My Life as a Dog (The Criterion Collection) (1985)

Few movies come this close to perfection. This is an intelligent and moving story of a boy who must come to terms with abandonment, loss and the casual betrayal of adults. Extremely well acted on all sides, with a bold script that dares to ask the important questions. Ingemar must try to find some balance in his life, as he is tossed from one "home" to another, like a stray dog... or, like the Soviet space-dog Laika, who was sent into space only to starve to death in orbit. "They never intended to bring her back." The final scenes of "My Life as a Dog" do win out, when the odd town's crazy old man takes a swim in the frozen river. The whole cast of peculiar town-folk come out to "rescue" him, and offer him a place by the fire, a blanket, a little whiskey... Here, Ingemar finds balance in the love of other people, so one is left, not with a sense of despair, but with a sense of hope in the midst of sorrow and loss.

Note: I recommend the subtitled version over the dubbed version, as the language and inflections should be experienced in full.

This was so disappointing to me. "My Life as a Dog" was one of my all-time favorite films. I already had it on video, and wanted to have a cleaner copy on DVD, as well as some features.

! IT IS NOT, I repeat, *NOT* WIDESCREEN!

Worse, the transfer is grainy, and there seems to be little or no remastering. CRITERION would do a bang-up job on this film, it's just a shame that so many distributers can't get their act together and put a little effort into what they're doing.

If you want to hear commentary, see it in its original film ratio, or even see a decent transfer for heaven's sake, go to Criterion's web-site and send them a message that you want to see this film done right.

You might also go to Fox Lorber's web site, and let them know you expect more than VHS-on-a-disk. DVD, as a media, is in a critical state right now, and the studios are trying to see if the general public will accept bare-bones releases. We need to let them know that we won't.

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A massive world wide hit when it was first released.Simply the greatest film about childhood ever made.An absolute flawless film in every way. The final scene combined with the memorable music will stick in your mind forever. A masterpiece of film making truly unforgetable and exceptionally moving.I have seen it numerous times over the years.One of the ten best films I have ever seen.

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I absolutely agree with Mr. Frazer. I first viewed the film over 20 years ago and to my tastes, it is one of the best films about children of which I am aware. I would place it on par with "Fanny and Alexander" and "Hope and Glory" (Boorman). The film does have a mild sexual content, but we allowed our son to see it even when he was young. (In the US some might not agree with this choice.) We've watched it again and again through the years. Similar to our experience with other exceptionally fine movies (and wines), it seems to improve with age. I would recommend it without any reservations whatsoever.

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"You have to compare," the hero of the charming yet poignant coming-of-age drama concludes, "so you can keep perspective. It helps to keep a little distance." A heartwarming story of growing pains, My Life as a Dog traces the tears and laughter of a thirteen-year-old Swedish boy struggling to find balance between the gravity of death and flamboyancy of youth. Carefully expanding the path of childhood through trials of time, director Lasse Hallstrom brings forth a moving tale unfolded in the eyes of Ingemar, a captivating boy whose heartfelt concerns for dogs burgeon into love for life. Inspired by the first dog sent into space by the USSR space program, Ingemar remains unscathed by life's tragedies as he bravely embarks on a journey to fit himself into a world of complexities. Stunningly portrayed by young actor Anton Glanzelius, the energetic, insightful, and often-troubled hero comes alive seeking joy of a sad life as his mother lies dying. Even as Ingemar and his brother are sent away to different relatives in the summer to allow their weakening mother rest, Ingemar is constantly haunted by memories of a mother with a "robust, sexy laugh" who never grows tired of his stories. Ingemar temporarily finds peace in his eccentric uncle's house as he shyly steps into the light and befriends a pretty young tomboy portrayed by Melinda Kenneman, who leads a contradictory life herself trying to cope with her growing sexual urges while maintaining a tough image on the soccer team as well as boxing floor. Focussing on Ingemar's sympathy for deserted creatures such as Laika, who was left to die in space, as well as his own mutt Sikan later died in the kennel, the director skillfully narrows in on life's details drawing powerful parallels between Ingemar's alienation and the dogs' desertion. Almost taking pleasure in the ruggedness of growing-up, Glanzélius's Ingemar never ceases to find himself trapped in troubles-whether it is setting fire on trash dumps, spilling milk on himself, or crashing through the glass roof attempting to steal a glimpse of a model in nude. While peacefully observing a world in motion from the persecptive of an outsider, Ingemar gradually blends into a rural community and finds himself an inseparable part of the town's lighthearted approach to hardships after the death of her mother. Deemed not as simple tale of maturing, My Life as a Dog presents the bittersweet flavor of childhood through the clear eyes of a bittersweet boy. Despite few awkward transitions and scenes of sexual awakenings, this film touches the human heart and produces a vague echo in audiences' memories. Complemented with superb casting, My Life as a Dog refocuses society's view on children who see the world through a totally unique perspective. Of course, our hero's perspective undergoes the transition from a deserted dog to that of a human surrounded by life's warm pleasures.

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Four Lions (2010)

One of those films that took me by complete surprise, `Four Lions' is a pitch perfect `dark comedy' that delivers one laugh after another with an unexpected touch of poignancy that elevates the material to create something special.

`Four Lions' details the haphazard terrorist plot conceived by five dimwitted Jihadi suicide bombers. Mainly focusing on three conflicting personalities (Omar, Waj and Barry), `Four Lions' takes a stab at the root (or roots) of terrorism; exposing the allegiance and trivial stupidity that steeps itself in the act. Omar and Barry butt heads from the start. Both are leaders (self-proclaimed as they may be) and both expect a degree of servitude. Omar is arrogant, considering himself superior in intellect (and most likely he is), while Barry is abrasive and condescending in his own right; using his brutish demeanor to demand a faux respect. Waj is more of a simpleton; completely confused by his own allegiance. He wants to believe in something but he can't commit his heart to their actions. Instead, he becomes a pawn; taken advantage of by the more dominant personalities. By focusing on these three characters, `Four Lions' shows the polar sides of terrorism; the way that influence can overtake both and strong and the weak. As these characters devise their plot against oppression, they struggle to explain themselves and thus struggle to convince themselves that what they are doing is really the right thing to do.

As an intellectual piece, `Four Lions' is far smarter and deeper than one may expect. It is a blatant farce, an unapologetic comedy and yet it is laced with such stark realism. That said, it is the comedic shamelessness that really makes this film so incredible. The script is one of the best I've seen put to use on the big screen in a long while. The sharpness of the dialog is perfectly complimented by the visual antics. The explosions never lack in comedic weight, and the one-liners delivered are side-splittingly hysterical.

"I'm not confused brother! I just took picture of my face, and it's deffo not my confused face."

The repartee between the actors is also borderline genius. Everyone totally gets their respective roles and they go `no holds bar', attacking the characters without hesitation. Best in show props go directly to Nigel Lindsay, who layers Barry's ignorance with such undeniable wit. He's pitch perfect in every scene.

In the end, I can't recommend this movie enough. It is controversial, sure, but it understands how to approach the subject so as not to `cross the line' while simultaneously `crossing it'. Taking jabs at both sides of the `war on terrorism', `Four Lions' feels real and authentic despite the outlandish nature of the whole thing. It's preposterous, but on the other hand it's so crazy it just might be true!

Chris Morris co-wrote and directed a very dark, shockingly wicked, tour de force about four inept British would-be suicide bomber jihadists. This ferocious farce grabbed me immediately. Terrorism can be as much about idiots as ideology. Here's a brilliant film that does not flinch or blink in the face of the horrific reality of our times. Can urgent truth be funny? Yes. Time called it "The blackest, ballsiest political comedy since DR. STRANGELOVE." Can mockery and ridicule dilute hate? Maybe. Maybe not. But laughter sure can. Is Allah laughing?

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Note: Paragraph 2 is a synopsis, and only paragraph 5 that contains spoilers.

Four Lions is a daring little comedy with balls of iron. Using terrorism as a source of comedy maybe one of the hardest methods to make people ponder about this important issue. Especially the way that Director Chris Morris pursues the subject, one often fears that the topic may be used as the butt of jokes, and form a debased comedy. I have no clue how Morris does it, but he never crosses the moral/ethical line of GLORIZING the terror or demeaning the victims.

This comedy is based on a group of extremist Muslims who decide to demonstrate in the face of all this consumerism and corruption of the West, the beauty of their religion by commiting horrible deeds-that in their eyes are nothing but noble. Take note that they are from Sheffield, England. Four of the men are identifiably Muslim, but one stands out like a nerd on the football team. He is a white convert to Islam, and the most radical, impatient, and extreme of the pack-trying to convince them to attack a Mosque. Two members, Omar and Waj, get sent to a terrorist training camp with disastrous result-keep watching after the credits to understand the extent of their tragic contribution. After returning, all five, which includes the new recruit Hassan, decide to find a target to express their rage.

These are not organized or trained newbie terrorists. They act independently on their dogma, and hilarity ensues. They are also quite well rounded, unlike the terrorist picture many of us may imagine: isolated people lacking in friends, and lovable family. Omar, for example, has a son, wife, and quite a large group of friends-many which are British. They have no detailed philosophy besides the idea that this consumer Western society is corrupt, and needs to be punished. There is almost no discussion of Bin Laden, Al Qaeda, or any terrorist organization. However, They strive to be Jihadists, and ascend to Heaven. It's that simple in their eyes. No discussion of their victims ever take place, and for good reason. These characters are simplistic in their desires, so even a superficial thought of their victims innocence may thwart their plans.

