Grand Canyon (1991)

This movie keeps making me come back to it. It's a simple, unpretentious, film which deals with a profound question: is life a string of unrelated chaotic events or is everything we encounter all a part of a bigger picture? Without spoiling anything, I can tell you that the story is one about inintended epiphanies revealing the latter perspective. In the process, the film makes one think about life and feel satisfied from doing so.

This is a wonderful film....... one everyone should see. It is thought provoking and life affirming. Has a great cast!

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Easily one of my most favorite movies of all time. It's the stories of many characters and one doesn't believe they have anything in common when in fact they do. Very similar to the movie Crash. Beautiful and simple all at the same time. Worth a buy, immediately.

Read Best Reviews of Grand Canyon (1991) Here

Best Picture Academy Award Winners: 5 Film Coll (2012)

In a only one package, this selection offers five good movies, and with a price very good too. I think that "Shakespeare in love" is the film that could be think in next editions of this collection.

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Cape Fear (1962) (1962)

This review refers to the "Cape Fear"(1962) Widescreen DVD edition by Universal.....

"Cape Fear" from 1962 is a terrific example of great film noir. Filmed in black and white, director J.Lee Thompson uses shadows and light, and the art of suggestion(the censors were pretty tough back in the 60's), to bring us this bone-chilling and suspenseful classic that over fourty years later, still, has not lost it's draw. Not unlike many of Hitchcock's films, Thompson has the audience on the edge of their seats,our hearts in our throats, and in fear for the hero.

It's good vs. evil, as Greogory Peck and Robert Mitchum, put their immense talents together for this spine tingler. Max Cady(Mitchum) has just been released from 8 long years in prison. From the moment we meet him, we KNOW this is one bad hombre. He is bent on revenge, and Sam Bowden(Peck) is the man who must pay. Sam's young daughter and beautiful wife are the targets of Max's obssession. He is slick and devious and will stop at nothing to get even. Sam does everything in his power legally to try and stop him, but must take matters into his own hands to protect his family.

Mitchum is simply powerful in his performance of this menacing threat, and Peck as always is perfect in his portrayal of the family man whose life has just turned into one big nightmare!

The film is also helped by the wonderful talents of Telly Savalas and Martin Balsam. Polly Bergen and Lori Martin are magnificent as the terrified wife and daughter.The talent doesn't end there though, the haunting music was scored by Bernard Hermann(who worked with Hitch on several films), and Sam Leavitt does a fabulous job with the black and white cinematography.

The transfer to DVD is crisp and sharp. It is presented in anamorphic widescreen(1.85:1)and barely shows it's age. The sound is in Dolby Dig 2.0 Mono. The dialouge as well as the music and background noises are all clear and distguishable.

There is a terrific featurette on the making of the film,production photos, a trailer, and DVD ROM. It may only be viewed in English, but has captions in English and subtitles in Spanish and French for those that may need them.

A thriller that stands the test of time. One that esteemed Director Martin Scorsese chose to pay homage to with a wonderful remake.

Get the popcorn ready and enjoy......Laurie

Prior to his Oscar-winning role as lawyer Atticus Finch in "To Kill a Mockingbird", Gregory Peck portrayed another attorney in 1962's "Cape Fear", a psychological thriller also starring Robert Mitchum in one of his most despicable roles.

No two actors were better suited than these two. Their characters are a definite study in contrast. Peck's Sam Bowden is a civilized intellectual forced to resort to some underhanded means to protect his family and himself from the treacherous taunts of Mitchum's crude, rude antagonist. Tension builds as the two men make a final confrontation at the location of the film's title.

Polly Bergen and Lorie Martin as Peck's respective wife and daughter are quite good a show a strength of character rare for women in the early 60's. They are not just "screaming Mimi's".

Martin Balsam, Jack Krushen and a pre-Kojak Telly Savalas round out a superlative cast; Barrie Chase is also quite memorable as a woman that runs afoul of the Mitchum's sadistic Max Cady.

Southern locations and crisp cinematography provide a picturesque yet menacing background and look.

To top off the film off is another remarkable score from Bernard Herrmann. Music by the late composer elevates this already superior thriller to a higher level.

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The late great classic acting talents of Robert Mitchum are showcased in this 1962 classic, reproving his ability to play the villain with unsurpassed expertise, as in the former 1955 classic "Night of The Hunter".

Here, Mitchum plays Max Cady, a menacing figure with a perpetual lit cigar and Panama Hat. He has come to town after being released from jail to visit and wreak revenge on the man who put him there, enter Sam, played by Gregory Peck. From their initial reunion in the town parking lot, Cady lets Peck have a peek at what's on his mind. From that moment on, there are grippingly suspenseful encounters between the two men and even worse, threats to his wife played by Polly Bergen, and his daughter, in a rather ineffectual role considering what she goes through when encountering Cady. Particularly amusing is a scene in the beginning of the film. Cady casually watches the family bowl, while harrassing a waitress and having a beer. The expression on Pecks face as his Sam character looks up, and spots those sinister leering eyes peering from a nearby table at his family, is classic.

What needs to be mentioned more than the great direction, pacing and script, is the believabilty of the sociopath depicted, that Mitchum brings to startling low-life on the screen. He is truly mesmerizing in his sleepy-eyed evil countenance. His gaze, cigar in mouth, hat pulled low, will raise your hair as you watch him. He moves toward his victims in a slow and deliberate manner, and speaks his lines with that commanding voice that he was so famous for. When picked up for questioning, he hilariously mocks Pecks' Sam, calling him casually by name, "Why, Say-im..." and then as "counselor" refering to his lawyer status. My favorite Mitchum line here?"You might want to look closer, I've got a few jolts of horse stashed under the collar." as he hands over his shirt to the police. The other great line is to Peck in a bar, as he lets him know that he can't be bought off. When speaking of his dear ex-wife, "Pumped a quart of whiskey in her, tore off her dress, threw away her shoes, and gave her a fair chance to work her way home..." Needless to say, pretty daring for it's time. You will have to find out the rest for yourself, like the scene with the drifter girl Mitchum picks up, and of course, the showdown.

