50/50 (2011)

This might just be my new favorite film.

I went to see this, primarily, because I've always loved the previous works of both Joseph Gordon-Levitt as well as Seth Rogen. The premise, a young man is diagnosed with a rare form of cancer and tries to cope with it through humor, was appealing too. On a small sidenote: I'm from Vancouver and the majority of the movie was filmed there, so that was a pleasant surprise.

Adam is 27 years old and is shocked when he is diagnosed with a rare form of cancer on his spinal cord. He relies on his hilarious best friend, Kyle (Seth Rogen); his unreliable girlfriend, Rachel (Bryce Dallas Howard); and his overbearing mother, Diane (Angelica Houston), while he struggles with chemotherapy, doctor's appointments and losing all his hair. His interactions with each of these characters are ultimately hilarious, even when they aren't intended to be. Along the way his doctor sends him to a therapist named Katherine (Anna Kendrick), who is wet behind the ears but wants to specialize in helping cancer patients cope with their diagnoses.

Kyle is a very genuine character who wants to do everything he can to help Adam, although he stumbles along the way. He also takes advantage of Adam's situation as a way to meet girls, much to Adam's chagrin. He makes light of the situation whenever the chance arises, but shows himself to be a very sincere friend at every opportunity. Seth Rogen, actually playing the role he embodied in the real life story this movie is based on, is perfect as the somewhat dimwitted, but loveable best friend.

Rachel is the villain, if there is one. She is a typical flighty young woman who is torn between feeling guilty about Adam's condition and feeling freaked out and trapped by it. The audience can't help but dislike her from the get-go, which ultimately grows into loathing. Bryce Dallas Howard does really well in this role.

Diane is the kind of mom that almost everyone can relate to, whether as their own mother or one of a friend or loved one. She throws herself off the emotional cliff as soon as Adam tells her about this cancer, doing her utmost to support him, even when he keeps her at arms' length.

Katherine, the love interest, is a young woman who genuinely wants to connect with her patients, but who is, at the same time, insecure about her lack of professional experience. She connects with Adam (despite his initial reluctance) and ends up struggling with going above and beyond the appropriate protocol as a therapist.

Last, but never least, Adam: Adam is the everyman. He is hopeful, idealistic and passionate about his job as a radio broadcaster. He is committed to his girlfriend, whom he adores, despite her aloof behavior. He has a tight relationship with his best friend. He loves his mother, but avoids her at all costs because of her smothering behavior. His sudden cancer diagnosis throws his life into a tailspin, but he spends the majority of the movie trying to remain calm and rational about it. He makes friends with his fellow chemotherapy patients, he allows his best friend to use his cancer diagnosis as a way to garner the sympathy of pretty girls, he (reluctantly) follows his insensitive doctor's advice to talk to a therapist about his cancer. As one thing after another seems to go wrong we see him unravel and I think Joseph Gordon-Levitt's performance was downright inspirational. He teeters back and forth between denial, anger, despair, pain, fear and humor. Although this role might not be typical Oscar fare, I think a nomination was definitely earned.

The story of 50/50 is based on the real life experience of the writer, Will Reiser. He was diagnosed with spinal cancer at the age of 26 while he was working on Da Ali G show with Seth Rogen. Rogen, much like the character of Kyle, supported Reiser and tried to help him cope through the use of humor. Fortunately, Reiser beat cancer and is alive today to tell the story he went through. Although this movie is a comedy it has an equal number of dramatic moments and is incredibly touching. You'll be struggling not to cry at moments. Making cancer funny is a tricky thing and could easily crash and burn in offending audiences, but Reiser pulls it off beautifully. You won't feel guilty laughing at humorous moments and you'll still empathize with the characters and each of their individual challenges.

I will definitely be picking this up on blu-ray as soon as it's released. Go check it out.

I can tell that this was inspired by the true story of screenwriter Will Reiser. He has got every detail down so perfectly that it would either be that or that the man was sharing an esp channel with cancer patients. His protagonist is diagnosed with spinal cancer. This is 27 year old Adam, played by Joseph Gordon-Levitt. He discovers his is a rare form of spinal cancer with 50-50 odds of surviving it. It has not yet metastasized so they will try to shrink it with chemo first and then operate.

Seth Rogen plays his crude, loud, yet amazingly supportive best friend. Touchingly he even sneak reads on the side a book about going through cancer with someone. He provides the perfect foil for Adam.

Adam makes and loses relationships along the treatment way, which is also very normal. Some people are just better at coping with grave illness than others' are and if one has never had to move beyond a certain level of commitment to people, it can be neigh unto impossible to cope with it.

One of the best turns of the whole film is the role of his smothering but loving mother. I kept saying to myself, why does the actress playing the Jewish mother so brilliantly look so familiar? I then almost fell off the sofa as I realized that it was Angelica Huston (who was raised by her loud, boisterous Irish father so is not a Jewish mother at all in real life). Huston, however, not too long ago lost her long time spouse under similar catastrophic illness circumstances so I can see why she was a natural for the role.

Adam even manages to connect with one of his medical workers played by Anna Kendrick. She brings a lot of humor to the role as he is but her third patient. She is interning as a therapist on the way to her PhD in psychology. What she lacks in polish, she makes up with sincerity and compassion.

I am a cancer patient and this film is totally authentic. It is not depressing. This is a trial in this character's life and you see him go through this trial. You live your life while you have cancer. It is another life event which sometimes ends in your death. You don't suddenly become another person with cancer. You are the same person facing a terribly difficult ordeal, which may be terminal. But then again, there is always one life event which always ends up bringing one's death. On that the odds are 100%.

Buy 50/50 (2011) Now

Striking the right balance and tone has got to be an incredibly difficult thing to do when you are centering a comedic picture around a serious topic such as cancer. I suppose that's why we see so few cancer comedies--it just isn't a particularly amusing topic. On TV, Showtime has a Laura Linney helmed program called "The Big C" which addresses cancer as its principle theme. That program, however, (despite being beloved by many, so send me your hate mail) has the deck stacked with wacky caricatures and unbelievable situations that make it almost unbearably over-the-top. Maybe that's why "50/50" was an incredible surprise! It's easy to see why its perfectly measured screenplay has won numerous year-end accolades because the story deftly juggles the hilarious with the heartfelt. This is comedy that comes from a very real place with exceedingly believable characters, and yet--it is also surprisingly hard-edged and never devolves into sentimental treacle. In a word, the film's tone is perfect. With its smart screenplay and a wondrous lead performance from Joseph Gordon-Levitt, "50/50" is easily one of my favorite films of 2011.

Gordon-Levitt plays a relatively uptight professional whose life is upended when he is diagnosed with a particularly nasty strain of cancer in his back. Reeling from the news, he tries to carry on as normal as possible. But outside influences and those who care about him soon start breaking down some of the carefully erected barriers he's hid behind his whole life. Seth Rogan as his obnoxious best friend, Anjelica Huston as his somewhat estranged mother, Anna Kendrick as his hospital therapist, Bryce Dallas Howard as his girlfriend, and Philip Baker Hall and Matt Frewer as his chemotherapy partners round out one of the most effective ensembles of the year. Of course, when you're facing death--you figure out how precious life is and who is always going to be by your side. From a plotting standpoint, "50/50" may follow a somewhat expected course--but it is distinguished in the details and the performances. As Rogan pushes Gordon-Levitt to leverage his disease for moments of debauchery, the scenes expertly mix the disturbing with the hilarious with the real.

