Speed Racer (2008)

I can understand why some people might dislike this movie (just look at its box-office) but the one undeniable fact is that it perfectly captures the spirit of the TV show which was never really associated with profound human feelings. It's amazing how everyone involved in it simply decided to give it their all. Just look at the conviction with which Susan Sarandon and John Goodman recited lines that clearly feel out of a cartoon. Usually I hate movies with quick cuts and gratuitous CG effects and SPEED RACER is 135 minutes of quick cuts and CG so I guess nostalgia goes a long way. I was so glad they included the sound effect of the Mach 5 jumping over and over again. My only real complaint about the movie is that there was a little bit too much of the chimp for my taste.

I can't blame anyone for complaining on leaving the theater with a headache. The world outside the theater I saw SPEED RACER in looked so slow once the movie ended, this is one exhausting film but certainly worth it.

Recently it seems like cartoon and comic books are about the only thing that gets made into blockbuster movies. While Transformers made the robots look like real living hulks of metal in the real world, and there's just no telling what the proposed Robotech movie will look like if it ever actually comes out, Speed Racer takes what is becoming the rather unpopular method of visual style. If you've seen Sky Captain and the world of tomorrow, you're familiar with it. Everything has a computer-adjusted color look to it, a super-crisp, super-sharp look reminiscent of the stop-motion films of yesteryear. And like those films that made the 80's so much fun for fantasy and sci-fi fans, Speed Racer features fantastic landscapes like nothing else on Earth (only now they are computer-generated instead of hand-painted).

The story of Speed Racer the movie actually exactly the same as the old cartoon show of the 1960's. Speed Racer (yeah, that's actually his name) is an aspiring race car driver looking to become the best and win races, with Pop's company supplying the car and mechanic, and his mom, little brother Spritle, girlfriend Trixie and family pet chimp for support. Corporate thugs notice and try to either destroy, bankrupt, or otherwise make trouble for Racer Motors, and Speed teams up with Racer X (who may or may not be his presumed dead brother Rex), Inspector Detector, and a few friends he meets along the way, to bring down the bad guys and save the day. Yeah, nothing too complex story-wise, but hey, that's why you loved the cartoon show, right?

Everything a Cartoon Should Be

When I first heard there was going to be a Speed Racer movie by the makers of the Matrix, I was worried. Animated features and video games don't really have a good history as feature films. But after seeing Speed Racer in the theater five times, I have to admit, they got it pretty much perfect. The trick with making a cartoon movie live action, and intentionally making it look cartoony, is that you have to push everything into a consistent cartoon universe and have it make sense in it's context. In other words, you have to make things exaggerated, but not the point of total impossibility in the world you have created. You see in the Speed Racer world, cars have insane power, traction, control, and speed. So when you see the Mach 5 speeding around corners in insane power-slides, yeah it looks like a cartoon, but you accept it as actually happening in that cartoon. It never looks out of place. When the engine roars and cars explode into flames it isn't silly, it's movie magic of the best kind, like when Luke's X-Wing lands that shot into the Death Star in Star Wars.

It's hard to describe without actually seeing it for yourself, but the cartoon universe of Speed Racer really is created wonderfully in this film. Everything from the sky to the furniture has an over-exposed super-vivid quality to it, like a technicolor gone mad. There is CGI backgrounds galore, but they jive perfectly with that universe as well, because everyone is wearing super-bright colors as well, and everything is always in razor sharp focus. Actually, this may be the movie to make me upgrade to a Blue Ray player, because it has to be the ultimate benchmark for color, contrast, and sharpness for a long time to come.

The world of Speed Racer is amazing enough, but the way that the film is acted, shot, directed, and scored musically is what combines to make it a 10 out of 10. For starters, everyone is just so INTO their roles. Susan Sarandon as Mom and John Goodman as Pop Racer are both absolutely perfect, managing to become those stereotypical cartoon caricatures and at the same never come across as cheesy, over-the-top or unrealistic. Again, in the context of the film, they are part of the Universe. Pop talks to Speed like he really is his son, mom gives a heart-warming speech about how proud she is of Speed that really gets to you if you know what it's like to love your family. Never does anyone betray even slightly that they think their names are ridiculous or that they are saying silly lines. EVERYONE gives their lines like they are absolutely real. And if you're making a Star Wars or a Speed Racer, that makes the movie in the end. Everyone was great. From the mechanic and the little brother (a lot less annoying than the Spritle of the cartoon) to the absolutely gorgeous and incredibly cute-looking Trixie played to perfection by Christina Ricci (where the heck has she been and why now of all times did she decide to play a sweet, loveable babe instead of all those crazy weird Gothic-horror type roles?), you gotta love them all. I especially was overjoyed by how well Racer X was portrayed with icy stoicism. Just wonderful.

The near constant use of deep focus photography and other camera techniques, combined with tons of digital screen wipes and other minor tricks, results in an incredibly slick presentation that cascades past the screen like panels of a comic book in glorious living color. The comedy and dramatic buttons are always pushed to great effect, all while keeping things from getting too far from the light-hearted entertainment that Speed Racer should be. And when the orchestral remix of the Speed Racer theme kicks in, it's just magic.

You really can't expect much more from this movie than it already is. It's true to the spirit of Speed Racer, the characters are all acted perfectly, the story is classic, there are tons of great moments and Speed Racer tributes (like Speed's wearing his trademark blue shirt and red handkerchief and his classic pose when he jumps from the Mach 5, or the sound effect made every time the Mach 5's jump jacks are used). Speed Racer may not be perfect. The villains feel more Hanna Barbara than Speed Racer, the sprinkling of swear-words (and Spritle giving someone the finger?) really don't jive in the kid-friendly Speed Racer universe, and the visual style of this film is definitely not for everyone. But...

If you're like me and love comic books, video games, and anime, if you like to watch old shows just as much as new ones, if crazy CGI and a movie shot entirely with blue-screens makes you smile, and the Speed Racer theme kicking in full-blast just as Speed makes a triumphant comeback makes you cheer... this is the movie for you!

Buy Speed Racer (2008) Now

"When I watch you do some of the things you do," says Susan Sarandon in the Wachowski Brothers' "Speed Racer," "you take my breath away." This line pretty much sums up how I felt about the movie. "Speed Racer" is an absolute visual masterpiece, retooling the look of anime into an exciting, hyper-realized world of vibrant creativity. Every shot is like a cartoon brought to life, the neutral shades of the real world replaced with bold shades of red, blue, green, yellow, purple, and orange. It doesn't present us with a vision of the future so much as it presents an alternate reality, where racing tracks and cars defy gravity. Here's a film you have to see more than once for the imagery alone, because chances are you'll miss more than a few details along the way--every square inch of the screen is packed with visual delights almost all throughout. It isn't often you come across a movie this stunning, this lively, and this fun.

Based on the 1960s cartoon series created by Tatsuo Yoshida, "Speed Racer" puts it foot on the gas as soon as the Warner Bros. logo appears, interweaving the title character's back story with a heart-pounding race. Even as a young boy, Speed Racer (Emile Hirsch) has known nothing other than automobile racing; now as a professional racer himself, Speed is haunted by the death of his big brother, Rex (Scott Porter), a racing superstar who crashed eight years ago on a cross-country rally. The public believed that corporate sponsorship changed Rex into a money-grubbing backstabber, forcing him to turn his back on racing altogether. Naturally, Speed and his family are now completely against sponsorships of any kind, especially his father, appropriately named Pops (John Goodman). For this family, it's about racing, not money.

Here enters Royalton (Roger Allam), a slick corporate mogul who tempts Speed with the fame and fortune associated with being sponsored. In essence, Royalton wants Speed to sell his soul, much like Rex sold his. Despite an impressive city suite and the top-of-the-line cars manufactured in a highly efficient factory, Speed refuses to make a deal. Royalton angrily lets him in on a little secret: Car races are always fixed because, contrary to what Speed was raised to believe, making money is what racing is all about. With the help of his girlfriend, Trixie (Christina Ricci), and a mysterious masked man known only as Racer X (Matthew Fox), Speed infiltrates a number of races in an attempt to destroy Royalton's reputation as well as the need for corporate sponsorship. This won't be so easy, though; numerous factions are in cahoots with one another, all of which connect with Royalton to some degree.

If this sounds absolutely ridiculous, keep in mind that plot is not what "Speed Racer" depends on. This movie thrives on imaginative digital effects and spectacular racing sequences, all of which rely on lightening-quick edits and creative camera tricks for maximum entertainment. In this completely fantasy world, racecourses look like oversized Hot Wheels tracks, with sharp inclined curves, completely vertical drops, gaps to jump, and a variety of loops. Speed and his beloved car--the Mach 5--navigate these roller coaster-like twists and turns with ease and accuracy, as one would expect from a cartoon adaptation. Cityscapes are colossal, brightly colored, and sterile, looking much like the Worlds of Tomorrow depicted in science fiction pulp magazines. The sunny sky is a deep, rich shade of light blue, and it's accented with puffball clouds that are pure white. On DVD, one could easily pause a frame of this film and stare at it for hours while absorbing every single detail.

Just as impressive are the side characters, all of which add a little something to the story. Speed's youngest brother, Spritle (Paulie Litt), is a loveable scamp who often stows away in the trunk of the Mach 5. Always at his side is Chim Chim, his beloved pet chimp; together, they act as the film's comedy relief. Speed's mother (Susan Sarandon) is a caring woman who can weld car parts after making a mean stack of pancakes. The family mechanic, Sparky (Kick Gurry), absolutely shines during a wonderfully cartoonish martial arts sequence, one that makes you laugh just as much as it makes you cheer.

