Chasing Amy (1997)

I have a "love-hate" relationship with Romantic Comedies. I really enjoy a decent one and a couple of examples I'd consider "decent" are When Harry Met Sally and While You Were Sleeping. I also recognize that there is probably no other movie genre that is as suitable for "date night": It's where men and women's interests overlap.

Bad Romantic Comedies can be really tedious things, and many of my pet peeves about movies come from this genre. For example, my LEAST favorite romantic comedy cliche is the moment 10 minutes before the end of the movie where our loving couple has THE "big fight" (often over nothing or something completely stupid or forgettable), followed by one of the characters tearing off to the airport just so that the OTHER partner will have the sudden revelation that they've *made a big mistake* and go tearing off for the airport as well usually arriving only moments late. (With an equally cliche-filled smooching reunion that follows minutes later, before the end credits roll.)

But I digress. NONE of these horrid cliche's fill this movie, which is full of almost believable characters and completely believable heartache.

Kevin Smith has now created a half-dozen films, and while I would classify all of them somewhere between "watchable" and "excellent", "Chasing Amy" remains his masterpiece to date.

Holden (Ben Affleck) and Banky (Jason Lee) are 30ish buds-since-High-School who have grown into the guy fantasy job of writing a hit comic book. They get to alternate working on "Bluntman and Chronic" with making personal appearances at fan conventions where they get paid to sign autographs.

At one of these conventions they hook up with another "graphic novelist", Dwight Ewell's Hooper X who is constantly educating Holden and Banky about being black and being gay. Ewell steals all of his scenes because Hooper is a perfect mix of bravado and angst which sufficiently masks his inner conflict for being black and gay.

Hooper introduces our heroes to Alyssa Jones, portrayed in a career-making performance by Joey Lauren Adams. Alyssa is cute, funny, talented, witty and Affleck's Holden falls for her in a big way. He interrupts his usual routine with Banky just to meet up with Alyssa before finding out at the end of the first act that Alyssa is a lesbian.

A moment to discuss the language, themes and realism of the movie. Like the Kevin Smith films that preceded it, Chasing Amy uses language that is frank and honest and uses raw street vernacular to describe many things, in particular sex. I have heard many criticisms about the story contained in Chasing Amy. Joey Lauren Adams doesn't fit lesbian stereotypes, and among those who seem to know, it is ridiculous to consider that a lesbian might be interested in a man even if (perhaps especially if) the man is Ben Affleck. These things must be accepted to follow the movie. Smith makes it easy. In truth, the language and the issue of homosexuality are side issues in what is essentially a truly unique Romantic Comedy.

Like Smith's first feature Clerks (Collector's Series) the central conflict in "Amy" concerns one character's difficulties accepting the "history" of the other romantic interest. To say more would spoil the pleasure you would derive from enjoying the flick yourself, but it has to be stated that Smith's resolution involves heartbreak, plenty of humor, no cliches and no airports.

If you think you might enjoy an honest romantic comedy that includes street language, frank discussions about sex and gay characters, "Chasing Amy" fills the bill exactly.

The story of this film is a personal one for writer-director Kevin Smith and it's no wonder that it's his best effort to date--a great, warm film about relationships & more obscurely, a reflection on his movie career. A comic book artist named Holden McNeil (Ben Affleck) falls for a Lesbian from his hometown in New Jersey. He's old school in his ways of love & life and happens to mix it up with the more interesting crowd. At the beginning of the picture--a scene that was finally cut--Holden and Banky (Jason Lee), his best friend/roommate, receive a verbal bashing from two comic book store owners who despise their work. Kevin admitted lifting much of that dialogue from a negative review of "Mallrats" (which had studio exec hands all over it and failed I think because it tried to be a comic-book action movie.) "Clerks" (his first movie), "Chasing Amy," & his latest "Dogma" are all down-to-earth, personal movies that are funny, filled with wonderful, inspired dialogue, and unfold more like stage plays than celluloid --he decides on a location to put his characters in and has them talk; it doesn't much matter if they're in a kitchen or at a hockey rink.

There's a scene in "Chasing Amy" when Holden is telling Alyssa (Joey Lauren Adams) he'd "like to get back to doing something more personal like [his] first book." This could just as easily be: "I'd like to get back to doing something more personal like our first movie."

"When are you going to do that?" Asks Alyssa.

"When I have something personal to say."

"Chasing Amy" is that movie. Indeed, Kevin Smith put much of himself into this picture and the result is his funniest, smartest, and most dramatic work. As Holden becomes close friends with Alyssa, Banky feels rejected. He wants him to stop fooling around with Alyssa and "sign off on the whole cartoon thing," but mainly he doesn't want to lose Holden. It's also interesting to note that "Clerks" became an animated series for a short time and it's possible much of the subplot came from Smith's own feelings about selling-out his art for the big bucks (which also can be construed as his decision to make "Mallrats" the way he did). I like the subtle gestures between Banky & Holden and admire their friendship. This is Ben Affleck's best role. He doesn't seem as confident & charming in it as he does in some of his more recent roles. He's goateed and appears to be a little more bulky and chubby in the face--even his voice and his manner of speaking make him seem older. His character is average yet poetic, he makes you believe the conclusions that he comes to, as absurd as they may seem to others. They're are quiet, touching moments between characters with & without words. In a scene that'll never see the light of day, Banky holds Holden in his arms after he comes to a crossroads with Alyssa. I would've like to have seen it. It's just as much a movie about male affection (not necessarily gay either) as it is about being completely in love with a person.

Jason Lee shines--he has a natural gift for comedic timing. In a typical romantic comedy, he'd by the poor schmuck sidekick who gets shunned, but his character is just as crucial to Holden's life as the woman he loves. And as Alyssa, Joey Lauren Adams is full of emotion, spontaneity, and charm.

Smith's camera doesn't move often & the critics tend to knock him for it--who cares? He makes his movies fine and I've always said he's a good voice for the subculture of Generation X intellectual slacker-types. Mainly "Chasing Amy" consists of a series of wonderful moments focusing on the growing relationship between Alyssa and Holden & the deteriorating relationship of Banky and Holden. Then several key scenes of emotional fury that are so well written and acted and reveal so much that it elevates beyond a straight comedy and it becomes entirely Kevin Smith's movie--a perfect expression of being crazy & completely wrecked in love, which Holden undoubtedly is.

Hooper is the voice of reason & wisdom--the gay black man, who, to sell his comic book, "White Hating Coon," pretends to be a militant Black Panther-esque speaker when he's anything but. He seems to understand the three-way situation plainly, but he's also on the outside looking in and when you're in love your mind is a complicated mess.

Wanted or not, Holden also gets "advice from the `hood" when Jay & Silent Bob meet him at a local diner (they're the inspiration for his and Banky's popular comic book, "Bluntman & Chronic"). He gives him guidance in the best way a person can--he tells him a story that echoes his own and hopes he catches a clue--He doesn't. And after a serious examination of his individual relationships with Banky & Alyssa, he suggests something both funny, unexpected and sincere.

I always get the impression that when a director tries to make an enjoyable movie that will be well-received, it usually isn't. It's when they put it all on the line and make a picture altogether theirs that people respond to it. I've seen "Chasing Amy" God-knows-how-many-times now & still every time I sit down to watch it I'm touched, I still smile at some point in nearly every scene, I still get weepy-eyed. I wish every time that I could crawl up on that red coach, go to sleep, and wake up in this world.

With "Chasing Amy," Silent Bob becomes less of a comic book super-hero, and more like I'd imagine Kevin Smith to be in real life, and when the big guy finally opens up, he says what he wants to say perfectly.

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It's no surprise that this movie was never the box officesuccess that it should have been: this film is much too deep and truthful for average audiences. Kevin Smith provides some incredible insights about people and relationships, but most folks don't want to think when they go to the movies and would much prefer to see pulpy schmaltz about characters overcoming their idiotic superficial differences and living happily ever after.

I won't sum up the movie as other reviewers have done a great job of that here. Two things that I wish to comment on, however: 1) The "F" word is used extensively here, some will say overused, as is explicit sexual dialog. If you're watching with children (despite the R rating), you are hereby warned. 2) This film has two of the most touching and emotional moments I've seen in a contemporary movie: Holden's declaration of love to Alyssa in the car (Affleck's delivery is so honest and true and impassioned that you will practically feel his nervous relief when he finally tells her) and Alyssa's tearful speech when she realizes that she must leave him (this portion of the script is brilliant and Alyssa's deep hard-hitting dialog could only have been written by someone who's been there).

On to the technical aspects of the disc -The audio is absolutely perfect: not too loud, not too soft, the dialog/music/sound effects are all perfectly balanced. This is one of a small handful of DVD's where you can set the volume once and you don't need to constantly adjust it. (DVD producers should take note of this! There's nothing more annoying than having to crank up the volume because the dialog is too soft, only to have the house rattle once the music or sound effects kick in.) The video is a bit grainy at times, something I find very surprising coming from a contemporary Criterion release. This is minor, considering the excellence of the story itself.

The deleted scenes are interesting and funny. The commentary is good, but because it's a group effort, it can get annoying when everyone's trying to speak at once or when they don't stick to the on-screen action. Small doses are recommended for this one. Finally, the outtakes are funny, but too few.

In all, it's rare to see such an intelligent contemporary movie. This is a DVD worth owning.

