Sherlock Jr. / Three Ages (1924)

This Buster Keaton classic has never looked better than than on this newly released Blu Ray disc......Sherlock Jr is 44 minutes of perpetual motion............not a half second of down time in his baby. This movie is VERY funny with jaw dropping stunts by Keaton himself. I can see why Welles and other giants consider Keaton the best director ever.

This movie deserves 10 stars especially considering what passes for 5 stars on Amazon.

Not to be missed!!

Wow. This is great.

I really did not need Three Ages on Blu-Ray, but it's nice to have.

Sherlock Jr., though, is fantastic. A very nice transfer, with a tiny bit of missing material added. Some good featurettes added as well. Nice music choices for the soundtrack as well. (THis is the one Alloy Orchestra score I like.)

It just looks GREAT! Kudos, Kino!

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The Blu-Ray AND the regular ("Ultimate 2-Disc Edition") dvds have the best prints I've ever seen of these films. The Blu-Ray is marginally sharper, but you really have to compare the two versions back-to-back and almost microscopically to tell the difference (I do have both versions).

The "Three Ages" is a problematic film due to nitrate decomposition; I agree that on both films, Kino would have done us a big favor by "enhancing" the movies with some digital cleanup: given the clarity of the Blu-Ray, I believe you would never notice any "compromise" in the quality of the picture even with the digital noise reduction. At the very least this should be done in the titles and the fade-outs, where scratches are most noticeable. (I certainly see no loss of quality in the digitally "enhanced versions" on Kino's set of Keaton's 19 short films.) Nevertheless, the image itself is certainly as sharp as you're ever going to get, and the pictures have adequate contrast but with lots of detail.

The music is a different matter. I very much like the Robert Israel soundtrack for "Three Ages". However, it seems to be out of sync around the middle of the film (sound is a few frames late to the picture), then goes back in sync a little later. It's not terrible, but I always notice this when it happens (when Keaton whacks his rival on the head and there is a musical highlight at that moment, I just naturally expect the sound to match the picture, and if it's late I'm disappointed).

It surprises me that given three different sound tracks for "Sherlock Jr." not one of them is completely successful. The Mont Alto score works the best for me. Mont Alto is a very professional small ensemble and they always play pleasant and winsome music. But their skill at matching music-to-picture is wildly variable. They do such satisfying work with their scores for the Flicker Alley anthology "Georges Melies: First Wizard of Cinema" that I have often put on a film just because I like their music so much! On the other hand, their music for "Chaplin at Keystone" ranges from pleasant to curious to maddening: Chaplin is dashing about, leaping and (literally) kicking rear-ends; people are tumbling and flying through the air madly at super-sonic speeds... and the Mont Alto is playing a slow waltz. What in the world were they thinking? Were they even watching the movie?

Similarly, in "Sherlock Jr.", there are times when the Mont Alto players seem unaware that there is actually a COMEDY going on. They begin the film with mock-serious music to play along with Keaton's character, who is taking himself too seriously; but the music is so austere and lacking in whimsy that it stops working for the irony and only bogs down the comedy (their 'crime-investigation' music, see below, is much better). But their next couple of choices are better...until the Other Suitor enters the living room. Here the music is pretty cold. One moment in particular leaves me shaking my head every time I think about it: while Mont Alto plays slow and frankly rather gloomy music (as if for a tragedy!) Keaton takes a mind-boggling, back-breaking prat fall; the music just continues to drone on slowly and grimly. Rather than being funny, the effect is odd. A little later, when the movie actually becomes, temporarily, tragic, the music is very effective.

Even given their many miscalculations, I still prefer the Mont Alto soundtrack over the Club Foot Orchestra, which quickly becomes annoying, and over Jay Ward's scratchy and hissy "vintage jazz score", which is not sensitively compiled. The Mont Alto score is full of engaging and memorable tunes. And I must give them their due: once they decide to play more up-beat and up-tempo music to match Keaton's rhythm as he "shadows the suspect", their music becomes a perfect match to the action, and really charming. Their `crime-investigation' music (while Buster plays pool) is a good fit to the picture, being both mock-serious AND very witty; but they start this particular music about a minute too late (it should begin just after Keaton enters the home and removes his coat). And their chase music (again, they start too late) is great stuff, really adding to the delight of the film. They end the movie with appropriately thoughtful music. The music from the chase to The End fits the picture so incredibly well, is so appealing and rememberable that it is now impossible for me to imagine the movie without this music.

