The Queen (2006)

Monarchs have always faced threats to their thrones. So much so that royal history, burgeoning with fiendish conspiracies, violent plots, and gruesome assassinations, sometimes reads like a slasher novel. A few recent films have fully exploited this theme. 1998's "Elizabeth", starring the should-have-won-an-Oscar-for-this-role Cate Blanchett as Elizabeth I, revolved around an assassination attempt that included the queen's lover. On a less violent theme, Judy Dench, in "Mrs. Brown", depicted Queen Victoria's "trist" with a Highlander that had all of England alight with scandal. Has a new "threatened queen" genre emerged? Apparently so. Enter a rare film about a living monarch who finds her crown imperiled in an astonishingly novel way. For once Her Majesty can watch the drama she lived reemerge in celluloid not that she probably wants to. Though the film sports a prosaic title, "The Queen", it boldly explores uncharted territory. Here the Queen, reigning in the late twentieth century hinterland between monarchy and non-monarchy, finds herself attacked by her own people. And she, much like the great-great-grandmother she shares with her husband, was not amused.

The film opens as Queen Elizabeth II sits for a regal portrait. Her world unfolds as the royal portraiteer dotes on his imperial subject. Then, in a "we're not in Kansas anymore" flash, the newly elected Tony Blair explodes onto the screen. The now ex-Prime Minister receives voluminous coverage for a movie entited "The Queen." One memorable early scene shows Blair bowing on one knee as the Queen inquires as to his desire to serve the nation. He answers "yes." That probably didn't give too much away. Both figures, Sovereign and Prime Minister, share the spotlight and their disparate worlds collide after catastrophe strikes.

News of Princess Diana's death soars over England. Actual news footage, now almost ten years old, gets woven with dramatization. The late Princess appears often. Tony Blair issues a eulogy almost immediately. But the royal family remains eerily silent, holed up in Balmoral, their Scottish getaway. The Duke of Edinburgh, depicted here as rather heartless and crass, shows more concern for hunting stags than the furor around the dead Princess. He even takes Diana's sons hunting as a diversion. Prince Charles, divorced for a year from Diana, remains the only one moved. He flies to France to bring the body of his ex-wife back to England. As the tension rises the film depicts him as nervous, fidgety, and fearing assassination. Regardless, he cannot alter his mother's public stoicism towards the tragedy. The Queen Mother provides some comic relief. When someone shows concern over photographers intruding on their son's hunt, she says nonchalantly, "if there's a photographer he could be the first kill of the day."

Soon bundles of flowers and messages of grief crowd the gate of Buckingham Palace. But no one's home. The flag, supporting royal traditon, remains lowered in the Queen's absence. Icy silence from the palace sours the public. They begin speaking out against the monarchy. This causes a drastic change in Tony Blair. He suddenly sees the interdependence of the Queen with his own station. In phone call after phone call he pleads with her to do something. She resists even after he gives her a vital statistic: one in four people now favor abolishing the monarchy. Que the Threatened Queen leitmotif. Princess Diana now seems to upstage the royal family even in death. Elizabeth II convinces herself that "this mood" will pass.

It doesn't. Slowly the idea that her people hate her sinks in. Bowing to pressure, the family inspects the bundles of grief displayed outside of Balmoral. They soon return to London and face the dense Buckingham crowds. Here the Queen sees what her public indifference has wrought. She reads "They don't deserve you" and "They have your blood on their hands" on some of the flowers. Here begins the Queen's transformation, criss-crossing with the Prime Minister's. Diana's death irreversably changes them both. Finally, probably more in deference to her public than to the dead Princess, the Queen finally issues a public statement. Blair's staff has the original text rewritten "to make it appear like a human being wrote it." But at this point Blair, who earlier said "someone save these people from themselves", now lashes out in defense as his aide mocks the Queen's sincerity. The fuse begins to fizzle.

The film explodes a haunting paradox. Royal tradition, often seen as the bulwark of the monarchy, here threatens to undermine the institution itself. Insisting on not raising Buckingham's flag to honor Diana and treating the tragedy as "a private matter" enfuriates the public. Stuff tradition. They demand a change of protocol. Subsequently, Britain turned upside down.

Of course a film depicting living breathing people fumbling through a crisis will inevitably draw controversy. Blair gets depicted as savior here, the steam in the engine. But the real Elizabeth II issued a statement that she decided to speak out all by herself. In her own words no one persuaded her actions. Not only that, Blair and the Queen have supposedly never divulged what passed between them during that tense week. Given that, this film presents an educated guess as to the workings of the English government during that time. One wonders what Tony Blair and the Queen really think of the film. One also wonders if the royal family and the Prime Minister really watch that much television.

The performances throughout remain stunning. Helen Mirren and Micheal Sheen shine as the protagonists/antagonists. Mirren's performance dazzles so much that viewers will forget that they're watching Helen Mirren. She presents an example of undetectable acting at its finest. And though no intense action takes place the film still provides a roller coaster ride. The actors and the direction by Stephen Frears, just off of "Mrs. Henderson Presents", obviously deserve credit here.

Best of all, "The Queen" allows viewers to come to their own conclusions surrounding that controversial week in 1997. Was the public right in lashing out at the monarchy? Was the Queen sincere in her famous "grandmother" speech? Was the monarchy really threatened? The film depicts the events without mashing opinions and answers in viewers' faces. Audiences can leave with vastly differing viewpoints. And what's better than great film? Having great conversations about great film. "The Queen" will doubtless keep tongues happily waggling for some time to come.

Helen Mirren is getting the requisite kudos for her portrayal of Queen Elizabeth. But there's another portrayal in Stephen Frears' excellent film of an equally public figure that is going relatively overlooked: Michael Sheen's spot-on take on Tony Blair. I was totally mesmerized at just how perfectly Sheen had both the look and feel of the unbridled optimism of TB at the outset of his first term. That's key because it's Blair's intuition on the matters at hand here that are instrumental in shaking the Royal Family out of their tone-deaf dismissal of the unfolding events across the country.

It's interesting to see the portrayals here and see how harsh or sympathetic they are (Mirren's Elizabeth is complex and beyond analysis here):

Prince Philip A devastating take on him

Price Charles Painted very sympathetically by Alex Jennings, but obviously cowed by his mother

Alastair Campbell A very positive take on New Labour's wordsmith by Mark Bazeley (I'm a big Campbell fan, so it was good to see the script honor his contributions to Blair's early successes).

Queen Mom Yikes! Not a very pretty picture

Frears' delicate and respectful approach keeps William and Harry just off the picture.

What will really take you about the movie is this: as many reviewers here note, they found themselves strangely moved and shocked by Diana's death, like she was a member of the family. When those scenes play out here, wow, you'll be quite surprised at the emotions that well up in you. It will happen. Trust me.

Frears as pitch-perfect movie helmsman includes the stirring end portion of the eulogy penned and intoned by Charles, Earl of Spencer (Diana's brother). Spencer's speech is generally regarded as one of the finest eulogies ever rendered. It has become a part of British textbooks. Here's the part you hear in the movie:

"I would like to end by thanking God for the small mercies he has shown us at this dreadful time. For taking Diana at her most beautiful and radiant and when she had joy in her private life. Above all we give thanks for the life of a woman I am so proud to be able to call my sister, the unique, the complex, the extraordinary and irreplaceable Diana whose beauty, both internal and external, will never be extinguished from our minds."

That will send a chill up your spine when you see it in the theater.

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There are several themes to this excellent and most original and interesting film; but what it is about more than anything else is how political regimes and whole dynasties can be undone on account of a single error of judgment. It is only near the end that Her Majesty warns her prime minister that this will happen to him, and happen suddenly and without warning. It had nearly happened to her, he had been the saving of her on this occasion, and her dire prediction for him probably holds an uneasy message for herself too.