If you're looking for just another lightweight sex comedy, this might be a little heavy. But any emotional investment is earned and worth it. I laughed out loud frequently AND experienced many instances where I was genuinely moved. But the movie and its great screenplay (inspired by writer and Rogan's pal Will Reiser's real story) never turns into a maudlin weepy. It may be one of the least manipulative films to deal with a fatal disease that I've seen in years, and I mean that as a huge compliment. There are certain actors that I will follow on faith, and through the years Joseph Gordon-Levitt has become one of those people. He has managed his career with precision, bouncing between indie and mainstream fare as well as lead and supporting roles. I always appreciate a young actor who is willing to take chances, to pick roles and movies that they're passionate about or that might challenge them. Gordon-Levitt rose to the top of his generation with an eclectic bounty of great performances in oddball films (Brick, Mysterious Skin, The Lookout) and, in my opinion, recently served up Oscar caliber work in "(500) Days of Summer" and stole every scene he was in during "Inception." "50/50" is a worthy addition to his resume. I absolutely loved it! KGHarris, 12/11.

Read Best Reviews of 50/50 (2011) Here

As someone who has had and survived cancer in there 20's....was dumped when diagnosed....and found out who really is and will always be there for me and love me, this movie truly hit home. Yes it's a comedy, but I also wept like a baby. This movie is well made, great acting, and brings you through a real roller coaster of emotions. I loved this movie....loved.

Want 50/50 (2011) Discount?

Striking the right balance and tone has got to be an incredibly difficult thing to do when you are centering a comedic picture around a serious topic such as cancer. I suppose that's why we see so few cancer comedies--it just isn't a particularly amusing topic. On TV, Showtime has a Laura Linney helmed program called "The Big C" which addresses cancer as its principle theme. That program, however, (despite being beloved by many, so send me your hate mail) has the deck stacked with wacky caricatures and unbelievable situations that make it almost unbearably over-the-top. Maybe that's why "50/50" was an incredible surprise! It's easy to see why its perfectly measured screenplay has won numerous year-end accolades because the story deftly juggles the hilarious with the heartfelt. This is comedy that comes from a very real place with exceedingly believable characters, and yet--it is also surprisingly hard-edged and never devolves into sentimental treacle. In a word, the film's tone is perfect. With its smart screenplay and a wondrous lead performance from Joseph Gordon-Levitt, "50/50" is easily one of my favorite films of 2011.

Gordon-Levitt plays a relatively uptight professional whose life is upended when he is diagnosed with a particularly nasty strain of cancer in his back. Reeling from the news, he tries to carry on as normal as possible. But outside influences and those who care about him soon start breaking down some of the carefully erected barriers he's hid behind his whole life. Seth Rogan as his obnoxious best friend, Anjelica Huston as his somewhat estranged mother, Anna Kendrick as his hospital therapist, Bryce Dallas Howard as his girlfriend, and Philip Baker Hall and Matt Frewer as his chemotherapy partners round out one of the most effective ensembles of the year. Of course, when you're facing death--you figure out how precious life is and who is always going to be by your side. From a plotting standpoint, "50/50" may follow a somewhat expected course--but it is distinguished in the details and the performances. As Rogan pushes Gordon-Levitt to leverage his disease for moments of debauchery, the scenes expertly mix the disturbing with the hilarious with the real.

If you're looking for just another lightweight sex comedy, this might be a little heavy. But any emotional investment is earned and worth it. I laughed out loud frequently AND experienced many instances where I was genuinely moved. But the movie and its great screenplay (inspired by writer and Rogan's pal Will Reiser's real story) never turns into a maudlin weepy. It may be one of the least manipulative films to deal with a fatal disease that I've seen in years, and I mean that as a huge compliment. There are certain actors that I will follow on faith, and through the years Joseph Gordon-Levitt has become one of those people. He has managed his career with precision, bouncing between indie and mainstream fare as well as lead and supporting roles. I always appreciate a young actor who is willing to take chances, to pick roles and movies that they're passionate about or that might challenge them. Gordon-Levitt rose to the top of his generation with an eclectic bounty of great performances in oddball films (Brick, Mysterious Skin, The Lookout) and, in my opinion, recently served up Oscar caliber work in "(500) Days of Summer" and stole every scene he was in during "Inception." "50/50" is a worthy addition to his resume. I absolutely loved it! KGHarris, 12/11.

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The Gauntlet (2008)

This review refers to the Warner Bros. DVD edition of "The Gauntlet"....

From the moment Ben Shockley(Clint Eastwood)steps out of his car and an empty booze bottle falls out, we know this is not the usual "Dirty Harry" character we'd been used to up to now. Ben is a cop who's chances for greatness seem to be fading with him.

Eastwood directs as well as stars in this film and we see his brillant directoral style taking hold here.

The Phoenix P.D. seem to be scraping the bottom of the barrel when they assign Shockley the job of escorting Gus Malley, a seemingly unimportant witness from Las Vegas back to Phoenix for a trial. Ben's been looking for his big break on a big case and it doesn't look like this will be it with this guy. Upon arriving in Las Vegas, Ben discovers that Gus is no guy. Gus Malley(Sondra Locke), is a local prostitute and unwilling partcipant in the journey back as well. This is not "a hooker with a heart story" though, this pro is as hard edged as they come, but she does have a brain!

The action starts as soon as they leave the jail. Someone is going to make sure that these two never make it to trial. Vegas is even giving odds against them. Everyone's after them..the mob, the cops, they even made the mistake of angering a group of bikers along the route and they're out for revenge as well. They hardly know who to trust, as they get shot at from all angles, cars blow up, they are set up and beat up. What Gus knows can cost them their lives, but Shockley is now determined to bring his prisoner in at all costs and rises to the occassion and must break through an impassable barrier set-up to keep him at bay.

It's edge of your seat drama, thrills, and fun, as Gus and Ben trade quips and get in a little romance(we couldn't expect any different with Eastwood and Locke)along the way.As usual Clint surrounds himself with the finest talent. Pat Hingle, William Prince, and Bill Mckinney turn in excellent performances as well as Eastwood and Locke. There's also a terrific jazzy score by Jerry Fielding.

The film made in 1977 looks great on this DVD transfer. It is in a widescreen on a dual layer format. The picture looks good. Clear and sharp with good color. There was occasionally a little purplish tint in places, but it didn't take away from the enjoyment of the film. The soundtrack remastered in the 5.1 Dolby Stereo was also good. The music sounded great and the dialouge always crisp. Not too much in the way of bonus material if that's what you're looking for, there's a filmography on Eastwood(his was the only one I was able to access) and a theatrical trailer. It may be viewed in French(Mono) and also has subtitles in English and French as well. You can bet on this one!

5 stars to a great Eastwood action film that can be watched again and again.

Get the Popcorn ready for this one and enjoy.....Laurie

also sold(when available) in 2 pack:The Gauntlet/True Crime

also recommended:

City Hall/Midnight in the Garden of Good and Evil

The Clint Eastwood Collection (In the Line of Fire/Unforgiven/Bronco Billy/Dirty Harry/The Outlaw Josey Wales/The Beguiled)

(see my reviews for film details)

I read years ago that "The Gauntlet" was originally intended to feature the star matchup of Clint Eastwood and Barbra Streisand, but after Eastwood was warned by the Warner Bros. brass of La Streisand's diva tantrums on the set of "A Star is Born" he nixed the idea and cast his "Josey Wales" costar Sondra Locke instead. Admittedly, a Eastwood-Streisand matchup would have made this film a major blockbuster instead of the solid hit it was, but I'm glad it never happened. The pair would probably have had no chemistry whatsoever and Streisand would have been unbearably shrill in the role of "two bit hooker" Gus Malley. Besides, Locke is excellent in the role and proves a terrific sparring partner for Eastwood. Yes, her subsequent pairings with the legend were less than satisfactory, but for one bright shining moment, Locke's talent would shine brightly.