So, 10 stars out of 5 for "Sherlock Jr." as a masterwork of cinema, 4 out of 5 for "Three Ages"; 4 out of 5 for Kino's crisp and clear reproductions (minus half a star because they did nothing to clean up the scratches, and another minus 1/2 for the sound-sync problem), 4 stars for the music to "Three Ages" (both the music for the complete film, and the organ scores for the re-cut versions are good), and varying from 2 to 5 stars for the music to "Sherlock Jr."

If you've got the extra money, love Keaton, and you do not have a local vintage theatre that shows these films with excellent live accompaniment, then I do recommend buying this dvd.

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SHERLOCK, JR. (writ./dir. Buster Keaton, 1924, 45 minutes) is a Buster Keaton masterpiece that is truly unbelievable at that short length. Not too typically short, not feature-length, SHERLOCK, JR. is a much-cited, deeply loved comedy silent film from the absolute Founder of Film himself. Sadly, due to its length, I can only include it here with Keaton's THREE AGES one of his works I haven't seen. Sorry!

Of course, SHERLOCK is really BK's first truly great silent feature, far outstripping his The Navigator of the same year. His first feature-length, Sherlock Jr. / Three Ages [Blu-ray] made just the year before, is available with SHERLOCK and I suggest you get that or one of the other double-bill DVDs.

BK (as I love to call him) stars as a theater projectionist who longs to be a detective he carries around a guidebook for amateurs with him wherever he goes. When he is falsely accused of stealing a watch from the boardinghouse where he lives, thus losing his fiancée in the process, he falls asleep on the job and dreams of being Sherlock, Jr., world's greatest detective.

This is the BK film famous for having him walk right into the movie screen and into an ongoing film. It may also be the very first time in film history that has featured a film-within-a-dream-within-a-film ... BK was such a genius there really is no word for his genius!

There are several scenes I recommend to all and sundry:

1 the billiard game with the exploding 13 ball

2 the motorcycle ride (first time a camera was mounted on the moving object)

3 Sherlock's trusty assistant Gilette in a special costume

4 the busy street scenes

5 the dash off a moving train only to be hit with the rush from the water tower (and yes, this is the famous scene in which BK broke his neck and actually just walks away from the camera)

6 best of all, BK shows the beautiful emotions on his face that he almost always showed. I do not know why he was nicknamed the Great Stone Face; he had a Buddha's face, which is something very different! What he specialized in showing us was a fearless, determined character no matter what, a strong man, a true man.

Finally, I believe this is the first film in which BK does not regularly wear his trademark hat (a modified Stetson fedora which he hand-shaped). It made hilarious appearances regularly but he did not wear it as part of his costume here for the first time. In fact, he prominently hangs it on a peg at the beginning and basically ignores it for the rest of the movie. A lot of critics have said BK communicated certain messages to the audience via his hat, but here I can only surmise he's telling us he won't be doing his usual schtick.

You should get this in the combination of Our Hospitality/Sherlock, Jr. (see my review of the other film). No matter how you do it, though, DO IT! Do not let yourself pass on without having seen this!!

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THREE AGES (1923) is the least regarded of Buster Keaton's features, but for me it is just as great as all the "classics." This double-bill also includes the miraculous SHERLOCK JR. (1924), which also is top-notch Keaton. Buster's antics regarding love in THREE AGES are wonderfully comic, and you will be amazed by the laughs and the incredible visual wonder of SHERLOCK JR. Two of the greatest comedies ever made in a perfect KINO blu-ray package :-)

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Camp Nowhere

I have been reading the reviews, most of which are obviously written by teenagers or preteens.

My husband, also 30something, tuned into this on cable the other night. and we both sat and watched the whole thing. It's "Lord of the flies" set in modern day, but much more fun to watch.