Don't even think that Martin Scorcese's subsequent remake comes close to this classic. The excessively demented southern accent and preponderance of large tattoo's on DeNiro, don't make him more frightening than Mitchums' original take on the Max Cady character. Mitchum's subtle style of menacing, which seems paradoxical, but works, is far more effective at eliciting the viewers rapt attention. Besides, the Scorcese version got mired in outside subjects like infidelity from Nick Noltes version of Sam, what for? Let's face it, the original doesn't need any additional subplots to be entertaining.

"Cape Fear" is a strange title, refering to the very real location of the story, while it also serves as a perfect double entendre for the utter fright Robert Mitchum delivers within, in an unparalleled style. Don't miss this classic.

Read Best Reviews of Cape Fear (1962) (1962) Here

"Counselor, you really stepped on it this time, didn't ya? I don't know what the Bar Association thinks about its members compounding a felony -but I do know what the law thinks about it. You just put the law in my hands! And I'm gonna BREAK YOUR HEART WITH IT!! Ain't nothin' can stop me! You understand that, don't you?!"

The above words were spoken by a bloodied "Max Cady" in the original (1962) version of "Cape Fear", which is a suspense-filled masterpiece that remains one of my favorite movies of this genre. The film, which was known as "The Executioners" during the actual shooting of the picture (the title of the 1957 John D. MacDonald novel on which the movie was based), first appeared on American theater screens on April 12th, 1962.

That Max Cady is one scary dude! No doubt about that. Portrayed to perfection by 44-year-old Robert Mitchum, Cady is presented with full intensity in "Cape". We get the impression, and rightly so, that Mr. Cady is relentless in his pursuit of "Sam Bowden" and his family. Nothing is going to stop him. And Sam (Gregory Peck) knows this too.

Therefore, drastic measures are needed to fight this awesome menace. Watch and see how it suspensefully unfolds. Many memorable scenes await the viewer here -scenes that look all the greater thanks to the handsome Anamorphic Widescreen print of the movie that has been encoded onto this DVD. The black-and-white photography looks solid as a rock on this disc.

As the film opens, we see a cigar-smoking Max Cady walking toward the courthouse to meet his "prey" (Bowden). Cady's self-assured gait and somewhat cocky manner, as we watch him leisurely making his way down the street, give us a good indication as to the kind of man Cady is. He leers lustfully at a couple of women who are leaving the courts building; and he shows us his self-absorbed demeanor when he walks right past a woman on a staircase who has just dropped one of the many books she is carrying (without Cady offering even a cursory glance of care or concern). These silent and subtle initial "Cady touches" in the James Webb screenplay provide the audience with a perfect "introduction" to Cady's character.

Bernard Herrmann composed the magnificent music score for the 1962 version of "Cape Fear"; and Mr. Herrmann's mood-enhancing themes greatly add to the atmosphere of the picture (as is always the case with any of his musical arrangements). Yet another stellar effort by Bernard H.

The 1991 remake of "Cape Fear" (starring Robert DeNiro) is very nearly as good as this 1962 original. The remake features additional layers to the already-competent plot that add to the enjoyment of that picture.

However, I think that the original film still outshines the remake. The combination of Gregory Peck, Robert Mitchum, and Polly Bergen provides this film with a very good trio of actors to build a picture around.

I've always liked Polly Bergen in everything I've ever seen her in -from her always-delightful and witty appearances on TV's "To Tell The Truth" game show, to this role in "Cape Fear", to her comedy roles as well.

Gregory Peck had a good calendar year of 1962. He made "Cape Fear", plus two other big-name films that same year: "How The West Was Won" and the incomparable "To Kill A Mockingbird". Not a bad year's work for any actor.

Keep an eye peeled for some other fine supporting players dotting the cast of "Cape Fear" -like Telly Savalas, Martin Balsam, Edward Platt, and Will Wright. For Wright, who was in literally hundreds of TV shows and feature films, "Cape Fear" would mark his last movie appearance. He died on June 19, 1962, very shortly after this movie was filmed.

This excellent "Cape" DVD presentation comes to us via Universal Studios Home Video. The Region 1 (USA) disc was first streeted by Universal on September 18th, 2001. The '91 version of the film came out on DVD the exact same day, too.

This single-sided DVD isn't a "Special Collector's Edition" by name, but some really good bonus supplements adorn the disc nevertheless, including a satisfying Making-Of program, along with the Theatrical Trailer, a Photo Gallery, DVD-ROM features, plus some Cast-&-Crew text-only information and Production Notes.

The behind-the-scenes featurette ("The Making Of Cape Fear") runs for 28 minutes. This mini-documentary contains film clips and contemporary interviews with star Gregory Peck and the film's Director, J. Lee Thompson. These interview segments with Peck and Thompson must have been recorded just shortly before both of these men passed away. Mr. Thompson died on August 30, 2002; and just ten months later we lost the great talent of Mr. Peck (on June 12, 2003 -which was a terrible month in this regard, with several big-name Hollywood stars slipping away from us during that very same month of June 2003).