Chris Morris reportedly has done years of research for this film, predating the 7/7 London Bombings. Unfortunately, we don't see the fruits of his research directly on screen. If his research finds its way in to the final cut of this film, it must be very subliminal because I could not see any evidence that this was deeply researched. Due to his research which included collecting personal account from countless different sources, it seems that Morris at parts is unable to shed light on the emotional aspects. Truths that are self-evident to him are not necessarily evident to us, and certain aspects require more emotional investment.

Many examples of such emotionally ambivalent scenes are spread throughout the film, however they are most evident during the scenes involving Omar's family. Of Course, Omar's son does not know about his father's true intents, but he is teaching his son the moral reason for his task through Disney's Lion King. After their overseas debacle, he explains to him that Simba must lie for now until he can accomplish his true goal. These intimate scenes are done well, as we begin to realize that these men are not hopeless young teens without futures. One of the most out of place scenes occurs after Omar deserts his fellow brothers, disappointed and depressed about their plans. His wife's word about his plans, and eventual demise, are so cold heartedly encouraging that we suddenly recall this is a piece of fiction. She seems to be actually encouraging and advocating his plan, clearly aware that its execution will leave her without a husband, and her son a father. Before this scene we saw these two adults use a water gun to force a friend out of their house. They may share the same ideas about the "depravity" of Western culture, but they are a loving couple. Morris, in this scene, makes the woman out to be absolutely heartless about her husband, and maybe ready to get rid of him by granting his services to the Lord in Heaven. This scene is made all the more preposterous by the inclusion of their son in this conversation. Another complaint maybe that the wife is simply a foil character with nothing worthwhile to express. As said before, Morris has done much research on this topic, and maybe the families of terrorists are as "open-minded" as this, willing to give up their husbands, and parents in the Lord's service. Even if this is the case, Morris needs to stray from his facts, and show more compassion in these scenes, or progress to this line of though gradually, not spontaneously.

Four Lions also suffers from a smug sense of profundity. It often feels that the film believes besides laughs it is giving us an earnest and deeply insightful view about terrorism. Whenever Morris decides to make his work more insightful, the comedy suffers drastically. True, we are talking about people blowing themselves and others up by explosives, yet a truly comedic tone fits this successful premise well. The film's serious moments are so far and in between that they never make the impact that he desires. A prime example is the concluding scene when Omar wants to make Waj, one of the co-conspirators, to give himself up. When this fails, Omar marches in to a pharmacy completing his mission. This serious scene steals from the comedy of the four men running around for twenty minutes in preposterous costumes ranging from Honey Munster to an ostrich. After this, a somber songs begins that is truly not in the spirit of the film. I believe Morris believed he had made a serious statement, like the one at the beginning and conclusion of American Beauty. Four Lions loses it's touch, and becomes somewhat disjointed from its black comedy elements when it choses to take such a drastically different route.

Despite all this criticism, I found Four Lions to more insightful and original than most current comedies distributed in the last few years. Morris of course does not succeed in all his goals, but miraculously saves himself from much criticism that his Brass Eye series received in the last decade. He looks at the issue at a very specific angle which makes the comedy, despite the subject, extremely funny. His characters are somewhat stupid and carless which are necessary elements for a film on such a bleak subject. If only the bomber's of 7/7, and hijackers of 9/11, were as independent and clueless as these men are, the victims of their actions would be miniscule in number.

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I was mostly bewildered the first time through this film. The Northern English dialects, often intermixed with other non-English foreign accents and naturalistic speech made the movie all but incomprehensible. Parochial cultural references (Not TJ but TK Maxx, Rubber Dinghy Rapids, Mr. Bean), British slang (slags) and a sprinkling of Arabic (kuffars, wasalaam) also hindered understanding until I got around to looking these things up. However you can find the English subtitles on the Web. The subtitles were faithful to the dialogue but you'll probably have to adjust the synchronization. All that extra effort will pay off. FOUR LIONS is very funny and the comedic acting and timing are superb. The two exceptions were Hassan and Omar's wife, who showed in their facial expressions that they were in on the gags.

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*** THIS REVIEW IS FOR THE BLU RAY VERSION ***

Five twenty-something lads from Sheffield wanting to be Afghan terrorists on British soil is not exactly an easy sell for a film even for the most liberal minded of viewers. This is the kind of material that walks a thin line between black humour and the need to tell the truth no matter how offensive or uncomfortable it may be. But "Four Lions" 'so' works. Written and Directed by CHRIS MORRIS his debut is an edgy risk-taking movie and absolutely chockers full of laugh-out loud moments and for all the right reasons...

It goes like this the constantly babbling, but worldly naïve Waj is easily influenced by the disillusioned but far more radical Omar (Kayvan Novak and Riz Ahmed). Both 'brothers' want to do 'God's will' which they believe is to become Mujahideen soldiers and start their own Islamic Jihad somewhere in affluent materialistic England. They essentially want to blow something up. Helping them away from Western materialism and Chicken McNuggets is the self-appointed cleric Barry (a fantastically funny turn by a scene-stealing Nigel Lindsay). Barry rabbits on about 'surveillance protocols', eats SIM cards and once planted a 'twin towers' cake in a local mosque to incite the faithful. Rolling under garage doors like an SAS commando and sidling up to people's porches likes he's Jason Bourne Barry is convinced that a passing mother and child is a cop and the American Feds are watching him on satellites in space. Barry is the worst and most boorish of the five. A converted white man and bearded radical, he is full of nice things to say about open-mindedness like "...we've got women talking back bruv! We've got people playing stringed instruments!" Barry orders silver nitrate from Amazon and wants to "Boom! Fast track to final days! Proper war!"

Thrown into this pool of misguided idiots is the slow and permanently bewildered Faisal (Adeel Akhtar) a hapless bomb-maker who stashes thousands of bottles of hair peroxide in his lock-up. Fassal wants to attach detonator devices to crows and fly them into Government buildings (hence the poster). Last but not least is Hassan (Arsher Ali) an on-the-fence believer who wants to go 'proper' Afghan. Hassan talks the lingo about 'a new purpose in life' but Omar suspects that maybe he doesn't have the balls to actually do the dirty deed. None of them do. It's all a big game to the other four and Omar will need to make it 'real' this time. Plots are hatched in the bedsit above the men's shop Bolby Tailoring, rocket launchers go off backwards and Omar's microwave oven gets sacrificed in the name of the 'cause'. And on the mayhem goes to the London Marathon of 2010 where they're dressed as chickens with something more than lean cuisine beneath their feathers. But of course it stops being funny very, very fast when the consequences and repercussions of what they're doing becomes all too real...and they get more than hurt...

How do you deal with extremism humour is one weapon Chaplin knew this. But part of this script's genius is to go deeper into the monster's psyche to show us how 'religion' seriously screws with a person's moral compass especially if that belief system has an 'our way is the only way' core mentality. There is also the lure of power the power of a gun how it gets you noticed even respected. And of course that's amplified if you're prepared to have a bomb strapped to you and seek martyrdom.

The danger in all this is that despite the film's best intentions Muslims are tarred with a terrorist brush but the writing is smart enough to address this and even deal with racism among their own ranks by slagging both off with real skill. Subtle touches include Omar receiving an e-mail at work (he's a security guard) telling that his trip to the Pakistan is in 2 days time (spy talk for a training camp). He tells his boss he's attending a 'shotgun wedding' and if you look real close you'll see that the e-mail address is hilaryclinton055.

Housed in a fetching book package, the BLU RAY picture quality varies from very good on the indoor sequences (bedrooms, cafes and sheds) to crystal clear and superlative on the outdoors shots (Afghanistan hills, London streets). As the dialogue is all Sheffield in Northern England and comes at you fast and furious, the lone ENGLISH SUBTITLE will probably be more than handy for overseas viewers. The extras include DELETED SCENES and 2 featurettes. The deleted scenes are short, but wickedly funny, while the 2 featurettes are unrelated to the film itself, but act as background to the project. First is a real-life documentary called "Lost Boys" which follows 4 Pakistani lads in a car as they drive around their hometown of Nelson in Lancashire. They talk of fights, racism and persecution nothing to do every night. You can just see how they're ripe for recruitment. The 2nd is even stranger an interview with Ahmad who is a white lad accused of Muslim extremism and arrested under the Terrorist Act. He shows paintings that express what he feels about Islam (deeply loves it). Neither feature makes judgements but they do give you insights into why stuff happens...

To sum up with our media and politicians locked into a sort of sickening and stifling political-correctness of late material like "Four Lions" is refreshing to say the least and even a bit brave. And the fact that you're laughing so much for three quarters of the movie, but hurting with sadness at the end is testament to its heart. It elevates "Four Lions" above clever froth into the realm of something that stays with you and makes you think and reassess...

I loved this film. And Film 4, Wild Bunch and Optimum Releasing and all associated with "Four Lions" are to be praised to the nines for it.

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The Coen Brothers Collection - 5-Disc Box Set ( A Serious Man / The Big Lebowski / Burn After Readi

I love their films. In Blu-ray they are even better. This is a wonderful companion collection to an earlier Blu-ray boxed set

The content is 5 plus stars.

The packaging is a little inconvenient, but given the content and pricing that is a small price to pay.

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The Coen Brothers are remarkably intelligent film makers.

Each film is a jewel of movie making.

If you are at all curious as to what happens to someone who follows the rules of God and man

as best he can then watch a "Serious Man".

If you think going your own way and doing your own thing will lead to happiness

then watch the "Big Lebowski".

If you think you know what is best for the Common Man even if you are not a very

good listener to those around you who could tell you a story or two...and your sharing your wisdom

will lead to happiness then watch "Barton Fink".

