Dreamgirls (Two-Disc Showstopper Edition) (2006)

For those of you who aren't familiar with DREAMGIRLS it was a hit Broadway musical, created in 1981, based "loosely" on the real monster girl group The Supremes, Berry Gordy and Motown. And although it took almost 25 years to make, the movie version is spectacular.

Following the meteoric rise of the fictitious "Dreams," the story takes place in Detroit in 1962 and ends in Los Angeles in 1975. In between you witness the joy, sorrow and bitterness--as some dreams die, while others live. And being a period movie, DREAMGIRLS doesn't feel dated or unrealistic. It captures the excitement and turbulence of the 60s or at least the romanticized ideal of it...perfectly.

Anyway enough about the movie and on to the DVD.

This dvd set contains two dvds:

***DVD #1 FEATURE FILM; 12 EXTENDED/ADDITIONAL MUSICAL NUMBERS

I won't list the 12 songs but the title track "Dreamgirls" and the show stopper "And I Am Telling You..." are not part of this 12. With the exception of the song "Effie, Sing My Song," at least from what I could tell, most of these musical numbers are just different edits/film cuts than those that made it into the film. For instance, you'll see more of the performance rather than the cutaways to other scenes, which you see in the movie...so they're not sung differently.

What's good about this is that you get to see the entire performance of the opening acts(The Stepp Sisters, L'il Albert and The Tru-Tones, Tiny Joe Dixon) without the cutaway shots that show what's going on behind the stage. No additional lyrics: the songs are exactly as they are on the deluxe edition music cd of Dreamgirls: Music From The Motion Picture [2-CD Deluxe Edition].

One alternative musical number that's very different is the song "Effie, Sing My Song." In the movie, the lines are spoken. However they did film the song version where C.C. and Effie share a duet. And that's included here.

***DVD #2 DOCUMENTARY ON THE MAKING OF DREAMGIRLS; ORIGINAL AUDITION AND SCREEN TEST VIDEOS; FEATURETTES ABOUT THE FASHION, FILM EDITING, THEATRICAL LIGHTING; PRE-VISUALIZATION SEQUENCES; IMAGE GALLERY

In all fairness, I haven't seen the entire second dvd. The reason being is that the documentary on the making of DREAMGIRLS is nearly TWO-HOURS long! Running at one-hour and fifty-five minutes, the documentary called "Building the Dream" chronicles the journey that started as an idea from Broadway creators Tom Eyen, Henry Krieger, and Michael Bennett to finally becoming the most hyped and anticipated film of 2006. But don't worry, that's not the beef of the documentary. Most of it takes you behind the scenes of what it took to put this huge movie together from the set design to the casting; from the choreography to staying true to the original score.

It's a fascinating look at the challenges director Bill Condon faced when deciding to take on this project. I always thought that "Dreamgirls" would've been easy to make into a film because you already started with everything in place. How wrong I was! Not only are you competing in a genre not too popular today, but you have to compete with the beloved original. Well, I must pay homage to Condon. He pulled it off.

Anyway, the documentary is told through home video of the recording sessions, casting calls, set design, rehearsals etc., as well as principal cast member interviews and of course the main people working behind the scenes like director Condon, executive producers, choreographers, music producers etc.

If nothing else, this documentary alone is worth the extra price for the two-set dvd of DREAMGIRLS.

And for those of you die hard fans of the original Broadway show or soundtrack, who liked this movie version, will be happy to know that the song "A'int No Party" is supposed to be included in the "audition tapes" section of the special features. There is a snippet of it in the documentary and Anika Noni Rose was working that song. So I'm sure it has to be included in the screen tests. But even if it isn't, remember I haven't seen the entire second dvd, the documentary "Building The Dream" makes up for it.

Anyway, if you enjoyed the movie, you'll enjoy this dvd set. It's a dream that will give you "more and more." If you haven't seen the movie, well you're in for a treat. It's exciting and keeps you at the edge of your seat. And not being an action film, that's saying a lot!

Musicals aren't really my thing. Many feel forced as the cast breaks out into song at the most bizarre of times. Cheesy is perhaps the best descriptor, but occasionally I enjoy a good toe-tapping flick if it's done right. And DREAMGIRLS is definitely done right. It certainly ranks up there with MOULIN ROUGE and CHICAGO as one of the more recently successful musical films, it too being a period piece (covering the late 50s through the early 70s).

Acting in these style of films tends to lend itself more to dance moves than actual roleplaying of characters, but there are two highly mentionable performances in Dreamgirls: first time actress Jennifer Hudson of American Idol fame, and a major comeback role for Eddie Murphy. Hudson took home Best Actress trophies from The Golden Globes, The BAFTAs, The Screen Actors Guild and The Oscars for her portrayal of Effie White, the powerful and ultimately embittered lead singer for The Dreamettes. Eddie Murphy as James "Thunder" Early is surprisingly excellent, perhaps helping wash away the stains of DADDY DAYCARE and THE ADVENTURES OF PLUTO NASH from his more recent, acting, downward spiral. Murphy can sing alongside Hudson and Beyonce and hold his own, too.

The added entertaining fact about Dreamgirls is that there's an actual story behind the music, making this film much more watchable than many musicals which rely solely on their high notes rather than acting skill. This story is firmly entrenched in the early music industry as a "white-washed" form of entertainment, separating it from "black music"...until Curtis Taylor (Jamie Foxx, JARHEAD), a car salesman in search of more, jumps into the music biz and launches his own record label (Rainbow Records). Foxx's Taylor character is another smashing success for him in that he makes this man both lovable and despised as he turns from caring manager to control freak.

Likewise, Murphy's Early character is someone who's moral ground we're never quite sure of. He's a married man with womanizing tendencies, but he's also a musical purist, trying to create sounds that are true to him while at the same time dismantling what he once was (a great, yet small, singing sensation). His fall from grace hits the viewer hard as heroin, time, and his own industry begin taking their toll.

But veterans Murphy and Foxx can't hold a candle to newcomer Hudson's performance. She is the crux that holds the entire production together, and she does so with power, grace and a great emotional range. The ending is sure to choke-up many viewers.

The only complaint I can lodge against the entire film was within one small section where Effie (Hudson) breaks out into a long chorus about being wronged by Foxx and the other Dreamettes. This seemed rather awkward and I would've liked to have seen this acted out in dialogue rather than burst into song.

Still, this is a powerful musical film that deserves much praise ...and has rightfully gotten it.

Buy Dreamgirls (Two-Disc Showstopper Edition) (2006) Now

"Dreamgirls," originally a hit Broadway production in the 1980s, is a lavish musical inspired by the history of Motown and its super group The Supremes. Like the songs in "Grace of My Heart" which is clearly based on the career of Carole King, the soundtrack music of "Dreamgirls," good as it is, can't match the power of the real Motown sound. Actually the film's musical numbers hardly sound like Motown Sound, but still some of them are real showstoppers thanks to the film's gifted stars, especially the dynamic singing voice of Oscar-winner Jennifer Hudson.

In "Dreamgirls" you should not expect much from the story, which runs a familiar course of superstars or celebrities, with the meteoric rise of three R&B singers (played by Beyoncé Knowles, Jennifer Hudson and Anika Noni Rose) to the fame and their subsequent troubles and ego-clashing within the members and their shrewd, business-minded producer/manager (Jamie Foxx). It is a same old story you have heard somewhere else in gossip magazines. .

Once the three girls' dreams come true with the glitter of showbiz, it takes the center of their lives, and once it does, none of the characters are allowed to breathe much. Anika Noni Rose and Danny Glover are not given enough time for their characters, and even the role of Beyoncé Knowles is not fleshed out satisfactorily. Eddie Murphy is outstanding as a popular singer and ladies' man named James "Thunder" Early (with a haircut like Little Richard's), but there is nothing new in Thunder's story about his love affair and fading stardom.

Still I enjoyed watching "Dreamgirls". I know it has lots of shortcomings, and I hear the complaints from the fans of the original stage (which I haven't seen). Yes, I know. Perhaps the number of the film's shortcomings depends on each viewer's taste or expectations, and I liked the filmed version of "Dreamgirls" for what it is. I like it for its entertainment values such as gorgeous costumes, beautifully staged live scenes and cinematography, plus the powerful, emotionally-charged songs by Jennifer Hudson, all of which compensate for the lack of a better story.

Read Best Reviews of Dreamgirls (Two-Disc Showstopper Edition) (2006) Here

Firstly I really enjoyed the musical numbers from every character. The loose story of the Supremes, I mean Dreams is fairly entertaining but not as engrossing as I would have hoped. I found I didn't really care that much about any of the characters. I especially didn't like the Hudson character Effie. I was hoping for her fall since her first minute on screen. She has a nice voice, but I couldn't stand her character. I guess I was hoping this would play less like a broadway show and go deeper into the characters like a movie. As it jumped forward in time, often I was hoping it would slow down a bit to see the transformation that every character seem to go through. This is worth seeing if only for the great music.

Want Dreamgirls (Two-Disc Showstopper Edition) (2006) Discount?

This film belongs to Hudson and Murphy who are both far more talented than most ever expected.

I knew Jennifer Hudson could sing from her stint on American Ido, but I had no idea that was an actress too and I mean a top quality actress capable of pulling off an Academy Award in her very first film. It's my sincere hope that we will see much more of her in the future even if the roles don't include music. Hudson is simply an acting find and a visual delight to behold on the screen. She is a charming as she is talented.

Eddie Murphy's performance is as much high energy, flamboyant, and satrical as it is subtle, emotional and insightful. I was floored by his flawless performance in this film and found it a terrible shame that he followed this dynamic performance with the totally distasteful Norbit which was released just prior to the Academy Awards and in which some believe cost him the Oscar.

Members of the Academy are well-known for voting out an actor or actress based upon his or her personality as was the case with Madonna who gave an Oscar-caliber performance in Evita, but was shunned because she was . . . well . . . Madonna, and for voting out an actor or actress based upon a poor follow-up film released the same year and don't want to reward what they may consider a "fluke" performance as with Whoppie Goldberg in The Color Purple (thankfully she finally got her well-deserved Oscar for Ghost) years later.

I believe Murphy really blew his Oscar chances for this film because of "Norbit" and that isn't fair, but it was predictable based on past Academy voting tendencies. I generally believe in not holding things against a performer or a specific performance, but I have to admit that even I have moments of extreme bias, like anyone else, so I can understand how that happens. This may have been Murphy's only real good shot at an Oscar, but we can always hope that he will be given another juicy role like this one to strut his considerable talents.