Christopher Lloyd, best known as "Reverend Jim" on t.v. show Taxi, and "Doc Brown" in the Back to the Future movies is the only known star that shows up in most of the movie. He plays the authority figure throughout the film when the parents' aren't.

It's a "let's see how much we can get away with while the parents aren't looking" movie. and I have to admit, it was pretty cool..Both my husband and i were thinking: That is cool..I wish I could've done that. It's a fantasy for younger teens. Basically, some rich kids pool all their summer camp money together and create their own fantasy camp and their parents think that they are all at the camps they were originally supposed to go to for the summer: fat camp, computer camp, drama camp.. instead, it's just 'HAVE FUN ALL SUMMER camp..OR Camp Nowhere at some run down land that Lloyds' character finds.

The teens all come together and help Lloyd from going to jail.

It's a cute little film that certainly isn't one of the most classic of the teen genre, but certainly is entertaining enough.

A lot of silliness goes on, and eventually chaos!!! the parents want parents day..of course, they have to get caught eventually, right?

check it out...

This movie is great. It is very hilarious and well worth your time. It is almost a five-star movie in my opinion, but I can't give it more than four because some of the scenes are just plain corny and/or ridiculous. And yes, as one reviewer mentioned, the parents are represented wrongly, in that they never suspected anything, which does not seem real.

On the other hand, that same reviewer mentioned that he did not finish watching this movie because of cursing. I seriously do not know what he is talking about. I only remember very occaisional and rather mild swearing.

All in all, this is a great movie that is definitely worth watching more than once. I definitely recommend at least renting it, if not buying it.

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I recently rented Camp Nowhere. Best movie I have seen in my life. It is SO funny. It is all about this group of four teens {two girls, two boys} whos parents are making them go to summer camps in which they do not want to go. They find Dennis Van Wilker {Christopher Lloyd} and they scam thir parents into this camp. Along with many other kids, all summer this "camp" which is really just a big party, goes great. In August, all the parents want a Parents Day, so they pull of "the GREATEST scam of all time" At the end, the truth is revealed, nothing bad happens. The whole movie, Mudd and Gabby have a little crush going on and wont admit it to each other but at the end Mudd and Gabby have a nice wet kiss.

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CAMP NOWHERE has been one of my favorite flicks for a long time. I just saw this flick again for a second time on TV today. Although I'm 17 years old, I still find this movie very enjoyable. It's about this geeky kid named Mudd (Jonathan Jackson) and three other kids (including Andrew Keegan), who come up with a plan to make their summer vacation the most fun vacation they've ever had by creating their own camp called Camp Nowhere, with the help of an ex-drama teacher named Dennis (Christopher Lloyd). The camp was just supposed to be for the four of them, but then a bunch of other kids find out about the camp and they end up going to the camp, too! It's a wild and crazy summer for the kids with no rules or responsible adults. The kids get to do whatever they want, while their parents think they are away at computer camp, weight-loss camp, military camp, or drama camp! And of course, they've got megabucks to spend on whatever they want from the money their parents paid for the camps. But then their parents come for parents' day and they have to prove to them that they are really at the camps their parents thought they were!

This movie is very hilarious and fun to watch with your friends. You can watch it over and over again without ever getting tired of it. With an allstar cast including Jonathan Jackson, Andrew Keegan, and Christopher Lloyd and a great script, how could you go wrong? If you haven't seen CAMP NOWHERE, I definitely recommend that you do. You must buy this movie 'cause it's da bomb! And Jonathan Jackson is really cute in this movie, too!:-)

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This movie was the reason I joined up with Amazon, thus, as everyone can guess, it can't be bad. Right? Right!

Let's start with the movie: it's very amusing. While there are only very few truly funny scenes (most notably the car wash scene with Cristopher Lloyd), the whole movie is lighhearted and easy going, with nice characters with whom you can identify. And altough there are a bunch of them the most important are 5: Mud, Gaby, Trish and Zach the 4 main kids who originate the camp idea and the adult they blackmail into helping them, Dennis. All have their quirks, all come to terms with them. And some come together in the process, which you, as the viewer, will if not love, then atleast like a lot. All in all I can say this is one decent family movie, which both the kids and the adults ought to like.

