Un Ballo in Maschera (2013)

This production was a big success in Parma in 2010. The video and sound engineers needed all 6 performances of the run to piece together a perfect Ballo (they usually require 2-3 performances). Once the video and sound engineers were done they produced a Ballo too good to be true. I am ashamed to admit that I enjoyed it more than any Ballo I ever experienced in any form it's simply addicting.

This was Meli's debut as Riccardo (the Boston version was used). They cast him (at least in the first cast) with an Amelia he had to work hard to keep up with. Since body mikes were used as usual, it was possible to "correct" the imbalance so that Meli comes out with a Pavarotti sized voice, easily overshadowing his colleagues. So you get a Riccardo not only with a golden tone, elegant phrasing, passions well projected, style, acuti you also get a rock solid "di' tu se fedele" barcarolle with its low tessitura and the most perfect 12 note leap from high Ab to middle C. Really? Meli has such a powerful lower register? I don't think so, no lyric tenor ever had such a powerful lower register, but it sure sounds that way on this recording.

This is not just an esthetic issue but also an ethical one. Loudness is not a zero sum game in a live performance (attended inhouse). A louder voice doesn't necessarily win over a smaller one. The louder voice doesn't make a smaller voice smaller because you have the external reality with its parameters of sound as a frame of reference. But in a recording it is a zero sum game, because you can turn the volume up or down and anything is loud or not only relative to something else. So making one singer louder is at the expense of the other singers. The young soprano Kristin Lewis was making her debut as Amelia (as well as her house debut). Her articulation of Italian words and musical phrasing deteriorated in her more difficult parts (the latter acts) and she has almost no dramatic persona (she received some boos on opening night). Her biggest asset is the combination of her rich, enchanting timbre and the size of her voice she has a wide dynamic range and can shoot volleys of gorgeous sound. Turning the volume up on Meli at her expense robs her of her main asset. Same with Stoyanov as Renato the audience gives his "Eri tu" the biggest standing ovation of all principals in this production, but you wonder why. The engineering (relatively) robs him somewhat of one of his assets his power of delivery.

Elisabetta Fiorillo as Ulrica has a very impressive, booming low register the rest of her voice is completely in tatters. Serena Gamberoni (Meli's wife in real life) as Oscar is almost perfect (no trills, though). She is no feather-light-voiced Oscar her tone is full and impressive. She executes neatly the intricate acciacature, turns and staccatos in "Volta la terrea" and her "Saper vorreste" is incisive.

I was very impressed with Gianluigi Gelmetti's conducting. The opening immediately shows how he can make the rhythm dance. His rubati have an energy that comes not simply from propulsive thrust like in early Verdi, but from alertness and attention to the context. For example, at the end of act I scene I he accelerates: this is after Riccardo decides they should all go to Ulrica's house, and that it would be lots of fun. In that context the accelerando makes them sound very eager to go. He gives excellent support to the singers, the instruments blend well with the voices and the exemplary miking of the orchestra reveals wonderful attention to balance and detail.

Tiziano Mancini's superlative video direction turns a traditional, not-very-original staging into magic. The camera work manages well the difficult to shoot, semi-dark scenes. It's dynamic and very grand in a romantic way, with the fog, capes blowing in the wind and the grand tableaux vivants, like the one on the cover.

Is the job of the engineers to render a reflection of the live performance as accurate as possible, or to give the best version possible of it, to give the most pleasure to the home audience and make the product sell? With a major opera company issuing a Ring with a Siegfried who couldn't even be heard clearly inhouse, and another major company issuing performances with a lyric coloratura Diva doing (verismo) spinto parts despite a voice that has been shrinking, it's clear that sound engineers are expected to perform miracles.

What is the point of going through all the hassles and expense of attending a live performance when for a fraction of the price you can watch an improved version of it at home? Because it's fake. When it comes to sound engineering, less is more (the less you tamper with the sound the better the result).

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Pit And The Pendulum (1991)

After seen the remaster work done to Puppet Master and Subspecies, I was excited to see this and Castle Freak coming out on blu-ray. What I discovered instead were a couple new releases that had no work done to them. They're basically upconverted DVDs and if you already have the DVD, your blu-ray player will upconvert those and you'll get the same quality. There's nothing new on these releases that warrants a blu-ray purchase if you already have the DVDs.

How could this be "temporarily out of stock?"....this movie has never been released on bluray...Its available on dvd but not bluray...how about giving us a release date for the bluray?

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I really want to buy this movie on blu ray but it`s always out of stock.I love these full moon movies and I hope they get more in soon.

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Who Framed Roger Rabbit: 25th Anniversary Edition (Two-Disc Blu-ray/DVD Combo in DVD Packaging) (19

Filmmakers have been combining animation and live action since the days of silent film--but 1988's WHO FRAMED ROGER RABBIT not only bested everything done previously, it set a standard that is unlikely to be surpassed. Although it has been available on VHS and in a mediocre DVD release for quite a few years, the film finally gets the star treatment in this "Vista Series" double DVD release, which includes the film in both pan-and-scan and letterbox formats and an assortment of extras, many of which are quite interesting.

The concept and story are well known: cartoon characters are not drawings, but are living entities who work in the film industry, and when Maroon Cartoon star Roger Rabbit is accused of murdering Marvin Acme (Stubby Kaye), he turns to private detective Eddie Valiant (Bob Hoskins) for help. Trouble is, Eddie hates "Toons." After all, one of them offed his brother, and Eddie hasn't been sober since. The concept is a clever one, and the story could have gone in any number of directions--but ROGER RABBIT hops down a completely unexpected trail. Set in 1947 Los Angeles, the film uses classic "noir" elements (and references everything from THE MALTESE FALCON to CHINATOWN); it also makes considerable sly social commentary on racism, with the "Toons" performing in a Cotton Club-like nightclub, literally working for peanuts at the studios, and more or less confined to living in "Toontown," which might easily be read as social ghettoization. And all of these sidelights are interesting and entertaining. But the most attractive thing about ROGER RABBIT is that it is just plain fun to watch.

Part of that fun comes from the marvelous performances of Bob Hoskins, Christopher Lloyd (as the evil Judge Doom), and Joanna Cassidy (Valiant's sidekick Delores), who lead the live action cast. Another chunk of the fun is the way in which the film cameos a host of famous cartoon characters, ranging from Betty Boop to Bugs Bunny and the Warner Bro.s gang to Dumbo--and animation buffs will love the fact that Betty Boop and Bugs Bunny, to name but two, are voiced by the artists (Mae Questel and Mel Blanc) who created the character voices in the first place. But the big deal here is the extremely believable way in which the "Toons" fit into the real world. They rendered with astonishing detail and remarkable three dimensionality. It's just an amazing thing to watch.

The overall DVD package is a bit odd, for it offers less in the way of bonuses than one might expect. The first disk includes a pan-and-scan version of the film, three Roger Rabbit/Baby Herman shorts, a kid-friendly documentary, and a CD-ROM game; the second disk offers the letterbox film with extras that will appeal to more mature viewers, most particularly on-set shots and a nifty documentary called "Behind the Ears." The upshot is really a one-disk release that has been expanded to two by the trick of cramming both pan-and-scan and letterbox versions into a single package. That's annoying--but even so, this is easily the best release of this film to date. It at gives the rabbit some justice at last, and I give it five stars on that basis.

One of the great joys of movie-going is to see a concept, that on-the-face-of-it is so goofy and off-beat that it should never work, but, in the end, does work and works in spades! So it was for me with Who Framed Roger Rabbit. This Vista Series DVD brings the film to us with a crisp & clean picture, THX sound, and a beautifully packaged set of extras that include a very clever interactive menu, plus loads of goodies presented smartly, with humor and surprises.

Seeing the film again reminded me how impressed I was with the audacity and accomplishment of Bob Zemeckis and his collaborators on bringing off with care and intelligence, a sharp & funny film that plays to both children & adults. Who would have thunk it?

Taking a Chinatown-like story of early Los Angeles with some basis in fact (destroying the Red Line to make way for freeways) complete with murder & intrigue & marrying it to the screwy conceit that cartoon figures, aka Toons, actually lived and worked as live actors and inhabited a section of LA called Toontown is such a manifestly dopey idea that it would take enormous inspiration, intelligence and attention to detail to make it even nominally work. All of those qualities were present, as the extras demonstrate, in abundance here, and the result was movie magic.

Made prior to CGI coming into its own, the characters were brought to the screen brilliantly. As one of the animators pointed out, even early CGI was rejected because the film-makers wanted the characters to maintain their cartoon look, only brought into 3 dimensions. The hows and whys of what they did to achieve this magic are worth a look.

Anchored by the great casting of Bob Hoskins, Christopher Lloyd and Joanna Cassidy and Charles Fleischer, brilliant technical work, and a clever story strung through with great good humor, dialogue and jokes for kids and adults, this film has some cherished, favorite lines, from Baby Herman's "That's my problem, I've got a 50 year-old lust, and a 3 year-old dinky.", to Jessica Rabbit's: "I'm not bad, I'm just drawn that way.", to Eddie on the wayward bullets "Eh, Dum Dums!" This is great stuff.

"Toons, gets em every time!" Some kind of classic here, and well worth your while.

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I have loved this film ever since it was first made, but this DVD really does not do it justice.

Despite being called a 'special edition', it contains not a single extra feature. The widescreen format is not anamorphic, which means that the MPEG aspect ratio is 4:3 and the picture resolution of the viewable area is lower than it should be. The quality of the film print used is poor and contains scratches and white speckling. The film has also had some bits edited out, so I suppose you could say it contains a negative number of special features: i.e. some normal features taken out. This is a shocking misuse of the format because the DVD standard contains the possibility for having optional scenes which can be shielded from young viewers, so why wasn't this used?