In a nutshell, "Speed Racer" has set a new standard for digital filmmaking, a standard previously set by brilliant films such as "Sin City" and "300." It's sure to snag Oscar nominations for visual effects, costumes, and cinematography, as well it should; watching this movie is an exhilarating experience, a perfect mixture of hard-driving action, childish whimsy, and visual creativity. The abundant imagery acts as a counterpart to Michael Giacchino's score, a cheerful opus that adapts the original theme song "Go Speed Racer Go." But all this wouldn't have worked without the actors, all of which were perfectly cast. Hirsch makes the title character both determined and vulnerable. Ricci gives Trixie a wide-eyed innocence that I absolutely loved. Allam is deliciously evil as Royalton, a sniveling, conniving villain you just love to hate. Sarandon and Goodman are convincingly down-to-earth as the parents of a racecar driver. And I have to give a lot of credit to young Paulie Litt, who not only delivered some of the film's best lines, but also played his part in the spirit of good fun. "Speed Racer" was all in good fun, definitely one of the year's most entertaining films.

Read Best Reviews of Speed Racer (2008) Here

Note to reader: Strange vote totals, yes? It's just the work of a cyber stalker--

Wow, what a start to our summer adventures!!

"Speed Racer" the movie and "Go Speed Racer Go," the single title song by Ali Dee and the Deekompressors, had us hip hopping out the theater door, down the sidewalk, and into the car, then jumping and spinning along, singing "Go Speed Racer Go." They (the Pretend Children) were singing to me, the great aunt, because I was whirling and jolting in my Pretend Mach 8 Ford Escape down the freeway home. Hey, I was down for that movie.

Watching the spinning images, neon lighted, anime-inspired, digitally produced, toons-like panels with insertion of real people in the mix was a visual feast and imminent barf all in one. Dizzying. Spiraling. Flipping. Neon lights (more). Crashing. Just to suggest the mental images of the race scenes. During a couple of close-up montages of the cars before digitizing began, I glimpsed real-time, real-life tiny model cars (my great-nephew has a huge collection). And in some of the martial arts fight-stop-go scenes, especially one with John Goodman, I was slooshed with a moment of a set-up of Goodman just standing there ready to squash the ninja before digitized action thrust him into zoom speed action.

(Actually, if I had never digitally filmed my own video, I might not have recognized those scenes, but I have and I did. Did it take away from the movie? No way. Actually, I felt privy to a second of movie making magic.)

As for acting, I was awed by everyone, especially the coolly suave Emile Hirsch (looking like a young Charlie Sheen) as Speed Racer; Christina Ricci, who I was sure was really Susan Sarandon's daughter with those big eyes and similar facial expressions; Roger Allam, as the big corporate villain, who played a Michael Caine-like villain almost as well as Caine does himself; John Goodman, who played, well, Goodman as Pops, Speed's father. Stealer of every scene in which he appeared was young Paulie Litt, Speed's little brother, who I was definitely sure was Goodman's real life son because the resemblance was so uncanny.

The story line was so complicated and told in such a complicated, back and forth manner, both narratively and visually (you'll have to see the movie to understand as this is a new kind of movie making and story telling, sort of magic realism on screen), that I was certain the Pretend Children would not understand. I quizzed them as I was hip hopping down the street to the car, while the boy was laughing and beseeching me not to embarrass him. I stopped. Their answers indicated complete understanding. Either I have little geniuses or the movie told its story in a less complicated manner than I first believed.

Is "Speed Racer" a good movie from a 9-year-old's standpoint? "I've had two good things happen two days in a row," he said. "I went to Chuck E. Cheese's yesterday and today I saw "Speed Racer."

You decide.

Want Speed Racer (2008) Discount?

I wish American movie viewers would have given speedracer a chance. With a dismal 44 million dollar domestic gross, there is much little hope for a second film which needs to be told. To be honest, speed racer took race car films to the ground breaking next level, just as The Matrix did for Science Fiction. Both the Matrix, and Speedracer had me the viewer emotionally envolved, and dazed by the visual effects. We are lucky to have the unique young tallent of Emile Hirsch portraying the role of Speed. And if Suzan Surandon is willing to play the role of Speeds mother, obviously the screenplay had much depth which most action films lack. Last note to all Bluray owners, don't bother renting Speedracer, just buy it. It is a good quality film, and it is going to look amaizing on your HD t.v.

Save 40% Off

Coco Before Chanel (2009)

I'm a guy. Okay. Let's get that out of the bag right now. I'm not overly fond of what I wear. Blue jeans and a t-shirt suit me just fine for most occasions. So when my wife wanted me to watch a foreign film about some gal named "Chanel" who was a famous clothes designer, I felt like I was in for an early bedtime (I can easily fall asleep during boring films).

So we slipped the DVD in and proceeded to watch what I assumed would be an incredibly monotonous film about a lady making clothing. I could hear my wife already: "Oooh. Isn't that beautiful." Or "Look how well she hemmed that pinafore" (whatever the hell a pinafore is ...and can you hem it? I still don't know).

But, much to my surprise, the film was more a myopic on the early life of Gabrielle "Coco" Chanel. Hence the name Coco BEFORE Chanel. Duh. Guess I should've paid better attention to the title.

There's certainly information and dress-wear visuals throughout, but the movie is more honed toward what made Coco who she would become later in life. Audrey Tautou plays the prime role of Coco and does so with grace, beauty, and a unique gruffness and individuality that struck me as incredibly honest (I did not enjoy her performance in The Da Vinci Code, so this was a nice change). She really carried the entire film and made every scene extremely watchable.

But the screenplay by writer/director Anne Fontaine was what helped keep this film together. Like I said at the beginning of my review, I felt that if it had expressly focused on clothing and the making of clothing, I would've been sawing some serious Zs before 30 minutes into the film. But I wasn't. Similar in concept to The Devil Wears Prada (which I also enjoyed mostly because of Meryl Streeps stellar performance), the film never lingers overly long on things that simply don't matter at that point in Coco's life. It is her lovers, her fiery desire to do something with her life, and her heartbreaks that made her who she would become, not the clothes (those were developing and came later).

So if you're like me, and don't know Chanel from Shinola, you still might give this one a try. Your wife will probably love it, and you'll score some points with her for watching it. Just don't give her the credit cards after finishing it. I just looked online at the cost of Chanel wear and ...well ...you don't wanna know.

If you are looking for a fashion history with lots of dresses a la project runway, this is not your movie. It is a moving portrait of the very early life and influences on Coco Chanel. The film is beautifully shot, scored, acted, and subtitled. As other reviewers have noted for the CD sountrack,the music is fabulous, and the movie is visually gorgeous. The acting is superb. Audrey Tautou is another great french beauty and star; I'm sure I will not be the first to compare her to Katherine Deneuve.

This movie unflinchingly shows the young women of the time for whom love with marriage was rarely an option as they were simply chattel forced to marry well by birth, become nuns, sleep their way to wealth and security as mistresses and courteseans, or have nothing as prostitutes. The only single working women other than prostitutes and a few writers were on the stage, in convents,or providing clothes for wealthy women. The film follows the young Coco through her world as a abandoned child in a catholic orphanage and then a mistress/houseguest of a vastly wealthy nobleman. It touches on her good luck in timing to get her accounts away from her lover in time to save her fledgling business.

We see how the lifestyles and even the health of wealthy and frivolous women were drastically changed by the comfort and function of her designs and her eye for beauty. This picture is a period piece that builds slowly, is very French and assumes you already know a bit about Chanel. It is at times quite subtle leaving a lot of the plot obvious but not presented onscreen. It would companion well with a more detailed documentary like "Chanel Chanel" with Chanel and Lagerfield, but it does present an excellent picture of "Coco's" youth and is a good picture on its own. The whole picture is beautifully acted eye candy and the dessert at the end is lovely as we are given a show of Chanel looks throughout her life. I did not give it five stars only because at times I think it was a bit too subtle as those not familiar with the period could watch the film and not fully understand the dramatic changes in the lives of women led by the dramatic changes in fashion they were witnessing.

Buy Coco Before Chanel (2009) Now

Coco Chanel lied habitually about her life; she didn't like it, so she made up a better one. Anne Fontaine has created one possible version of Coco's formative years, settling on a girl who is perpetually observing, who grows up into a woman who surprises herself with her influence. Audrey Tautou is almost determined to be grim, an anti-Amelie, in her portrayal of this haunted, driven woman. Benoit Poelvoorde is astonishing as Etienne Balsan, one of the men she uses and is used by -and ultimately develops a friendship with. He is bawdy, raucous, jaded ... and falls in love with Coco when it's too late. His scenes with her when he realizes his mistake are mesmerizing. "Does that bother you?" she asks, about her leaving for Paris with Arthur Capel, and he simply replies, "Affreusement (frightfully)." Watch how Poelvoorde turns him from a cad into her friend. And Alessandro Nivola did one of the wildest, dumbest things when he agreed to learn French for this role. It's not clear whether he should be commended or committed. Commended, I suppose, because his accent stays pretty good -and it was a good decision not to cast an English actor precisely because of the accent. It's Nivola's English accent that is a little dodgy here and there. I can't think what to make of his characterization. On the one hand, Coco is attracted to restraint, and presumably he had that personally. On the other, the effect is somewhat that his foreign lines are too studied for him to deliver naturally. Nevertheless an interesting performance from him.

Emmanuelle Devos is always good, and she's great here as a composite of two people in Coco's life at this time. Likewise Marie Gillain as another composite of her sister/aunt.

Coco and her sister were abandoned by their father, raised in an orphanage, and according to the conventions of the time, destined for little but prostitution or the life of a mistress. The movie depicts a silent girl who above all becomes a keen observer of the textures of her world: the nuns' habits, the excesses of women's dress of the period. This point is somewhat overdone by the end of the film, but nevertheless makes the point that she developed her sense of style by paying close attention to everything she saw; in some sense she sensed also that she needed to see more in order for that to develop. Her sense of style, her sense of restraint, became her armor against the pains of her existence, but not even it can protect her at a pivotal moment with Arthur.

At the end, a time-warping retrospective of her work in a re-creation of her famous salon in Paris reminds us that, with little in the way of resources, she made a lasting impression on the world. I found the substance of the movie far more dramatic than I would have thought; impressive performances make it a movie you must see.

Read Best Reviews of Coco Before Chanel (2009) Here

I'll be VERY brief already amazing reviews here.

Please-please don't fogret that the movie is called "Coco BEFORE Chanel".