"The Gauntlet" actually works strictly because of the Eastwood/Locke chemistry and not because of the unbelievable plot. Eastwood plays Ben Shockley, a self-described "dumbass cop" and alcoholic who is sent by Phoenix's shady new police commissioner Blakelock (William Prince) to Las Vegas to extradite Malley, who is the only witness to a mob trial. It becomes obvious from the start that Shockley has been set up and by whom, and the two don't even make it to the airport before they are being chased across the desert by mob assassins. You'll figure out who's behind everything long before Shockley, but for once, his ineptitude makes sense, since he was sent to do the job because of it. The plot turns when Shockley figures it out and decides to prove the brass wrong by delivering Malley to the steps of Phoenix city hall, providing he can get through the impenetrable barrier (or "gauntlet") of policemen sent to stop him.

Like I said, the plot is unbelievable. Shockley and Malley dodge so many bullets and escape so many sure death circumstances a total suspension of belief is required to fully enjoy the nonsense. And the final five minutes is stupid beyond belief, since we are asked to believe the entire Phoenix police force would stand by and watch three people being shot and do absolutely nothing. However, the film is fast-paced and the action scenes are expertly mounted and the film never drags for a single moment in 109 minutes. Eastwood directs with economy and style and with tongue firmly placed in cheek, and for once, the lightning pacing many have yearned for in his recent, more leisurely paced films. And the performances are universally excellent, especially by Locke, Pat Hingle as Shockley's concerned partner-turned-patsy, Michael Cavanaugh as a seemingly sympathetic assistant district attorney, and '70's Eastwood regular Bill McKinney, who is absolutely hilarious as a smarmy constable taken hostage by the desperate pair. In fact, anyone who thinks Locke can't act should watch the expert interplay between her and McKinney when he decides to have fun insulting her and she turns the tables on him, twisting the screws until he explodes. This scene alone is worth the price of of the DVD, and it should serve as a rebuttal to Locke detractors everywhere. I also liked the subtle way Eastwood and Locke's relationship turns from adversarial to actual love and affection. Nowhere in the script is there a specific moment where they fall in love, they just do, and they make the transition believable strictly through their interplay.

The film makes great use of Nevada/Arizona locations and has a terrific jazz score by Jerry Fielding, who heavily borrows from gospel standards like "A Closer Walk (my Lord to Thee)." In fact, the film is littered with religious symbolism, but why is a mystery. In all, the entire production is a solid, professional piece of work by the entire Eastwood team at Malpaso. And while it will never be considered in the same class as such top-drawer Eastwood directorial efforts as "Outlaw Josey Wales," "Unforgiven," and "Mystic River," it remains to this day a solid entertainment that seems to improve with each viewing, just as long as you shut your brain off completely at the end.

As for the DVD, WHV has done better. However, at least it's in panavision widescreen instead of the pan-and-scan that the VHS copies contain. And could we have a little more than the standard theatrical trailers for extras? All in all, it rates ***1/2 (out of *****)

for the film and **1/2 for the DVD presentation.

Buy The Gauntlet (2008) Now

Though it gets lost in the "Dirty Harry" shuffle, "The Gauntlet" (1977) is an underrated action drama with more emphasis on characterization than bullets. In a change-of-pace role, Clint Eastwood plays a down-and-out Phoenix cop who faces seemingly impossible odds and endless corruption when he is assigned to escort a Las Vegas prostitute (Sondra Locke) to trial. Needless to say, Clint's slimy boss (William Prince) wants to make sure he doesn't get the job done. Stylishly directed by Eastwood, the film moves at a fast clip and benefits from strong performances. Interestingly, Eastwood's character fires his gun only twice and never kills anyone. The elaborate climax is a bit ludicrous (why don't the Phoenix officers shoot out the bus tires?), yet "The Gauntlet" remains on-target most of the way. A must-see for Eastwood fans.

Read Best Reviews of The Gauntlet (2008) Here

One of Eastwood's best films,and one of Sondra Locke'e for that matter,this Blu transfer blows away the previous DVD release which really wasnt all that bad,but this Blu Ray transfer and sound are just incredible,it blows the old DVD right out of the water!!!,your HD TV,and sound system will get quite a workout here!!! No extras here,just the movie,not even a trailer,but for the pretty low price,this one's worth picking up if you're a fan,worth the upgrade!!! The final scenes with the bus(Clint also had some bus action also in Dirty Harry,remember these films were made well before "Speed"!) are truly incredible,this movie is action packed!!! "The Gauntlet" is a winner!!! I've had this on VHS,DVD and now Blu Ray!!! A+

Want The Gauntlet (2008) Discount?

The movie itself is as good as any of the Dirty Harry series. The picture quality for a Blu-Ray is pretty good. It's probably the best I have ever seen it. I didn't notice much by the way of dirt or smudges, & grain is about par for a film of this age. If you are looking to buy this or the regular DVD, then I would say this Blu-Ray is a better choice.

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Thor (Three-Disc Combo: Blu-ray 3D / Blu-ray / DVD / Digital Copy) (2011)

Thor is Marvel's best superhero movie yet. It is even better than the first Iron Man and The Incredible Hulk films. It is also the most visually stunning of any Marvel film, with gorgeous fantasy settings, great costumes, and spectacular special effects.

In the same way as Christopher Nolan's The Dark Knight worked just as well as a crime drama as a superhero movie, Thor works just as well as a standalone fantasy film. Even if I had not known that I was watching a comic book movie, I would have been just as happy with the story. In fact, I would say that you don't actually need to be familiar with the characters or the comic mythology to enjoy the film.

The story is set half in Asgard, the realm of the gods, and half in our world, Earth. Thor, the son of the king of Asgard, the wise Odin, is a proud and arrogant king-in-waiting. He makes a foolish mistake that brings his world to the brink of war and his father exiles him to our world as punishment, and maybe to teach him how to be a better man. On Earth, Thor makes some new friends and even begins to fall in love with a pretty scientist. Meanwhile, in Asgard, his brother Loki begins to put into motion a plot that may threaten Thor's home.

Two things about the film really stood out to me. The first is the absolutely beautiful settings and solid world-building in the movie. Asgard looks amazing, with settings such as the Rainbow Bridge, a crystal structure with colored lights running through it, spanning a sea that flows into a massive waterfall, cascading down into the open cosmos. Also, great costuming really makes the gods stand out, and adds to the film's epic feel. The second thing was the character of Loki, the film's antagonist. Watching the trailers, I expected a greasy, honorless villain (someone like Wormtongue from the Lord of the Rings). Instead I got the story of a hero, told in reverse. Loki's story mirrors his brother Thor's, but where Thor starts out as an arrogant royal brat and through his time on Earth comes to realize what it means to be a hero, Loki begins the story as a mischievous but honorable man, and over the course of the film turns into a really bad guy. As Thor rises, he falls. And when his final plan is revealed at the end of the film, it totally fits his personality and everything you know about him. In other superhero films, we're used to seeing the bad guy go on some kind of mindless rampage at the end of the film. We saw it in The Incredible Hulk, Iron Man, the Spider Man movies, the Fantastic Four...but not here. Loki acts like a man with a purpose. Actually he has two purposes, both very personal to him. One is to do commit a terrible act of destruction, partly out of self-loathing and partly out of a twisted sense of honor toward his father. And the other is simply to beat his brother, proving himself Thor's equal. He is easily the deepest villain of any of the Marvel films so far.