If you think being up-to-date on everything that comes you way is the way to happiness

then watch "Burn After Reading".

Finally, if you believe in Pre-Nups and Wedded Bliss, not to mention incredibly white teeth, will

lead to happiness then watch "Intolerable Cruelty".

Each film has its own lessons for life as such each film is worth watching over and over again.

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Good to get five bluray movies for the price.

Some of the movies are classics and some are not very good, but nice to have collection.

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This set had potential until I decided to watch it. Then the real fun began, first I tried

One and it wouldn't load, tried another I think it was burn after reading the menu's were listed

in chinese then some other asian characters and so on then listing all european langs.

2 pages long. english last and this was only to choose the lang. to play the soundtrack in.

there was no way to know this except to drill down through all this as the primary lang.

was not english. I guess I should have had a clue from the disc labels as although in english

the rating was not the m.p.p.a. that I was used to but ratings warning under 17 etc. from Ireland

and others. only one other disc played same thing obviously made for european Marketplace

all told only 2 of 5 discs would play. BAD SET!!!

Returned this set to Amazon based on unplayability alone and received credit though the return window had passed. DON'T BUY this unless you want what appears to be a collection of discs from several sources

and boxed as a set....

billw.......

Brick

I have to say it, "Brick" is probably the best movie I have seen this year so far, and I don't think I'll see another that will top it. I had heard about "Brick" for a while now, and when I heard the premise of it, I knew that it was something that I would have to check out. I'm glad I did, because not only did I end up enjoying it the first time I saw it, but I watched it again the next day. Not many films can do that for me, but this one most certainly did. There was no way I could have ever bet that I would've ended up loving this movie the way I do.

If you're unfamiliar with the approach to the movie, it's pretty much a detective-murder-whodunit movie with a catch; it's set in modern times and it involves high school kids. Yet, the kids talk in the manner that you would expect from your typical hard-boiled detective movie. The story concerns Brendan Frye, who is contacted by his ex-girlfriend by phone. On the phone, she sounds frightened and troubled, but doesn't say much about what is the matter. Two days later, she ends up dead. Brendan knows that she got involved with the wrong crowd, so in order to find out who is responsible for her death and why, he has to go in deep into the underground drug world that has consumed a good amount of his schoolmates. The deeper he goes, the more risk he puts himself in.

This film is extremely well done and well made, and that caught me off guard. I wasn't expecting a movie like this, nor was I expecting that I would end up loving it so much. The film seems innocent and fun at a glance until you really get into it, and then you realize how dark and brutal it can get. Just because it involves high school kids, it doesn't mean it's child's play. It's film noir at its finest, and it even pokes fun at itself a little here and there, but overall it's a pretty dark and serious movie. What really sells the movie in the end is the great performances from the cast, especially the lead actor.

Because of how odd and different "Brick" is, there's a good chance that more people will end up not liking it so much. That is the risk these kinds of movies take, but it's nice to see something that isn't so "commercial friendly" for a change. It stands out, and that's something that has to be admired to some degree. I would recommend renting it first because of this. Also, I recommend that you see it more than once. As much as I liked it the first time, I really appreciated it for what it was more during the second viewing. The DVD doesn't have a whole lot to offer, sadly. There are some deleted/extended scenes, audition tapes from two of the actors in the movie, and cast/crew commentary. It's a shame that they don't give you the trailer, which I thought was really good. I also would've liked to see some behind-the-scenes features.

"Brick" took me for a ride and I have to say that I loved every minute of it. It's an exhilarating and brilliant film that takes a lot of chances without apologizing to anybody in the end. It's one you'll either love or hate, but I think it's definitely worth the time checking it out. If you're looking for something that isn't typical or dull, then I highly recommend it. It's too soon to say, but I think if you give it enough time it could become a classic. It's high up on my list of favorite movies now, and that only took two days. -Michael Crane

Joseph Gordon-Levitt stars in "Brick" as Brendan, a high school student searching for his ex-girlfriend, Emily. After they broke up, Emily started "eating lunch" with a more popular, yet mysterious crowd ("The Upper-Crust"). As he delves into their world, he finds a sickening subculture of drugs, double-crosses, and worse.

The movie is set in Orange County (San Clemente), and the movie's big hook is that it's an update of those terrific film noirs of the 1940s and 1950s. Yes, the movie sometimes comes across as "The O.C." mixed with "The Lady from Shanghai," with just a touch of "Blue Velvet." However, as such, "Brick" succeeds very well. The dialogue is full of clever pithy lines and slang that went out with Eisenhower (Beautiful woman: Do you trust me now? Brendan: Less than when I didn't trust you before.). The directing is also terrific kudos to first time director Rian Johnson. Finally, Jospeh Gordon-Levitt makes a likeable protagonist amidst the crazy proceedings and characters, including a rather magnetic Lukas Haas as "The Pin."

Although making the film in noir style is essentially a stunt, the tone helps make the movie deeper, more satisfying easily one of the most intricate teen dramas ever made. The plot is full of holes (what film noir isn't?), but the noir style and look smoothes out the rough edges; yes, style does sometimes trump content. There were a few times when the "Brick" verged on being a typical teen movie; fortunately, Johnson manages to get back on track. Highly recommended for fans of film noir or sophisticated teen dramas.

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Rian Johnson's "Brick" won a Special Jury Prize at the Sundance Festival for originality of vision, and seldom has an award been more deserved. This witty, breathlessly entertaining low-budget flick conflates modern-day high-school angst with the mean-street conventions of 1940s detective fiction and movies. The surprise is that director/screenwriter Johnson plays the story absolutely straight, and gets away with it, while at the same time touching on some uncomfortable truths about growing up in America. Brendan Frye (Joseph Gordon-Levitt), whose delicate, poetic looks belie his limitless resources of toughness and courage, goes underground among his school's drug-addled "upper crust" to uncover the murderers of his ex-girlfriend Emily (Emilie de Ravin). He endures multiple beatings from the goon Tugger (Noah Fleiss), as well as threats from both The Pin (Lukas Haas), a cadaverous criminal mastermind who still lives with his doting mother, and Assistant Vice Principal Trueman (Richard Roundtree), who basically plays the Barton McLane role to Gordon-Levitt's Bogart. Then there are the femmes fatales in training, Laura (Nora Zehetner) and Kara (Meagan Good), who may or may not be helping Brendan. "Brick" is remarkably stylish and atmospheric for its miniscule budget; Johnson is masterful at capturing the claustrophobic milieu in which Brendan and his antagonists lurk. There are scenes of action and suspense here that put big-budget epics like "V for Vendetta" to shame, simply because Johnson knows how to edit, and because he makes us care about the characters, especially Brendan. I never paid much attention to Gordon-Levitt until I saw his performance as an emotionally damaged male prostitute in Gregg Araki's "Mysterious Skin." Based on his performances here and in that film, I would say that Gordon-Levitt is quickly becoming one of the truly great American screen actors. All the other actors are also fine, including Matt O'Leary as The Brain, Brendan's informant and only true friend, and Noah Segan as the pathetic "reef worm" Dode. Some critics have complained about "Brick's" convoluted plot and stylized dialogue--Johnson creates a language for his characters that is half Chandleresque slang, half teen speak. But for me they only added to the film's fascination. You'll probably need to see the film more than once to catch all the details, but, then again, you'll WANT to see it more than once. Myself, I can't wait for the DVD to come out.

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Brick is a strange animal that seems to appear almost out of nowhere. A lot of people my have come here because they've heard about this movie and haven't yet seen it. Some of you may have come here because you tried to watch it but had to turn it off because you couldn't understand what the hell they were talking about.

Let me suggest this: TURN ON THE SUBTITLES.

Yeah, I know it's in English and you recognize the main character from that TV show: Third Rock from The Sun, but this isn't a sitcom on NBC, and this isn't your typical run-of-the-mill, teen flavored High School drama. In Brick, you're about as far from John Hughes territory as your going to get and closer to the backyard of Dashiell Hammett and Raymond Chandler than you might realize. As a huge fan of The Big Sleep, I was really caught of guard by this film and stunned when I realized just what was going on. Seeing 1940's film noir, soaked in a teen centered tale of woe, works better than I would've ever thought. And for the record, I don't think anyone, other than the writer dared attempt something like this and succeed at it too. Bravo.

Rian Johnson makes a writing and directorial debut to rival most of his peers and mentors. This film is enough to make the Gods tremble, hopefully he'll be able to follow it up appropriately. On a side note, Rian offers up his screenplay, the novella he wrote that goes with it, an essay and drawings for no charge on his site, which is easily found, if you're interested in reading.

Nora Zehetner as the smoldering and cold-calculating heroine is also a definite high point, and her career and longevity in films is assured.

This film could easily be the Blade Runner of this generation.

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I can understand why reviews of this movie are so split down the middle. It's a very strange and weird idea: Shoot a film noir and do the dialogue and structure as if you were adapting a Hammett novel back in the day, but set and shoot the movie at a contemporary California high school. Either you think this is brilliant or you think it's totally idiotic.

From my own experience and from talking to others, I think it is tough to get into this movie primarily because of the patterns of speech. Everybody talks very fast with a stylized delivery as if they were in a movie from the 30s or 40s, using a lot of slang most of us don't use, and the sound quality isn't so great. My suggestion to anyone who wants to give this a go but winds up having a hard time is to try it out with SUBTITLES, believe it or not (and I am *not* kidding about this). Because once I did, I realized I was mishearing certain words and I started to pick up on the rhythms, hear things correctly, and the dialogue started to sound natural; eventually I got into the flow of it enough to get rid of them (though I admit in a few scenes I wound up going back and putting them back on just to make sure I got the lines right).