It's about her childhood and youth and HOW she became Chanel, not about fashion in general...although you can see already how great she will become, how she's changing women's fashion in the beginning of the century simple hats,stunning glorious elegant dresses, no corsets,sailor shirts,mans pants,short hair & coveted little black dress and why...

She's just starting out and the movie is showing you HOW that's the point!!!

P.S.A great movie to see after this one is "Coco Chanel and Igor Stravinsky" not available yet,it was shown in Cannes and you can see the trailer on Youtube( the book is FINALLY available in States, I bought my copy of Coco Chanel & Igor Stravinsky in London in 2002.Buy the book for now you won't be able to put it down!!! I read it in 2 days. )

Want Coco Before Chanel (2009) Discount?

Audrey Tautou is again fabulous onscreen as the tough as nails independent Coco Chanel. the movie follows her life right up to the point where she decides to actually become a fashion designer.

The sets look terrific and the acting throughout is superb. The ridiculous addition of a fictitious character who plays Coco's sister (in the extars you learn she's an amalgam of Coco's aunt and one of her sisters) to show Coco's gentle side was just plain silly. Given how dramatic Coco's life was it just seems as if the screenwriter and director fell back on some Hollywood tradition of thinking the actual true story of famous people's lives are not enough. The funny thing is this comes out of France of all places.

The extras feature lengthy interviews with the cast and crew. The version I had were the hearing impaired ones that had the various stage movements (i.e., [door closes], [footsteps heard], etc.) along with the subtitles.

Save 44% Off

My Life in Ruins (2009)

Why are there so many critics in this world? This is a sweet, fun movie that opened up a chance for many to see places in Greece that can not be filmed for commercial reasons. Kudos to Nia for gaining approval to film in such fantastic places as Delphi, Olympia and at the Acropolis. This is the perfect movie for a light, summer night or for when you just need a "pick me up." See for yourself. Greece is a magical place and it was a delight to see it on the big screen. Nia is charming on and off screen and I think she is terrific. You go girl!

The 2009 release 'My Life in Ruins' turned out to be a totally unexpected surprise. The scenery is magnificent, the storyline and dialogue sharp and the cast of uniquely quirky characters will keep you throughly entertained from beginning to end. The budding romance between tour guide Georgia (Nia Vardalos) and bus driver Nico (Alistair McGowan) was really quite charming and tourist and self-designated funny man Irv (Richard Dreyfuss) was clearly the secret ingredient that made it all work so well.

I particularly enjoyed the way the film incorporated an ongoing subtext suggesting that the Greek Gods may be subtly interacting with the tour and tourists. It was just the right touch of whimsy and depth to supply an added dimension to this delightful romantic comedy.

Buy My Life in Ruins (2009) Now

I saw this movie a few weeks ago at the theater. I found it very entertaining and informative. It took me to places in Greece that I would love to visit. Nia is funny, sexy and believable. In the year 2000 I went on a tourist bus tour of Europe and this movie surely brought back many fond memories. Every bus tour includes many diverse characters, with a believable love story, this makes it very entertaining. I have recommended this movie to all my friends.They should own it.The filming is exquisite showing the sites of Greece like a travelogue.I left the theater feeling as I had been thoroughly entertained.

Read Best Reviews of My Life in Ruins (2009) Here

My wife and I missed this great movie when it came out in theaters in 2009 probably because it did not have a very large promo budget compared to the high tech blockbusters but we caught it by chance on a flight home from Europe this summer and I immediately ordered the DVD. With a talented international cast including Richard Dreyfuss this movie optimizes both the humorous and serious side of life. The chemistry between all of the characters is just wonderful and relies on real human interactions combined with the spectacular scenery of Greece rather than special effects how often do you see that these days? Noting some of the negative comments it is admittedly something of an 'inside joke' to those who are into travel and there are a few Greek tourist clichés and other stereotypes. However all of the jibes are sensitively done, by and large accurate to my experience, and will resonate with anyone who has ever toured Greece 'economy' class! I would hope that this film gets at lease a nod at Oscar time this year, and in any event would recommend it for any movie collection as a feel good / date movie.

Want My Life in Ruins (2009) Discount?

what FUN! this is a romantic comedy that is not just about a boy and girl getting together: it is an ensemble piece about the joys of being true to who one is. nia vardalos never looked better and her wardrobe, for a change, is complimentary; acting chops are better tuned, as well. the on-screen chemistry between nia and alexis georgoulis is combustible: no wonder the greek tabloids touted an off-screen romance between the two; and did everything they could to prove it, too. casting directors should cast georgoulis in more flicks in this country; he's a real screen presence. the rest of the ensemble are pitch-perfect; what a joy to watch them all.

yes, this flick is full of stereotypes; what romantic comedy isn't? afterall, stereotypes are stereotypes because they are recognizable characters from time immemorial: we KNOW these people. so, drop your defenses, relax, and enjoy this romp through greece.

Save 24% Off

1900 (Three-Disc Collector's Edition) (1977)

This is, in fact, Bertolucci's original cut of 315 (!) minutes. Having seen both the 255 minute version and the director's cut, one may actually say what kind of difference can there possibly be between these 2 versions? One is 4 1/4 hours, the other is 5 1/4 hours. They are both incredibly long versions, so what's the point? The point is that there is a huge difference. As incredible as it may sound, the shorter version seems longer, as it doesn't have the same narrative flow as the longer version does. There are subtle differences between the versions that make certain scenes different. For example, there is a scene where the leaders of the town go duck hunting (warning! Bertolucci shows the actual killing of ducks here, along with animals being slaughtered for food). They then go into a church to discuss bringing a new fascist order to the town. In the short version, the church scene only consists of the men talking. In the longer version, Bertolucci intercuts the dead ducks with the men talking, giving the scene a graver effect. The sex scenes are longer and more explicit in the longer version as well. I saw this long version at a Bertolucci retrospective, and there were college kids in the audience who were laughing at the sex scenes! The sex scenes, like in all of Bertolucci's work, are meant to be serious and natural, which they are. I suppose the young people of America have a difficult time taking sex seriously after a decade or so of lowbrow, childish, teenage "comedies". Some of the magnificent camera work got lost in the shorter version, because Bertolucci cut some of the beginnings and ends of scenes, where they would be a wonderful camera move opening or closing the scene. As for the film itself, it is incredibly ambitious and amazing to behold. Bertolucci just came off the amazingly successful Last Tango in Paris, and did something grandly ambitious. He should be commended for that. Many current day filmmakers would probably do a sequel to their already successful film to fill their pockets, and not give a hoot about anything else. Bertolucci originally wanted to release it in 2 parts, but the producer Alberto Grimaldi, who was reeling from the financial failure of Fellini's Cassanova (a film he produced), wanted no part of a 2 part film. So Bertolucci compromised. He only cut one entire scene. He made cuts within scenes (a technique that Terry Gilliam used on his film Brazil, when he had to trim his film from 142 minutes to 131). While this film is magnificent, it took a ton out of Bertolucci. He never worked with Grimaldi again (Grimaldi had produced Last Tango in addition to this film), and he didn't really recover his reputation as a great filmmaker until 10 years later with another epic, The Last Emperor. Since then, he's been erratic, but he can still make great cinema (watch The Dreamers, one of Bertolucci's best films). Since this is in fact the director's cut, by all means see it, rent it, buy it.

This is arguably one of the finest, most ambitious, and unique epic films ever made. When it was made in 1977, it was met with derision, confusement, and indifference. Many people are now able to view this film, and appreciate it for the masterpiece that it is.

Let me clarify the question of the different versions of this masterpiece.

The first cut (never released) was 6:15. The European released version was 5:25. In the meanwhile, Alberto Grimaldi (the film's producer) was negociating with Paramount a 3:15 version, betraying Bertolucci, who didn't know a word about.

After the European succes, Fox offered Bertolucci to work on a 4:15 version for the U.S. market. He accepted, and made a second 4:40 version. But Grimaldi's opposition take the case to a court. A judge viewed all three 5:25, 4:40 and 3:15 versions. He concluded that Grimaldi's short version was detrimental and incoherent. So he invited Bertolucci to work in a 4:15 version.

Bernardo did a third cut to 4:10, that had its premiere in the New York Film Festival. There, critics were very negative, since they already knew the european 5:25 version, and compared so. But Bertolucci once declared that this was simply another film; no a single sequence was missing, it just had another pace. For a given moment, he even prefered this version. But years later, he recognizes the short version lacks the "inexorable passing of time" of the full one.

Let me recall this is the only film in history that has put toghether -for the productionall three major studios then, Fox, United Artists and Paramount.

All this information was taken from the book Bertolucci por Bertolucci, the spanish version of Scene madri di Bernardo Bertolucci, from Enzo Ungari, based on the interviews by Donald Ranvaud about The Last Emperor.

I definitely agree with the people asking for a remastering and release on DVD of the 5:25 original version.

Buy 1900 (Three-Disc Collector's Edition) (1977) Now

"Novecento" was one of the most eagerly awaited movies of the seventies. It was meant to be, as Bertolucci himself intended, the Italian "Gone with the wind", an epic story about what happened in the "bel paese" during the first half of the twentieth century, the political turmoil between WW1 and WW2, the rise and fall of the fascism, the birth and widespread of the communist and socialist movements as a response to social injustice. There was a big project, the financial means to carry it out (American studios financing communist propaganda can you believe that?), some of the world's best actors at the time. And what maybe matters the most there was Bernardo Bertolucci himself, whose political ideas have never been in glaring contradiction with the "Communist Manifesto". So who else could make this movie better than him? Having put this fabulous international team together the standards were set very, very high.

As much as I love Italy and Italians, as much as I love Bertolucci, and as much as I adore De Niro, Depardieu, Lancaster and Sutherland, I have to say this movie let me down a little bit. I mean it's a good movie, but it could have been much better. The problem is that one has to know what happened in Italy during that period of time to fully understand what the movie is really about. Bertolucci knew it beforehand, which probably explains his need to have the best French actor, the best American actor, some other excellent American actors besides his Italian actors troop (some of them are excellent by the way) to be in this movie. I think I can say that I know pretty well the Italian twentieth century history, and yet I think this movie is a little bit of a mess.