The film is directed by Shakespearean actor Kenneth Branagh (Gilderoy Lockhart!), who handles the epic material perfectly. More than any Marvel film so far, this one focuses on the hero's journey. Even more than a comic book movie, this is a fantasy film about a hero. Expect father-son drama, palace intrigue in the realm of the gods, and an epic confrontation between two brothers who have been become very different people over the course of the story. There is also plenty of humor, with a few real laugh-out-loud moments. And there is a very sweet, almost cute romance woven into the story. It carries an innocent, young-love kind of feeling. It also takes the two characters, one a god more concerned with war and glory, the other a scientist more concerned with solving the mysteries of the universe, and brings them down to earth in their budding love for one another.

I would recommend Thor to any lover of fantasy films, as well as any fans of comic book movies such as Marvel's Avengers lineup. It is solid fantasy fun with a strong sense of the epic and the heroic. And when you see Thor finally wield his hammer and summon the lightning, you'll want to stand up and cheer.

I went to see this with our 9 year old son, honestly not expecting very much. While I have enjoyed Portman and Hopkins in a number of roles, I felt this would be just another comic book hero movie with a bad script, extremely predictable character development, and unoriginal attempts at humor.

I was wrong...

Not only did I AND our 9 year old boy enjoy THOR, our 13 year old daughter, 15 year old goddaughter, and two more of our daughter's friends enjoyed it...ALL 3 TIMES WE SAW IT!!!

That's right...I saw THOR with our kids 3 times. Granted, this is a bit over-killed, but we thoroughly enjoyed the movie every time and plan to purchase it on opening DVD release day. Here's why:

1. I felt it was age appropriate.

2. Was it violent, sure...was it gory, no.

3. It had clear lines of good and bad, treated well with a myriad of complexities that led people to their struggles...so it felt honest.

4. I thought it was a GREAT play into the Avengers movie that is on the way.

5. I felt Branagh did a wonderful job directing...they should consider allowing him to direct the Avengers.

Rent this one...buy it...whatever works for you. It's good entertainment with plenty of action, quick wit, and a sweet redemption in the end. No Oscars here, but a good film nonetheless...thumbs up!

Buy Thor (Three-Disc Combo: Blu-ray 3D / Blu-ray / DVD / Digital Copy) (2011) Now

Comic book fans get a lot of flak for being nerds, dweebs and geeks; or at least they used to. Now comics are en vogue as millions of people attend geekfests like Comic Con; although whether that's to see the movie and television stars in attendance remains to be seen. Comic book characters are our mythology, they rival the super powered beings and gods of ancient Greek, Mesopotamian, and Viking mythology. We as humans have always felt this need to look up to higher powers to sort out our lives, believing that the fate of our race is better left in the hands of someone capable of bending the rules of physics. It's only natural then that eventually the worlds of comics and ancient mythology would collide as it does in the new Marvel movie Thor.

Thor (Chris Hemsworth) is the arrogant first born son of King Odin (Anthony Hopkins) of Asgard, and the rightful heir to the throne. When Thor commits an act that could lead to war between Asgard and the Frostgiants, with whom they have a very shaky truce, Odin strips Thor of his powers and banishes him to Earth until he learns humility. On Earth Thor is found by astrophysicist Jane Foster (Natalie Portman) and her team (Stellan Skarsgard, Kat Dennings) as they study atmospheric disturbances in New Mexico.

Thor is one of Marvel's lesser known properties, despite having been created by Stan Lee back in 1962. An integral character in Marvel's super powered team The Avengers, the movie version of the comic book was announced not long after the success of Iron Man as part of Marvel Studios attempt to bring The Avengers to the big screen. While Marvel has had great success with the first Iron Man movie and to a lesser extent Iron Man 2 and The Incredible Hulk (which is the closest Marvel Studios has come to failure so far), Thor was a risky proposition with the greatest potential for failure. How does one meld the worlds of the mythical Asgard and Earth seamlessly into a movie that is part of a bigger picture with characters that are based solely in our realm?

Enter Kenneth Branagh. The success of Thor can largely be pinned on having a filmmaker with appropriate gravitas to ground the film. Branagh is a star of stage as well as film (for those of you unfamiliar with the name he played Gilderoy Lockhart in Harry Potter and the Chamber of Secrets). The presence of Branagh alone was somewhat curious considering he's known more for directing acclaimed works like Hamlet (1996) and Henry V (1989) and even as an Irishman the English consider him one of the leaders in Shakespearean theater. It's that knowledge of film and theater that really guides Thor as he borrows as much from Shakespeare's Henry V as he does from modern action films.

Also adding to the weight of Kenneth Branagh's credentials are a list of acclaimed and award winning actors and actresses such as Anthony Hopkins, Natalie Portman, Stellan Skarsgard, Rene Russo, and Idris Elba. Not only do they have the opportunity to ground the movie, but they also look like they're having fun. Part of why we enjoy this movie is because we can see that they enjoy the movie. No one ever really feels like they're hamming it up or sleepwalking through their scenes, you get the sense that aside from the emotions they convey for their characters concerning their predicaments they all want to be on this set and that feeling is infectious. Also Tom Hiddleston's Loki is a revelation at a time when I have to admit that Marvel Studio's previous villains have been lacking a certain je ne sais que. Hiddleston plays the character with a secret, and a glimmer behind the eyes that slowly unravels like a ripe onion throughout the film holding on to his deceit with the hope of another day. He's more complex than the previous villains that have come out of Marvel Studios, and I'm looking forward to his return in The Avengers.

The real linchpin for why this all works though is Chris Hemsworth. While having been around here and there in blink and you'll miss it parts, Hemsworth got his first big break in JJ Abrams Star Trek reboot in the pivotal role of George Kirk, father of James T. Kirk. While his place in geekdom had been set in a small yet important role, the question of whether he could pull off the Norse god turned Marvel superhero. In a lot of actor's hands this would have been a one note character bereft of emotion and humor. Hemsworth is a magnetic leading man, though, exuding charisma and confidence. His poise commands respect, and he effortlessly flows from emotion to emotion, arrogance to humility, with a comedic timing that leaves the audience in stitches but still doesn't undermine his character.

As with most, if not all comic book movies, this movie tries hard to give you a lot of plot in a short two hour span (I say short because it leaves you wanting more, the way a good action movie should). Naturally, some things are a little undercooked but don't ruin the movie. In the end, as much as I fell in love with Natalie Portman's character (as I do with almost any character she plays) the romantic connection between Thor and Foster didn't ring true because for most of the film he seemed somewhat disinterested only to find his infatuation with her later in the movie. Thor's progression from arrogant strongman to humble hero also seems to be slightly haphazard as it really feels as though it could have used more time to flesh out. Hemsworth does an admirable job making the audience feel each twist and turn of the character, but each twist and turn feels a little too abrupt to be genuine.

All in all though, this was an excellent film: a piece of escapist entertainment that embraces Shakespeare as much as it embraces modern blockbuster pop-art. On the scales of Marvel I'd rate this just slightly under Iron Man and far above Iron Man 2 and The Incredible Hulk. The fact that they were able to get Thor right gives me hope for The First Avenger: Captain America and The Avengers. If you're a fan of comic book movies, Iron Man, or Marvel I highly recommend that you give this film a try. Not to mention, this is quite possibly the best use of 3D I recall since Avatar. Check it out!

4/5

For more review check out: jasoncwilkerson.blogspot.com

Read Best Reviews of Thor (Three-Disc Combo: Blu-ray 3D / Blu-ray / DVD / Digital Copy) (2011) Here

Thor is a difficult comic hero to bring to the big screen, but director Kenneth Branagh (Hamlet) has pulled it off with ease. What helps though is that Chris Hemsworth is perfectly cast as Thor and Tom Hiddleston is as well cast as his evil brother Loki. Plus, unlike with Iron Man 2, you get plenty of action to please you as well.