At the start the Queen is full of regal self-assurance, neatly putting her boyish and slightly nervous novice of a prime minister in his place by telling him he is sitting where Churchill once sat. In next to no time the positions are reversed, as Blair's acute political antennae tell him that HM is in imminent danger of losing her subjects' allegiance, something that would have been unimaginable only days previously, through trusting her own judgment and listening to the advice of her husband and her mother in respect of how to react to the death of Princess Diana. Throughout the crisis Blair is adroit and sure-footed, the monarch is made to realise bitterly from the newspapers how he has it right and she has been hopelessly at sea, but unlike her family counsellors she has the wit to swallow her pride and retrieve the situation before it slides beyond retrieval. This one incident could have undone a lifetime of unswerving dedication, universally acknowledged, to her country, and put the skids under the House of Windsor itself. Her warning to Blair is really made from a new sense of respect and a shocked realisation of how quickly and brutally the tables can turn. And how right she has been. This film does not make the matter explicit, but any viewer can sense the irony of Blair's own political fate. For years he seemed unable to put a foot wrong as far as the public were concerned, his luck was near-incredible (and his political nous was enormously greater than Churchill's); and then he blew it all with one foolish and ill-considered assertion in the Commons about weapons of mass destruction in Iraq. Just one mistake, when one is not sensing danger, is enough.

The depiction of the main players is brilliant, and I found it fascinating to guess just how accurate it may be. Leaks, rumours, gossip and memoirs certainly descend on the public these days like leaves in Vallombrosa, giving us some shaky basis for forming a judgment. In the nature of the case a prime minister has to make himself (or herself) familiar to a rightly suspicious electorate, but a monarch should always retain some mystique, and the other dramatis personae, even the heir to the throne, are only intermittently in the limelight. Inevitably and rightly the film's characterisation is creative, but it is coherent and convincing provided one does not mistake it for portraiture from life. The acting has been widely praised and I concur entirely. The atmosphere is beautifully touched in too, from the family life of the Blairs (and the Windsors) to the blokeish informality of the New Labour apparatchiks in Downing Street and above all the hushed flunkeyish reverence accorded to the Queen, cocooning her in the chrysalis that nearly devoured her.

I hope there is no possibility of a sequel, as a masterpiece like this should be left unique. Within days now Her Britannic Majesty will be welcoming a new prime minister whom she probably suspects of being a closet republican, as I suspect he is too. I shall be watching out all the same for one thing that this film says clearly through the lips of Cherie Blair, something to the effect that all Labour prime ministers finish up devoted to the Queen. Maybe it will be the same story with Brown, but I wonder how matters will stand once the monarch is no longer Elizabeth II. When that becomes the case the story of Princess Diana is likely to open a new chapter.

Read Best Reviews of The Queen (2006) Here

The British royal family has weathered abdications, wars, and scandal. But one of the nastiest hits to them in the twentieth century came when Princess Di was killed.

And so "The Queen" tries to get inside the perfectly-permed head of the British Queen Elizabeth II, nearly ten years ago. Helen Mirren gives an Oscar-worthy performance as the title character, as she attempts to weather public and personal difficulties. Uneasy lies the head that wears a crown.

The movie opens with the election of Tony Blair (Michael Sheen), who comes to visit the queen (Mirren), despite being rather nervous about his new job. The country has been off balance ever since Di died in a car crash a few weeks ago, and her passing leaves the royals with mixed feelings. The queen decrees that since Diana divorced Prince Charles, she was no longer a royal, and her arrangements are to be left to her family.

What she doesn't realize is that the people ADORED Diana, and continue to adore her in the weeks that follow. Then the press joins in, berating the royal family for coldly ignoring the ex-princess, and heralding the Labour Party Blair. Her husband and mother think that she should continue doing nothing -but the Queen has learned that sometimes the people need to be appeased.

"The Queen" unfolds slowly like an old book, and Stephen Frears gives it the dignified gloss that usually belongs to older movies. Scenes that could have been maudlin or cliche are underplayed, which makes them more powerful. One example is of the queen peering in as Charles tells his young sons that their mother has died.

Fortunately, as in real life, there's also comedy as well as confusion and tragedy; Peter Morgan injects some humor when a nervy Blair meets the Queen for the first time. Morgan also spins u[ the kind of dialogue we can imagine the droll Elizabeth or prickly Prince Philip saying ("Sleeping in the streets and pulling out their hair for someone they never knew. And they think WE'RE mad!").

Mirren doesn't normally look much like Elizabeth II. She's younger, taller, and prettier. But with some padding and makeup, she manages to BECOME Elizabeth II. She's dignified, haughty, yet Mirren manages to bring across that she's bewildered and vulnerable as well. In short, she makes her version of Elizabeth II a person.

She's also backed by magnificent performances by Sheen and James Cromwell. Cromwell is excellent as the crotchety, stubborn Prince Philip, who thinks the best way to deal with grief is to go hunting. And Sheen is very good as the Prime Minister who is just starting his work, and who gains a new perspective on the royals.

"The Queen" is a unique, quietly compelling film, as it explores what might have happened within the royal family -and the person that Queen Elizabeth might be, underneath the royal mask.

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It's hard to imagine a better drama. Although one of my fellow reviewers decided to spend the time sharing with us what asinine things he thought of while watching the film, I will simply say that this crew has brought us a wonderful, well-acted performance of a witty script. Watch this and just savor the chemistry between the queen and prime minister and it's so interesting being an American and watching how the monarchy functions.

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Grave of the Fireflies (2012)

I generally don't cry at movies. I love any movie that can move me enough to shed a tear or two. Grave Of the Fireflies is not one of those movies. In those movies even though I'm sad the final scenes leave me with a residual hope that while some tragic event has just occured the charecters involved will grow and live better. Grave of the Fireflies doesn't do this. There is no hope or possiabilty of things getting better. This is Life at it's cruelest. Life that will never get better. This movie doesn't move you, it shatters you.

Seita And Setsuko (the boy and His little sister) aren't Heros and their abusive aunt isn't the villian. Neither for that matter is either side of the war protrayed as good or bad in these movie. This is just a story of people being people. some kind, some indiffrent and some compleatly harsh. Seita makes mistakes that many children in his position would.

Although fifteen years old this film is still very beatiful. The images it portrays are quiet and subdued yet elegent. The final scene is something that shall forever be burned into my brain. It's touching and heartwrenching finality should break most people.

Well I love Grave of the Fireflies. I Love it for it's unflinching look at war and life, It's graceful bueaty as it portrays a young girl playing amidst Fireflies, and for what it does to me at the end.

Why must fireflies die so young?

"Grave of the Fireflies" ("Hotaru no haka") is one of the most powerful anti-war films I have ever seen, which means that it has no competition when it comes to emotional impact in terms of animated films. The death of Bambi's mother was a traumatic shock, but nothing like the sense of despair and grief that overwhelms you by the end of this film. The film begins with the spirit of a young boy showing us his death in a train station, after which we follow the fireflies into the past to see his story. At the beginning of the original movie of "Brian's Song" we were told: "All true stories end in death. This is a true story." So is "Grave of the Fireflies" because I have no problem granting the legitimacy of "truth" to fiction.

In the last months of World War II an American fire bomb raid destroys the port city of Kobe, where almost all of the buildings are made of wood. Seita (Tsutomu Tatsumi/J. Robert Spencer) is a 14-year old boy who survives along with his 4-year old sister Setsuko (Ayano Shiraishi/Rhoda Chrosite). They were separated from their mother during the raid, which spares them from her fate. Their father is a navy officer serving in the Imperial Navy at sea, and the two kids go off to live with an aunt. With both his school and the war factory where we worked gone, Seita does not know what to do. So he tries to take care of his sister. But his aunt constantly berates him and after trading his mother's kimonos for rice that she stingly shares with the children, Seita decides to take Setsuko and live in a couple of caves dug for bomb shelters. For a while their live remains idyllic, but then there is nothing left to trade for food, and no food to be bought for money. Seita has to steal food to survive while Setsuko is getting weaker and weaker from hunger.