In other words highly recommended!

Lets go to the next part the packaging. While the extra features are few (Spanish audiotrack + chapter menu) the enhanced 16:9 transfer is excellent. You'll probably enjoy it even on a computer, as the final resolution is big enough for even 19" monitors. The sound... well, this is the only detail I can complain about the package carries a "Dolby Digital Surround Sound" notice, which ain't true both audiotracks, while in Dolby's format, are only stereo. But as this ain't really a movie where you can do much with surround sound then this shouldn't be a reason why to skip this release. Besides the number of channels audio is fine.

So, to take it all together: very nice movie with very good picture and more than decent audio. And while there are practically no extras it's no reason why your family shouldn't own a copy of this DVD.

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The Crazies (2009)

THE CRAZIES is not a great film, nor will it likely even enter the "Hall Of Fame" of zombie-type movies. However, it is a tight, well-constructed and reasonably well-acted thriller that is more than worthy of a look.

In the small mid-western town of Ogden's Marsh, high school baseball season is just getting started. Everyone in town is there to size up the quality of this year's team...and frankly, life just couldn't get any finer. In less than 2 minutes, we get learn all we need to know about this little town...we see that it's a town where everyone knows everyone. Everyone has a place and is contented. Life is simple but satisfying. But when a glassy-eyed farmer with a shotgun wanders onto the field of play (actually, he has what might be described as a zombie-like stare), the sheriff (played at a perfect pitch by Timothy Olyphant) tried to talk him out of his weapon. Their brief, tense confrontation ends in the death of the farmer...and the town is rattled. Things quickly escalate as more and more citizens begin acting weird, violent and yes, CRAZY.

It isn't quite a zombie movie...no dead person is coming back to life. In fact, it's more a cousin to 28 DAYS LATER, where the zombies were really just people infected with rage. But whatever the case, we essentially see the very quick collapse of this little society...especially when the government quarantines them and begins to separate the sick from the well.

The movie takes a fairly predictable path from here...there's not really much we haven't seen before (although the film does feature the scariest journey through an automatic carwash that we've ever seen). But there is seldom much in the way of the truly new in this genre...it's all in the execution. If the film is constructed well enough, we don't pay quite so much attention to some of the plot holes (or if not holes, at least areas the stretch credibility, even if we accept the initial premise). THE CRAZIES is well-constructed, and uses its modest budget well. It doesn't attempt anything it can't pull off well, so there aren't lots of cheesy effects. It assembles a small core of characters, and makes us care about them just enough to draw our sympathy at their plight.

The central relationship is between sheriff Olyphant and his wife, the town doctor, played by Radha Mitchell. They are a couple that has clearly been together for awhile, and there are no big histrionics between them. They feel like a couple that has a natural ease between each other, and even when pushed to extremes, there's never any doubt that they're comfortable. This reflects the overall ease of the movie...it doesn't push too hard. Olyphant and Mitchell feel more like a married couple that is comfortably at ease with each other...not the typical movie couple who always have to find a way to tear each other's clothes off and fool around, even as the world collapses around them. I liked that...and it made me really root for them.

In many ways, the most interesting relationship is between Olyphant and his deputy, played by Joe Anderson (ACROSS THE UNIVERSE). Their interplay, the casual deference of the deputy for his boss, their unshakeable sense of duty all feel natural. These are good guys...but in quiet, unassuming ways. They just do what they feel is right, even if they're really scared. The movie is not showy about them...it's not like their Mel Gibson & Danny Glover in LETHAL WEAPON...they're just a couple of small town law enforcement officers who wear their badges not only with pride but with an instinctive understanding that they have RESPONSIBILITY as well.

The movie has scares aplenty, and lots of tense scenes. There's a great scene in the latter half when the couple is confronted by a couple of crazies in their own bedroom...we've got four people basically clawing and scratching at each other in a tiny room, and it's maddening to watch.

