Cold Mountain (2003)

"Cold Mountains", one of the best films of the year (it's a crime it wasn't nominated for Best Picture), is beautifully crafted, stirring, poetic tale of love, loss, and the will to survive. Directed and adapted to the screen by the wonderful Anthony Minghella and boasting a stunning cast of Jude Law, Nicole Kidman, Renee Zellweger, Philip Seymour Hoffman, Natalie Portman, Giovanni Ribisi, Jack White, Brendan Gleeson, and Donald Sutherland, this film is truly a force to be reckoned with.

"Cold Mountain" tells the story of Inman (Law), a carpenter working in Cold Mountain, North Carolina in 1861 when the alluring, elegant, and well-educated Ada (Kidman) and her father, Reverend Monroe (Sutherland), move to the Blue Mountains from the city. Inman and Ada, in true Hollywood fashion, are instantly taken by each other and engage in restrained flirtation, Ada's preacher father and their different social classes being the bulwark from romance. Soon the Civil War begins and the entire young male population of Cold Mountain departs in eager anticipation of glorious battle. Inman and Ada engage in one fleeting, hungry kiss before he rushes off to join the departing procession.

During battle, Inman is wounded and, after reading Ada's numerous earnest letters imploring him to return to her, deserts the Confederate army and embarks upon an Odyssey-like journey back home to his true love. Meanwhile, Ada's father has died, leaving her helpless and alone on their 300 acre farm. Soon Ruby (Zellweger) arrives and offers Ada her services in exchange for food and shelter. Realizing that she simply cannot manage on her own, Ada agrees. The rest of this spellbinding film flashes back and forth between Ada, being "all that keeps Inman from sliding into some dark place" and Inman, being Ada's "last thread of courage". Though these two souls barely know each other, they both remarkably become the single thing in each others world worth living for, worth fighting for.

When boiled down to it, "Cold Mountain" is simply a beautiful testament of the human soul's fierce will to survive and, as corny as it sounds, the power of love. If it weren't for their love, neither Ada nor Inman would have found the will and courage to survive after their lives had been shattered by the brutalities of war.

The seamlessly intertwined music plays such a large emotional role in this film. From Gabriel Yard's haunting score to Alison Krauss' tender songs, the music in this films helps to create an absorbing atmosphere that sucks you right into the Civil War. In addition, John Seale's breathtaking cinematography complete with sweeping views of the snow-encrusted Blue Mountains makes this a film you simply must see on the big screen.

This has been a very difficult review for me to write. Upon first seeing "Cold Mountain", I was pleased with the film, but definitely not as taken with it as I soon came to be. That all changed in the weeks following. I simply cannot get this film out of my head. The hope, the sacrifices, the pain, the loss, the love. It really sticks with you. It's hard to put my feelings into words and I sincerely hope that this review has given you the incentive to go see this film, and by doing so, embark upon an unforgettable journey.

Cold Mountain is a beautiful movie set during the American Civil War. A North Carolina town of Cold Mountain has sent it's beloved sons to war leaving behind Mothers and Lovers. Our two main characters are Ada (Nicole Kidman) and Inman (Jude Law) two Cold Mountain residents dedicated to there reunion after the war, but the war drags on and there correspondence is the only thing that unites them in a terrible time of American History.

The movie tells of Inman's journey back to Ada and the parrallel story of Ada trying to survive on her fathers farm. Both characters take a journey in spirit and determination to survive the horror that has become there existance during the war.

I loved the intertwining of music and drama in this movie. Anthony Mingella did, as expected, an excellent job etching the powerful feelings of hope and dismay with haunting music written by Sting and performed by the clear voice of blue grasses own Alison Krauss. I am from North Carolina am familiar with the native music of the area and thought the music in the movie very similar and so wonderful.

Although, this is a Love Story more than a movie of the American Civil War it stirred the feeling of my Southern Roots. The movie did not contemplate the reasons for the Civil War but it was a vehicle for ours lovers seperation. I found the depiction of the Petersburg battle flawed not entirely accurate to history but then again the war is not the focus in the movie.

I was in aw of the cinemontography of this movie, magnificent. A gorgeous movie that needs to be seen.

Perhaps I am biased, since I am a North Carolinian, but I thought this movie excellent, bittersweet, wonderfully acted, and crafted by the best in the movie business today. I would recommend this movie.

I was so touched by the Lovers' correspondence between each other the quiet love between two people spelled out in words. You hear Ada reading her letters to Inman on his journey back to her and your heart aches for the both of them......sigh.

girldiver:)

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"Cold Mountain," Anthony Minghella's film of Charles Frazier's novel, is a mournful, beautiful and occasionally profound film about the futility of war, the persistence of love and the desperate attempts of people to survive in wartime. The quiet, delicately nuanced performances of Jude Law and Nicole Kidman in the lead roles are deeply moving, and Renee Zellweger brings much-needed comic relief as Ruby, a plain-spoken farm worker. The film's episodic structure may distract some viewers, but the vignettes are extremely powerful per se, and they allow for some wonderful supporting performances--by Philip Seymour Hoffman, Eileen Atkins, Kathy Baker, Donald Sutherland, Natalie Portman, Giovanni Ribisi, Lucas Black, Brendan Gleeson, Ray Winstone, Jack White, Ethan Suplee and others--to be placed strategically in the movie like jewels in a crown. "Cold Mountain" makes the sad but undeniable point that at times of national tragedy, all the survivors can do is pick up the pieces, rebuild their lives as best they can, and find joy wherever they can. With fine performances, excellent music (by Sting, Jack White and others), and exquisite photography by John Seale, "Cold Mountain" lingers in our minds and hearts long after the closing credits roll.

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"Cold Mountain," directed by Anthony Minghella, stars Jude Law as Inman, a Confederate soldier during the U.S. Civil War, and Nicole Kidman as Ada, the minister's daughter he loves and longs for when he leaves to fight. Renee Zellweger costars as Ruby, a feisty farmhand who works with Ada on the homefront.

This film is a period piece that has a true epic sweep, yet never loses an intimate connection with the main characters. The production design is full of fascinating and thoughtful details that make the film a joy to watch. But it's also often harrowing and graphically violent--Minghella does not flinch at exploring the injustice and brutality of humankind towards itself.

The performances are all superb. After having distinguished himself in a number of noteworthy supporting roles, Law really proves himself a great leading man here. Kidman brings both delicacy and steel to her role--a southern belle faced with daunting wartime challenges. Zellweger delivers a rich, earthy, zesty performance; she is a perfect foil for Kidman and their characters' relationship is one of the great highlights of the film. The three main actors are superbly supported by the rest of the cast.

"Cold Mountain" is often quite grim and brutal, but is leavened by earthy humor and irony. Ultimately I found the film to be life-affirming. It's a love story and a war story, but regardless of genre it's a superbly crafted and genuinely moving film.

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COLD MOUNTAIN by Charles Frazier is without a doubt one of the best books I have ever read. It is a heart-wrenching story about Inman, a soldier fighting for the South in the Civil War, his desertion from the war, and his subsequent journey home. But it is also about Ada, the spoiled and impractically raised preacher's daughter who is left to fend for herself after her father dies. It is touching to watch Ada grow before your eyes as she learns to work and take care of herself for the first time, and becomes selfsufficient. When I discovered they were making it into a movie, I was ecstatic. I recently saw it, and I give it 3 stars out of 4. It was a good movie, but not great-(let LOTR win this year!)

First, I wanted to write this review because **I feel as though everyone is missing the point of the story somehow**. Some have stated they couldn't feel sympathy for Inman because his character was cold, and it glorified a deserter in some way. Others felt Ada's relationship with Inman was superficial and trite. It's very important to understand Inman's motivation for leaving the war in order to understand Inman as a person, and his relationship with Ada.

In my opinion, Inman is one of the bravest and most human characters any author has ever written. In the novel, Inman's inner turmoil is more evident than in the movie, so readers will find themselves better able to sympathize with him than viewers. Frazier's novel shows Inman is becoming dehumanized by his experiences in the war. He has seen too much. He has watched his friends murdered, he has taken lives with his own hands, he has done what he can to survive, and it is not honorable. It reminds me of the Wilfred Owen poem "Dulce Et Decorum Est" or Randall Jarrell's "The Death of the Ball Turret Gunner", because those poems get across to readers there is nothing glorious about war. What the book gets across beautifully, and where the movie fell short, is the effects of war on the human soul. Inman's spirit is being BROKEN. There is a black place inside him he does not know if he can ever recover from. This is why he knows he must leave.

Inman doesn't know if he can ever recover from what he's been through. He has been irrevocably affected by what he's been through, this horrible tragedy that is war. He sees Ada as his salvation; she is the light at the end of his tunnel, the only possible chance for hope. Even in the novel, they didn't have much interaction before Inman left for war. It seemed as though there was much more left unsaid between them than was ever actually put into words. However, Ada and Inman saw something in each other that was enough to sustain them.

There were many good points about the film. Beautiful scenery and cinematography....fabulous costumes...rich characterization. The two main characters were well cast with wonderful chemistry. After thinking back on Kidman in "Far and Away", I knew she could pull off Ada's character, which is supposed to be cold and somewhat haughty. Jude Law is a perfect Inman. I especially enjoyed the moments between them when they said nothing, yet you KNEW some sort of understanding had passed between them. Their love scenes were passionate and tasteful. I loved Donald Sutherland as Ada's father. Kathy Baker captures the stoicism and stalwart nature of Ada's neighbor Sally Swanger. I loved Giovanni Ribisi as the money hungry Junior, and Natalie Portman will bring tears to a few eyes as the lonely young widow trying to survive a hard winter with her baby. Philip Seymour Hoffman is an excellent Veasey, a priest Inman meets on the journey to Cold Mountain. When Inman meets him, Veasey is attempting to dredge up the courage to kill his pregnant lover--whom he has drugged and stolen from her home in the middle of the night-so the townspeople won't realize what a lecher he is.