Beyonce Knowles is no great actress, but she has terrific stage/screen presence that more than compensates for anything that she is lacking in genuine acting talent. To her credit, I actually had trouble recognizing her early in the film. I even asked my wife, "Where the hell is Beyonce? I thought she had a big role in this film." My wife then pointed her out and I was rather surprised at how well she disappeared into her role. However, the more I thought about it the more I thought she didn't just "disappear" in what started out as a supporting role, but was simply more out shined and out-acted by Jennifer Hudson. I don't mean that as an insult to Beyonce or her acting talent as she does have acting talent, but when surrounded by more genuine talent her limitations are clear no matter how beautiful she is, or how gifted she is as a singer, or how engaging she is generally as a stage performer.

Moving on to Jamie Foxx I have to say that I was somewhat disappointed with his performance in the film. I can't pinpoint the problem, but I just feel that he felt somewhat out of his league amongst these great female performers. His performance was simply below what he is capable of delivering, but that doesn't mean he was awful or miscast; he just wasn't at his best.

Now, one might question that with all this talent in the film why so many on here haven't given it 5 stars. I think the problem with this film is with the director. The film seems disjointed somehow. The editing isn't very smooth, transitions are weak, and the lack of focus on just who the "stars" are in the film creates an uneven film that works better in clips. In other words, the sum of the parts don't equal the whole. That may explain why so many "liked" the film, but didn't "love" it. It goes down smooth enough, but it never became what it could have become and that feeling is usually the fault of the director.

Overall, this is a fun and entertaining musical with some strong, dynamic performances, but still somewhat weak for this genre.

2001: A Space Odyssey / A Clockwork Orange / The Shining (2012)

There is much discussion elsewhere on each of these films in terms of plot summary, meaning, and value so I won't get into that. My reviews are strictly regarding the transfer from Standard Definition to Blu Ray for all 3 films. Surprising to me is that the transfers are pretty much even across the board from film to film. You will find that my reviews for all 3 become pretty much redundant.

The Shining displays a beautiful video transfer with natural colorizations showing off Kubrick's wonderful lens craft and cinematography. There was no unnatural grain, artifacts or aliasing to be found. The video transfer was exceptionally done. The film begins to play as soon as you put the disc in and the audio defaults to a lossy DD 5.1 . You will need to go to the menu to switch the audio to PCM 5.1 lossless audio. It does make a big difference. However, the audio transfer really only uses the front stage and there is very little use of any discreet audio to either the rear channels or from the LFE channel. The front stereo separation is good but, except for the film's music score, this is still a dialogue driven film so don't expect much from your surround system. The video transfer remains the star. The movie is getting on in years but it holds up and has legs, wish they had put as much effort into remastering the audio as they did with the fine video transfer.

2001: Space Odyssey.....Again, this disc shows off an excellent video transfer as well. No grain that I could detect and no problems with any of the video transfer. It is clear to me that they put some time in remastering the video before the reformat to Blu Ray. Once again, the audio ( PCM lossless 5.1) is left in the corner with almost no use whatsoever of the surround channels or LFE channel. The wonderfully classic soundtrack is evenly spread across your front channels with good separation but the LFE and discreet channels are left by the wayside. Remember to go to the menu as it defaults to DD 5.1 lossy. While this film was groundbreaking in its time and many went to see it stoned out of their gourd in '69, I don't feel as if the film holds up. It did feel dated to me. No hate mail please.

A Clockwork Orange....I warned that there would be some redundancy. The video transfer is excellent all around. No issues on the video transfer at all. Very well done. The audio transfer defaults, like the others, to DD5.1 so going right away to the menu to change it to PCM 5.1 is necessary. The audio levels are all well balanced, as they were with the other two movies, but, once again, the front stage is used primarily for the soundtrack which provided a clear separation of instrumentations. However, there is no use of the rear channels for any discreet foley FX and almost nothing from the LFE channel. This film is still as powerful as when it was first release and will probably remain so for many decades to come.

All 3 Blu Ray discs come with plenty of supplementary extras and all come with a large variety of language choices. The extras, I found to be worthwhile and interesting..most dated at 2007. None of the discs, all packaged separately (2 of them on back to back plastic holders) contained any deleted scenes but, thankfully, there were no advertisement trailers for other movies either.

For me personally, I am glad to have this set, especially so because of The Shining and Clockwork Orange.

All my movie reviews are of this nature and focus only on the quality of the transfer to BluRay so check them and see if they are of help as well.

Hopefully, this review has been of some help to you in determining your purchase, hope I am on the correct path with a review of the transfer quality as opposed to providing plot summaries.

Thanks

Stanley Kubrick can be a tough director to love -he had a cold and clinical approach to filmmaking, and his long shots often put people off. He was a true auteur though, and his influence can be seen in modern filmmaking today (Christopher Nolan and Paul Thomas Anderson are some high-profile examples). This Blu-Ray collection is a nice sampler of Kubrick's work: it contains some of his best work, and it's an ideal purchase for anyone interested in understanding why Stanley Kubrick is such a heralded name in cinema.

This Blu-Ray collection include three of Stanley Kubrick's most influential films: 2001: A Space Odyssey, A Clockwork Orange, and The Shining. The Blu-Ray editions of these movies are a greatly marked improvement of many of the DVD transfers that were published in the 90's and 00's. From what I can tell, these transfers seem to be the exact same ones that you would see if you bought these Blu-Rays standalone. Great news, right? Buying this collection means you can save some money without sacrificing the high-definition quality that seems to come with a lot of these multi-pack movie collections. These movies contain the same special features as their standalone counterparts as well.

2001: A Space Odyssey is a gorgeous and groundbreaking film that documents the loneliness, terror, and emptiness of space. 2001 follows a group of astronauts that venture into space once a mysterious obelisk appears on a distant moon. It turns out that potential alien contact might be the least of the astronauts' worries: someone (or something) else onboard the ship represents an even greater threat. This might be the least accessible of the three movies: it's pretty long, and many of the shots used don't contain dialog (or action) for several minutes at a time. It's a great movie to get lost in, but it's not exactly Saturday-night-popcorn material. Still, it's a must-watch for film-buffs.

A Clockwork Orange follows Alex DeLarge, a sociopath in a near-future Britain. DeLarge is a hedonistic and selfish creature that spends time torturing others for his own amusement. Once he's caught, he's forced into rehabilitation -based on Anthony Burgess's novel, the movie deals with themes like morality, free will, and intention. A Clockwork Orange was much more shocking when it first debuted decades ago in theaters; today, some of the violence that is put on display might appear tame by today's standards.

The Shining is an adaptation of Stephen King's novel: Jack Torrance is looking for a burst of creative inspiration so he takes a job as a groundskeeper at a remote inn in Colorado. Torrance is in charge of watching over the hotel in its offseason -he brings his family along to the hotel, and it isn't long until strange and mysterious things start happening to the abandoned, deserted inn. The Shining is easily my favorite horror movie of all time, and quite possibly my favorite movie of all time. Like 2001 and A Clockwork Orange, it's beautifully shot and staged, and Jack Nicholson's lead performance is worth the price of admission alone.

So who is this triple feature for? I would recommend this Blu-Ray pack to anyone looking to learn more about Stanley Kubrick, and budding film-buffs in particular. All three of these movies are classics and are worth seeing by anyone willing to get lost in a film for a few hours.

Buy 2001: A Space Odyssey / A Clockwork Orange / The Shining (2012) Now

Got this set for the cheap price of $10. !

The quality of the BD is fantastic. 2001 looks like it was made in the last couple of years. Every scene is crystal clear. Same for Clockwork and Shining. You get 3 separate discs and they have nice special features. If you love Kubrick, get this set!

Read Best Reviews of 2001: A Space Odyssey / A Clockwork Orange / The Shining (2012) Here

This is worth the price, i am a big fan of the shining and clockwork orange so i bought just for those 2 movies

Want 2001: A Space Odyssey / A Clockwork Orange / The Shining (2012) Discount?

I saw 2001 when first released at the Cinema a Well Done 1968 Science fiction film directed by S. kubrick and co written by Kubrick & Arthur C. Clarke short story the Sentinel , The story deals with a serious of encounters between humans and a black monoliths sending a high pitch radio signal into space that is affecting human evolution , The Film Consist of four mayor sections : The Dawn of Man ( Than jumps into the future ) TMA-1 The Jupiter Mission : Eighteen Months Later Jupiter and Beyond The Infinite , according to interviews the movie companies almost stopped showing 2001 at the beginning because it wasn't attracting enough people a G rated film approx 148 minutes long .

Clock Work Orange is 1971 Science Fiction Film written directed and produce by Stanley Kubrick from a short novel by Anthony Burgess starring Malcom Mcdowell , Patrick Magee , Adrienne Corri , Miriam Carlin , Godfrey Quiqley , Anthony Sharp , Warren Clarke , This Film features disturbing violent images even funny in some scenes about a gang on a violent spree of crime fighting and raping in future England and the main character Alex , M.Mcdowell's friends are called Droogs an Anglo Russian Slang Nadsat according to movie profile , R rated approx 137 minutes long .

The Shining is a 1980 psychological horror film Starring Jack Nicholson , Shelley Duvall, Scatman Crothers and Danny Loyd produce and directed by Stanley Kubrick and based on Stephen King's Novel The Shining about a writer who takes a job as an of season care taker in an isolated hotel and an supernatural power ghost gradually takes over the mind of the care taker into madness and wants to kill his wife and son during a snow storm , R rated approx 144 minutes long .

I have all 3 movies on DVD but are way better on Blu Ray and for a Great Price .

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Into the Wild (2007)

When I read Jon Krakauer's "Into the Wild" approximately ten years ago, I was mesmerized by the tragic real-life tale of Christopher McCandless. But as much as I loved the book, I never even thought about a film adaptation. Maybe that was shortsighted of me. Recounting McCandless's life and reconstructing it with minimal data and much introspection, "Into the Wild" succeeded as a cautionary adventure of idealism gone awry. Much of McCandless's life was lived alone and much of his story was pieced together though brief encounters or recovered writings. So what was a thoughtful portrait on the page never really seemed like it would translate to the screen--certainly not with the same impact. Luckily, though, Sean Penn thought otherwise. Adapting and directing Krakauer's fine book, Penn has fashioned a sad, funny and exciting film with tremendous emotional resonance.

