of 5 stars. Hopefully, the film will be fully restored and released on DVD one day. I highly recommend the film.

I first saw this at a revival in the early eighties and couldn't believe how beautiful it was. Then I got this video and was suprized that it wasn't nearlly as beautiful as I remembered. The reason wasn't a bad memory, but the original prints used for showings have rotted in film vaults, and have become blurry, faded, and scrathy. I was very disappointed that Home Vision didn't present this digitally remastered and restored with new computer subtitles (the subtitles are quite crude). That's the reason I didn't give this five stars other than that, this is one of Japan's greatest masterpieces. The ending is pretty sad but has a beautiful ending. The degree that Moritoh will go to get Kesa is trully horrifying and Moritoh transforms from a herioc samurai warrior and hero of the film to a maniacal barbarian and villian. Recommended, but maybe the more picky film viewer who has an outburst everytime a scratch line goes down a film should perhaps wait until this is restored to the experiance it once was.

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Gate of Hell (Teinosuke Kinugasa, 1953)

The 1950s in Japan were a great time for costume dramas. Witness Gate of Hell (Jigokumon), Teinosuke Kinugasa's multi-Western-award-winning (Oscar: Best Foreign Film and Best Costume Design, New York Film Critics' Circle: Best Foreign Film, BAFTA Best Film, Cannes Grand Prize) flick about obsessive love and its inevitable end.

Moritoh (Genji Monogatari's Kazuo Hasegawa) helps put down a revolt, and is rewarded with anything he desires. What he desires is the beautiful Kesa (Ugikusa's Machiko Kyo), but he finds out that Kesa is already married to another samurai, Wataru (Isao Yamagata of The Seven Samurai). This knowledge doesn't faze Moritoh in the least; he sets about trying to win Kesa's love by proving himself a better warrior than her husband.

It is a good film, but it could have been a better one. Midnight Eye's summary of the film says that "Kinugasa himself was fully aware of his picture's dramatic weaknesses, and blamed intervention from his producer, an under-developed script and a rushed working schedule due to a release date fixed in advance. Whilst impressive in its performances, and the ambition and scale of its production, with a little more attention to plotting, one gets the feeling that it could have been a truly great film." This is quite the case. While it is undeniably a stunning picture, even by today's standards-the rather primitive film stock (this was Japan's first color film) does nothing to mask the intricacy of the set design, the brilliant, almost expressionist color scheme, or Kinugasa's excellent eye when it comes to action scenes-the plot is presented in almost stop-motion fashion, with one excellently-acted scene after another, but nothing to tie them together.

This does not, by any means, mean you should avoid this movie. Any film containing Machiko Kyo, possibly the single most beautiful actress working in filmdom in the 1950s, and certainly one of the handful of the most talented, is well worth watching. Hasegawa makes Moritoh into a figure who is less frightening than pathetic, a man who is driven solely by his demons, who has entirely lost his soul to obsession, while Yamagata plays Wataru as a blissfully ignorant chap who is given every opportunity to see tragedy rushing towards him, but refuses until it's on his doorstep staring him in the face. It could have been great, but because it's not doesn't mean it's not good. ***

Read Best Reviews of Gate of Hell (Criterion Collection) (1953) Here

This film wowed the critics when it first came out in the 1950's. The extraordinary medieval costumes and exquisite color compositions dazzled the audiences. Today, even Martin Scorsese ranks the movie among his top 10 of foreign films. It must have influenced so many Japanese directors when they attempted to create their own epics.

Obviously, I prefer the masterpieces of Kurosawa or Kobayashi or Mizoguchi. This is a very good film rather than a great one. Nevertheless...this movie grows on you. Other reviewers discuss the basic plot: Moritoh, a warrior who quashes a revolt, is to be rewarded for his bravery by the emperor's regent. He is asked to choose any gift from the emperor. During the revolt, he encounters the beautiful Lady Kesa, who is kind to him. Like a fool, he demands that he be given Lady Kesa as a wife, even though she is already married to a lord of higher class. Everyone asks him to desist.. but pride, madness, and desire prevent him from doing so. He vows to destroy anyone who stands in his path and goes so far as to kidnap his prize. On the other side of the wall, rather than defend his wife from such outrageous conduct, Lady Kesa's intellectual husband takes no violent action to protect her.