The Italian landscape, the countryside, the photography and the colors are really breathtaking. The director really knows how to suit the locations and paysage to almost every moment and particular scene of the movie. But to me, what misses the most in this movie is the dialog. You sit and watch scene after scene and you have the feeling that the movie is finally about to take off, but it doesn't, it quite never does. Yes, there are many excellent scenes, some of them being very explicit in a way or another, but this is the classic example of the total being too inferior to the sum of its separate parts.

As far as the acting is concerned, Lancaster is undoubtedly the one who gives the best performance here, and he seems really lucky to have played a relatively small part. Some of the scenes he's in are among the best of this movie. Depardieu is excellent too. Donald Sutherland is good, but every time he's on-screen one can't help wondering if he's frustrated because of the bizarre acts he has been told to perform or simply because he knows he has to act someone who, whatever the reason, seems to be constantly angry.

But to me the most disappointing is my all time favorite actor, the man himself, De Niro. He comes in and goes out, makes faces, smiles, chuckles, moans, groans and never seems to really be in this movie. Anonymous, that's the word that occurred to me while watching this film, as far as De Niro's acting is concerned. Luckily enough, this movie didn't harm that much his reputation at the time, and he went on later to give absolutely mesmerizing performances in gems like "The last tycoon", "The deer hunter" and "Raging bull".

I have only watched the original 6 hours long version, both in English and Italian, and I have to say I don't have any problems with the accents. I still keep watching this movie 25 years after its release, just to make sure I haven't missed anything before and to see if I can appreciate it more now. And I still keep thinking that this is a somewhat messy movie which failed to deliver the message and the promises it was supposed to deliver to the Italian public, and to a greater extent to the international public. To me this movie is a big project overwhelmed by its own intents.

If you're new to the Italian cinema you'd better try "Il conformista", "The last emperor" and "The last tango in Paris" by the same director, and try also the best of Fellini, Scola, Visconti, De Sica, Antonioni, Tornatore, and... oh yes, how could I forget, the master of the masters, Sergio Leone!

Read Best Reviews of 1900 (Three-Disc Collector's Edition) (1977) Here

1900 is one of those odd films. Done by a very respected director with high-caliber talent (De Niro, Depardieu, Burt Lancaster, Sutherland, etc.) one would expect a film of legendary work. Alas, it is not. This is not to say that it is a failed attempt, but a film that causes as much frustration as satisfaction. There are moments of unbelievable beauty and awe, and others of disappointing audacity. Many times have I had my film buddy lean over to me during its unspooling and ask "What do you see in this?!" It's hard to answer, but suffice it to say that you will either love it or ignore it.

It is important to note that 1900 is also not for everyone; it is a very much an adult film. The sex scenes, in particular the menage-a-trois with DeNiro, Depardieu and the prostitute, are graphic but not excessive. There are quite a few scenes of violence that will cause the viewer to turn-away, so be prepared.

Much to my surprise, the film has been given the Blu-Ray treatment and the results are...not what a fan would want, but probably the best one can expect. The film's 5 1/2 running time is evenly spread out over 2 discs with a final DVD disc offering the only supplemental feature. As for the transfer, it is a mix. The opening credits are letterboxed (??) while the remaining film is presented in 1.85 (it was originally shot in 1:66). The image waffles from natural colors to overly saturated images that often made me think I needed to recalibrate my monitor or that is was on the wrong setting. The sound--which was never that memorable--is presented in Dolby Stereo and sounds as good as it did in the theaters.

Given that 1900 was never a huge audience favorite, I hadn't expected to see it on Blu-Ray so soon. While I would have hoped for a transfer that was more accurate to its original composition and not so muddy and overly saturated, it will have to suffice given its less then mediocre success.

--QUICK UPDATE--

I've done a little digging and it seems that this transfer is the same one as the DVD. Meaning--it is less than ideal. Robert Harris (who restored Lawrence of Arabia) recently posted a review and complained about the film's image constantly moving. Paying more attention to this Blu-Ray transfer, I also noticed this happening A LOT. The frame keeps shifting for some unknown reason and there is often a warping effect at times. Looking at the DVD that was released several years ago, those oddities also appeared but are less pronounced given its lower resolution. Frustrating beyond belief and it now makes it difficult to watch the film. Moreover, contrast is terrible as many whites are completely blown out losing all subtlety.

To sum up: Get the Blu-Ray if you are a true fan as it probably won't ever get any better. But it is disheartening to see such a lousy release of a film that really deserves better.

Want 1900 (Three-Disc Collector's Edition) (1977) Discount?

I'm still awaiting the American release of this magnificent epic. I've had this on VHS for over 15 years and have seen the film over 10 times. What a great way to spend five and a half hours!

There are magnificent performances by Deniro and Depardieu, by Dominique Sanda, Sterling Hayden, Burt Lancaster and others, including chilling performances by Donald Sutherland and Laura Betti. There are many memorable scenes as we travel through the 20th century captured by the always amazing cinematography of Vittorio Storarro which was at its apex in this film and il Conformisto.

While I appreciate Bertolucci's Socialist bent and his brilliant attacks on Fascism, the only down side to the film (if you don't mind the length) is Bertolucci's Socialist didacticism which is the only times the film loses its subtly and sinks to levels of propaganda.

Still this film compares favorably with other great epics of film history like the Godfather I & II and Lawrence of Arabia. Release it on DVD already!

Save 35% Off

Holy Matrimony - Blu-ray (1994)

I don't know why, but I just loved this movie. Patricia is so charming(as usual). I'm definitely a fan of her. I liked how it was tied into the Amish community. The boy was so perfect. If he were older he'd be the perfect guy. The film had action, suspense, a moral, pretty gal, romance, and it was surprisingly engrossing . I liked the conflicts. It was fun to see how putting different types of people in different situations would work.

This is overall, a very enjoyable movie. A woman who loose and easy as we used to call it..working at a carnival..so her and her boyfriend ..who was previously an Amish, decide to steal money...they flee to The Amish to hide out...the guy winds up getting killed and the woman has to marry his younger 12 year old brother... Overall..It is delightful...

Buy Holy Matrimony - Blu-ray (1994) Now

I love in this movie how a little boy marrys a harlet theif and then at the end ends up working things out and realizing there mistake really inspiring movie

Read Best Reviews of Holy Matrimony - Blu-ray (1994) Here

funniest film i have seen in a long time. good story, good acting and no filthy language. a good family film for kids and adults

Want Holy Matrimony - Blu-ray (1994) Discount?

I watched this movie when i was younger and watched it again, years later, and i still enjoyed it. Joseph Gordon-Levitt was so young, but what a good actor. This is also one of my Patricia Arquette fav's too, well right along with Wildflower. It actually made me laugh out loud, which says a lot.

Save 57% Off

Five Minutes of Heaven (2009)

When friend Vika (Anamaria Marinca) asks Joe Griffen (James Nesbitt), the brother of a man killed in 1975 by one Alistair Little (Liam Neeson), if killing Alistair would not be good for him, Joe replies ' Not good for me? My five minutes of heaven!' And so runs the razor sharp dialog and acting and power of this little film from the UK that relates the story of a 1975 event in Northern Ireland when Catholics and Protestants were at war and the young Protestant Alistair Little (Mark David), as a UVF member (Ulster Volunteer Force), gathers his friends and 'kills a Catholic' but the murder happens in front of the victim's 11-year-old brother Joe Griffen. Flash forward to 2008 when Alistair Little (now Liam Neeson) has served his prison term and is set up by the media to relate the story of the incident and supposedly meet and shake hands on camera with the now mature Joe Griffen. It is a film about youthful involvement in terrorism and the sequelae that haunts or obsesses the victim's family and the perpetrator. The confrontation between Alistair and Joe is a devastating one.

Guy Hibbert wrote this excruciatingly visceral screenplay and Oliver Hirschbiegel directs a first rate cast. Though Liam Neeson is billed as the star, the film belongs to the powerful acting by James Nesbitt as the vengeful Joe Griffen. The cinematography is dark and dank like the atmosphere in both the warring fog of 1975 and the attempt at reconciliation in 2008. There are subtle pieces of thoughtful enhancement, such as the use of the Mozart 'Requiem' in the near hidden score. In all, this is a moving film about truth and reconciliation that deserves the attention of us all, especially in this time of random acts of terrorism and their possible imprint on our minds and on society. Grady Harp, January 10

One of the best films I have seen on the struggle to reconcile with one's own self as well as one's enemy. There is no cheap forgiveness portrayed here. The acting by Neeson and Nebitt is unbelievably good and the directing is incredible. I couldn't believe that this was a made-for-tv film. Goes to show that on a shoe-string budget, BBC can produce stuff that is far superior to the drivel that comes out the mouth of Hollywood.

Buy Five Minutes of Heaven (2009) Now

A perfect movie is a rare thing. No committee can produce perfection; the too many cooks are never so present as during the production of a movie. I've seen a few, but not many. When 1 person does everything, there's one vision to be 1% short. But when tens or hundreds do it, then each contributes his individual failure until we're left wondering, as we do when watching some YouTube clip of kids riding their bikes off a roof, "Wow..what the **** were they thinking?" However, "Five Minutes of Heaven" comes darn close to perfection.

Two men collide, and then 33 years later collide again. Some serious sparks ensue. Who was right? Who lost the most? Who owes what to whom?

If you're reading these reviews, I'd advise you to stop now and get this film. This is fine film making with a pungent theme. Watch it for its powerful and beautiful tale of loss and recovery. Watch it for two great actors giving superlative performances. Watch it recreate a terrifying yet frightfully close world where hell was always around the corner and ever on the TV. And watch it for what it has to say about the problems, the not easily fixed challenges, we face in the world today....

Read Best Reviews of Five Minutes of Heaven (2009) Here

Do NOT give up on this movie in the first third. I stayed with it because a very experienced global law enforcement officer with anti-terrorism experience told me the movie was worth seeing through to the end, and he was absolutely right.

This is a fine depiction of how gangs and religious and political conflicts get started, it is a superb depiction of the "collateral damage" that affects "bystanders" to the end of their days, and it ends absolutely brilliantly with a typically strong but never-the-less very moving closure by BOTH of the main actors.