I doubt it will be long before the next version comes out, the 'collector's special edition' or whatever they will call it, so my advice would be to wait for that.

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I was 10 when "Who Framed Roger Rabbit?" came out and it is just as much fun to watch now, maybe funnier because I missed some of the humor back then. Roger's a riot and his wife, Jessica Rabbit ("I'm not bad, I'm just drawn that way"), is truly a toon vixen. Bob Hoskin's Eddie Valiant is sent to find out the truth when the owner of Toon Town is murdered after playing patty-cake (literally) with Jessica. Everyone assumes a jealous Roger did it and that washed-up detective Eddie can't hack it anymore. There is lots of subtle humor, like when Eddie asks for a scotch on the rocks in a 'toon bar and instead of ice he gets actual rocks. Eddie seriously hates Toon Town because his brother had a piano dropped on his head, but he eventually becomes pals with Roger, overcomes his hatred of Toon Town and clears Roger's name. Christopher Lloyd's Judge Doom is perfectly creepy and his squad of weasels are funny as they try to stop Eddie and Roger from discovering the truth.



The interaction between the live actors and the toons is seamless, probably why the movie won four Oscars. The behind the scenes features and commentaries are great, the entire 2-disc set is incredibly well-thought out and packaged, making it a must-have for the fan.

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This is one of my favorite movies ever; there's not a moment that I don't believe that toons and humans are interacting...but this version is a censored version of the film. They cut parts without the consent of the director, and for this reason, I beg you not to buy this version. Wait until they correct the bowdlerization of this masterpiece

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The Ipcress File

Magnificently directed by Sidney Furie, this terrific thriller has one of Michael Caine's most memorable performances, and a sensational score by John Barry.

Caine's Harry Palmer is a marvelous character...an anti-Bond...a guy in a dull job who suddenly finds himself in extraordinary circumstances. He has his quirks...he goes against authority, has his sharp wit, his gourmet food, and "that look" behind the horn rimmed glasses.

The plot revolves around a "brain drain" of scientists in England, and has spies, the CIA, and all the usual suspects...which in this case are a little harder to predict.

With brilliant writing (Bill Canaway/James Doran), superb cinematography (Otto Heller), and some good character actors (I love Alice the office lady...an anti-Ms. Moneypenny !) this is a film that will keep you interested for many viewings...suspenseful, amusing, and you'll just be wild about Harry.

It should be noted that this blu-ray is not in 4:3 but formatted for 16:9 televisions. The aspect ratio for this movie is 2.35:1. A lot of people are misled on this point because Amazon.co.uk incorrectly listed it as 1.33:1. The reviewers on the uk site correctly points out the error. If you visit blu-ray.com there is a review of the movie along with screen shots that show its correct aspect ratio. I hope this was helpful. The "The Ipcress File" is one good movie. It should be noted that this is a region free disc meaning it will play on American NTSC players and televisions.

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Len Deighton's first novel presents the micro-detail workings of a nameless espionage agent's workaday world. The protagonist is as far removed from the glamour world of James Bond as you can get -in fact, it's the polar opposite. The film IS a departure from Deighton's novel but what is here works well.

The entire cast is very good. The story moves along at a leisurely but good pace. The cinematography takes on a persona of its own that bears well under repeated viewing. John Barry's score is one of his best and quite different in tone from his Bond scores. Production values are top notch. And it's quite surprising when you realize this film's producer is Harry Saltzman -one of the co-producers of the Bond series! In fact, Saltzman brought along some of the Bond crew to work on "The Ipcress File".

This is Michael Caine's first starring role in film. Saltzman tapped Caine after seeing his excellent performance in "Zulu". Caine does a yeoman job of portraying the novel's spy with no name as Harry Palmer, complete with deadpan, wry humor.

On DVD, the film is presented in its intended original aspect ratio of 2.35:1. The image looks quite good. The sound is the original clear mono. There is commentary by director Sidney J. Furie and editor Peter Hunt. Anchor Bay is to be congratulated for making this film available on disc. Which brings us to a sore subject

"The Ipcress File" is currently out of print in the US. The film is slated to be screened in Washington, DC. Maybe there's some renewed interest in the film which might lead to a remastered edition on DVD? Who knows who owns the copyright? ITM, try vising your local library or rental outlet to see this film.

IMHO, it's an excellent film -filled with believable characters and situations and enough plot twists to keep you wondering what the heck's going on. A keeper.

[2012: Now available on a region-free Blu-ray import.]

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THE IPCRESS FILE does for espionage films what BULLITT did for police films; it provides what seems to be a realistic depiction of the trade as opposed to Hollywood glamourization. And it succeeds marvelously.

Caine turns in an excellent performance as Harry Palmer, a secret agent investigating the "brain drain" of leading government physicists who have been kidnapped only to reappear with their scientific knowledge erased. In additon to providing the audience with an alternative to James Bond, dealing daily with paperwork and beaurocracy and completely devoid of gadgets, the film gives the viewer real insight into counter-espionage techniques, portraying Plamer as more of a detective than a playboy (did James Bond ever take time away from the casino to locate Blofeld by tracking down the location of his most frequently issued parking tickets?).

I very much enjoy the direction of this film, which made impressive use of the widescreen format. Low, angled shots add to the drama immensely. My one complaint is that, while performances are all top-notch, the plot fizzles upon resolution and it seems as if apprehension of the key villain is as unimportant as reversing the "brain drain." The entire experience of THE IPCRESS FILE is good enough, however, that this does little to hamper the viewer's enjoyment of this film.

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"Let's see," says Major Dalby, head of the Counter-Intelligence Bureau, as he reads Sergeant Harry Palmer's personnel file. "'Insubordinate. Insolent. A trickster. Perhaps with criminal tendencies.' Well, that last one may just be put to good use."

Harry Palmer (Michael Caine) has been sent to Dalby (Nigel Green) by Col. H. L. Ross (Guy Doleman) of Britain's Ministry of Defense. Scientists have gone missing, and the few who have shown up later seem to have been brain washed. They are no longer useful. Dalby's unit is charged with finding out what's going on. And Harry Palmer, like it or not, who loves to cook and loves the birds, who wears glasses, who is not impressed with authority, who can be a bit unreliable when he chooses to be, and who actually is a pretty good spy, is assigned to help break the case. Eventually he does, but not without a lot of pain and a fair amount of violence. Palmer can take it, but he can dish it out as well. He also has a shrewd, analytical mind. He's willing to gamble and sometimes he's off the mark. And all the while he has to deal with the bullying, condescending Dalby, "a passed-over major," as well as Col. Ross, who drips condescension like an ice cube on a hot day. Harry Palmer doesn't have it easy.

I think this is one of the better espionage movies made. It's not a spoof, like the Bond movies. Harry Palmer, based on the Len Deighton character (to whom Deighton never gave a name), as played by Caine is immensely likable because he takes the measure of the stuffed shirts and is amused by their pretensions. The character also works because as the story proceeds you realize that Palmer knows his job. The two secondary actors, Green and Doleman, bring a lot of depth to their roles and a lot of interest to the movie. Their attitudes are so imperviously superior it would be amusing except that they both wield quite a bit of power.

This is a movie that I can watch many times and still enjoy for its style and story-telling prowess. Furie throws in some directorial flourishes common then that now seem a bit dated, but that's a minor quibble for a well made and well acted movie. The DVD transfer is just fine.

The Lake House (2006)

If you enjoy love stories, then you should delight as much in this modern day fairy tale as my wife and I did. Sandra Bullock (one of my favorite actresses) as Dr. Kate Forster and Keanu Reeves as Alex Wyler complement each other extremely well and manage to develop a tangible chemistry despite the unique nature of their "long distance" (in time) relationship. However, you have to be prepared to suspend your usual conception of the relationship of time and place and accept unconditionally the truly unusual and scientifically fictional aspects of the storyline. This film is about emotions, interpersonal relationships and personal discovery, and needs to be engaged with your heart, not your mind.

CAUTION: it was obvious from the comments of other moviegoers who watched the film with us that our enthusiasm was not universally shared. Perhaps understandably given several of Sandra's Bullock's previous films, some people obviously expected to see a typical romantic comedy, which this most definitely is not despite some truly funny sequences. Others seemed to be unable to let go of their attempt to rationally analyze the techniques which the story utilized to further the relationship between Kate and Alex; this trait led to their inability simply to accept the facts as the writer and producer chose to present them in furtherance of the story and thus distracted from the essence of the film, which is the development of the central characters' relationship and the mystery of how the story will conclude. And finally, a few seemed bewildered that anyone would find such a ridiculous story appealing and frustrated that they had wasted almost two hours of their time watching it.

As the film begins, Kate and her female dog Jack are ending their tenancy at an architecturally unique LAKE HOUSE and moving into a modern new apartment in downtown Chicago near the hospital where she is on staff. She leaves a note in the mailbox for the next tenant, which Alex finds when he moves into the house. Thus, very early in the film, the four main actors in this drama have already been introduced Kate, Alex, Jack, and THE LAKE HOUSE itself. However, the key plot twist of what briefly appears a rather conventional and undoubtedly otherwise pedestrian romance (which would simply be a showcase for the stars) is introduced. It is a concept familiar to science fiction fans but seldom used in other genres; specifically time shifting together with some aspects of parallel universes. Since what has happened is incidental to the story and never explained, it is not clear at any particular point in the story what rules will apply to the situations in which the characters find themselves. (N.B. This film should definitely not be included in the genre of science fiction, it involves neither time travel or futurism.)