The scenes are enhanced by the exaggerated dramatic, strong movements of Moritoh against the delicate movements of Kesa. Notwithstanding, she is just as strong a character as he is. I give this movie 5 stars because I felt this was Machiko Kyo's best performance. Every gesture of hers can be studied for meaning.

The ending of the film grabs me so much because it is pregnant with so much significance. Don't rush to judgment think about it. There are secrets to the ending.

Postcript: The Blu-Ray quality is marvelous don't even think about seeing the movie in any other format. I also love the glorious poster artwork on the cover of this Criterion Edition.

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I saw this last night on TCM, which, BTW, is a rare treasure on the medium of the "idiot box". Isn't it remarkable that this movie is 53 years old, and it still sparkles? What an accomplishment! It had the ingredients of a truly great film complex characters that are developed fully and efficiently, great story-telling with attention to details, and good acting a little stylized, but keep in mind that that impression might be due partially to Westerners unfamiliarity with Japanese culture, and partially to how the definition of "good acting" has evolved.

I love the film's nobility and moral rectitude. Those were the days when (and we were in a culture where) "doing the right thing" was the expected norm. It was seen in Moritoh's loyalty at the price of at least it seems at the time expediency, which was preceded by Kesa's unflinching sense of duty and willingness to lay down her own life. This is the beauty of Kesa's "soul" that Moritoh found out all-too-late he failed to see, which manifested itself as bookends in the plot, but is in fact the moral center of the movie. Such ideals are no longer frequently or fully embraced these days. Look at how we glorify criminals in shows like The Sopranos and Thief. I also liked how the plot falls together: Kesa's readiness to sacrifice herself at the outset of the story made her self-immolation at the end of the film ring true. The little details: remember the talk of chestnuts when Moritoh first saw Kesa with her aunt? We saw later on those very chestnuts hanging on the swaying trees during Moritoh's unfortunate night time visit. When Wataru and Kesa took what turned out to be their last walk in the garden under a full moon, it was all peace and serenity. The very same setting is transformed sinister and ominous just moments later, with the moon now hidden by clouds, as Moritoh slowly emerges out of the darkness in the background a truly masterful and memorable scene in the history of cinema.

The theme of "folly" pervades the movie: we see a lot of it just from one character, Lord Kiyamori and he's a top dog and a leader! His son had to advise him to act quickly to quash the uprising when we first see him. He then failed to reward Kesa, who is every bit as deserving as Moritoh of recognition. Even if you chalk that failure up to the times and the culture, you can't excuse his Jephthah-like stupidity and arrogance in giving Moritoh pretty much carte-blanche in his wish for a reward. What's more, we have his incessant and insensitive teasing instrumental in precipitating the tragedy, in that it made the proud Moritoh all the more determined to have Kesa. Was Wataru cowardly, foolish, or both, when he "threw" the race? Lest you missed it, there's the cruel irony of Moritoh's comment after his brother's treachery resulted in his execution, "My brother was a foolish man". Moritoh proved to be no Solomon.

I thought it was a little frustrating to watch Kesa's helplessness when Moritoh blackmailed her. Surely there's another way out, woman! But I suppose that's part of the tragic theme: all the characters had strengths as well as tragic flaws. At the risk of second-guessing the director of a great movie, I felt that he could have kept the identity of the person in bed a secret until the moment of truth, but I'm sure I need to remind myself that this is not meant to be a thriller. I'd like to watch this movie again, maybe along with a movie it reminds me of: Kurosawa's Ran.