There was one thing that threw the movie off for me. Renee Zellweger plays Ruby, a strong young woman who comes to help Ada gain control over the house (she's being terrorized by a rooster when Ruby shows up). Ruby becomes Ada's teacher in all things pertaining to country life and running a farm. Zellweger did a nice job getting across the conflicted way Ruby felt in regards to her father, the fiddle playing Stobrod, who abandoned her repeatedly when she was a child. Their relationship was touching. But while Zellweger provided some much-needed comic relief, her acting was COMPLETELY OVER THE TOP. She did not so much "steal scenes" as she hurled herself into them and shoved everyone else out of the way. I did see a few reviewers (a precious few-most people seemed to think she was brilliant and deserves an Academy Award) who felt less would've been more. The movie is not meant to be hilarious, and her scenes felt too contrived--every time she came onto the screen, people would start to chuckle, knowing something "amusing" was going to happen. To me, she wasn't amusing so much as just overreaching her role. I was especially frustrated when she RUINED the moment at the end of the film when Inman is finally expressing his feelings for Ada.

One of the most touching aspects of the film is when you think about the spirit of the characters in it. No one was rich; they all struggled to make it through a horrible experience with few resources of their own. Yet they were still willing to give food off their own tables (and out of their children's mouths) in order to keep some stranger from going hungry. That kind of attitude and camaraderie was simply unforgettable. Go see the movie, but don't miss out on reading the book.

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Training Day (2006)

I must say, my preconceptions about Training Day were all wrong. The trailer I saw in the theatres made it look like a belated ripoff of The Corruptor, while director Antoine Fuqua's disastrous fumble with The Replacement Killers several years ago did nothing to boost my confidence.

My doubts were dispelled the minute Denzel Washington looked up from his newspaper. It is indeed good to see Washington, one of the most gifted actors of our time, abandon the saintly martyrs he's been prone to playing for 10 years and sink his teeth into a role which allows him to show a mix of deep charisma and dangerous viciousness. That same alchemy had made his breakthrough performance in 1989's Glory amazingly compelling, and in Training Day, there isn't a single moment where Washington is less than completely absorbing. Ethan Hawke also gives the performance of his career as Jake Hoyt, an idealistic but easily swayed young cop who finds himself drawn into a web of corruption, violence, and twisted morals.

Fuqua's directing is still overly stylish at times, but after a hyperactive first act, the film begins to roar. David Ayer's script is dazzling, a combination of rat-a-tat street vernacular and relentless forward momentum, and after the midpoint of the movie, the intensity of the scenes would reach incredible levels. And that's when Fuqua's show-offy camerawork finds a raison d'etre. In this film, Fuqua even finds room for some comparatively simple scenes which are really like a breath of fresh air to his filmmaking -for example, the "you're a leader" car scene, and that beautifully understated ending shot. I hope he makes this part of his regular style, because there's only so much virtuoso camera one can take before it gets tiring, as is the case in the opening of the film.

A white-knuckle thriller, well worthy of the accolades it received. I stand humbly corrected on my original predictions.

In all honesty, I had grown a bit tired of Denzel Washington's "goodie-two-shoes" roles in recent years, as great as they were. His performance in TRAINING DAY, however, has given me newfound respect for him as an actor. Not only does he play "the bad guy," but he milks it for all its worth his Alonzo Harris would make Clint Eastwood's DIRTY HARRY look like Barney Fife from "The Andy Griffith Show." The last time I walked out of a movie theater so rattled was after seeing DANTE'S PEAK in the early '90s mainly for its special effects. In TRAINING DAY, it was Denzel Washington's performance alone that blew me away! The fact that he has recently received his fifth Oscar nomination and third for Best Actor should come as no surprise.

Kudos also to Ethan Hawke for a great performance and a well-deserved Supporting Actor Oscar nod this year. Any young actor who can hang with the likes of Denzel Washington in a film like this DESERVES recognition. Hawke proves that he has a stellar film career ahead of him.

The Academy Awards telecast is March 24, and my money is on both these tremendous performers to come away with well-deserved Oscar gold. TRAINING DAY is a film with no special effects, no colorful cinematography, and no Picasso-esque art direction just a movie that slaps you upside the hide from start to finish, with two powerhouse performances that stay with you long after the closing credits.

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I've had many conversations with my friends about this movie. Conversations turned into debates. Debates turned into arguments. And there are many, many things to argue about concerning this particular movie, which I guess is part of its allure, at least for me. Whether it was realistic or not. Whether Denzel's performance, while indisputably good, was Oscar-worthy or not. Whether it was too violent, or simply a portrayal of the violence that goes on every day in a big city.

One at a time.

I believe this movie is realistic in all aspects dealing with the situations on the street. There are vicious people who's kill you just as soon as look at you. People who are out to get your money and your livelihood. People out to take your heart, sometimes literally. I believe that there are no clear-cut right or wrong answers out on the street. You just have to stick to some basic code of conduct and hope everything works itself out. I believe that not all cops are the knights-in-shining-armor people would like them to be in this post-September 11th world. That's probably not the most fashionable thing to say right now, but that's what I believe. I believe that mostly good and decent men can be corrupted by that sense of power and authority. And since my father was a cop in West Philly for 20 years, I have a pretty fair basis for my beliefs.

Whether Denzel's performance was Oscar-worthy or not... I don't put much stock in the Academy Awards myself. Usually, the Academy's criteria and mine differ a great deal. But they are supposed to reward people for excellence in film, and on that basis, Denzel certainly did deserve it. You could see the subtle shifts in Alonzo's character from scene to scene. Now, I didn't believe the character was stereotypical. If anything could be construed as stereotypical, it was his street persona. But that was only a persona, only a part of the character. It was the glimpses of the good man still lurking inside that made the character fresh and original. There isn't another actor working today that could've captured all those nuances. No Hopkins, no DeNiro, no Pacino, no Rush... nobody. He most definitely earned that Oscar, for what it's worth. And even if--IF--it was only a "freebie" for ignoring his tour-de-force performance as Malcolm X, it was certainly no different from Russell Crowe's situation last year, when he won for "Gladiator" after being passed over for "The Insider" a year before. And that reparation didn't even have the added wrinkle of any white actors having been ignored for 3 decades.

About the violence... I've never lived in LA. I've never even been off the East Coast, so I can't say I know how it is there. But I do know how it is here. This movie has no more violence in it than anything you might see on 52nd Street, or K & A, or 5th and Lehigh, or the Badlands, or even Broad and Olney, where I saw a crackhead jump on the hood of a man's car and promptly get the [stuff] beaten out of him. (If you live in Philly, or have ever lived here for an extended period, you know the areas I'm talking about.) It's not violent for the sake of violence, like other Hollywood movies. It's violent because it's a reflection of a certain lifestyle which happens to be very violent sometimes. That's what I believe.

Now I don't think that my opinion will change anybody's mind about this movie one way or the other, but maybe it'll help you see the other side of the argument. But if you haven't seen the movie, don't let this review or any other review sway you. Watch it with an open mind and judge for yourself.

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Back in the "go go" 1980s, during the heady era of Wall Street "greed," I read an article about a black stock broker indicted by the SEC for insider trading. It struck me that, in an odd way, this was indicative of progress for African-Americans. They had to have access to the inside in order to be indicted for it. In the old days, they never would have had those doors opened in the first place.

Which brings me to "Training Day", in which Denzel Washington delivers an astonishingly good performance as a totally corrupt and evil L.A. cop. The fact that an African-American leading man is portrayed as the "bad guy" is truly groundbreaking, and just another reason to look at this film and be in awe of it. In the same strange twist as the stock broker, here we see a black cop who has all the doors of sin open to him. Like the white cops of the Jim Crow South, he takes to corruption in a way that has no skin color. It is the story of humanity, temptation and power.

Blacks on film have for a number of years now been shown either one way or the other. There is no shortage of depictions of black drug dealers, gangbangers and "homies." Hollywood then tries to make up for it by portraying blacks as doctors, lawyers, voices of conscience or reason, and the most frequent stereotype, the "tough but fair police commander."

The negative portrayals of blacks, however, were never played by big name actors. Washington himself has built a career as a guy more or less saving the world in "Crimson Tide" and "Fallen". His flaws in "Ricochet" are brought out only by a vindictive white man (John Lithgow). In "Training Day", Denzel is all on his charismatic own, a product of a world that he is convinced revolves around him. By choosing to pursue this amazing role, Denzel demonstrates the kind of courage that is rare among actors.

Think of Robert Redford, for instance. Redford never let his hair down. He played heroes and fantasy figures. Every so often, however, a superstar will break type. Paul Newman did it in "Hud". So did Robert Duvall in "The Great Santini".

What is even more astonishing in "Training Day" is not just that a black guy is the bad guy, but a white guy (Ethan Hawke) is a clearly marked, unfettered hero, placed in utter contrast and opposition to the villain. "Candy Man", a B movie franchise of the early 1990s, featured the politically explosive portrayal of a black man slicing and dicing his way through white women, but this was hardly big time fare.

"Training Day" takes all the Political Correctness of the past 20 years and explodes it. Hawke not only is innocent and good in contrast with Denzel, but he is a Lancelot-type figure who comes to the aid of a Latino-girl-in-distress, and later faces torture and terror at the hands of a group of Mexican gangbangers. The actors who portray these guys are so good, so real and so terrifying that if you met them on the streets, even knowing they were just acting, you would be a little frightened.

By no means does "Training Day" leave the viewer groping with the uncomfortable notion that "white is right." The performances are too real and too powerful. It is only in retrospect that one realizes this is truly groundbreaking stuff. Denzel Washington is extraordinary. His performance in this film is among the very best ever seen. There are not enough superlatives, not enough words, than can do justice to his edgy power.