Read Best Reviews of Chasing Amy (1997) Here

So far in Kevin Smith's film career, "Chasing Amy" is his "Driving Miss Daisy" of movie achievements. He went from sardonic, sophomoric comedy to earthly, emotional realism, putting forth an intensely magnified story of sexuality and the fragile boundaries of love. His writing maturated into a tale well told involving common debate ground for customary issues, the ongoing battle of the sexes and the dire consequences of traversing to the other side of our ironclad gender coalitions.

The ill-fated tale begins with two twenty-somethings working together on their well-renowned comic book "Bluntman and Chronic". Banky Edwards (Jason Lee) and Holden McNeil (Ben Affleck) are lifelong friends, and what better way to spoil their friendship than to bring a woman into the picture. Enter Hooper X, the author of a pro-black comic with a pronounced hedonistic and riotous reputation that belies his true nature: he's as flamboyantly gay as they come. Hooper X is stereotypically but nonetheless hilariously portrayed by talented beau Dwight Ewell. He garners most of the laughs in this film to keep Smith's deeply emotive content from getting too serious. He acquaints a fellow comrade from the gay community to Banky and Holden at a comic book convention, unbeknownst to three of them that this mere introduction is the beginning of a whirlwind of emotional conflict.

The name of the whirlwind is Alyssa Jones, and upon their first meeting, Holden is on a mission to claim her. It's not until he and his wisecracking companion are invited to an outing at a gay bar does Holden realize Alyssa is a bona fide lesbian and his conquest for a breathless fling is shattered. Unfettered by her conspicuous sexual agenda, Alyssa pursues a warm and trusting friendship with Holden, spending time with him over the months, generally palling around and having a good time. After a stretch, Holden recognizes that his feelings for Alyssa are beyond platonic, and this is the point in the movie when everything straight becomes askew (no pun intended).

Banky consistently intercedes, knowledgeable of Holden's threshold of tolerance for relationships. He advises him that his newfound adoration will not have a pretty ending, but Holden and Alyssa are bull-headedly driven by their honest affections and defy the odds, including the coarse rebuff from her once-loyal lesbian clique. Eventually, provided the complicated circumstances and Banky's mistrust for Alyssa's sordid past, their relationship unravels and abruptly ends over a heated argument and a woeful awareness of the impossibility of their happiness.

Smith's writing and direction is in top form in his third installment of young adult films, reprising his references to notorious characters of the past, including Alyssa Jones herself, Brandy Spenning, and the unintended necrophiliac Caitlin Bree. He ties all of his stories together closely, showing us what a small world it really is, especially in New Jersey. It also comes as no surprise that Joey Lauren Adams was entitled to the lead role, being Kevin's girl and all (at the time). She actually proved to be a greater actress than I thought, admidst her nasal screaming and profane dialogue. Jason Lee has gotten better over the years, but it's like he's revisiting his Brody routine with all the endless diatribes he goes on. His character is witty, but Smith is stereotyping his acting ability every step of the way by always making him the sideman. Jason Mewes is much improved here, abating his hyperactive methodology for a more subdued and genuine disposition. Smith even poked fun at his own work by mocking the ridiculous "Snootchy Bootchie" dialect that Mewes popularized. A lot of the actor's lines are Smith's self-effacing humor at work, and they clash perfectly amongst the love and heartbreak of the movie.

Lastly, we have Ben Affleck as the sensitive chap, a warm and welcome presence after the total slimeball he played in Smith's horror of a screenplay "Mallrats". That material was well beneath him, and thank God Smith made it up to him by offering him the part of Holden. Ben is obviously the diamond in the rough here, fine-tuning the level of interest in the audience with his natural-born charisma. Let's face it: this man is gorgeous, a headturner. There's no way you can take your eyes off him, nor ignore that beautiful smile. He was perfect for this part and made a significant connection with male and female viewers. Women will watch this film and wonder, "Where the hell can I find a man like THAT? "

To sum all the parts, this is a very worthwhile film and can touch a lot of people, especially if they've loved and lost for whatever reason at some point in their lives. This is far from cinematic genius and I don't think Smith will ever be capable of creating a masterpiece, but his raw sincerity and whole-hearted approach is meaningful and direct. That alone is enough to help one gain a new or amended perspective of life, love and art.

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I *loved* this movie -it's a warm, joyful, and very funny exploration of love, and the things we choose to hide in order to be loved by the ones we want. Affleck's intelligence, earnestness, and romanticism make Armageddon look like a bad dream, while Joey's the feisty heroine we girls wish we were, and Jason Lee takes a relatively thankless role and turns Banky into a wholly sympathetic, understandable, confused, and lovable loner who's desperate in the face if being displaced by his best friend's first real love affair. (Prediction: One of these days Lee will leave Affleck in the dust.)

It's a great film -wonderfully written and acted, and the characters' declarations of love are surprisingly sweet and literate, and worth going back a track or to on that DVD button for a second viewing.

But the "special edition DVD" is a rank disappointment. Sure, it's loaded with stuff (most of it from the previous Criterion laser release from years ago -ironically, the commentary opens with a loud diss by Smith & co. on the 'fad' of DVD's and how they will quickly fade), but too bad most of it bites.

The Director's Commentary is the biggest surprise -it's awful.

While I drooled at the idea of listening to someone as smart and funny as Smith is commenting on his film, what I got was a barely coherent mumblefest from Smith, Mewes, Affleck, and buddies. (I mean, come on, this from the Smith who once beautifully analyzed "A Man for All Seasons" for the New York Times?) The guys instead spend most of the two hours making noises at one another, and are evidently not even watching the movie they're supposed to be commenting on. The group sounds blitzed, most of the commentary has nothing to do with the film (and Mewes especially is in "Jay" mode, embarrassingly unaware of what's going on onscreen in front of them, a fact Smith and Affleck exploit throughout the commentary).

I love the movie, and don't think anyone should miss it. But I spent the extra bucks on the "special edition" and felt robbed. Don't make the same mistake, and spend the extra bucks on a "special" edition that's frankly not so special. (Until they bother to re-record the commentary on a day when everyone's caffeinated or sober, at least.)

Just my 2 cents. ;-)

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Il Divo (2009)

"Il Divo" is unusual breed of biopic, a mixture of fact and fiction, whose power is in its visual and auditory style rather than in narrative. The subject is Italy's seven-time Prime Minister Giulio Andreotti, who was associated with every major political scandal in Italy for 50 years, frequently accused of murder and mayhem, and rumored to be the true master of the P2 Masonic Lodge. Some believe him responsible for many of the 236 political murders that occurred in Italy between 1969 and 1984. Writer/director Paolo Sorrentino focuses on the early 1990s, from the beginning of Andreotti's seventh government in 1991 until his trial in 1996, during which time he lost a bid to become President and was undermined by Mafia turncoats who testified against him.

Roger Ebert described "Il Divo" as "like a black comedy version of The Godfather". I can't think of a more apt description. This is satire, though many of the events of the film actually happened. Andreotti (Toni Servillo) is almost a comically absurd character, in spite of the violence, and speaks about himself with an ironic tone. This is all the more amazing because Giulio Andreotti is still living. The Italian political system is portrayed as farce. Andreotti is a laconic man, enigmatic and apparently self-consciously so. He is known for his lack of emotion, so Paul Sorrentino felt the need to introduce some into a character that might seem wooden otherwise. Andreotti's preoccupation with the 1978 death of Aldo Moro, which troubles him in the film, is fictional as far as anyone knows.

Being unfamiliar with Italian politics, I don't know what else has been fictionalized. What captivated me about "Il Divo" is that it is unusually cinematic. There is not a lot of dialogue, though Andreotti's meetings with the members of his faction, the fast-talking Paolo Pomicino (Carlo Buccirosso), slow Vittorio Shardella (Massimo Popolizio), and foolish Franco Evangelisti (Flavio Bucci), are darkly hilarious. The film lacks a strong narrative thread but is visually engrossing. Luca Bigazzi's camera creeps around. The eclectic score is perfect. I was never sure what Giulio Andreotti wanted, unless it is "perpetuating evil to guarantee good", as he says, and "Il Divo" takes patience. But this is a stunning and thoughtful film, even if it doesn't try to go anywhere. In Italian with optional English subtitles.

The DVD (MPI 2009): Bonus features include 11 deleted scenes (12 min) and 3 featurettes. "Making of Il Divo" (30 min) interviews writer/director Sorrentino about his approach, members of the cast, producers, cinematographer Luca Bigazzi, and composer Teho Teardo. "Special Effects Featurette" (7 min) interviews visual effects supervisor Nicola Sganga and shows some examples of effects used to change the weather, time of day, or in the many death scenes. In "Interview with Director Paolo Sorrentino" (12 min), the director talks about the character of Andreotti and making a film that is both fictional and factual. English subtitles are available for the film and the bonus features.

Prime Minister Giulio Andreotti (Toni Servillo) had been elected to Parliament seven times since it's inception in 1946. Having served in multiple roles in the government including President of the Council of Ministers, Prime Minister, Foreign Minister, and Defense Minister, Andreotti was known by many names including "The God Giulio," "The Fox," "Beelzebub," "The Black Pope," "The Prince of Darkness," "The Hunchback," and others. After losing a bid for President of the Republic, Andreotti is confronted for allegedly having dealings with the mafia which, among others, led to the death of his friend Aldo Moro. Blamed for many of the ills that have befallen Italy during his times in office, Andreotti is sent to trial for his supposed mafia ties.