Highly recommended to those who wish to think about cause and effect and the psychological dimensions of intra-community violence.

Want Five Minutes of Heaven (2009) Discount?

"Five Minutes of Heaven" is a gripping tale of the aftermath of a murder. In 1975, Alistair, then 17, murders a Catholic man to make a name for himself in Belfast. The man's younger brother, Joe, still a child, witnessed the murder and lived for 33 years with the guilt that was put on him by his mother. The story begins when a TV program wanted to film their "reconciliation." Alistair has become a world renowned speaker because of the insights he has learned while dealing with his guilt. And Joe is just an average guy with vengeance stewing in his heart. The tumult of emotions both men experience as they prepare for their meeting is riveting. Alistair knew there would be no reconciliation. And Joe just wants his five minutes of heaven the moments he'll spend exacting vengeance. How the two men finally meet and what becomes of them is the perfect culmination for this tale of tragedy and redemption. In the end, it is about finding what is good in your life and moving on. As an aside, I do like the way the movie portrayed the mercenary nature of TV programs in their quest for ratings.

Save 55% Off

The Killing (The Criterion Collection) (1956)

An ex-con engineers a race track heist in "The Killing," a taut and suspenseful film noir from director Stanley Kubrick. Johnny Clay (Sterling Hayden) is fresh out of Alcatraz after five years, and immediately goes to work on a job he figures to be worth upwards of two million dollars. He puts together a gang who are not real criminals, just "Some guys with problems and a little larceny in them." Marvin (Jay C. Flippen) is good for some front money Johnny needs; George (Elisha Cook Jr.) is a cashier at the track, and Mike (Joe Sawyer) is a bartender there; Randy (Ted de Corsia) is a cop with loan shark payment problems. Clay's got it all figured out, a precision plan that can't go wrong as long as everyone does his part and keeps quiet about it, before and after. But George has a wife, Sherry (Marie Windsor), who wants nice things, and he can't resist the temptation to let her know it's all going to get better real soon. Trouble is, Sherry has a boyfriend, Val (Vince Edwards), who has more than a little larceny in him, as well. As it is with all "perfect" plans, there are, after all, imperfections. The presentation of this film is not one of them, however; Kubrick keeps the tension high throughout, working with a tight narrative and an out of sequence chronology through which he dispenses bits of information, building the suspense, until it all fits together in the end like pieces of a giant puzzle (Much the same as Tarantino would do with "Pulp Fiction" many years later). The stoic delivery, coupled with the stark black and white photography of the film, creates an almost surreal, fatalistic ambience that works so well with this material; especially at the end, for it underscores the climax and heightens the drama of the final moment, all of which makes for a truly unforgettable scene. The supporting cast includes Coleen Gray (Fay), Kola Awariani (Maurice), Joe Turkel (Tiny), and Timothy Carey, who makes his detached and indifferent hit man, Nikki Arane, one of the most memorable characters in the film. It must be noted, however, that Elisha Cook Jr. gives what may have been his best performance ever, here. His scene, after it all goes bad for him and he stumbles into his apartment, bullet holes in his face and wide-eyed with acceptance, to confront Sherry, is so cool and underplayed that it becomes one of the lasting impressions of the movie. Kubrick wrote the screenplay (with some help from Jim Thompson with the dialogue), adapted from the novel "Clean Break" by Lionel White. "The Killing" is one of Kubrick's earliest and best films; and it's not just for Kubrick fans or for those who love the "noir" genre. This is an excellent piece of work that will definitely be appreciated by anyone who likes good movies.

The movie: THE KILLING (1956) by Stanley Kubrick, was the film which brought the twenty-eight year old director to Hollywood's attention. Based on the 1955 crime novel CLEAN BREAK by Lionel White (and re-named THE KILLING for its 1988 redistribution), director Kubrick incorporated the author's use of the staggered time interval (which began in chapter eight) within this well balanced and tightly paced story of seven disparate characters brought together to orchestrate a logically planned two million dollar robbery of a race track in broad daylight.

A brilliant effort of film making by Stanley Kubrick as he demonstrated an impeccable choice in cast selection, choosing established 'B' movie actors such as: Elisha Cook, Jr. as George Peatty and Jay C. Flippen as Marvin Unger (both actors had appeared in "The Three Stooges" skits more than once); then Sterling Hayden as the main character, Johnny Clay: though one of the beauties of this film is that all of the actors had such memorable performances. The limited acting abilities of these stars only added to the subtle gritty reality of their lumpenprolitariat roles which carried this film as much as any special effect.

While Stanley Kubrick wrote the screenplay and maintained a number of elements from the book, he eliminated Lionel White's character of Maurice Cohen and had Johnny Clay assume those duties; and also replaced the boxer, Tex, with the burly (and hairy) wrestler Maurice Oboukhof for the spectacular bar room fight diversion. In the book, Marvin Unger deeply despised Johnny Clay; but in the movie, Unger demonstrated a fatherly pride and deep paternal admiration for Johnny Clay the movie is noted for its admirable male commeraderie!

But how much more was Stanley Kubrick influenced for this movie outside of the Lionel White novel was suggested during the actual stick-up scene performed by Sterling Hayden's character, Johnny Clay. In the book, Johnny tied a loose handkerchief around his face as a disguise, but this was changed in the movie to a full rubber clown mask almost an exact duplicate of the masks published in police photographs used by the bandits in the 1950s Brinks robbery in Boston; a robbery that was then nationally advertised as "The Crime of the Century"! The similarities continued as the Brinks building was robbed of two million dollars by seven armed men in rubber masks and got clean away. This is too strong a resemblance to be ignored, and the well-read Stanley Kubrick may have also been influenced by this event, coupled with the novel CLEAN BREAK, to produce his advanced and visionary robbery debut film.

Still, the movie: THE KILLING by Stanley Kubrick, is a brilliant and typically Kubrickian ahead-of-its-time work of art which is a *must* watching experience in black & white for all its lasting and provocative scenes.

Buy The Killing (The Criterion Collection) (1956) Now

While not his first film, I do believe The Killing (1956) was the first film by writer/director/producer Stanley Kubrick to really showcase his talents and earn him the public, critical, and professional accolades that would eventually lead to bigger, more lavish productions like Spartacus (1960) and 2001: A Space Odyssey (1968). Based on a novel called "Clean Break", by Lionel White, the film was co-written and directed by Kubrick (Jim Thompson, who wrote the novel "The Grifters", wrote the dialog). Starring in the film is Sterling Hayden, whom I'll always remember best as the character of Brigadier General Jack D. Ripper from one of Kubrick's later films, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), and his stance on fluoridation (he was against it). Also appearing is Jay C. Flippen (Oklahoma!), Elisha Cook Jr. (House on Haunted Hill, Rosemary's Baby), Marie Windsor (Support Your Local Gunfighter), Vince Edwards ("Ben Casey"), Coleen Gray (The Leech Woman), Ted de Corsia (20000 Leagues Under the Sea), Joe Sawyer (The Challenge of Rin Tin Tin), Timothy Carey (One-Eyed Jacks), and Kola Kwariani, former professional wrestler `Nick the Wrestler' and chess expert, in his only silver screen appearance.

The story here details that of a `daring and methodical' heist of a horseracing track, which begins as we meet the principal participants...there's Johnny Clay (Hayden), the brains of the operation, Marvin Unger (Flippen) the money man, George Peatty (Cook) and Mike O'Reilly (Sawyer), both inside men (meaning they actually work at the track), and Randy Kennan (de Corsia), a crooked cop, who rounds out the core group. Each man is your fairly average Joe type (except maybe for Clay, who just spent a nickel in the joint), drawn into the plan by their own, particular circumstances, for example, George, a somewhat spineless weasel of a man, is married to a real manipulative piece of work named Sherry (Windsor), who becomes a pivotal part of the story later on...anyway, the setup is solid, but things become complicated as George, perhaps in an effort to prove his manhood to his generally disinterested wife, lets loose with some of the details, to which she relates to her even more manipulative gigolo boyfriend Val (Edwards), with the intent being on taking George's cut after the score and running away together, but Val's got the greedy eyes for the bigger prize...the job does end up going down as relatively planned, just like clockwork, but the major complications develop afterwards, proving yet again the hyperbole "The best-laid schemes o' mice an' men gang aft agley"...that last bit basically means `often go wrong'.

All in all The Killing is a most excellent film, featuring some really innovative direction in terms of non linear storytelling, a style which people may often associate with director Quentin Tarantino's films, particularly Reservoir Dogs (1992) and/or Pulp Fiction (1994), but it's a technique that's been around for awhile, one that he basically copied, and quite well...come to think of it, much of his stuff is copied from other films, but I digress...the main difference between one of Tarantino's films and this one, to me, is the near seamless quality in switching between timeframes. Here it feels completely natural, and doesn't disrupt the flow of the story. In the other examples I mentioned, it's a bit more hectic and random, which isn't a criticism but an observation (I dig Tarantino's stuff immensely, but I do get annoyed when people seem to believe he actually developed they very stylized techniques displayed within his films). Within the notes, it's actually stated, after Kubrick finished this film, he was pressured to edit the film in a more linear fashion, which he did, and, after viewing the newly edited version, it confirmed to him his original version was much stronger, and that's what ended up getting released. This non-linear aspect isn't present throughout the entire film, but rather primarily used during the actual heist sequences. One aspect that is present through much of the film is narration, providing details and a bit more depth to a particular action or character. I'm curious how this film would have played out if there'd been no narration. The movie plays out extremely well, feeling a little like a documentary given the narrative and blending in of stock racing track footage with the shot footage. The performances were strong all around, especially Sterling Hayden as the no nonsense brains of the operation. It did feel a little strange near the end that he should have thought of everything so very carefully only to miss out on a key detail with regards to that cheap suitcase (if you've seen the film, you know what I mean)...I know it sets up for the wonderfully ironic ending, but it still, it felt a little out of character. Check out the scene where Johnny Clay nails Sherry to the wall with his astute and completely accurate observations with regards to the type of person she truly is...another performance I really liked was Marie Windsor's character of Sherry, acid tongued, wife to George. She knew exactly how to work him, but then the suffered the exact, same treatment from her boyfriend Val...as the worm, turns, I suppose...she also had some of the best lines in the film, none of which I'll post here as there's no way I can duplicate the delivery, which is just as vital as the lines themselves. One most excellent scene to watch for is when George's wife is caught snooping as the gang is reviewing their plans, and, in a effort to find out how much he shared with her, one of the members gives George a much deserved, massive slap upside his fool head (it looked pretty realistic to me), all in a beautiful close up shot. Check out the startled, moonfaced expression on George's face...and then pause it on that frame...I may get a print of that and put it on a t-shirt. If you like strong, stylish, no nonsense crime dramas, this is one definitely worth seeking out. I've watched it twice so far, and it was just as good the first time as it was the second.