"Training Day" leaves the thinking viewer utterly exhausted and left in some kind of daze, grateful only that they do not live in the netherworld shown herein. Look at Ethan's face when he rides the bus after escaping, through pure luck and coincidence, death at the hands of the gangbangers. He is beaten. His actions afterwards are about redemption, a decision to take his life in a new direction in which expediency and innocence are no longer options. He has been transformed into a reluctant avenging angel, forced to face evil and fear because he cannot turn back. It is the story of Original Sin. Ethan represents what the viewer does not have the gumption to be at this point. The viewer wants only to crawl in a hole and forget what (s)he has seen, but Ethan's character is about the confrontation of good vs. evil that must take place if humanity hopes to advance.

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A brutal and disturbing film that attempts to connect you with the underbelly of the streets of downtown Los Angeles, while examining that fragile, thin line between those who enforce the law and those who break it, "Training Day," directed by Antoine Fuqua, is a cautionary morality tale that decidedly points out that what you do and who you are is a matter of free will and personal choice. Beyond the action, it's a study of human nature that explores the necessity of having a moral code by which to live, especially when confronted with that age-old seductress Evil, who can lure even the best of the best across that line from which there is no return. The most disconcerting aspect of the film, however, is in it's portrayal of those in high places who with facility betray those they are sworn to serve and protect, with their flagrant abuse of their position and power, and moreover, seemingly always manage to hold the high ground of advantage over those against whom their misdeeds are perpetrated. Indeed, the burden of proof must always fall to the good guy, and more often than not it is those endowed with a more positive, benevolent nature-the ones who want to do the right thing-that find justice elusive and become victims themselves, if only because of their refusal to compromise their own principles. And that is really what is at the heart of Fuqua's film, which very probably will take many viewers to a place they would rather not be. But, as Steve McQueen said in "Bullitt," when asked by his girlfriend how he can stand doing a job that keeps him so close to the gutter, "That's where half of it is--" And in today's world, unfortunately, it may well be that the percentage is even higher; which somewhat elevates the significance of this film.

Jake Hoyt (Ethan Hawke), a nineteen month veteran of the L.A.P.D., is about to begin his first day on a new assignment, having landed a spot in the Narcotics Division, where he will be a member of a small squad under the direction of Alonzo Harris (Denzel Washington)-if he measures up to Alonzo's stringent expectations. It's a job he wants, because he sees it as an opportunity to really do some good in the community; it's a place from which he can help rid the streets of drug dealers and other felons. But he quickly discovers that-as most worthwhile things are in life-it's just not that easy. As Alonzo is quick to point out, "If you want to protect the sheep from the wolf, you have to become a wolf. It's the wolf that catches the wolf--" Jake also learns that on this day he's going to have to make a lot of decisions, and make them quickly, without the luxury of time to consider all of the possible ramifications. And one of them is put to him directly by Alonzo, who tells him he's going to have to decide what he wants to be, a sheep-or a wolf. It's something he's going to have to know by the end of the day; and Jake doesn't know it going in, but this day, his "Training Day," is going to be a day that will change his life forever.

Fuqua's film is presented honestly and in such a way that it successfully puts the viewer on the streets of L.A., and Jake and Alonzo are credible characters; but the motivation behind Alonzo's ruthlessness is fairly anemic and under-developed. The weakness of the film, in fact, lies in the screenplay (by David Ayer), which though it captures a certain sense of "street-wise" reality, is otherwise rather formulaic and doesn't really have the depth it needs to make it emotionally involving. ...As Alonzo, Denzel Washington gives an excellent performance-and, quite frankly, this film would be less than average without him-but whether or not it is deserving of an Oscar is open to speculation. Washington is one of the finest actors in the business, without question, and he's taken on some challenging roles (in which he's been very successful) that make this part pale by comparison. Alonzo Harris is more along the lines of Mel Gibson's Riggs in "Lethal Weapon," or Eastwood's Harry in "Dirty Harry," the difference being that Alonzo is the bad guy. It's a credit to Washington's ability that he was able to make this such a strong character, however, and his Alonzo is certainly believable and real. And, in retrospect, perhaps it is an Oscar-worthy performance; it had to be to overcome the weakness of the script and what he was given to work with. And, again, without Denzel Washington, this film plays for two weeks in the theater and is quickly forgotten when it hits the video store shelf.

Hawke gives a strong performance, as well, but that he received an Oscar nomination for it is the stuff of which debates are born. Like Washington, however, Hawke does do a good job of bringing his character to life, and it is one of the strengths of the film.

The supporting cast includes Tom Berenger (Stan), Harris Yulin (Doug) and Scott Glenn (Roger). In the final analysis, "Training Day" is elevated by the performances of it's stars; without them, this one has no legs.

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Les Miserables (1998)

If Victor Hugo were alive today he would be a multi-millionaire considering how many times his most famous novel has been filmed by Hollywood over the years. It took him 17 years to write the novel and it's still in print so he would also have a steady income. Overall I think he would have liked all the film versions of "Les Miserables" going all the way back to the earliest known silent version released by the Fox Film Co in 1919. There have been many film versions since, both English and French productions. I've always liked this 1998 version starring Liam Neeson(Jean Valjean) and Geoffrey Rush(Inspector Javert) ever since I saw it during it's original release in the theatre. I was hoping that it would someday be released on blu ray and got my wish earliar this week. I can only assume it's because of the new musical version that's hitting the theatres with Hugh Jackman and Russell Crowe in the leads. I have both the 1935 and 1952 B&W versions that 20th Century-Fox released a number of years ago and have seen the current Broadway musical twice so I'm very familar with the story. I won't go over it but it's the ultimate story of redemption, faith and love which is something that everyone needs in these troubled times. Those themes are certainly brought out in this beautifully restored blu ray film directed by Bille August. Jorgen Persson's cinematography looks stunning on blu ray(aspect ratio: 2.40.1) and the Paris and Czech Republic locations have never looked better. The audio is superb too. The folks at Sony deserve a lot of credit for making this blu ray pop off the screen. The principle actors(Liam Neeson, Geoffrey Rush, Uma Thurman and Claire Danes) give some of the best performances of their careers. The scenes between Neeson and Thurman's characters are both touching and heartwrenching. I've always thought that this was Uma Thurman's best performance and seeing it again after all these years only confirms that. Neeson's scenes with the young Clare Danes are equally touching and he more than holds his own whenever he and Rush on screen together. Geoffrey Rush's unsympathetic portrait of Javert will send chills down your spine. This version is 134 mins long and contains the following subtitles: English, English SDH, Arabic, Danish, Dutch, Finnish, French, Japanese, Norwegian, Portuguese and Swedish. Audio is: English, French(PAR), Japanese 5.1 DTS-HD MA, Portuguese Dolby Surround. There are no special features except the original trailer. This Sony blu ray release gets my highest recommendation.

"Les Miserables", the popular musical and play that has entertained many since its premiere in London back in 1985.

But "Les Miserables" (which translates to "The Wretched" or "The Poor Ones") goes back even further. More than 100 years into the past, when it was first written by Victor Hugo as a French historical fiction novel in 1862. Considered as one of the greatest novels of the 19th century, the film has been entertaining generation after generation from its first film ("Victor Hugo et les principaux personnages des misérables") back in 1897 courtesy of the Lumiere Brothers and countless adaptations since.

But its first big budget film adaptation was in 1998 courtesy of a film directed by Billie August ("House of the Spirits", "Pelle the Conqueror") and a screenplay by Rafael Yglesias ("Fearless", "From Hell") which was loosely based on Hugo's popular novel. As the film adaptation was similar to Hugo's novel, some characters who had a more prominent role in the book were removed entirely or their presence lessened in the film version as the primary focus is on the character of Jean Valjean.

In December 2012, a new British film for "Les Miserables" was released in theaters, but where this version of the film was a musical, the 1998 film was not. And now, the 1998 version of the film will be released on Blu-ray and DVD courtesy of Sony Pictures Home Entertainment.

VIDEO:

"Les Miserables" is presented in 1080p High Definition (2:40:1). Part of me was wondering if this film would look soft and how the clarity would look compared to the original DVD release. And I was quite pleased with how the film looked overall. During the outdoor sequences, especially during the parade, the scene looked vibrant and colorful. Indoor scenes were well-lit, even though the film was trying to capture certain scenes with less lighting, I didn't see any noise during those scenes. Closeups on the faces of the characters were well-detailed and clarity was much more apparent in the closeups of the scenes vs. its older DVD counterpart. Cinematography by Jorgen Persson ("My Life as a Dog", "The House of Spirits") was beautifully done!

Overall, picture quality was very good and I noticed no artifacts, banding or aliasing.

AUDIO & SUBTITLES:

"Les Miserables" is presented in English, French and Japanese 5.1 DTS-HD MA and Portuguese Dolby Digital Surround Sound. The film is not a musical, so dialogue the film is primarily dialogue driven. Until the film gets to the scenes of the parade and revolt, the surround channels are then utilized for crowd ambiance but also gunfire. A musical score by Basil Poledouris ("Starship Troopers", "The Hunt for Red October", "Conan the Barbarian", "Robocop") is also featured throughout the film. But for the most part, the majority of the film is dialogue driven through the front and center-channels.

Subtitles are in English SDH, English, Arabic, Danish, Dutch, Finnish, French, Japanese, Norwegian, Portuguese and Swedish.

SPECIAL FEATURES:

"Les Miserables" comes with the following special feature:

A First Look at Les Miserables (3:39) A short special feature featuring interviews with the cast of "Les Miserables".

EXTRAS:

"Les Miserables" comes with an UltraViolet code which allows you to download the movie to your computer and select Apple and Android devices and stream to computers, tables or smartphones.

JUDGMENT CALL:

I was very fortunate to be introduced to "Les Miserables" back during my high school years. As a person who took part in theater and one who enjoyed singing, I fell in love with the "Les Miserables" soundtrack and of course, the musical itself.

But when I heard that "Les Miserables" was being adapted into a film, I didn't know how they could do it. As TV series before (and after) the 1998 film had to be shown as a mini-series because of its number of characters and how big the story is, there was just not much you can do with a 2 hr. film, unless a lot of storyline is cut out of the film.