This film is based on the semi-autobiographical novel written by Akiyuki Nosaka, which won the Naoli Prize, the Japanese equivalent of the Pulitzer Prize for Literature. Like Seita, he survived the fire bombing with a younger sister, who died in his care. Obviously the story stems from a sense of guilty and I believe telling this story was confessional rather than cathartic for Nosaka. Writer-director Isao Takahata turns this tragedy into what can only be described as a poetic experience, achieving a cinematic lyricism that could never have been accomplished in a live-action film (e.g., the way the fireflies have a counterpoint in the pieces of ash that drift on the wind after the fire bombings). There is a quietness to this film, a sense of contemplation that emphasizes important and small moments alike, and makes scenes linger as the heart-rending story plays out to its fatal conclusion. The voice work by both of the young girls playing Setsuko is extremely effective; I have a slight preference for that done by Ayano Shiriashi simply because it is much more naturalistic than what you usually find in anime depicting children.

"Graves of the Fireflies" is an unforgettable film, one which will reduce most viewers to tears if not outright sobbing. Watching it is a painful experience, but then a film depicting the horrors of war and showing what happens to young children is supposed to have that effect. Viewing it a second time makes the experience even more intense (you probably will not catch what Setsuko's last words are the first time through, but be prepared for what it will do to you when you watch the film again). You will never, ever forget this film and you should be very, very careful about showing it to younger children, because it will change forever what they think about animated films. It will do that for you as well.

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Note: It seems a crime that this classic has been off the DVD market. Now this digitally remastered and restored version will be able to reintroduce the film to a new generation.

"Grave of the Fireflies" is a film that I'd heard about for years before I finally got around to viewing it. As one of the most well-respected early anime classics--of course, I expected great things. I knew vaguely what the picture was about and knew that its tone strove for realism as opposed to fantasy. But what I didn't really comprehend is that it would be such a mature story geared toward adult audiences. The sophistication, complicated subject matter, and sorrow contained within "Grave of the Fireflies" made it one of the more surprisingly moving films that I'd seen in quite some time.

The story is simplistic. Set in war-torn Japan near the end of the World War II, two kids must deal with the unexpected death of their mother in a bombing attack. With no one to care for them and their home destroyed, they attempt to live independently. Naturally, there are many obstacles to overcome, and the horrors of war are depicted with surprising candor. I had not expected the film to be so forthright in its depiction of such a serious subject matter.

What really distinguishes "Grave" is that it becomes a powerful story of love and commitment. As the brother embraces the responsibility of caring for his much younger sister, we see him take the reins of adulthood. It is a coming-of-age story by necessity. The relationship between the siblings is amazingly realistic and thoughtful. And even though the film is animated, it is perhaps one of the most stirring tales of familial loyalty that you can see. The plot unfolds in a heartbreaking way with moments of such tenderness, such love, and such inevitability. The film never condescends to its characters or its audience.

Not a cheerful or easy film, "Grave" easily transcends most animated endeavors. The film has, through the years, reduced many of my friends to tears. For a realsitic anime film to elicit genuine and earned emotions, that's an enormous success. One note on the technical animation. Keep in mind that the film was made in 1988, it's not going to be a glossy or polished Pixar film. Instead its appearance and style is appropriate for its timeframe and narrative. But beyond the visuals, more importantly, the film is a powerful and relevant meditation on war and family. KGHarris, 11/06.

Read Best Reviews of Grave of the Fireflies (2012) Here

First off, to get this out of the way, you should be watching this movie so you can know how beautiful and incredible animation can be this is a visually gorgeous and lush movie.

Beyond the animation, Grave of the Fireflies is truly in the top of perfectly written scripts. The subject matter of the film is war and death, but specifically how war affects the innocents. This is Japan in the end months of WWII during the firebombings, when food was scarce, and children without parents were left to die.

This story is incredibly sad, but so important to hear and see it not like a mainstream Hollywood sad movie that might make you cry while watching, but otherwise has no power to alter your perceptions of life. This is truly sad the young kids die, and they die very horribly sickness and starvation. The whole process is so well-written, you'll feel the hunger and the sickness yourself, and the animation adds to the effect.

It is so welcome to have a movie that doesn't turn out all right in the end, but turns out awfully darn depressing, because a lot of times, life just plain sucks and isn't fair, if not for me, then for many other people. It is good to remember that not everything always turns out okay, and nothing is wrong in showing this realistically in a movie. Would I show this to young kids? Hell yes I think young kids would identify very strongly. And if we can get our young kids to see the ridiculous nature of war at an early age, mayhaps we shall finally have a generation that doesn't feel a need to kill each other over irrelevant philosophic, racial, genetic, geographic, etc., BS.

This movie and the story has not left my mind since I saw it a point of proof that this is an incredible movie. But do be prepared to feel amazingly sad. I saw this movie in the winter. Then about 5 months later, in the summer, when I saw my first fireflies of the year, I was overcome with an incredible sadness. That's how powerful this movie is.

I will be using this with my youth groups, probably for many years. It has so much worthy of deconstructing and analyzing this is truly artwork, for it does all things that art is supposed to do it has the power to change you, and the power to not let you forget the story. Excellent all the way around!

And make sure to get one that is letterboxed, to get the whole movie (why are movies even released without being letterboxed? People are stupid...). And get a copy that is in Japanese with subtitles (unless, of course, you speak Japanese). You really, really have to hear the original Japanese, and the original actors. Amazing movie. A billion stars.

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im a diesel mechanic working on buoy tender ships in northern michigan, where its negative 30 degrees. i have a full sleeve tattoo, and a jagged scar on my face. my wife is ex military and a lumberjack's daughter. we bawled at this movie.

i canNOT express how good this was.

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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!

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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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House On Straw Hill (Blu-ray + DVD Combo) (1976)

Udo Kier kicks butt (literally) in the parking lot near the start of the film. For crying out loud, I believe this is the best film of Udo's career and there's still, not, a single DVD release of this film! His descent to madness is brilliant as he is exposed for what he is. I understand there might be ownership rights in dispute because of the number of name changes this film went through from House on Straw Hill to Trauma to Expose. One would think Code Red or Scorpion Releasing would be able to resolve these issues, just like with Human Experiments and give us a collector's DVD and slap on the missing scenes as extras to speed up a possible release.

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10 (2011)

In 10, Dudley Moore gives a five star performance on two fronts as both a comic and music genius. Film fans may be unaware that Moore scored several films and performed as a concert pianist in his career in addition to his acting talents.

Moore plays a fortyish songwriter who has developed the mother of all mid-life crisis's. Julie Andrews (who looks fantastic here BTW) shines as his impatient love interest and Bo Derek is lovely as Dudley's fantasy girl. Brian Dennehy and Dee Wallace-Stone are very good in supporting roles.

The DVD transfer is good especially for a film that has a little age. The sound is mono only which is disappointing but understandable. This is one of Blake Edwards best films and a must see for fans of romantic comedy. It is sad and sobering to realize that both Moore's and Andrew's gifts have been diminished by illness. Grab this DVD and take time to remember how really talented they both are.

Dudley Moore plays a fellow by the name of George Webber. Webber is a wealthy, accomplished & respected musician who has a great many friends and admirers. There is one problem. He is in his 40s and begins to experience his mid-life crisis. He is restless & bored with life. Although settling in to middle age, he finds that he is still attracted to women in their 20s (a "problem" that I myself experience).

By chance, he spies a beautiful young woman (played by Bo Derek) who is on her way to her wedding. She is the most gorgeous creature he has ever seen and he immediately becomes obsessed with her. This obsession leads to a great many mis-adventures that lead the viewer through the balance of the film.

While it is not apparent on the surface, I would characterize 10 as a dark comedy. It is somewhat morose to think about getting older and no longer being young & vibrant. The creative ways in which the film differentiates Moore's character from the young lover of Bo Derek's persona are almost creepy.

Aside from the tragic loss of youth, the film is also a commentary on the issue of people's personalities not matching their exterior appearance. While she is beautiful, Bo Derek's character is found to be quit wanting on the personality side of the ledger. She is shallow and superficial. Insofar as being a worthwhile person, she can hardly compete with George's girlfriend (portrayed by Julie Andrews).