However, when Alex replies to Kate's note and a correspondence ensues, their initial misunderstandings soon turn to disbelief when she claims to be living in 2006 and he is in 2004. What! How could she move out and he then move in? Despite their incredulity, they eventually both become convinced that their lives really have been linked through some sort of time warp. Of course, since this is a love story they then both become increasingly attracted to each other (Remember, you can't expect to understand how the intermediary device of the magic mailbox operates, just enjoy the flag waving which results.) The story is incredibly cleverly constructed, with several threads gradually coming together and increasingly causing their lives to become intertwined. THE LAKE HOUSE, a memorable edifice built on stilts and reached by a walkway over the water is reminiscent of Phillip Johnson's signature Glass House. It not only unites Alex and Kate but plays a crucial role in Alex's family history and his strained relationship with his father, the noted architect Simon Wyler (Christopher Plummer).

The enjoyment of the film is in fact heightened by its leisurely pace, the cast (and the supporting roles are uniformly well acted) has time to develop the story and let us get to know Kate and Alex as they get to know each other; thus we also experience their frustration that thyey may have to accept the fact that they will be resigned to living separate lives. The most difficult aspect of the film for me to follow was the fact that the sequence of the scenes as presented to the moviegoer was not always immediately clear. Not only are Alex and Kate simultaneously living in different years, but their individual experiences are not presented in chronological order. There are frequent flashbacks and the jumps forward to their individual present day selves, interspersed with one chance meeting of which only Alex is aware. Remember, concentrate on their story not on trying to figure out how it is occurring. One incredibly deft touch is the use of a copy of Jane Austen's PERSUASION as both a very important point of contact in their relationship and also with the story as a metaphor for their situation.

In conclusion, if you enjoy fantasy, then you should enjoy this unconventional love story. In addition, you also get as a bonus to try to figure out how an appealing dog such as Jack could somehow live with both Kate and Alex and maybe you will even receive a few insights about architecture. Just remember to pay attention to details, because at various times during the film events occur whose complete relevance only becomes clear much later. Interestingly enough, if you do pick up these clues, while they foreshadow some of the later events (in the sequence in which the movie unfolds), they in no way make the eventual outcome predictable and thus do not spoil the story. Fun, interesting, well acted, emotionally satisfying and unpredictable enough to keep your interest certainly a more attractive set of attributes than most of today's film fare.

Tucker Andersen

"The Lake House" is a rare gem, the kind of film that Hollywood hasn't made for decades, and has more in common with the b&w classics and some foreign films (like the Korean "Il Mare" this one was based on) than any contemporary "date film." It is the well written script, and the mature and sensitive performances by its 2 leads that set it apart, as well as the many memorable, magical moments: The tree, the dance, the spray-painted inscription on the wall, to name a few. Keanu Reeves and Sandra Bullock are superb as Alex and Kate, who try to conquer time and space with their love.

I have no problem with time warps, other dimensions, the presence of angels, and that the world just might be a cosmic soup of whirling particles. Seeing is not believing, because we see through a glass darkly, and anything might be possible, even the premise of this plot, implausible as it might be. Director Alejandro Agresti deftly manages to make the complexities of the story flow, and the supporting cast is excellent, including Christopher Plummer (as Alex's famed architect father), Ebon Moss-Bacharach (Alex's brother), Willele von Ammelrooy (Kate's mother) and Shohreh Aghdashloo (Kate's workplace friend). And then there is Jack, a lovable mutt that is shared between time spaces.

I cannot think of a living actor that has had a more diverse filmography than Keanu Reeves, and "The Lake House" is by far his finest performance, in its depth, and naturalness. This is a man who looks so comfortable in his skin, in being who he is, that he adds a dimension of reality to the character of Alex. Sandra Bullock is also excellent as Kate, and both actors exude super star wattage power, and have marvelous screen chemistry with each other.

Watch this film with an open mind and a soft heart, and it will delight you. I wept through much of it, enjoyed every minute, and it is a film I will never tire of seeing.

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A dozen years after "Speed" ... Reeves and Bullock reunite as two destined single professionals who meet through a lake house they both lived at. Turns out both are living in the same place but two years apart and exchange letters through a magical mailbox. An American adaptation of the South Korean film "Ill Mare" from 1999, the Lake House follows the mysterious events that bring a lonely female doctor (Kate) in Chicago with a frustrated architect (Alex)in the country.

THEME: NEVER SETTLE! Only marry your true love because time is irrelevant when your twin soul is out there and you know it! The truth is ... you can physically leave your twin soul ... but they will always be a part of you.

The story begins when Kate leaves a letter in the mailbox for the new tenant to her former lake house home before departing for Chicago. When she receives a reply from Alex he claims that no one has lived in the Lake House for years. The two begin corresponding only to discover that they are living two years apart, Alex in 2004 and Kate in 2006. The movie progresses and the two eventually decide to meet but its two weeks for Kate and two years for Alex. It's a heartbreaker because if time is not on your side it is not on your side.

A series of coincidences bring keep bringing Kate and Alex together. The trick is that Kate wasn't always so open and had many missed moments with Alex. Over time they begin to share more about one another and decide to meet. Alex fails to show up at Ill Mare in Chicago and Kate forbids him to write to her again. That is until she almost marries her nice but not well suited match Morgan... and rushes to save her romance with Alex. The signs were all there... they even shared the same dog two years apart! Near misses, close encounters, and signposts to one another ... in the end it's worth the wait! It's a very Happy Valentine's Day. Unless you know that you could give your whole heart to that person despite another more suitable man or woman nearby ... don't sell out! Stay available for the one who truly makes you happy.

One to watch ... and best with the "two of you" for all the couples who are together and happy and need a reminder of what they have.

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*Note* Contains some mild spoilers

"The Lake House", starring long time friends Keanu Reeves and Sandra Bullock working together again for the first time since "Speed" (1994) is a story of semi-magical connection between a man and a woman which spans the width of two years. You see, Kate (Bullock) and Alex (Reeves) have both lived in the same gorgeous house made entirely of glass. Kate is moving out and leaves a letter in the mailbox wishing the next tenant good luck and enjoyment in the house, as well as a forwarding address for her mail. Through movie magic (and possibly fate), Alex who just purchased the house receives this letter and the two begin to correspond.

Confused at first, they soon realize they are living two years apart, Alex in 2004 and Kate in 2006. While an odd set of circumstances (and theoretically impossible), they continue to write. Both are failures when it comes to relationships and they find the letters a great chance to talk to someone of the opposite sex and not have to face rejection. Soon they fall in love but are not sure how they could ever meet to make a relationship work because of the time issues. They share a dog (too complicated to explain here) and their hearts. Attempts to meet do not work and they begin to lose hope. Can they find a way to be together? Or will this simply be another failed relationship to add to their lists?

Despite what people have been saying, I thoroughly enjoyed "The Lake House." Complex, sci-fi plot aside, it comes down to a story about how two peoples lives change when they allow themselves to connect. It's honest. Its cinematography is gorgeous and the performances are good. Keanu and Sandra have an amazing on-screen chemistry as we have witnessed before (in Speed), but here it is more mature. Sandra delivers a performance closer to her character in "Crash" (2005) and less like that of "Miss Congeniality." Kate is a charming but self-conscious and lonely woman. Keanu gives what I believe is his best performance in a movie yet! His famous slightly "wooden" acting style is perfect for the character of lonely architect Alex, and he can really become someone quite believable and open in the moments when his character is happy. While the two do not share much direct on-screen time, that serves to make the moments they do share it SO desirable. The viewer longs to see Alex and Kate meet face to face and for this relationship to work out for them. Especially delightful, were the voiceovers (of the letter reading and writing) which filled the movie as other things happened. It was a clever way to keep them from always sitting at a desk and brightened the tone of the film overall.

Forget thinking about how all the time travel works, that's not the important part. The important point of this movie is the relationship between these two people. The magic of the time transcending mailbox only serves to bring them together, but so do many other things in their lives (as we come to find out). It gives the viewer hope that maybe they are destined for love like this maybe not with the assistance of a post office receptacle but fated in some way to meet that one person for them.

"The Lake House" is a touching film, free of all the hustle and bustle of modern American cinema and culture in general. There's no emailing, just good old-fashioned letter writing. It's a throwback to the real movies before we forgot how to make them before we forgot that a movie is about the people in it and not about sex, drugs and rock and roll. "The Lake House" is a beautiful film and you should really go see it. Don't go in expecting it to all make sense, but go in with an open heart and open eyes and let it win you over. Critics have gone to theatres with their arms crossed and their minds made up already. Take a lesson from Alex and Kate, open your heart and see what happens.

Ebert said he enjoyed the film quite a lot despite it's complicating plot and Roeper called it one of his favorite movies of 2006! Ebert and Roeper (two of the most respected movie critics in the biz) can't both be wrong!

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"The Lake House" is a romance in letters which is "kind of a long distance relationship" between two people that live it the parallel worlds separated by a span of two years and somehow connected by a time-traveling mailbox. If anything, this movie connected once again Sandra Bullock as a physician who moves out of her lakeside house to live and work in Chicago and Keanu Reeves, an architect, who lives in the house right now (the concept of "right now" plays an important role in the movie). Two begin to communicate via letters left in the mailbox and suddenly realize that they are as far away from each other as 2004 and 2006 are. If you watch the movie in the right mood with the right person, you could think of it as a sweet, moving picture about longing, about getting close to someone whom you may never see but not be able to get them out of your mind, and who become to you more real than anything you've ever known. You will see the gentle and intimate site of Chicago that you did not know even existed. You will be moved and entertained...If you are not in the right mood, you'd begin looking for the logical faults and plentiful holes in the plot and you would say scornfully, "another chick flick with Keanu as a romantic hero" so, it is up to you.