Il Divo won the Jury Prize at Cannes Film Festival and was released in January of 2009 to US audiences. Directed by Paolo Sorrentino, Il Divo is a look into the moral ambiguity of a man who doesn't prize relationships, only politics. Rarely does Giulio Andreotti crack a smile or show any emotion at all, but in Sorrentino's look at the man you see the effects of the emotions that eat away at him from the inside. Surrounding himself with men, good and bad, Andreotti feels that he's doing what's best for the country, even if he gets there by the improper means sometimes. While this works great for a simple character study, is this enough to get audiences beyond those that would normally watch foreign films into it?

Absolutely! Sorrentino gives the film a very stylish flare worthy of Martin Scorsese. Utilizing quick cuts, pop/ rock music, intersting titles, etc. Showing various scenes of graphic violence intercut with more mundane moments in Andreottie's life shows the difference between the calm exterior of Andreotti and the violence that possibly bubbles below leaving you to wonder if Andreotti was behind the violence as was purposed, or did he have nothing to do with it. This is one of the keys to Sorrentino's great film, while we see Andreotti as something of a soulless person for most of the film, we're never really given the filmmaker's opinion of whether Andreotti is guilty or not. Removing himself from the film, Sorrentino accomplishes something most filmmakers are unable to accomplish.

What really makes this movie though, is Toni Servillo's portrayal of Giulio Andreotti. The real trick of this performance is appearing unemotional on the surface, but also showing the current bubbling beneath the surface from past decisions that are eating away at him. In one brilliant moment in the movie, Andreotti appears to be either talking to his wife, or practicing a conversation he's going to have with her, and in essence speaks to the audience talking about things that he's done in the past that have caused people to die, and the speech is brilliant and could easily be compared to Jack Nicholson's "You can't handle the truth..." speech from A Few Good Men.

On the downside of the film though, it's impenetrable in the terms of politics. Il Divo doesn't really try to explain Italian politics, and while that's good to a certain extent, those of us who aren't familiar with Italian politics will get lost at times. Also the film seems more interested in being consciously stylish that it doesn't really feel like it is the political commentary that it tries to be.

But, in terms of entertainment, this movie definitely delivers. If you like political dramas, Scorsese style movies, or foreign films I highly recommend this film. It is thoroughly entertaining giving you a mix of political drama, action, and a character study of a man who would do anything for the politics of a nation.

4/5

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"Il Divo," (2008), is an Italian-language film, written and directed by Paolo Sorrentino. It is a biographical drama about the life of Italian Prime Minister Giulio Andreotti, who had been elected to the Italian Parliament seven times since its establishment in 1946, and was ultimately declared a senator for life. It stars Toni Servillo in the title role. "Il divo" means the maestro, or master, in Italian, and is generally used in a musical sense, but this is apparently what people call the uber-powerful Andreotti, who was rumored to have connections with the Mafia, and to the murder, by the Red Brigades, of former Italian Prime Minister Aldo Moro. Many people believe Andreotti, who is thought to be a member of P2, the powerful, illegal Italian Masonic lodge, also had a hand in the possible 1978 murder of Pope John Paul I, and the murders of Cardinal Paul Marcinkus, of Chicago, and banker Roberto Calvi, all to do with the Vatican's corrupt Banco Ambrosiano that apparently lost Mafia money.

Servillo does an excellent job of giving us a thoroughly unattractive, evil politician; the character actors who play the supporting parts around him are excellent, as well; and the film does, of course, have subtitles, though I suspect most English speakers will have trouble, even so, with all those Italian names. The settings, whether interiors, or around Rome, are well-done, and there's been no stinting on cars, extras, etc. The script is witty, and wise. However, director Sorrentino perhaps mistrusted his material, as he has chosen to fool around with flashbacks and flash-forwards; to me, this just made the movie even more difficult to follow. And be warned, the film features a lot of blood and death, if that upsets you. Yet, it's also got some marvelously surrealistic scenes, as those of a cat with two different colored eyes wandering the Quirino, the historic Senate building. Undoubtedly, though, it will be a more satisfying experience for those with some familiarity with the language and history of Italy.

Read Best Reviews of Il Divo (2009) Here

IL DIVO is a brilliantly acted and beautifully photographed film with some incredible artwork and design. Paulo Sorrentino's expose of the Italian regime presents both sides of a contentious story in an equal and frank portrayal. Highly reccomend this film to fans of arthouse cinema and anyone who appreciates strong, quality acting and writing.

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"Il divo" (2008) starring Toni Servillo, educates the newer

generations on the powerful Italian politician of the 1960's and

1970's that was Mr. Giulio Andreotti ("GA"). It transcends what he

was about during those years, who he truly was as a man and leader,

how he operated, and how he fell into disfavor.

This film is in Italian, with excellent subtitles in English, is

wide-screen and professionally filmed and edited, with excellent

DVD clarity.

The soundtrack is a mixed bag, with as many hits as misses. The

better audio numbers accompanies the classy footage of ornamented

rooms, luxurious decorations, opulent palaces, gold plated pieces

and sculptures, tiles, handcrafted furniture, high-end chandeliers

etc. Some generic, modest pop songs are played as well so the

public doesn't take all of the hot air or political oneupmanship

too seriously.

The treatment of GA is superficial, judging a book by its cover.

The actor never fails to portray GA as an introverted intellectual

and geek, whose mind is racing 24/7 on events past and present,

never leaving his home with the exception of parties and events

related to his work. During those, he fails to enjoy himself

(dance, drink, chat, eat, gamble, flirt, etc). The story fails to

reveal GA as the brilliant leader he was over a long time, in a

hyper-competitive political field, made up of Machevellian rivals.

Instead, viewers are treated to the disease of "condescension" that

is the mantra of political analysis and mass media, reminiscent of

the dismissive treatment of Mussolini by critics.

Predictably, innuendo reinforces rumors of GA mob involvement -

recreating the "Man of Honor" induction ceremony, spilling drops

of blood on a saint, setting fire to it and juggling it. Those

accusations were not proven. We hear that elections in South Italy

and Sicily are won with mob influence on the public for given

candidates. It says GA was complicit with P2 or Propaganda Due, in

between the Red Brigades violence, on no facts.

The microcosm of GA's life is shown, a world in itself, made up of

businessmen, religious leaders, political friends and foes,

colleagues summed as a closed universe, yet everyone sharing a

unique set of values, education, breed from not only embracing

Italian civilization, but belonging to a power elite.

GA is shown attending church, confession, insisting in having the

Pope's rep in his power clique during private meetings,. His piety

and generosity, responsibility, natural sense of scruples are

shown. The story indicates GA's success hinged on self-control, a

skill to mentally calculate how far he can go to favor people he

imagines as friendly to his ideology and vision, and to block

others that his intuition tells him are against from afar and

nuanced.

In Europe, with its high concentration of people, numerous mass

media, combined with limited education in the general public,

every rubout, hit, economic failure, anarchy, kidnapping, crime and

more is attributed to the prime minister. The story perpetuates

this fallacy, by posting a litany of rubout victims and those who

ended their own lives, over his tenure and blaming GA.

A valid point is made that the Italian justice system is more

transparent than what goes on in the streets.

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Pale Flower (The Criterion Collection) (1964)

This is an absolutely beautiful yakuza film by Masahiro Shinoda. It is much deeper and thought-provoking than typical yakuza b-movies, which glorify violence and the gangster lifestyle. However, this is not a b-movie, but more of a poetic and artistic yakuza noir. It was films like this, and the famous yakuza films by Kinji Fukasaku such as the 'Battles without Honor' series, and 'Graveyard of Honor' that redefined the yakuza genre into morality plays that were highly critical of the criminal aspects of Japanese society. Thus, the film is not action-packed, but much slower in pace, which actually makes it much stronger.

This edition, released by Home Vision Entertainment, has a good transfer and picture quality, and the film also boasts a very good score. The music is especially powerful near the end of the film. Overall, it is a must for anyone who likes yakuza films, film noir, or Japanese cinema.

What can I say about a blu-ray Criterion black and white Japanese yakuza film so well executed that I have to watch it over and over? What can I say about purposely semi-overblown whites melting into grays and the blackest of blacks to create an magnificently incredible viewing experience? Nothing. Of course one has to appreciate film to appreciate this type of film....the score sounds like Lalo Schifrin meets Forbidden Planet. Don't get this one if you enjoy vhs or have ADDit's not very long, but you just won't get it. If you are new to this type of film and you can handle subtitles you need to see this....

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(4 1/2) stars. "Pale Flower" is the complete movie package, with a strong primary story but also good looks in terms of how it takes advantage of its black & white, retro-style, and eye-catching lead characters. Unlike many other Japanese films of this genre and time period, the music was also a good fit and didn't suffer from trying to sound too "western".

The movie explores two people, a criminal and a criminal wannabe, who both seek a fast life they know is meaningless, who want to find something more even as their gut tells them there is nothing more to be found. The power of the film shows how easily people can be fooled by, and try to fill their live's with, superficial actions that provide only a temporary rush and escape. The characters know this, but feel life's other options are just as pointless or beyond their reach. Ryo Ikebe puts in a strong performance and oozes cool, I'm not sure why I haven't seen him in more leading man roles.

It is easy for the viewer to get seduced by the superficial highs as well, as you find yourself rooting for two very charismatic people who, while not outright evil, are certainly not trying to leave any meaningful mark on the world (being a killer doesn't help much of course). They know it is all a facade however, on the one hand feeling they should try to live the "decent life", but not enough to run the risk of being mired in the tedium of everyday catchings.