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Saboteur (1942)

Like their previous Blu-ray upgrades of "Shadow of a Doubt" and "Psycho", Universal finally gives "Saboteur" it's due with a near pristine picture for it's Blu-ray debut. I've owned every format of this Hitchcock film(VHS,DVD) and was stunned by the picture and sound. "Saboteur" has never looked better on Blu-ray and the restoration team at Universal deserves the highest praise for making this film finally look the way it should. Filmed in black and white, there is no print damage(vertical lines, dirt, white specs, etc.) compared to previous video versions with blacks, whites, and grays looking clear and sharp. You can make out the smallest details and the overall picture quality is well balanced throughout. The story is a familiar one for Hitchcock that he returned to time and again-that of a man wrong accused of a crime and the things he does to clear his name. The restorers at Universal have cleaned up the audio too and there is no more static or hiss that plagued previous versions. Credit once again should be given to the expert restoration team at Universal for their superb work. Besides the above mentioned Hitchcock titles that have been restored on Blu-ray, the team at Universal has recently given new life to such black and white classics as "To Kill A Mockingbird" and "Cape Fear"(both from 1962) for new audiences to discover and enjoy. "Saboteur" is 109 minutes(Aspect ratio: 1.33) and contains the following subtitles: English SDH, Spanish, and French. Audio includes: English DTS-HD Master Audio 2.0 Mono and English Dolby Digital 2.0. Special features include "Saboteur: A Closer Look" which is carried over from the standard DVD. "Saboteur" has never gotten the respect it should from critics but hopefully this superb new Blu-ray presentation from Universal will get a second look from not only Hitchcock experts but fans as well. Watching it, you'll be rooting for Robert Cummings and Priscilla Lane just like audiences did in 1942. I sure did.

The Hitchcock films are all favorites of mine. The way he filmed is simply awesome. People who feel it is dated..well..how can it not be in some ways. I love some of todays movies and am a big fan of computer generated graphics. They make incredible movies possible. But they become an addiction and some movies suffer from lack of audience connection and blurring of characters. Hitch put you in the shoes of the actors. Sure it is slow sometimes. But I recommend slowing things down once in a while! The Statue of Liberty scene is awesome and just imagine what it was like when it came out. It was a film like this that I believe laid the groundwork for a movie like "The Fugitive".

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It is 1942; we are in the height of war. Barry Kane (Robert Cummings) and his best buddy are putting out a mysterious fire. A stranger Frank Fry (Norman Lloyd) assists them. When it turns out to be sabotage, naturally the authorities have to accuse Barry. Barry's only chance of survival is to follow clues across the country to find Fry. On his travels he gets teemed up with Patricia Martin (Priscilla Lane) who wants to do her patriotic duty and turn Barry in to the authorities. You can not tell the good guys from the bad guys until it is too late.

Can Barry convince Pat that he is innocent?

Can they ever find Fry?

Even if they do find Fry will the authorities ever believe that Barry is innocent?

Be prepared for a lot of long winded speeches from both sides they do not add or subtract form the story.

Shadow of a Doubt DVD ~ Teresa Wright

Read Best Reviews of Saboteur (1942) Here

First the good: It's a great looking Blu ray* transfer. More on that later. And it's Hitchcock, so we get some nice cinema work including fine black and white texture. Hitchcock also knows when he makes a clunker so remakes it. Still in his Hollywood infancy, he had much of cast and crew forced upon him. This 1942 innocent-man-accused movie is a precusor to the much better "North By Northwest."

The bad: The acting is pretty terrible although I'll make an exception for a dour Robert Cummings and Norman Lloyd. The movie is also pretty boring, not much tension here until the final act.

Now the ugly: The screenplay is terrible with even Dorothy Parker on the credits. Can we really believe the hate against the cops and the government in 1942? Can we really believe that even in those times we are so certain to open our hearts up to reported dangereous escaped criminals? Do we really need long sililoques about what's right with America, yada, yada, yada.

It is interesting to see Cummings in a dramatic role as he is best remembered for his TV shows, specifically "My Living Doll" and "The Bob Cummings Show" from the 50-s and 60's. Also Lloyd is probably best remembered for his great role in "St. Elsewhere" from the 80's. I have almost all of Hitchcock's films so fans will probably want to check this out. So do it on Blu ray. It looks magnificent.