But upon watching the film for the first time, many years ago, the focus on the character of Jean Valjean would make sense. Eliminating the musical segments, Cosette not playing a major role, until she is older was a major change, not showcasing Eponine or Azelma changes the story a lot and most importantly, by not focusing too much on the love between Marius and Cosette especially the involvement of the Thernardiers towards the end. The story has changed a lot for the film adaptation.

While I know purists who loved the musical or the novel may have cried foul that the story was changed, I felt that to make "Les Miserables" to a film without any sequels or to make it last over 3 hours long, to keep things within budget, important decisions of what trim had to be made. And in order to create a modified storyline of the novel without these characters, major changes had to be made. And for that, screenwriter Rafael Yglesias was able to successfully write a film that tries to keep the heart and soul of "Les Miserable" but also to keep the image of Jean Valjean as not only as a hero but a compassionate man who was able to change his life from an ex-convict to a mayor and as an industrialist who gave people a chance., because even he himself was given a second chance to change his life.

Liam Neeson did a wonderful job of playing the former convict, turned good guy and later on, father. This was a complex character which Neeson played with efficacy. But with Neeson highlighting his skills, you need an antagonist to match up with him and Geoffrey Rush played the role of Javert amazingly well. A conceited man, a stubborn man and a driven man, obsessed with catching Valjean, Rush did an amazing job portraying this role.

While hardcore "Les Miserables" fans may also be ticked that the storyline of Cosette and Marius was changed drastically, writer Rafael Ygleasias was able to show that the two characters love one another, but also to show the relationship between Cosette and her papa Valjean. But the changes made for this film adaptation was to inspire hope but also to bring things full circle with a new storyline that shapes the final half of the film. But Claire Danes was able to take Cosette's character and showcase a teen who has found love, while Hans Matheson was able to portray the role of a young man, so much in love, but also a man dedicated to the revolution.

Sure, it's sad that the revolution, Eponine, the Thernardiers play a smaller or non-existent role in this film adaptation. But once again, considering the changes that had to be made in order to keep the film to a little over two hours long, major cuts and restructuring of the plot to fit this duration had to be made.

As for the Blu-ray release, compared to its previous DVD outlet the film looks better on Blu-ray but the noticeable aspect of the film in HD is its lossless soundtrack and bringing the ambiance of crowds and gunfire to this film, made things much more enjoyable this time around. I do believe that if you enjoyed this film and own it on DVD, it is worth upgrading to Blu-ray! Special features only feature the one "A First Look at Les Miserables" featurette and that is it.

Overall, the 1998 film "Les Miserables" may not be the same storyline that people watched in a musical, nor is it exactly what the original Victor Hugo novel had featured with its many characters and longer storyline. But to create a film adaptation of "Les Miserable" for a two hour film, it' s not an easy task. Yet, filmmaker Billie August and writer Rafael Yglesias were both able to create a film that may be different from the original novel but yet manages to be exciting and compelling.

"Les Miserables", the 1998 film adaptation is recommended!

Buy Les Miserables (1998) Now

This is the best of all of the Les Miserables movies that have ever been done. Liam Neeson is more believable and compassionate as the main character. The entire cast of actors is awesome. The storyline stayed very close to the book which I feel is very important in making a good movie.

Read Best Reviews of Les Miserables (1998) Here

I have seen the play on Broadway, and several versions of the movie (most notably, the Liam Neason one), and have enjoyed them tremendously. This version, however, is not in that category. The singing was terrible and off-key. The dialog was all sung(?), if you want to call that singing. The acting was even worse than the singing. If I could have rated this in a negative, it would have been a -10.

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Only the background sounds are on this copy.. I am disappointed. I have been very busy lately and havn't had the chance to send back.. probably missed the time limit.. Make sure you check the sound on your DVD's the day you get them in and return ASAP. Amazon has always been good about exchanging for a good one. I just missed the opportunity this time.

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Videodrome (The Criterion Collection) (1983)

Videodrome is not only one of the top three horror/sci-fi movies made in the last 25 years it also has the distinguishing trait of having been given one of the best royal treatments from Criterion. If you need basic plot and such look elsewhere. This review is more about why this is one of the greatest films of all time.

First, the film: A must-have for any film collector, not just a horror or sci-fi buff. James Woods plays a Cable-TV station owner who broadcasts soft-porn and adult entertainment. His favorite technician shows him a pirated TV show called Videodrome in which people are tortured and killed. Woods pursues this show, watching more and more of it until his investigations lead him to two sources: The Videodrome show producers itself and the show's arch-enemy, The Cathode Ray Mission. Woods discovers that the show transmits a signal that creates a tumor in the brain that leads to S+M hallucinations. Woods begins to hallucinate incredible sexual/violent nightmares ( the fleshy TV set)and finds himself as a pawn between the two entities. Videodrome plans on using Woods' station to transmit the violent Videodrome show in order to kill the audience of porn. Videodrome owner Barry Convex "programs" Woods to kill his partners at the station and the Cathode Ray Mission Leader, Bianca O'Blivion. Bianca "counter programs" Woods into killing the Videodrome people. Bianca declares that Woods has "evolved" (Darwinism on its ear) into The New Flesh, an allegory of an information-age human with a body that mutates via hallucination. In the end, Woods, alone and his head filled with tumors, is prompted by his now dead girlfriend (Deborah Harry in the flesh TV set) to "evolve" into the next stage by shooting himself. Woods kills himself exactly as the fleshy TV set instructs him to do, declaring: "Long live the New Flesh."

Cronenberg gathered many parts of a script and ideas together to create a near avant-garde film that uses TV and fanatical programmers as villains. This movie sets the thriller basis for which The Matrix and The Ring would so heavily borrow from. Cronenberg's approach is different from his previous film SCANNERS in that the protaganist's perspective (a tremendous James Woods) becomes the actual subject of the movie. Since Videodrome has probably been seen my almost everone who reads this I need not bother to summarize the plot any further. Suffice to say that what starts out as an already interesting and challenging portrait of a soft-porn Cable-TV station owner looking for the next big thing in the adult entertainment world evolves into a nightmare that relentlessly never eases until the very last frame. This psychotic world and body (called The New Flesh)that Woods now finds himself becomes an allegory for our dependance and adhearance to Media and TV in particular. The concepts of "downloading" and "programming people" was, back in 1981, revolutionary. Kafka meets Tom Edison. The villains are evangelical and are either using the cancer-tumor inducing "videodrome" signal to kill sinners (Barry Convex looks like Jimmy Baker) or, in a twist of Darwin, the Cathode Ray Mission using the signal to "evolve" people to the next state of our existance: a personified information society of hallucinating, mutated people. This film was ahead of its time by decades and is still a significant movie using TV/Media as the vehicle for great evil, as prompted by an already receptive audience. Cronenberg suggests that we have created a TV Pornographic Frankenstien that is out of control.

The DVD: Two discs, both essential. The commentary from Cronengerg and James Woods is particulary interesting. Deborah Harry comments as well. The extras on Disc two feature excellent interviews with the special effects team, and a TV interview show from Canadian TV with John Carpenter, John Landis, and Cronenberg. The making of film is good and the actual torture and porn videos shot especially for the film are just bizzare to see, and they are provied with commentary. The DVD case is made to look like a betamax cassette that reads: Long Live the New Flesh. I love this movie, I always have. Yes, it has dated a little bit, but its one of those few movies that gets better with age. In fact, the dating of the effects adds significance to the visionary horror concept itself, light years ahead of its time. This is Cronenberg's masterpiece and everyone associated with it can consider themselves lucky. Make yourself among these lucky and get this DVD set.

The TV producer Max Renn (James Woods) works for a sleazy TV network that focuses on violence, sex, and other bizarre programs. Max's job is to search and find programs that keep pushing the aggressive nature of the network and can keep the viewer numbers up. Years of exposure to violence and sex have diminished the effect that the brutality and sexuality have on Max. As a result Max continues to search for something rough and more sadistic, and through an employee of the network he finds a pirate cable show, Videodrome.

The nature of the Videodrome is as Max refers to it as, "It's just murder and torture. No plot. No characters." It is the cutting edge, no pun intended, of cable TV for Max as it is rougher and more brutal than anything else that he has seen. Max tapes the show and becomes fixated with the pirated shows. This also begins to affect Max's social life as he meets Nicki (Deborah Harry) with whom he initiates a sadistic romance. Max begins to track the source down for Videodrome, which initially seems to be sent from Malaysia. However, further investigation leads Max to Pittsburgh, and he realizes that it is connected with a nightmarish cult.

David Cronenberg creates a terrifying atmosphere where reality and delusions begin to blend. This shadow land draws the audience into a paranoid cinematic experience where the threat is located directly in front of them, the television. The exceptional special effects are a big part of creating the bizarre atmosphere, which are startling with the breathing video tapes, open stomachs, and a sensually moving television. Videodrome carries Cronenberg's distinctive insignia as it is unique, disturbing, and groundbreaking. As usual with Cronenberg, his films always create room for cerebral participation and reflection as there are always several messages, which can be seen in other films by Cronenberg such as Spider and Naked Lunch. When Videodrome's end credits roll over the screen the audience will have experienced a truly unique film, which will cause much room for debate and pondering.

Buy Videodrome (The Criterion Collection) (1983) Now

TV will rot your brain, some sayand in the world of Videodrome, that's exactly what happens. A group working with a media philosopher (a nice parody of Marshall McCluhan) has created a signal that can be superimposed on a video program that will, quite literally, mutate the brain. It may be a tumoror it may be a new organ. It's infected cable TV president Max Venn (James Woods), and is starting to change him and his world in bizarre ways.

Videodrome is a wonderfully original movie that mixes a well crafted script with some novel (for the time) special effects and a marvelous darkly comic sensibility. Puns abound; the president of "Spectacular Optics"itself a punis named Convex. Brian Oblivion (the Marshall McCluhan parody) founded the "Cathode Ray Mission" (as in "cathode ray emission"), where the homeless and destitute are re-integrated into society by providing them with exposure to television.