The 1960's Japanese gangster world of gambling is interesting, including playing some games I had never seen before, but serves mostly as a convenient backdrop to a movie that is primarilly about the human condition. Don't expect any happy endings here. While the climax of the movie is abrupt and ultimately feels unsatisfactory, it is never the less probably an appropriate ending that just comes too soon for a movie you don't want to stop watching, and for characters you care about even when you know their is little worth admiring. What sometimes looks like an attempt at heroism or honor might have just as much to do with a willingness to trade one bad set of circumstances for another. In the case of Ikebe's character, perhaps the best thing he can do is to remove himself from other people's lives before the corrupting influence of his presence can have its full effect.

Compared to some of Criterion's other Japanese movies from this era, this one is more of a "gritty" noir style despite its parallel retro good looks. While most of the characters dress like they could be out of a Japanese 007 Jame Bond, this is not a "pop" movie like Suzuki's "Branded to Kill". The closest I have seen to this is some of the material in Eclipse Series 17: Nikkatsu Noir (The Criterion Collection), but all of those suffer from some minor problems. "Pale Flower" is clearly the best of the bunch.

If you've already seen this and want to see a different film that also focuses on two people addicted to gambling, albeit with a totally different backdrop and with character's you can root for, also see Oscar & Lucinda Oscar & Lucinda. It's an English movie and in color, so if you're looking for more asian films by Criterion it may not be your cup of tea. And if you haven't seen "Pale Flower" yet, it is an excellent movie and definitely worth adding to your foreign film collection.

Read Best Reviews of Pale Flower (The Criterion Collection) (1964) Here

The shots of Tokyo that open up Pale Flower are fairly stunning. Pale Flower has great musical score and several nice set pieces set in the Japanese Underworld of the early sixties. I especially liked the horse racing sequence where the droll Yakuza bosses play chess with other people's lives brief though it is. Get out your checklist: Yakuza/Gangster/ Amor Fou/ Stark Cinematography. If those are on your sheet you probably will enjoy Pale Flower.

The extras are a little scant for a Criterion release (hence the deduction of a star) but the transfer and restoration are quite pristine.

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I won't go into detail about what this movie is about, cause you can read that anywhere, but will say to see it on Blu Ray is an incredible experience. Probably one of the best films I have seen.

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Ghost in the Shell: Solid State Society (2011)

Solid State Society is hopefully a sign of what is to come in the world of Ghost in the Shell. After Stand Alone Complex's 2nd GIG, I was definitely left with a slightly bitter aftertaste. The pacing of the 2nd GIG felt uneven and the story felt more convoluted than tastefully complex, creating an adequate but not perfect addition to the GitS series. However, Solid State Society takes the best from the Stand Alone Complex series and in little under two hours presents a story as rich in detail and as lovingly complex as the series preceding it.

A huge plus of the movie is that instead of feeling like an overstretched episode, it feels more like a long arc of quality episodes stringed together while still feeling cinematic in its presentation. Solid State Society gives us everything we expect in a GitS story: a sci-fi universe that draws you in but never overwhelms, continuity in character development, rich and intelligent dialogue and plot that almost seems plausible down the road, and of course, some light philosophy and shades of grey. Even if you aren't an anime or a strict sci-fi fan, you might just enjoy this one.

This film is one of the best things that I have seen come out of the GITS franchise. I have watched the movie several times, each time enjoying even more. I would give a description of the plot, but I will not ruin it for you. My only complaint about Solid State Society is that it borrows ideas from both of the feature-length movies. If you liked GITS: SAC, and most specially 2nd GIG, you will enjoy this movie.

Note: It is dubbed in English, unlike Innocence. Amazon just has that fact incorrect

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There already are plenty of reviews for the DVD of this title, but I shall just mention a few reactions to the film, then talk about the blu ray release.

Solid State Society is a Ghost in the Shell motion picture. Do not be fooled by the "Stand Alone Complex" subheading and think it is a few TV episodes or something. This means top quality animation, a great music soundtrack, a complete story from start to finish and not much in the way of needing to see previous content to enjoy. I should know, I've only seen the SAC first series and not 2nd GIG yet. It also has a bit darker feel than the TV series, as to be expected from the films. What is so impressive about the animation is (keep in mind I'm comparing this to previous GITS movies) the use of camera shaking, lens flares, and best of all tasteful use of 3D/CGI-type treatments. Personally I think GITS 2.0 completely ruined the original first film, as the added 3D elements painfully stood out in comparison to the 2D shots, but that's another story.

As for the blu ray, you get some extras but as I always watch with Japanese audio & English subs, I don't bother watching the English 'behind-the-scenes' extras. I will say, however, that the Japanese TRAILER that is included is incredible. So much better than the Bandai English trailer... I only wish there was a subtitle option for the Japanese trailer, but oh well. There are no inserts of any kind, just the disc in the case. The picture quality is brilliant; super-sharp, beautiful colors and of course looks great when colors are muted with the lovely washed-out tone that GITS commonly has. Sorry I can't say much about the audio quality as I just use headphones and play it on a computer, but it sure sounded great to me. Currently this movie is at a very affordable price, especially for anime on blu-ray so don't hesitate Ghost in the Shell SAC Solid State Society is worth it!

Read Best Reviews of Ghost in the Shell: Solid State Society (2011) Here

I saw this movie for the first time on Sci-Fi Channel's Ani-Monday. I was getting ready to call it a night when this was advertised as being next and had to stay up and watch it. It's a very well done movie with a lot of feeling of the first movie that was brought to the series. Alot of things have changed, alot of feelings are different, but it's all very good. I think I saw an edited version but for the most part it was very well done. All the original cast has returned to do the voices so there's no problem with the english subtitles or with dubbing. Overall it was a good movie.

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Kôkaku kidôtai: Stand Alone ComplexSolid State Society. It has been two years since the end of 2nd Gig, when "Major" Motoko Kusanagi left Section 9, a Special Forces unit assigned to cyber crime and answerable only to the Prime Minister of Japan in 2034. Family man Togusa is now leading a much larger force. Chief Aramaki has visibly aged in the job, walking painfully with a cane and attended by Proto. Batou has become a brooding, depressed commander of the training school. All wonder if the Major will ever return. This time around our heroes must deal with the seemingly unconnected rash of suicides, mass child abductions, conspiracy involving elderly healthcare, a "Wizard Class" hacker called the Puppeteer, and as always, corporate malfeasance and political wrangling. All tidied up with a terrific subtle "what if?" ending. At $3.2 million SSS is one of the most expensive TV movie anime's yet, and all the money is up on the screen. Illuminating the convoluted storyline are: Increased detail in both background and foreground (missing in 2nd Gig). "Busy" scenes found only in big budget movies. Naturally smooth movement by people and machines. Small touches like the Nissan concept cars, wrinkled clothing, reflections and small lighting effects, raindrops, "Handheld" camera angles, etc. There are plenty of "remember this?" scenes and other touchstones from the series, including great music by Yoko Kanno, with Origa singing the opening and closing songs. Motoko's face is even cuter than ever and the rest of heryou just don't mess with perfection. GITS: SAC is not for anime fans looking for scantily dressed little girls, giant robots or magical swordplay. Its story lines, dialogue and multiple overlapping themes are more suited to readers of William Gibson's "Neuromancer" or P. K. Dick's "Do Androids Dream of Electric Sheep?" So if you prefer the new "Battlestar Galactica" instead of "War of the Worlds", GITS:SAC-SSS might just be for you.

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No (2013)

Last Fall, we were treated to the triumph that was "Argo", a historical political thriller the likes of which we hadn't seen much since the 1970s. About the same time, another historical political thriller from Chile was released in certain foreign markets, after making a splash at the 2012 Cannes film festival. The movie is now finally being released into US theatres, with a DVD release on the horizon as well.

"No" (2012 release from Chile; 115 min.) brings the true story of how the military regime of Pinochet, under pressure from the international community after 15 years of dictatorship, called a referedum in 1988 on whether General Pinochet should stay on for another 6 years. A "yes" vote meant another 6 years, and a "no" vote meant the end of the Pinochet regime. As the movie opens, we are introduced to René Saavedra (played by Gael Garcia Bernal), an advertizing wizzard (we see him presenting a new, US-style, commercial for the "Free" brand of cola). Saavedra is approached by the NO campaign to bring some new ideas to the table. We get to see the actual commercials that were being considered or used by both the YES and NO campaigns, and they are dreadful on both sides. When Saavedra makes his pitch to the NO side (namely, "we need to sell a product that people will want to buy"), the initial reaction of the NO campaign is very negative, even hostile. At that point we are just about half-way into the movie and to tell you more would ruin your viewing experience, you'll just have to see for yourself how it all plays out.

Several comments: first and foremost, writer-director-coproducer Pablo Larraín does an outstanding job in bringing us a good feel for the build-up of the NO campaign (at some point someone exclaims "We need more content! We'll never be able to fill 15 minutes of TV airtime every day!"), and how it all leads up to the frantic last days of the campaign. Second, the movie is shot as if to bring you the late 1980s for real: the movie is shown in a 4:3 ratio (rather than the usual 16:9 widescreen ratio), and is shot as if this is a home movie, with heavily grained images and light contrasts. Third, I read somewhere that the movie was made on a shoe-string budget, proving once again that you don't need a hunder million dollars to make an exciting and engaging movie. The art-house theatre I just saw this at here in Cincinnati was absolutely packed, which is great news indeed. If you are in the mood for a top-notch quality foreign movie, you cannot go wrong with this. "No" is HIGHLY RECOMMENDED!