Of all of Blake Edward's films, this one is probably in the top 5. It is insightful into what troubles we human beings as we grapple with your mortality and the decline of our bodies. On the upside, there is also some gratuitous nudity, although they could have shown a LOT more of Bo Derek. If Amazon had a 10 star rating, I would give this one a 9!

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This is a magnificent comedy about a male in a mid-life crisis who sees a beautiful women and becomes infatuated. Bo Derek made a career of this movie. No acting skills at all but her desirous beauty alone makes her perfect for the role. And Dudley Moore? This is movie also made his career. In a supporting role, Brian Dennehy starts his career with a great role as a bartender. Also, my kudos to Blake Edwards.

Probably most under-appriciated is the magnificent score, particularly the songs of his lust and yearning for Bo Derek. But it's never as real in real life and Moore finds this out. Anyone married for 5 years who hasn't seen this movie should curl up for an afternoon with this on the tube. It's a classic of marriage, love, and life in Los Angeles.

Read Best Reviews of 10 (2011) Here

Blake Edward's film "10" is probably among one of the funniest movies to come out of the 1970's.It is both a celebration and condemnation of the sexual antics (post pill/pre-aids)of our society during the "Me Decade".In the story, Dudley Moore (in one of his best roles)plays George Webber, a Burt Bachrach style composer, who seems to have everything including wealth, fame, talent and a wonderful girlfriend (marvelously played by Julie Andrews). Unfortunately George has just celebrated his 42nd birthday and is having a huge mid-life crisis.He does this by fixating on a just married beauty(played by the ravishing Bo Derek)who is the "10" of the film's title.George, hilariously chases her down to a Mexican vacation resort, where he learns the lesson, that one must be careful, what one wishes for.The "10" might be a beautiful girl, but she is ultimately an empty person, who lives for nothing more then self-gratification. This is a really funny movie farce that seems to give us a little of everything.The scenes of physical slapstick probably can only be rivaled by Blake's own "Pink Panther" movies.The dialogue is witty and delivered with the best of comic timing.But what ultimately makes this movie is the performances by Dudley Moore and Julie Andrews.Both actors play their characters with both heart and emotion. These two have such a wonderful chemistry together (even when they are fighting) that you wonder how Moore's character can even have such an idiotic mid-life crisis.Finally, I must mention the movie's funniest scene and it's use use of Ravel's 'Bolero'. In the scene, Moore tries to seduce the beautiful Derek, who infuriatingly insists, that he keep re-starting the "mood music". Never has a piece of classical music been put to such comic effect.It led to the real life '70s fad of using 'Bolero'as "make-out music". This is a really a funny movie that will provide you with a great night of comic entertainment.

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One of the best all-time real life comedies. They don't make em like this anymore. Bo Derek is amazing, Dudley Moore is brilliant. This is one of the five best movies I've ever seen. If you like rock-em sock-em far fetched explosion's and car chases, move on. This is a realistic, well written, well acted, real life story of a middle aged man going through mid-life crisis. It's not a male bashing or female demeaning movie. It's a good realistic story about some really interesting people going through what most people go through at some point in time. The movie came out around 1980 but you don't get the sense that your watching an old movie when your watching it. It's timeless. One of those movies you will watch more than a couple of times over the years.

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NFL New Orleans Saints: Road to Super Bowl XLIV (Collector's Edition) (2010)

Based on an examination of the back of the box, through the convenient zoom feature, this is what Saints fans have been waiting for: The original Network rebroadcasts of four Saints' games, starting on Disc 1 with the week 13 game victory squeaker against the Washington Redskins.

Ah, but then it really gets good for the Who Dat Nation!

Disc 2: the divisional playoff blowout victory against the Arizona Cardinals. We brought the wood!

Disc 3: the overtime thriller against the tough Minnesota Vikings in the first NFC championship game played at the Superdome. "Pigs have flown! Hell has frozen over!" On to Miami!

Last, and of course not least:

Disc 4: Saints vs. Colts in Superbowl XLIV!!

Coming in at 479 minutes, just under 8 hours of ultimate ecstasy for any member of the Who Dat Nation, this is an essential purchase for any member of the most long-suffering and loyal fan base in the NFL. Better than pinching yourself to see if it's still a dream, we get to watch the Saints snatch victory from the jaws of defeat against the Redskins, steamroll the Cardinals (and Kurt Warner into retirement), watch the Saints gut it out against a gutty, yet error-filled, Vikings team led by Brett Farve, who took a heckuva lot of hits in his annual retirement game du jour. And the piece de resistance: Taking on one of New Orleans' favorite sons, Peyton Manning, in a Super Bowl classic, a game filled with daredevil playcalling and one mistake being one too many for Manning, as the Saints upset the applecart on the way to Peyton being enthroned as the greatest QB of all time, thanks in large part to SB MVP, Saints QB Drew Brees, and the often maligned Saints defense.

Well, don't just sit there watching this screen: order it now!

Every play of the games are on the discs. Every once in a while the time between the plays are edited, not too often though. I thought it could have looked a little better on bluray, but still looks great. Typical money hungry NFL. You need to buy NFL Super Bowl XLIV: New Orleans Saints Champions Highlight Video if you want the trophy presentation. Pathetic that they didn't include it on this disc as well. No NFC Champion Ceremony as well.

Buy NFL New Orleans Saints: Road to Super Bowl XLIV (Collector's Edition) (2010) Now

If you are a Saints fan then this is for you. It's a chance to relive the unbelievable march to the Superbowl. I highly recommend it to any fan who has waited the long 43 years it has taken to get to where they are now, #1.

Read Best Reviews of NFL New Orleans Saints: Road to Super Bowl XLIV (Collector's Edition) (2010) Here

Being from Europe, we dont know much about the american sports, especially American Football, I just love this Vid. Great Quality in the picture, great footage, and much more detail in HD. I strongly recomend this product. That Saints Defense is great.

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I gave this a four star because I wish more of the fan's celebration would have been shown. I would have gladly paid more if the DVD would have been longer after the Minnesota win and the Super Bowl win to show more of the Who DAT Nation celebration. An extra DVD showing the presentation of the trophy would have been worth the extra money, at least to every Who DAT out there!

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Clannad: Complete Collection (2006)

This, to me, is one of the best that anime can offer to an American public. It has the right amount of humor, sentimentality, and honesty without leaving you with more than the other.

Tomoya Okazaki is a bitter, sarcastic, pranker in his senior year of high school, spending most of his time ridiculing his friend and fellow lethargist, Sunohara. However, it all seems to change when he meets Nagisa Furukawa, a kind-hearted, yet unsure, girl who wishes to revive the drama club.

The journey the two go through together with the friends they make along the way, is one you shouldn't miss.

The new English Dubb was rather well made and interesting. It followed almost step-by-step with the dialogue in the subtitles for the Japanese language.

The DVD casing came in pristine condition. Inside it, the disks (there are four of them) came stacked ontop of each other; They contiue to play well.

Again, I highly recommend this to anyone who's a fan of charcter-driven stories.

This series is an excellent buy. If you're unsure of it but watch a bunch of anime then I'd say to give it a try at least. I wasn't sure when I first saw it but it quickly grew on me as one of my favorites. From making you roll around laughing to inducing tears, this series is full of all kinds of emotional twists. Upon first glimpse, I thought it was just another Anime involving high school students, but the more I watched, the more I realized how much of a masterpiece this was. Definitely check it out.

UPDATE: I just purchased the blu-ray Clannad Collection and as usual with this series, I'm very pleased. It has both English and Japanese DTS-HD Master Audio 5.1 with this set. The audio listed on the product description with Amazon shows it as Japanese Audio and doesn't list English, but if you examine the screenshots of the back of the case, in the lower left hand part of it shows both English and Japanese. I will thoroughly enjoy watching this series again in the higher resolution and remain here hoping Sentai Filmworks re-releases After Story for blu-ray sometime soon.