The film is present in full screen, which I do believe is keeping with the original 1.33:1 aspect ratio, and the picture is very sharp and clear with no noticeable flaws. The Dolby Digital mono audio is strong and comes through extremely well. As far as special features, there is an original theatrical trailer, along with a four-page booklet insert highlighting the making of the film, along with providing details with regards to Kubrick's style, technique, and creative vision. Pretty skimpy, but know this film was released to DVD sometime ago (I think in 2001), and the inclusion of special features weren't as prevalent than as it is now, or, at least that's my opinion. The film alone is worth getting this DVD, and if you're really interested in learning more, your local library, or the Internet, are both viable sources of information.

Cookieman108

By the way, I'm most definitely not an advocate of animal cruelty, but, if I were the character of Johnny Clay in this film, the urge to throttle that ugly, little dog (and its owner), featured near the end, would have been undenialable.

Read Best Reviews of The Killing (The Criterion Collection) (1956) Here

If you haven't seen this yet, do yourself a favor and watch John Huston's Asphalt Jungle (1950) first. The Killing is an informal sequel/tribute which in my humble opinion is even better. I must admit I am not a big fan of Stanley Kubrick but I thought this film was great. It lacks star power but the performances are all excellent nonetheless and the story is innovative, tightly wound, and thoroughly entertaining. I should also mention that I thought Tarantino & Avary were primarily influenced by the likes of Melville, Truffaut, & Godard, but I now see that this film was at least as influential upon his neo gangsteresque mojo movement as anything from the French new wave. In fact it looks as if Tarantino borrowed excessively from here for the non-linear plot structure of his Pulp Fiction. In my opinion Stanley Kubrick's The Killing deserves a spot somewhere behind The Maltese Falcon, Double Indemnity, and Touch of Evil as one of the better film noir efforts ever produced.

Want The Killing (The Criterion Collection) (1956) Discount?

Stanley Kubrick's oldie but goodie suspense flick about a daring racetrack heist is brilliant! Though the film is black and white, he is able to use his lighting skills well. The film's characters are developed very well from start to finish. Sterling Hayden's unmistakable voice and acting talents add the cherry to this sundae of a film. It also has one of the best endings I've ever seen in a movie........but I'm not giving it away!

Save 42% Off

Open Season 2 (2009)

I had high hopes for this one as animation can look so pristine in BD, but I was in for a shock. Sony Animation was behind this, but it had the whole Cartoon Network look to it instead. The main voice talents from the first film did not come over,nor did any of the writing/production staff (and it shows).

The story is just ok, entailing friends helping and rescuing each other with plenty of adventure and rabbit abuse. One of the main characters is a dachshund so apparently the "wiener" humor is what passes for hilarity these days. While it has been playing in the store kids of all ages are entranced by it but the parents haven't been thrilled with the parts they have seen. The "..that lady pulled my wiener.." and "..my beautiful rack.." lines raise a few parent's eyebrows so it hasn't exactly been a hit like I had hoped.

The BD supplements are painful, including "deleted scenes" which were hand sketched and not worth the time. The "Weenie Arcade" has a horribly spliced "Who Let the Dogs Out" video by the Baha Men, a how to draw the animals tutorial, and a featurette about the faces behind the voices.

I loved Hoodwinked, even with that style of animation, and OS2 looks similar in nature (no pun meant) but is much less of a quality film. I have read where people say this an ideal family film, which nothing really offends me so I would watch it with my kids, but needless to say I lost a few rentals playing it in the store. And for a BD, not one of the memorable ones.

Aside from the trite story line and really cheap animation the real reason for watching this animation was going to be it's anticipated hilarious humor. So here's the humor count: Half chuckle 10 minutes into movie; another half chuckle around 23 and again 45 minutes. Fell asleep between 23 and 45 so there may be more. Story was resolved at about 65 minutes and the final 20 minutes was pointless filler. Suggestion: Stop at Open Season 1 if you want to be left with fond memories.

Buy Open Season 2 (2009) Now

1. Doesn't have Martin Lawrence or Ashton Kutcher

2. Lots of sexual innuendos

3. Lame story

4. Dissapointing looking character models/animation (doesnt come close to the first)

dont waste your money.

Read Best Reviews of Open Season 2 (2009) Here

I didn't have any expectations for this movie, but I liked the first one and wanted to buy this one as well. I was a bit disappointed in the story line and more disappointed that the original cast did not do the voices for this one. It has it's funny parts though. Not as good as Madagascar 2 but I'll keep it.

Want Open Season 2 (2009) Discount?

Boog and Elliot and the cast of Open Season are back for another crazy adventure. In this one, Elliot plans to marry Giselle but the plans are cut short when he see Mr. Weenie get kidnapped. Boog, Elliot, McSquizzy, Buddy, Giselle and the rest of the gang launch a rescue mission to save their friend, only to find themselves in a war with pets.

Take heart, though, fellow Open Seasoners...there's been some changes made this time around. Gone are Martin Lawrence & Ashton Kutcher, in are Mike Epps & Joel McHale. Personally, I think they did a decent job at capturing Boog & Elliot's essence for this movie. Although, I missed Martin and Ashton's presence. They seemed to have a chemistry that showed in the original.

While I love this movie and recommend it to you, wholeheartedly; it still lacks that certain something to me that made the original so great. I'm going to be honest with you, above all, concerning my feelings for the movie. It's not a bad movie by any means. Everyone gives stellar performances. It's just something didn't click. Maybe that is why the movie was released straight to DVD and not theatrically.

At any rate, would I recommend you buy it still and add it to your collection? Most definitely.

Save 46% Off

Kevin Hart: I'm a Grown Little Man

I first saw Kevin Hart on Comedy Central and I was laughing so hard that I was crying. It is absolutely funny from beginning to end. But since Comedy Central left out a lot of his jokes I just had to find his stand up on DVD. Kevin Hart's stand up is funny I got two copies, one for me and one for my best friend and her husband. I think his stand up is funnier than Kat Williams Pimpin' Pimpin'!

This stand up was hilarious from beginning to end. My abs were killing me by the end of the show. This is a definite must have.

Buy Kevin Hart: I'm a Grown Little Man Now

I've never seen his stand up, well except a 30 min stand up he did, which was funny as hell. So I was going through my T.V. Guide and seen that this was coming on Comedy Central, I Tivo'd it and finally got around to watching it. Damn, Kevin Hart is hella funny. This is one of the best stand-ups I've seen, I really hope he does some more like this because it had me laughing the whole damn time. And to think I almost didn't check him out, what a mistake that would have been. Between him and Bill Burr they got the best stand up's I've seen from 08-09 so far with Katt Williams coming in 3rd. Definetly check this one out, you won't be sorry!!!!!!

Read Best Reviews of Kevin Hart: I'm a Grown Little Man Here

He's so funny and stupid! I mean that in a good way! No matter how many times I look at it, it cracks me up! I highly recommend his dvd!

Want Kevin Hart: I'm a Grown Little Man Discount?

Super funny, If you're a Kevin Hart fan you will like it! I've already watched it a few times & it's funny everytime!

Save 50% Off

Broken Embraces (2009)

Harry Caine is a blind screenwriter, watched over by his former production assistant, Judit, and her son, Diego. His simple routine is upset when he hears of the death of a wealthy tycoon, and is later visited by the dead man's son in disguise. Pressed by Diego to explain, Harry recounts the tragic tale of how he, then known as Mateo Blanco, had fallen in love and had an affair with the tycoon's former lover, when she played a role in a film he was then directing, and of the accident that left him blind. The story itself is convoluted but clear enough and I can't quite understand all the complaints about the story being confusing since film noir often tells a story within a story and keeps the audience guessing. Things are resolved in the end, and nearly every loose strand is tied. This one adds to the usual complexities a reflection on cinema, and two films within the film, and explores what it takes to revisit and remake the past so as to go on living.

It is a very poignant and at times quite amusing film about memory, lies, double lives, jealousy and revenge. Beautifully filmed with the eye for vibrant color and beauty that Almodovar is known for, the film also serves as a reminder of the changes in film technology that have occurred over the past few decades, and of the changes that have taken place in Almodovar's own style as a filmmaker, given that the film within the film suggests the more melodramatic and stylized work of his past. The film within a film bears a striking resemblance to Women on the Verge of a Nervous Breakdown, the film that placed Almodovar on the world stage as one of the most intriguing of auteurs. Perhaps not among his greatest masterpieces like All About My Mother or Talk to Her (Hable con Ella), which are my personal favorites but still a very entertaining and provocative new film by one of the greatest living filmmakers. Highly recommended.

Update: I just saw this again and was struck by Almodovar's mastery of conflicting moods in this film nostalgia, melancholy, hilarity, rapture, tension and suspense. Somehow it manages to be all of these without becoming muddled. The film also manages to channel a wide range of associations with other films and filmmakers while remaining thoroughly in the grasp of Almodovar and his distinctive sensibilities. On this second viewing I detected hints of Antonioni (especially L'Avventura), Hitchcock (especially Vertigo), Michael Powell (with an explicit reference to Peeping Tom), and, of course, of Almodovar's own earlier work. A beautiful and intelligent film, that holds up on multiple viewings.