"No" in its first minute is a jarring visual experience. It's grainy and shaky, as though it were a youtube video blown onto the screen, and it's only well into the movie when we realize that the visuals are meant to evoke the visuals of late 1980s Chilean television so that actual television footage from that era could match seamlessly with the rest of the film. Once we overcome this psychological hurdle we come to appreciate "No" as a moving and stirring tale.

It's 1988, and Pinochet's military dictatorship of Chile has endured for fifteen years. Facing growing international pressure (namely, US pressure), the dictator decides to hold a referendum whether to extend his rule by another 8 years. It seems to the majority of those most opposed to him (40 percent of Chileans live below the poverty line, and there are tens of thousands of political dissidents either killed, exiled, or disappeared) that the referendum is just a sham, and they are determined to ignore it. But one adman (played by the always wonderful Garcia Bernal) is determined to get the apathetic (the young) and the scared (middle-class women in their sixties) to vote, and to finally topple Pinochet from power.

There are two dimensions to the film, both equally powerful and effective. The first dimension is how a political/media strategy is formed and executed with limited resources. Knowing that Pinochet's first weapon of choice is to instill fear in Chileans, the adman wisely decides to instill hope, excitement, and optimism with a colorful, funny, and irreverent media campaign. He carefully calibrates that to stir people into action you should not remind them of the terrible times and sacrifices made in the past (people would rather forget these things), but remind them of the good times ahead if Chile were to become an open and free democracy.

The second dimension is the adman's personal struggles that reveal the deep tensions within Chilean society, and here the director has used a lot of creative license. The adman is married to a political dissident who lives with an artist when she is not in jail, and she constantly reminds him how by seeking to struggle he is helping to legitimize the fraud that is the referendum. His boss in the ad agency is close to the dictatorship, and he becomes the dictatorship's main media strategist, and thus the adman's antagonist. And he has a son whom he is trying to protect from Chile's political turmoil while fighting to create for him a better future.

The premise of the film -that a media campaign that lasted for 15 minutes on television for 27 dyas -toppled Chile's military dictatorship is shaky at best, pure fantasy at worst. Nevertheless, "No" is a very stirring film that will be celebrated by Chileans for a long time as its "Birth of a Nation."

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You might notice as the film No begins that the colors are faded, the images aren't very crisp and the whole thing kind of looks like a Youtube clip of an MTV video they recorded back in the eighties. And then you'll begin to observe that this is a good thing. The tattered cinematography allows the director, Pablo Larrain, to weave news footage, telenovela clips, commercials and music videos from a quarter of a century ago seamlessly into his political drama of the 1988 referendum on the Chilean dictator Augusto Pinochet, drawing the viewer back to that time and place.

This Chilean made, Spanish language film tells a fascinating story that makes reading the subtitles well worth the effort. In 1988. Pinochet was feeling the pressure from other nations (particularly the United States), to put himself in the hands of the electorate after years of military dictatorship. The vote will be a simple one. "Yes" means Pinochet will be in power another eight years and "No" means he must leave office.

The "No" campaign has little hope of success. They are given 15 minutes of television air time each day for twenty days. The "Yes" campaign also has 15 minutes a day (along with the other 23 and a half hours a day, along with glowing press and radio coverage guaranteed by the dictatorship).

The "No" campaign is composed of all political parties opposed to the President: Communists, Social Democrats, Libertarians, etc. Most have little hope of actually winning the election. But they hope to use the air time to expose the wrong doings of the government. They envision a daily barrage of the names and faces of the people wrongly imprisoned, killed or "disappeared" by the government.

But along comes a director of television commercials who wants to run a very different campaign. Rene (a fictionalized version of a real ad man played by Gael Garcia Bernal) wants to sell democracy using the same jingles, happy images and garish colors he uses to sell soda and microwave ovens. Many are appalled that these important issues would be trivialized in such a way, but Rene has one advantage that others in the campaign lack: he believes he can win.

The film follows Rene's work to use all that he has learned in advertising (humor, imagery, marketing, etc) to bring down a dictator. Along the way, he is threatened with the loss of his job, his home and the safety of his family. But he persists.

Now if you want to avoid spoilers, please don't look in any South American history books before you see the film. The central conflict in the film reminded me of one that many organizations face, that even the Church faces: should we ever compromise the things we hold dear to make our beliefs and values more palatable to the world?

Watching the film, I thought about G. K. Chesterton's response to critics who reprimanded him for making jokes about serious topics: "The truth is, as I have said, that in this sense the two qualities of fun and seriousness have nothing whatever to do with each other, they are no more comparable than black and triangular" and "[The critic] thinks that funny is the opposite of serious. Funny is the opposite of not funny, and of nothing else."

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...Once again proves what a diverse actor he is. As a devoted GGB movie fan I highly recommend this movie.

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Like "Argo," Pablo Larrain's "No" hurls us right into the center of a recent historical crisis. And, like "Mad Men," it is a compelling portrayal of the advertising game, and how it can be used for good or ill. In the case of "No," ads are used very much for the good.

"No" is set in Chile in 1988. The dictator Augusto Pinochet has been in power for 15 years; Chile enjoys prosperity under his rule, but at the cost of vicious political repression, including the "disappearance" of thousands of dissidents. Facing a tidal wave of negative international opinion, Pinochet schedules a plebiscite--a simple up-or-down vote, "Si" or "No," as to whether he should be allowed to stay in power for another eight years. A "No" would mean an orderly transition to the formation of a new government.

Rene Saavedra (Gael Garcia Bernal), a hotshot Santiago ad man, at first is indifferent to the plebiscite; his life is good, after all. When the opposition asks him to orchestrate the "No" ad campaign--a mere 15 minutes every late night in the month before the vote, as mandated by Pinochet--Rene at first refuses. But when he sees Pinochet's police rough up his estranged wife Veronica (Antonia Zegers), he changes his mind on the spot.

Opposition leaders have no hope of winning the plebiscite, and seek merely to stake out the moral high ground against Pinochet. Rene, however, is bent on winning. He overrules the lofty ideas of his employers in favor of a happy, bouncy ad campaign to associate a "No" vote with progress and a better future for Chile. The campaign strikes a chord with Chileans, but Rene and his crew face increasing threats from Pinochet's thugs. Furthermore, Rene's boss, Lucho Guzman (Alfredo Castro), is handling Pinochet's ad campaign, and is not above stealing tapes of Rene's ads to orchestrate rebuttals even before the originals air.

Ben Affleck fit old videotapes of the Iran hostage crisis into the state-of-the-art Hollywood photography of "Argo." Larrain tried a different strategy in "No;" he shot the entire film on Sony magnetic tape, the kind that was ubiquitous in 1980s news coverage. "No," a much lower-budget film than "Argo," obviously lack "Argo's" polish, but Larrain's choice means that the old footage from the Pinochet era fits seamlessly into the film as a whole, giving it a rare, gritty verisimilitude. However, "Argo" also seemed pretty seamless and truthful. Which strategy was better? You be the judge.

What is undeniable is that "No" is less polished as a whole than "Argo," and not just in its photography. Some of Larrain's transitions from scene to scene are unduly abrupt, and he adds a coda to the film that dissipates the exciting triumph of the scenes just before it, though I understood why he included it.

Nevertheless, "No" is an admirable film. Its scrappiness deserves respect, as does its high-minded stand for democracy and plain dealing against tyranny and brutality.

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Dr. Seuss' How The Grinch Stole Christmas (Blu-ray + DVD) (2000)

I was hesitant to buy this because there are so many reviews that say the color transfer was bad, but it seemed to be the only option to own this movie, so I decided to risk it. Colors on our copy were brilliant and the sound quality was great and clear much, much better than the worn out video I grew up with. The Grinch was definitely very green. I assume that there must have been a problem with a batch of these DVDs that has since been fixed. I'm really happy with this purchase.

Many kids

Enjoy Christmas

They like it a lot

And this film

Is about the Grinch

Who did not

The film gives the background, and fills in some blanks

The Grinch as a child was subjected to pranks

He fancied a Who, with the name Martha May

He tried to impress her and to his dismay

They laughed at his efforts, his gift and his face

So he destroyed the classroom and fled from that place

Then,

He moved to Mount Crumpet

And made him a home

While the green hairy creature seethed under the dome

Until one cold day at the town Christmas party

When young Cindy Lou showed him how to be hearty

Then Mayor May-Who went and spoiled all the fun

By taunting the Grinch 'til he came all undone

He went up his mountain, and he started scheming

And when he was through he was smiling and beaming

He'd ruin their Christmas; he knew what to do

Revenge is the sweetest when it's overdue

If you've read the story you know how it ends

How the Grinch stole that Christmas from his former friends

So what happened next?

I won't give it away

This Christmas this movie will show every day

So if you're a Grinch you can run, but not hide

As you try to stifle the feeling inside

Just gather the kids for a clean yuletide treat

Merry Christmas to all!

(Now this poem's complete)

Amanda Richards, December 10, 2006

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I have always been a fan of "How the Grinch Stole Christmas" and ordered it in blu ray. It is beautiful in that the colors are vibrant and clear. The sound is excellent. Yet none of the original charm is lost.

I also like the way it allows me a free digital download of the film.

Highly recommended.