An affluent and likable young man, McCandless graduated with honors from Emory University and then set a course to redefine his life. Abandoning his family, friends, and material possessions--McCandless assumed the pseudonym of Alexander Supertramp and set off to explore the world in its most innocent form. Living off the land and experiencing nature, fellow travelers, and much adventure--McCandless was looking for a modern day utopia and sought to discover his real self as he cast away the corruptions of modern life. Touring the country for two years, McCandless's exploration was to culminate in an Alaskan sojourn--where he would commune with "the wild." His aspirations can be viewed as both admirable and delusional--but that is part of the complexity of McCandless's life. As much as you want him to succeed, you realize there can be no happy ending with the expectations he has in place.

Penn's "Into the Wild," thus, depends on evoking a McCandless that you will care about--either because you commend his pursuit or because you want him to come to his senses. And it really works in combination. In a dynamic performance, Emile Hirsch transcends his previous work and becomes a full-fledged leading man. Hitting all the right notes, Hirsch creates a character who evokes our sympathy, our frustration, and even our laughter. McCandless meets a lot of companions on the road, and Hirsch makes it easy to see why he was so accepted. A great role--Hirsch meets all the emotional challenges and also makes a physical transformation that is a both startling and powerful. His great work is matched by a roster of big names including Vince Vaughn, William Hurt, Jena Malone, and Marcia Gay Hardin (among many others). But Catherine Keener and Hal Holbrook are real stand-outs--their adoptive relationships with Hirsch both challenge him and make him understand (eventually) that life is not meant to be lived alone.

If there is any flaw in the film, it exists in the book as well. We can only know so much about McCandless from the resources available. He had a heightened sense of injustice particularly when it came to the "untruths" or perceived wrongs perpetuated by his family. Nothing presented, however, can explain how his relatively normal dysfunction blossomed into such an extreme world view. This secret is in McCandless's mind alone.

"Into the Wild" works as a character study and a gritty drama, but also as an adventure. The scenery and photography are breathtaking and the action sequences are well executed. There is much genuine warmth and humor in the film as well. It was a fully satisfying film experience, to me, and has many quiet moments that have stayed with me. Highly recommended for serious adult audiences. KGHarris, 11/07

Christopher McCandless, in becoming 'Alexander Supertramp', holds a mirror to us all, a meditation on what the ideal life completely in tune with nature, surviving only on ingenuity and adaptation skills, leaving the increasingly burdensome conflicts of society behind in order to become at one with the universe. Based on Jon Krakauer's reconstruction of McCandless' journey from his diary, from letters, and from notes found after his death at age 23, IN THE WILD has been transformed into a Waldenesque film by Sean Penn who provided both the screenplay and the direction. While some may argue the very loose technique of relating this story, few will come away form this film untouched by the sheer dreamy valor of a youth determined to find his own connection to the meaning of existence.

The bright McCandless (Emile Hirsch) graduates from Emory University and faces a celebratory dinner with his wealthy but dysfunctional parents (William Hurt and Marcia Gay Harden) and his adoring younger sister Carine (Jena Malone). During the stilted and revealing dinner Christopher declines his parents' gift of a new car and instructions on how to proceed with his life of success, instead electing to leave it all behind and secretly set off on a personal journey to live in the wild. Stripping himself of worldly possessions he begins his road trip with the ultimate destination being Alaska. Along the way he encounters various people: Wayne Westerberg (Vince Vaughan) who offers him work harvesting grain and camaraderie; Jan and Rainey (Catherine Keener and Brian Dierker), two middle-aged hippies who offer him a sense of family; Tracy (Kristen Stewart), a 16-year old who offers him physical love Christopher cannot condone; a Danish couple he encounters while rafting; and the elderly Frank (Hal Holbrook) who has no family and lives alone making leather trinkets, eager to 'belong' to the young man whom he sees as needy yet courageous.

Christopher's journey pretty much covers America and Mexico, from the plains and farms to the homeless streets of Los Angeles to the splendors and natural cruelties of nature in Alaska. His struggles survive are balanced by his inebriation with the wonders of the natural world untouched by society. Yet in the end he faces his own dissolution into the dust of nature alone.

Hirsch immerses himself in this physically demanding role and manages to hold onto our hearts all through his journey. The flow of the story is at times discordant with the over voice narration by Jena Malone and the insertion of bits and pieces of quotations that aren't pieced tightly together enough to avoid sounding superficial. Yet the supporting cast is very strong, including a brilliant little cameo by Cheryl Francis Harrington as a social worker with heart. The photography (Eric Gautier) is stunning and the musical score, courtesy of Michael Brook, Kaki King, and Eddie Vedder, fits the mood through the film. And throughout the film Sean Penn has the restraint and taste to keep the story vital without ever making it maudlin. A very fine film. Grady Harp, March 08

Buy Into the Wild (2007) Now

Into the Wild is one of those movies whose images stay with you after the screen goes dark. This is a tribute to the subject-a tragic and confused young pseudo idealist, Christopher McCandless-and Sean Penn and his crew.

McCandless has just graduated from Emory University. He's bright, well-liked, talented, the world is his for the taking-it seems. Then he chucks it all, burns his money, abandons his vehicle, donates his graduate school fund to charity and hits the road. He's a leatherfoot, hoofing all across the country from Atlanta to South Dakota, on to California and finally to his goal of the utopian loner's dream world of "Alaska". Alaska is quoted here because it represents far more for McCandless than just a remote place full of emptiness and nature. It represents the "wild" that gorgeous and challenging place where he can find himself, or so he thinks.

He's on a wild goose chase with himself but doesn't quite understand or realize it. He thinks he's stuffing life and experience and learning into all the time that he has-he's abandoned everything including his sister and parents. In fact, he refuses to communicate with them at all. Their heartbreak, worry, fears, and frustrations are with us the viewer at all times and we wonder (as do a few characters in the film) silently, "how can he do this to them"?

Chris hits the road hard. He takes odd jobs, and goes from frustrated relationship to the next one. But they always are frustrating because he simply will not give of himself. They aren't frustrating for him, but for those who want to befriend him. His search for personal meaning is truly little more than an avoidance of his own personal demons, mostly from his parents' history and rocky marriage. He is surrounded by love, people who want him, his company, his brilliance and soft, caring approach to the world. He is attractive to others, but he loathes himself somehow. In the wilds of the Alaskan wilderness he thinks he will find what he is looking for and he does, but not in the way that he expected.

Again and again, people that Chris meets offer their friendship to him and sometimes their love. But he cannot accept it. Something in him prevents him from accepting love or truly giving it. Perhaps it would be contrary to the loner path that he'd chosen?

This is a sad story, so beautifully filmed. The acting is spot on, too.

Hal Holbrook plays an old man with a painful secret of his own. He knows that Chris and he are two of a kind and need each other. We in the audience also know this. Holbrook is Chris' chance for stability and a home, the true path to insight for someone whose core issues are built upon a perceived betrayal and lack of love from others, mainly his parents. It's a hard moment for the viewer when Chris walks away from Holbrook abandoning another fortunate opportunity for healing and happiness, but it is not so hard for Chris whose focus is solely on getting to his personal nirvana that he understands and expects Alaska to be.

Alaska is a beautiful but challenging place. Superbly filmed, it is easy to see how Chris would want to be there, challenge himself and try to find himself, alone-try to find a way to fit in with others which is truly the issue-alone.

The exact cause of Chris' death is not fully known. The book's author and Penn both make the case the McCandless accidentally poisoned himself. But later tests on the suspected plant material recovered from his camp site cast serious doubt on this theory as no poison was found. According to the diaries that he left behind he had decided to return to civilization but a raging river full of spring melt prevented him from doing so. He stayed in his camp, wasting away. But only a mile away was a perfectly usable crossing, and less than half a mile away was a still part of the river where he could have fished to his heart's content with only his hands as the fish were so plentiful there. But he did neither and apparently chose to stay and face his demons and his new understandings alone.

It is not clear if Chris is a hero-the lone introvert heading into the wilderness akin to Thoreau to find the "truth", or rather a spoiled city boy with only ignorance and dreams and personal pain and perhaps some mental illness driving him on.

The locals in the wilds of Alaska often speak of such people who come to Alaska to find themselves, swollen with pride like the rivers full of melting snows. And they have little respect for them, as they tempt fate and the extreme wilderness and usually lose.

McCandless affected everyone he met in a positive way. His writings are those of a young man still trying to understand but so deeply haunted by something he could only identify at the very end that was at the heart of his troubles. The tears of his parents, his friends, and even his own at the end are palatable in this beautiful film by Sean Penn.

This is a deeply troubling story of someone who so needed help, was offered it-but would not or could not accept it.

The world is full of Chris McCandlesses going about their daily routines. And perhaps this is why his story has such resonance for so many. He chose to break out of the life he was living, a life that gave him no comfort or solace-and stride into the unknown to find one that worked for him. It may be a loner's story or a vagabond's tale, but there is a universality about the demons that haunted Chris, and his single-minded yet unfortunate response to them.

There is no glory here, and little to reflect upon but the pain of someone who is unable to stop, unable to find another path-until his dream of Alaska and the wilderness with all its perils was met and its lessons pulled from it at whatever the cost. This is a superb film.

Read Best Reviews of Into the Wild (2007) Here

Just about the time Sean Penn was reading the book "Into the Wild," so was I. The book reminded me, first, of a good friend whom I've known since the mid-1960s. He's always fancied himself as somewhat of a wild man. He barely made it through high school, lived a kind of offbeat lifestyle for a long time--even turned me onto some music I might not otherwise have heard. He always wanted to relocate to Alaska. Thus far, he hasn't made it.

Then, after seeing the movie, I spent a few days with a group of students and their teachers from Alaska. They were delightful people, yet when I brought up Chris McCandless, they referred to him as, essentially, nuts. That didn't surprise me much. Indeed, it's an irony: We live in a country that proclaims individualism, yet when one pursues his own path--look at even the well-known like Thoreau--they're condemned for it. "Conventional thinking" is that one is to pursue a lifestyle of comfort and consumption. That's why we go to school, right?

Anyway, when I finished the book, I envied first the author. He's one of the best writers of today. But I also envied McCandless. What? Envying a dead man? Well, we're all going to die some day. Some will do it without having lived--to paraphrase Thoreau. Chris lived before he died. Maybe a little naively, but he lived. That's truly enviable.