6.5/10

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Miami Rhapsody (2011)

Miami Rhapsody stars Sarah Jessica Parker as Gwynn Marcus, one of several sibs of a prominent, wealthy, Jewish and dysfunctional family in Miami. Though things seem okay on the outside, tangled relationship problems threaten every quarter of the family. Her brother Jordan (Kevin Pollack) cheats on his pregnant wife with a high-strung model (Naomi Campbell); Her sister's (Carla Gugino) new husband is a pro-football player plagued by career insecurities and terminal cheapness; both of her parents (Mia Farrow and Paul Mazursky) cheat on each other; and she remains unhappy if only because she's the sort of person who's so concerned about happiness that she must strangle the happiness out of wherever it pops up in her life. Though she's engaged, Gwynn soon finds herself attracted to the male nurse (Antonio Banderas) who cares for the family's stroke-ridden grandmother.

"Rhapsody" is a lot like an overlong episode of "Sex and the City" without the neat closure of that show's half-hour snippets or the materialism or communal honesty of that show's leads. Gwynn obsesses over Miami and sex, noting that both are extremely popular despite the inherent messiness of either. I had never seen "SatC" when catching this flick back in '95. Instead I recognized the flick as more of a parody of Woody Allen movies the sort of rambling flick centered around a city (not NYC this time) and the hang-ups of those who endure it. The cinematography, Gwynn's neuroses (the film opens with Gwynn lamenting to a therapist), casting of Mia Farrow and even the opening credits hint at one of those small Woody Allen flicks that breezes through town without warning. "Rhapsody" works mostly on its stars' ernestness but also depends on some familiarity with that sort of Woody-ish kind of film. I doubt anybody who's never seen an Allen film will find this film more than amusing. Despite its dark take on marriage and relationships, I eventually married the girl I took to see it.

I had no idea that a lady NOT from Texas (and I LOVE my lady friends from Texas) could speak forever without actually taking a breath! :D This had me laughing so hard because SJJ's character was soooooooooo serious and apprehensive, AT's character was so disarmingly romantic and sincerely likeable, and her parents actually honestly shared their experiences candidly. Mia Farrow is light as a feather, as usual, with depths I've only seen in women who truly love their family, seemingly, effortlessly being there for whatever is needed. WONDERFUL film! This became a favorite the first time I saw it and watched SJJ spinning over the dance crowd! :D:D:D

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WATCHING THIS FILM MAKES YOU REFLECT ON YOUR OWN LIFE!! There is nothing make belief about it. It realy shakes you up about what people go through and what they feel about life and how they percieve it! Its probably true that most of the time we follow our parents life style...maybe not all the way...but they definately affect our way of thinking! And some people are able to change and make it thru the obstacles and some people are just not meant to be!! You should also check out the film PLAYING BY HEART with angelina jolie, shawn conneri and alot of other famous actors.! That too was a wake up call to how certain people find it easy to adapt and others are afraid of change while others fight for what the truley feel in their heart!

Read Best Reviews of Miami Rhapsody (2011) Here

This is one of those movies you either hate or love at first sight; certainly it has an Allenesque feel to it (It may not be a mere coincidence that Mia Farrow is one of it stars, doing a marvelous send-up of the kind of characters she used to play for Woody, from Hannah to [more closely] Alice Tate), but there's so much more to it than that!

Sarah Jessica Parker is the link in the story, but not necessarily the main knot. Take Antonio Banderas's turn parodying himself and the "suave latino lover" typecasts, or Carla Gugino's bubbly charm. Of course, good things always may come hand-in-hand with lackluster spots... one of the biggest here? Naomi Campbell sitting pretty and saying her lines with as much enthusiasm as a laptop computer with a british accent. She is typecast alrigtht, but instead of playing with the possibilities like Banderas did, she just walks by, remarkably far from fantastic.

Now that brings another contrast, for Gil Bellows' performance as Matt, the understated and understanding fiance is nothing short of great. His smile can lit up a room (common knowledge) and yet when he has to unburden his anger and pain he does it in a way that is quiet and convincing. No high drama, no storming through doors. His character is a man in love but pushed too hard by his beloved (Parker) so his empathy is believable to a fault. His is one of the most delightful moments of the film, including the possibility of salvage at the closing. Definitely not a masterpiece, but a good, entertaining and also aching film that is in no way forgettable after all.

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This is one of those movies that is funny, cute, with good acting and just overall good. Before Sarah Jessica's Sex and the City Days and Antonio Banderas "hotness" days, and of course Mia Farrow is also a great comedian and actress. Even Jeremy Piven (before Entourage) is in the picture and is just a funny movie. Highly recommend it.

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HIGH TIME (1960)

Fantastic film despite the naysayers....you can't go wrong with the Bingster....he does look a little old in this film, but his voice is still right on the money.... Many have tried to compare this to Back to School but there is no comparison.... As it was made in 1960, you cannot really compare it to films made today....but it is a wonderful film to watch even if it is highly improbable.... Der Bingle goes to college at 51 years old and easily becomes one of the guys, falls in love and climbs to the top of a 75 ft. high pile of wood....sounds like when I went to college.... The video is very good given the available print, and the audio is excellent....very enjoyable film....get it....

I had seen a long time ago on tv and loved it. Was very happy to be able to get it. Bing goes back to college. It shows all four years and friends he meets.

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This is one that I have been waiting on for a long time so when I saw it I made sure I snatched it up as quick as I could.There was only 3000 copies made so I made sure I got this one since I have liked this movie ever since I saw it on cable a long time ago.Its also one of the early Blake Edwards movies and it really is a delightful movie,made later as Back To School with Rodney Dangerfield but I prefer it over the remake.

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This is a very entertaining movie. Bing Crosby's personality shines through and the story has lots of excitement. It lets you experience a simpler time for a couple of hours.

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One of my all-time top 10 Bing Crosby movies. What more could you ask for great comedy, Bing singing, and all around good fun set in a college in 1960.

Of course it would be a Bing Crosby movie with out Bing signing. He introduces the song "The Second Time Around."

A great all around movie that everyone is sure to enjoy. Hard to believe it has has been 52 years since it was introduced

An American Werewolf in London (Full Moon Edition) (1981)

1981 was The Year of the Werewolves...the furry fiends leaped onto movie screens in three major films: "The Howling," "Wolfen," and the classic of the genre, "An American Werewolf in London." There has never been a greater werewolf film, there has never been a better transformation scene, and few horror movies can match the entertaining mixture of humor and scares that writer/direction John Landis ("Animal House," "The Blues Brothers") achieved here.

Although there had been humor in horror films before this movie, "An American Werewolf in London" showed once and for all that having comedy in a horror film didn't mean that the film would lose out in the scare department. Landis makes it clear that the film is NOT a comedy -the horror scenes are carried with dead-seriousness and shocking impact -but there is so much quirky humor surrounding these scenes that the film becomes incredibly likable and buoyant. Most of the laughs come from seeing the old movie werewolf premise dropped into the modern day and watching the characters try to deal with it.

Actors Griffin Dunne and David Naughton, neither of whom had been in a movie before, create a wonderful 'ordinary guy' feeling to their characters of two young American boys backpacking through Europe. In rural England, they have a nasty encounter with a legendary monster, and Naughton faces the consequences of being bitten when he returns to London and takes up living with a pretty nurse (Jenny Agutter).

The transformation scene is justly famous and a milestone in visual effects. Make-up wizard Rick Baker lets the viewers watch a real-time twisting of a human body into a wolf shape: limbs stretch, snouts pop, hair grows, the body contorts...it's amazing to watch. (And on DVD, you can watch it over and over and over again). Even computer graphics can't achieve an effect as startling as this one.

This DVD offers some nice extras. The image is good, and the 5.1 Surround Sound is decent (although there's not a lot of back speaker sound). Actors Naughton and Dunne do feature commentary on the film, and provide some interesting information and sound as if they were having a great time reliving the experience. I wish that Landis had been on the commentary as well, but you can hear his thoughts on the film in an 18-minute interview. Landis is an absolute hoot to listen to; the guy is as funny as his movie, and he absolutely bursts with ideas and observations. To go along with the Landis interview is an 11-minute interview with make-up maestro Rick Baker. He provides a fascinating look at crafting what he calls "the coolest werewolf film ever made." Also included is a vintage featurette on the making of the film, although it's only about five minutes long (but you get more of wise-cracking John Landis), ten minutes of archival footage of Baker making a cast of David Naughton's hand, and an assortment of storyboards, outtakes, and production photos.

"An American Werewolf in London" is a major turning point in horror films and visual effects -and even over twenty years later, it is still one of the most entertaining movies of its decade. It hasn't aged at all, and this DVD lets you experience it the way it should be seen (and in the company of wild-man John Landis!)

An American Werewolf in London is probably the best Werewolf flick since Lon Chaney Jr originally transformed under the full moon. Sure, the film is almost 30 years old, but with the new high def transfer it's hard to tell.

As an avid DVD buyer my transition to the Blu-ray media has been a little slow to say the least. I'm generally only buying new titles and am very stubborn when it comes to double dipping on titles I already own. Some companies take the cheap route and just slap an upscaled transfer onto a Blu-ray in order to make some fast cash. This however, is completely worth re buying.