You might ask, what's the point of doing a movie this way if it winds up creating a problem like that? Well, I think that the reason for dealing with this is because this oddball strategy of Rian Johnson's winds up actually creating one of the more successful attempts at a contemporary film noir. For whatever strange reason, the artificiality of the dialogue and farcical nature of the proceedings works quite well once you give in to the conceit. Many other attempts at doing a modern neo-noir wind up feeling way too "retro" and nostalgic and they stumble over themselves trying to figure out how to be modern but yet try to keep all the elements of old detective thrillers that people miss and want to see (see Kiss Kiss Bang Bang for an example of sort of the tricky questions that come up in trying to do contemporary noir). The high school setting actually defuses that problem because it is silly and anachronistic already, so having modern day kids talking in old fashioned out of date tough guy lingo is no more strange than having anyone else, adult or not, talking that way these days. The plot is predictably convoluted in the old noir-detective style and there are all the usual archetypes and manipulations. Somehow they seem sort of fresh in the setting of high school. And since most of us tended to discover detective novels in our teen years, it seems perfectly fitting to project their tropes out into that world, to imagine that high school is a microcosm of all the things one read about in pulp fiction.

So I'll take sides with the "pro"-Brick crowd; I enjoyed it.

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The Three Musketeers / The Four Musketeers (Double Pack) (1973)

You can tell that the folks at Anchor Bay Entertainment love movies. It shows in every disc they release (like last years wonderful "MAD MONSTER PARTY" DVD). And this new release of director Richard Lester's delightfully enjoyable 70's comedy/ swashbuckler's "THE THREE MUSKETEERS" and "THE FOUR MUSKETEERS" in one 2-disc set is yet another example of their care and love. This is a wonderful release and a superior job over the DVD's Fox-Lorber have had on the market for the last couple of years. No one ever mentioned it (maybe nobody noticed it), but the Fox-Lorber DVD of "3 MUSKETEERS" was missing about 1 minute of footage in a scene between Charlton Heston and Christopher Lee. These new discs have the complete versions of both films and they look and sound great! For the first time they are presented in anamorphic widescreen in their proper aspect-ratio (full screen versions are also included but I haven't yet viewed them so I can't comment on them). The extras are also very nice. Two half hour documentaries on each disc includes interviews with stars Raquel Welch, Christopher Lee, Charlton Heston, Michael York and Frank Finlay and producers Ilya Salkind and Pierre Spengler. Trailers, tv spots, radio spots, photo & poster galleries and star biographies (that are actually informative and worth reading) round out this very pleasing package! Buy it, watch it and enjoy!

Anchor Bay deserves a great deal of credit for this informative and entertaining double feature of the two classic Musketeer films from the early 1970s.

Originally planned as one long epic movie (including a then standard intermission in the middle) the decision was made at some point during the production of THE THREE MUSKETEERS that they would either have one four hour movie or two separate movies. Rather than cut out some of the fantastic scenes that had been shot to make the movie more manageable the production company made the more sensible decision to cut the production in two releasing THE THREE MUSKETEER' one year and then THE FOUR MUSKETEERS shortly after.

Not everyone involved in the production of the movie was happy about the decision. Actress Faye Dunaway publicly stated that (had she known about the splitting of the movie into two) she would have refused to do it since her role in the first was so small. The move led to some litigation and was eventually settled but today movie contracts include what is termed "The Salkind Clause" (named after the Salkind's who produced the MUSKETEER movies) to protect actors from such moves.

It is perhaps for this reason that Faye Dunaway is one of the only still living members of the main cast who does not appear on camera for the excellent hour-long documentary THE SAGA OF THE MUSLETEERS that Anchor Bay has put together for this release.

Perhaps a deliberate reflection of the movie (or perhaps simply due to limited space on the DVDs) the documentary is split into two half-hour parts on each disc. Recounting their memories of the production are actors Charlton Heston, Raquel Welch, Michael York, Frank Finlay and Christopher Lee who cover nearly every aspect of the production from their casting to some of the close calls and injuries the actors sustained performing their own stunts and swordflighting with real, very lethal swords.

Lee, himself an expert swordsman, had to remind a rather over enthusiatic Oliver Reed (who abandoned the staged moves for a fight for some more improvised swings) that it was "only a movie."

Also on camera for interviews are producers Ilya Salkind and Pierre Spengler (who would both go on to produce SUPERMAN) who discuss not only the actual production of the movies but also where the initial idea came from and the recruiting of Director Richard Lester. Salkind recounts how Lester initially turned down the invitation to direct the movie, referring to it as "a children's book" (as it was seen at the time). It was not until Salkind actually sent him a copy of the actual Alexandre Dumas novel that Lester became excited by the prospect of directing the adaptation.

With a screenplay by George MacDonald Fraser (of the FLASHMAN novels and later of 1983's OCTOPUSSY) these two movies work remarkably well. Even though there are some surprising stylistic differences (surprising since it was originally meant as one movie). The first movie is definitely more comic in tone and the second darker and more dramatic. This is not to say the second movie is lacking in humor just witness the Musketeers eating lunch as the prefer for battle with the Protestants.

Of the two I actually prefer the second movie much more because I feel the characters are more drawn out and the intrigue more involving, The climatic sword fight and Oliver Reed-Faye Dunaway subplot are both highlights in my opinion. The second movie also features the shocking deaths of two of the more likeable major characters.

Overall, a fantastic job by Anchor Bay. One can only hope that the third movie in the series, 1989's THE RETURN OF THE MUSKETEERS which was also directed by Richard Lester and included the majority of the original cast, will one day be released on DVD.

Well recommended.

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Yes, rejoice one and all, for this new Lionsgate edition of, The Three Musketeers and The Four Musketeers have the EXACT same disc content as the Anchor Bay collection (except for a duller silk screen on the discs, light grey with etched writing) same menus, same extras (the new making of documentary actually says, Anchor Bay presents) but in a two disc plastic case (the size of a single disc case) with no chapter card (where as I believe the Anchor Bay set had the chapter lists inside the cardboard, flip open style case, with the plastic disc holders that tended to make you almost brake the discs trying to unlock them) but who ever uses the chapter search cards anyway.

So this is the set to get if you're looking to purchase these movies.

Hope this helps :)

Read Best Reviews of The Three Musketeers / The Four Musketeers (Double Pack) (1973) Here

Of course these are 5 star films so I'll just comment on the new release 2 DVD set. The picture and sound quaity is GREATLY improved over the fox/lorber release and both films are presented in their CORRECT widescreen with The Four Musketeers offering a choice of pan n scan or widescreen. Includes great current day interviews with Heston, Lee, Welch, York, Salkind among many others on the making of the film. Even the 'two movies' dispute is discussed in detail by all!! Nice packaging, great interviews and improved transfer makes this a must for upgrade. Too bad Return wasn't included. If you havent seen these films get set for a real treat. I wish I could go back and see them for the first time again. They don't make 'em like this anymore...

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I believe Richard Lester's films of Dumas' "The Three Musketeers" are far-and-away the best movie renditions of that great book. No other films capture the humor, the sweep, and the camaraderie as these two films from 1974. The casting is excellent, across the board, and the film transfer on this Anchor Bay release is vivid.

My only caveat with Lester's vision: the fencing almost always devolves into a fight with fists, furniture, and laundry. I wish he'd stuck to the classic Fred Cavan's-style dueling. Still, that's a minor quibble with an otherwise splendid pair of films.

These are perhaps the last true swashbucklers put on film, throwbacks in many ways to a vanished era.

Death Race 2000 (Roger Corman's Cult Classics) (1975)

So these are the words of Calamity Jane, a contender in Roger Corman's low budget farce, "Death Race 2000." It is interesting that Amazon paired Corman's film with Norman Jewison's "Rollerball" and for good reason: one movie is pure satire and played strictly for laughs while the latter is a far more serious and somber commentary on the media, America's love affair with violence steeped in what we call "sport," and the cult of celebrity. Both films explore these themes quite differently, yet both are entertaining as they are disturbing.

As a black comedy, "Death Race 2000" is more or less a cheaply made exploitation flick (budgeted at approximately $300,000), that never pretends for an instant to be anything more than a satire of the future and a parody of "Rollerball"--a far more ambitious, absorbing and expensive film.

Corman's film depicts a "game"--the Transcontinental Death Race--designed to cater to society's need to channel its aggression and hostile impulses as sort of a 21st century equivalent of the Roman circus offering spectators both entertainment and a catharsis in its more manic and kinetic moments.

Yes, the film is crazy--from the attack on Frankenstein by the French Air Force to Thomasina Paine (hilarious!) and her revolutionaries' thwarted attempts to assassinate "Mr. President" and end the Transcontinental Death Race once and for all. While the special effects in Corman's film are decidedly low-rent, save for some interesting matte paintings injected at the beginning of the film, the cars themselves, customized by car designer James Powers, are both creative and imaginative. The film, for the most part is amusing and very funny. The "Real Don Steele" is terrific as the commentator with one-liners that will leave you laughing.

While Carradine's "Frankenstein" looks utterly ridiculous in a plastic helmet and a vinyl body suit, a pre-Rocky, Sylvester Stallone steals the show and seems far more comfortable in the role of "Machine-Gun Joe Viturbo." Stallone would be a household name a year later with "Rocky" released in 1976. Before he assumed his US Senate seat representing his home state of Iowa, a bespectacled Fred Grandy, preceding his "Love Boat" debut on ABC, also manages some laughs as "Herman the German."