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Its the classic tale of the hate-filled outcast who with time grows to be accepted into society. In this instance, the Grinch, a hideous abnormality that lives off his passion for yuletide misery, is eventually persuaded from obscurity to join the Whos in their picture-perfect village. Under the layers of leathery green skin, Jim Carrey is instantly recogniseable as he writhes and extends his facial features to the limit capturing the loveable rogue stature perfectly. Ron Howard's takes charge of the direction and provides an magical yet comprehendable depiction of the dedicated Whos as they prepare for the festivities. Its not laugh a minute entertainment but it is inventively produced and provides a credible reproduction of Dr Seuss classic childrens stories. Hilarious in parts and cringeworthy in others, this is family fun encroaching upon the the best in DVD entertainment.

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Pretty much all of us know the classic Dr. Seuss story about the Grinch, a somewhat green meanie, who wants to stop Christmas from coming to his local neighbor's, the Who's. Ron Howard's film version starring rubber faceman Jim Carrey simply takes that story and adds a bit more to it (to fill the extra hour and twenty minutes of running time as opposed to the original cartoon version's 25 minutes). I for one love the backstory that was created. I always wondered why did the Grinch hate the Who's so much. What made him hate Christmas? These questions are answered quite well with some well imagined backstory of the Grinch as a child who actually grew up among the Who's, only to be ridiculed and made fun of for his strange appearence and unique behavior. It seems that the Green one became interested in a young girl that another boy liked (and who ultimately would later became the Mayor of Whoville). The film evens goes on to have Cindy Lou Who (who's given a bigger part in the film) question her family's values of what Christmas is really about...presents?...buying stuff?..is that's all it's about?..she wonders. It is she who realizes the good in the Grinch and crusades for him to be head chairmeister at one of the Who celebrations. I'm not sure what other people were really expecting, but this is pretty much what I thought the movie should and would be like. The sets and costumes are amazing..very Seussian! And Jim Carrey?...Well, I personally believe that Jim is great in everything he does and doesn't recieve enough credibilty by critics and certain moviegoers mainly because of where he came from (i.e. comedy and Ace Ventura: Pet Detective, the film that made him a star). I think critics that gave the film a bad review missed the whole point and probably need to watch fewer films 'cause they're obviously burntout! All I can say is the fans have spoken, which is why, despite lukewarm reviews, the film went on to become a huge hit and success back in November of 2000! I will still of course watch the cartoon version, but this version will also find plenty of time in my DVD player as well!

My only gripe with the DVD is that certain special features are too short or missing. The "Spotlight on Location" is barely over 7 minutes long. There are about 5 such featurettes included on the DVD that run between 4 to 10 minutes long. With such an interesting story like "The Grinch", a 60 minute or longer documentary should've been made to really take us inside not just the filming process, but the world of Seuss and Whoville as well. The other disappointment is there is no audio commentary included. I had almost expected one from director Ron Howard, who had always done one for previous Universal Pictures Collector's Edition DVDs (Apollo 13 & EDtv). I really wanted to know more about just how stressful it was on Jim Carrey to wear the Grinch costume. From interviews I've seen by Howard on Late Nite talk shows, Carrey became so tortured that he ripped the mask off his face and walked off the set. He was in the makeup chair everyday for 92 days straight. They had to get a Navy Seal team leader to instruct Carrey on ways of dealing with torture just so he could finish the shoot (no joke). This kind of story deserves much more insight, which is why I'm so disappointed that no commentary is available on the disc. So whenever people say Jim Carrey wasn't good as The Grinch, I scoff and say, "he went through torture to make that movie!" Some people are just hard to please. But don't let it ruin your Holiday Spirit! Add "The Grinch" to your collection today. And catch the special sneak preview trailer of E.T. The Extraterrestrial on this DVD (just before the movie begins), coming only to theaters in March 2002, with added footage, new special effects shots and more!

The Grinch It's not easy being green.

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Untouchables

Sometimes dubbed "the Master of the Macabre," director Brian De Palma is best known for his enactments of the supernatural ("Carrie"), mania ("Dressed to Kill") and his mob stories. The latter part of his reputation is primarily grounded on four of his movies from the ten-year period between 1983 and 1993: "Scarface" (1983, starring Al Pacino), "Wise Guys" (1986, starring Danny De Vito, Joe Piscopo and Harvey Keitel), "Carlito's Way" (1993, again starring Pacino) ... and "The Untouchables" (1987), featuring an all-star cast including Robert De Niro, Kevin Costner, Sean Connery, Andy Garcia and Charles Martin Smith. Among these, "The Untouchables" stands out as the only movie not primarily told from the gangster's but from the lawmen's perspective but what it does share with all of De Palma's works is an almost voyeuristic appeal to its audience's visual senses; going far beyond the lavish display of film blood it is most often cited for.

Less fact-based than cinematic grand opera par excellence, the movie takes as its premise the end of the career of Chicago's ganglord of ganglords, Al "Scarface" Capone, who (after a few half-hearted attempts to prosecute him for murder had failed due to the unavailability of witnesses) pled guilty, in 1931, to evading federal income tax, and was sentenced to an 11-year prison term and a $50,000 fine. Capone's downfall was brought about by a group of initially 50 but later only nine Treasury Agents, formed in 1929 (not in 1930, as suggested here) with the express purpose of breaking up his operations, and headed by Eliot Ness, whose 1957 book "The Untouchables" posthumously gave new rise to his fame Ness died of a heart attack without ever having witnessed the full extent of his book's success and inspired, inter alia, the like-named 1959 television series starring Robert Stack and Brian De Palma's 1987 movie.

Scripted by Pulitzer Prize winner and Chicago native David Mamet ("Glengarry Glen Ross"), "The Untouchables" is not so much a study in character development as based on a western's classic "good versus evil" setup; although that doesn't mean that its protagonists are two-dimensional in any way. On the contrary: Robert De Niro imbues his Capone with a ruthlessness and glib charm very likely matching those of the real "Scarface," who was known for his little hesitation to commit murder and other acts of violence as much as he cultivated a reputation as a savvy businessman and benefactor of the poor, for example by running several soup kitchens. (And yes, all of De Niro's mannerisms are on full display, too; but rarely have they fitted a role as well as here.) Kevin Costner's Eliot Ness may be a little too assertive Robert Stack once commented, after several conversations with Ness's nearest and dearest, that the real-life Treasury Agent had been described to him as "rather soft-spoken, but very effective and brave" but mildness is certainly not the principle trait written into the larger-than-life role of the man who "got" Al Capone, and Costner *is* an effective lead; although he is matched (not entirely sidelined, but darn near outplayed) by Sean Connery, who deservedly won an Oscar, a Golden Globe and a National Board of Review Award as the crotchety old-timer Malone who has seen it all, somehow managed to stay both clean and alive, and now lets Ness talk him into becoming his tutor in all things Chicago Gangland. Andy Garcia, in his break-through role, is instantly likable as George Stone, the smart, fast kid from the South Side who doesn't take kindly to put-downs of his origin but can nail a human target with one hand while lying down and holding a baby stroller with the other hand. Charles Martin Smith finally brings humanity and subtle humor to the character probably closest to the real-life "Untouchables," accountant Oscar Wallace, who first has the idea to charge Capone for income tax evasion. Strong performances by Billy Drago as Capone's right-hand man Frank Nitti (who of course was not really thrown off a rooftop by Ness), Richard Bradford as Police Chief Mike Dorsett, Patricia Clarkson as Ness's wife, Jack Kehoe as Capone's bookkeeper Walter Payne and others round out an altogether impressive cast.

Unmistakeably scored by Ennio Morricone (whose style often, and certainly here, doesn't even take a full bar to recognize; and who with an ASCAP Award, a Grammy and a BAFTA Award was the movie's other major winner besides Connery), "The Untouchables" lives off its splendid cinematography, production design costumes courtesy of Giorgio Armani and the exquisite timing of its sharp-edged dialogue and editing: Not only is screenwriter Mamet known to have his actors practice their lines according to a metronome; the editing of some of the movie's most memorable scenes has the distinct feeling of a carefully choreographed, veritable ballet. This is particularly true for Malone's death, pointedly set against the aria "Vesti la Giubba" from Ruggero Leoncavallo's opera "I Pagliacci" ("The Clowns"), which is based on a real-life murder and which Capone attends while his lieutenants waylay Malone in his own apartment; and the famous shoot-out in Chicago's Union Station, which turns into a deadly dance of bullets, blood and a baby stroller, shot almost entirely in slow motion.

Paradoxically, the one plot element this movie is most often criticized for the jury switch at Capone's trial is one of the few facts that actually did take place (although Capone's attorney would have had to be given the right to conduct a new voir dire). But ultimately, it doesn't even really matter how much of the plot is fact-based and how much fiction: Even if "The Untouchables" doesn't quite reach the mythical status of the "Godfather" trilogy particularly its Parts 1 and 2 as the mob movie to end all mob movies, it is one of only a handful other films that at least come close to the proportions of Francis Ford Coppola's epic masterpiece.

Also recommended:

The Untouchables

Eliot Ness and the Untouchables: The Historical Reality and the Film and Television Depictions

Capone: The Life and World of Al Capone

Scarface

Carlito's Way

Wise Guys

GoodFellas

Casino (Widescreen 10th Anniversary Edition)

Once Upon a Time in America (Two-Disc Special Edition)

The Godfather DVD Collection (The Godfather/ The Godfather Part II/ The Godfather Part III)

This isn't a documentary style film it's a gorgeous, over-the-top retelling of one of the most famous periods in America's history. Al Capone and Eliot Ness are well known, as is the Chicago in which they lived. De Niro and Connery are fantasic in their roles, and the cinematography is beautiful. Costner as Ness also shines, but with these other two powerhouses his performance is almost overshadowed.