Underneath this is a dark, sexual themeMax's attraction to the images of bondage and sadism that are his undoing, and to radio psychologist Nikki (Debbie Harry, in a compelling if inartful performance) who is willing to go a lot farther than is Max in her pursuit of kinky thrills.

Is Max really being physically transformed, or is it all in his head? Is the New Flesh real, or another delusion? All in all, a compelling and original film that will delight any fan of cult films and erotic horror.

Read Best Reviews of Videodrome (The Criterion Collection) (1983) Here

They say you either love or hate this rather bizarre offering from 1983, but I found myself somewhat indifferent as Videodrome approached its conclusion. To my mind, the final third of the story is ultimately too haphazard, esoteric, and too consciously horror-driven to clearly express the themes worked into the heart of the film. It's easy to read a lot into this film, but that's as much of a credit to the viewer as it is to the filmmakers.

Still, Videodrome is certainly a fascinating, unique film that compels the viewer to contrast the interplay between video and real life in our increasingly technological age. By 1983, most people were already seeing life through a television screen TV defined the news, fashion, the latest fads, etc. In the movie, TV plays as integral a part as food and comfort in the rehabilitation of the homeless taken in at the Cathode Ray Mission run by Dr. O'Blivion (Jack Creley). Rather than paint the television as a soul-draining maker of brain-dead zombies, Videodrome forges its way down an even more frightening path, where television is used as a potential weapon on the masses.

James Woods plays Max Renn, a rather sleazy cable operator who depends on shocking television shows to keep his little station up and running. He discovers many of his shows through satellite piracy, and that is just how Videodrome first comes to his attention. He is fascinated with the show, which features nothing but torture and abuse of individuals, especially women, with no sign of a plot anywhere behind it. It's just the kind of shocking new thing he's after, and so he begins searching for its source. His prurient interest in such violent material is enhanced by his current girlfriend, Nicki Brand (Deborah Harry), who is so into S&M that she vows to audition for Videodrome herself. Before long, Max begins hallucinating, and his efforts to discover the source of Videodrome become, at the same time, a desperate attempt to maintain his sanity if not physical life. The show isn't rotting his brain, but it is physically changing it, and therein lies the unheralded danger of this example of reality TV taken to the extreme.

All of this works beautifully for the first hour, but I just feel the psychology of the story is ultimately sacrificed in the name of horror, as the special effects force something of a disconnect between the viewer and the film. At least in my case, this robbed this otherwise perversely fascinating film of much of its power.

Want Videodrome (The Criterion Collection) (1983) Discount?

A cult favorite since its release in '83, VIDEODROME is in some ways a "great flawed film." The characters are far from sympathetic, the plot is often confusing and contradictory, and some of the dialogue is unintentionally hilarious. Yet on the level of images and ideas, VIDEODROME is a rich, compelling experience which will take root in your brain long after the film is over. James Woods turns in a terrific performance as Max Renn, sleazoid co-owner of a quickie TV station. For reasons which never become clear, Renn is chosen as the gateway for public transmission of the "Videodrome" TV signal, which hypnotizes its viewers and causes mind-altering hallucinations. Renn, always on the lookout for the ultimate trash with which to hook his slavish, sensation-seeking audience, is introduced to "Videodrome," a charming bit of snuff TV where men in masks torture women and a black man for no real reason at all, except for cheap thrills. Renn, correctly assuming that sex and violence sell to the masses, tries to discover the human face behind Videodrome. Along the way, he stumbles onto what seems to be a conspiracy to control the mind of the North American audience through TV (hmmm...hasn't this happened by now?), seemingly to create an audience of docile, consumeristic sheep. After a rather shocking sequence of events, Renn becomes one of the "New Flesh," apparently a race of humans who have evolved away from the body to exist entirely in the electronic realm (hmmm...isn't this happening right now?) and are trying to destroy Videodrome. His companion in this journey is masochistic Nicki Brand, played by Deborah Harry at her most glamorous. Nicki, turned onto Videodrome by Max, abandons her life as a "radio personality" and seems to become an entirely image-based being, first used by Videodrome to seduce Max, then somehow escaping and joining the "New Flesh." I know none of this makes much sense, but VIDEODROME has to be seen to be believed. Cronenberg's imagery, realized by FX genius Rick Baker, is incredibly sensual and powerful, using all the resources of the cinema to suggest multiple levels of reality and hallucination. I won't spoil the surprises for you by describing the effects here; let's just say that Cronenberg combines sex, violence, electronics and body/machine anxieties in a new and compelling way. Harry's incredible charisma and style lend the role of Nicki just the right touch of simultaneous allure and wierdness (she is first introduced as an image on a TV screen, and actually spends most of her time in the film in scenes where she is clearly a hyperreal hallucination instead of a person. She and Woods have a very believable chemistry and should have had more scenes together the script for this film needed a few more drafts. I first saw this movie as a teen-ager, back before the Internet, virtual reality or cybersex existed, and developments in audio-visual technologies since then have only underscored the seriousness and ambition of Cronenberg's vision. Where do we end and our electronic prostheses begin? Is electronic experience more real than real? Is the television screen now truly "the retina of the mind's eye?" I think so. VIDEODROME will make you think of your own environment in a new way. Great late-night viewing!

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Secret Sunshine (The Criterion Collection) (2007)

Criterion has scored another winner with the acquisition of the intense Korean drama "Secret Sunshine." Director Lee Chang-dong has assembled a multi-layered film propelled by a stunning lead performance by Cannes Best Actress Jeon Do-yeon. In an age where few films explore religion from a contemporary standpoint, this is a critical and thoughtful examination of faith, tragedy, grief, forgiveness and perseverance. What starts as a rather pleasant and joyful film morphs into a thriller before it changes tone once again to searing human drama. The director shows a deft hand transforming lightness into the heart of darkness and delivering the viewer to the other side. Complex, challenging, and emotionally devastating--I hope the Criterion release will raise awareness of this remarkably adult entertainment.

A young widow (Do-yeon) and her son relocate to her late husband's hometown Miryang (Secret Sunshine). Starting fresh, she starts to tutor piano and is assisted by a potential new suitor. The details of her new world are expertly showcased and there is a realistic flavor to the scenes of every day life in this small town. But just as she has settled into a daily routine, tragedy strikes. After an intense sequence of events, she is left devastated and bereft. I know many people will reveal more of the plot than I will, but I think it's best to let the narrative unravel without expectation. Seeking solace, she throws herself into spirituality and uses the church to fill the emptiness of her life. The need to forgive and the need to hate do battle within her soul and the last hour of the picture is a war of emotion. Is there a way to reconcile these divergent feelings and is the church a help or a hindrance? This is a serious examination of important issues and a heartfelt and in-depth exploration of character. It doesn't shy away from a woman descending to the very edges of madness as it commingles with morality.

In less subtle hands, "Secret Sunshine" might have turned into a weepy melodrama. With emotions this raw, it would be easy to overplay many aspects of the film--from grief to fervor. But Do-yeon is a revelation, a natural and grounded presence that connects the film to a realness that is remarkable and refreshing. Seriously, this is work that will blow you away! The film doesn't offer tidy answers and is as messy as life itself. So many horrific things may happen to us, and in some way--we all do what we must to persevere. The character in "Secret Sunshine" deals with more than her share of adversity. Each step she has made a conscious decision to move forward. Eventually we all reach our breaking point--whether or not we break is the question. This is a simple and powerful character study that may get under your skin. It did mine! KGHarris, 6/11.

DVD/Blu-Ray Features:

New digital transfer, supervised and approved by director Lee Chang-dong and cinematographer Cho Yong-kyu (with DTS-HD Master Audio on the Blu-ray edition)

New interview with Lee

On the Set of "Secret Sunshine," a video piece featuring interviews with actors Jeon Do-yeon and Song Kang-ho, as well as behind-the-scenes footage

U.S. theatrical trailer

New and improved English subtitle translation

PLUS: A booklet featuring an essay by film critic Dennis Lim

This is truly extraordinary and wonderful film, profound and profoundly depressing, and a perfect antidote to the delusions and falsehood of Hollywood. It exemplifies what makes contemporary Korean cinema so compelling: a willingness to explore human suffering without the promise of redemption --political, spiritual, or aesthetic. The last shot of the film says it all. And the lead actresses performance was amazing: she seemed so fully consumed by her role that she became a new person as her character changed.

Buy Secret Sunshine (The Criterion Collection) (2007) Now

Korean films have scored another winner with the addition of the intense drama "Secret Sunshine." Director Lee Chang-dong has assembled a multi-layered film propelled by a stunning lead performance by Cannes Best Actress Jeon Do-yeon. In an age where few films explore religion from a contemporary standpoint, this is a critical and thoughtful examination of faith, tragedy, grief, forgiveness and perseverance. What starts as a rather pleasant and joyful film morphs into a thriller before it changes tone once again to searing human drama. The director shows a deft hand transforming lightness into the heart of darkness and propeling the viewer to the other side. Complex, challenging, and emotionally devastating--I hope that Video-on-demand and the new Criterion release will raise awareness of this remarkably adult entertainment.

A young widow (Do-yeon) and her son relocate to her late husband's hometown Miryang (Secret Sunshine). Starting fresh, she starts to tutor piano and is assisted by a potential new suitor. The details of her new world are expertly showcased and there is a realistic flavor to the scenes of every day life in this small town. But just as she has settled into a daily routine, tragedy strikes. After an intense sequence of events, she is left devastated and bereft. I know many people will reveal more of the plot than I will, but I think it's best to let the narrative unravel without expectation. Seeking solace, she throws herself into spirituality and uses the church to fill the emptiness of her life. The need to forgive and the need to hate do battle within her soul and the last hour of the picture is a war of emotion. Is there a way to reconcile these divergent feelings and is the church a help or a hindrance? This is a serious examination of important issues and a heartfelt and in-depth exploration of character. It doesn't shy away from a woman descending to the very edges of madness as it commingles with morality.