It was so long ago that I read the book that I need to read it again, or listen to the recorded version. Frankly, I recall that the author did a little speculation in the book. How much, for example, did Chris's parents' relationship have to do with his behavior? I repeat, the author speculated. In the film, Penn had Chris's sister self-reflecting a lot, and that's where the speculation took place. (And Chris's relationship with his sister in the film seemed a little peculiar. But I'll let you watch and see if you agree or not.) And in the film, it came across as assertion rather than speculation. That's the only weakness of the film.

The film, other than that, was quite accurate to the book. McCandless took off on his own, essentially cut all ties to his "past," including getting rid of a lot of money that could have made his pursuit less valid. Emile Hirsch looks uncannily like McCandless. And the over 100 lbs. that he lost for the role--incredible!

I thought the rest of the casting of the film was superb. Some of the roles were chanced into, but that made the film all the more realistic. And I thought William Hurt and Marcia Gay Harden were spectacular as Chris's parents, their own self doubts and passions exposed in both expressions and behavior.

What motivated McCandless? We can only speculate. Did he make some mistakes? Yes, as would any of us.

Might we learn something from him? Most definitely! Like in the book, Chris's notes were an integral part of the film's script. I'm so tempted to list them here, but that would give away an important element of the film.

The additional disk in this version of the DVD also gives you a little to think about, on the characters, the production. And it's not a self-aggrandizing extravanza as many of the "bonus materials" are.

Anyway, my thanks to Sean Penn for making a fine film out of one of the better books I've ever read, about a "great American." No, Chris McCandless didn't write declarations. He didn't write bestsellers. He didn't make long speeches about himself. But he pursued something he was compelled to do. I wish more of us had the guts to do so.

Rest in peace, Chris.

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Excerpted quotes from Ranger Peter Christian are from a document available at George Mason University (pasted below):Chris McCandless from an Alaska Park Ranger's Perspective

by Peter Christian

Both Chris McCandless and I arrived in Alaska in 1992. We both came to Alaska from

the area around Washington, D.C. We were both about the same age and had a similar

idea in mind; to live a free life in the Alaska wild. Fourteen years later Chris McCandless

is dead and I am living the dream I set out to win for myself. What made the difference

in these two outcomes?

There was nothing heroic or even mysterious about what Chris McCandless did in April

1992. Like many Alaskans, I read Jon Krakauer's book "Into the Wild" when it first

came out and finished it thinking, "why does this guy rate an entire book?" The fact that

Krakauer is a great outdoor writer and philosopher is the bright spot and it makes a great

read, but McCandless was not something special.

As a park ranger both at Denali National Park, very near where McCandless died, and

now at Gates of the Arctic National Park, even more remote and wild than Denali, I am

exposed continually to what I will call the "McCandless Phenomenon." People, nearly

always young men, come to Alaska to challenge themselves against an unforgiving

wilderness landscape where convenience of access and possibility of rescue are

practically nonexistent. I know the personality type because I was one of those young

men.

In fact, Alaska is populated with people who are either running away from something or

seeking themselves in America's last frontier. It is a place very much like the frontier of

the Old West where you can come to and reinvent yourself. In reality, most people who

make it as far as Alaska never get past the cities of Fairbanks and Anchorage because

access is so difficult and expensive (usually by airplane), travel is so hard, the terrain is

challenging, the bears are real, and so on.

A very few competent and skillful people make a successful go at living a free life in the

wild, build a home in the mountains, raise their children there and eventually come back

with good stories and happy endings. A greater number give it a try, realize it is neither

easy nor romantic, just damn hard work, and quickly give up and return to town with

their tails between their legs, but alive and the wiser for it.

Some like McCandless, show up in Alaska, unprepared, unskilled and unwilling to take

the time to learn the skills they need to be successful. These quickly get in trouble and

either die by bears, by drowning, by freezing or they are rescued by park rangers or other

rescue personnel-but often, not before risking their lives and/or spending a lot of

government money on helicopters and overtime.

When you consider McCandless from my perspective, you quickly see that what he did

wasn't even particularly daring, just stupid, tragic and inconsiderate. First off, he spent

very little time learning how to actually live in the wild. He arrived at the Stampede Trail

without even a map of the area. If he had a good map he could have walked out of his

predicament using one of several routes that could have been successful. Consider where

he died. An abandoned bus. How did it get there? On a trail. If the bus could get into

the place where it died, why couldn't McCandless get out of the place where he died?

The fact that he had to live in an old bus in the first place tells you a lot. Why didn't he

have an adequate shelter from the beginning? What would he have done if he hadn't

found the bus? A bag of rice and a sleeping bag do not constitute adequate gear and

provisions for a long stay in the wilderness.

No experienced backcountry person would travel during the month of April. It is a time

of transition from winter's frozen rivers and hard packed snow with good traveling

conditions into spring's quagmire of mud and raging waters where even small creeks

become impassible. Hungry bears come out of their dens with just one thing in mind--

eating.

Furthermore, Chris McCandless poached a moose and then wasted it. He killed a

magnificent animal superbly conditioned to survive the rigors of the Alaskan wild then,

inexperienced in how to preserve meat without refrigeration (the Eskimos and Indians do

it to this day), he watched 1500 pounds of meat rot away in front of him. He's lucky the

stench didn't bring a grizzly bear to end his suffering earlier. And in the end, the moose

died for nothing.

So what made the difference between McCandless and I fourteen years ago? Why am I

alive and he is dead? Essentially, Chris McCandless committed suicide while I

apprenticed myself to a career and a life that I wanted more badly than I can possibly

describe in so short an essay. In the end I believe that the difference between us was that

I wanted to live and Chris McCandless wanted to die (whether he realized it or not). The

fact that he died in a compelling way doesn't change that outcome. He might have made

it work if he had respected the wilderness he was purported to have loved. But it is my

belief that surviving in the wilderness is not what he had in mind.

I did not start this essay to trash poor Chris McCandless. Not intentionally. It is sad that

the boy had to die. The tragedy is that McCandless more than likely was suffering from

mental illness and didn't have to end his life the way he did. The fact that he chose

Alaska's wildlands to do it in speaks more to the fact that it makes a good story than to

the fact that McCandless was heroic or somehow extraordinary. In the end, he was sadly

ordinary in his disrespect for the land, the animals, the history, and the self-sufficiency

ethos of Alaska, the Last Frontier.

6.13.08: Comment by Catherine Todd on the comments:

I just now saw all these comments from where I had originally posted this in the "review" section. I had no idea posting an actual letter from an Alaskan Park Ranger would elicit such a overwhelming response. I agree wholeheartedly with the ranger, having had some wilderness experience but not enough to ever attempt to "go it alone" in Alaska or elsewhere.

Being a Girl Scout and in the Boy Scouts too (when they would let me!) showed me how much I "didn't know." Living up in the mountains in Colorado for a winter's season when I was 18 years old, and being lucky enough to hike out in the snow by myself when I ran out of food & firewood and find my way to town showed me how much experience is really required. I could have died up there and wouldn't have been found until the Spring thaw. Just like in the old-time books and Western movies.

There is nothing "romantic" about the "Jeremiah Johnson" life, no matter how good it looks on film. This film showed that, to me. I'm going to post the Ranger's letter in a discussion area here on Amazon, where it probably belonged in the first place. Thanks for all the comments. Boy, am I surprised! But I absolutely LOVED reading the Alaskan Ranger's Letter (written by Ranger Peter Christian). He knows what he is talking about, "North South East & West, forward backwards over & under." I hope I never have to "get rescued," but if I do, let it be by him!

Update April 14, 2010 Two years later: more comments on the comments:

Reading all the comments about this review makes me wish, in part, that I hadn't posted the ranger's letter, no matter how on target it is. I am amazed that anyone could find fault with someone who is writing from EXPERIENCE. Here's my final comment I posted today, at the bottom of 6 pages of comments. I hope that Ranger Peter Christian knows how much I admire the work that he and countless others are doing to protect both our last remaining wildernesses, and our lives when we do go out there.

People who seem to like criticizing the ranger who wrote the commentary, written from EXPERIENCE, might change their tune if they get trapped in the wilderness and have to be bailed out by guys like him. I for one am grateful that people like this are prepared, and do their job; what would we do without them?

The ranger is saying that people need to BE PREPARED before they go out into the wilderness, as they endanger other people's lives when rescue teams have to go in to save them. It's no different than people who start forest fires inadvertently or through inattention; look at the damage they cause. These kind of people are dangerous, whether they mean to or not. TRAINING COUNTS. Doesn't anyone remember Boy Scout and Girl Scouts, where we learned a bit about how to survive in the wilderness before taking off on a trek?

In many countries in the world, no one would even try to help; you just die in the wilderness and someone might one day find your bones.

Hats off to the men and women who work in the field and save our skins and get little thanks for it. They deserve a medal, for sure. Forest Rangers are another group I call "hero" in my book.

---

Second update: Read more about McCandless at:

The Doctor & Stella - Blu-ray Double Feature

These movies both showed real life and it's ups and downs, I especially like the doctor giving his students a taste of what it is like to be a patient

good upgrade from standard dvd and very good value for money. hopefully we see more from the Touchstone back catalogue released on Bluray by Mill Creek...

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Mill Creek does it again, this time with two dramas, BOTH of these are rated PG-13

Both are in thier original widescreen ratios, and have optional english captions.

The PQ and AQ are great with this release.

The Doctor stars William Hurt, Elizabeth Perkins, and Alan Arkin.

Stella stars Bette Midler, and John Goodman.

Mill Creek is really releasing some stellar products lately!

Recommended!

Read Best Reviews of The Doctor & Stella - Blu-ray Double Feature Here

Live Free Or Die Hard (Blu-ray / DVD Combo) (2013)

Like many other people nervously anticipating Len Wiseman's debut as DH4 director, I could only hope that he could live up to, at the least, Die Hard 2. But he has done a fantastic job with McClane, that lives up to the previous trilogy. In fact, I'd rank LFoDH just behind the first Die Hard movie. No one can top Alan Rickman! The small touches, e.g. Gennero/McClane, Agent Johnson, helicopter flying, are subtle, but add greatly to the movie.