Great plot, great dialogue, great action, the movie is definitely a fun romp through an appealing period in history. The movie has even more significance as The Sopranos becomes a huge hit people being drawn into learning about the mob way of life want to trace the roots of this drama and see where it's taking its guidance. Many Sopranos scenes are taken from this movie, and the characters even quote it at times.

Highly recommended a DVD you'll watch many times over!

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I've always been a big fan of this movie, which I remember as first marking Brian DePalma as a "blockbuster" director. It's filled with sharp dialog, Oscar winning acting, some inspired (clearly by Hitchcock) camerawork, a dramatic score by Ennio Morricone, and a nostaglic/patriotic retelling of a truly gritty real-life crime drama.

As far as this blu-ray goes, it features a very nice transfer that ups the detail, contrast, color and stability considerably over the previous DVD release. Unfortunately it also introduces nearly constant edge halos and some shimmering both presumably artifacts of edge enhancement used to make the film look more appealing to modern audiences.

On the Audio front the 6.1 DTS-HD track does a very fine job considering the age of the film. I was particularly impressed by the dynamic range of the score and the use of discrete effects in the Union Station shootout.

Overall, if it were not for the digital retouching, I would have rated this release at 5 stars. Since I can't give 4 and a half I had to downgrade it full star for the botched digital enhancements.

Hopefully someday there will be a untouched version of The Untouchables.

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What do you expect from a film in which Kevin Costner and Sean Connery star as the good guys and Robert DeNiro plays all-time Bad Guy Al Capone? A great movie! And that's what this is--a really really good gangster flick. No, it is not The Godfather, but then again nothing but The Godfather is The Godfather. Having said that, this is a wonderful film that actually does a pretty good job of explaining what Elliot Ness was up against when he was given the job of enforcing prohibition, gunning for Al Capone and cleaning up Chicago.

Costner is effective in his role as Elliot Ness. Connery does fine as the Chicago policeman Ness recruits to show him the ropes as to how things in Chicago operate. De Niro is matchless as Al Capone.

My favorite scene is the one in which Elliot Ness joins forces with the Canadian Mounties. Hilarious!

This movie is good entertainment and the storyline manages to move along pretty well without dragging and losing the viewer's interest. The film never makes the mistake of taking itself too seriously, and its use of humor is effective and prevents the movie from waxing pompous, which would have been easy for it to do, given the serious theme. This is one that you'll watch again and again. Recommended.

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I was really impressed with the blu ray transfer of this movie. Sometimes with older movies you have to do a side by side comparison to realize the improvement, but for The Untouchables it was clear to me right away that it was an upgrade. The movie looks so good that it's easy to forget that it is 23 years old. This movie was also shot in a way where the blu ray treatment really helps e.g. a lot of closeups of faces and a nice use of color (I compared the scene outside the hotel when the bellboy picks the papers off the red carpet and was pretty amazed at how much "redder" the red was on blu ray).

The sound seemed like it was improved, but I am not enough of a sound expert to know for sure. There are also some extras on here, but I don't know if it's anything that's groundbreaking.

Monty Python's Life Of Brian - The Immaculate Edition (1979)

I suspect most fans of this film and Monty Python in general already own a copy on DVD. The bonus features in this new double-disc edition definitely make it worth the repeat buy. Most of the features from the Criterion edition (two commentary tracks, five deleted scenes, radio ads) are here. (The nice 1979 BBC documentary "The Pythons" is the only feature from the Criterion version missing from this new set.)

The new hour-long documentary included with this edition is worth the purchase alone. All five surviving Pythons are interviewed and offer a lot of insight into the film, from its conception, to the controversy surrounding its opening (in the US and in the UK), to its lasting standing as the Pythons' greatest work. (Yes, I know, many fans like "Grail" even more.) I'm always pleased to see up-to-date interviews with the team, now all in their sixties.

The other significant feature is an audio reading of the original script, recorded with all six members several months before filming began. This is much more enjoyable and watchable than you might expect, illustrated onscreen with storyboard drawings and script pages. The reading is 20 minutes longer than the film, and you hear some bits that never made it past this stage.

And the film itself, of course, is a treasure. A hysterically funny, yet thought-provoking satire whose target is group-think in general, and not merely religion or superstition.

This is the 4th iteration of this movie that I have owned. My first was on VHS, then came the Criterion LaserDisc, which was followed by the Criterion DVD edition. I really wasn't expecting much of an improvement over the Criterion DVD since this is an older movie. Regardless of what version you own, if you are a Python fan, you are in for a HUGE surprise with this latest edition on Blu-ray. The picture is near perfection with only a couple of scenes where I noticed the tiniest bit of film grain. Perhaps the biggest surprise for me was the remastered sound elements. After trying the different sound choices, I found the PCM soundtrack to be the best. I really wasn't expecting the sound to be that great for this movie, but BOY was I surprised. Sony has truly outdone themselves with this latest high def remastering of Life of Brian. This is the absolute best I have ever seen or heard of this zany film. There are details in the picture that I have NEVER seend before, and I have seen this movie MANY MANY times. If I had to complain about anything, it would be that the special features were not in HD, but that is not that big a deal since everything else about this title is just spot on.

There are many who would say this movie is a sacrilege. As a Christian, I would disagree with such a statement. I have heard some say that this movie is making light of Jesus' ministry, and especially his crucifixion. They are missing the whole point. I think this movie illustrates how some people will blindly follow religious leaders, or will just go with the crowd without really questioning what they're doing, or why they're doing it. The scene where Brian is mistaken for Jesus and chased by the crowd is a good example. When his sandal falls off, some take it as a sign that they should remove their own sandal, while some choose to follow the Holy Gourd of Jerusalem. How can anyone NOT see the humor in that??? Also, what if there really were some in the far back of the crowd at the Sermon on the Mount who couldn't quite make out what was being said??? I have seen this movie countless times, and at no point is Jesus ever actually made fun of. Even the crucifixion scene is obviously not a slight on Jesus' own crucifixion. He is not the only person to ever be crucified, since there were countless others who suffered this horrible form of death. The crucifixion scene obviously is not about Jesus' crucifixion since there are much more than three men being crucified. Of course, I'm sure there are those who would disagree with me. If you do find this movie to be offensive, then simply don't watch it. After all, this is still a free country. To those of you who have longed for a pristine version of this classic Python piece, you MUST get this one on Blu-ray. I will be waiting patiently for Sony to deliver a comparable version of the Holy Grail on Blu-ray soon.

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You have to be a genius to be this silly. Monty Python has done a fantastic amount of research into Jewish history and the birth of Christianity to make a total mockery of the hypocrisy found in people who claim to practice these religions. As a deeply spiritual man, I found this film completely unoffensive. This film doesn't poke fun at those who are a part of their religion because of an informed, knowledgeable decision, but rather at those who believe what they believe despite all evidence to the contrary and can't offer any valid explanation for it. Most people have probably been embarassed by people of that sort even in there own religion. Anybody who thinks that Monty Python's sense of humor is stupid isn't smart enough to understand the vast amount of research they must have done to turn verifiable history into such a ridiculous commentary on unchanging human behaviour. From the political issue made out of Stan's irrational desire to be a woman so he could have babys (You haven't got a womb. Where's the fetus going to gestate? You gonna put it in a box?) to the embarrasing meeting where the PFJ finds out that maybe the Romans aren't so bad (Okay, they did provide the roads, the aqueduct, public sanitation, education, the wine, etc.) to Pontius Pilate's speech impedement (Who do you want weleased? And no more Wudolph the Wed-nosed Weindeer.) followed by his best friend's linguistic problems (Thampthon of Thithily the Thaduthee thtrangler wanted for theveral theditious crimeth) to the finale of optomistics on crosses singing "Always look on the bright side of life." If you don't get this epic joke and at least appreciate some of what they deleted to keep the plot tight (DVD--Criterion Edition only) I feel sorry for you. But I'm not your judge. Review this film for yourself.

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...and blessed are the Pythons, the crackerjack British comedy troupe creating one of the most funniest movies I have seen in a long time.

The Life of Brian has long been one of my most favorite comedies, and no matter how many times I watch it, I cannot help but break out into raucous laughter at the insanity of this film. Truly blasphemous, truly hilarous, John Cleese and his troupe of merry men leave no stone unturned poking fun at anything and everything religious. From brainless mobs finding shoes as signs from God, to a lisping Roman emperor, to the classic cruxifiction song, this movie is not for the religious light-hearted.

Even better, this Criterion Collection version has so many extras, the true fan will be preoccupied for many hours enjoying it all. Especially wonderful were the deleted scenes and the running commentary by members of the troupe. Also, I appreciated the subtitles. For once I was able to get more of the jokes due to the British accents hard to understand with this untrained ear. If all DVD's were this rich, I'd be a happy camper. You are getting your money's worth for the price!

Rent or buy "Life of Brian Criterion Collection" immediately!!