In "Broken Embraces", Pedro Almodovar rehashes a lot of themes and devices from his earlier films to create a pastiche that is pleasant enough but not as strong as his more daring and original works. Harry Caine (Lluis Homar) is a blind screenwriter who had been film director Mateo Blanco before he lost his sight. Now he dictates screenplays to his assistant Diego (Tamar Novas), the son of his longtime manager Judit (Blanco Portillo), who wishes Harry would write scripts for more popular genres. One day as aspiring filmmaker (Ruben Ochandiano) proposes that Harry collaborate on a script about a son who avenges himself on his detested father posthumously. That inspires Harry to tell Diego the story of how he fell in love and lost his sight 14 years earlier, a subject of which he has not spoken in all those years.

In 1994, Harry met Lena (Penelope Cruz), the beautiful mistress of financier Ernesto Martel (Jose Luis Gomez), when he directed her in her first film, a comedy called "Girls and Suitcases". They fell in love and incurred Ernesto's wrath. The film shifts back and forth, between 1994 and 2008, as Diego takes in the story, and Judit grows wary of what Harry might tell him. Harry and Lena's affair is deliberately clichéd, but I waited for Almodovar to give it his unique spin. Unfortunately, it never quite delivers. Lena seems more an object than a fully realized character, which might be fitting, as she is in Harry's memory. But as a main character, she is underwritten. Jose Luis Gomez is perfect as a man in the grip of obsession for Lena, so much so that I wish Ernesto had a more prominent role.

Sometimes Pedro Almodovar has a stroke of brilliance. And sometimes he seems to make movies because he likes making movies, even if he doesn't have anything fresh to contribute. I've seen too much of "Broken Embraces" in his other films, and it just never engages the audience. Harry and Lena's love has no spark. I could see the "surprises" coming a mile away. Some actions seem to lack motivation. Penelope Cruz is luminous. There's never any doubt as to why she's a movie star in Almodovar's films. Jose Luis Gomez is very good, and so Blanco Portillo would be if the writing for her character were a little better. I think those familiar with Almodovar's work are going to find this one stale. But I can't really recommend it to those new to Almodovar, as you would be better off seeing the great "All About My Mother" (1999) or, if you want noir, the labyrinthine noir homage/spoof "Bad Education" (2004). In Spanish with optional subtitles.

The DVD (Sony 2010): Bonus features include 3 deleted scenes, a theatrical trailer (2 min), and 4 featurettes. "The Cannibalistic Councillor" (7 min) is a scene from the fictional "Girls and Suitcases" movie, in which Chon, a woman of conservative politics and Councillor of Social Affairs, goes on about her sexual obsession and foot fetish. This is pure, hilarious Almodovar and not to be missed. There is another scene from the fictional movie among the deleted scenes. "Pedro Directs Penelope" (6 min, English subtitles) shows us what Almodovar is saying offscreen while two actresses play a scene. "On the Red Carpet: The New York Film Festival Closing Night" (3 min) has a few brief interviews. "Variety Q&A with Penelope Cruz" (6 min) is an interview of Cruz by Todd McCarthy. Subtitles are available for the film in English and French. Dubbing available in French.

Buy Broken Embraces (2009) Now

Yet another absorbing human drama from Pedro Almadovar, surely the most interesting filmmaker working today. It begins as we meet the protagonist, a blind writer who has abandoned his true name and goes by the pseudonym Harry Caine. Gradually we learn through his web of complex relationships how he lost his sight and his soul.

We flash back to the 1980s. Harry is directing a comedy -and his female lead, Lena, played by Cruz, is the mistress of an elderly but extremely rich and extremely possessive industrialist. Of course, Harry and Lena fall in love. We also meet other key characters -Harry's agent who is in love with him, her son who helps look after him and the industrialist's son who is plain weird and creepy.

This movie unfolds like a thriller. The landscapes, especially the stark, volcanic terrain of the Canary Isles where the climax takes place, add immensely to the experience. There are some unforgettable images -one that I can't get out of my mind is a close-up of Harry's two hands outlined against a projection screen. On the screen is a fuzzy image of him kissing Lena -but of course he can't see it because he's blind.

Cruz gives yet another wonderful performance. She is of course strikingly beautiful but she's not afraid to be photographed looking haggard and bereft. She's also not afraid to bare her body to advance the plot or our understanding of her love for Harry.

In the end, the movie is about redemption -about how people suffer incredible tragedy but find ways to carry on with the support of those who love them; about how souls can heal eventually although the hurt always remains.

Read Best Reviews of Broken Embraces (2009) Here

"Broken Embraces" marks Almodovar's first self homage, moving from the overwrought melodramas of Douglas Sirk to the equally over-the-top telenovella style of "Women on the Verge of a Nervous Breakdown", quoted here as a film within a film. Starring Penelope Cruz, the director's resident muse, in a performance of dazzling physical beauty and deeply wrought emotionalism, Almodovar's film visually links her to both Audrey Hepburn and Marilyn Monroe, in the process making the case for Cruz as one of this point in film history's reigning icons.

Beginning with the positioning of a blinded filmmaker as his main character, Almodovar explores the themes of filmmaking, betrayal and parent/child relationships with vigor and imagination. After shout-outs to both Bunuel and Hitchcock, "Embraces" concludes with a son serving as his blinded father's eyes and father, mother and son working together to redeem both a family and a film. This is a filmmaker's and a film viewer's dream vision.

Want Broken Embraces (2009) Discount?

Harry Caine (Lluis Homar) is a blind screenwriter leading a quiet life in 2008 Madrid who is brought back rather against his will to contemplating the events of 1994 that changed his life when one of the people intimately involved in them, a rich industrialist named Ernesto Martel (José Luis Gómez) has died. He starts to open up to his young friend Diego (Tamar Novas), the son of his agent Judit (Blanca Portillo) about Magdalena (Penélope Cruz), first an employee of Martel and then his mistress, who came into his life as a would-be actress and ended up much more. And through the telling, secrets involving Diego and his mother also come to light, tragedies and perhaps resolutions that had lain dormant for a decade and a half...

Although I don't have any truly enormous complaints about BROKEN EMBRACES, I don't have a whole lot that's really wonderful to say about it either. This feels to me like Almodóvar running on autopilot; all of the major themes of his past several films (haunting pasts, accidents and illnesses and disabilities, the life of the writer, the sacrifices women have to make) are in evidence here but there isn't much that's fresh or interesting in his handling of any of them, many of the revelations are telegraphed a mile away (if you can't figure out Diego's secret before the halfway point you probably haven't seen ten movies in your life), and the emotions seem muted and dry. There's little of his earlier trademark panache or humor, and the film seems to move relentlessly towards a fairly predetermined ending which comes off as too easy and not necessarily believable or even deserved..

Cruz and Homar probably come off the best in the central roles, maybe because they have the closest things to real characters to play, though even they feel underdeveloped. Gómez' Martel just seems like a possessive rich guy caricature, and none of the other characters register at all beyond the parts they play revolving around the central love triangle. Blanca Portillo, fantastic in VOLVER, seems wasted here I don't have any complaints about her acting, but her role seems underwritten and bland. The director's use of color, even, strikes me as a little less impressive than usual and the film feels like it could have been set and shot just about anywhere, the feeling for place isn't all that strong.

I wasn't too too bored despite the 127 minutes that seemed like it could have easily been pared to 100 or less, so it wasn't a complete washout, and Penélope is as lovely as ever, so points there. But not enough, when all is said and done. Easily my least-favorite Almodóvar film so far; I don't mind that he keeps traveling the same roads of memory and loss -many directors have made wonderful careers with less variation than he has typically offered in his recent work -but I think this one just ended up a little too straight and narrow and the scenery just wasn't memorable enough. If you're a fan, it's worth a watch I guess; if you're new to the director, I'd recommend any of his other films since the late 90s before this one

Save 44% Off

Stargate: The Ark of Truth/Stargate: Continuum (2009)

The ending of the "Stargate SG-1" TV show left some threads dangling -the last Goa'uld System Lord was still in hiding, and the Ori were still threatening the world.

Fortunately those threads are more or less tied up in the two direct-to-DVD movies that followed: "Stargate: The Ark of Truth" and "Stargate: Continuum." While they don't quite have the unique flavour of the TV series, these movies do bring back all the favorite characters (and some departed villains) in a double finale to its winding stories.

"The Ark of Truth" is an Ancient device that brainwashes people -and SG-1 is searching for it, where they run into Vala's ex-hubby Tomin (who ends up teaming up with them). But soon they have a lead on where the Ark might be, and head for Celestis in the hopes of finding a bloodless method of stopping the Ori once and for all.

Unfortunately they have a slew of new problems -Ori motherships are approaching Earth with the intent to convert or destroy, a nasty IOA rep has created and loosed a very familiar enemy on the Odyssey, and Vala's malevolent daughter Adria has gained godlike power. Fortunately SG-1 has a powerful ally of their own.

And once again, there is time-twisting with "Continuum." SG-1 and General Jack O'Neill (Richard Dean Anderson) are watching the execution and extraction of Ba'al... but unfortunately, it's not the real Ba'al. The real Ba'al has time-traveled and altered the timeline, causing Teal'c (Christopher Judge), Vala (Claudia Black) and the Tok'ra to vanish, and resulting in Jack's death.

Unfortunately, this alternate timeline becomes more perilous after a year -Earth is being threatened by the supreme System Lord Ba'al, his queen Qetesh (in Vala's body) and his First Prime Teal'c. But when Qetesh and Ba'al clash over his past on Earth, the altered SG-1 must band together to find and destroy Ba'al's time machine, and somehow restore the timeline to what it once was.

"Stargate: The Ark of Truth" and "Stargate: Continuum" are basically intended to wrap up loose ends, and as such they're not quite as satisfying as the television show was. "Ark of Truth" sometimes feels rather rushed and has a somewhat out-of-the-blue solition, and "Continuum" may need multiple viewings to keep up with the time-bouncing plotline.

But as finales they're solid pieces of work -lots of action, space battles, mysterious artifacts, and a way bigger budget that a TV episode would ever have allowed. And they both have everything that you'd expect from "Stargate SG-1" -pop culture homages ("Star Wars"!), some recurring characters (Apophis!), and alien nasties with overwhelming power. There's even some subtle moral dilemmas about belief and fighting the Ori followers.