The transfer comes in 1080p resolution and with an original 1.36:1 aspect ratio. The blacks, greys and whites are perfect. I could see no artifacts or other anomalies in this great restoration. Very nicely done. The audio is likewise excellent. The primary track is DTS-HD Master Audio mono. Even faint sounds are recaptured. Nothing to complain about. Extras include a 35 minute documentary with actor Norman Lloyd and Robert Boyle, the art director. There are also some sketches, storyboards, photos and a trailer. While this is not Hitchcock's greatest work, the Blu ray will make it look and sound as good as it ever did.

*Disc included in "Alfred Hitchcock: The Masterpiece Collection"

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Steamboat Bill, Jr. (1928)

I must disagree with Leonard Maltin; Steamboat Bill Jr. is one of Keaton's best, and as a very fluid and well-plotted example of late-silent filmmaking, it makes an excellent intro to his work for neophytes-better perhaps than some of the more deliriously surreal comedies such as Sherlock Jr. Keaton's performance as the college boy son of a riverboat captain is generally regarded as his best acting, and the 20-30-minute hurricane sequence is one of his most remarkable feats of solo pantomime (it includes the famous clip of a building front falling on him, the window landing exactly where he stands). This tape is also worth noting for the presence on it of a recently discovered complete version of the short Convict 13, one of the last missing bits of silent Keaton.

I have most of the Buster Keaton DVDs and this is one of the most fun. "Steamboat Bill Jr" is the typical Buster Keaton plot, with twice the stuntwork. The hurricane scene is one of his most famous and shows the talent, genius and dexterity of this man. Incredibly fun and entertaining for the whole family.

The first short, "Convict 13" is not a very high quality print, and some parts of it get very hard to decipher, but you must remember that 1 complete reel of this film was considered lost forever until recently. At least we get to see the short in it's entirety. "Convict 13" was one of Keaton's first starring movies for Metro studios and shows him in a very slapstick-ish role; His trademark dean-pan expressionism and personality have not quite evolved at the time of this film. It's still very fun, but not as sophisticated as his later work.

The final short on this DVD "Daydreams", is another 'nearly lost' classic. The DVD states that some of the footage is unavailable and they took the liberty to piece a few extra stills and title cards to make the movie flow with a comprehensible storyline. Once again, the transfer quality is not high, but better than "Convict 13". "Daydreams" is classic Keaton, complete with the chase scene of 20-30 police officers, ala "Cops" (See 'The General' DVD). There is an implied attempted suicide in "Daydreams", but it's all completely off screen.

Once again, I have yet to be disappointed by a Buster Keaton DVD from Kino International. I recommend it highly.

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As one of his last great silent films, Steamboat Bill Jr.(1928) is one of Buster Keaton's finest. Nearly a third of it's 69 minute running time is comprised of some of the most spectacular and funniest stunt work Keaton ever did. The General, Our Hospitality and the 45 minute Sherlock Jr. are better films but none are any more entertaining than Steamboat Bill Jr .

Bill (Ernest Torrence) is the tough Captain and owner of the old and somewhat run-down Stonewall Jackson river boat. He is about to be run out of business by the richest man in town, King (Tom McGuire). King has built a huge, fancy river-boat and gets the Stonewall condemned.

Bill then gets word that his son is going to visit him. He has not seen his son for many years-Bill Junior aka Willie, has been in college back east-and Bill Sr. imagines his son must be bigger than he is. He's pretty disappointed that not only does his son look like a 90 pound weakling, but he's got a city slicker hat on that has got to be replaced pronto. Father decides its time to make a man out of his son, while son Willie, has his eyes on a beautiful young lady (Marion Byron) who happens to be chief rival King's daughter.

Father Bill ends up in jail, and Buster Willie tries to break him out. He succeeds, but is almost accosted himself so Father turns himself back in and Willie is sent to the hospital with a minor injury. Just when it looks like the old Steamboat is doomed for extinction, and Willie won't get the girl the weather changes.

The final extended sequence of the film begins at the front porch of the King Hotel. King is warned that a wind storm is coming and the pier is not going to be strong enough to hold his fancy boat against the wind.