It's nice to see a good, honest little film that knows its business, but takes the time to get enough little details right to make it just a bit more than ordinary. If you're in the mood for a few jump-in-your-seat moments, you could do far, far worse than THE CRAZIES.

I knew nothing about The Crazies going into the theater. I didn't know it was originally produced by the father of the zombie genre, George Romero. And I didn't expect to see a movie about a sheriff (Timothy Olyphant) and his pregnant wife (Radha Mitchell) with my own wife six months pregnant. Please note: this review contains spoilers.

The movie starts out slowly. In these stressful times, we're all too familiar with scenes of sudden gun violence in an idyllic setting. After sheriff Dutton is forced to gun down a former town drunk on a little league field, the town of Ogden Marsh begins to unravel. Everybody knows everybody else in this small town and a murder leaves emotional aftershocks that traumatize its citizens. This includes Dutton's wife, who happens to be the town doctor.

The tension slowly notches up from there. These early moments are critical in establishing The Crazies as a superior horror film. The petty rivalries, the secret and not-so-secret grudges, the sadistic bullies all of the townsfolk's deepest impulses are let loose through the TRIXIE virus, a military bioweapon that has accidentally (?) contaminated the town.

Unlike so many other horror movies, Dutton and his deputy Clank (Joe Anderson) are precisely the people who should be dealing with an outbreak. The problem is that they are little fish in a very big pond. The movie quickly morphs from a slasher flick to survival horror when the military gets called in, loses control, and pulls out.

What makes The Crazies so refreshing is that it plays on horror tropes, using it to narrative advantage. We find out that the soldiers who are executing townsfolk aren't faceless, that the TRIXIE virus may or may not be transmitted through the water supply, and that taking one's temperature isn't a guaranteed means of identifying who's infected. The Crazies makes no promises but always delivers.

This ambiguity may frustrate some people who expect everything to be wrapped in a neat bow, but director Breck Eisner knows that there is horror in uncertainty. It's precisely this lack of clarity that makes the movie so good the villains aren't unilaterally evil, the victims aren't always helpless, and the solutions aren't always moral. The Crazies wallows in the gray area of harsh decisions, treating an outbreak with all the ethical gravity of a war.

Let there be no doubt, this is as much a war movie as it is a horror movie. The real crazies, Eisner seems to say, is anyone who would trust authority. These days, that may not be such bad advice.

P.S. Stay through the credits!

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Gina from Haunted Flower reviews "The Crazies" directed by Breck Eisner and produced by George A. Romero based on his 1973 version. It stars Timothy Olyphant, Radha Mitchell, and Joe Anderson. A contagious mental illness takes over the inhabitants of a small town in Iowa.

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Make no mistake-"The Crazies" is a horror film. You may have read that it's really a modern remake of an old 1973 George Romero horror film by the same name. I haven't seen Romero's original, but this film is very well-done.

The biggest name in this film is Timothy Olyphant in the lead role as sheriff of small town Ogden Marsh, Iowa (population 1260). The rest of the cast and the director, Breck Eisner, are not quite as well-known, but they all do a very competent job. The acting and the directing are so well-coordinated that you never have the feeling the film is trying to "showcase" a particular actor, nor that the actors are ever competing with each other for attention. That, along with the pace of this film, which to me seemed just perfect (transitioning very gradually from casual to almost frenetic as things fall more & more apart) really allows the viewer to suspend disbelief and immerse yourself in the story. And there is plenty of story. There's plenty of scares too, but this film never loses sight of telling a story, focusing on a small group of people trying desperately to escape this town alive. They have not only the "crazies" to contend with but also the military (in classic Romero style, the government is no more trustworthy than the disease). The violence is just sufficient to maintain a real sense of suspense, without over-the-top or gratuitous gore.

The film is almost entirely first-person viewpoint, and along with the characters we learn that something is terribly wrong, people are going berserk and senselessly attacking others; that it apparently came from the cargo on a military plane that crashed in the marsh which supplies the town water; that it might have become airborn; that the military is rounding up and quarantining everyone; and finally, that nobody is going to be allowed to get out...