This DVD release with its extras and commentary is a vast improvement over the Digital Multimedia release that looks like it was pirated-off someone's VHS copy recorded in EP mode. For Corman fans, this would appear to be the release to shoot for. And according to IMBD, Corman is presently working on a big budgeted sequel due out sometime in 2008.

Finally, fans of Death Race 2000 can enjoy this satirical film in the original widescreen format (1.78:1). My compliments to Buena Vista Entertainment for making the effort to release this film in the format that originally graced theaters and drive-ins in 1975. Not only do the pulse-pounding car race scenes benefit from this, but also the "cramped" dialogue sequences between Annie & Frankenstein are loosened up. Paul Bartel's great direction not to mention the 2nd unit direction of the race sequences is really on display here: no longer hacked up in a full-frame format, it's really quite a slick picture. The widescreen presentation really pays off in the flick when the 5 racers initally split up (at about the 10:40 mark) and especially in Calamity Jane's bloodthirsty pursuit of Matilda the Hun (after Matilda's scoring of Jane's navigator). Of course, the explosions benefit immensely as well.

The 10-minute featurette with Roger Corman, Mary Woronov, Martin Kove, and writer Charles Griffith are enlightening, especially Kove's description of his effeminate depiction of Nero the Hero. What is obviously missing, though, are comments from Sylvester Stallone & David Carradine. I'd also have loved to have Roberta Collins' & Fred Grandy's take on the film (odds of that are no better than a snowball's chance in h***, but one can dream can't he?).

I recommend getting this DVD (the Special Edition, released 12-13-05) before it disappears. I have a feeling this may be the best edition we'll see of Death Race 2000 in the DVD format. Enjoy it for what it is biting satire that could have only been made in the 70's exploitation film days.

Buy Death Race 2000 (Roger Corman's Cult Classics) (1975) Now

Hey, what more can I add that hasn't already been said? When this first came out in lurid color on the Big Screen I loved it. And I love it today after watching it a hundred times. Carnivorous cars driven by caracature cowgals and gangsters, nazis with names like "Mathilda the Hun" and "Herman the German", and a mysterious champion named Frankenstein whose oft-rebuilt face is always masked, not to mention the Resistance, the French Air Force, and all the other "dear friends". Just don't get to like any of them too much. If you've never seen this sick, hilarious parody, get it now. Mr. President will love you for it.

Read Best Reviews of Death Race 2000 (Roger Corman's Cult Classics) (1975) Here

I was glad to get a copy of this today and was hoping for an improvement over my DMI Full Frame Copy. However, it appears this is another case where marketing has misslead the public once again. The Film was clearly shot in Full Screen and this 1:85 transfer is matted down, cropping out much of the top & bottom of the image. When Frankenstein Talks to Myra, you nolonger get to see her boobs as they are now out of frame. This scene was a memorable shot in the full screen version and those who chose the framing of the matting did us no favors here. I am a bit disappointed by this issue....

However,

The Image is a vast improvement, I just wish we had been given all of it. The sound is a slight upgrade but still 2.0 mono. I would still recomend a purchase if you are interested in this title but just be aware you are not getting a true widescreen film and are missing out on some great bits that are now cut out in this print. If you have the old Full Screen release of this DVD, you may want to keep it as this new DVD does not make it obsolete.

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I took my younger brothers to see this when it came out and we had a great time at the show. It's low budget to be sure but it's more in keeping with the independent spirit of film making and the punk rock attitude that started circa 1975.

However I can't believe that no one has complained about the con job of the faux widescreen transfer. This edition is just the full frame version with the top and bottom chopped off to make it look like widescreen. My previous full frame edition has more information. Shame on Buena vista for lying to us.

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Patriot Games (1992)

This is one of my all-time favorite political thrillers. This film successfully, and even brilliantly brings Tom Clancy's novel "Patriot Games" to the screen in an effective manner that is a delight to watch. The direction and acting are excellent. The musical score is superb, and this is one of those movies in which the soundtrack almost comes to dominate one's impression of the movie. This is not to take away from a bravo performance by Harrison Ford, who effectively pulls off his Jack Ryan character. I originally had my doubts about Ford as Jack Ryan, but Ford succeeds excellently.

The direction of this film is particularly good. The artistic direction, effectively combined with the haunting, wistful, musical score make this film unforgettable, and several cuts above the usual political thriller. This is a thoughtful, intelligent film but nevertheless contains plenty of fast-paced action. The plot moves smartly, but never features action just for the sake of action.

This is a film that most viewers will enjoy many times.

For sheer excitement on the edge of your not-so-easy chair, there's nothing like a good Jack Ryan story, and I think this is the best of them. The plot involves one of the most obsessed bad guys you'll ever see, a fanatically militant member of an IRA splinter group whose attack on the British royal family is thwarted almost unconsciously by Ryan, who is visiting England as a tourist/lecturer. Now ex-CIA, Ryan's family is nearby, and family is central in this tale of the cold-blooded world of international espionage and terrorism. The family angle is one that keeps the story so chilling throughout, as the terrorist's brother is shot to death by Ryan as he ruins their try on the royals, and our star villain then sets out to stalk Ryan and his wife and daughter.

The film moves at an almost perfect pace, and unveils to us some modern aspects of this shadowy world. For instance, even Ryan, played with understated perfection by Harrison Ford, is creeped out by his participation in a nighttime strike on a desert camp believed to be IRA training ground. In this scene he and several other jacket-and-tie types watch soldiers take out this nest of vipers a half-world away, thanks to infrared and satellite technology, all while detached voices calmly note "Target neutralized" and spies dressed like businessmen smile and nod while whispering to one another in thorough detachment from the blood and guts of the operation. All this technology and we are not removed from the days of the rich people perching on hills near the battles of Civil War days, sipping tea while viewing the entertainment.

I cannot give less than five stars to a film that draws me in so completely as this one, making me feel the tension with such clarity and indeed making it so easy to actually hate the villain. Yet the film strikes sour notes with the drunken Richard Harris's half-hearted performance as an IRA bigwig, and with the cliched ending moment of an otherwise superb boat chase at the film's climax. Two distracting moments would mean a score of 9 on a scale of 1 to 10, or, in Amazon terms, 4-1/2 stars. These being minor, a full five stars is quite reasonable. Nearly a perfect action film; even the understated music score is just so right that it can't be imagined being done any other way.

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I agree that this Blu-ray could have been done a lot better but it is a definite improvement from the SD version. If you are a fan of this movie and HD this is the best you are going to get for at least a while so you have to take it or leave it. I don't regret buying it. I don't know what some of these other reviews are talking about with flashes of light, etc. I have two different players and a 60" and 40" screen and I didn't see any of that on either of them.

Read Best Reviews of Patriot Games (1992) Here

In typical studio fashion, Paramount has transfered this exact same master that was temporarily released on HD DVD early this year which was a mixed bag and not what these films, the fans of the films, or high def owners deserve.

I really enjoy the first 3 Jack Ryan films, the 4th not so much because of Ben Affleck and because it's just too out of sync with the previous trilogy. The first 3 are classic political thrillers that do a great job of bringing Tom Clancy's books to the big screen. His vision and Jack Ryan character are for the most part, executed very well on these films. Many have their preferences as the stronger and better of the bunch but I like Hunt for Red October, Patriot Games and Clear and Present Danger individually for their own qualities and suspenseful action.

I've seen all of the Jack Ryan's on HD DVD, and sure enough, the Blu Ray's are exactly the same. Which is too bad because Paramount didn't do a very good job remastering them and they just don't look nearly as good as they should in hi def. I suspect that many Blu Ray owners will be pretty disappointed with the lack of visual pop that they're hoping for. Each of the Jack Ryan's looks better than the one before it which is typical as newer films upgrade easier to high def. And at least they all look better than their standard def counterparts. The problem is, is that most hi def owners have seen older films than these look better than these. Which brings us to wonder, what went wrong here? Granted, these films are a difficult upgrade as most of the scenes take place inside a submarine, house, office, or outside on overcast days, making it more difficult to provide that 3D pop we're looking for. But there are specks and dirt in the transfers and while I didn't find them in abundance or distracting, I do feel it's inexcusable at this point in the Hi Def's life cycle, especially for these movies. There's no reason for them not to be squeaky clean by now, even if they're going to look a little flat. But they are the best transfers available and the best we'll see until they provide us a proper remastering. But one is due.

The audio, well this is finally where these discs pop. And I mean POP!!! We're given some truly thunderous transfers here in Dolby TrueHD. These films sounded good to begin with on standard dvd (especially October) but these new transfers are just incredible. They easily trounce the old ones. The scores, sound effects, gun shots and explosions are absolutely thrilling. This is all moot if you don't have a proper surround system to decode and dish out the TrueHD tracks though. If thats the case, then you may want to consider keeping your standard discs if you have them because the audio is the clear selling point for the upgrade.

Despite my dissatisfaction with the flimsy visual upgrades, I'm still satisfied with these discs. I'd recommend them for any Blu Ray (and home theater) owner looking for a worthy upgrade for their favorite Tom Clancy films. Again, I stress you'll be much more impressed by the HD audio here rather than the passable but not demo worthy HD video. I give this set a 4 out of five because even though difficult, I believe if they really wanted to, Paramount could've and should've given these films a better makeover than they got. The powerful audio will help ease the disappointment with the video. Overall, I still recommend them.

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Though I really like the movie, this might be the worst looking blu-ray movie I've seen, and I own about 50. There is all kinds of light colored pixelization in the darker parts of the film that pulsates and distracts. I tried to find a feedback system on Paramount's web page, but no such thing seems to exist.

Very disappointing.