The section of the disc labelled "Production Photographs" (the Photo Gallery) is a unique DVD bonus, in that it presents the Photo Gallery in an unusual fashion, with clips from the film mixed in with the still photographs. Portions of the chilling musical score are also utilized as a backdrop to the clips and photos. This "Gallery" of pictures and movie snippets is on a timed track (lasting 4:48), and the remote-control "pause" button has not been locked out, which enables the viewer to freeze any of the images for a longer look at them. Nicely-done bonus.

Some Additional DVD Specs.....................

> Video is 1.85:1 Widescreen (enhanced for 16x9 television monitors).

> Audio is presented in Dolby Digital 2.0 Mono (English only).

> Subtitles in English and Spanish and French.

> Menus are static, silent, and simple.

> Sub-Menus provided for "Scenes", "Bonus Materials", and "Languages".

> Film length is a tad shy of 106 minutes.

> Paper insert is included, with a Scene Index for the 18 chapters on the DVD.

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

"Cape Fear" (1962) should certainly keep any first-time watcher on pins and needles; and towards the end of the movie there will be no need for the bulk of your chair at all -just the "edge" of the seat will be required. The film holds up very nicely the 23rd time it's viewed as well. A 'classic' always does.

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When I first saw J. Lee Thompson's film I was on the edge of my seat. It is a scary thriller without showing buckets of blood, graphic violence, monster make-up, or even using the word "rape".

A bitter, amoral, psychopathic ex-con, Max Cady (the incomparable Robert Mitchum), recently released from an eight-year prison term, is out for revenge against the man who testified against him at his trial, lawyer Sam Bowden (the late, great, Gregory Peck). He infiltrates into Sam's life, stalking his lovely wife, Peggy (Polly Bergen, no shrinking violet), and his pretty, innocent teenage daughter, Nancy (the appropriately sweet Lori Martin). Sam does everything legally possible (for the time, before anti-stalking laws came into place) to protect his family, but he finds he is powerless under the law, and Cady is very intelligent in his planning. It all ends in a showdown on the river Cape Fear.

Let me just say that this movie has an advantage over the 1991 remake. Cady doesn't have to be covered in tattoos or act like Freddy Krueger to be terrifying. The word "rape" doesn't have to be mentioned nor does the offense have to be shown to us graphically (since the censors of the time forbade it) for the viewer to understand and comprehend what is going on. The performances are all right on, and even when Barrie Chase's Diane Taylor is assaulted, we don't have to be told that she was raped, because it's implied and it's written all over her bruised, traumatized face. Her portrayal of this victimized and frightened young woman is impeccable why didn't she have a longer career?

Gregory Peck is compelling, and the scenes where Nancy is pursued by Cady outside her school and she escapes inside, only to fear that he has also followed her in (and she is mistaken) is absolutely nail-biting, as is the final showdown. Cady's devious plan to accost Peggy on the boat in order to "trade" her for Nancy is gut-wrenching and extremely watchable. We now have a names for guys like that rapist, stalker, pedophile, murderer but the first three were either not used or hadn't been made a term yet. A classic, don't accept any substitutions. As I usually give so much away in my comments, I'll leave the plot details at that. Bernard Hermann's score for the film is perfect, and ranks right along with his score for Alfred Hitchcock's "PSYCHO" a masterpiece. And so is the movie. Don't watch it alone or in a dark room!!!!!!!! 10/10.

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Kidnapped (1997): Standard Edition Remastered (1974)

This is a wonderful DVD from the folks who restored it in the 1990s. An excellent-transfer, great sound, and some wonderful goodies! Originally-released in a limited-run in 1998, it is available again for the true Bava-cultists (like me). You cannot go-wrong with this DVD, the reconstruction is spot-on. The score is one of the best in Italian-cinema, and it makes "Last House on the Left" seem a little-tame. Mario Bava shows us why he made all of his other horrors--life in Italy during his film-run (50s-70s) was rife with political and criminal-violence. Enjoy! This is the real-deal.

I'll admit that I've never seen films by Mario Bava. I've only recently gotten into Italian Cinema with the films of Dario Argento and other Giallo taken up my interest. Until now I had never tried any Bava. So hearing of this film and being intrigued with the premise I picked up the DVD.

The premise of the film is four criminals rob a pharmaceutical companies payroll during which the getaway driver is killed. The three remaining killers flee to a parking lot taking hostages, one of which they kill in order to escape. Afterwards in order not to be spotted by police in a familiar car they pull off and take more hostages this time a middle aged man and a sick child. At this point the films been a violent crime film. When it gets in the car the film is basically centered on the drive of the criminals and their hostages. Whats good in the film despite minor flaws is that even in its form (neither Rabid Dogs or the re-edited Kidnapped was completed with Bava's support due to circumstances which earned its "lost" status until recently) its a really well assembled suspense thriller building its tension slowly. As tensions in the car rise and victims plead for their lives even the criminals begin to turn against each other. One wants to rape the woman hostage, while another goes along with what ever happens while the leader is more concerned with just getting to their destination. There are moments in the film that to me were great in a transgressive way that newer films couldn't even come close to topping. And in the end, I don't want to ruin it but if you get into the plot as much I did it will definitely suprise you. I was totally blown away by the film. One thing also is the feeling of anger that seeps from every frame. This is a brutal film to watch at times with its portrayl of a world that is vain arrogant and rather brutal in considering the plight of the hostages (especially the child). To me its a film that in tone could almost compare to one of my favorites, Kurosawa's Ran.

Unfortunately I've only viewed the Rabid Dogs cut on the new Anchor Bay disc. It also contains Lamberto Bava's edit Kidnapped more in line with his fathers intentions which I will watch in the future but was turned off for the synthesizer score (I just love the harpsichord and organs blaring in Rabid Dogs even though admittedly the score is incesant) and didn't want to watch the film so soon after seeing it. Still this a definite recommend from me, worth viewing.