I'll be honest, the first time I saw this film was when it was originally released on DVD back in the late 90's . I instantly fell in love with the movie. Everything about it was perfect, the humor, the scares, the sfx, the amazing soundtrack. It's very rare to find a movie that so perfectly combines horror and comedy, a film with characters you truly care for. This is a movie that sticks with you, one of the better horror comedies, one of the best werewolf films.

The transfer is great, crystal clear. It's as if it was filmed a few years ago. The audio has great as well, the film has never looked or sounded this good.

The extras for the most part were transfered over from the original 2001 DVD, but the best extra comes in the form of a feature length documentary called "Beware the Moon." The documentary covers everything from conception, to filming, to the somewhat negative reception it got when it was originally released.

It's a pity more movies don't get the kind of treatment.

Buy this disc immediately!

Buy An American Werewolf in London (Full Moon Edition) (1981) Now

This is one of the few movies that have consistently given me nightmares since I was a child. It is at least a decade ahead of its time. Most of the negative criticisms that I have read use the word "uneven" a lot. Even Roger Ebert, whom I admire, claimed that the humor and the horror were an uneasy mix. This was years before he gave the movie Scream a positive review. Now I LIKE the movie Scream, but there is no way that one can claim that it gets the balance right whereas Werewolf gets it wrong. Scream simply benefits from occurring in the cynical nineties Werewolf suffers from being avant guard. .

The new DVD has a few good extras on it especially a new interview with Landis. Even after all these years, the film still holds up. Unlike most films, I see more things in it the more I look. What, for instance, is up with the townsfolk of East Proctor and what is their relationship with the original werewolf? My guess they brought it on themselves somehow. Maybe one of their own ran over a gypsy and was cursed. Instead of killing the bloke, they all decide to hide beneath the pentangle in The Slaughtered Lamb every full moon.

I am recently returned from England and this movie is listed in Fodor's as one of the films that best showcases London. I heartily agree. I visited the infamous tube stop at Tottenham Court Road and it still looks much the same as when the David made his kill there. And as I walked, alone in the countryside, beneath the light of the full moon, I had to ask myself, "Am I crazy?" Fortunately, I made it to the pub. There I waited, beneath the pentangle, for my friends to walk me home.

Read Best Reviews of An American Werewolf in London (Full Moon Edition) (1981) Here

With all due respect to some of the other reviewers, they are obviously not writing about the Full Moon Edition BD, which was issued in 2009. I'm writing about this specific BD version.

I also own the HD-DVD version and it is quite good. In fact, several of the extras that are on this BD issue were also on the HD-DVD version. But with the BD you also get an additional interview with Rick Baker as he talks about his experiences from the making of the movie, plus a documentary titled "Beware the Moon". This latter feature is worth the price of the BD by itself.

So, how's the quality of the transfer? Pretty darned good, I'd say. Certainly the best that's ever been available. It is noticeably better than the HD-DVD transfer and the sound has either been remixed or improved in some way. The DTS 5.1 sound is perhaps not as good as some films, but it's a lot better than it was on the HD-DVD or standard DVD.

As for the film itself...what can I say? This continues to be one heck of a ride for the viewer. Everytime I mention this film to someone, they describe an experience they had when they first viewed it. (When I received this BD edition from Amazon, I showed it to one of my younger co-workers. Without any prompting he said, "I couldn't sleep for two weeks after I saw that on TV.")

What it will probably boil down to is, should you go ahead and buy this Full Moon Edition BD to replace your old HD-DVD or DVD? Heck, yeah! What are you waiting for? It's worth every penny.

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That's the way this film was advertised when it came out in 1981, in the classic Universal monster sense "a monster movie." As a child of divorce, I had a weekend Dad that would take my sister and me to any movie regardless of rating (well, within limits) and this one scared us silly. I remember sitting in the theater and watching the transformation (having seen Lon Chaney Jr.'s transformation in "The Wolf Man" I was familiar with the lineage of the genre and the example this film had to live up to... having seen "The Howling" later (not much later, as the films nearly competed with each other theatrically) I was a huge fan of Rob Bottin and his mentor, Rick Baker (not to mention the late, great Dick Smith and the master of splatter, Tom Savini), I was just glued to the screen during one of the coolest effects of all time, just awed by what was happening, and just freaked at the believability of it all when compared to the stop-motion transformation of the Chaney makeup) not to mention the scene with David Naughton ("be a Pepper! Drink Dr. Pepper!) and Jenny Agutter in bed (not to mention the shower)... yowza! (Well, I was 11).

The only thing that's ever bugged me about this film is the lack of what's supposed to be a supremely gory scene that Landis cut out because it overwhelmed the scene that came after it (supposedly, audiences were so grossed out and shocked that they babbled through the entire dialogue scene that followed David waking up in the wolf's pen at the zoo): the scene was the expanded murders of the bums by the dock, and I don't think it makes it to this new DVD version of the film (which is a bummer, because the expanded gore in Verhoven's Robocop (Criterion edition) actually plays better than the MPAA approved version).

In any case, this is a truly great "monster movie" in every sense of the word... it's gross, funny, sexy, exploitative in many ways (the book "Splatter Movies" calls it gore porn), truly a Landis film by dint of it's "in" jokes and orgy of automotive mayhem, and it offers great acting and casting (even in small roles like the Pakistani shift worker at the hospital and the punks on the London Underground). Just an all-around fun movie, with truly amazing, and Oscar-winning effects (still looking awesome and believable... nothing digital comes close!! I'll say it again: digital just ain't there yet... the transformation looks bone crunching, painful, horrific, and stretches the imagination in more ways than one). Bottom line, I've waited for this damn DVD forever... the first edition DVD was slop and went out of print so fast, I was lucky to find a video store copy to rent. No extras on that one... but this one is the one to own.

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Moonstruck (1987)

When MGM first released Moonstruck on DVD they inexplicably did so with an inferior pan and scan transfer. They've rectified this situation with a new deluxe edition that restores its proper aspect ratio and with a collection of new extras. Moonstruck was the My Big Fat Geek Wedding of its day only infinitely better and about an Italian family as opposed to a Greek one. Watching Norman Jewison's film again, you realize just how much Nia Vardalos' film is heavily indebted to it. If Moonstruck is La Boheme than Greek Wedding is Tony and Tina's Wedding.

It's time to use your old disc as a coaster as this edition is definitely worth the double dip. MGM has taken TBS' dinner and a movie to the next level by including three recipe cards with fine Italian meals so that you can do your own cooking and eat it while watching the movie.

Carried over from the previous edition is the audio commentary by Cher, director Norman Jewison and screenwriter John Patrick Shanley. Both Jewison and Shanley talk about their fascination with death while Cher talks about the importance of costume and how it helps her get into character. This is a solid commentary with smart observations and excellent anecdotes from everyone.

"Moonstruck: At the Heart of an Italian Family" takes us through the genesis of the film mixing interviews done at the time of filming (Cage and Cher) and new ones (Aiello and Dukakis). There is great, behind-the-scenes rehearsal footage as Jewison and Shanley take us through the film telling several entertaining anecdotes.

"Pastas to Pastries: The Art of Fine Italian Food" is a tour of some of the best restaurants in Little Italy, in particular on Mulberry Street. You have six different places to choose from and their chefs demonstrate how to make a few choice foods guaranteed to make you hungry. If you love to cook and eat than this extra is for you.

Finally there is the "Music of Moonstruck" that examines the role that music plays in the movie. The first screening went badly because the music was all wrong.

Despite comments by previous reviewers this video is not pan and scan, it is cropped. There is a difference although I can understand how people could confuse the two. Moonstruck was originally shot with the intention of a 1:85 aspect ratio for theatrical screenings and 1:33 for television. The tops and bottoms of the frame were cropped to give it the widescreen ratio in the theatre. When films are shot for cropping they are essentially composed by the DP for both for 1:85 and 1:33 ratios simultaneously. Full frame video versions simply remove the cropping bars and show you more than you would have seen in a theatrical presentation. Pee Wee's Big Adventure and The Shining are two other films that utilized this (relatively uncommon) process. While one would still prefer that these films be cropped so as to provide a more "theatrical" feel it is incorrect to call this pan-and-scan because there is no panning and the viewer isn't losing any of the original frame information.

Pan-and-scan is when a film is shot in a widescreen format such as cinemascope, panavision or Super 16 and then transferred to video full-frame. In this case you actually are losing the material at either side of the film frame and you get that notorious back-and-forth panning as the transfer people try to focus the viewer on what they consider the "important" part of the frame. This injustice is still perpetrated for a majority of VHS releases but DVD producers for the most part have caught on that people "want widescreen". So yes, most of the time a full-frame release does indicate the pan-and-scan process but not with this film.

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First off, this is a brilliant movie. Absolutely wonderful, delightful, funny, romantic, and magical. Divine. Worth a cosmos of the brightest, most glorious stars, but I guess in this case a mere five will do.

But I'm sure you've heard what a great film this is by now, if you haven't seen it already and found out for yourself. What I want to address is the controversy regarding the new widescreen transfer on the deluxe DVD. It is indeed true that you see more in the original MGM pan & scan release--but this is still a legitimate widescreen presentation, and the way this beautiful movie was originally intended to be seen. There are many different ways to shoot film in widescreen, and one of these involves shooting onto 1.37 ratio film (pan & scan ratio) while composing it for theatrical widescreen with the aid of two lines representing the "bars" you see on a TV on the monitor. This how "Moonstruck" was filmed, and it is done so that the director can have control over how the film will look both when seen in a theater and when cropped for viewing on a conventional television. Thus, the film is shot with more image on top and bottom than you actually end up seeing in the theater, but although you are technically seeing more in pan & scan, the widescreen is still really the "definitive" version.