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A Passage to India (1984)

This is a magnificent and exquisitely wrought film, well nuanced and faithful in its adaptation of E.M. Forster's classic novel of the same name. Director David Lean, who had previously directed such cinematic triumphs as "Bridge on the River Kwai" and "Lawrence of Arabia", outdid himself with this film, which was nominated for eleven Academy Awards and for which Peggy Ashcroft won an Academy Award for Best Supporting Actress, as did Maurice Jarre for Best Score.

Set in 1928 colonial India, it is a story about racism and love. A headstrong and adventurous Englishwoman, Adela Quested (Judy Davis) travels to India to meet her fiance. She is accompanied on her journey by her fiance's elderly mother, Mrs. Moore (Peggy Ashcroft), a lovely and kindly woman who, upon reaching India, is appalled at the treatment of the native Indian populace by her own countrymen. She eventually makes the acquaintance of a very nice Indian man, Dr. Aziz (Victor Banerjee), who is surprised at being treated as a sentient human being by this Englishwoman. During a social ocassion, in which the usual class boundaries were set aside, he again meets the delightful Mrs. Moore and is introduced to Adela Quested. Enthused by being treated as an equal, he gets carried away and invites them to be his guests on an excursion he can ill afford to a well known, but remote tourist spot, the Marabar caves.

It is a hot day and a long journey to these mysterious caves, and Dr. Aziz and Ms. Quested are thrown together more than they ordinarily would have been, setting the stage for a fateful and strange turn of events, one that would have great personal, as well as political, impact on the parties concerned. It is a collision of East and West and makes for a definitive statement about the nature of the relationship between the native Indian population and the British colonialists. It is a relationship that makes itself most manifest during the telling courtroom scenes, making it a film to be remembered.

This is a very well acted and compelling film, a sterling tribute to David Lean's directorial talents. In this, his last cinematic triumph, Lean leaves a legacy to be remembered, having exacted wonderful performances from the star studded cast, including James Fox, Alec Guinness, and Nigel Havers. Victor Banerjee is especially compelling as the put upon, well meaning Dr. Aziz, while Peggy Ashcroft gives a sensitive and well nuanced performance as the humane and soft hearted Mrs. Moore. Judy Davis is excellent as the conflicted Ms. Quested.

The DVD itself is first rate, offering crystal clear visuals that do justice to the breathtaking cinematography. Coupled with crisp sound, this DVD ensures one's viewing pleasure. It is one well worth having in one's collection.

When David Lean's "A Passage to India" opened in 1984, some saw it as a showdown between the glory days of literate epic filmmaking and the "feel-good" ethos of the Lucas/Spielberg popcorn juggernauts. Who better than the director of "Lawrence of Arabia," "Doctor Zhivago" and "Bridge on the River Kwai" to show the film school grads how to make a movie? As always, anything burdened by such mythic expectations is bound to fail ("Phantom Menace" anyone?) Sadly, I joined the chorus of detractors lamenting "Passage" as a poor shadow of the "Leanscapes" that catapulted "Lawrence" and "Zhivago" into film history.

Amazing how age softens perspective. A fresh viewing of "Passage," courtesy of Columbia TriStar Home Video's new DVD, reveals an eloquent adaptation of E.M. Forster's complex novel about British colonialism in 1928 India and the cultural and sensual abysses that separate men and women, English and Indian, sensualist and ascetic.



"Passage" tells the story of Adela Quested (Judy Davis) en route to India to visit her fiancé, Ronny Heslop (Nigel Havers). Traveling with Heslop's mother, Mrs. Moore (Peggy Ashcroft, in an Oscar-winning performance), Adela arrives in the city of Chandrapore to find an alien environment, yet evocative in a way she cannot fathom. Mrs. Moore is similarly captivated by India, but is less than admiring of the treatment of the Indians by their colonial masters, i.e. her peers. One night, Mrs. Moore visits an abandoned mosque. There, she encounters local physician Dr. Aziz (Victor Banerjee). At first he charges her with blasphemy, entering a holy place improperly. When she assures him that she showed due respect by removing her shoes before entering, the two strike a friendship that might signal some understanding between the two cultures.

At a lunch party given by British teacher Richard Fielding (James Fox), who does not share his countrymen's disrespect for India, Adela meets Aziz for the first time while Mrs. Moore and Fielding converse about metaphysics with Professor Godbole (Alec Guinness, donning yet another disguise for Lean), a Brahmin mystic. Adela is fascinated by Aziz's juggling of their two societies. In an effort to impress Adela and fit in as more of an Englishman, Aziz impulsively calls for an expedition to the mysterious Marabar caves outside town.



What at first seems (to both sides) a breach of etiquette turns sinister when Aziz is accused by Adela of attempting to rape her during a visit to one of the caves. Now seen as a political tool by both sides, Aziz's trial threatens to escalate resentment into outright bloodshed. As everyone tries to solve the riddle of what really happened, Aziz and Adela must find some way to break away from the societal and cultural maelstroms threatening their freedom.

Adhering closely to the Forster novel, Lean's screenplay adaptation finds greater interest (and rightly so) in the circumstances that led to the incident as well as the aftermath. Davis' Adela is repressed and cloistered comfortably within British society. Both Aziz and India arouses her, awakening sensual feelings capable of enlightenment...or destruction. Lean visualizes this conflict with a scene not in the book. When Adela goes bicycling outside the city (Chapter 8), she comes across the ruins of an ancient temple. Almost voyeur-like, she spies the numerous statues of couples having sex. Adela herself almost reaches a fever pitch when wild monkeys literally expel her from their feral sanctuary. The lack of respect that Adela showed in her judgment is a direct contrast to Mrs. Moore's deference when she enters the mosque and meets Aziz. Yet Lean gave us the conflict in purely visual terms, no less grand than the match-to-sunrise jump cut in "Lawrence" or the endless icy tundras of "Zhivago. "Passage" proved a worthy valediction to Lean's career. Between directing, scripting and editing the film, we see Lean in complete command in his storytelling faculties. Even the final scene, straight out of the book, works better in the film than on the page.



The transfer also succeeds on every level. The 1.85 anamorphic image is rock solid and sharp throughout the presentation. (Politics at the time forced Lean to shoot the film in the more TV-friendly 1.85 aspect ratio instead of the wider 2.35 Cinemascope format. Back in 1984, this compromise seemed outrageous. Again, after watching the film, I found Lean's "flat" framing just as carefully composed as anything on his ultra-wide canvas.) The source materials are in terrific shape, as there are no blemishes and defects visible. Colors are rich and vivid but natural. Deep blacks and careful contrast control provide excellent detail delineation. Digital and compression artifacts are completely absent.

The Dolby Surround audio plays adequately; to be expected as the sound mix is not particularly flashy to begin with. Maurice Jarre's score, which weaves Hindu music with Cole Porter-esque rhythm, never overpowers the dialogue or sound effects. Surround channel activity is relegated primarily to music fill. French and Spanish mono tracks are also available on the disc.

The main perk of the special features is a section entitled "Reflections on David Lean." While the title implies a testimonial to David by his peers, it's actually an eight-minute collection of soundbites, shot on video, from David about the making of "Passage" and some thoughts about such collaborators as William Holden and Alec Guinness. There's no identification of the source or circumstances of the observations, but he's never less than fascinating when talking about the difficulties of shooting in India or how Forster wouldn't let grant the movie rights because he "distrusted filmmaking."



Trailers from "Lawrence of Arabia," "Bridge on the River Kwai," and "Guns of Navarone" appear on the disc, mirroring the same trailers available on the "Lawrence" DVD. Again, no "Passage" trailer (Did Columbia not create one back in '84?) The trailers are letterboxed with decent audio and video.

Check out "A Passage to India." A thoughtful, quiet gem awaits you.

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Very interesting examination of English and Indian attitudes about themselves and each other in 1920's India. The English that reside in India may start off as decent folk with the feeling that they are in the business of improving India and some are. Most however merely see the India venture as an employment opportunity and once there merely carry on being English and force their English ways and rules on Indians whom they demean in the process. Lean presents the stereotypical English administrators and their wives as a rather unappealing bunch of snobs who only become more prejudice the longer they stay on. India is seen by them to be a muddle in need of their administrative and civilizing skills. The Indians of course see things quite differently. British snobbery and decorum prevents any social mixing with the Indians they rule so its no surprise they don't understand the people whose country they are in.

Judy Davis and her fiances mother arrive in India and find the stringent social norms to be revolting. They immediately want to meet Indians and learn about the place they are in from the Indians whom they treat like polite hosts. When they do begin socializing with the Indians however trouble follows. The incident in the Marabar caves is brought on by the uneasy combination of English repression and Indian sensuality which is everywhere on display in the temples and statuary. The "incident" is the central mystery to the movie and I won't spoil it for you but during the trial that follows the true nature of the relationship between the ruling English and the subject race is made painstakingly clear to all. Excellent and competent and compressed presentation of the Forster novel which also relies on a stage version of the book. Many ripe lines throughout that stay in your mind and crystallise each characters personality as well as the overall situation quite succinctly. And as always with Lean great views from every window. Judy Davis is especially impressive as she can go from pale and mousy to red lipped seductress with just a slight change of expression and posture. Alec Guinnes plays "the inscrutable Brahmin" but the only thing inscrutable about him is that he is English and cast as a holy Indian, a misstep that wouldn't fly in todays politicized world. Other than that great cast. James Fox especially likable as the good teacher Fielding.

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Sometimes, what you don't see can be of equal importance to what you do see in a film. David Lean's film is no exception ... but more on that later.