Roger Ebert hated Thor and thinks that every Marvel film since Spider-Man 2, just hasn't been as good. However, Thor is the way it should be. What is a good comic adaption according to Ebert anyway, was Thor supposed use his powers to deliver pizza ? Was he supposed to spend half the movie pouring his heart out to Natalie Portman's answering machine as she just stands there listening looking annoyed ?

After Thor loses his powers when he comes to Earth, was he supposed to strut down the street with a smile on his face as the song "rain drops falling on my head" plays ? No! Thor works as a magical and macho fantasy and that's exactly what a Thor movie should be!

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I bought my first Thor comic at age 6 or 7, way back in the 60's! I now have them all from "Journey Into Mystery #83" thru issue 500 or so. I even own some original Kirby art from "Thor". The movie surpassed my expectations!

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You Again (Two-Disc Blu-ray/DVD Combo) (2010)

This flick was cute in the previews and delivers even more than it promised in the full-length film.

After years of healing success and maturity post high-school, Marnie aka MOO, finds out that her brother is marrying her nastiest high-school tormentor. With no time to process the information or put on full body armor, Marnie is thrown into the situation just days before the wedding. Joanna, oddly, doesn't even remember Marnie the queen-of-geeks and has gone on to become a perfect blend of Martha Stewart and Mother Teresa. Or maybe not!

Chick-flicky, yes. But its more about friends, enemies and the painful art of growing-up. The movie contains a few cheesy moments and a few underdeveloped relationships because the cast of characters is huge. But, it's respectful of friendship, forgiveness, character and marriage. Jamie Lee Curtis and Sigourney Weaver are delightfully amusing and seem to enjoy every bit of working together in this film. There is a scene at the end of the movie that is hilarious and worth every bit of cheese and I can't say one more thing about it because it would be a big spoiler. The film is clean and would be a terrific pre-teen movie choice.

Comparable movies are Mean Girls, Monster-In-Law, Bride Wars, Win a Date with Tad Hamilton and Confessions of a Shopaholic. If you liked any of the above or any of the You Again cast of characters you should enjoy this film. This is one I'll be adding to my DVD collection.

I see a lot of movies and one of the movies that really surprised me the most is YOU AGAIN. It is so well written, so well acted and just left a smile on my face throughout the entire movie because it was so hilarious -yet it was also so heartfelt -these characters are really likeable people and the situations they get into is just so well done. I highly recommend this movie. Hands down the best comedy of the year -and by the way -it got a cinemascore (the people who first saw the movie) gave it an A and if you look on boxofficeguru.com, people also gave it an A.

It's superb.

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I saw "YOU Again" when it was in theaters and I have to say it was one of the funniest movies I have seen in a long time. And it is not just a chick flick! I'm a guy in my 20's and me and my friends all enjoyed it. If you like physical comedy, you'll love this movie. Jamie Lee Curtis and Sigourney Weaver are top notch. So, if you want to laugh, buy this DVD.

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You Again, finds humor in all of the expected places and even more! The movie centers around Marni Olivia Olsen (Kristen Bell), who as a previous high school "loser" becomes a beautiful, successful VP out of school. Always antagonized by the "popular girl", aka Jo-Jo (Odette Yustman), Joanna as she now goes by; Marni has suddenly found herself thrown into an unexpected dilemma. Her brother Will is engaged to marry Joanna. As they first meet face-to-face, Joanna seems to have no recollection of Marni. But as days tick on, the obviously frustrated Marni cannot stand to see her brother fall for her act and devises a plan to show Joanna's true colors. Hilariousness ensues and with ode to the 80's, Hall & Oats and other assorted music, the event goes on without a hitch. A movie to enjoy with the whole family. Not one inappropriate situation to shield young eyes from. Loved it! Betty White, Sigourney Weaver and Jamie Lee Curtis are awesome as the older versions of high school meanness.

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After reading some of the reviews slaughtering this campy flick I had to comment. First it has such a great cast I had to see it. Sigourney Weaver's acting was the best. Jamie Lee Curtis who is normally amazing was a bit overboard but that's probably the fault of the some of the writing. Nevertheless, my young tween and teen and I had fun watching it. It speaks to the pressures of being popular and getting your self worth trampled by your peers. And, it does a decent job treating revenge, repentance and forgiveness. It was often funny and the ending scene was hilarious. It's just the sort of movie Disney used to churn out in the 60's and 70's.

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Samurai Girls: Complete Collection (2011)

While overall the story of the series has been done over many times at the end the characters do endear themselves to you enough that the series in whole is worth looking at. The basic premise of the series is you have one young man a skilled fighter who inherits a somewhat deteriorated dojo where he begins to meet well endowed women after women(Eight total I figure) all extremely attractive and with the exception of one of them all extremely endowed(Again with a lot of harem animes we have to have one who while technically a young adult appears childlike pushing the Lolita factor a little). Though after one of them Jubei Yagyu appears in the sky and shares a kiss with the young man Munekira Yagyu she becomes a powerful warrior causing all the other females to want to share a kiss with the young man since it seems that by doing so empowers them with incredible fighting prowess. The series is supposed to be a mix of edo and present time since the Tokugawa Shogunate remains in power keeping alive the samurai way of life for the most part, that isn't to say there isn't any technological development you'll see a mix of shogunate lifestyle with modern conveniences intermixed into the series. The series animation is something you have to get used to as I haven't seen this kind anywhere really, the character animation is pretty standard a little mix of Naruto and Ikki Toussen the background animation though feels like one of those 3D games you see like with Street Fighter or BlazeBlue not the exact same thing but a little close to it check out a couple of images or trailers to really get an idea of the series animation. The voice cast for the Japanese did superbly in their character roles and surprisingly so did the English cast, at first I wasn't so sure about them as I checked online for their past credentials and couldn't find anything but if you've already bought a few ADV or Funimation released sets then many of these dubbed voice actors will sound familiar to you. The set comes in three disc, the first two hold the entire series the third is the bonus disc which has some very entertaining extras on it. So if you like series like Sekirei, Naruto, Inu Yasha, or Ikki Touseen with a touch of humor and a ton of fan service here's a entertaining series to check out...

I'll be honest, I didn't really read much about this show ahead-of-time. I read the general synopsis and went ahead and bought it because it sounded interesting. Most animes are suggestive and have sexy anime characters, but they're usually clothed. Lots of full-on nudity in this show, so don't buy this for kids.

The plot is pretty good, kind of predictable and silly, but I really enjoyed it. The drawing was decent although the blotching at the beginning was disconcerting, and the characters as a whole have enough personality to make the show enjoyable. The guy who does the voice for the main character is probably my least favorite because he comes off as entirely too dramatic, but the other characters' voices make up for it. If you like a light-hearted, fun anime where one wave of a sword blows people's clothes off this one is worth watching.

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There seems to be a dojo master called Muneakira who turns females in samurai masters with powerful elemental powers by kissing them. There is a lot of nudity with large breasts, but no observed sex acts. There are several females characters with their own unique personalities.

Read Best Reviews of Samurai Girls: Complete Collection (2011) Here

I watched the first episode on hulu and decided to buy the series to watch the rest. It seemed interesting at the time and the reviews here weren't half bad, but...in the end I wasn't too much impressed. I liked the animation style which was truly unique and very nice to watch on blu-ray. I even liked all the "eye candy" with the girls, yeah I said it. Parents be ware that these woman WILL be exposed above the waiste quite often, all while implying suggestive acts. Other than those two things I didn't like much. Story was not fully threshed out and rushed in the final couple episodes leaving a lot of unknowns. Really could have used more episodes or used the time in the series more wisely, maybe less boobs and more story? Anyways, if your looking for nice style, animated bossoms, and suggestive poses pic this up, if not...turn away and don't look back.