Anyway, I hope this review helps those who may be debating between which version of this wonderful movie they ought to buy. Both are legitimate--I've seen the pan & scan and it's lovely (it clearly was carefully composed for both aspect ratios) but I'm going to buy the widescreen version. Thanks, and hope I could help!

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(formerly a THREE-STAR review)

GOOD NEWS AND ALTERED COMMENTS!! BUY IT, BUY IT, BUY IT!!! "Moonstruck" is a fabulous modern comedy/romance, a classic!! I LOVE this film, and you will, too!

I had complained in my previous comment about the lack of widescreen theatrical release format in the previous release of this film, but I have just received word straight from the horse's mouth (MGM, via e-mail at their website) that the re-release of 'Moonstruck' on DVD (Nov.) will be available in either full-frame or (finally!) widescreen. AND they told me, in answer to my direct question, that 'Moonstruck' was shot in a full-frame 1.33:1 aspect ratio; theatrical presentation was 1.85:1. (Huh?)

I found out that most 1.85:1 aspect ratio movies are actually shot in a 1.33:1 aspect ratio, with the intention that the top and bottom of the frames will be trimmed (matted) for 1.85:1 widescreen theatrical presentation. The cinematograper and director frame the shots with this in mind. The result of this is that the movie can be transferred easily to video without doing a pan-and-scan treatment of the photography for full-framed TV presentation. In other words, you're not missing anything in the full-screen framing. This is much preferred by the director, but still not ideal.

In fact, you get MORE than the director and cinematographer intended you to see, so the framing of the shots is a bit tall, less subject-focused than intended for cinematic presentation. This is by far a better compromise than a pan-and-scan transfer: rather than losing portions of the picture and ruining the framing, you just get some extra film that the director considers superfluous. It's still a compromise, and as you watch the film, it could mean the difference between a great shot and merely a good one.

So I personally still prefer theatrical release format, but I don't begrudge those who dislike widescreen their full-frame option, especially if they're not missing parts of the picture. I must say though that it surprises me how many people out there are bothered by widescreen movies on the normal 1.33:1 television. You get used to it quickly, unless you LET it bother you. (Have you noticed all the commercials and TV programs shot in widescreen recently? You probably haven't, so look for them!) As an owner of only a 27" TV (new), and a 20" before that, I say you can enjoy widescreen on TV!

I would now buy this DVD even if it were only full frame. GEORGE'S RECIPE FOR INCREASED DVD AND VHS SALES: the movie studios should inform us on the back of all video releases as to what alterations have been made for the video release. If it says it's pan-and-scan, I won't touch it, but if it's this other method, I might. Many feel the same as I.

I have many DVDs with widescreen on one side and full-screen on the other: the perfect compromise!

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Like the Movie, this soundtrack offers the perfect setting for Romance. With Some traditional Italian Music, you also can taste a bit of Puccini's La Boheme. The Opera was perfectly added to the rest of the album. The perfect Romance atmosphere is set. Good Luck !!!

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Underworld: Rise of the Lycans (2009)

This movie is the realized back story for the movie "Underworld". There is nothing revelational about this movie to the storyline of the franchise except for Lucian being the source of the modern day Lycans (ability to transform back into human form). This movie is basically about his development from childhood into the leader of the Lycans and also the love story between him and Sonia (Victor's daughter). The tie-ins of this movie to the other two were very well written. While viewing "Rise of the Lycans" is not necessary in order to make sense of the other two movies in the franchise, it definitely enriches them and basically adds more seasoning.

The action and battle sequences were exciting and very well done. But, while I enjoyed the movie, it lacks the plot twists and suspense of the original "Underworld". The acting is good, although I wish Victor would have had some better dialogue. Rhona Mitra was SUPERB as Sonia. Her resemblence to Kate Beckensale makes the viewer realize why Victor took Selene under his wing (instead of killing her along with her family). Selene is absent from this movie except for the final clip which happens to be the opening scene to "Underworld" (a good transition). IMHO, this movie ranks 2nd in the franchise. While "Underworld Evolution" was enoyable in its own right, the creatures of this franchise look more comfortable (and believable) in midieval times than in the modern day. If you own the other two movies on DVD/ Blu-ray, you'll definitely want to add this to your Underworld library.

In 2003, the action-horror film "Underworld" starring Kate Beckinsdale as the vampire Selena came out to theaters. Known for its stylish, Goth presentation and dark, brooding environment, the film would spotlight on the war between the vampires aka "Death Dealers" and the human/werewolf hybrids known as "Lycans". Directed by Len Wiseman, the film would spawn a sequel in 2006 "Underworld: Evolution".

But the creators of the film wanted to explain how the feud between the Death Dealers and the Lycans started. Although the first film briefly shown a little bit of that history, due to the rapid and shrinking budget of the first film, the creators were not able to effectively do what they wanted. And thus the third film, "Underworld: Rise of the Lycans", a prequel to the first two films, was created and released in theaters on January 2009.

Director Len Wiseman who was responsible for the first two films had come off directing the fourth "Die Hard" film "Live Free or Die Hard" and needing the time to rest, decided to contribute as a writer and producer for the "Underworld" prequel. Writing the screenplay for "Underworld: Rise of the Lycans" was Danny McBride (who played Mason in the first film), Dirk Blackman (who written "Outlander") and Howard McCain (who wrote and directed "Outlander").

The producers decided to tap into one of their own crew to direct "Rise of the Lycans" and thus Patrick Tatopoulos, known for his special effects and creature design for the previous "Underworld" films but also for blockbusters such as "Independence Day", "Godzilla", "I Am Legend", "Silent Hill" and "10,000 BC" (to name a few) was selected to direct the latest film.

The film debuted at #1 in the box office in Jan. 2009 and has grossed nearly $90 million worldwide.

VIDEO & AUDIO:

"Underworld: Rise of the Lycans" is featured in 1080p High Definition with an aspect ratio of 2:40:1. It's important to point out that "Underworld: Rise of the Lycans" is a film that is featured in primarily blues and blacks. The film showcases the darkness of that area and if there are any other colors that are utilized, those are reds and the golden and bronze colors. It is what Tatopoulos wanted and I think that the emphasis on the darker colors brings out the brooding feeling of the land, the castle, the forest, etc.

Picture quality was well done. I did not see any artifacts, scratches, dust but I did see grain. Especially in one scene that featured Sonja laying on bed, which was brief but grain/low light noise was noticeable. But other than that, I just felt that the film utilized blacks effectively. Red typically are colors that are seen during the most violent or bloodiest of scenes but the color does stand out due to everything being so blue and black.

As for audio quality, "Underworld: Rise of the Lycans" is presented in English and French Dolby TrueHD 5.1 and also in Spanish and Portuguese 5.1.

I enjoyed how the action sequences utilizes each channel in my home theater setup. For one, when hearing the Lycans and the wolves as they run, to when they howl, one thing that audiophiles will notice is the effective use of low frequency bass coming from the subwoofer. That caught my attention immediately and when my subwoofer is utilized in such a manner, it makes me happy!

But the sounds of spears flying and hitting its victim, hearing the various action sequences constant and fluid and the noise of metal upon metal, slicing and clanging, those are noises that sound crystal clear as it comes out from your front channel speakers.

Dialogue is easily understood and so does the growls of the werewolves. There's nothing to fault about the audio, audio was well done!

As for subtitles, subtitles provided are in English, English SDH, French, Spanish and Portuguese.

SPECIAL FEATURES:

"Underworld: Rise of the Lycans" includes a second disc (digital copy) while the first disc includes special features that are in High Definition for video and for audio, presented in Dolby Surround & Stereo. Spanish and Portuguese subtitles are also included. Special features included are:

* Filmmaker Commentary Commentary features Director Patrick Tatopoulos, three producers and the visual effects supervisor. I actually found the commentary quite informative and also entertaining. The guys talk about the choices they had with this film and how they were on a really strict schedule because of talent schedules, they needed to make sure that certain shots were done in 1-2 period. The guys also talked about how they wanted to do more but they had to stay strictly around the budget they had. But one of the most important tidbits was the footage from the first "Underworld" film which utilized a blonde Sonja and then of course, with this film having a dark haired Sonja. A large majority of the decisions made were done due to lack of money in the budget and I would think that if they were to recut the first "Underworld", they can now utilize footage from this this prequel for it. A very informative commentary that "Underworld" fans will no doubt enjoy!

* Cinechat A two minute intro to Cinechat and of course, if you have BD-Live, you can chat with a friend or other people while watching the film.

* Behind the Castle Walls: Picture-in-Picture While watching the film, you can get a picture-in-picture screen featuring actual shooting of the footage and also interviews with the Director, cast and crew.

* Lycanthropes Around the World Interactive Map This is a map featuring Lycanthrope sightings in North America, Europe and Asia. Personally, I don't know how much of this is factual but I did bring up one about two children who were raised by wolves and when I checked on Google to do a search for the names. The names came up for Geocities and Lycos sites dedicated to werewolves but no Wikipedia or news sites. But an interesting, dark and kind of macabre stories of people who believe they were wolves and some that killed and resorted to cannibalism.

* Underworld: Rise of the Lycans: From Script to Screen (9:13) Interviews with the producers and the Director in regards to how the script was written in 4 weeks and pretty much these guys who worked on the previous two films knew what they wanted for this prequel. But most importantly, when the previous Director Len Wiseman was unable to direct due to his involvement with the fourth "Die Hard" film "Live Free or Die Harder", he became the writer and producer while they tapped Patrick Tatopoulos to direct. Patrick is well-known for his work in special and creature design and effects for many blockbuster films and because this film utilizes plenty of effects, creatures and knew that this film would emphasize that, how the producers felt that he was perfect to direct this film.