A film of epic quality, it follows two travelers on their journey from England to India during the Raj colonial period of the 1920s. For Adela Quested, it's her first time out of England to anywhere. For Mrs. Moore, it's a chance to visit her son, Ronny, who is expected to marry Adela during the visit. But, their visit is not without incident.

What both Adela and Mrs. Moore discover is an India ruled by British bureaucrats (Ronny being one of them, a city magistrate) who exude personal and cultural superiority over Indians. This was a shock to them since they both expected to find Indians and Britons meeting socially and on friendly terms. The only exception to that rule appears to be Fielding, principal of a college.

Through Fielding, Adela is introduced to Professor Godbole (a Hindu holy man) and Dr. Aziz (a Muslim physician) socially. Mrs. Moore met Aziz in a previous scene but had not yet met Godbole until that moment. One note on that (a film flaw). During that mosque scene where Mrs. Moore meets Dr. Aziz, Aziz never once mentions his name to her ... yet later, Adela knows his name as mentioned to her by Mrs. Moore. Perhaps his name was mentioned in a brief scene that ended up on the cutting-room floor. But, that omission is trivial and in no way detracts from the enjoyment of the film.

During this social introduction, Aziz invites Mrs. Moore and Adela on a journey to the Marabar caves, a tourist destination. On the trip, and tired from all the activity, Mrs. Moore stays at the encampment near the lower caves and encourages Aziz and Adela to explore the higher caves alone.

Then, something happened ... and I won't tell you what (grin). Suffice it to say that Aziz finds himself in police custody. A court trial ensues that pits culture against culture, race against race, and clearly demonstrates the differences in attitudes between resident British citizens and Indians. But the trial's climax isn't the most moving part of the film. Lean has risen the film's denouement to a higher level ... one that leaves you smiling and crying at the same time. But what Lean does NOT mention in the film is equally interesting.

In today's world, India is beset by inter-sect angst between Hindus, Muslims, Sikhs, and persons of other faiths. In theory, this inter-sect rivalry has been around since before India became a British colony. But, this rivalry was not mentioned once in the film. It is perhaps a testament to the novelist (E.M. Forster) and Lean to realize a potent underlying force in the story ... that British colonial rule held these rivalries in abeyance ... uniting Indians of all faiths into a common bond that eventually forced colonialism to end in India.

The film is a masterpiece on every level and remains one of my favorites of all time.

P.S. Closing comment to those (like me) who own region-free DVD players that render both PAL and NTSC DVDs. For some reason unknown to me, it's over $10 cheaper to buy the DVD from Amazon.co.uk than it is from Amazon.com ... even after overseas shipping is added in. That's where I ordered mine (from the UK).

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"Passage to India" was one of the greatest films produced in the Reagan era. It also happens to be the final film of one of cinema's most honered craftsmen, Sir David Lean, who is considered by many to be the greatest British director of all-time. This film may not be on the level of his other 70mm epics such as "Bridge on the River Kwai" and "Lawrence of Arabia" in terms of sweeping scope, but it more than holds its own. Produced in an era where apartheid in South Africa was the hot political issue, this film deals realistically with the occupation of the english in India. Not so much the political occupation, but how the two culture relate to each other through the eyes of the films two lead characters beautifully played by Judy Davis and Victor Banerjee. A film which does not give you the answers, but encourages you to draw your own conclusion in regards to the charcters (espeically Davis' Adela Quested) motivations. Now how does the DVD look? The transfer is beautiful, the best I've ever seen this film presented since it opened back in Dec, 1984. There are no distracting compression artifacts or nasty layer switches. The dolby stereo surround track is clear and ambient with no drop-outs, so a 5.1 upgrade would've been unnecessary for this film. If you enjoy striking visuals and English literature brought to vivid life through film, Passage is a must-have. My highest recommendation.

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I Spit on Your Grave (2010)

The worst comments I see with regards to this movie come from both sides of the remake debate. Some argue that it should never have been remade because they are fans of the original. Other argue that it shouldn't be remade because of the concept.

If the concept offends you, pick up your opinions, there's the door now leave! Don't turn around, just go! I've had enough of the 'it's bad because it's a rape movie' bull. If it's not your cup of tea, so be it! I probably feel as strongly against 'Sex & The City' but you don't see me shooting those fans down because of taste!

Okay, am I good to continue now?

So you're either a fan of the original, new to this movie, or just interested.

Good!

If you're a fan of the original, then I honestly can't tell if you'll like this movie. I HATED the original. I felt it had a very good premise that was poorly executed and in the end just came across as offensive (by the way, I'm female). I thought the concept was good but the manner in which the protagonist went about her revenge was stupid! If a woman has been raped, the very last thing she'd ever be comfortable doing is stripping off in front of the very men who raped her, no matter what her end objective may be! At this point the original made me angry. There's only so much believability I'm willing to sacrifice when I watch a movie and I'd had enough.

So when I heard this movie was being remade, I was actually quite intrigued. Again, I believed the premise was a good one and I was hoping a new writer and director could do it justice.

They sure did, and some!

The rape scene is brutal and it is hard to watch. However, at the same time, it's not as bad as some make it out to be. I felt it was a perfect balance. It showed enough, without going too far that I felt too uncomfortable to watch any more. There's enough there to shock you and have you empathize with Jennifer when she starts her revenge. It is definitely not as bad as 'Irreversible', a movie I, and many others in the same movie theater, ended up walking out of. When I saw this movie, no one walked out!

I also felt that this movie was never titillating. Nudity is actually kept to a minimum and the only time we see Jennifer completely naked is following her rape where she is in an almost catatonic state, just trying to get away. You'd have to be the sickest of the sick to see anything but the character's fear, humiliation and determination in this scene.

I found the portrayal of the characters to be much more believable this time and the mentally challenged character, Matthew was a million times better than the original. They ditched the dorky glasses (no missing lenses in this film at least) and decided to get someone who could actually act instead! Matthew is played with such childish vulnerability that you find yourself conflicted. He does rape Jennifer, but it was peer pressure and afterwards he feels so guilty that he's effectively torturing himself without Jennifer's help...but, he STILL raped her! It's a tough one!

A great addition to this film is the sheriff. At risk of spoiling the movie, I'll leave it at that but his involvement in this new version was a fantastic move.

When Jennifer's revenge comes into play, you could find yourself often wondering if she's going too far. I never found myself empathizing with the rapists (other than Matthew, to a degree) but I often just wanted her to get it over with already. That enough was enough. It was nice to see such extremes on both sides, to see what people are really capable of. What do the rapists REALLY deserve? How far would YOU go? No one could possibly know unless directly in Jennifer's shoes, so even if you find yourself questioning the extreme nature of her actions, you'll find yourself equally stepping back and thinking well this is her party, who am I to question how extreme she should be?

The best feature of this movie, though, is that it's a smart movie! There's some nice symbolism in there and it's quite clever the way it plays out. What makes it even better, though, is that you don't have to get any of this to 'get' the movie. It was like an added bonus! In the same way adults watch 'The Simpsons' and get the adult humor, the children who don't get those jokes don't dislike the show any less they just don't get the whole picture. I don't want to spoil the movie so I won't go into details but the final death was sheer genius. The reversal of roles determining who's the one pulling the strings now! Loved it!

When you hear the work that went into this independent movie and the amount of pride the people involved have in the outcome, it's only fair that you at least give it a chance. I think a lot of people would be pleasantly surprised. The reviews on here are not reminiscent of the reviews out there on the internet, where there's a lot of well placed praise for this movie. Amongst its target audience and horror fans, this movie delivers.

Unfortunately it had a limited release, it didn't even show in the movie theaters where I live (I was lucky enough to visit LA during its run there) but I'm looking forward to the DVD release so my friends can finally see it!

With the resurgence of exploitation films, we've really brought some unpleasantly vicious movies into the mainstream. Some are good, some are not--just like any genre--but what is fascinating to me is how commonplace they now seem. When I was growing up, pictures like the original "I Spit On Your Grave," "Faces of Death" and "Last House on the Left" were considered vile films and they had to be discovered. A largely underground, low budget, and independent film community had to support these controversial, malicious films. In many ways, they represented a rebellion against conventional entertainment. However, by today's standards these films, while certainly grim, are relatively subdued compared to the graphic torture, violence and gore that delight audiences at the local mall.

Designed to provoke audiences, one thing is certain--few people will be ambivalent about the new incarnation of "I Spit On Your Grave." I know people who think it's terrific AND I know people who think that it is repellant. Just the latest example of the growing market I like to refer to as "torture cinema," ISOYG will have very few viewers straddling the middle ground. While the original film played to the time it was released--there was almost a female empowerment message in the retribution scenario--this new version eschews a specific societal context. Much more gore oriented than its predecessor, it feels distinctly less real. That is either good or bad depending on your vantage point. The amateurish quality of the original lends it a gritty realism that actually works in the film's favor. Combined with Camille Keaton's surprisingly effective performance, the film had the flavor of something that could actually happen. The new version is decidedly more elaborate and the revenge conceptions are more over-the-top. The enjoyment value, thus, is determined by whether graphic brutality qualifies as entertainment for you.

I haven't said much about the film's plot. I think most people know what happens. A young woman is sexually assaulted by a group of men, brutalized, and left for dead. She reemerges with vengeance on her mind--and the men will rue the day they met her. Sarah Butler as the victim in question has some nice moments, but exists largely to service the plot. For me, she lacked the genuineness of Keaton. The men are slightly more developed in this new vision. While barely more than caricatures in either film, they have more shading here--and the mentally challenged character is conceptualized more fully in this edition. The film remains unrepentantly bleak and disturbing and pushes buttons for the sake of pushing buttons. There is no grand meaning to be had--but, quite frankly, I don't think that's why anyone would be watching in the first place.