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Note; this US Anchor Bay DVD has two alternate cuts, one finished by

Bava's son, called 'Kidnapped'. But almost all Bava fans and

professional critics prefer the rougher edged, less polished original

;'Rabid Dogs', so that's what I watched.

--vague possible mild spoilers ahead --

It's a film that is saved by the rare truly successful twist ending,

that changes everything you thought you saw. The acting is less than

great, and the film has a definite misogynistic tone (although everyone

in it is pretty awful on the humanity scale).

On the other hand, there's effectively high tension, as 3 murderous

robbers take two innocent people and a baby hostage. Especially

impressive that it never gets talky or visually dull, despite taking

place almost entirely inside a car.

But the over-acting and clunky dubbing (and writing) really hurt. Then

the end came and I was suddenly ready to forgive a lot.

Read Best Reviews of Kidnapped (1997): Standard Edition Remastered (1974) Here

Some films are just born unlucky. Mario Bava's 'lost' 1974 film Rabid Dogs is a classic case in point. Shooting started as A Man and a Boy with Al Lettieri and an extremely low budget: Lettieri dropped out after a week due to 'illness' and the money barely materialised only for the film to never get through post-production when the producer died and the film was seized by creditors for a quarter of a century. When co-star Lea Lander pulled together a deal to get Bava's rough cut restored, the only US deal she could get with it was with producer Alfred Leone, who, in a throwback to the old days when no foreign film could be allowed on US shores untouched, promptly re-edited, rescored and redubbed the film with new dialogue and added stock footage and new scenes shot by the director's son Lamberto Bava 'to complete it the way my old friend wanted it to be seen.' Sure... An attempt to make a more contemporary shocker in a more naturalistic setting as the European horror genre was hitting the skids, it plays a bit like an automotive addition to the Last House On the Left genre as the surviving members of a payroll robbery kidnap a female hostage and, later, a driver rushing his unconscious son to hospital to help them in their getaway. Cue much humiliation, boorish behavior, relentless nihilism and fatal divisions coming to the fore as you wait for the tables to be turned Tall-T style by the 'little man' (Riccardo Cucciolla, literally miniscule whenever seen standing next to the towering George Eastman). That it doesn't always do so in the most obvious ways and offers a remarkably passive hero is all to the good and Bava's confident handling never makes the fact that most of the film takes place in a car seem uncinematic harder than you might think.

Not that Bava Sr's cut is a lost masterpiece. Like most of his films, it isn't as shocking as his reputation implies: the violence is never especially convincing even if the film's mean spirit seems genuine enough. But the re-edited version, retitled Kidnapped, certainly makes it look like one. The new footage makes the final twist, already fairly heavily signposted if your suspicions are roused early even more obvious and a lot less bleak than in Bava's version. And while the image and sound are clearer, the constant irrelevant cutaways to police control rooms or new characters presumably intended to open up the picture simply act as irritants that dilute the drama and waste screen time without adding anything to the show. Even the new title sequence looks like something from a cheap 80s porno video.

Anchor Bay's Region 1 NTSC DVD includes both versions of the film, with audio commentary by Tim Lucas, featurette End of the Road Making Rabid Dogs and Kidnapped, and trailers for Bava films Black Sunday, Black Sabbath, The Girl Who Knew Too Much, Kill, Baby... Kill! and Knives of the Avenger.

Want Kidnapped (1997): Standard Edition Remastered (1974) Discount?

Already had a fair-quality gray-market DVD of this "lost" Bava classic (as _Rabid Dog_), but was delighted to find a more legit copy here at Amazon. Sure enough, it's a better print! As for the movie, if you're a Mario Bava fan, you know this is a gem. Definitely worth the price, all the more so compared to other versions out there.

Babes in Toyland (1961)

DVD REVIEW

This DVD release at the time of my review of this film adds nothing to the VHS. No Widescreen, no re-mastering, and no extras. I will keep my VHS copy for now. Now on to the original film itself:

FILM REVIEW

In this 1961 film, the first true live-action musical from the Walt Disney Studio, Tommy Sands is paired up with America's girl next door who got her start with Walt Disney, Annette Funicello. Also the famous Ray Bolger and Ed Wynn are featured, and Ann Jillian was a child actor in this movie. There is more great talent from the Disney in-house stable of stars, Tommy Kirk and Kevin Corcoran, who played brothers in both "Old Yeller" and "Swiss Family Robinson".

The story is simple enough, we are in Mother Goose land and the villain shrinks our heroes to toy size. They must enlist help from the toys in the Toymaker's shop to fight back. The effects were eye-popping at the time, and to see a toy army coming to life and fight the bad guys is a great treat for kids. The movie has some real fun stop motion style animation, where the toys are made to look like they are alive (30 years before computer animation did it for "Toy Story"). The Christmas parade at Disneyland has featured replicas of the marching soldiers from this film for over 40 years. The beautiful wooden toys that are seen in the film were all designed by veteran animator Ward Kimball. (animators X. Atencio and Bill Justice joined Ward on the stop-animation to bring the custom made toys to life).

The movie was promoted in advance on the Walt Disney television show, in a 1961 episode that also promoted "The Parent Trap", (the episode is called "The Title Makers"). The film was promoted again that year in an episode called "Backstage Party", which celebrated the completion of the film and gave the viewers a tour of the Disney Studio. The sets specially built for the film at the studio were so unique, they found a temporary home at Disneyland after the films release in '61 up to 1963, and people could actually see them up close inside the Opera House on Main Street.