In less subtle hands, "Secret Sunshine" might have turned into a weepy melodrama. With emotions this raw, it would be easy to overplay many aspects of the film--from grief to fervor. But Do-yeon is a revelation, a natural and grounded presence that connects the film to a realness that is remarkable and refreshing. Seriously, this is work that will blow you away! The film doesn't offer tidy answers and is as messy as life itself. So many horrific things may happen to us, and in some way--we all do what we must to persevere. The character in "Secret Sunshine" deals with more than her share of adversity. Each step she has made a conscious decision to move forward. Eventually we all reach our breaking point--whether or not we break is the question. This is a simple and powerful character study that may get under your skin. It did mine! KGHarris, 6/11.

Read Best Reviews of Secret Sunshine (The Criterion Collection) (2007) Here

I enjoy psychological films. I like seeing characters undergo psychological changes. Those types of films entertain me, even change my views of the world sometimes.

Secret Sunshine is one such film. In it a woman experiences a set of major events that send her spiraling into a psychological downfall, then up through enlightenment, then, finally, she falls deeper and deeper until true enlightenment is possible.

I don't want to spoil anything for those of you who haven't seen this yet, so I'll keep it brief. The woman loses her husband and then moves to his hometown with her son, hoping to start over. Once there she is greeted by a local neighbor who tells her that the only way to be truly happy is to find God, join the church, and become a religious citizen. She is hesitant, explaining that she doesn't believe in such things.

A few more things happen (I'm refraining from saying for spoilers sake) and she decides to join the church, finding God and weeping in an emotional scene (the actress does a wonderful job here, as well as throughout the entire film) which leads to her apparent happiness.

But not everything is as it seems...and when the woman decides to apply one of God's teachings to her daily life, the results aren't what she had expected. She falls into darkness once again, this time at a frightening speed.

What happens after this can only be witnessed by watching the film, since I don't want to give away any more.

Secret Sunshine is a masterpiece of psychological cinema. It takes a step back and examines how Religion can affect a human life, both positively and negatively, and the film isn't afraid of pulling punches. This is an emotionally draining film, but I found the ending to be truly enlightening. Others might feel differently towards the ending.

Viewers with strong religious beliefs that can't view this film with an open mind might be disturbed by Secret Sunshine.

Viewers with open minds, regardless of life beliefs, and fans of "different" cinema will enjoy this film.

I couldn't take my eyes off every frame of Secret Sunshine, and the way the film ends gives me hope. Film: 5/5 stars.

The blu-ray is a Criterion release, so the video and audio are perfect. There are plenty of extras including a booklet inside the blu-ray case with an interesting article. Video/Audio/Extras gets 5/5 stars.

Overall: 5/5 stars. Secret Sunshine is the best film I've seen that deals with Religion. Its also a great "character study" of a woman undergoing psychological changes. I recommend this film highly to viewers with open minds.

Rating: Not Rated, likely Rated R. Minimal strong language, some sexual content (which serves the story well) and some disturbing violence. Ages 17 and up.

Want Secret Sunshine (The Criterion Collection) (2007) Discount?

I agree with the judges at Cannes for awarding Jeon Do-yeon the best actress award. She delivers a terrific and believable performance. She is quite adept at portraying her character's fragile emotional state. This is one of the best female performances I have seen in recent films. I liken her performance to many of the classic and understated Japanese actresses of the 50s and 60s such as Setsuko Hara (huge praise coming from me).

I wanted to give it five stars because of the riveting performances in this film (including a wonderful performance by Kang-ho Song... you know him as Mr. Vengeance most likely). All in all the acting is a delight. The supporting casts' performances are as entertaining as they are baffling and cynical.

The actual film is a mixed bag though. Mainly because of the middle, where the film really drags a bit. It seems that with a little extra editing and a few cuts, the director could have kept the pace. But it takes a sudden and obvious lull, one that I think it out of character with the rest of the film. Without giving away anything major, this is the point where she is involved with the religious group. There is a bit of a spark during the prison scenes, then more lull. It picks up again around the time she plays the CD at the prayer meeting.

If the film had spent a little less time on the religious aspect in the middle, I might have given it five stars. But it's a collection of scenes that I think were too long to get the point across and slowed the plot progression too much.

Extras were sparse on the DVD release (not sure about the Blu-Ray). The booklet was nice with an essay, but was just a few pages. Nothing like some of the more notable Criterion releases. And being a new film, there probably wasn't need for any restoration. It's a Criterion distributed film though, and they tend to distribute only high quality newer (and usually independent or foreign) films (Like Fear and Loathing, Still Walking, and Royal Tenenbaums). This is a worthy addition to their list.

I watch a lot of old Japanese film, including films by Ozu, but have no problem with the pace (it's slow the entire time!). But something about the film just didn't feel right, and that is why four stars overall. But 5 solid stars for the acting. I checked this out from my local library, so luckily I didn't have to purchase it. I would recommend it for renting, streaming (if offered from a streaming site), or checking out at the library before purchasing.

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UFC: Best of 2010 (2010)

UFC 108 January 2

Cole Miller vs. Dan Lauzon

UFC Fight Night 20 January 11

Evan Dunham vs. Efrain Escudero

UFC 110 February 21

George Sotiropoulos vs. Joe Stevenson

John Hathaway vs. Diego Sanchez

Cain Velasquez vs. Antonio Rodrigo Nogueira

UFC Live 1 March 21

Junior dos Santos vs. Gabriel Gonzaga

Jon Jones vs. Brandon Vera

UFC 113 May 8

Matt Mitrione vs. Kimbo Slice

Lyoto Machida © vs. Mauricio Rua

UFC 114 May 29

Melvin Guillard vs. Waylon Lowe

Rashad Evans vs. Quinton Jackson

UFC 115 June 12

Carlos Condit vs. Rory MacDonald

Mirko Filipovic vs. Pat Barry

Rich Franklin vs. Chuck Liddell

UFC 116 July 3

Brendan Schaub vs. Chris Tuchscherer

Stephan Bonnar vs. Krzysztof Soszynski

Chris Leben vs. Yoshihiro Akiyama

Brock Lesnar © vs. Shane Carwin

UFC Live 2 August 1

Jon Jones vs. Vladimir Matyushenko

UFC 117 August 7

Stefan Struve vs. Christian Morecraft

Rick Story vs. Dustin Hazelett

Junior dos Santos vs. Roy Nelson

Anderson Silva © vs. Chael Sonnen

UFC 118 August 28

Randy Couture vs. James Toney

UFC Fight Night 22 September 15

Charles Oliveira vs. Efrain Escudero

UFC 119 September 25

C.B. Dollaway vs. Joe Doerksen

Sean Sherk vs. Evan Dunham

Chris Lytle vs. Matt Serra

UFC 120 October 16

Carlos Condit vs. Dan Hardy

UFC 121 October 23

Diego Sanchez vs. Paulo Thiago

Brock Lesnar © vs. Cain Velasquez

UFC 122 November 13

Dennis Siver vs. Andre Winner

UFC 123 November 20

George Sotiropoulos vs. Joe Lauzon

Phil Davis vs. Tim Boetsch

B.J. Penn vs. Matt Hughes

UFC 124 December 11

Sean Pierson vs. Matt Riddle

Jim Miller vs. Charles Oliveira

Georges St-Pierre © vs. Josh Koscheck

If any of you fans out there are feeling like I am lately and just a little disappointed with most Pay Per Views, this is a nice refreshment. It really picks all the most exciting fights of the year like Chris Leben and Akiyama and also segways lots of fights with brief recaps and reviews of significant things that happened during the year. There are also a ton of good fights on each bonus section of the DVD. Good stuff fight fans

Buy UFC: Best of 2010 (2010) Now

Unlike previous best of installments this one is more like a documentary of the year rather than just a compilation of complete fights. They do brief segments walking through the 2010 highlights of many fighters. It also includes over 30 complete fights.

Read Best Reviews of UFC: Best of 2010 (2010) Here

I was told it was good. Worth watching. It's worth getting for yourself or as a gift. Will order more.

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Most of the best matches of matches of the year all on here can't get better than that. Anyone looking to get a good value for your money should check it out.

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Donnie Darko (10th Anniversary Edition) (2001)

I missed this film in its theatrical release (apparently it received limited distribution), but since it requires at least two viewings, it's well-suited for DVD. It's difficult to describe the story or even characterize it by genre, which shows how original the film is. Simply put, it's about time travel, but it's about a lot more than that, too.

The acting is consistently outstanding, with a list of well-known names in the cast, along with less familiar ones. Jake Gyllenhaal gives an amazing performance that is so convincing, you forget that he is acting; he IS Donnie Darko. While the story is mainly told through his eyes, the other characters are surprisingly sympathetic as well. This is not an easy feat for a script to accomplish, especially when the viewer must focus so much attention on every event. It would have been easy to create a one-dimensional hero and a bunch of villains, but writer/director Richard Kelly doesn't take the easy way out.

Instead, we get a highly intelligent and challenging film that engages us as much as it baffles us, that injects enough humor to keep us from stress-overload, and most importantly, makes us want to watch it again and again, even after we know what's going on. In this sense, "Donnie Darko" succeeds where other films have fallen short: for example, I enjoyed the complexities of "Memento", but I was not able to identify or even care very much about any of the characters. The same was true of "The Usual Suspects". Both are excellent films, but I viewed both from a distance, more analytically than emotionally.

I did not view "Donnie Darko" from a distance. I was drawn into the world that it creates, and enjoyed it enough to return more than once. A brilliant first film from Richard Kelly, who has set a very high standard for himself.

The DVD does full justice to this fine movie. The video and audio are excellent, and the extra features are quite thorough. I particularly enjoyed the commentary by Richard Kelly and Jake Gyllenhaal, which I listened to the second time I watched the film. They do a great job of helping the viewer to connect the dots. They also include just enough of the usual "behind the scenes" banter to keep the commentary from becoming too academic.

This DVD would definitely be included in any "desert island" list that I would ever compile. Strongly recommended!