The wind blows and the death defying stunts, and inventive sight gags begin. A man tries to start his car, the wind blows the hood of the car up which makes the car into a land sail boat-with the man being dragged down the street holding onto his cars bumper. The car comes to a halt in front of the King Hotel. The Pier collapses and the King Steamboat breaks away and some of its crew leap for their lives. The entire front of the King Hotel collapses into splinters and is blown away. People on the street struggle as they run for cover and shelter.

Buster Willie who is in the hospital, remains in his bed as the patients and nurses flee out the hospital which is then entirely blown away. Buster tries to leave the area with remarkable calm but must leap onto his bed as it is propelled through the ruins of the town's streets and through a horse stable. In the middle of the street, Buster goes under the bed for cover. A man leaps from the second story of his house onto the bed. The Bed collapses on Buster. The wind blows the escaping man and the bed away.

Then the somewhat confused Willie rises to his feet, in front of the house that will be ripped apart by the winds and give us one of the most infamous and death defying stunts in all of movie history. As he stands groggy and confused, the entire two ton facade of the house falls and crashes over him. A small window opening just happens to have passed over the very spot he is standing. Buster had positioned himself with only inches to spare so that the facade would crash over him but avoid crushing him to death. If he had missed his mark by a few inches, or if something had gone wrong, Buster Keaton would have been crushed to death.

Realizing how close he has come to death, Willie tries to run, but the wind is too strong and soon he is sliding and tumbling and being blown as if he is a tumbleweed down the street. Eventually he winds up amongst stage props at what remains of the theater. More inventive gags follow leading to an exciting finale in which he must rescue his father from drowning in the Jail,the woman he loves, and more.

Keaton did all of his own stunts. He designed many of them to be shot in longshots, choreographing movements so he tumbled or was dragged from end of the frame to the other. His acrobatic ability continues to amaze. It should come as no surprise that one of Keaton's biggest fans is Jackie Chan, who carries on old stone-face `s tradition quite well.

The credits list Charles F. Reisner as the director of Steamboat Bill Jr., but it is unlikely Reisner even co-directed the feature with Keaton (Keaton did collaborate with Eddie Cline on several shorts). Keaton actually directed all of his feature films, sharing or giving away credit to a string of studio assigned directors who did very little work on Keaton's films.

Also featured on the wonderful KINO DVD (and video) are two wonderful Keaton shorts. Convict 13 and Daydreams. Convict 13 (1920) contains some clever physical slapstick choreography while Daydreams (1922) shows the early genesis of ideas that would be fully realized in the classic Sherlock Jr., and ends with an exciting chase scene in New York City.

Steamboat Bill Junior was the last film Buster made for producer Joseph M. Schenck. He would then begin his ill-fated contract with MGM. After The Camera Man and during Spite Marriage, the sound era began and MGM would team Keaton with Jimmy Durante (bad idea) and then in several mediocre comedies completely mis-using Keaton's talent and forcing severe restrictions on him. Keaton already in a bad marriage and an alcoholic, allowed his career to be destroyed.

Buster Keaton is one of the top directors, and comics who ever lived. He experimented with film in ways that none of his contemporaries even dreamed of and in doing so surpasses even Chaplin and Lloyd in terms of genius. Some of the innovations he explored continue to be used by modern film-makers today.

Chris Jarmick Author of The Glass Cocoon with Serena F. Holder A steamy cyber thriller available January 2001. Please order it today. Thank You

Read Best Reviews of Steamboat Bill, Jr. (1928) Here

When we think about Buster Keaton, we think of one of the kings of slapstick comedy during the silent era. The master of physical comedy, a talent known for his deadpan expression and his films, well-revered today as one of the best actors and directors of all time and beloved by many.

But in 1928, Buster Keaton was going through one of the most problematic times of his life. A marriage to Natalie Talmadge (of the popular Talmadge family and sister to actresses Norma and Constance) which was going south and to make things worse but two years prior, Keaton had learned that Joseph M. Schenk (the man in which Keaton was contracted to) would be taking the job as President of the new United Artists (created by D.W. Griffith, Charlie Chaplin, Mary Pickford and Douglas Fairbanks).

And with Keaton now losing independence as a director/actor and becoming part of the new studio mentality, in the three year period, he would create three films which would be his final films he would have complete control over and that was "The General" (1926), "College" (1927) and his final film with United Artists, "Steamboat Bill, Jr" (1928).