It also has excellent scripting: plot threads drawn from the TV series, witty dialogue ("That is, after all, why we've come. Why we had to endure all of that singing. Get rid of the last bad guy and then there's cake"), and some nice quiet moments, such as Teal'c talking with Tomin about their bloodstained pasts. And they manage to throw some interesting twists at the audience, such as a shocking revelation about the Ori.

And seeing the actors as their SG-1 characters is like putting on a comfortable old shoe. Amanda Tapping and Michael Shanks are suitably brilliant and courageous, and Ben Browder gets to shine especially in "Continuum" as a strong, slightly quirky soldier. Christopher Judge gets to shine in "Ark of Truth" as a powerful, wise warrior, and Black gets to be both funny and emotional.

And of course, Richard Dean Anderson utterly steals the show whenever he appears ("Hey, have you ever tried to find a bathroom in a pyramid?") and Tim Guinee has a good smallish role as Tomin.

It's a little sad to see the main storylines of the Stargate universe end, but "Stargate: The Ark of Truth" and "Stargate: Continuum" are well worth seeing. Nice finales.

I'll be the first to admit I wasn't looking forward to the straight to dvd stargate movies. While I enjoyed the show, I wasn't expecting much from them. But it turned out Stargate prospered with the bigger budget! The first, ark of truth is the conclusion to the ori story. Though it started slow, it really picked up, and turned into a monstrously entertaining movie. Though I wish it could have been a few episodes (or instead a full season), what they did was very good, and a good conclusion to the Ori story.

As to Continuum, I was suprised with how much fun it was. Given the time travel nature of the story, I thought the fact that the show brought back feelings from so many seasons was a great effect. They also brought back old characters, including Goul'd Lords, who I haven't seen in years. Though the story was full of holes (like most time travel pieces) it was very interesting. For those wondering the difference between this and the seperate releases, there are none. They just put the discs in one new case, so if you have them both, you don't need to buy it again.

Buy Stargate: The Ark of Truth/Stargate: Continuum (2009) Now

The ending of the "Stargate SG-1" TV show left some threads dangling -the last Goa'uld System Lord was still in hiding, and the Ori were still threatening the world.

Fortunately those threads are more or less tied up in the two direct-to-DVD movies that followed: "Stargate: The Ark of Truth" and "Stargate: Continuum." While they don't quite have the unique flavour of the TV series, these movies do bring back all the favorite characters (and some departed villains) in a double finale to its winding stories.

"The Ark of Truth" is an Ancient device that brainwashes people -and SG-1 is searching for it, where they run into Vala's ex-hubby Tomin (who ends up teaming up with them). But soon they have a lead on where the Ark might be, and head for Celestis in the hopes of finding a bloodless method of stopping the Ori once and for all.

Unfortunately they have a slew of new problems -Ori motherships are approaching Earth with the intent to convert or destroy, a nasty IOA rep has created and loosed a very familiar enemy on the Odyssey, and Vala's malevolent daughter Adria has gained godlike power. Fortunately SG-1 has a powerful ally of their own.

And once again, there is time-twisting with "Continuum." SG-1 and General Jack O'Neill (Richard Dean Anderson) are watching the execution and extraction of Ba'al... but unfortunately, it's not the real Ba'al. The real Ba'al has time-traveled and altered the timeline, causing Teal'c (Christopher Judge), Vala (Claudia Black) and the Tok'ra to vanish, and resulting in Jack's death.

Unfortunately, this alternate timeline becomes more perilous after a year -Earth is being threatened by the supreme System Lord Ba'al, his queen Qetesh (in Vala's body) and his First Prime Teal'c. But when Qetesh and Ba'al clash over his past on Earth, the altered SG-1 must band together to find and destroy Ba'al's time machine, and somehow restore the timeline to what it once was.

"Stargate: The Ark of Truth" and "Stargate: Continuum" are basically intended to wrap up loose ends, and as such they're not quite as satisfying as the television show was. "Ark of Truth" sometimes feels rather rushed and has a somewhat out-of-the-blue solition, and "Continuum" may need multiple viewings to keep up with the time-bouncing plotline.

But as finales they're solid pieces of work -lots of action, space battles, mysterious artifacts, and a way bigger budget that a TV episode would ever have allowed. And they both have everything that you'd expect from "Stargate SG-1" -pop culture homages ("Star Wars"!), some recurring characters (Apophis!), and alien nasties with overwhelming power. There's even some subtle moral dilemmas about belief and fighting the Ori followers.

It also has excellent scripting: plot threads drawn from the TV series, witty dialogue ("That is, after all, why we've come. Why we had to endure all of that singing. Get rid of the last bad guy and then there's cake"), and some nice quiet moments, such as Teal'c talking with Tomin about their bloodstained pasts. And they manage to throw some interesting twists at the audience, such as a shocking revelation about the Ori.

And seeing the actors as their SG-1 characters is like putting on a comfortable old shoe. Amanda Tapping and Michael Shanks are suitably brilliant and courageous, and Ben Browder gets to shine especially in "Continuum" as a strong, slightly quirky soldier. Christopher Judge gets to shine in "Ark of Truth" as a powerful, wise warrior, and Black gets to be both funny and emotional.

And of course, Richard Dean Anderson utterly steals the show whenever he appears ("Hey, have you ever tried to find a bathroom in a pyramid?") and Tim Guinee has a good smallish role as Tomin.

It's a little sad to see the main storylines of the Stargate universe end, but "Stargate: The Ark of Truth" and "Stargate: Continuum" are well worth seeing. Nice finales.

Read Best Reviews of Stargate: The Ark of Truth/Stargate: Continuum (2009) Here

This set comes as two separate blu-ray disc, one for each movie. They do not have any more extras than appear on the individual DVD sets. The transfer quality was excellent for "The Ark of Truth," a bit less so for "Continuum." However, even "Continuum" looked decent on my HDTV. Sound quality was good for both movies.

Let me say a word about the movies themselves. I loved "The Ark of Truth." I found it's storyline and ending deeply satisfying. It had an interesting plot, was visually stunning in blu-ray, gave a number of the actors nice scenes, and tied up all the loose ends and unanswered questions in a really nice way. Is there anything I disliked in the film? A few things. I would have shortened the long helicopter intro and cut out at least half of Judge's character walking, walking, and doing more walking. However, there's more a lot more right with the movie than wrong with it. Michael Shanks, in particular, has a remarkable scene when his character Daniel Jackson finally reaches his breaking point. His despair is appropriate given the circumstances he is in -jailed in another universe, abandoned by his ship, with one of the team thought dead, and tortured for no other reason than to make him suffer. His loss of hope, and how he finds the strength to move forward again, is all the more powerful because throughout the series, Daniel has always been tenacious and insanely optimistic. His crisis of faith is beautifully filmed and deeply moving. Shanks really brings it home, and it has become my favorite scene in the movie. All in all, I'd give "The Ark of Truth" more than 5 stars if I could.

"Continuum" is another matter. It is really hard to pull off a good time travel story. This does a fair job, has some nice moments, but on my first viewing, I felt it didn't quite pull it off, despite a wonderful scene where the survivors of SG1 meet the alternate universe Jack O'Neil. I also liked Michael Shank's scenes of finding a book written by his alternate self, and his attempt to encourage that other him by a long-distance phone call (I wished we'd seen the alternate him's reactions there). Shanks had some good lines, including "Are there any grown ups I can speak to?" to a Russian soldier. The actor, William Devine, who plays the US president is also excellent. My rating? I would say 3 and a half stars if seen by itself, and 4 stars if viewed after listening to the commentary track.

I need to say a word about the extras. They were disappointing to say the least. No deleted scenes. No bloopers. No alternate endings (although these were mentioned in the commentary tracks). "The Ark of Trust" had the worst commentary track I've ever heard. Really, really boring. They should NEVER have had the director of photography and director do the commentary. Perhaps they thought adding Christopher Judge would help. It didn't. All they did was talk about the camera lenses they used, the cost of the shots, etc. while Judge congratulated them on what a great job they had done. Hardly a word about the story, actors, or things that happened on the set. I kept thinking that sooner or later they HAD to talk about something more interesting...but there were only about 5-10 minutes worth of it that wound up worthwhile. The alternate track for "Continuum" proved to be the opposite, despite not involving any actors. In this case, the Director and author of the script provided a lively, fun, and insightful commentary, full of interesting anecdotes. It actually made the movie more interesting, so that when I watched it again, I realized "Continuum" was better than I'd felt the first time. The only other extra I enjoyed was the mini-summary/series review that you could run before "The Ark of Truth," which caught you up to date on what had happened up to that point. It was very well done and came out great on blu-ray.

I do not regret buying this set, although I'm glad I paid Amazon's discounted rate for it. Of the two, I really enjoyed the first movie more than the second, and may never watch any of the "extras" again. I really can't help thinking they could have at least given us a deleted scene or two and the alternate ending they nearly did for "The Ark of Truth." I don't see that it would have been that hard. Now days, every movie knows not to toss that footage out. I also would have liked a commentary by Richard Dean Anderson, Michael Shanks, and some of the other actors. As it is, the extras come across as really poor for something on blu-ray. Because of that, I'm giving it 4 stars.

Want Stargate: The Ark of Truth/Stargate: Continuum (2009) Discount?

As a major Stargate fan and owner of almost all episodes of the series, I was slightly disappointed with both of these titles. As regular episodes, I believe they were great but to set them out as separate movies really created expectations that they did not live up to. I was really looking forward to seeing Richard Dean Anderson in the Continuum but he may have been on screen for a total of 15 minutes. Continuum focused on Sam, Daniel and Cam mainly leaving the other characters as occasional images in the story. As a time travel story it was good but as with most stories using that tool it leaves you questioning how it could have happened that way. Ark of Truth overall was a better story and helped complete the series as it should have been done. Overall, both movies had great action, team work and continued the story lines where they ended from the TV series. I would recommend it for fans of the series but those of you who have never seen the series will probably be lost and not enjoy it nearly as much.

Save 32% Off