Also, another thing about the blu-ray series is the case is much better than the one used for the DVD set. The blu-ray case has all 3 discs seperate instead of stacking each disc on one spindle. Much easier and safer for the disc with the blu-ray collection.

Buy Clannad: Complete Collection (2006) Now

Okay seriously people if you are considering purchasing the Blu-Ray copy of this wonderful anime... just do it already!

The box set comes in a nice consolidated case. All three disks have their own slot for minimum scratching.

The English dubbing in this show is top notch.

Music is absolutely breathtaking at times!

Beautiful art style with the greatest character development I have ever seen in an anime series!

Warning: Can make you cry...in a good way!

Read Best Reviews of Clannad: Complete Collection (2006) Here

Sentai Filmworks best ever anime in my opinion, Made by Kyoto Animation just like Kanon and Air TV. I love most animes made by Kyoto Animation, if you like drama animes you would to.

24 episodes on four disks, Widescreen 16:9, Rated TVPG so just about anyone can enjoy this anime.

Special Features: Clean Opening, & Clean Closing

Spoken Languages: English, Japanese, English subtitles.

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Clannad illustrates life of Tomoya Okazaki, the protagonist. He is initially illustrated to be delinquent who is finding no joy to his everyday life, until he meets girl at the slope just before the main entrance of school that he attends.

Based on the game of same title, just as what I would expect after watching some of Kyoto Animation's conversion of game (such as Kanon which I also recommend) to anime, this is beautifully executed as well.

Story mostly revolves around different characters including Fuuko, the girl carving starfish sculpture for everyone in school, hoping to invite everyone to wedding of her older sister, and Kotomi a mysterious genius who Tomoya meets in the library, while centering storyline of Nagisa. (In the original game, story progressions with each character are considered to be parallel world, so the anime version has quite a bit of structural change to its overall storyline. For two other main characters Kyo and Tomoyo, they were deemed too difficult to integrated into main story line, therefore Tomoyo's parallel world was included as its own episode, which is in this DVD set, and Kyo's story is included in an episode in After Story.)

The show illustrates overall theme of the show "family" very well and 24 episodes will offer you plenty of laughs, and weeps.

While I have originally watched through this on Netflix (dub), I'm making another round of it in original Japanese track now. (Both tracks are excellent.)

Some music tracks are from original show, and some of them are arranged version of them, and they are all great.

I can say, without any doubt, that this is the show I would recommend for everyone of any age.

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Iron Monkey (1993)

Why can't the people at Dimension Home video get it right for once??? They messed up every single martial arts movie release by not providing the original language tracks and cutting scenes. This time with Iron Monkey, they were wise enough to remaster the original chinese language track, but they still decide to cut. For me, cutting a fighting scene, especially if its the last one, is a no no...and I, like another reviewer here, love it when Wong Kei-Ying or Wong Fei Hung call out their special move (Shadowless Kick) before they actually do it. Anyways, for those that don't know, this movie was made in 1993 and it took long enough to come over here. This is a story of a Robin Hood like character who steals from the rich corrupt govt officials and gives to the poor towns people. He goes by the name of Iron Monkey (played by Rongguang Yu), a hero to the townspeople, and a wanted man by the officials. The officials are arresting anyone that looks suspicious. While in town to shop for medicine, Wong Kei-Ying (played by the awesome Donnie Yen) and his son, the very young Wong Fei Hung get in a quarrel with some thugs and get arrested for suspicion. The chief official learns of Wong Kei-Ying's great martial arts, and by force sends him to take out the Iron Monkey while his son Wong Fei Hung is held in custody. To make it simple, Wong Kei-Ying and the Iron Monkey will eventually team up and fight some interesting govt officials. Donnie Yen pretty much steals the show in this film as Wong Kei-Ying, and he is the reason why I watched it. His kicking ability and speed are just awesome. Yeun Woo Ping once again lends a hand in making a decent choreographed film. I must admit there is more wirework here than I would want to see, but thankfully Donnie saves it here. The kid that plays Wong Fei Hung (a boy?...I've heard it was a girl too) is pretty awesome in this movie as well. Basically, theres plenty of fighting action in this film to keep action fans happy, and the ones with Donnie Yen are the best. Now, to the dvd...quentin tarantino and Dimension is getting a lot of heat from me for the cutting. Folks, if you are able to play Region 2 PAL dvds...then the Hong Kong Legends version of Iron Monkey is the essential copy to own...completely uncut, remastered audio (Original Chinese and English) and video, and some interesting extras. If not, then get the Media Asia HK version (green box) for that is uncut as well, but not as crisp clear as the Region 2. I wrote this review in full support of Donnie Yen, he is one of the best martial artist to be caught on film. Check out his other greats such as In The Line of Duty IV, Tiger Cage 2, Wing Chun (alongside Michelle Yeoh), and OUATIC 2 (alongside Jet Li). For those that dont know, hes also the asian guy in Blade 2. Anyways, Iron Monkey is a classic and well worth your buck. Check this movie out and check my other HK reviews too...hope this was helpful.

The Iron Monkey is evidence why the martial arts choreography in The Matrix thrilled the American audience. Director Yuen Woo-Ping delivers an impressive punch with this 1993 film which features an easy-to-follow storyline, good acting, stylish cinematography, and amazing fight scenes. Highlighted in this film is actor Yu Rong-Guang whose acrobatic and hand-to-hand combat skills are at their best. The inclusion of the legendary character Wong Fei-Hung (depicted in this movie as a child) makes this movie appealing to the younger viewers as well. All in all, the Iron Monkey is a great film and, perhaps, deserves a big screen showing here in the U.S. Until that happens, whether you buy or rent this film, watching it would definitely be time well spent.

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Full of action and wonderful fighting choreography,

A remake of the 1970's film of the same name, the 1993 film "Iron Monkey" stars Rongugang Yu ("Musa the Warrior", "Shanghai Noon", "Midnight Express in Orient" as Dr. Yang a.k.a. "Iron Monkey".

During a time when the poor were being mistreated by bandits, many tried to flock towards government officials for protection but finding mistreatment at a higher level as well. So, the "Iron Monkey" is like an equivalent of Robin Hood, steal from the rich and give back to the poor. But being the popular doctor in the village, no one suspects him of anything.

Dr. Yang works with Miss Orchid (Jean Wang, "Once Upon a Time in China" films, "Swordsman III"), a woman who is also an impressive fighter but is seen as the shopkeeper at Dr. Yang's office.

But with a senator coming to visit the village, the current governor wants a search for Iron Monkey (who has stolen a lot of the governor's savings) and has his men try to capture anyone who may be the one who has been stealing from them.

One day, a man named Wong Kei-Ying (Donnie Yen, "Kill Zone", "Shanghai Affairs", "Hero") and his son Wong Fei-Hung (Sze-Man Tsang) visit the village and make some purchases but when Wong Fei-Hung spots a child being bullied, he defends him by using a slingshot and shooting a rock at one of the bad juveniles. But when his father takes the slingshot away, the bad bullies suspect he is the culprit and the father easily beats them.

Because the governor's men watched Wong Kei-Ying fight, they arrest both Wong Kei-Ying and his son.

While all men who were arrested try to plead to the governor that they are not Iron Monkey, the governor doesn't care and wants to imprison all of them. But then the real Iron Monkey shows up and Wong Kei-Ying who wants to protect his son, gets into a fight with Iron Monkey and everyone is at awe at both men's martial arts. The governor then cuts a deal with Wong Kei-Ying, if he catches the Iron Monkey, he will release his son to him. If not, his son will be in prison forever.

With Wong Kei-Ying knowing that all he has is his son, he will do what he can to catch the Iron Monkey. But he is quick to learn that the villagers are supportive of the Iron Monkey and will not feed him. Being broke and having no money and knowing he has a week to catch the Iron Monkey, unbeknown to him, Miss Orchid takes him into their home for food and both she and Dr. Yang learn that his son has been captured and learn that the only way they will be free is if the Iron Monkey is killed.