Mind you, I'm not claiming either version of "I Spit On Your Grave" is a great movie. I do, however, believe that the original was more relevant in relationship to its time period. But this new film is made with technical prowess and visual flair (however unpleasant). Some may claim these films as a feminist treatise, and some as vile female degradation. In truth, they are actually a bit of both--but I don't think that they necessarily merit a serious philosophical discussion. Either way, this film was meant to assault your senses--and that it does! On it's own merits, it succeeds at what it set out to do. If you like gore, you may well like this. If you don't, by all means, stay far far away! KGHarris, 2/11.

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This remake of I SPIT ON YOUR GRAVE surprised me. It's actually better than the original! Sarah Butler is outstanding as the pivotal victim-turned-avenger. She is more believable and fierce than her predecessor. Though I was never sympathetic toward her attackers, their various demises did make me wince a couple of times, especially the "garden sheers" and "shotgun" scenes! Yikes! I still despise rape scenes, but at least they're more condensed in this version. As with the reboot of LAST HOUSE ON THE LEFT, ISOYG 2010 is a fantastic update, and worthy of several viewings...

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The concept of this movie has been used in classic movies and print over and over again. The fate of those that violate a woman. The difference here, is the woman exacts revenge herself. The brutality in this movie is graphic, and not for the squeamish. But the bad guys do get what they deserve in the end. I thought this movie was very well made and acted. If you like revenge movies that are graphic and relentless, you will dig it too.

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one of the best movies i have seen in a long time, girl gets revenge on pig jackass men in a unique way

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Short Circuit 2 (1988)

I've been a long-time fan of Short Circuit and it's sequel, Short Circuit 2. When it comes to DVD's, I'm there! They're great in so many ways. The Short Circuit DVD is great in some ways, but definately could've been better.

First off, the film transfer is pretty good. For the first time ever, I was able to watch the film in widescreen, while before I was only able to view the "fitted to TV" 3:4 aspect ratio (for any fans of the 3:4 picture, this DVD IS double-sided and HAS the 3:4 picture size version as well). The colours are vibrant (but not too vibrant), the picture is sharp, and there are only a few blemishes and dirt marks on the film. The sound was great! Sure, it hadn't been remastered in Dolby 5.1, but it still was Dolby Surround. The music was MUCH clearer than what was heard on the VHS version. Many areas of the film's musical score which were barely audible before were very clear on the DVD.

Here's the bit of down-side to this DVD: there are hardly any extras. The making-of featurette is at most five minutes long, and though we do get to see that Fisher Stevens is very unlike his character Ben Jarhvi, it ends very abruptly. The movie trailer section doesn't even include the Short Circuit 2 trailer. It would have been nice if more extras had been inserted, like the Short Circuit Special Edition DVD.

If you're a fan of Short Circuit though, you should get this DVD. It's more worth it than getting the VHS version :)

It would probably be much like this; two everyman protagonists, themes of loneliness and isolation and yearning, a robot who is far more humane than his human counterparts...

Unlike the first Short Circuit Movie where there wasn't much time to explore the character of Jonhhy Five, or invest the machine with character, the second film does just that and it does it very well. The viewer's suspension of disbelief is fully engagedeven as an adult I find myself lulled into feeling a deep sesne of pathos and compassion for Number Johnny Five. This is in part due to an amazing pre-CGI special effects/machine team and also due to the exceptionally unselfconscious acting of the human cast: Fisher Stevens ((the bad guye from hackers)) is truly phenomenal as Ben Jharvi, an Indian ((I think)) computer programmer who is as inept at expressing his feelings as Johnny Five is as understanding his own); Michael McKean and Cynthia Gibb are also great (McKean is perfect as a petty conman who betrays and then saves Johnny Five). The actors did an amazing job interacting with the machine and their performances add subtly dazzling layers of humor and sentiment to whta could have been a really awful movie but instead becomes a marvelous thing to watch.

OK. The script is somewhat shoddy at times and the pacing is not so well-handled. There are some dead-end scenes, but for the most part everything really hangs together wellJohnny Five stumbles through several mishaps trying to understand why humans behave as they do and why he feels what he feels. Oh, there's a chase scene set to the godawful "I need a hero," song. The kitschy 80's pop score wears a tad thin afterawhile. But then, this is a kid film at heart, and a rather unique one at that.

One scene always breaks my heart, one of my all-time favorite poignant scenes: Johnny five, after being caught by the cops, is taken and chained in the police basementthe stolen property room. He is slowly reading two books, page by page. His friends come to have him releasedwhen allowed to leave he breaks his chains easily and sadly leaves (you see, he could have left at anytime had he wanted to; there's some Sadean undertones in how #J5 repeatedly allows himself to be demeaned and debased and almost destroyed by humans without fighting back lethallywhich he easily could... a postmodern and mechanical kin to Justine, perhaps).

The books he was so slowly reading were Pinochio and Frankenstein. It always slays me, just like the Rockbiter's monologue in The Never Ending Story ("They look like big, strong hands...").

This one is so much better, in my opinion, than Spielberg's execrable A.I., if only in that Stevie over-reached himself (again) on that crite film; trying to make a 'serious' film about 'serious' issues... and then he tacked on a completely odious ending.

This film has no such pretensionsit mostly aims at fun. Because of that it achieves more than most serious cinema struggling with the same themes of technology and identity.

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What to do now there's no more Short Circuit movies to watch? Why was there never a third? And why, apart from Johnny 5, was Fisher Stevens the only original character brought back?

Those were only minor quibbles for a great movie. And the god awful cover art, which the more I look at, the more I hate. But then they could have done worse. It could have been a white background with the two main characters photoshopped in.

I really enjoyed the first Short Circuit movie. The second? Even better. With more fun from Johnny, including even more interaction with Ben (Fisher Stevens), and more fun-ness, including making the toy Johnny 5's dance, and more, Short Circuit betters the first.

I was kinda disappointed that Stephany didn't reappear for the second movie, she was a bit of a miss, and was only mentioned a couple of times, apart from a voice recording but at least she wasn't completely forgotten about.

What's good about reading other reviewer's ... reviews is that the amount of people is saw this when they were young. I always seem to get introduced to these movies a lot later in life for example I'm a nearly mid-twenty something and seeing this for the first time. What would it have been like to see it as a child? That, I can only dream about.

Short Circuit 2 pretty much follows on from the first, with Ben now in the big city, trying to sell his toy Johnny's on the street, next to a fake Rolex selling vendor. A toy buyer, Sandy, stumbles across a toy Johnny after it 'escapes' and brings it back. Talk of money is banded about, and next thing Ben knows, he needs to make 1000, in 31 days. With the fake Rolex selling vendor, Fred (Michael McKean) as his partner. But bad guys want to break into a bank to steal some priceless jewels, but how are they going to do it? The rest is predictable, but fun.

Jack Weston appears as one of the bad guys, who befriends Johnny, in order to get him on his side, finding out he is incredibly naive. For any eighties rom-com fan will recognise him from Dirty Dancing, as Max Kellerman. (For anyone who hasn't seen this or Dirty Dancing, boy do you need some education!) Short Circuit 2 actually appears to have been Jack Weston's last movie before he died from lymphoma in 1996.

I'm disappointed there was never another Short Circuit movie. And another one. And another one. And another one. It could have been a great franchise. But what's good is normally best left to a minimum, before it loses its glow. Short Circuit didn't pander to the major franchising deals, the endless mindless sequels, and instead left the world a different place with just the two films.

Now where do I buy a little Johnny 5?

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I saw the original Short Circuit when it first came out and recently bought it on DVD. I enjoyed it just as much and found that age had not dimmed the humour. I had no idea a sequel had been made until Amazon emailed me to let me know (that is a great service by the way). Normally sequels are a letdown so I was in two minds whether to order it or not but thought, why not as the price was right. I am pleased that I did as again I thoroughly enjoyed it and can honestly say that the sequel is just as good as the original. Without giving away the storyline, there are some sad moments where I was amazed to find myself empathising with a robot!!

This is one of those movies that while lightweight, do make you feel good after watching them and I do believe that we need a dash of this every now and again.

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In the first "Short Circuit" film, Number Five was viewed as more of a prop than a character. While the story revolved around a robot coming to life, the story seemed to focus more on the reactions of the people it interacted with than the robot himself. In this film, Number Five (who has adopted the name "Johnny Five") is a main character. He is given more of a personality, a bigger sense of humor, but most importantly, he is given emotion. Johnny Five knows he is alive, but he struggles throughout the film trying to prove it to the rest of the world.

Humor is not the main goal in this film (although it does exist); the movie is more of a drama. You almost forget that the main character who gets depressed with the fact that no one will accept him is a robot.

While not as funny as the first one, what the film lacks in humor it makes up with feeling. You'll even cry as Johnny is confronted by a group of thugs (I won't spoil it for you). That's not to say that there aren't good jokes along the way (one in particular when Ben, who already struggles with English, is prompted by Johnny Five while attempting to woo a girl).

Another plus with this film is the presence of muliple plots. This gives the movie a faster pace than the original. Ben, J5's co-creator, is attempting to break into the toy business (with some help from con man Michael McKean); two thugs, using Ben's warehouse as a means of breaking into the vault across the street, are terrorizing the two would-be toy makers; and Ben is struggling to win the love of a girl who sees him as nothing more than just a toy maker. There is nothing to bog this film down, and in the end, all the plots come together nicely.

All in all, this is a GREAT movie!!!

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