There were a few things missing from the theatrical release, of course. Most noticeably, the lack of swearing, McClane's trademark yippee-kai-yay being truncated. The violence was all there, but it just wasn't intense enough. Fear not fans! The unrated version fixes all of that! It's fantastic, McClane is back in all of his mf-in' glory!

**Spoilers ahead, so read at your own risk.**

--------------------------------------------

I was hoping for some more dialogue from Timothy Olyphant in the unrated version, but unfortunately, he is still a bit one-dimensional. Run-times of the unrated vs. the theatrical are about the same, surprising considering that the unrated does add extra scenes.

What the unrated version includes:

Many more f-words and MF-ers.

Extra dialogue between McClane and his captain, Clevino.

Longer opening intro scene to Matt Long typing to the warlock,

listening to rock music.

Extra banter when McClane and Matt first meet.

More intro shots at the FBI command center.

Shot of the National Transportation Center losing control of their

traffic grid.

More shots of false anthrax alarm evacuation.

Thomas Gabriel's hodgepodge of video of Nixon/Bush/Clinton speaking is

longer.

Blood spurts!!! More gore, though not significantly more.

More McClane-isms. When John is driving the police car in the tunnel

towards the helicopter, Rand shoots the engine, which lights on fire.

McClane quips, "Well the car's on fire, that can't be good."

When Matt runs to his side after McClane destroys the helicopter,

McClane adds, "100,000 people are killed every year by cars. What's

another 4?"

Quick shot of dead guards in power plant.

When Mai dies in the elevator explosion, McClane screams a profanity

laced tirade at her.

McClane flying (and landing!) helicopter scene much longer.

The guy getting crushed in the giant blades scene doesn't have much

more blood.

Yippee-kay-yay mf-er is said in full!

Die Hard is considered by many film buffs as the greatest action movie ever made. There is just something about the character of John McClane that attracts movie goers. Is it his spunky attitude or is it the fact that he is known for having really bad days? It's both. There have been action franchises that have run out of steam in the past, but all three Die Hard films were great fun. Usually I'm not a fan of dipping into the well one too many times, but if Batman Begins and Casino Royale were able to re-spark the magic then why not give Die Hard another go?

Live Free Or Die Hard takes an old fashioned cop and throws him out of his element, which leaves room for a supporting character. Justin Long steps in as McClane's frazzled and tech wizard sidekick. Timothy Olyphant plays a cyber terrorist who decides to shutdown the entire nation in order to systematically collect hundreds of millions of bank account numbers in order to show the government that the system can in fact be broken. Now it's up to John McClane and his sidekick Matthew Farrell to save the day.

What follows is high octane action that one expects from a Die Hard movie. An important thing to point out is how director Len Wiseman stayed true to the Die Hard style and kept CGI to a minimum. Die Hard movies were great because they did action using real stunts and real explosions. The one thing I was afraid of was that this new Die Hard would go with the trend and use CGI as a crutch when in fact it used it as a tool. There are plenty of stunts that are real sets and real explosions. A few scenes fallback on CGI, but only because doing them for real just wouldn't work. Bruce Willis also keeps the spunk that is John McClane. You'll laugh at the one-liners and the witty remarks that Willis adds in the tensest situations and of course Justin Long is just great with sarcasm. They make a great on-screen duo. I also think that the humor in the Die Hard series is what makes it such a great action series. It's the fact that the filmmakers realize they are making an action movie; a movie in which nothing could ever happen in real life. Lots of action movies take themselves too seriously and they become laughably bad, but Live Free Or Die Hard keeps that spunk that makes it laughably enjoyable. Don't get me wrong though; there are some amazing action scenes that will make you tense up. This is by no means a comedy. The elevator shaft scene was one that stood out and reminded me of the trailer hanging off the cliff in Spielberg's The Lost World.

Moving onto the score this brings up Marco Beltrami. I can state here that I am not a Marco Beltrami fan. The only score of his that I liked was his score to The Three Burials Of Melquiades Estrada. I always feel like he never does anything thematic at all and which is why I was worried when he was selected to fill Michael Kamen's shoes. Michael Kamen was the composer of the first three Die Hard films, but sadly he passed away in 2003. He was a greatly respected composer and his work on the first three Die Hards were iconic. Thankfully Marco Beltrami rose to the occasion and did a wonderful tribute with his score to Live Free Or Die Hard. He touches on some themes that Kamen wrote and gives it that Die Hard feel and atmosphere.

Overall this movie was great. I had a great time watching it and felt like it was better than most of the high budget stuff I've seen this summer so far. Sometimes we need to go back to the basics to remind us why we love what we love. The reason why we love action movies is because of Die Hard and it was great fun seeing McClane back in action.

Buy Live Free Or Die Hard (Blu-ray / DVD Combo) (2013) Now

The three stars is for the PG-13 version thats on this blu ray.Live free or Die Hard I think is the best one yet.As for the PG-13 version first its more than just a couple curse words Its more like 25 curse words.Second if your a fan of Die Hard you know that profanity is part of what John McClane is,I think the movie loses a little bit of that raw edge without it,come on this is DIE HARD.I first bought the blu ray version at midnight at wal-mart,I thought oh well so its not the unrated version.I thought the unrated version was probly just a curse word or two maybe some extra violence.After watching the blu ray two things hit me the first was that the blu ray does look really good and sounds great but I also thought it may have lost a little bit of that rawness from the previous films becouse of the PG-13.So today I bought the unrated DVD version

and yes it makes a big diffrence on the movie it has the crazy,raw John McClane like we are use to.Just get the unated version now they'll release an unrated blu ray soon enough.I guess the studio thought they would lose some money if teenagers with Playstation 3 couldn't buy this so they left the blu ray PG-13.Thats to bad

Read Best Reviews of Live Free Or Die Hard (Blu-ray / DVD Combo) (2013) Here

The DIE HARD franchise isn't a thinking man's dream. It belongs to the wannabe action hero inside every red-blooded American male. And to the women who love them. Any misapprehension that these films are going to take themselves realistically or seriously should be checked at the door.

LIVE FREE OR DIE HARD opened Wednesday of this week just in time for the Fourth of July celebration, and to take advantage of the extra-long weekend at the box office. It's the fourth film in the franchise about New York Police Department Detective John McClane, absolutely the toughest cop Hollywood has ever created. In my opinion. Nobody bleeds like McClane bleeds. Or limps. Or talks to himself, delivering a humorous, self-deprecating monologue on how he got into the whole mess he is in.

There was some hesitation about whether or not Bruce Willis could pull off the franchise character again. There was no hesitation about the fact that if Bruce Willis could not play McClane, no one else could. Willis the actor and McClane the character are too tightly-knit to allow to anyone else to intrude into the franchise. Maybe other actors can play James Bond and win over a whole new audience, but I can't see that happening with this one. Not as long as Bruce Willis can still walk and talk.

After seeing the movie, there's no doubt that Willis and McClane -are back in a big way. For a while, Willis swore he'd never play the character again. He wanted more serious roles and a chance to stretch as an actor. He's made some good films, and some not so good films, since DIE HARD WITH A VENGEANCE with Samuel L. Jackson. And while the McClane role is somewhat limiting Willis pulls it off with zest. Maybe he was born to do other things as well, but he was definitely born to be John McClane.

Now all the fans are going to be waiting for the next Die Hard movie, although there hasn't been any talk of such. We can only hope.

The movie starts out with a bang, the way these things always do. A group of cyber-criminals utilize code and algorithms written by blackboard computer hackers to get into key Federal government installations, including the Federal Bureau of Investigation. They're operating under a man named Thomas Gabriel, who has used enough players in his operation that none of the computer hackers know who they are working for or what they are truly doing.

As soon as Gabriel is certain that he's into the computer networks he wants to be into, he gives orders to start the elimination process of all the computer hackers involved. The action turns violent and bloody. Matt Farrell (played brilliantly by Justin Long) is the only one who escapes his fate, and that's only through the direct intervention of McClane.

It's been twelve years since the last DIE HARD movie. Those twelve years are reflected in the latest release. McClane has gotten older and his life has moved on. His wife finally left him for good and he's estranged from his son and daughter. He's introduced breaking up his daughter's latest date in a fairly humorous scene.

One of the things that was awkwardly handled in the movie was Lucy's McClane's daughter -sudden change in feelings about her father. Viewers knew it was coming, but it came without true motivation from within. That part felt particularly scripted.

When McClane gets the call to go pick up a known computer hacker, the tension immediately ratchets up. In a move that was also very scripted, McClane arrives at Matt's house just in time to keep him from being blown to smithereens. (And you have to wonder why the bad guys simply didn't walk into each of the hackers' houses/apartments and simply shoot them when they were done with them. The explosions were just to give the special effects crew a warm-up for the action that was coming.)

The cat and mouse game begins, with McClane alternately fighting to stay alive and chasing the bad guys. The action sequences are pure dynamite, fueled by adrenaline and testosterone on part of the characters and the audience. Viewers that are totally into the McClane experience are hard pressed not to hoot and holler in support of their hero's actions and one-liners.

Those fans understand that there are glaring plot holes and things that make no sense and in the real world things wouldn't function the way they do in the movie. For instance, the cell phone systems would go down almost immediately as emergency services took them over to use for their own operations. McClane uses a cell phone a lot in the beginning of the movie, as do the terrorists. Those would be the first things shut down. Security on major important network sites, like the eastern seaboard utility control area, would be immediately entrenched in military personnel if the United States government believed it was under attack.

But that's beside the point. This film is about action, not about reality. Reality would be much slower paced.

As always, McClane ends up being the guy involved in the investigation who gets all the key pieces as to what's really going on. It wouldn't be a DIE HARD movie if he didn't.

The concept of the "fire sale" in the realms of cyber-terrorism is a real thing. There are a lot of checks and balances to keep it at bay, but it is one of the things the United States government constantly guards against. The movie sells the idea very well.

Also, though the franchise isn't known for being cutting-edge or high-tech, there's a lot of the emerging computer technology and integrated systems that are nationwide and international in the film. Justin Long's character introduces all that technology and the concepts behind it in bite-sized chunks that the audience can keep track of in the midst of car chases, gunfights, and serious explosions.

I found myself as enthralled by the computer attacks as I was by McClane's usual physical action and banter. There was something so inherently cool about watching the terror-geeks and Matt Ferrell at work on computer systems even though much of it was fake. The idea that it was all possible and would be done in such a way was amazing.