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This movie is often decried for being sacrilegious. Quite the contrary! It should be seen by every Christian, as it so illuminates Christian history. But in a supremely enjoyable and funny mannermaking it, along with Princess Bride, the top comedy ever. Unless one feels they can not laugh *along with* God, there is nothing offensive in this movie. Here you get to learn why there are so many splits in the church, as people in the very beginning follow the holy shoe or the holy cloak. Or the fight that breaks out in the first scene of the movie (the only one depicting Jesus) over whether, when Jesus said "Blessed are the peacemakers," he meant cheese-makers or everyone in the dairy industry. How can one not see here a reflection of Christian misinterpretation and subsequent divisions through the ages? In truth, I know of no other work that in such a light-hearted manner shows me truly who I am.

Monty Python is always great acting, and even better writing; The consummation of British wit. They take reality around them, and twist it, to show us the reality that lies beneath. Some brief unfortunate gratuitous nudity is easily endured. Watching this movie provides innumerable quotes for future use. ("Splitters!" "What have the Romans ever done for us?") And the final song, which I can't describe for risk of spoiler, and also following reviewer guidelines, is worth the price of the entire video.

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Wyatt Earp (2007)

Larger than life and with twice as many brothers, "Wyatt Earp" struts onto the DVD scene in a "Special Edition" that looks stunning but is less filling than one might have expected. This sprawling episodic tale begins with Wyatt as a child preparing to run away from home and join the Union army like his brothers Virgil and James. His father (Gene Hackman in a brief but powerful performance)catches him as he leaves and returns him back home. While Wyatt clearly yearns from the adventure he feels his brothers are experiencing, his father knows the truth about war and sets him straight.

Later, James and Virgil return home both exhausted and beat up from serving in the army. Their father has put on his traveling shoes and announces that the family will be moving West where there's opportunity for a lawyer and rich land is ready to be farmed.

Wyatt after many trials and tribulations ends up out west as a lawman. He manages to interest his brothers in coming out to help clean up Dodge City as well. We also get the thunderous conflict at the OK Corral as part of the conclusion of the film and witness a wonderful performance by Dennis Quaid as Doc Holliday. While the narrative is a bit too episodic and flawed, the film manages to retain one's interest throughout it's 190 minute running time due to Costner's unassuming portrayal as Wyatt. The real highlight, though, is Quaid as Doc capturing the fragile gunfighter as he fights the consumption that eats him alive.

With the long wait for "Wyatt Earp" to appear on DVD, one would have hoped to have a special edition with a commentary from director Lawrence Kasdan, star Costner and a look back at the film's reception when it was first released a decade ago. Unfortunately, the Warner Special Edition sticks to the basics for the most part: we get the original 190 minute theatrical cut of the film (sans the extended scenes that were added to the video version); two documentaries one "new" one that includes vintage interviews and the other a 1994 TV special; "lifted scenes", i.e., the footage included in the special video edition and the theatrical trailer.

Let's stark with the good stuff first. The stunning anamorphic widescreen transfer finely does justice to Kasdan's epic vision for this larger than life western biography. The remastered 5.1 sound captures just about every nuance from the original theatrical exhibition 10 years ago. Honestly, "Wyatt Earp" hasn't sounded this good since it was first released in 1994.

The negatives are few but worth noting. The documentaries are pretty good although a bit too brief. Perhaps Kasdan preferred his original theatrical cut to the extended version. That could explain why these sequences show up on the second disc and aren't integrated into the film. The lack of a commentary track is a big minus for the disc, though, as 1)Knowing how the film compared to the life of Earp would have been fascintating and 2) Kasdan's plans while shooting the film and comments would have been welcome.

With the recent deluxe release of "Open Range", I would have hoped for better from this release. On the other hand, great care was used in transferring this for DVD and the extras are roughly what "Unforgiven" received when it was re-released. Kudos to Warner for such a marvelous looking DVD although, again, more extras should have been included.

A lot of people forget that Wyatt Earp was a real man who had more courage and integrity then most people you will ever know. This movie is a pretty accurate portrayl of that man. Kevin Costner and Dennis Quaid (Doc Holliday) do a superb job, although the supporting cast has a lot to be desired. This movie differs from the movie "Tombstone", in that it portrays a lot of Wyatt's life from being a teenager during the Civil War to his and Josie's adventure to the Alaskan gold fields near the turn of the century. "Tombstone" deals primarily with the happenings in Wyatt's life in that one town, which ironically dealt with less than 2 years of his long adventurous life. I liked this film because it dealt with an approximate 35 year time span of Wyatt's life, and the movie is long enough to dipict this. There are a lot of historical accuracies in the movie which include proper representations of places and dialogue such as what is said on the way to and during the gunfight. The inaccuracies are easily overlooked such as Virgil being shot in the wrong arm and the reference to "Johnny behind the duece" as "Tommy." All in all though, a good film about the life of a great man, Wyatt Earp.

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Historical inaccuracies aside, this movie was the best I've seen in a long while. Kevin Costner was even colder than usual (as in "For the Love of the Game"), an expressionless look on his face for much of the movie, but anything else would not have done justice to the character. The supporting cast was unremarkable, but Dennis Quaid as Doc Holliday was incredible...in my opinion, he stole the show and deserved much more screen time. While many of the Earp brothers (excluding Wyatt, of course) were faceless and often difficult if not impossible to tell apart, Quaid captured Doc Holliday's character in every action--speaking, riding, making one of those cynical and hilarious one-liners (Like when Wyatt confides in Doc that he is his closest friend, and Holliday replies, after a long silence, "Shut up," or when he comments that Wyatt wants to be a lawman and an outlaw, getting "the best of both worlds."). It took me a considerable amount of time, at least an hour, to finally believe the video case and conclude that Doc Holliday was in fact played by Dennis Quaid. How did that large, handsome, all-american actor from "Frequency" manage to pull off a skinny, dying man? And that voice...I loved the voice of Doc Holliday, and would rewind the tape sometimes to listen again. Rich and deep, it was the only thing that ultimatly conviced me that Holliday was played by Quaid.

Undoubtably a movie worth seeing, even more than once, I recommend Wyatt Earp to anyone.

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Have to say I thoroughly enjoyed Laurence Kasden's film, which goes further than any other in it's dramatisation of the life and times of Wyatt Earp.

Kevin Costner, in the title role, is perfectly cast, aging from Earp's younger days into old age. The performance is notable in it's gradual changing and mood from a care free, wild individual to a middle aged and hardened man and ultimately into a serious, but thoughtful Wyatt Earp at the conclusion. It must be said that Denis Quaid's incredible Doc Holiday outdoes all the rest. The viewer has to look twice to recognise that it is indeed Denis Quaid playing the role. The Actor had lost so much weight for the part, that he looks like the dying gunfighter and gambler one would expect, suffering from TB, in a portrayal which no other actor, including Victor Mature, Kirk Douglas and more recently Val Kilmer, can compete with. His Southern accent is also flawless. He also paints Holiday in a more caring light then before, less self centred, but no less capable of violence.

The movie itself, with a running time of over three and a half hours, is a relatively factual chronicle of the life of the mythical Lawman, and of his complicated relationships with his brothers and their wives, and of the hardships that shaped and moulded him. He comes across as a very deliberate person, but also very cold and ultimately inconsiderate, as well as being heroic and the paragon of justice. One thinks of Burt Lancaster as Earp in "Gunfight at the OK Corral", but it is rather Lancaster's role in Michael Winner's "Lawman", that Costner evokes in his role. The notion of "when the legend becomes fact, print the legend" from 'The Man Who shot Libery Valance', is also brought to mind at the conclusion with the re-telling of the Tommy O' Rourke legend. The rest of the cast is uniformly excellent with Gene Hackman perfect as the Paternalistic mentor of the Earp familly. The whole conflict between the Clanton and McLowery clans is more clearly examined, although they don't dominate proceedings in the way that Walter Brennan as Ike Clanton did in "My Darling Clemintine" It's also nice to see Karen Grassle in a small part, along with Bill Pullman, Tim Sizemore and Jobeth Williams. Mare Winningham is also notable in her role as the tragic prostitute who assumes Earp's name in the vain hope that some day he would love her and marry her, and Issabella Rossalini plays Doc Holiday's Kate, tempestuous and attractive, but violent and hard. This edition is presented in it's full widescreen aspect, and is best viewed as such, taking in the wide prarie vistas, and detailed railroad scenes. James Newton Howard contributes a memorable epic score.

A must for all movie epics.

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"Silverado" is one of the best westerns ever made, and "Wyatt Earp" is another worthy western by Lawrence Kasdan. The film is a big sprawling attempt to capture the whole of the iconic lawman's life, from his boyhood just after the Civil war through the Tombstone years, and onward toward the Alaska gold-fields. "Wyatt Earp" is unusually ambitious in this regard for a Hollywood film, and attention to historical detail was wonderful. I loved Costner as Wyatt Earp: as an actor he is very much in the Gary Cooper mold; not overly expressive, and this is just the right note for a legendary lawman, & steely gunslinger. Dennis Quaid is a phenomenon as Doc Holiday: skinny and haggard, he looks tubercular (unlike the well fed Val Kilmer in the laughable "Tombstone.") The photography is sumptuous, & the film score dramatic and memorable. I can even laud the make-up artists who made the 40 something Costner look believably youthful for his scenes as Wyatt Earp in his 20's. Yes the movie is long, and a tighter hand could have prevailed during editing, but compared to the typical Hollywood schlock one sees, "Wyatt Earp" is well worth the hours you invest in viewing it. One of my favorite films of the last ten years. A great film in the western genre!

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