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Great animation and good characters are the bread and butter of Samurai Girls. The art stands alone as innovative and the characters are pretty cool. There's not much else about this one that keeps ya watching. The story is really thin. They resort to constant nudity to keep it afloat. I enjoy watching chicks get their outfits shredded but that's no substitute for a memorable story. The pros and cons balance each other out and this anime is left being just ok. I don't think I'll sell it, but I probably won't watch it over and over either.

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American Beauty (Sapphire Series) (1999)

I read somewhere that the overwelmingly red look of American Beauty is a symbol for blood and roses. Represented in the film by the flower petals in Lester Burnham's fantasies, and the blood spilt when the sadness that hovers beneath bears its face. The title of American Beauty does not refer to the pretty surfaces that hide the anguish of these people, but the beauty of their souls when dealing with that anguish. Many reviewers have considered the title to be ironic, it isn't. I've heard Kevin Spacey say that this film is about context, because taken out of context the behaviour of these characters seem bizzare and even phsycotic, but out with in the context of their messy lives or indeed anybody's life, it seems natural. If I tell you that Kevin Spacey plays a character who is obsessed with the idea of sleeping with his daughter's best friend, a daughter who constantly anounces her hatred of her parents, a woman so obsessed with appearances that happiness is but a memory to her, a loner who makes his living as a drug dealer with a firm rigid father living in denial about his son and himself, you would guess that there would be no one to like in this film. You would be wrong. This film is magical in the way it lets identify with these characters, care for them and worry about their outcome. Infact the ideas of American Beauty are nothing new. The persuit of happiness through the abanodoning of materialistic possesions and the satisfaction of primal, animal and natural desires was the exact same premise for Fight Club. This could be a middle aged version of that film. The family turmoil closely resembles Ang Lee's The Ice Storm 1998, and like that film, American Beauty ends in tragedy. But as with all masterpieces its not the "point" that counts, but how you get there. Just like the fact that anything new you learn in life is the history you don't know, most originality in movies is the movies you haven't seen and the novel's you haven't read. The fact that the film remains a masterpiece is a credit to the execution of those ideas, not their originality. Our hero is Lester Burnham a man who goes quits his job, black mails his boss, and goes wild for a year. His journey of self-discovery is not what your average citizen would call moral, yet we still sympathise. My favourite scene in the film is where Lester meets Ricky(Wes Bently) outside a part. Ricky sells marijuana for a living and makes a lot of money. Lester tells him that when he was his age he "flipped burgers all summer long" for very little money. "That sucks" says Ricky, "No actually it was wonderful." The heart of the film is this scene, Lester's yearning for those years where his whole life was ahead of him, when he believed he coul do anything, when he wasn't such a "loser". This purity is the Beauty to which the title refers. Ricky Fitts is the boy next door, a loner who likes to film people. His father is a rigid military man. Both Wes Bently and Chris Cooper who play father and son respectively give monumental performance equal to Kevin Spacey's oscar winner. Their family is a contrast to Lester's, and in its tragedy, emotional complexity and heart break exceeds it. Ricky's catatonic mother is perhaps what Lester would have become had he not taken charge of his life. I have tried to define this film, but its not a film that can be defined. It is one to be experienced. If I tell that the sight of a paper bag blowing in the wind will amaze you, you find it very silly indeed. Acredit then to this film that when Ricky show us a video of a paper bag blowing in the wind, it is indeed a breathtakingly beautiful sight.

My initial reaction, "That was weird," has changed to "How thought-provoking." What happens when characters who struggle to live authentically cross paths with those who struggle to do anything but?

Lester Burnham and the oddly compelling boy next door both discover the ability to see the true beauty in life, even in the most unlikely or mundane circumstances. Who is to be pitied more: Lester, whose life is snuffed out at the moment of pure joy and contentment, or his wife, who buys into the mantra that one must first attain the appearance of success in order to BE successful? She fiercely shuts down any intense emotion lest she be overwhelmed, and even her sexual encounters are comically farcical. "When did you become so joyless?" the soul-searching Lester asks his wife in a touching moment.

Ricky's character as the boy next door is haunting. He sees life as an artist and a poet; his serenity contrasts with the stark repression of his military father and soulless mother, and intrigues Lester's daughter Jane, who possesses Wednesday Addams' moon face and dour disposition. Her struggle of self-discovery contrasts with that of her best friend, the beautiful and perfect cheerleader Angela, whose insecurities are masked by sexual bravado.

This is a movie worth seeing . . . worth thinking about long after it's over . . . and a gentle reminder to live life authentically.

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"American Beauty" is a pure cinematic triumph that is both funny and sad. It's disturbing... and yet, it's extremely provocative and deep. The film is an extraordinary achievement that reveals a tragic and realistic story about a family that is anything but ordinary. It's a film with so many layers that it is almost impossible to dissect them all in one single thought.

Meet Lester Burnham; a man who feels like he's completely dead inside. His wife and daughter despise him and do not show him any signs of respect. On the surface, the family seems like a picture-perfect family that everybody dreams about--but inside is a completely different matter. His wife is obsessed with material possessions and doesn't care for "petty" things like love or life, while his daughter resents herself because she isn't "perfect." Lester's mental coma is rudely interrupted when he meets his daughter's friend and starts fantasizing about her. The awakening might be due to a disturbing thought or feeling, but the wake-up call changes Lester and allows him to realize that there's always time to erase his "forced-image" and be the person he really is. This is all a set-up for a funny, disturbing and tragic movie.

I don't know about everybody else, but my mind was literally racing around when this movie was playing before my eyes. It's one of those films that allows you to pick up on something different upon each viewing. As I said in the beginning of the review, this film has a number of layers to it. There's so many different meanings and points to the film that it is nearly impossible to describe them all in one little review. Besides, the fun part of the movie is discovering these meanings and points for yourself. You know a film is successful when you totally lose yourself to it and allow it to challenge you in every way. The film is crafted flawlessly and doesn't have a wasted minute in it.

The acting from Kevin Spacey is really a sight to see. He gives his character all of the right needs and feelings that is necessary for the authenticity of his role. You don't even look at him as an actor--but as the real person he portrays. It is certainly a milestone in his acting career that will continue to be remembered throughout all cinematic history. Annette Bening is also superb in her role and brings life to her character, as well. Everybody in the film should be applauded, as they all make the film what it is.

The DVD has some neat features to offer. The picture quality is fantastic and the sound is more than great. You have the option of watching the movie in DTS if your system is able to play it. Extras included are commentary from the director and writer, a behind-the-scenes featurette, cast and crew biographies, trailers and more. While I wouldn't had mind a Two-Disc edition of the movie, this is a pretty impressive package overall.

"American Beauty" is a breath-taking masterpiece with a very high replay value. It's a terrific film on every front and does not disappoint for a single second. While it's not a movie that everybody will like, it's most certainly one to check out if you are a lover of films. If you're looking for something that isn't so ordinary, then this may be the chance that you are seeking. I feel that it is a unique and superb film that is very hard to express in words--you'll just have to experience it for yourself. -Michael Crane

Read Best Reviews of American Beauty (Sapphire Series) (1999) Here

There's something special about "American Beauty" that's hard to pinpoint. I don't think I've ever seen a film with such a great ensemble of actors everyone is perfectly cast, from Kevin Spacey's eerily lovable Lester, to Annette Bening's loopy real-estate broker Carolyn, to Thora Birch's hauntingly disenchanted Jane. And the Fitts family...whew. Don't even want to go there.