Like "The General", "Steamboat Bill, Jr." is considered one of the best films that Keaton had created but in 1928, people didn't feel the same way. People were now getting read for the talkies (which was in its infancy) and slapstick comedy was phasing out and people were wanting something new and different.

Eventually like many silent era stars, "Steamboat Bill, Jr." is considered as Keaton's last great silent film and is now considered today as not just one of the top Keaton comedy films ever created but one of the top comedy silents of all time.

VIDEO:

"Steamboat Bill, Jr." is quite literally the best looking version of the film available and for an 82-year-old film, Kino International has once again done a spectacular job on a silent film release on Blu-ray.

Before I discuss the picture quality of "Steamboat Bill, Jr.", it's important to note that because this is a silent film, it's important to emphasize that each silent film has been handled and stored differently. With that being said, I also want to add that there are only so many very good silent films still around, many destroyed from fires started by the Nitrate film or mishandling (or improper storage). Fortunately, a good number of Keaton films have strong film elements that have led to Kino International wanting to release more Keaton films on Blu-ray and to also make sure the film has not been digitally tampered.

Similar to "The General", Kino International has done a a great job with bringing this film to Blu-ray. Presented in 1080p High Definition, black and white, yes, the film is not pristine (no silent film in HD will be) looking as it does have scratches, dust, hair and other damage that the film has gone through within the last 80-years. But this is to be expected, if anything, many silent films on nitrate were not well taken care of, so each time I see a film in which the films are much better than I expect, I'm quite pleased and for "Steamboat Bill, Jr." in HD, it's definitely a major improvement over its original DVD counterpart.

I have watched many silent films that have had considerable nitrate damage but this film still looks fantastic for its age and you will not see the nitrate damage or acid buildup in the film's sides. Yes, it's not pristine but it's the best looking version of the film that I have seen so far. There is a good amount of detail where you can actually see detail on the ground, on the wood of the Steamboat bill ship, the curvatures and bark on a tree. It's important to note that some elements of the film do show its change in black levels but by no means was this distracting for me. I know of one review that said that contrast was blinding and I think that comment was a bit excessive. There are changing levels but by no means was it blinding or over-contrast. I found the black levels and contrast more distracting on the DVD but I believe that KINO did a wonderful job in fixing it on the Blu-ray release (and I am assuming it was fixed also on the ultimate collection 2-disc DVD that was released simultaneously on the same day as the Blu-ray).

The differences between the Buster Keaton Estate version and the Killiam Shows Archives version is quite interesting as the films show different takes. Because the film were handled by different properties, the picture quality is slightly softer in the Killiam version but personally, both looks good and I'm very grateful that both films are included in this release.

Many have wondered if the film does have any DNR and Bret Wood posted on Nitrateville.com:

When we transferred THE GENERAL, we had the grain-reducer turned down to zero, assuming that would kill it. But when we QC'ed the Blu-Ray, we saw traces of digital artifacts. As a result, we re-transferred THE GENERAL for Blu-Ray, with the grain-reducer not just turned to zero, but completely by-passed (and we followed the same technique for STEAMBOAT BILL JR.).

By this time, the DVD of THE GENERAL had already been released, so it has a slight amount of digital noise reduction, but it's virtually undetectable on a SD monitor.

But despite its having its share of dust and particles and other things that do show up in the video, comparing both this Blu-ray version to the DVD version in my Kino "Art of Buster Keaton" set, "Steamboat Bill, Jr." looks fantastic on Blu-ray!

On the DVD, there is constant flickering and there were times that blacks look quite deep and were hard to see faces at times. Also, seeing how much cleaner the print looks on Blu-ray vs. the original KINO DVD is quite amazing.

Iknow some Blu-ray purists that have never seen a silent film can be alarmed that silent films are not clear and pristine but the fact is many of them aren't but if we can get something as close to perfect, for an 82-year-old film, I'm quite impressed with the results!

AUDIO & SUBTITLES:

With any release of silent films on Blu-ray, one thing that I have always wanted to see is more musical scores that people can select for their own viewing and personal preference.