But the action that's the key to every Die Hard film. There's plenty of it in this movie. Is it over the top? No doubt about it! No one but no one could walk away from all the damage that McClane takes while doggedly pursuing the bad guys. I lost count of the number of bodies left behind, the number of vehicles that were destroyed in wrecks and explosions, the number of buildings that were leveled, and would have to guess that the number of bullets fired must be in the millions.

The most over-the-top sequence in the film is the scene where McClane is driving an eighteen-wheeler through a system of elevated highways while being pursued and fired upon by a military attack jet with hover capability. There is simply no way this could ever happen, or that a truck could suffer that much damage and still keep going. Much less without the driver getting killed.

If they do a video game on this movie as they have some of the movies in the past, you can see this sequence being part of the game. It's ludicrous. It's impossible. And yet, it's so McClane. And that's what puts the butts in the seats, folks.

Maggie Q plays possibly the most lethal lady McClane has ever had the misfortune of crossing paths with. She absolutely tears him apart for a while. And that leads to possibly the second-most over-the-top sequence in the film when the action spreads the elevator shaft. Still, if anybody was gonna do it like this, it has to be rogue cop John McClane.

Make no mistake. This film isn't for posterity. This film isn't even close to Academy Award material except maybe for special effects.

What this film is, and where it succeeds so admirably, is an action film starring one of the best action heroes ever invented or portrayed, and played once more by the only actor that could do that character justice. This is superhero action without the cape and the mutant abilities. And this is a hero who's fallible yet impossible to beat.

Treat yourself to a summer delight over the holidays. Buy a ticket. Invest heavily in a willing suspension of disbelief at the door. Find a good seat. And prepare to cheer on John McClane one more time as he goes up against impossible and, admittedly, wildly improbable odds.

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After having temporarily staved off a vicious assault, Justin Long's character shakily asks his savior if he's done stuff like that before and if he's killed someone before, to which John McClane's laconic response is "Not for a long time." And, indeed, it's been 12 long years since DIE HARD WITH A VENGEANCE. John McClane is now older, balder, grumpier, and, saddled with a PG-13 rating, not as profane, but he still cannot stay out of trouble. This time, he's assigned the seemingly mundane task of escorting in young hacker Matt Farrell (Justin Long), who's wanted for questioning. But the situation quickly sours as, within moments of meeting Farrell, McClane begins to hear that oh-so-familiar melody of automatic gunfire directed at their noggins.

Both McClane and the frail but side-of-the-mouth funny computer geek speedily realize that Farrell's fringe involvement is merely the very tip of the iceberg, and that the stakes are much, much higher. Turns out that the contractor who'd hired Farrell to do a simple, innocuous code work is scheming to hold the entire nation hostage with his own paralyzing brand of cyber terrorism. Soon, the systematical shutdown of the American infrastructure is underway as, basically, all things computerized become compromised. This includes the targeting and usurping of key establishments such as the FAA, Amtrak, the stock market, and our satellite communications system. But, for Los Angelinos like myself, the most insiduous act commited may have been the subversing of *gasp* the street traffic lights.

For the now grizzled John McClane, nothing much has changed. He's a Lieutenant Detective now, so he's kind of moved up in the world. And he still has those perpetually pursed lips. But his personal life is predictably very much of a mess. He's alone again, divorced (with his ex-wife Holly gone back to using her Gennero surname) and estranged from his children. The start of the film has McClane pathetically attempting to keep tabs on his wilful and sullen daughter, Lucy Gennero (Mary Elizabeth Winstead). But she wants none of his reconciliatory gestures. Not to mention, McClane's an anachronistic type who clings to classic rock music and who is computer unsavvy. Good thing he's got a hacker in his custody.

It's such a treat to watch Bruce Willis again be in his element and playing this iconic role. Not that Entertainment Weekly has the final say, but I do agree with the magazine's listed assessment of Die Hard (Widescreen Edition) as being the top action film ever (ALIENS was number 2, RAIDERS OF THE LOST ARK was number 3). Nowadays, Willis, at 52 years old, is not as spry or free with the smirks. But his physicality, even at this stage, can't be questioned as he suffered bruises and scars in the making of this film. As McClane, he still trounces bad guys with the best of 'em. But, more so than McClane's penchant for arse whoopin', what draws the audience to him is that aura of reluctance, world weariness, and doggedness which he exudes so naturally. We relate to this ordinary, blue collar cat who, time and again, becomes stuck in the wrong place at the wrong time and is forced to angrily muddle thru because there's no one else to do the job. Although LIVE FREE OR DIE HARD portrays McClane as more of a supercop this time, who can go one on one with an F-35 fighter jet and murder an assault chopper with a car, I still fondly remember the first film, in which McClane passed muster as a very likable everyday guy barely keeping it together in Nakatomi Plaza. John McClane has built up so much good will that I'm able to easily forgive and even celebrate the high octane and wildly improbable excesses here.

Justin Long, dubiously best known as the Mac guy in the Apple computer ad campaigns, gets his number called for sidekick duties, and he does a good job, although there were times where his trembly act got to be too much. His Matt Farrell may be a borderline computer felon but his heart's in the right place. Long gets to make the brunt of the wisecracks while McClane tersely motors along (he says to some fellow geeks who'd just blown his cover, "Good luck at the Bad Timing Awards."). One failing of the film is the lack of a charismatic villain. Timothy Olyphant is unmemorable as former Homeland Security computer whiz Thomas Gabriel, whose mission is to digitally teach the nation and his ex-bosses a lesson while garnering sinful financial amounts. There's nothing fresh or arresting about Olyphant's acting performance, which basically consists of a whole lot of staring really hard. But, admittedly, it's fun to witness Gabriel's ever growing exasperation as McClane persists in surviving. Maggie Q does better as the evil hot Asian babe who's also a formidable martial artist. Her character Mai proves to be pretty resilient (but, ultimately, not resilient enough). Writer and maverick director Kevin Smith gets a chance to mug for the camera as the Warlock (or Freddy, to his mom), a jedi hacker whose base of operations is in his mother's basement. Bonnie Bedelia, by the way, is sorely missed, and the film would've benefited with more scenes between McClain and his surly daughter.

LIVE FREE OR DIE HARD is primed to be a colossal summer blockbuster, and, as such, it has certain criteria it has to meet. Director Len Wiseman (the UNDERWORLD films) comes strong and full bore with great visuals, a relentless pace, implausible action sequences, and crazy pyrotechnics. And all this performed at raucous, senses shattering decibels. The stunts are mindblowing, keeping in mind that CG effects were kept to a minimum. These are flesh and bone stunts being done here. But, still, at the heart of the loud thrill-a-minutes, there is Bruce Willis keeping it all together with his signature McClane-isms. I still get a vast kick out of his un-PC chortling whenever he causes yet another bad guy's demise (oh, that poor, agile-as-a-monkey French dude). As always, to me, his mockery of death, in a way, adds a layer of realism as this has become McClane's way of ackowledging his vulnerability and celebrating his surviving yet another harrowing scrape. LIVE FREE OR DIE HARD is PG-13, but the film finds ways to circumvent the rating as the ever resourceful McClane continues to cuss (but minus the "F" word) and ad-lib his way to amassing an impressive body count. Yippee-ki-yay, futhermucker.

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A Bridge Too Far (1977)

In a film of beautiful nuance, Richard Attenborough captures the horrors or war and the dignity of those who must endure, soldiers and civilians alike. The stellar cast of "A Bridge Too Far" (a veritable who's who of acting greats) sets this film apart. Sean Connery leaves behind the cool assuredness of Bond and faces futility with a mug of tea while Anthony Hopkins, a proper Englishman in Hell, surrenders with dignity, only reluctantly accepting chocolate from the enemy. James Caan is a particular standout. With true American grit, he bends all the rules and makes good on a pledge. The scale of the film could have wrought disasters on par with the campaign it portrays. Fortunately, the immensity of the Market-Garden campaign, which historically met its Waterloo at Arnhem, doesn't swallow up the stories of individual characters, of the Brit with umbrella for instance or the Dutch resisters who spy for the Allies.

Few World War II flicks showcase the absolute beauty of the European countryside. In "A Bridge Too Far," the landscape, made all the more picturesque in its contrast to the gore and destruction, is certainly an additional star and supports the wisdom of shooting this expensive epic in the Netherlands. The wide-angle approach, as well as the moving score, give balm to eyes and ears now accustomed to the tortorous naturalism of "Saving Private Ryan." Attenborough pulls back, thankfully. In its final scene, "A Bridge Too Far" achieves poignance without dialogue, without bluster, and without the common contrivance of summoning tears with half-baked, insipid bathos. Sir Lawrence Olivier and Liv Ullman stare straight ahead, the fresh graves of British paratroopers lining their path from an elegance destroyed, from an order and faith utterly shattered. The scene is perfection. And the film itself is close to it.

Cornelius Ryan's nonfiction saga is masterfully told in the film adaptation. MARKET GARDEN, hoped to be one of the death blows to the German Reich, was daring and ambitious, but failed to bounce the Rhine and bring the war to conclusion. Locations in the Netherlands included the actual Nijmegen Bridge, drop zones outside of Oosterbeek (which is next to Arnhem), the Deventer Bridge closely doubling as the bridge at Arnhem, and many scenes filmed at the Dutch Infantry training center at nearby Harskamp. Producer Joseph E. Levine and Director Richard Attenborough drew equipment from numerous nations, including quite a few museum relics, to create this film. What they did not have, special effects and props departments created in order to create a realistic and mostly historically accurate rendition of this September 1944 battle in Holland. Where the film deviates from the book is that the movie tends to paint the Allied planners as blind to the possible flaws in the operation and German Field Marshal Model is portrayed as a cowardly fool. In reality, Model's immediate actions, though based on incorrect assumptions, greatly contributed to the containment of the Airhead north of the Neder Rijn. A BRIDGE TO FAR ranks highly with films like THE LONGEST DAY and SAVING PRIVATE RYAN in terms of intensity and historical accuracy.

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Great movie, but I was extremely disappointed with the quality of this Blu-ray version. So my rating is not for the movie itself which I would give between 4 and 5 stars. I give it two stars on the technical quality. The video quality was no better than the standard DVD, which I already own, and the audio might even be worse than the standard DVD. All in All a very poor transfer to Blu-ray, do not waste your money on this version.