It's one of many films lately dealing with the disparity between appearances and their underlying realities. Lester's abrupt break with his superficial world is refreshing, and the chaotic circumstances that evolve from it are both provocative and entertaining. I think that, along with "Fight Club," "American Beauty" is the best of them all. The beautiful cinematography, outstanding percussion-centered score, precise and evocative *original* screenplay, and above all first-rate acting make this movie stand above all the others. Thinking about the fact that this is Sam Mendes' first film, and Alan Ball's first screenplay, gives me hope for the future of film in America. Not every movie has to leave you nauseous.

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The first time I saw this film I was left thinking, "...is this what the Academy considers for a Best Picture? It seems a bit odd for considering a Best Picture nomination." But then as the days went on I couldn't get the images and music from the movie out of my head. I must admit, I am a Kevin Spacey fan ever since "The Usual Suspects" and to see my favorite actor once again I knew it had to be good. It wasn't until the second time I saw the movie that it hit me like a freight train....this is my most favorite movie of all time. Everything is perfect. Even the surreal rose-petal sequences are a visual treat.

The cast was given a razor sharp script to follow and each actor performed perfectly. Thomas Newman's haunting score was very intriguing. It think the ultimate scene that touched me was when Ricky (Wes Bentley) showed the simplicity of a paper bag being blown around by the wind to his girlfriend Jane (Thora Birch). The sheer magnitude of his finding beauty in something like that is why I love this film so much. The movie has a perfect blend of superior acting and cinematography.

A brilliant job to Sam Mendes, the entire cast, and to the Academy for giving this film every Oscar that it deserved.

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Steamboat Bill, Jr. (1928)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VIDEO:

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

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

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

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

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

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

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

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

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

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

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

AUDIO & SUBTITLES:

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

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

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

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

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

There are no subtitles in this Blu-ray release.

SPECIAL FEATURES

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

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

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

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

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

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

EXTRAS:

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

JUDGMENT CALL:

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

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

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

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

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

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

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

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

Want Steamboat Bill, Jr. (1928) Discount?

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

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

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

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

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Belle de Jour (The Criterion Collection) (1967)

First, let's get something straight: Belle de Jour was shot 35 years ago in France. It's just not ever going to look as clean, sharp, and saturated as a newer movie. Director Martin Scorsese (who spearheaded its re-release) is a purist; he would not want to artificially "enhance" the picture at the risk of distorting Luis Bunuel's original vision.

Second, this DVD is non-anamorphic for very good reason: Belle de Jour was photographed in 1.66:1 widescreen. 16:9 enhancement would actually have CUT OFF some of the picture at the top and bottom. People who complain about the quality of this DVD simply don't know what they're talking about.

As for the movie itself, Belle de Jour is one of the few films about eroticism that really gets it right it knows that eroticism is in the mind, not the body. The always luminous Catherine Deneuve plays Severine a woman whose life is at once picture-perfect and fundamentally empty. She is married to a good provider, the handsome but boring Pierre (Jean Sorel), and enjoys all the idle upper-middle class accouterments.

But something is wrong in this greeting-card perfect world. Severine seems to find erotic satisfaction only in the repressed desire to be humilated and used sexually. She escapes into waking dreams where she enjoys being whipped, soiled with mud, and bound to trees. This lurid fantasy life leads her to seek employment as a part-time prostitute but only during the day, before her husband gets home.

Complications arise when her double life is discovered by her husband's friend Henri Husson (Michel Piccoli), and when she finds herself the subject of a stalker a dangerously obsessed customer named Marcel (Pierre Clementi), who also happens to be a violence-prone thief.

Though it sounds like fodder for a typical Hollywood "erotic thriller", what develops from these elements is a psychological study that, for all its depths, appears to remain moot about just what makes the main character tick.

Central to the film is Deneuve's work. Under Luis Bunuel's precise, disciplined direction, she delivers a performance that is icy, opaque, and ultimately heartbeaking. Yes, she seems distant, and that is precisely the point: the much talked-about ending, by its very ambiguity, shocks us with the revelation that we've been fooled all along. Severine is not unreadable because she is hiding dark motivations. Rather, she is a dreamy, empty vessel; abused as a child (as we see in subtle flashbacks), and acting out of nothing more than instincts she can neither hope, nor care to understand. The lights are on and nobody's home.

Her last, blissful smile as she enters one of the waking dream-states that pervade the film masks the hollowness of a human being squeezed dry of all her humanity by a life of denial, guilt, and empty materialism.

It's an emotional sucker punch a romantic banality that underscores with bitter irony what a sad, empty life Severine has, and the great damage that has been done to her. The tremendous harm that her own actions have caused by this point is just a tragic ricochet.

All in all, Belle de Jour is a haunting piece of classic cinema. It may be Bunuel's masterpiece. It belongs in any serious movie fan's collection.

"Belle de Jour" is generally considered to be director Luis Bunuel's masterpiece; a surprisingly revealing and seemingly personal venture into the world of eroticism and its deviances. It's a truly surrealistic exercise in ambiguity, fantasy, and reality. The line that separates them is blurred so much that the famously mysterious ending has had critics arguing for decades over its meaning.

The fantasy sequences are usually signalled by the sound of carriage bells, but by the end of the film the viewer is no longer able to differentiate between what is another one of Severine's fantasies and what is reality. Even Bunuel admitted to not knowing himself. He said that "by the end, the real and imaginary fuse; for me they form the same thing."

The gorgeous Catherine Deneuve, resplendent in her icy prime, portrays Severine Sevigny, the middle-class wife of Pierre, a doctor. She is frigid, virginal, yet seemingly happy enough in her bourgeoisie life and its trappings. However, upon hearing about a local clandestine brothel from a friend, she pays a visit to the madame, and becomes a prostitute, going by the name of "Belle de Jour", as she can only work in the afternoons. She apparently fully realizes and enjoys her sexuality, despite her guilty conscience, exclaiming that she "can't help it". She certainly doesn't need the money. She's bored with her life and her marriage, needing a "firm hand" to lead her; a need which the madame, Anais, who is obviously attracted to her, almost immediately recognizes. Her sweet and conventional husband is unaware, treating her much like a child, and the audience cannot help but believe that even if he knew of her true nature, he would not understand or empathize. She keeps her two worlds neatly separate until a patron of hers (whom she herself enjoys) becomes obsessed with her, and all is threatened.

That Alfred Hithcock in particular admired this film comes as no surprise to me; Deneuve would have been the perfect Hitchcock heroine: an icy blonde who becomes "a whore in the bedroom", as Hitchock was fond of saying he preferred in his leading ladies. But this remark is not meant to simplfy the story, its telling, or Deneuve's remarkable performance, which is what truly draws the viewer into the film.

"Belle de Jour" was Bunuel's first foray into the use of color, and he employed it to great effect. From the fall colors displayed in the landscape scenes, to the subtle shades in Deneuve's clothing, the contrasts are set. While the world around her explodes in glorious hues, Deneuve's character is defined by her couture, if staid, wardrobe of tan, black, and white.

"Belle de Jour" was unreleased for many years due to copyright problems, but finally re-released in 1995 through the efforts of director Martin Scorcese, and released on DVD in 2003. I've watched it twice in the past week and am still at a loss to describe it very well; suffice to say that I am in awe. It's an amazingly erotic film without any explicitness, and one that I expect hasn't lost any of its effect over the years. As the subject matter is handled very tactfully and without any actual sex scenes; a great deal is left to the viewer's imagination which only serves the heighten the mysteries inherent at every turn in the film. The viewer is however drawn into the sense of feeling to be a voyeur into Severine's secret life; the careful choreography of scenes and camera angles contribute to the uncomfortable sense of intrusion by us, the viewers.