There are also plenty of head-fakes in which you don't know whether something awful is about to happen or not, but these too are done in a reasonably sophisticated way, not overly calling attention to themselves but just keeping you constantly on-edge and not knowing just what's coming next.

The blu-ray looks great and the musical score is good, particularly at the ending credits. There are a moderate number of "bonus features"; three short (10 minute) featurettes being the most interesting to me. This was really filmed in Iowa, as well as in rural Georgia (enabling filming to avoid the cold Iowa winters and the hot Georgia summers). The whole story takes place over just a couple of days. I'm doubting there will be a sequel although the final sequence left open the possibility. This is a very nicely-done horror film with good characterization and a somewhat understated style. It should appeal not just to horror film devotees but to a somewhat wider audience.

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I have never seen the original "Crazies" film so I can not comment on which version is better. The Crazies(remake)takes an overplayed zombie genre idea and tries to make it more realistic. The story is told simply with a plausible background story. Instead of hordes of zombies running around like supercharged baboons or sloth-like undead roaming aimlessly, these "zombies" are alive and act fairly human(at least from a distance), but have a pretty mean disposition. Depending on how far gone they are, they can almost seem normal...I said almost. What makes it seem much more real is that they still seem to have a little memory of the former selves and react to people they know. The special effects and gore are played down a notch, but it doesn't make the film any less frightening. This is largely because the "zombies" are the least of your worries! I'm a fan of some of the classic zombie films and there have been a number of good ones in recent years, but The Crazies is one of the few that made me think could this happen? ...and that's pretty scary in itself!

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The Tuskegee Airmen (2001)

The story of the magnificent 332nd Fighter Group is woven into a dramatic tapestry of the horror of war and the disjointed approach of many Americans to a difficult time and a situation many would have preferred to ignore. The performance of the pilots who graduated the Tuskegee Training Program (they NEVER lost an escorted bomber to enemy action!) unfolds against the backdrop of misunderstanding, racism and political machinations that nearly destroyed the entire enterprise. This film does a magnificent job of telling the tale without being melodramatic, preachy or snide, but does full justice to the accomplishments of the pilots and their eventual victory against both German pilots and their own nation's refusal to recognize their talents. For the student of World War II, this is a well-known and much-respected story. For the student of African-American History, it is a tale of pride which shines as brightly as the stars on the American Flag these men so courageously defended. Fishburn and Cuba Gooding are superior as men caught between their own humanity and the de-humanizing effects of war. If ever a film deserve a 5-Star rating, this one does.

This is an excellent story of real people. It is not PC BS where all whites are bad and all blacks are good. Instead, it is about a great and valiant group of men, the first black combat pilots during World War II. They are depicted as the heroes they were, not as supermen. They faced all of the challenges thrown at them to become pilots and they faced more challenges from their race. Some were primadonnas and some were modest. Some failed and some succeeded. Some were serious and some were jocular. Their humanity made them heroes even when others didn't want to admit their worth. They were regular guys called upon to do a difficult job and they did so with aplomb and dignity. They also did so magnificently.

The story takes a group of the airmen from their pilot training in Alabama through the North African campaign where they were relegated to important but unglamorous work against ground targets. We see them mature into professionals and develop their skills, all while being denied an opportunity to prove those skills. Finally, they are moved to Europe where they face more discrimination. Even though they do a great job, no one wants to admit that they have done so. Even redneck bomber crews who have their bacon saved are reluctant to give thanks when they learn they have been saved by black men. Still, the men of the 332nd persevere.

Finally, comes the push to Berlin. The bomber crews know its going to be tough. For me, the climax comes when one of the rednecks tells his CO, "If its all the same to you, I'd like the 332nd to take me to Berlin". This is the same guy who would not even acknowledge they could fly earlier. While flying bomber escort, the 332nd never lost a single bomber to enemy fire. They were magnificent.

That is the story and it is no secret. I'm not giving away anything not already in the history books. What makes this film so much more than docu-drama are the characterizations of the men who lived the story. They are real American heroes and they are played with greatness. They fought the Germans and they fought their own chain of command and they prevailed.