The best part of this film is the music, which is the true star of any musical. The musical score features 11 songs from the in-house team of George Bruns (music) and Mel Leven (lyrics), and their score was nominated for an Academy Award.

But even with the music, great stars, incredible sets, special effects, nice costumes, the script and dialogue left a lot to be desired so the film was deemed dull for adults. Uncle Walt hated the end product, but gamely tried to promote it as best he could and use it as an exercise for the studio to learn from, as he really wanted to make a good musical. Just 4 years later he released the studios biggest live-action film ever, a musical to beat all musicals, "Mary Poppins". The lesson had worked.

Watch Babes in Toyland with light expectations, see it for the toys, Annette and the gang, and enjoy the wonderful music.

Granted this was filmed on a Disney Sound stage for very little money, but this movie was the brilliant work of Walt Disney himself. I was a kid when this movie came out and how impressed i was with the colors, music, story and cast. Now i'm in my 50's and this same version still impresses me. This version is timeless and the colors, music, story and especially the cast mean more to me than ever. This is a great movie for the Christmas Holiday and a walk back into yesteryear for us baby boomers. It also would be a great idea to show this to the kids of "now and "me" generation. They might learn something. The special effects were state-of-the art back then and may seem a little campy today, but this movie with it's special effects has heart,,,something that lacks in many of the new Christmas movies. This Disney version is warm, creative, visually beautiful and has a wonderful cast.

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The opening sequence alone, a colorful song and dance in Mother Goose Village Square that could only have been designed and choreographed in the early 60's, is enough to bring a huge smile to faces of those of us who fondly remember the pre-digital days of Walt Disney.

The colorful production design is sensational and reminds me of the early days of Disneyland whimsically artificial but gorgeous to look at. Sure, the story is Squaresville, and many complain that the set is too stagey, but those are main elements of the film's lasting charm. Dated and corny to some is a cool breeze of nostalgia and simpler times for others.

I am sad that this DVD is shamefully bargain bin. Apparently someone at Disney has deemed this delightful slice of early 60's pop culture woefully insignificant, so not only is the film greatly reduced to fit on standard televisions, but there are NO special features whatsoever, a shame considering that many of the original principals in the film are still with us. Also, there was an episode of The Wonderful World of Disney called "Backstage Party", timed to promote the release of the film in 1961, featuring Walt and the cast on the set doing obviously staged but nonetheless delightful songs, dances, testimonials and stand-up routines. What a shame that no one had the foresite to include this terrific extra or ANYTHING on this dvd. (I had the good fortune of catching this episode on the Disney Channel late one night so it at least exists!)

Still, there is a lot to be happy with here, again thanks to the splendiferous production design, tuneful songs and largely charming cast. Maybe someday Disney will serve up a better release of this ignored but important chapter (it's mistakes paved the way for "Mary Poppins") in the Disney story.

Read Best Reviews of Babes in Toyland (1961) Here

Although quite corney in places, I cannot forget the thrill I had seeing this movie in the theater as a child. Considering the time it was filmed, Babes In Toyland had wonderful special effects and plenty of Disney charm. If you can stay with it up to the time the children actually enter Toyland (about half way through) you will find that the wait was worth it. I am dissappointed that this movie didn't become more popular, but with an all star cast including Ray Bolger(the scarecrow from the Wizard of Oz) as a villain this time, Tommy Kirk and Annette Funnicello of the early Disney family and timeless Christmas music from the original stage version,Babes and Toyland should be an annual tradition alongside Its a Wonderful Life and Miracle on 34th St.

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When I was a child my mother taped "Babes in Toyland" one evening when it was broadcast on some station or other. Eventually my Aunt Millie had to go out and buy "Babes in Toyland" for me because I watched the movie my mother had taped so many times I wore it out. The day the tape broke I cried. Over the past few years the tape Aunt Millie bought has started to show its age. It would be an understatement to say I love this movie.

When I found out this was on DVD, I told my husband that unless I received it for Christmas I would be miserable. He came through for me as always!

There are no added features to this DVD, but as far as I'm concerned the movie itself (and the durability of DVD) is more than enough reason to buy it. It's a fun musical, with great dance routines, familiar Mother Goose characters, and classic guest appearances. Ray Bolger shines as the wicked Mr. Barnaby, and Annette Funicello (my hero since the age of 5) is golden as Mary Quite Contrary. Add Tommy Sands and you have some duets that make smiles appear out of nowhere.

Whether DVD or VHS, this movie is wonderful. I adore it just as much as I did when I was a kid.

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Marvel Animated Features: 3-Movie Collection (2012)

Yes, I am a superhero movie junkie and Marvel has done a nice job over the years of putting out animated and live action films to satisfy my wants. I had owned the Iron Man movie on DVD but neither the Planet Hulk or Dr Strange movies so when I saw a 3 movie deal I grabbed at it and figured I would just upgrade the Iron Man movie.The Iron Man and Dr Strange films are origin stories while the Hulk movie follows the Planet Hulk storyline (for those familiar with the comics). Now as I said I had owned the Iron Man movie but now Marvel bundled 3 movies, a couple of weeks later I saw a 5 movie bundle from Marvel...grrrrr. Marvel gets you to buy 1, then introduces a 2 movie pack (the Ultimate Avengers movies) and on and on.

couldn't ask for a better collection!! u get all 3 movies in one box!!! cant beat that! I recommend this one!!

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this was an amazing story, i really enjoyed taking the time to really get into it by looking frame by frame.