* The Origin of the the Feud (19:58) This is the primary featurette in regards to "Underworld: Rise of the Lycans" with interviews with the cast and crew. The cast talk about their characters and what they wanted to bring to their own character and more.

* Recreating the Dark Ages (13:01) Interviews with the Director and Production Designer in creating the look and feel of the set, especially the castle and also the werewolves. How their intention of utilizing blacks and blues but also the reds and bronze/gold.

* Music Video: "Deathclub" By William Control Fans of the band Aiden, will know lead-vocalist wiL Francis's side project aka William Control and their music video for "Deathclub" is included on the special features.

* PS3 Wallpaper

One thing that I enjoy about the "Underworld" films is the sense of its dark, goth style in conjunction with its brooding storyline of the vampires and the werewolves feuding against each other. "Underworld: Rise of the Lycans" is the dark "Romeo & Juliet" storyline of two lovers from two sides that despite and hate each other.

If there is one thing that people are familiar about the "Underworld" films, there is not much time for thorough character development. These characters may have a brief time of happiness but immediately they are trying to survive or somehow ripped away from any happiness that they seek. By no means is "Underworld: Rise of the Lycans" a happy everlasting storyline. It's a tragic story about Lucian and Sonja and what intensified the feud between the vampires (Death Dealers) and the Lycans (werewolves/human hybrids).

Lucian's story of being used by Viktor against humans and against his own kind is established but much is not said about Sonja, all the writers want you to know is that aside from being Viktor's daughter, she's madly in love with Lucian. And that is all you should know.

But I enjoyed this film because it kept things simple. No convoluted or ridiculous storyline that would go astray or become incomprehensible. The storyline features characters that are quite interesting. The Lycan Lucian and his lover, the vampire Sonja and Viktor, the father who will try to deny his daughter or the Lycan baby he raised to become a man any form of pleasure.

Michael Sheen ("Frost/Nixon", "Blood Diamond", "Underworld: Evolution", etc.) did a great job as a Lycan who will not let any side tell him that being in love with a vampire is wrong. It will be interesting as the actor will be part of another popular vampire film "The Twilight Saga: New Moon". Sheen plays that passionate but tortured person effectively, especially as his character has undergone so much, but is strong because of his love for Sonja.

Rhona Mitra ("The Practice", "Boston Legal", "Nip/Tuck") as Sonja was good, I felt that she could have been used a bit more in the film. We know that she is a strong vampire but it was more interesting to see her as a compassionate vampire. It would have been nice to get a little back story of how her relationship with Lucian had started but nevertheless, the focus was not so much on their evolving relationship. The film quickly establishes her love for Lucian and like Juliet, her father would deny her any happiness.

Which leads me to Bill Nighy ("Pirates of the Caribbean: Dead Man's Chest", "The Hitchhikers Guide to the Galaxy", "Valkyrie", etc.) as Viktor. Nighy does a magnificent job of playing the cold, elder vampire and as he was great in the first two "Underworld" films, you do see that compassion that he had felt for his daughter and to see how he changes after he discovers the relationship.

The storyline was well-planned and executed, first time Director Patrick Tatopoulos just had to take that screenplay and make the overall setting believable. And because of his well-documented experience on special effects and creature designs, he was able to accomplish that gritty, gloomy world of vampires and werewolves, to make sure that the castle of the vampires looked effectively real and the final cut worked for me.

"Underworld" are films that have never been appreciated by the majority of the film critics but one thing that is consistent is that the intended audience who have enjoyed these films since the beginning have been passionate about it and continue to support it. For me, I have always enjoyed films about vampires and werewolves and I actually dig the overall presentation and characters of the three films.

With that being said, if you enjoyed the first two films, "Underworld: Rise of the Lycans" is a prequel that is just worth watching and worth owning on Blu-ray.

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Why can't they all just get along? The Vampires and Werewolves "at each others throats" for so many generations instead of letting bygones be bygones and teaming up to feed on us mere mortals...I mean...how silly, right?

Well I guess it's a good thing for us though, no? Because without the war there would be no action-packed Underworld series. There's suspense, tons of action and a great storyline from the start of this prequel right through Evolution.

The main writers of the franchise, Len Wiseman (who also directed the first two) and Danny McBride are intact for Rise of the Lycans, and that's a key ingredient to a successful prequel or sequel. The director's chair is taken over by FX vet Pat Totoupolis. The fact that this was his first "real" directorial try made me a bit skeptical going into Rise of the Lycans. But let me tell you, Totoupolis really pulled it off.

I was also skeptical of Rhona Mitra taking Kate Benkensale's place as the leading lady. But as the movie progresses and concludes it becomes clear that Mitra was perfect for the role.

The series documents a war that has been raging between the Vampires and Lycans for years all because one of the Vampire leaders didn't want his Vampire daughter gettin' busy with a Wolfman. Rise of the Lycans kicks it all off, and even leaves room for a second prequel to Underworld and Evolution.

All in all the whole series is a very well done story that pays to watch from the beginning. Yes, they all have stand-alone potential. But if you haven't already, you'll have more fun if you rent or purchase both Underworld and Underworld Evolution too.

Definitely worth the purchase of putting the whole Underworld Trilogy (Underworld / Underworld: Evolution / Underworld: Rise of the Lycans) into your collection.

Read Best Reviews of Underworld: Rise of the Lycans (2009) Here

THIS IS THE BEST OF THE TRILOGY. IF YOUR'E A FAN YOU KNOW HOW IT'S GOING TO END, BUT YOU KEEP HOPING THAT IT WON'T HAPPEN.

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I've read some critics' reviews of this prequel to the Underworld franchise that the story is redundant, yet I felt the story had enough substance in it even though much of the mythology of the feud between vampires and lycans had been touched upon in the previous Underworld movies.

In "Rise of the Lycans", the time period is possibly sometime in the Middle Ages, and set in some European country, in the wilds [with an intimidating vampire stronghold set against the backdrop of mountains and forests]. Viktor [a perpetually scowling Bill Nighy] reigns as vampire commander-in-chief over his coven, with his beloved daughter Sonja [Rhona Mitra] as a fiercely independent and strong-willed vampire who also happens to be in love with lycan Lucian [Michael Sheen, lately seen in Frost/Nixon]. The vampire-lycan relationship remains secret because it is forbidden, and for much of the movie, viewers are repeatedly made aware of this social stratification, i.e. vampires rule over everything [providing humans safety from the werewolves], hold lycans as slaves [Lucian is the first lycan, a human who is able to change into a werewolf and back into human form again], and the werewolves [who cannot assume human form] are the social outcasts or pariahs.

The love story of Sonja and Lucian is credibly portrayed [well, excepting one particularly wacky mountaintop sex scene] and Rhona Mitra plays an impressive Sonja for the most part, no small feat considering she's filling in the shoes of Kate Beckinsale [I know, they both portray different vampires, but one can't help compare them]. Rhona Mitra is gorgeous and fiery, but does get a bit passive towards the end, which kind of disappointed me.

Michael Sheen plays the angry lycan Lucian with competence and verve, and more than holds his own against vampire boss Viktor [Bill Nighy]. Their stand-offs are part of the high points of this instalment.

The weapons used in this prequel lack the sophistication of the previus Underworld movies but given the time frame, giant crossbows, and hands-on combat are inevitable and I must say, did not really disappoint.

The movie aside, the extras on this DVD are pretty impressive:

Filmmakers' Commentary

Underworld: Rise of the Lycans From Script to Screen

The Origin of the Feud which includes interviews with Michael Sheen, Bill Nighy and Rhona Mitra about their respective roles in the film.

Re-creating the Dark Ages The Look of Underworld: Rise of the Lycans

Music Video: "Deathclub [Wes Borland/Reinholder Remix]" by William Control Featuring Matt Skiba

Previews [The Taking og Pelham 123, The International, Blood: The Last Vampire, 2012, Fixed Up!, Waltz with Bashir, The Informers, The Sky Crawlers, Quarantine, Resident Evil: Degeneration, What Goes Up, The Art of War III: Retribution, The Shield: Seasons 1-7, The Da Vinci Code:Extended Cut, The Devil's Tomb, The Grudge 3, and Messengers 2: The Scarecrow]

The audio options come in English, French, Spanish and Thai with subtitle options as well.

For what it's worth, I thought "Rise of Lycans" added more substance to the plot compared to the other two Underworld movies, which were bigger on action than actual story, and the acting in "Rise of Lycans" was credible and above average. I'd rank this as my second favorite Underworld movie after the first, and I look forward to seeing how they create a new story arc in the next instalment, if any.

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Kundun (1997)

One of the beauties of KUNDUN comes from the way it preserves and recreates a culture that is now almost extinct, of a Tibet which is now almost completely destroyed. And it is a beautiful culture, where almost every detail is related with spiritual value, the very values that our contemporary culture is in the verge of completely losing them, yet still so essential to human life. To see this film is, first and foremost, like a meditation.