For "Steamboat Bill, Jr.", you get the The Biography Players music presented in DTS-HD Master Audio 5.1, an organ score by Lee Erwin and a piano score by William Perry. Unfortunately, the music by Gaylord Carter presented on the original DVD is not included.

It's important to note that the Buster Keaton Estate version comes with The Biography Players DTS-HD Master Audio 5.1 score and a Dolby Digital 2.0 Stereo version and the Lee Erwin mono organ score. The Killiam Shows Archive version only features the William Perry Dolby Digital 2.0 piano score.

The Biography Players lossless score was well-done! I enjoyed Gaylord Carter's score from the original, so to hear another score, I was quite impressed of how the orchestra carried on various instruments during a scene's most emotional or hair-raising moments. It is important to note that the score is presented on all five audio channels. But just in case, you don't like that, you can always select a Dolby Digital 2.0 version of the score.

I also enjoyed the organ score by Lee Irwin (presented in Dolby Digital mono) and you get the Dolby Digital 2.0 piano score by William Perry.

There are no subtitles in this Blu-ray release.

SPECIAL FEATURES

"Steamboat Bill, Jr." comes with the following special features:

* Steamboat Bill, Jr. (Killiam)(1:10:29) The second version of the film which is similar to the Buster Keaton Estate version but the Killiam Shows Archive version does feature different cuts of scenes (such as the trying on a hat scene). The Killiam Shows Archive version only features the William Perry Dolby Digital 2.0 piano score.

* Visual Essay (12:20) A short documentary explaining Keaton's mindset during the filming of "Steamboat Bill, Jr." and the challenges that Keaton faced at this time in his life.

* Steamboat Bill: The Song Early recordings of a folk song that created the persona from which the film was derived. Performed by Edward Meeker (1911, 2:10) and Irving Kaufman (1919, 2:48).

* "Why The Call Him Buster" (1:11) A musical montage of pratfalls and stunts created to promote the upcoming release of KINO's "Lost Keaton".

* Stills Using your remote, you can cycle through various stills from the film.

EXTRAS:

"Steamboat Bill, Jr." comes with a slipcase.

JUDGMENT CALL:

As a big fan of Buster Keaton films, from his silents to his talkies, I do feel that Kino International has done a fantastic job with this Blu-ray release of "Steamboat Bill, Jr.".

While I really enjoyed "The General", "Steamboat Bill, Jr." is a film that I enjoyed even more. I felt the physical comedy by Buster Keaton was fantastic! The scenes when the hurricane hits the town literally makes your jaw drop and makes you wonder how they created those scenes in 1928. Hurricane-like winds, watching Keaton risk his life and putting his life into this crew's hands as homes and buildings collapse all around him, houses falling on him and literally escaping harms way to seeing him on a tree and being carried away by the hurricane (of course, a crane whisking him away from land to ocean). The fact is for this film, Keaton put his life in jeopardy and just the slightest miscalculation could have either killed him or maimed him. Fortunately, Buster and his crew prepared quite well for those scenes.

Keaton including his third wife have said in past interviews that he didn't care about doing those scenes because at the time, he was fighting off depression. His marriage had failed (which would actually hurt him severely a few years later), his financial problems were mounting and the lifestyle that his wife had wanted was taking its toll (it's important to note that in their bitter divorce, Natalie Talmadge literally took all his money and his children away from him and leaving him a broken man driven to alcoholism).

As much as I love the film, I can't help but feel saddened that this incredible film was a box office failure and literally stripping away Buster Keaton's control over his films. But the fact is that Keaton was one of the casualties of the crossover from silent films to the talkies. Without Joseph Schenk, without the support of his wife, without control over his films. But he took the advice to close down his own studio from Schenk and to move to Columbia Pictures. This slapstick comedy king had his whole role reduced when he went to MGM (which Buster would say was the worst decision he made all his life) but the truth was, whether he kept his studio or not, the movies would never be the same for these silent film stars. And while Keaton would go on to make commercially successful films, the days of Keaton showcasing his physical comedy (which the studio would not allow and he had to work with a stunt double) was over.