Knowing that Wong Kei-Ying is being wronged, Dr. Yang (ala Iron Monkey) and Miss Orchid do what they can to help him.

It's important to not that Wong Kei-Ying's son is the Wong Fei-hung that is a Kung Fu hero in China. The real man lived from 1847 through 1924 and was a master of the no-shadow kick, drunken boxing, the lion dance and Hung fist. The character has been explored in a number of films which include the Jet Li "Once Upon a Time in China" films and for Jackie Chan in the "Drunken Master" films

VIDEO & AUDIO:

"Iron Monkey" is presented in 1080p High Definition (1:85:1). For the most part, this 1993 film definitely looks better with the HD treatment than its 2002 DVD counterpart. The picture quality looks much clearer and compared to the 1994 "The Legend of Drunken Master" film that is coming out on Blu-ray, "Iron Monkey" has less scratches and dirt. For the most part, the film looks good, not great but good and better than DVD.

As for the audio, this is what will determine whether or not one will probably but it or not. "Iron Monkey" is provided in English 5.1 DTS-HD (48 kHZ/24-bit) lossless audio, while the original Chinese dialogue is only 5.1 Dolby Digital and Spanish 2.0 digital. I'm not going to add flame to the fire of whether or not to call an English dub bad or not, especially since I'm biased towards the original language. But I also know there are many people who dislike reading films with subtitles and will put up with the English dialogue. So, with that being the case, the English dub is much clearer and there are some scenes that utilize the surround channels. But for the most part, the film features a lot of front and center channel usage with some thumps being heard on the surrounds. I didn' t notice much LFE on the English dub either.

As for the original Chinese soundtrack, it is in 5.1 Dolby Digital but for the most part, at least with Blu-ray, you know that the 5.1 DD track is at a higher bitrate. But yes, too many people, not having a lossless audio soundtrack is a deal breaker.

And of course, the major deal breaker for many fans of "Iron Monkey" is that this is the edited version. Scenes were cut out, some fixed up but the most significant change audio-wise is the replacement of the music. Miramax wanted to capitalize on the popularity of "Crouching Tiger, Hidden Dragon", so the music was changed to a classical score.

As for subtitles, the film is presented in English SDH and Spanish. And yes, the subtitles have been revised as well to eliminate the political context of the film.

SPECIAL FEATURES:

"Iron Monkey" comes with two special features:

* Quentin Tarentino Interview (9:35) Quentin Tarentino talks about his passion for Kung Fu films.

* Donnie Yen Interview (6:21) Donnie Yen talks about how he got involved in martial arts and film.

JUDGMENT CALL:

"Iron Monkey" is an entertaining martial arts film filled with interesting characters and wonderful fighting choreography.

Personally, this was one of the more memorable fighting films that dominated the 80's and early 90's but the controversy lies on the cutting and editing of the films for the US release. Like "The Legend of Drunk Master", this release is going to be loved or hated by fans.

Again, I want to make it clear that this film has its best looking transfer to date on Blu-ray and much better than the previous 2002 DVD. Picture quality is very good but not reference quality but for a 1993 film, it looks pretty good. But what it all comes down to is the viewer and what they want are expecting from this film.

For those who have a disdain towards watching films with English subtitles, you're going to get a solid English dubbed soundtrack via its lossless English 5.1 DTS-HD audio. Fight scenes sound very good and although not an immersive soundtrack, it's still quite solid. Again, I'm not going to debate if the English dubbing is good or bad because everyone has their own opinion on dubs and personally, I'm biased towards the films with its original language but at the same time, I know plenty of people who are unable to enjoy a film with subtitles and thus needs the English dub.

But for those who have been waiting for the uncut release, this is not it. The film has the edited scenes, revised subtitles and also the music change but at least the Chinese audio via Dolby Digital 5.1 was still included. It may not be lossless but I'm glad it was included (unlike "The Legend of Drunken Master" which doesn't have it nor does it have the original ending scene) but still, with the revisions made, purists will not be satisfied and its understandable.

So, needless to say...it's going to be a love or hate release among fans. As a fan of the film, one can either wait and hope that an import uncut release of the film makes it to Blu-ray. Or perhaps maybe purchasing this latest release with the better picture quality, better lossless audio than the original DVD.

But with that said, "Iron Monkey" is still an entertaining martial arts film that has an enjoyable storyline, enjoyable characters and awesome fight choreography. "Iron Monkey" one of my favorite Donnie Yen films but unfortunately, it's not the uncut/unrevised version that I was hoping for. But again, if you enjoyed the original US DVD release and don't mind the revisions, then this is the definitive version to own.

Read Best Reviews of Iron Monkey (1993) Here

After several years of watching old Run Run Shaw kung fu movies on late night local TV, I was able to find a laserdisk from the UK of this movie, and man was my world rocked.

In terms of bang for buck, no other martial arts movie comes even close to capturing the savage ballet exhibited in Iron Monkey. Other reviews will tell you about the simple story line, and how it is mostly a Chinese variation of the Robin Hood story. This review is just to reiterate the sheer number of incredibly high quality action sequences. Highlights of this amazing martial arts film rank high in the top CHK fight sequences of all time. From hand to hand battles, to weapons kata, including swords, chains, staves and even an umbrella, the choreography by Yuen Wo Ping is brilliant, and the speed of the battles is mind-blowing. The production values (lighting, photography, etc.) are pure Tsui Hark.. absolutely beautiful.

If you're a serious martial arts film enthusiast and do not have this movie in your personal library, you should be hit with flying sleeves, the king kong palm, and no shadow kicked in the groin all at the same time. Turn in your badge and go back to renting 'American Ninja' and 'Karate Kid' videos. Shame on you.

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Just to clear up some issues about the film: It is enjoying a USA theatrical release currently, but the film itself was released originally in 1993. Stands on its own as one of the greatest martial arts movies ever made, yet was obviously slated for a USA release by Miramax to capitalize on the surprise success of Crouching Tiger, Hidden Dragon. The two films bear little similarity, with IM being more of an action-on-display film, CTHD being more of a pensive highbrow affair, though both are tremendous films.

Donnie Yen got top billing in the film, yet he is NOT Iron Monkey, he is Wong Fei-Hung's father. Incidentally, the role of Wong Fei-Hung's father was played by Hong Kong veteran actor Ti Lung in Jackie Chan's Drunken Master II (dubbed Legend of Drunken Master in its USA theatrical release.) Yu Rong-Guang (a former male model in China) plays Iron Monkey, but gets 3rd billing in the film, due to previous unsuccessful efforts at making him a top-shelf HK action hero.

Yuen Woo-Ping's world-reknowned fight choreography truly shines in the ending scene, which has our heroes battling on top of a courtyard of burning poles. For certain one of the finest martial arts scenes ever filmed. The Chinese folk hero Wong Fei-Hung is also featured in over 200+ films, including Jet Li's famous Once Upon A Time In China series. Wong Fei-Hung was indeed a real person, born in 1847, and passed away in 1924. He was a martial arts master, teacher, healer, and revolutionary who would protect and help those who were weak and defenseless.

All in all, Iron Monkey is a top-notch film that belongs in any martial-arts or Hong Kong film fan's collection.

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Soldier (2011)

Soldier is a rare experience that is far more than the plot, which has been outlined by the editorial comments. This is a journey taken by a strong warrior into his own humanity. I cannot even count the number of times that I have watched this movie, but I know it is more than twenty. I see more each time.

Kurt Russell's extraordinary and powerful acting skills make Sergeant Todd real. Successfully creating a character without dialogue is an art -and he mastered it. This movie provides insight into today's violent world as well.

Todd has known nothing but war or training since he was born. He was conscripted in the hospital; he never knew love, or laughter, or how to play. He obeyed orders and did not speak unless spoken to. The perfect soldier could not have emotions. If the only way to kill an enemy was to kill innocent victims, then he did what was required.