Bravo!

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The Tuskegee Airmen (Laurence Fishburne) 106 minutes. (for a more historical account check out the PBS with the same title)

Movie starts out with the scene of a black kid on a farm watching a plane fly by. The narrator reads "We all have dreams, regardless of skin color." The Little kid screaming "Wait for me"

The director uses various scenes to show the ugly face of racism: The scene where the black cadets have to get off the train-car, then camera focuses on "whites only" sign for drinking fountain, and then the camera focuses on german prisoners getting off a bus, escorted by american white military soldiers. Quite a lot of symbolism for racism in one little scene. The black cadets are forced to give up their seats for german prisenoners of war (they had to go to the "Jim Crow car"). The introductary talk of the white commanding officer of the base to the newly arrived negro corp, was simply despicably racist, not just the expected putdown from commanding officer, but pure and un-adulterated hate.

The second shock, and this is to my own assumptions ... I was shocked when the negro cadets informally introduce each other and how cerebral some of them were (aeronautical engineer, pre-med, english literature, political science, art history, sociology, economics majors). These were some bright minds there on base to prove America that they could make it.

Another excellent example of contradictory racism, is when a negro pilot does an emergency landing, and the white sherrif watching over a group of negro convicts, a chaingang, says "It's one of our boys" and later learns the opposite.

I love it when the good wins while fighting the evil the white major who gets in trouble with his commander for implementing his racist ideas.

If you want to comprehend the little nuances of racism and its evil, then this is a good movie to see. If you want to understand discrimination and racism in 1940s US (not Canada) while we Americans were fighting Nazis in Europe, as experienced on an airforce base, then this is a good movie to see. Not the whole presentation is profound, but there are moments of laughter, smiles, and chuckles.

In this movie only the ones "who want to learn how to fly" succeed above the rest those who react instead of subversively ignore the racism around them . And the remaining negro cadets surely proved to be some pretty darn good pilots and US Airmen. It's an awefully great moment when racism is fought subversively and peacefully. And there are plenty of these moments in this movie.

Or the moment, when the Bomber white pilot locates the fighter pilots who saved his crews lives, but is actually upset when he finds out they are colored.

The movie has a beautiful turn, and ending. I will not spoil the details, just re-print the message of the last screen:

"The 332nd Fighter Group never lost a single bomber to enemy action."

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This movie not only addresses the tragedy and patriotism of those of served our country in WWII, but in brings to light the discrimination that was also a very real part of the existence of our black american heroes. This movie is not what I originally feared it would be, a typical portrayl of the oppresive white man keeping the black man down. It showed the courage and tenacity of a group of Americans (in the case African Americans) who fought and died for their country in the war to end all wars. The storyline follows a group of black pilots who not only bring honor and pride to themselves, but their country. They lived the motto, "My country, right or wrong, my country." It didn't matter that these men were discriminated against because they were black, they did the job that had to be done and they did it well. What more can we ask of any American? Watch this movie for the accurate history it portrays, not only in the struggle for equality in our country, but for all the guts and glory of those fighting men we owe our very freedom to today. God bless America.

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I tend to get very emotional about this film. I can never see the ending without tears of appreciation, joy and intense pride. HBO is by far the best at making original movies and shows. The film has technical flaws... every film does... but beyond them it tells a story that, by design or negligence, has been ignored by American history for almost a half century.

Laurence Fishburne and Andre Braugher deliver stellar performances as Hannibal Lee and the great military leader Benjamin O. Davis. The other great actors who have some sort of direct or distant connection to the cause, to contribute were Cuba Gooding Jr., Courtney B. Vance, Allen Payne, Malcolm Jamal Warner, and Andre Braugher.

This film was wrapped up for me when a red necked White bomber pilot says in the final briefing: "I have a crew whose lives are my responsibility. If it's all the same to you Sir, I want the 332nd to take me to Berlin and back". That cinematic statement is a long overdue.