First I would like to say that this review is more targeted at the Blu-Ray transfer of this movie. When I first found out this movie was available on Blu-Ray I had to have it since it's one of my favorite movies. I already owned the DVD, and was happy with the quality of the video on my up-converting DVD player. I figured the Blu-Ray would have to look better since it advertised as HD 1080p. Unfortunately that was not the case; in fact the DVD looks better up-converted than the Blu-Ray does. How does that happen? It appears the studio did very little to prepare this film for Blu-Ray. If anything they made it worse by trying to doctor it up rather than spend the money to re-master it properly. The movie has a lot of dark scenes which are almost all grainy and not very detailed. The light scenes are not as noticeable but you can still see it unless you're sitting a good distance from your TV. I guess the point I'm trying to make would be to hang on to your DVD until they fix the Blu-Ray transfer. At the new price it's worth buying if you don't already have the DVD, but don't "up grade" to this from your DVD.

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My rating and the following refers specifically to the Director's Cut. I would rate the original theatrical release five stars.

This director's cut brought to mind William Faulkner's line about writers often having to "kill their darlings" in order to meet the demands of a work's wholeness and integrity. Evidently, Richard Kelly was forced to kill his darlings with the theatrical release, and the result was close to perfection, if not perfection itself. The film's emotional force was stunning; its mysteries challenging; its pace so good that hitting pause to get more popcorn was impossible to do; its soundtrack (to my mind) a tour de force. It worked terrifically as a film experience, being a beautiful "whole" work of art. Extras that included Roberta Sparrow's book were great ... who really wanted to read the book during the movie anyways? (Which we can now do in the DC.)

Which does not mean a director's cut had no hope of working. Or even, maybe, revisions to the soundtrack (although I really think that was touchy business better left untouched). There were some good scenes deleted from the original, mainly between family members, and they didn't seem major pace-cutters. Fortunately, we do get those scenes here, but we also get the overwhelming force of the director's enthusiasm ... and WAY too much embedded detail of his personal vision.

On the upside, there's a nifty freedom to that enthusiasm which translates well into the Darko world IF you are also enthusiastic and into "playing" with Darko. In other words, if you love Donnie Darko already, you may find this cut a lot of fun. The pacing's completely blown, and the ending comes across flat compared to the original. (Kelly gets too detailed and baroque at the end, thus the impact of the "Mad World" music montage--don't want to include spoilers--and last scene is severely undermined.) Yet it's great to have more Darko, however we have to get it. And I don't regret buying this.

But if you've never seen the original DVD release, I cannot recommend this DVD set to you over that one. You will probably wonder why a cult ever built up around this film ... what anyone saw in it. You'll be missing that visceral power and compelling wonder that makes movies great and leaves you wanting to see a movie again ... immediately, if possible.

Donnie Darko was a little miracle of a film that cast a huge shadow. The director's cut joins many other films that try for bigness and achieve little ... unless, of course, in Darko's case, you've already seen the light and are into shadow-play.

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Any form of media that makes you think has succeeded in what it set out to do.Donnie Darko is a film that succeeds on every conceivable level. The script is original and entirely unpredictable. There isn't a single bit of action or dialogue, not one frame that can be anticipated. The characters, too, are refreshingly well-conceived and highly unique. And it's a treat to see actors we know well (Drew Barrymore, who also produced, and Noah Wyle) stretch well beyond our usual expectations. There is great humor in this film as well as great sorrow. And, ultimately, it's impossible to say if the entire scenario takes place within the dreams of a brilliant but possibly schizophrenic young man or if, as he so desperately wishes, he has, through physics, managed to reverse time.

Jake Gyllenhaal gives a stunning performance as Donnie. Even his body language--incurving shoulders, questioning eyes, uncertain smiles--reveal a vast, searching intelligence. Mary McDonnell gives yet another in a roster of thoughtful portrayals--this time as the despairing mother of brilliant and troubled Donnie, simultaneously loving and hating him for being emotionally beyond her reach. And Jena Mallone is just wonderful, one of the truest, most authentic young actors around today.

This is filmmaking at its best--an adventure for the mind--not to be missed.

Most highly recommended.

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Funny, sad, and mind-blowing, 'Donnie Darko' is, quite simply, an excellent movie. The plot is complex and engaging, with Jake Gyllenhaal as the protagonist, followed up by a cast that doesn't leave Jake holding up the movie.

Depending on what version of the film you see, the plot can be simple, or very hard to understand. I saw the original version on television and it was easy to comprehend. However, I had a lot of questions about little plot strings that weren't tied up. Just the other day I saw the director's cut. I spent the rest of the night explaining things to the people who watched it with me while simultaneously figuring it out myself.

But, let me explain first. In the original version of the movie the plot line goes like this. Donnie Darko is introduced as the protagonist. He smokes, sees a therapist, and is rude to his parents. Then comes the fateful night of October 2nd.

Donnie is asleep when he hears a voice that tells him to follow it. Donnie gets up and walks out of the house and onto a golf course where a human sized, demented bunny rabbit called Frank tells him the world will end in 28 days, 6 hours, 42 minutes, 12 seconds. At the same time as this encounter a jet engine falls through Donnie's room, which would have crushed him had he not gone out to the golf course. For the next 28 days Donnie goes on certain missions by the bidding of Frank, gets a girlfriend, and finds out about time travel. I wont tell the ending for the sake of preserving it.

In the director's cut there are a few differences. The beginning is the same. However, this time the end of the world mentioned by Frank really comes into play. It is explained (and this is explained only in the director's cut) that Donnie is in a tangent universe separate from the primary universe, and it will collapse after a few weeks, creating a black hole in the primary universe destroying all of existence.

Donnie goes through the same adventures with a few differences here and there from the original version with the same ending result, only it is much clearer why he does what he does.

I highly recommend this movie to those intelects who like to think about the plot, and to those who like dark comedy, and also to anyone and everyone, for this is truly not a film to be missed.

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Mummy Trilogy Box (2009)

This review is for the Blue Ray collection. Picture: Pristine. Sound: Great. Movies: I & II Grand Entertainment. Universal successfully resuscitated it's venerable monster genre and transformed it into bigtime Tentpole event movies and produced two very good action adventure rides to take with the kids. III Phoned in. Brendan collects huge paycheck and goes home. Rachel wisely stays away in the first place. Kid being groomed to carry on the poor man's Shia (and I didn't think much of him either). Jet Li stony and morose. Story is flat. Use of China as a backdrop secondary and poorly executed (nothing new or breathtaking here). This truly is the sin we're actually IN China for heaven's sake and there is no grand vista, no expansive shots to dazzle us with the landscape. In watching the nightclub scenes I kept expecting Kate Capshaw to step out and start singing it's that derivative. Everything else is CGI. No overall quality to raise it to the level of the other two. But the kids will like the ride none-the-less...and yet...Worth the upgrade? YES for the first two alone.

This set appears to have been intended for sale in Europe one of the ratings labels on the cover appears to be for the Irish Film Censor's Office. Being that I live in the US and was aware of the regional coding issues present with a lot of DVDs, I was a little nervous about buying this. I read up online about region coding on Blu-Rays and apparently it's used a lot less than in the DVD era and one source indicated that Universal doesn't region code their Blu-Rays at all.

I decided to try this set out due to the price difference between this version and the US labeled one. I use a PS3 for a Blu-Ray player and the discs work perfectly. I have a TON of language choices I'll only use one, but that may be helpful to others out there. Other than that, absolutely no difference as far as the movie content and special features.

I'm glad I took the gamble.

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I love the Mummy movies. A trilogy box set was perfect....as long as they don't make a fourth. After watching ' The Mummy; Tomb of the Dragon Emperor. they better not. The action was great in the aforementioned movie, the chemistry was not as good, and some of the acting weak....but hey it was still fun. If you love the Mummy movies and don't have them all, this is a great deal for the price.

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I have loved the original 'Mummy' since it came out, and have had the dvd since its release. I have been waiting for the new movie and the blu-ray versions to become available, and have not been disappointed. This was a great package deal for an awesome trilogy!!

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When I bought Van Helsing which had the monstrous trio of Dracula, Frankenstein and the Werewolf, I realized the Mummy was missing from the monster squad. So when I had the opportunity, I bought the Mummy trilogy blu-ray boxset. I wasn't disappointed as the 3 films provided thrilling entertainment with the highest audio-visual quality. The 1080p high definition graphics brought out the sharpest and minutest details. For example, you can see the fine sand particles blowing as the Mummy transforms himself into sand and then disperses at will. Each film also comes with plenty of extra features, showcasing the movie-making processes, special effects secrets and deleted scenes etc. All 3 films are encoded with DTS-HD audio which brings the action sequences to life with booming bass.

Amongst the 3 films, my favourite is Tomb of the Dragon Emperor. Probably because it was the latest in the franchise, the visuals and audio are the most pristine. This movie also transplants the Mummy mythology into other civilizations (in this case, terracotta warriors) and takes the audience out of Egypt for a refreshing change. The Yeti monsters were very well done and animated; the avalanche scenes were breathtaking; the Dragon Emperor was probably more fearsome than Imhotep had ever been.

I highly recommend this blu-ray boxset to HD movie buffs. Although the franchise is very heavy on CGI (not surprising, being Stephen Sommers films), each film offers 2 hours' money worth of entertainment for the action-adventure fan. Until Universal Pictures makes the 4th film, this boxset offers the best collection of Mummy adventures money can buy,

GoldenEye (2013)

This review refers to the MGM Special Edition DVD of "GOLDENEYE".....

007 is Back! In 1995 the long awaited 17th in the James Bond series was here. The world had been through some changes, and so had Bond. He is now being played by the irresistible Pierce Brosnan. He was the Goldenboy who is remarkably suited to play the dapper, sophistacated, handsome, suave, witty,adventurous,(should I go on, I think you know the rest)007 in "GOLDENEYE".

So even though the world had been through all kinds of changes, there were still evil villans out there who nedeed to be stopped.