Read Best Reviews of Marvel Animated Features: 3-Movie Collection (2012) Here

The product came on time and in great condition. The movies themselves was worth getting for my son and I. Tracking the package takes alittle long because you have to wait for the systems to update but thats just a small shipping issue. Other than that I'm very happy with my purhase.

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the planet hulk story is alittle silly. they tell you his blood will save the planet. he becomes a gladiator and sheds plenty of blood, and from this blood plants grow-but no one pays any attention to it. he fights a king, and a chick and beta ray bill. its well drawn, but the story isnt worth the time.

the iron man cartoon is definitely not worth the time. they try to show you an origin story but somehow leave out the creating of iron man. it takes almost an hour before iron man appears and when he does its one of the different suit variations. the fight sequences are awful and the plot doesnt get any better. not worth the time at all.

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Gantz (2011)

This movie turned out much better than I anticipated! It managed to capture the feel of the comic, while still being accessable to gantz newcomers (my wife also enjoyed it.) The extreme content from the comic has also been toned down severely. While some may see that as a negative, the film makers HAD to do it to appeal to a larger audience. I believe it makes the viewing experience much more enjoyable. So, if you are a fan of Gantz, japanese cinema, or manga/anime in general, check out this movie! *WARNING: WATCH IN JAPANESE! THE ENGLISH DUB IS INCOMPREHENSIBLY TERRIBLE!*

I must first say that this movie is an Salute, Tribute or Homage to the Anime Series so, with that being said its not for everybody. That's not a bad thing though, Because as a fan of the Series and as a person who was mad they cut the series after only 2 seasons I can gladly say I enjoyed watching the Live Action Version and comparing it to the Anime. Not everyone can handle seeing an animated show filled with Sex, Gore, Violence & a Sci-Fi story line all at once but, I sure can. If you do decide to get this Live Action version rest assured the US Blu-ray version is the best quality you can find. You get a 3 disc set at a good price and it has the DVD copy with it as well. IT has the Original Japanese Language as well as a English overdub. I personally could not stand the the English Dub and I just went for original language with really great subtitles. I know I'm not telling specific details about the film itself but, that's because I really want you to buy this Blu-ray or at least go grab the Anime. I Give this movie 5 Stars and an A++! So Go Buy it, Rent it, or borrow from a friend Its worth your time.

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If you enjoyed the live action adaptations of "Death Note" (2 films and a side story film), "20th Century Boys" (an excellent trilogy), "Kaiji: Gambling Apocalypse" (2 films) and "The Incite Mill", then you will enjoy the live action version of "Gantz". Nice blu-ray transfer. Good film. Raw action. Breath-taking fight scene with giant majin type characters kind of reminds you of the majin fight scene in "Sucker Punch" but more intense. Bring on a blu-ray release for the sequel "Gantz: Perfect Answer".

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You may not know this, but aliens are here. They're out to get each of us. Whether it is our essence or our souls or our humanity, they're bound to come for us, to take whatever it is they want from each of us, and there's nothing we can do to stop them. And, by the way ... some of us? When we die? We don't quite make it to Heaven or whatever serves as an afterlife. In fact, some of us get hijacked and put into service on behalf of the rest of us a kind of existential angelic life and we get sent out on missions to take care of these aliens.

I'll admit: I found the first half of GANTZ more than a little bit confusing. It's a serviceable adaptation of characters and themes introduced in a manga (by Hiroya Oku) of the same name, but I had the distinct feeling it could've used another round or two at the writers' table. Part of the confusion owes to the fact that the audience is clearly put through the moves alongside these characters just as they're struggling to understand all of it, we're struggling to understand all of it but I have to think there may've been a better way to accomplish it. Once the world and parameters are established, the film rises to another level, delivering accomplished action pieces one right after the other where lives are at stake.

Kei Kurono (played by Kazunari Ninomiya) and Masaru Kato (Ken'ichi Matsuyama) do a good deed by saving a man from an oncoming subway, but, when they're accidentally crushed by the train, they and several others wake up in a white room where a singular black orb named `Gantz' takes control of their lives and sends them out on missions to hunt down and kill aliens hiding on our planet. Is this Purgatory where they're forced to live out their days in service to a new God in exchange for giving them a second chance at life or have they truly passed over with no hope at ever having a normal life?

It's all a bit existential for a standard action/comedy, but, for the most part, it works, albeit I would've liked a bit more explanation in several areas. First, where does Gantz come from? Is he some angelic entity despite the constant use of science and violence to achieve his means and why is he the sworn enemy of these aliens? Second, why is it that no one else notices these aliens? In Barry Sonnenfeld's film, MEN IN BLACK, most aliens disguised themselves so that they wouldn't be directly detectable while living amongst humans, but these aliens are almost decidedly `alien' with a few exceptions. Third (and I'm treading lightly here so as to not spoil the climax), how is it they seemingly know about Gantz but no one else does? Perhaps in the manga upon which the film is based, it's all explained with a bit more clarity, but I found myself asking more questions than usual until the story morphed fairly well into an origins story for Kei; at that point, I realized that maybe it all made as much sense as it was going to, sat back, and enjoyed the ride.

It's all a mostly winning formula, though I'll have to admit that the action sequences seemed to drag on a bit more than absolutely necessary. At two hours and ten minutes, GANTZ felt much longer not in a good way and I felt the script clearly weighted down with more action over human elements than it needed to be, especially when you consider the message of the climax: Kei must choose between fighting his growing arrogance and, instead, fighting on behalf of humanity as a leader AND as a member of a team. It's a great message one with relevance for the characters and situations presented here but also one so elementary that GANTZ could've used a few more tightly-edited existential sequences.