Dante Ferretti's design recreating faithfully the traditional costumes and building with a great reality, with Roger Deakins beautiful cinematography (which depth, nuances and richness of colors are so beautifully transferred on this DVD), as well as Philip Glass's music, make KUNDUN a visual poem. Also must be noted is Thelma Schoonmaker's complex editing which explores and reveals the complexity of the story and giving them a beautiful, almost musical rhythm. According to Mr. Scorsese, the climatic Sand-Mandhala montage sequence that cross-cut the Dalai Lama's exile to India and a religious ceremony was her idea, and it brings the film up to an incredible spiritual level. Yet, Scorsese does not show Tibet as an idyllic and idealized society. By using the young Dalai Lama's point of view as a narrative strategy throughout the film, by showing almost everything through his eyes, the film also glimpses at the complexity of the Tibetan society and its own problems; "I didn't know monks has guns" "Is there a prison in Potala" says the 12 years old Dalai Lama.

Violence, or human pain to be more exact, is also present in this film. An amazing nightmare sequence shows the Dalai Lama in the midle of thousands of dead monks. A typical Scorsese image? Well, in fact, it is a faithful recreation of a dream that the Dalai Lama himself has told the filmmakers. In this sense, KUNDUN is also a documentary as much as it is a beautifully created dramatic piece. A particulary poignant moment is when the Dalai Lama gives audience to his people, an old woman starts saying something in Tibetan, as if she was posessed by her traumatic experience. This scene, according to Mr.Scorsese, actually happened as they started to shoot the scene. They put a photo of the real Dalai Lama, and the woman started to talk like that. All the filmmakers did was to film her, and leave it as it is in the film, without even a translation. We can't tell what she says, but we understand the deep sorrow, the truth of her emotion. This is indeed one of the most emotional scene Scorsese, the ultimate filmmaker of emotiin, has ever presented us.

As different as it may seems on the surface level, KUNDUN also explores the familiar Scorsese themes, of the dilemma between religious spiritual values of human trying to be good, and the harsh reality of the world they live in and their own human vulnerabilities inside them; a conflict that has been always present in his films since WHO'S THAT KNOCKING ON MY DOOR and MEAN STREETS, the dilemma that drove Travis Bickle to a burst of bloody violence, the demon inside that Jake La Motta had to fight, the conflict of divinity versus humanity in Jesus.

But KUNDUN takes a different direction. Instead of being obsessed with his own dilemma that drives him near self-destruction (as did so many Scorsese heroes), the Dalai Lama goes beyond that to become the human incarnation of not divinity, but of ultimate compassion. It is amazing how, after witnessing so much violence and anger, he could reach such a state of peace in mind.

Most of the people in the film are non-actors; real Tibetans (the Dalai Lama's mother is played by one of his own niece), and though their performance are not as dramatic as De Niro, Keitel, Pesci, Dafoe, Day Lewis and Pfeifer et all, they bring a truthfulness to the screen.

Mr.Scorsese told me in an interview last year "It was almost like a prayer to make this movie. And my life has changed, to certain extent". I believe this film has the same effects, to certain extent, to us viewers as well.

The film also carries an important political-Mr.Scorsese says he prefer the word "human"-message: "Non-violence is the only revolutionary idea left to us", says Martin Scorsese.

I'm really happy to see so many positive reviews for this movie. Martin Scorsese. Phillip Glass. The Dali Lama. How can you go wrong? I remember watching this the first time and liking it, but feeling that it lacked cohesion. It does take awhile for the Kundun to mature to an adult so we can identify with him and care about him.

But now I look at the film as being almost two separate parts. The first half shows us the Dali Lama as a child who must take on the role of Kundun and gives us a very slow (and beautiful) sense of environment and atmosphere. It also quietly sets up characters that will grow in importance as the film continues. The second "adult half" of the movie focuses on the Kundun having to deal with an aggressive communist China closing in on him and his people.

I feel like many people (including Ebert who said this is the only Scorsese movie he would not want to see again...) watch it once and say it was slow and they didn't care about the Dali Lama character enough. Well if you only watch it once you won't be able to see the detail (like the shot of the Kundun looking at Mao's shoes, or the baby Kundun separating the fighting beetles) , and depth that make up the fabric of this movie. There are all kinds of great shots and quick edits (the 3 seconds of violence in this film are more powerful then the lengthened violence in other films), and symbolism that you simply can't get your mind around the first time you watch this movie. Having said all of that, the cinematography alone would make this movie worth getting. And at $10, you make out like a bandit.

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Having read the previous 49 reviews, what can I add? There are maybe three ways to review a film: on craft (how the film medium is used), on content (is this story worth telling?), and for a "true story" film, is it true? If you are a student of film (officially or not) and know something about Scorsese, you MUST see this film. Very, very few films since the invention of "talkies" have used the medium as brilliantly. Mathison's script, Glass' music, Deakins' cinematography, the incredible amateur acting: On the craft score, this is Scorsese's greatest work. The story of a young boy raised to be the spiritual and forced to be the political leader of his country may not attract everyone. There's nothing for it: that is the storyline of one of the greatest films ever made. As for "true stories," one reviewer compared Scorsese to David Lean, who made "Lawrence of Arabia." As a lifelong student of history and cinema, I can say that all "true stories" must compress events and characters, must make one incident or one dialog stand for many, and that all must be colored by the historical viewpoint of their tellers. Both David Lean and Martin Scorsese have clearly tried to capture their subjects sincerely and represent "truth" with all their skill and within the limits of their medium. Scorsese has let the Tibetans tell this story through him. Buddhists can usually be counted on for greater than average objectivity. From everything I have read and all I have talked to about Lawrence and about Tibet, Scorcese has done a far better job of representing history than Lean. If you have any interest in film or Tibet, see this in widescreen. It will almost certainly be the best film about the Dalai Lama ever to be made.

Read Best Reviews of Kundun (1997) Here

The majority of director Martin Scorsese's best liked movies have been about criminals or about people full of anger and potential violence. These include "Casino", "Goodfellas", "The Color of Money", "Taxi Driver", "Mean Streets" and his masterwork, "Raging Bull". He also made the brilliant, turn of the century romance, "The Age of Innocence".

"Kundun" is his second attempt to tackle a spiritual subject. The first was "The Last Temptation of Christ", arguable the most controversial movie ever made about Christianity. It was so provocative, at least in theory, that it was never shown in many cities and towns.

Covering the life of the last Dalai Lama of Tibet from childhood to his exile, "Kundun" created a controversy of a different sort. It was deemed politically incorrect. Several decades ago, Tibet, which for a thousand years had been independent and peaceful, was taken over by the Communist Chinese. They slaughtered many civilians, as well as Buddhist priests and nuns, claiming they were simply taking over a distant part of China. The survivors were 'reeducated.' Today, Tibet exists only as a mythical, fabled land , which was ruled by the Dalai Lama, its spiritual leader. The people believed that this man was reincarnated over and over again. Whether you believe that or not, the important thing is that Tibetans believed that all problems could be solved by peaceful means.

Because China, as well as the rest of the world, are so much changed these days, the making of this movie was deemed by them to be insulting. In truth, "Kundun" dwells on the end of grand traditions more than it does on the moral values of the invaders. So, I suppose the controversy arose because, while China has changed drastically, it has no intention of letting go of Tibet.

It is an unusual motion picture, taken down a notch or two for a reason I will get to in a minute.

You will note that I have listed no cast credits. The posters for the film didn't either. This is because Scorsese, attempting to be as faithful as possible to the story, cast mainly actors of Tibetan heritage. These people came from two acting groups, one in New York, the other in India. The main character is well played by Tenzin Thuthob Tsarong. Since all of the names of the performers are equally exotic, they would be meaningless in selling the film to the public.

Philip Glass, a renowned composer of modern classical music, wrote a film score that fits exactly what the stunning visuals show.

From the standpoints of photography, music, and set and costume design, the film is a work of art. Unfortunately, Scorsese, like many other famous directors, took on a story which he appears not to have known how to approach. Steven Spielberg had the same problem with "Amistad", only to turn around and unleash the astounding "Saving Private Ryan" on an unsuspecting public.

In "Kundun", I felt that all its beauty could not overcome Scorsese's inability to bring real emotional power to subject matter that demanded him to do so. This makes it rather like an elegant coffee table book. That's the heavy, oversized kind of book filled with stunning photos and art. People rarely read the text in such a volume. With this movie, it is difficult to tell whether the its artistic merits overwhelmed the story or whether the story would have come off even less involving without the lavish trappings.

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Because of his place in American Pop Conciousness, the Dali Lama too often suffers from shallow treatment and cartoonish representation because of his association with famous personalities. In reality, he is a serious religious figure and deserves serious treatment. This movie is a serious and, I think, beautifully poetic attempt to tell the story of his youth through his escape from Tibet into exile as the Communist Chinese closed their grasp on his sad homeland. The images are powerful and the Philip Glass score supports the visual means of telling the story very well.

I have no idea how much of the miraculous nature of the selection of Kundun as the Dali Lama or his remembering of his previous lives is based in perceived reality or is just poetry, but certainly the Dali Lama deserves some iconographical treatment.

For me, a most powerful scene occurs when Kundun has his last conversation with Mao and finally realizes his betrayal. In this scene Mao tells him that religion is poison in a most callous and condescending manner. In this, I see the emptiness of modern materialism and its inability to see anything of value in the spiritual and traditional. There is blindness in materialism's view favoring the new and the present as necessarily being progress over the past. It sees technology as always an improvement (it is the flip side of the coin of those who believe that all technology is soulless and evil).

This isn't an adventure film and certainly nothing like Scorsese's more famous and violent films. But I think he has accomplished something beautiful here and I have enjoyed watching it several times.

"Seven Years in Tibet" tells the same story a bit differently and less poetically and has the complication of the Brad Pitt's character being, well, a Nazi. But I think seeing both movies adds to one's understanding rather than seeing either of them alone.

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