Todd is the best soldier of the "old timers," and he has been bested a new, genetically engineered soldier. One of the most poignant scenes is on the world where he was dumped for dead. The survivors that created a life on Arcadia are nervous to have a soldier in their midst, and ask Todd why he is there alone. He stands, no expression on his faces, and says, "I was replaced by a better soldier, Sir."

Although he acknowledges that he is no longer good enough to be a soldier, as his body heals he works to grow stronger and returns to the training rituals that have ruled his entire life. As he sees the interaction in the group that saved him, he is conflicted by emotions that he never experienced. When asked what he thought about, he says, "Fear. Fear and training."

It is extremely painful for him to be exiled from these people because he is too strong, and his violent training is too dangerous. He does not understand what he feels. This is my favorite scene. He is alone in his exile, sitting in a concrete drainpipe with tears running down his face. He wipes the tears away, and with the skill of a great actor, Russell shows that he does not even know what they are.

The arrogant commander of the new soldiers considers Arcadia the perfect first "war." Anyone on the planet was considered hostile. Three soldiers attacked the small group, killing without provocation. They have no hope until Todd returns and saves the group. When he is asked what he would do, he says, "Kill them all, Sir." He will not let the group help him because "A soldier deserves a soldier."

Good writing means that the hero must have an enemy equal to his abilities, and this has great writing. In facing the final soldier, Todd's intelligence wins the battle.

I am passionate about this movie. The acting, plot, special effects, and depth earn five stars.

Victoria Tarrani

This is one of the great, unsung science fiction films of recent times. The story revolves around a future where soldiers are segregated and trained from the crib to be merciless, killing machines. Kurt Russel, in a great performance, plays one of these soldiers who are soon to be replaced by a genetically enhanced new breed of soldier. Sgt. Todd 3465 (Russel) is believed killed in a training exercise and disposed of like yesterday's garbage on a waste-disposal planet. He survives, finds refuge amongst a colony of planet refugees, and tries to fit in.

This is, on a very rewarding level, a tremendous action film. Russel's nemesis in the film, Sgt. Caine 607 (played by Jason Scott Lee) is an imposing presence, and the fight scenes between the two are excellent and convincing. The special effects and battle scenes are impressive as well, and really transport you to a harsh, bleak, metallic future.

On another level the film is about the discovery of emotion in the highly trained soldier as he tries to fit into a more normal society. Russel is simply outstanding in the roll, doing an incredible acting job. He speaks a total of about 20 words in the whole film, but his internal struggles are always clear and very moving.

This "learning human emotions" trick is one several science fiction films have attempted, and most are embarrassing and painful to watch, dripping with sugar and sap. "Soldier" excels in this department as Russel makes the shift from killing machine to feeling man in a subtle, believable way. The film is just very, very well done and well written. The acting is fine all the way around, and the dialogue is completely absent of those wince-producing moments films of this nature often have.

Over time, this has become one of my favorite movies. I have watched it several times with increased enjoyment each time. I have quoted dialogue from this movie on more than one occasion, particularly the moment when Sgt. Todd tries to express his feelings, and all he can verbalize is "fear . . . discipline."

This movie is carefully crafted, intelligent, and hugely entertaining from the opening credits onward.

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It's a 10. Superb acting by Kurt Russell; directed by Paul Anderson, genius behind _Blade Runner_. He captured the essence of dictatorship and its opposite: individualism. Initially the protagonist, Todd, follows orders, used as a means to the ends of the State, a fighting machine who's then discarded. But Todd survives being dumped on a heap of refuse on a desert planet, to make his way to a small settlement of free people. There he learns what it means to have selfish values and to love a woman. When the totalitarians return to threaten her, only Todd can destroy them. Fight scenes and interpersonal dynamics were masterfully done. This is not a simplistic action movie with bullets flying everywhere. This is action melded with intellectual strategy, melded with a deep philosophical message. A sci fi classic, right along with Blade Runner.

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Here's another movie that was marketed to the wrong audience and therefore died at the box office.I found Soldier to be a profound meditation on violence and beauty. Kurt Russell delivers yet another exemplary-but-unacclaimed performance. His Sgt. Todd is an Everyman who does his duty, no questions, and is tossed out with the rest of the garbage when the next new thing comes along.From that point, Russell's facial expressions combine with the sensuous camerawork of the cinematographer to provoke the questions: Do I deserve love, beauty, and community? and: When, if ever, is violence necessary?This is a flick I'd recommend to the content guardians who are knee-jerk haters of violence. Soldier uses violence appropriately, intelligently. It is a film for grown-ups. Then again, censors rarely get that point.Bottom line: When you watch this film, you have to watch everything that is going on. It's not just another action flick.

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I cant imagine why anyone wouldnt like this movie. I recently discovered it didnt do well in the box ofice. that was a surprise to me, I've liked this movie since the first time i saw it on TV and I think with creativity a sequal could be made. If you agree say this review was helpful to you.

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Branded to Kill (The Criterion Collection) (1967)

I was inspired to seek out Branded to Kill as it's one of Jim Jarmusch's favorite films, and he's one of my favorite filmmakers. You could say that his interest in Japanese pop culture first came to the fore in Mystery Train, the darkly comic tale of two Japanese tourists on a pilgrimage to the Shrine of Elvis. But it's Ghost Dog: The Way of the Samurai, which mostly clearly takes its inspiration from Seijun Suzuki's bizarre, yet strangely beautiful Branded to Kill. Certainly, the external trappings are different (Suzuki's film is in B&W, it's set in Japan, RZA most definitely did not compose the soundtrack, etc.), but the central characters are cut from the same inscrutable cloth. Arguably, Ghost Dog also takes its inspiration from another non-American noir released in '67--Jean-Pierre Melville's Le Samourai with Alain Delon as, you guessed it, a bird-loving hitman of few words (a film that, in turn, inspired John Woo's The Killer).

Branded to Kill plays like a cross between an American noir from the 1950s (Kiss Me Deadly), a French New Wave post-noir (Breathless, Le Doulos), and a Japanese "art" film (Woman in the Dunes). At first, you think Goro (Jo Shishido) is one odd dude (with his chipmunk cheeks, weird rice obsession, insatiable libido, etc.), but then you meet the women in his life... Both of them, his wife (Mariko Ogawa) and butterfly-obsessed mistress (Mari Annu), are about as strange as it gets (so strange--and downright kinky--that accusations of misogyny would not be completely misplaced).

If you've been looking for something different, you've found it in Branded to Kill. If the plot is as incomprehensible as that of The Big Sleep, it doesn't really matter. It's all about the look and feel of the thing, best exemplified by the set pieces, which can be quite spectacular (and were constructed more out of ingenuity than cash). Recommended as much to fans of Jarmusch and Melville as to fans of Takeshi Kitano, another helmer who's mastered the art of the silent, sympathetic hitman. And you'll never look at a butterfly the same way again--or a bowl of rice, for that matter.

Trivia note: Masatoshi Nagase (Mystery Train, the Suzuki-inspired Most Terrible Time of My Life) also appears in Pistol Opera (2001), Suzuki's sequel to Branded to Kill (released when Nagase was a year old!).

It certainly does take a certain kind of film buff to enjoy this film. Style over substance is the order of the day, and one must be willing to sacrifice a coherent plot line for an excess of style. In this film the way a thing gets done takes precedence over the thing that is done. Don't get me wrongthe basic idea of the story is simple. however the style almost becomes the story and this is something we are not all used to. (You might want to see Kill Bill first and then Tokyo Drifter before this one). I won't go into the plot here because I think it's better if you don't have any expectations before watching this one. The black and white cinematography is superb. The sound is as good as can be expected. The extras are minimal, however it is a criterion release, so it required viewing. The only thing that could have made it better would be if Bela Lugosi were in it....

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"Branded to Kill", Seijun Suzuki's masterpiece but also a film that led to the filmmaker's firing.

While we are graced with films with visual style, humor and coolness by Beat Takeshi, Takashi Miike, Kazuaki Kiriya to name a few... Seijun Suzuki was part of the Nikkatsu company that churned two movies a week and had to work with a low budget, be creative and churn out a film within 25 days. Needless to say, executives didn't understand Suzuki's style, they criticized him, they talked down to him but what they didn't know was that his style was not being rebellious, it was his style.