GANTZ is a production of Nikkatsu, Nippon Television Network Corporation (NTV), Shueisha, and the Toho Company. The disc distribution is being handled through New People Entertainment. This is a two-disc release, with the first disc serving up the film in Japanese or English dubbing (with English subtitles available). The second disc includes an exclusive director's interview, along with some trailers regarding other New People projects. It looks and sounds terrific, with some winning special effects though Gantz's `transporter effect' seemed awfully if not painfully slow for my tastes (but still nifty neat-o-keen).

RECOMMENDED. It's an excellent take on the whole "Men in Black" theme earthly protectors out to save mankind from some nefarious, dastardly aliens though there's very little logic as to where these baddies are from, what they want from us, and how it'll all end. Also, there's really not much insight into where Gantz as an entity came from, who put him/it here, and what it all means. In this outing, however, those considerations are secondary. What matters is Gantz is here, and the Gantz team is watching out for you!

In the interests of fairness, I'm pleased to disclose that the fine folks at MediaLab Public Relations provided me with a DVD screener copy of GANTZ by request for the expressed purposes of completing this review.

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That above statement is actually part of the optimistic Disney-ish jingle the Gantz orb emits just before assigning its alive again crew its latest mission, and that this jingle is a bit reminiscent of Uncle Walt's "It's A Small World After All" theme just adds to the creep factor. Because I do think that the Gantz entity has a sense of humor, only it's the dark, twisted sort. A sense of displacement is the mood the film is trying to evoke.

You'd perhaps be better served if you hadn't yet read the manga or seen the anime version of Hiroya Oku's GANTZ. Because this cinematic live-action adaptation comes watered-down. Hiroya Oku was trying to illustrate a point with GANTZ by making it such a depraved read. In the manga, the lead character, Kei Kurono, is a perverted person who gradually, so gradually, becomes a better person. The movie portrays Kei Kurono as a decent guy from jump, and so it right away loses depth and resonance and what would've been intriguing character conflict. We're left with watching shallow characters playing out their parts onscreen; it becomes a chore to invest in them.

When college student Kei Kurono and his juvie pal Masaru Kato rescue a drunk who'd collapsed onto the subway tracks, they become fatal victims of a hurtling train. But instead of the expected dirt nap, Kei and Kato find themselves in a room occupied by an enigmatic black sphere and other confused persons resurrected from the dead. The black sphere is the Gantz, an alien entity who issues the room's occupants hi-tech black suits and weapons and then deploys them to kill other and malevolent aliens. Gantz seems to treat this as a game, alloting a time limit to the missions and afterwards awarding points to the players based on its own whim.

For the participants, though, the risks are tremendous, the death toll ridiculously high. Amassing one hundred points gives one the choice of either freedom from Gantz or reviving a fallen comrade. It's a cool conceit that doesn't get explored in this film. Maybe it comes into play in the sequel GANTZ: PERFECT ANSWER. Except that this series of "games" is so damn bloody perilous that it's hard to picture anyone surviving long enough to accrue one hundred points. But if you've read the manga, then you know someone manages to do it.

The visual effects are wicked cool. The action sequences are staged dynamically. I didn't think much of the Onion alien, but the Boombox alien and the Buddha alien (with its multiple flashing swords!) are awesome. While the character aren't well developed, I do like the role switching which takes place between Kei and Kato. Kato is initially the heroic, take-charge guy, with Kei the more cautious one. But that gradually reverses itself as Kei learns that he's good at this game and as Kato's loathing for death and violence surfaces.

I admit that I'm a bit disappointed that the lewdness from the manga isn't translated onscreen. Believe it or not, that was part of the manga and the anime's draw. The characters and the situations in which they find themselves tend to be so bleak and deplorable that you're transported to this very dark place. This being a commercial effort, I guess I can see why they made Kei a wholesome protagonist. But, in the manga, the point of showing all the gratuitous violence and sex was to demonstrate Kei's growth as a human being and a leader. In this film version, we don't witness Kei's evolution or redemption. Still, this film, declawed and dumbed down and occasionally plodding, still comes recommended. Mostly, for the action bits. Also, see this with the English sub-titles. As other folks have already observed, the English dub is pretty silly.

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Empire of the Sun (1987)

This epic film is the first of Spielberg's World War II trilogy that includes "Schindler's List" and "Saving Private Ryan." It was made at a time when Spielberg was financially successfully but artistic merit eluded him. That this remarkable piece of filmmaking has been overlooked is no reflection on him; it is the failure of the tastes of critics and the public alike. Spielberg tells a beautiful story of the horrors of war, how families are uprooted and separated, and how the human spirit overcomes adversity. Christian Bale is superb in the film. I cannot comprehend why his career did not soar after the film's release. It was good to see him in the role of Jesus in the recently televised movie on Mary. John Malkovich is his usual fantastic self as a fellow POW who becomes Bale's Long John Silver, a sly comparison to the classic "Treasure Island." The film is beautifully photographed and has a subtle and moving score from Spielberg stalwart John Williams. It is a must for fans of the director and those who appreciate masterful storytelling.

The first time I ever saw this film was just last year when I was 15 years old. I had never even heard about it until I watched the Making of Saving Private Ryan. This documentary played a clip of some of Steven Spielberg's movies set during World War 2.

When I heard the beautiful John Williams' score play on my TV and a boy watching a lone fighter plane soar across the runway, I was immediately captivated and sat in awe as this boy cheered on the fighter plane. I immediately rewound the tape and read the title of this clip: Empire of the Sun.

I quickly ran to my local Blockbuster and rented the movie not even knowing what the film was about and was witnessed to the most amazing film I had ever seen!