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The acting and photography was great. The blu-ray version at $10.99 is much better than the the dvds there are no artifacts and video is sharp. The dvds are grainy. Of course the opening scenes cut from old sources are grainy, etc. But once you get to the movie itself the sound and picture are great. The story is excellent as others have said. I wish other blu-ray versions were just as good. For example, French Connection II blu-ray was a bit disappointing because the video was grainy.

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"A Bridge Too Far" reminds me of an Irwin Allen film. Allen, if you're not familiar with his work, made a bunch of epic disaster films in the 1970s packed to the rafters with big name stars. His "The Swarm" is a schlock classic that every lover of bad cinema should add to their must see list. In the case of "A Bridge Too Far," we're still seeing an all star cast disaster film, but this disaster took place during World War II when the Allies decided to stage a daring paratroop drop behind enemy lines. The idea was to knock Germany out of the war quickly by seizing several key bridges in Holland in quick succession and then send Allied forces directly into the Ruhr Valley, the heart of Germany's industrial base. If everything went according to plan, the Allies felt confident that the war would end by Christmas 1944. It was an audacious plan that ultimately failed due to a number of reasons--including bad weather and a failure to take into account the quality of German troops--and cost thousands of British and American lives. Richard Attenborough decided to make a film about the failed operation in the 1970s; the result is this nearly three hour film. Some people refer to this film as "A Movie Too Long," which I must admit is painfully true in some respects. A recent viewing exposed a number of flaws I missed when I watched this twenty years ago.

Operation Market Garden, the military name for this daring plan formulated by Field Marshal Bernard Montgomery, sent in the American 82nd and 101st airborne divisions along with the British XXX and 1st airborne to accomplish this complicated task. Unfortunately, military forces were unable to reach the bridge at Arnhem, the bridge too far, that would have led them into Germany. They bogged down instead thanks to a mass of German panzers that prevented British resupply and reinforcements. After nine days the remnants of the British forces pulled out and the operation ended. American troops took heavy casualties as well in their attempts to take a couple of other bridges. This is a short meatball summary of what occurred in Operation Market Garden that I pulled off the Internet in about five minutes. In reality, it's complicated stuff for the layperson to understand, and the movie doesn't make it very easy to follow along once the bullets start flying and the shells start exploding. Yet the film has its compelling points. Just the idea of attempting to recreate such a massive operation is so ambitious as to exhaust anyone even thinking about putting it on film. But Attenborough gives it the old college try. We should admire him for his efforts.

Think about all of the egos Sir Richard had to massage on the various sets. You've got Dirk Bogarde in the role of Lt. General Frederick Browning, the man in charge of setting up the massive operation. Sean Connery pops up as Maj. General Roy Urquhart, and we all know Connery isn't the easiest chap to work with. Edward Fox delivers a "win one for the Gipper" type speech to the troops as Lt. General Brian Horrocks, Elliot Gould overacts as Major Julian Cook, and Jimmy Caan orders a doctor to look at his wounded buddy in a way that would make Alan Alda weep with sympathy. Anthony Hopkins turns in a solid performance as Lt. Colonel John Frost, Laurence Olivier plays Dutch physician Jan Spaander, Robert Redford paddles up a river while taking heavy fire as Major Julian Cook, Michael Caine is Lt. Colonel Joe Vandeleur, and Ryan O'Neal is American Brigadier General James Gavin. My favorite performance comes from Gene Hackman in the role of Polish General Stanislaw Sosabowski. I groaned when I learned about his role beforehand, but Hackman does a great job playing a Pole. He's one of the few guys involved in the operation actually questioning the wisdom of what's going on. And his men eventually take casualties too when they attempt a night crossing over a river. Irwin Allen, eat your heart out!

"A Bridge Too Far" has some excellent battle reenactments. I have several favorites. The exchange between German tank and artillery placements with the Allies on the road to Arnhem is fantastic. They even send in a few planes to drop some bombs! When you listen to this on DVD with a great sound system, prepare to stuff some cotton in your ears. The British attempts to repulse the German tanks rolling in over that bridge look pretty darn good as well. I sure as heck wouldn't want to be that chap strolling across the bridge armed with an umbrella. That scene where the British soldier runs out to retrieve a supply pod dropped by a plane only to fall when struck by a sniper's bullet is one of many scenes that helps keep the film from losing emotional perspective. Aside from the combat sequences, I also appreciated the film's portrayal of the German side of the campaign. Instead of falling back on the old cinematic standby of showing any German in World War II as a raging megalomaniac, the movie tries to present a fair picture of how they countered the Allied attack.

Hmmm. Looking back at what I've written, I guess I have to say I enjoyed the film more than I thought. I'm still going to deduct a star for what I feel was a failure on the part of Attenborough to tighten the film through rigorous editing. I suspect he worried endlessly about what to leave in and what to leave on the cutting room floor since the omission of even one or two scenes could have thrown the whole film into confusion. But some stuff should have gone out the window. Too bad we only get a trailer as an extra...

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Kit Kittredge: An American Girl (2008)

"Kit Kittredge: An American Girl" is certainly heartwarming and innocent, but that doesn't mean it's shallow and cloying. I admit that I thought it would be, mostly because I was expecting a virtual clone of last year's awful "Nancy Drew." There are certain similarities: both feature plucky young girls who do a lot of investigating; both have an assortment of colorful side characters; both are based on a series of stories, both feature Max Theroit. Unlike "Nancy Drew," however, "Kit Kittredge" aims to tell a good story with real subtexts; taking place at the height of the Great Depression, we meet characters that are downtrodden and desperate, not only because their financial situations are bleak, but also because they face the scorn and rejection of ignorant people. This adaptation of stories drawn from the "American Girl" doll line mixes childish zeal with some very mature themes, and that alone made it worth seeing.

Abigail Breslin brings enthusiasm, charm, and heart to the title character, a ten-year-old girl from Cincinnati, Ohio who runs a tree house club and dreams of becoming a newspaper reporter. She wants to write stories with fresh angles so that she can finally get into print. A pair of hobos--a helpful teenager named Will (Max Theroit) and his young friend, Countee (Willow Smith)--inspire Kit to write an article on hobo life. The fresh angle is that it will be told entirely from a kid's perspective, which may be needed in this case since many adults feel hobos are good-for-nothing leeches that suck the government dry. Kit has heard this rhetoric from her neighbors and classmates--one especially snotty young boy says that selling eggs and wearing dresses made of chicken feed bags bring you one step closer to the poorhouse.

But Kit is beginning to understand the hobos' plight, not only because many of her neighbors have lost their homes to foreclosures, but also because her unemployed father (Chris O'Donnell) is forced to find work all the way in Chicago. Hoping to make ends meet, Kit's mother (Julia Ormond) turns their home into a boarding house. This is how we meet: Ms. Dooley (Jane Krakowski), a husband-seeking dance instructor; the disapproving Mrs. Howard (Glenne Headly) and her young son, Sterling (Zach Mills); Ms. Bond (Joan Cusack), a slightly goofball mobile librarian; and Jefferson Burke (Stanley Tucci), a magician. When the subject of hobo robberies comes up, Mrs. Kittredge has everyone put their valuables in her lockbox. When it's stolen, everyone suspects Will as the culprit, including the police. Kit takes it upon herself to investigate. Despite what the evidence suggests, she believes her hobo friend is innocent.

It fairly obvious that "Kit Kittredge" is a commentary on prejudice; at one point in the film, Kit tells a cantankerous newspaper editor (Wallace Shawn) that there are good hobos and there are bad hobos, much like good apples and bad apples. She then gets a hard lesson in office politics when it's revealed that newspapers print only what the public wants to read, and the unfortunate truth is that the public is intolerant of hobos. Naturally, those who say this haven't met the people living in a hobo jungle, as Kit has; they're some of the nicest people around, and they willingly let Kit photograph them and write about them for her article. Messages of acceptance and understanding are not new, certainly not for a family film. But unlike a lot of other such stories, "Kit Kittredge" doesn't condescend, and when we leave, we feel both entertained and emotionally rejuvenated.

Aside from Kit, one of the film's best characters is Sterling, who at such a young age has already been beaten down by life. Sterling's father, much like Kit's, also left Cincinnati to find work, and communication with his family has steadily decreased. You see nothing but hurt and sadness in this boy's eyes. He and Kit are practically in the same boat, which is why they form a special bond. Kit is now worried that her father will forget her and her mother completely, even after promising to write them every single week. I remember a scene when Kit types a letter to her father; the frustration and fear she pours into the first draft makes for a heartbreaking moment.

I can't guarantee that adults will be as receptive to "Kit Kittredge: An American Girl" as kids will, but I definitely recommend they give it a chance. The doll may be a hollow piece of plastic, but the character is something else entirely--she's kind, spirited, intelligent, and just plain wonderful. Some may criticize the film for being too sentimental, and indeed, it's light-hearted and optimistic, more than would be expected from a story set during the Depression. But it's more mature than it lets on. Even with a childish sense of humor, hopelessness and grief are not spared on the audience. It's always a pleasure to see a family film that was made with all audiences in mind, not just kids. "Kit Kittredge" is such a film, one of the most enjoyable I've seen all summer.

Coming from a 16-hear-old girl like myself, this review may be of little help to some people. But to tell my honest opinion, this movie is a good one. And when I say good, I mean it's good. It's clean, has a fun storyline, GREAT actors, cute moments...and altogether leaves you feeling satisfied. While boys and men may not find much they like about it, I would recommend giving it a try. Little girls, teenagers, and moms alike have all told me they loved it...so why wouldn't you? :)

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Kit Kitteridge: An American Girl is based on the best selling American Girl Kit Books authored by Valerie Tripp.

Kit's story begins in the 1930's during the Great Depression. Kit's father, Mr. Kitteridge, owns a car dealership. Her mother, Margaret is the director of the Ladies Garden Club. Kit's brother Charlie, is serving in the CCC, created by President Roosevelt. Kit aspires to become a newspaper reporter and to one day see herself in print with the Cinncinati Register. However due to the events of the Great Depression, Kit and her family's world is turned upside down. Mr. Kitteridge becomes unemployed after the bank forecloses on his car dealership. Due to the umployment situation in Cinncinati he travels to Chicago looking for work. Margaret Kitteridge along with Kit take on the responsibility of turning their large home into a boarding house. The boarders are an eclectic mix of individuals from different backgrounds. Stirling Howard, a classmate of Kit's and his mother Mrs.Howard, Miss Dooley, a dance instructor, Miss Bond, the local mobile librarian who can only stop the mobile library if she runs into something, Jefferson Berk, a magician who has a mystery of his own, and Fredrich, the boarder whose pet monkey is always keeping everyone on their toes. Kit and her mother also befriend Will and County, two young hobos who come to the Kitteridge home looking for work and a sense of family. Of course an American Girl story would not be complete without some excitement which comes in the form of a mystery for Kit and her friends to solve. This movie features a wonderful cast of character actors: Abigal Breslin as Kit, Chris O'Donnell as Mr. Kittredge, Julia Ormond as Margaret Kittredge, Jane Krakowski as Miss Dooley, Max Thieriot as Will Shepherd, Glenne Headley as Mrs. Howard, Joan Cusack as Miss Bond and Stanely Tucci as Jefferson Berk.