There are many sub-stories and small mysteries in the film; for instance one of the most widely debated upon by critics is the mystery of "what is in the Asian client's little box?" that he presents first to one prostitute, who quickly refuses, then to Severine, who tentatively agrees. All the audience know is that it's something with a insect-like noise, and when the client leaves, Severine is sprawled face-down upon the bed, the sheets thrown about, and obviously pleased with whatever took place in the interim.

"Belle de Jour" was awarded the Golden Lion at the 1967 Venice Film Festival, as well as the award for Best Foreign Film in 1968 from the New York Film Critics Circle.

Interesting side notes: Bunuel himself had a shoe fetish, which helps explain the numerous shots of Deneuve's beautifully clad feet throughout the film, and the fact that every time she goes shopping, she buys shoes. He also appears in the film in a cameo as a cafe patron, and in another scene his hands are shown loading a gun.

Buy Belle de Jour (The Criterion Collection) (1967) Now

The premise of BELLE DU JOUR is well known. A young, beautiful, and slightly frigid doctor's wife (Catherine Deneuve) secretly harbors fantasies of being dominated, humiliated, and abused by her husband (Jean Sorel.) When these fantasies can no longer be denied, she becomes a prostitute under the sponsorship of a possibly lesbian madam (Geneviève Page), working during the afternoons while her husband is at his own work. Her sexuality is awakened by the sometimes brutish clients, who soon discover that "she likes it rough," and she is ultimately caught up a relationship with a truly dangerous client (Pierre Clémenti) whose possessiveness threatens to destroy both her and her husband.

Throughout the film Deneuve slips in and out of memory and fantasy, sometimes recalling herself as a possibly molested child, sometimes imagining herself as the victim in a series of sexual assault fantasies. Director Bunuel, whose masterpiece this is, so blurs the line between memory, reality, and fantasy that by the film's conclusion one cannot be sure if some, most, or everything about the film has been Deneuve's fantasy. Although it includes a number of impressive performances (particularly by Geneviève Page, her girls, and their clients), BELLE is essentially Deneuve's film from start to finish, and she gives an astonishing performance that cannot be easily described. Like the film itself, it is a balancing act between fantasy and a plausible reality that may actually be nothing of the kind. Bunuel presents both her and the film as a whole in an almost clinical manner, and is less interested in gaining our sympathy for the character than in presenting her as an object for intellectual observation.

Ultimately, BELLE DU JOUR seems to be about a lot of things, some of them obvious and some of them extremely subtle. And yet, given the way in which it undercuts its realities by blurring them with fantasy, it is also entirely possible that the film is not actually "about" anything except itself. Individuals who insist on clear-cut meanings and neatly wrapped conclusions will probably loathe it--but those prepared to accept the film on its own terms will find it a fascinating experience. Recommended.

Read Best Reviews of Belle de Jour (The Criterion Collection) (1967) Here

Severine (Catherine Deneuve) is newly wed to a successful, young, handsome Parisian doctor, Pierre (Jean Sorel). He loves her deeply, but yearns for her to express her love in more sexual ways. Severine is chaste in her marriage, but her fantasy life is vivid and encompassing. She moves from reserve to abandonment in her mind, and we find ourselves involved in her life and her fantasies. She learns of a place where well-to-do, bored young wives play at being prostitutes. She's drawn to the idea and finally begins a hidden life from her husband, but only from 2 p.m. to 5 p.m. She becomes Belle de Jour. She finds a need for released sexuality, and for humiliation and masochism. One of her clients is a young, tough hood with steel teeth, a sword cane and brutal manners. She's drawn to him, but who is using whom? She pulls back, and a confrontation may or may not be conclusive. Is it real, or another fantasy?

This is a great Bunuel film, sexual, serious, satirical. It's all about what's going on in Severine's head, and the erotic sexual life she lives. And its about sexual fantasies, most of which appear absurd when looked at. While Severine's story is fascinating, there is much of Bunuel's typical love of fetish at what he shows. The movie opens with Severine and Pierre taking a horse-drawn carriage ride into the country. The bells on the carriage begin to jingle and Pierre stops the carriage and orders the two drivers to pull Severine from the carriage, whip her and rape her. When did the fantasy in Severine's head start? In one scene Pierre and his saturnine friend played by Michel Piccoli are in the country and begin shoveling black, stinking mud into a pail. In the next instance we see Piccoli throwing handsfull of mud onto Severine, tied up and dressed in a virginal white gown. Throughout the movie the sounds of bells tinkling and cats mewing trigger a shift into erotic fantasy for Severine.

Bunuel's satiric look at mankind also shows through clearly. Severine, working afternoons as Belle de Jour, encounters a world famous gynecologist who dresses as a servant so he can be humiliated by a prostitute acting as the lady of the house. There is the large man with something in a small, enameled box that buzzes which makes one of the women say, "No," but which intrigues Severine. We never learn what's in the box. There is the duke who is aroused only when he can play the mourner with a woman pretending to be a corpse in an open casket. It all sounds grotesque, but it's funny, too. And there's not a moment of explicit sex in the film, and only a glimpse of partial nudity.

The movie is almost 40 years old and is still a fascinating look into Severine's life and her fantasies, and probably into ours as well. Deneuve is what makes the movie work. She may appear at first to be a perfectly groomed ice queen, but before long you know that a great deal is happening behind that face. Like Isabelle Huppert, she can imply serious, unsettling emotions just by looking calm.

The DVD picture is just fine; there's nothing wrong with it or the audio.

Want Belle de Jour (The Criterion Collection) (1967) Discount?

"Belle De Jour" by the great Luis Bunuel is the best example of what true eroticism is in the cinema. It is an exquisite, seductive and stylish, also surreal, fantasy that enraptures us by not only picking at the main character's brain, but at ours as well. This is not a movie about sex, or at least, the physical aspects of it, this is a movie about the idea and fantasy of sex, it delivers the reason why we're attracted to sexuality or sexually stimulating images in the first place. This also makes it a rare psychological movie. Some may say it is also a perfect portrait of the masochist woman, and this indeed may be true (Bunuel was a big fan of the Marquis De Sade) considering Severine (the lovely Catherine Deneuve), we notice, is especially turned on by the violent aspects of what she is doing more than the secretive. This is required viewing for fans of erotica, surrealism and brilliant filmmaking. Notice how Bunuel sets a completely seductive air without a single sex scene, this movie shames trash like "Caligula" and "Y Tu Mama Tambien." Here is one of the masters giving a lesson on what is erotic. Much of what we perceive as sexually alluring (weather it may be "twisted" or "normal") is born in our imaginations and this is one point Bunuel makes, it is Severine's fantasies that really drive the movie. Visually the movie is very stylish with the elegant clothing, settings and of course, Deneuve, one of the beauties of her time. There are the usual Bunuel touches, bizaare scenes of surrealism (as when Severine is caked in mud by her husband before a herd of bulls in a dream sequence) and shots following Severine's feet (Bunuel was a well-known foot fetishist). His brilliance for characters and scenarios is here too, giving complex deliveries with simple-looking set-ups. Bunuel remains one of the giants of filmmaking, having made the notorious and classic 1929 surrealist film with Salvador Dali, "Un Chien Andalou" with the famous image of a razor slicing a woman's eyeball. His Mexican films like the highly influential "Los Olvidados" and the controversial "Virdiana" are also hypnotic gems, but when he returned to European filmmaking in the late 60s his career really took off and "Belle De Jour" is one of those first great masterpieces. It is a movie done with style, taste and truth.

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