The performances were top notch and the performance from the young Christian Bale, who plays the young boy, Jim, forced in a Japanese Intern Camp, is the greatest performance by a child I have ever seen, exceeding that of such names as Henry Thomas (E.T.) and young oscar nominee Haley Joel Osment (The Sixth Sense).

The movie itself is a visual masterpiece with never a dull moment. This movie contains some of the most memorable and beuatiful scenes I have ever seen anywhere. The story itself is full of drama, action, and suspence that captures your heart and never lets go even after the end credits are rolling!

As usual, John Williams delivers with one of his greatest scores ever. The visual effects are astounding and perfectly executed to enhance the storytelling of the movie.

I disagree with some of the negative reviews that plague this underrated epic. Many people before its release expected it to be this huge blockbuster stemming off as an adaptation of a book by the same name. How can anyone expect a movie about a boy torn from his parents and forced to live in a Japanese Prison Camp, get cursed and beaten at and forced to eat bugs and potatoes for years to be a huge blockbuster. Many people attacked it for its lack of commercial success.

While this may not be the most historically accurate film in the case of how horrific the conditions of the prison camps really were, this would only destract the audiance from what the film should be and is, a film that begins tragically but ends up being a coming of age heartwarming epic drama about a boy forced to live and grow up fast under the harshest of conditions and yet triumphs against all obstacles.

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EMPIRE OF THE SUN is my favorite Spielberg film. It's a close tie with CLOSE ENCOUNTERS ... but EMPIRE is really high on my list. What an outstanding (and underrated) film! I saw it in the theaters in 1987, owned an old video of it for a while, and bought this DVD as soon as it was released. The film, in all of its forms, has stayed with me all these years.

First, Spielberg has a top-notch script from Tom Stoppard (who is surprisingly restrained with the dialogue). The cinematography by Allen Daviau is exquisite (and the transfer to DVD looks outstanding on my widescreen HDTV). The acting -especially Christian Bale as the main character, Jim -is great as well. I get tears in my eyes if I just hear one of the EMPIRE OF THE SUN themes from John Williams' score.

THE COLOR PURPLE and EMPIRE OF THE SUN were Spielberg's "stretch" films where he attempted to do more adult work. EMPIRE OF THE SUN is deeply moving. On the surface, its story concerns young Jim and how is separated from his parents and survives a war camp in pre-World War II China. Thematically, Spielberg tells us the story of growing up, losing one's innocence, and learning that people will do anything for a Hershey bar. When Jim throws his suitcase containing all of his boyhood possessions into the river, he makes an important choice in life. And yet Spielberg, who is a sentimentalist, reminds us that after surviving life's hardships we all still need a hug from our mothers.

EMPIRE OF THE SUN is one of Spielberg's best -if not THE best film he's made. I think it's been overlooked. Please try to see it.

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I have been in awe of Haley Joel Osment for a few years now. However, I think I have finally seen a child actor outperform him. Christian Bale was nothing short of flawless in "Empire Of The Sun". In a different actor's hands, this film wouldn't have been nearly as moving and special. However, Bale displays more talent than most seasoned Hollywood actors.

As you probably know, "Empire Of The Sun" is about a young British boy who becomes separated from his parents during WWII and ends up in an internment camp. Being a Spielberg film, the direction and cinematography are, of course, stunning. Great effort was put into making this film appear realistic and it works wonderfully. In fact, this was the first major American film shot in China.

Another strong point of this movie is that it is shown through the eyes of a child. Often, war movies are all too harsh, violent and depressing. "Empire Of The Sun" successfully shows us glimpses of the brutalness of war but it also allows us to keep a constant feeling of hope and determination. That is in no small part due to the talent of Bale. He makes the viewer feel what he feels. There is an amazing amount of passion in his performance.

It's a shame that this is one of Spielberg's least respected efforts. I put off seeing "Empire Of The Sun" for a long time because of the tepid reviews it received. Instead of mediocrity, however, I found a movie filled with inspiration. Please do yourself a favor and see it as well!

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I have always liked this movie. Some people don't like a story where the hero is a boy who ends up half crazed in a Japanese prison camp. However, I find the story compelling and the young Christian Bale very persuasive and more than a few times to be deeply moving. The scene where Jamie Graham (Bale) has just been moved and saluted the Kamikaze pilots leaving and immediately followed up by the American P-51 Mustangs attacking the camp is burned into my memory. When he runs up to the top of a high building to be as close to the planes as he can be and even has one of the pilots wave to him and then he in half-delirium raves on about the Mustang being the Cadillac of the Sky, that he has touched them, he could feel their heat, he could taste them in his mouth while all the while the adults are scrambling and the camp is being strafed and bombed. Well, that is a powerful scene.

Here we also get a terrific performance from John Malkovich as the scavenger Basie. This petty criminal is also pretty smart and takes a liking to young Jamie. He probably sees something of himself in the boy and maybe that he likes doing something good. He helps Jamie survive in the camp after a fashion. But so does a very burdened couple, Mr. And Mrs. Victor (played with the right notes of kindness, mad frustration, and weariness by Peter Gale & Miranda Richardson). They become surrogate parents to the boy. Send him off at the first opportunity to live with the men, but, well, you will have to see the movie.

Dr. Rawlins (well played by Nigel Havers) also protects the boy as well as the camp members. He has a special affection for Jamie, but doesn't have the time or resources to really help Jamie. In so many ways, Jamie is on his own. And for a boy raised with such protection and privilege, well, surviving in such an environment is a real achievement.

I would love to talk about the movie with you. But I don't want to spoil it for if you haven't seen it. Please do. It is a very rewarding film even if a great deal of it is done without dialogue.

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