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I watched this with my 11,9, and 3.5 year olds. We enjoyed it. It was clean and entertaining. My 11 year old said it was not in line with the book, but still enjoyed it. It gave us a lot of topics for discussion. Based on the depression era, we were able to discuss economy, prejudice and family. Two thumbs up from us.

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I really enjoyed Kit Kittredge. I thought the film was an important and interesting portrait of life in Cincinnati during the Great Depression. As a Cincinnatian, I enjoyed seeing our city portrayed on the big screen and could relate to a lot of the local references.

The film was not the most fast-paced film I've ever seen, but it more than made up for it with its storyline. This movie is at once a drama, mystery and historical fiction. I walked away from the film still thinking about it, which is the sign of a good film to me.

The acting is terrific and includes acting giants and others I believe will be the acting giants of tomorrow. This is not one to be missed.

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Tinker Bell and the Great Fairy Rescue (Two-Disc Blu-ray/ DVD Combo) (2010)

In the third Tinker Bell film ("Tinker Bell and the Great Fairy Rescue"), I found myself surprised yet again at the high quality and entertaining quality of this straight to video release. I also found myself puzzled (again) why this film didn't hit theaters first. Going by the preview trailers, the next installment, "Tinker Bell and The Mysterious Winter Woods," might be different, since it is advertised as an "all new movie event." But back to this movie...

The story is about Lizzy, a young girl whose father has little time for her. She is fascinated by fairies, whereas her father is caught up in facts and scientific research. Through a twist of fate, Lizzy meets Tinker Bell and they become fast friends. Tink sees that Lizzy's father is not giving her the love and attention that she needs, so she helps Lizzy put together a book of facts on fairies, thinking that it might appeal to her dad. Meanwhile, Tinker Bell's fairy friends go on a journey to rescue Tinker Bell from the human world, putting themselves in grave danger. Can Lizzy catch the attention of her dad? Will Tink's friends be able to "rescue" her without getting caught by Lizzy's dad and used for research?

The film is somewhat predictable, and the plot motivations are fairly standard. Yet...the high quality of animation, excellent character development, and quick pacing of the movie make it extremely enjoyable, especially for kids. With a smaller group of fairies in this movie, it is easier to get to know each one and they are all filled with plenty of personality. Lizzy is easy to like as well; her father on the other hand is very difficult to bond with. His personality transformation at the end of the film comes too quickly and is somewhat difficult to believe. This was the only fault I found with the storyline. There are plenty of thrilling sequences for children, and they will quickly be dazzled, imagining themselves in Lizzy's place. For those that were annoyed that Tinker Bell was given a voice in this series, this movie "explains" away the issue by still showing her as "silent" with humans, with her voice translating to the tinkling of bells. HIGHLY recommended.

TECHNICAL SPECS: 2.35:1, Dolby Digital 5.1 surround sound (DVD) DTS-HD (Blu-ray). Languages and subtitles are English, Spanish, and French. The picture itself is lush and rendered with amazing details. The flight sequences around London are particularly thrilling. The sound is pleasing, but didn't really notice that the speakers got a dynamic workout.

Previews:

1. Disney Blu-ray/Combo Packs

2. "Beauty & The Beast" Diamond Edition Blu-ray

3. "Tangled": this preview is definitely designed to appeal to young boys, focusing on the hero, Flynn Rider, instead of Rapunzel.

4. Disney Movie Rewards

5. "The Search For Santa Paws"

6. Anti-Piracy message starting Tinker Bell

7. "Beverly Hills Chihuahua II" on Blu-ray/DVD.

8. Disney Parks

9. Disney Nature: "Oceans" and "The Crimson Wing"

10. "Toy Story 3" on Blu-ray/DVD

11. "Lion King" Diamond Edition

12. "Tinker Bell & The Mysterious Woods" All new movie event

BONUS FEATURES

1. "Tangled": Exclusive Sneak Peak (3:39) this short look behind the scenes of the movie based on the "Rapunzel" story really plays up the action angle so as not to alienate the male audience from watching it. Directors Nathan Greno & Byron Howard talk about how "Tangled" has something for everyone: action, romance, humor, etc. Vocal leads are Mandy Moore (Rapunzel) and Zachary Levi (Flynn Rider). Looks like it could be fun.

2. Deleted Scenes (14:44) with intros by Director Brad Raymond and Producer Helen Kalafatic. Usually, the deleted scenes don't do much for me, but this time, I found myself wishing that some of them had been kept.

A. "A Real Live Fairy": Flashback showing Lizzy's dad as a boy meeting a fairy and the consequences. Although this scene is a little dark, getting this background on Lizzy's dad would have fleshed out his character much better and made some of his actions more believable.

B. & C. "Lizzy's Bedtime Story": shown in both storyboard and grayscale versions, this is also a very cute sequence.

D."Cat Attack": this sequence is fully rendered in color, and shows my new favorite character, Mr. Twitches the cat. He is a loveable semi-villain from the movie that left me wanting more.

Interesting note: in the intros to the deleted scenes, it's stated that these movies are all prequels to the "Peter Pan" animated classic.

3. Music & More: "How To Believe" with Bridgit Mendler (3:02) fun music video with cute Bridgit performing this lighthearted number.

4. Backstage Disney: "Design a Fairy House" (1:52) Brad Raymond talks about the contest that challenged children to design a Fairy House. Zoe Periale from California was picked the winner and got to go to WDW in Florida, where she was able to build the house she had sketched out and display it at the EPCOT Flower and Garden Festival.

5. Games & Activities: Fairy Field Guide Builder Most of the games are boring snoozers. Children will enjoy this fairly easy to figure out primer on Fairies. Definitely one of the best games on a Disney video that I have seen.

OVERALL RATING: This one is a sure-fire hit for the children and also very enjoyable for adults.

We bought this for our 2 year old daughter! She loves the other two Tinkerbell movies. She didn't know it was coming so once we got out to the mail box she was thrilled! We of course opened it and watched it right away. It was very cute the story was touching and it had plenty of action. I enjoyed how you really got to see the other faries personalities not just Tinkerbell. I got quite a few laughs out of it as did my husband. It really is a great movie and we're already looking forward to the other one coming out Fall 2012.

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My fairy-loving 5 year old daughter and I have adored Disney's Tinkerbell series of movies, and TINKER BELL AND THE GREAT FAIRY RESCUE is no exception. This movie has all the charm and joy of its two predecessors, and once again, I have to wonder why these movies have been released straight to DVD. With some of the most gorgeous animation I have ever seen, top-notch voice talent, sincere and honest messages, and a healthy dose of famed Disney magic, TINKER BELL AND THE GREAT FAIRY RESCUE (along with TINKER BELL and TINKER BELL AND THE LOST TREASURE) would have made a mint in the theatres. These movies make you believe, and really, that is all any of us want.

Tinker Bell is back, and this time she and her friends are spending the summer on the human mainland. Tink is under strict orders to stay away from the humans. While fairies do a great many things for humans and the human world, rule number one is that humans do not know that fairies really exist. But the fairies never reckoned on a lonely little girl like Lizzy, before. You see, Lizzy LOVES fairies; she is one of the few humans who truly believes. Lizzy builds a fairy house, hoping upon hope to entice a fairy into being her friend (hmmm...sounds like someone else I know!). Well, guess who can't resist! Tink ends up befriending Lizzy and teaching her workaholic father lessons about trusting in his daughter and believing with his heart, instead of his head.

TINKER BELL AND THE GREAT FAIRY RESCUE is sweet, innocent, and stunning; a delightful tale told by outstanding talent. The brilliantly superb (I need more superlatives!) animation brings the fairies to life they seem to fly out of the screen and the voice actors are some of the very best in the business: Mae Whitman, who voices Katara in the AVATAR: THE LAST AIRBENDER series, continues to be a perfect choice for Tink. Charming and sincere, she is conveys Tinker Bell perfectly. The talents of Kristin Chenoweth, Lucy Liu, Jessie McCartney, Raven-Symone, and a host of others add to the pleasure of this film. And, as in the previous two films, there is nothing particularly scary in TINKER BELL AND THE GREAT FAIRY RESCUE; nothing that will frighten or upset children. No one dies; no one is particularly evil; there is no bad language. From start to finish, TINKER BELL AND THE GREAT FAIRY RESCUE is cute, appealing, and captivating. I was grinning from ear to ear during the entire film, and my wee one sat peacefully on my lap throughout. In fact, she has already rapturously watched this movie five times. And mom hasn't minded a bit.

Disney has a perfect hat trick with these three Tinker Bell movies, including TINKER BELL AND THE GREAT FAIRY RESCUE, and a fourth one is on its way. Let's hope they can turn that hat trick into a grand slam home run. Neither my daughter nor I can wait for the next movie; we are already breathless with anticipation. In the mean time, though, I think we will go build a fairy house on the back porch. You never know who might come to visit. After all, all you have to do is believe. MOST HIGHLY RECOMMENDED.

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Tinkerbell and the Great Fairy Rescue is the third in the computer animated series and for our family the best yet. The quality of the animation, storytelling and music is far more than what direct-to-video tends to offer. Four generations of our family have all watched and loved the story. It entertains the children but never bores Mom and Dad. Great grandma may love it more than the kids, what more can you ask? It teaches the value of friendship, family and the need to never stop believing in the unbelievable.

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This is my favorite of all three fairy dvd's with tinker bell. The little girl is who made this dvd a hit for me. she is sooooooo cute and she smiles so beautifully and pouts the same. I love her. I may need to buy the Lizzy doll. Yes. there is a doll.

Isn't there always. I already have tinker bell. lol

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