So, in many ways, "Steamboat Bill, Jr." can be seen by many of us today, as his final silent film in which we got to see the actor at his most daring. Exciting, captivating, and doing things that not even Charlie Chaplin and Harold Lloyd would ever dare do. But the attitudes towards cinema during those final silent years were not kind to these silent stars and for many people watching this film, its difficult to imagine how this film did terribly because it's a fantastic film that you can't help but respect Keaton for what he accomplished.

As for this Blu-ray release, once again, Kino has done silent film fans a big service. Another wonderful Keaton film in HD and their continuing dedication of bringing silent films to the masses, especially to those who are now discovering silent films for the very first time. The fact that you get both the Buster Keaton Estate version and the Killiam Shows Archive version is a major plus (same film but both have different takes and alternate scenes). Also, I was quite pleased with the features presented in this release.

I will say that if you are planning to buy this release, you're going to read different reviews about "Steamboat Bill, Jr." on Blu-ray and you are going to see reviews that are positive and negative due to the way the video is presented. I am on the side that feels the presentation of "Steamboat Bill, Jr." was well-done and I know there will be those who will debate the black-levels and the contrast and so forth. In my case, the contrast was not blinding but again, we all have different equipment.

But for the film alone, what was included on this Blu-ray release and its' over all presentation, "Steamboat Bill, Jr." is a winner and is highly recommended!

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STEAMBOAT BILL, JR. (1928): Never having seen each other before, preppy college student Buster arrives to meet his father at his father's riverboat town along the Mississippi River. Buster's burly father expects a tall blue-collar guy he can pass his riverboat business on to inherit but is disappointed to find a prancing Buster in pantaloons, ukulele, and a ridiculous French beret which comes to irritate his father. It's bad enough that Buster is an incompetent wreck on the boat, the worst thing he had done is get involved with the daughter of his father's enemy. Later, Buster's father gets sent to jail for trying to slug his enemy and this becomes an opportunity where Buster gets to prove himself. The last third of the movie contains some of the most classic scenes Keaton ever filmed, which involve the destruction of the town in a cyclone. Scene after scene shows Keaton bouncing around town trying to survive the desecration swirling around him. I've never seen him more athletic. This movie contains the famous scene of Keaton going through the glassless-window of the side of a 2-story house, which slams to the ground around him. You can see that the wall missed his left shoulder by about an inch. The film did not do well financially when it was released in 1928, but I think it was due to a distribution problem. As an independent filmmaker, Keaton did not release all his films from one single company, such as a good one like MGM which turned his films into hits. I think Steamboat Bill, Jr. was released by United Artists, which was a troubled company. However, Steamboat Bill, Jr. is a definite classic and deserved to be a hit.

One of the offhand things I found amusing in this film is that there's an actual typo on one of the title cards! After seeing numerous silent films, I noticed that the punctuation and grammar in them is always perfect, so I was surprised to see a typo here! The title card that says "That must of happened when the dough fell in the tool chest" should read "That must've happened when the dough fell in the tool chest".

CONVICT 13 (1920): Another one of Keaton's early shorts, this one has the rambunctious quality similar to the shorts he did with Arbuckle a few years earlier. Buster gets kicked out of his golfing clothes by an escaped convict and winds up in that guy's stripes. He ends up in prison where we are shown quickly-paced gag after gag involving prisoners and guards. The print on this DVD is OK, but there are a few shots that appear mushy and unfocused. Still, Convict 13 is well worth a watch numerous times.

DAYDREAMS (1922): Daydreams shows Buster trying to win his gal by claiming through letters that he's a successful career-guy-on-the-go, when actually he's the opposite and most of the film shows him getting into trouble in the jobs he's too embarrassed to admit he has. There's a warning at the beginning that a few scenes from the original print have been lost, but it doesn't really matter, unless you've seen those scenes and know what you're missing. I noticed that a classic scene of Buster on the paddlewheel of a boat was cut a little but it didn't bother me much. Daydreams shows a lot of filmed-on-location scenes, which I prefer over his studio soundstage filmmaking.

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