James daringly breaks and enters(by way of a super bungi jump) into a Russian Major Weapons facility. Along with 006(not for too long though), he fights off the blazing guns of the soldiers, sets an expolsive, fights some more, goes flying through the air, catches an out of control small plane,

stops it from crashing into a mountainside, and escapes in the nick of time as the massive explosion goes off. And YIKES..that's all in the first ten minutes even before the opening credits begin to roll! We haven't even gotten

to the state of the art gadgetry, the great car or the devastatingly beautiful women yet.

But have no fear Bond fans it's all here.Lots more action. adventure,humor, hi tech gizmos and yes don't forget the car and the girl! In this one(does it really matter what it's about?), our hero must rescue the world once more when a Satelitte System with amazing capabilites, falls into the hands of the bad guys and will be used as a powerful weapon against mankind.I don't want to give away too much for those that haven't seen it but suffice it to say you are in for some great action and some terrific storyline surprises as well, and yeah the romance too.

"Goldeneye" still under the supervision of the Broccoli's is directed by Martin Campbell. It also stars, Sean Bean, Joe Don Baker, Izabella Scorupco, Famke Janssen, as "Natalya Onatopp"(what a great name),Samantha Bond as "Miss Moneypenny". Desmond Llewelyn as "Q" and of course Judi Dench as "M".

It's got great cinematopgraphy and as always fabulous Bond Music.

You'll love this DVD. It's got everything you could want. Top quality picture and sound. The widescreen theatrical release format. A beautiful crystal clear transfer. Bold and vivid colors. Dol Dig Surround(5.1) that is tremenndous. If you love extra's, you'll have a field day( or week) with this one. There's commentary, a making of featurette, an eye catching Video with Tina Turner and much more(see the tech info for

complete list). It may be viewed in French(stereo)and has subtitles in English and French if needed. It also comes with a booklet with lots of facts and info.

Oh and Bond still takes his martinis "shaken, not stirred".

So "activate your navigation system now" and..

Have fun with this one.....Laurie

A lot people would claim that the Daniel Craig era Bond movies are the most hyped, especially Casino Royale and Skyfall, but back in November 1995, as a 15-year-old, I felt more hype and anticipation building around the release of Goldeneye. It was the first Bond movie in 6 years, the longest gap in the series, after audiences were turned off by the dark, angry License to Kill (still my favorite Bond movie). The old crew was gone, and a new star, M, Moneypenny, headquarters, and director were brought on board.

While many of the people in the cinema that Saturday evening were thrilled by GoldenEye, I wasn't so smitten. After a summer of Die Hard 3, Waterworld, and Under Siege 2 the poor effects and model-work of this Bond movie failed to impress. But not only that, the script is poor, the villain is weak, and there are grating contrivances. 17 years on, the mid-90s tech on show and exposition that a 5-year-old could now follow date the film badly.

It begins in 1986 with 007 and 006 (an unconvincing Sean Bean, then 35, playing a 50-year-old for the most part) infiltrating a Russian base. Mr. Bean doesn't make it. Nine years later Bond is on leave, with a psychiatrist evaluating if he's still fit for the job. Meanwhile the Ruskie General he crossed years earlier is now in cahoots with Mr. Bean (you didn't really think they'd hire an actor of that caliber to be killed in the first scene did you?) and plans to rob the Bank of England and reset the balance with the help of a special satellite. You see 006 is actually a Cossack descended from blah...blah...blah. Yeah, that's the villain's motivation.

The harsh, realistic tone of LTK is gone. The annoying fantasy of Moore-era 007 is back. Why the producers thought this was the way to go is beyond me. Thankfully, Tomorrow Never Dies was better. But Goldeneye is quite overrated and I can't find any justification for its popularity.

The Blu-ray is a travesty. When the Special Edition DVD came out in 2006 it was in the wrong aspect ratio, with picture cut off at the sides. Fans were not pleased. So when it was time to produce a Blu-ray, instead of doing a Lowry restoration like they did for EVERY other Bond movie released on the format they decided to go back to the high-def master used for the 1997 DVD (HD masters did exist back then, but only for studio use), in fact I wouldn't be surprised if this is even the same master used for the 1996 Laserdisc. But to make it look more modern they have applied a criminal amount of digital noise reduction, turning the movie into a waxy mess. Shots that scream out for fine detail come across as a 90s CD-ROM cut-scene. Make no mistake, this is a DVD in Blu-ray clothing. It's ghastly! The sound fares better in DTS HD-MA, and there are plenty of extras, but the video quality kills it.

MGM should initiate a replacement disc policy. GoldenEye needs to be remastered properly and given away free to people who were suckered into buying this frisbee. Make no mistake, it's one of the worst Blu-rays I've seen.

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In "Goldeneye", James Bond, played for the first time by Pierce Brosnan, must prevent an ex-MI6 agent, Alec Trevelyan, from detonating a powerful electromatic pulse, via satellite, over London. The pulse would render all electronics in London totally useless, and Trevelyan would seize that opportunity to electronically rob the Bank Of London. Along the way, Bond is assisted by computer programmer Natalya Simonova, who has extensive knowledge of the goldeneye satellite. Bond's other enemies throughout the movie include Trevelyan's sidekick, Russian General Ouromov (who has betrayed his government); Boris, a computer programmer who was once a comrade of Natalya, but betrayed her; and Zenia Onatopp, a dark, sexually charged woman who takes pleasure in making love, and killing. She especially enjoys killing WHILE making love ;)

The feel of "Goldeneye" is rather dark and serious, although there are comical moments strewn throughout the movie (so it's not quite as stiff as either of Dalton's Bond movies). There are a wide array of characters featured in the movie, all of whom are thoroughly enjoyable, and well written. The actors playing them are especially entertaining to watch. Kudos to Izabella Scorupco, who is not only gorgeous, but plays the part of Natalya very memorably. Famke Janssen is also magnificent as Onatopp, and there has not been any Bond villian quite as quirky or devilish as Onatopp since (what Bond villainess has ever licked Bond's face, and then beaten him up? Just Onatopp!). Pierce Brosnan, of course, fits right in as James Bond, and manages to combine elements of a dark edge with a touch of a light side.

"Goldeneye" works very well as a Bond movie. The plot is intruiging, and moves along at a perfect pace, keeping the viewer interested. The action sequences in the movie are very well done, immensely enjoyable to watch. Eric Serra's music fits the movie PERFECTLY, and in my opinion, the producers should have invited him back for more films. His score adds a dark undertone to the movie, something which all of Brosnan's Bond movies afterwards would painfully lack.

Characterization is also important in the movie. One of the most memorable scenes has Bond sitting on a Caribbean beach at sunset, staring out at the ocean, and thinking about his inevitable confrontation with Trevelyan, who used to be an old friend. Natalya walks over to Bond, and questions how he can be so cold, so dark. "It's what keeps me alive," Bond replies, before the two of them go off to make love. It's a shame Brosnan was not given more scenes such as this one in future Bond films... it certainly makes "Goldeneye" unique, and deep.

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It is difficult to recreate in words the sheer visceral thrill of seeing this film for the first time in a proper movie theater...but I will indeed try. Each time I see this film, I'm reminded of just how great a turnaround this movie made for the Bond series. Some of you may not remember that there was a six-year period where the future of James Bond was indeed in question, thanks to the commercial failure of "Licence to Kill". This movie singlehandedly put Bond back on the cinematic map with a vengeance. And justifiably so, for it is perhaps the best-constructed post-On Her Majesty's Secret Service Bond film. All of the classic Bond elements are well-utilized, be they the gadgets, the lethal enemy, the beautiful ally, the bombastic theme song, or the one-liners which Timothy Dalton never really looked comfortable saying. Pierce Brosnan, despite some stiffness, is indeed suited for the part and we instantly can accept him as Bond. A more psychologically complex and to some extent more vulnerable Bond he is, which makes his portrayal all the more interesting.

And, perhaps most importantly, the film itself LOOKS good. Martin Campbell deserves much credit for his directorial effort; the film is visually a world apart from predecessor John Glen's rather tepid later efforts.

It's difficult to call this film a classic, at least at the present time (it's still a relatively new film, after all) -but my guess is that this Bond entry will stand up well to the test of time...The Man With The Golden Gun, it ain't!

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It is diffcult to argue with success and Pierce Brosnan'sdebut as James Bond, after the character's 6 year absence from the screen, made more money than any of the previous Bonds (although perhaps not in 60s dollars).

Every Bond actor seems to bring something to the role. Connery, of course, was the epitome of 60s cool. Dalton had Connery's determination, Moore his sense of comic delivery even Lazenby brought a physicality to the role. Brosnan moves extremely well, too, and I suppose is the cloest thing to the well-rounded Connery interpretation, although I am not a great Brosnan fan.

My big problem with this film (besides the music) is the screenplay. So many of what are supposed to be witty remarks make no sense as replies to Bond (Example Bond: What would I do without you, Moneypenny? Moneypenny: As far as I can remember, you've never had me. This seems a ridiculous thing to say when someone is complimenting you.) And I don't like how the "9 years later" legend on the screen seems to invalidate the Dalton films. And that opening stunts. Other Bond stunts may be implausible, but skydiving after a plane that's jist gone off a cliff??

While I am happy the filmmakers try to tell us something new about Bond (that reference to Bond's parents is a first for the series and right out of Fleming), this idea of 006 being Bond's best friend, No, no the 00s never work together. Never. MI6 could not afford to lose 2 high caliber agents at the same time. It is good to see the character of Chief of Staff Bill Tanner (previously in THE MAN WITH THE GOLDEN GUN and FOR YOUR EYES ONLY) included.

This special DVD is really the same as the previous laserdisc release, but since it is supposed to be "special" it would have been nice if photos of Brosnan being on the set of FOR YOUR EYES ONLY (his wife was in that film) had been included. It also would have been nice if Brosnan's Diet Coke commercials, obviously Bond themed and airing when he lost the role in 1986 to Timothy Dalton, could have been included.

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