Perhaps Suzuki's style was too surreal because what Nikkatsu wanted was traditional Japanese films that they were used to making. Seijun Suzuki who created 40 B-movies for the company between 1956 and 1967 was anything but traditional, not necessarily a rebel but he created films that he wanted to make,each film being different and now respected as films that were ahead of its time.

Prior to releasing his final film, "Branded to Kill", for Nikkatsu, they were growing tired by his inability to create traditional films that the executives were used too. But by the end of "Branded to Kill", the executives of the company had enough of Suzuki's style of filmmaking. While he never complained, he was fired from his job. And Suzuki was not a man to let the studio run all over him. In fact, he successfully sued the company for wrongful dismissal but in Japanese business tradition, if you sue an entertainment company, you will be blacklisted (which still goes on today in Japan) and in this case, Suzuki was blacklisted for ten years.

In Japan, because he stood up to the big entertainment company, he became a counterculture icon and his films were shown at midnight screenings to a packed audience.

In America, many cinema fans appreciated Suzuki's work because of its visual, surreal style that was not as common to see in Japanese gangster films.

And while his two better known films, "Tokyo Drifter" and "Branded to Kill" have been released in America on LD and DVD from the Criterion Collection, in Dec. 2011, the Criterion Collection released both of Seijun Suzuki's films "Tokyo Drifter" and "Branded to Kill" on Blu-ray and DVD which features improved video quality plus a new interview with Seijun Suzuki done exclusively by the Criterion Collection in 2011.

VIDEO & AUDIO:

"Branded to Kill" is presented in 2:35:1 aspect ratio, black and white and audio is presented in monaural. It's important to note that with the 2011 release, the release signifies the HD release of "Branded to Kill" on Blu-ray and for those wanting the best picture and audio quality, the Blu-ray is the version to buy.

But many may wonder if they owned the older 1999 DVD release and don't own a Blu-ray player, should they upgrade to the 2011 DVD release? I can tell you right now that the 2011 version takes advantage of newer remastering technology. The contrast is much better, whites and grays are well-contrast while black levels are nice and deep. The picture quality is so much better than the older DVD but if you can, I highly recommend going for the Blu-ray release as you will get more detail and clarity.

According to the Criterion Collection, the new high-definition transfer was created on a Spirit Datacine from a fine-grain master positive. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS and Pixel Farm's PFClean, while Image System's DVNR was used for small dirt, grain and noise reduction.

As for the monaural soundtrack, the new release was remastered at 24-bit from the original soundtrack print. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.

Audio-wise, dialogue was clear and I detected no problems or crackle. Doing tests of the 1999 DVD release and the 2011 DVD release, there is a slight distinction of clarity in audio but for the most part, the difference is more apparent in the video.

SPECIAL FEATURES:

"Branded to Kill", the 2011 DVD release comes with the following special features:

Seijun Suzuki and Masami Kuzuu (12:10) A 2011 Criterion Collection interview with director Seijun Suzuki and assistant director Masami Kuzuu discussing "Branded to Kill".

Joe Shishido (11:01) An interview with main actor Joe Shishido conducted in July 2011 by the Criterion Collection.

Seijun Suzuki (14:07) An interview with director Seijun Suzuki recorded during a retrospective of his work by the Japan Foundation and the Los Angeles Film Forum at the Nuart Theatere in Los Angeles in March 1997.

Trailer (3:09) The original theatrical trailer for "Tokyo Drifter".

EXTRAS:

20-Page booklet Featuring a new essay titled "Reductio Ad Absurdum: Suzuki Seijun's Branded to Kill" by film critic Tony Rayns.

JUDGMENT CALL:

This is the film that defied Nikkatsu and led to Seijun Suzuki's termination with the studio. But it's also the film that can be considered Seijun Suzuki's greatest masterpiece!

While "Branded to Kill" could have been the typical banal yakuza film and be the "King of the Mountain" type of story of individual assassins try to reach the #1 position in killer rating, that would have made a fine traditional Japanese gangster film. But for those who are familiar with Seijun Suzuki's work, Suzuki is not your traditional filmmaker. Many look at his work as surreal filmmaking, even though Suzuki never thought of it that way. It was just his style, of being creative and not wanting his films to be just like any other film. And in this case, making each film different and doing the best he can no matter how much Nikkatsu would cut from his budget or force him to shoot in black and white as a sort of punishment for not following their rules.

From the opening scene, we are treated with the usual stoic man, full of bravado, suave and cool with his Rayban sunglasses and excellent shooting, but its the characters that literally make things surreal.

From when you are reminded of Goro's fetish with sniffing rice, the film would then become a showcase of kinky sex and surreal violence. Goro Hanada is a killer, an assassin who will take on the best paying assignments and typically succeeds. During his offtime, he can always find his wife fully nude, and whether he's having sex with her in various positions or slapping her around, this is the character that Suzuki focuses on.

What about the other characters such as Misako, the emotionless and beautiful killer who also has a fetish with her poisonous needles as we see her dead birds penetrated with needles or her love for butterflies. Or even No. 1, the #1 ranked assassin who uses psychological tactics to the point where he confronts Goro at his home and even stays with him, including making sure they go to the bathroom a certain way... together.

With intriguing editing, compositions and creative camera angles, Suzuki is able to merge commercial mainstream filmmaking with avant garde style. Making a gangster film artistic and despite the film being a violent film, especially for 1967 audiences, he manages to pull off one hell of a perverse, surreal, violent but yet fantastic film that is unlike other gangster films, especially films coming from Nikkatsu.

I have watched "Branded to Kill" countless times before including Suzuki's film "Tokyo Drifter", as these two films were ahead of its time. If people can respect the David Lynch, Takashi Miike and the Quentin Tarentino style of films today, they will love Seijun Suzuki's films. This is a man who worked for a studio that made things as difficult as possible for him to be successful but because he and his crew were good at adapting to their economic situations, they used creative styles of storytelling, filming, costume and set design in order to achieve success in their mind, even if the studio execs felt Suzuki's films were "incomprehensible".

As for this latest 2011 release on Blu-ray and DVD, personally...the point of this new release is the Blu-ray! Criterion Collection has done a magnificent job of remastering this film in HD but since I'm reviewing the DVD version, I'm confident to say that this film is still worth it (especially if you don't own a Blu-ray player) as the DVD looks great, especially compared to the old Criterion Collection 1999 DVD which lacks the color, detail and clarity. This DVD's picture quality is much better than the original DVD and you get more special features as well!

Overall, "Branded to Kill" is a unique, brilliant masterpiece from Seijun Suzuki and a Criterion Collection release that is highly recommended!

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The term "visionary" gets thrown around alot, but "Branded to Kill" redefines it. This '67 black and white will leave your jaw hanging. Yes, partly in incomprehension, but also in stunned awe. A stylistic tour de force that is still news and way hipper than anything you'll see at the mall multiplex. The coolest classic around.

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I bought this DVD on a whim after doing some background research. Somehow the typical Japaneseyakuza action film cut-up and combined with surrealism and a Noirish sheen appealed to me. I certainly wasn't disappointed. I was Actually, I was amazed at how many levels "Branded to Kill" worked. Its over the top black humor (at time almost slap stick)was delightful. The characters were complex and the plot engaging though deliberately made hard to follow. I've haunted by the complexity of the ending for a few days now. Visually the film is a masterpiece, and heavily debted to the French New Wave. I disagree with the Widescreen Review of the picture and sound quality as the picture looks to be faithful recreation of the original. I think the washed-out contrastless black is quite beautifully done and portrayed.

This film was certainly a big influence on Tarantino and I'm pretty sure it is QT behind the camera on the exclusive interview of Seiuchi Suzuki (a great bonus).

Highly recommended for fans of gangster films, Japanese film-making, noir, and new-wave all rolled into one.

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