`Tuskegge Airmen' is a movie that should be viewed by all Americans interested in seeing a slice of Americana that's been neglected. Most will identify with the raw emotion evoked by the plight of these brave and talented men. Black Americans will be moved to tears as we are reminded of what those trailblazers overcame so that future Black soldiers, airmen and every day citizens could take their rightful place in American society, proud of their past and heritage. We all owe a debt of gratitude to the Tuskegee Airmen. This movie makes it clear why. I hope HBO continues it's long trend of fantastic films and series.

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ICHI (2009)

Historical samurai dramas are the Japanese equivalent of the Western except that they still maintain their credibility. This is a reworking of the popular Zatoichi the blinds swordsman series, with a blind female musician trying to track down the person who may or may not be Zatoichi and who may or may not be her father.

I like the structure as more and more is revealed about the two main characters over the course of the film through the use of flashbacks which can, early on, sometimes be misleading. Toma, the samurai whom Ichi protects, at first appears to be nothing more than a coward but he is more than that and there are resonances which I don't want to spoil. The two leads are absolutely fine in their roles, the cute kid who helps Ichi is bearable, but the villains tend to be over the top. In particular the chief bad guy comes over like a psycho samurai Quentin Tarantino, whom he rather resembles.

It's attractively photographed with several striking snow scenes. There is a strong emotional content and lots of brooding silences, profundities, and deep thoughts -this is a samurai movie after all. There's even more blood, lashings and lashings of it as our heroine wades through the bad guys using her special backhanded slicing technique. The climax features even more blood and carnage with bad guys against good guys, hero against villain, heroine ag... ah, that would be telling.

I had a good time watching this. Sequel, please.

I have the UK edition. It's in Japanese with English subtitles. No extras apart from a trailer.

Ichi is one of those films that I've been meaning to tackle for some time. The look, the feel, the mood, and the mythological elements are all of undeniable Asian influence. Yes there are undefeatable principles at play within that span beyond the swordplay and action elements in the foreground. Before we look at the excellent philosophical tones of the picture, let's get the hard facts out of the way.

Coming in at a 120-minute runtime, Ichi consists of the full-length feature film on a single disc housed within a standard clamshell DVD case. The show wears an appropriate if not slightly conservative Restricted ® rating due to violent imagery, swordplay, digital gore and a healthy dose of character-driven drama.

Language options are typical sub & dub meaning both the original Japanese vocal track is present as well the choice of an English dub (either presented in 5.1 Dolby Surround Sound) with the option of running English subtitles available with either vocal track.

The story, which has to be watched to be fully understood (or appreciated for that matter), goes something like this: Ichi, the female incarnation of the legendary blind swordsman Zatoichi, is herself a blind master of the blade and roams about town with her shamisen (a three-stringed Japanese guitar) in a mission to locate the man who helped raise her. Alone the way she happens upon no shortage of unsavory characters (rapists, thieves, and hustlers) looking to take advantage of her.

Ichi is no pushover, as the baddies soon discover in dramatic visual style, and defends herself with spectacular swordplay time and time again. Shot in a blend of slow and regular motion segments, and with digital blood spurting wildly, the film is a testament to the charms of Asian cinema (and calls to mind some of Quentin Tarantino's frequent homage in films such as "Kill Bill").

As the prose develops, so too does the cast increase with Ichi herself gaining the companionship of a young male traveling partner despite the fact that she is by far the better sword wielder. Haruka Ayase's performance as Ichi seems to depend heavily upon the viewer's expectations going into the film. I found her to be convincing enough and somehow proud despite her attire of rags but it appears as though fans of Shintaro Katsu's original Japanese television incarnation of the mythos are quite divided on this casting choice.

Villains, as is par for the course in these situations, are a bit over the top in my opinion (Nakamura Shidou in particular). However, while this may be a large detractor in an American big budget film, the Japanese have a habit of making the unbelievable believable through gritty ambiance and dialog that doesn't oversimplify character motivations.

Shooting locations and cinematography are particularly noteworthy for their massive scope and stunning vistas (particularly some of the snow segments, which can send a chill through even the most well-wrapped blanketed viewer).

The downside is that this simply isn't a piece of Asian cinema that will capture and hold the attention of the casual viewer. The pacing and plotting often become a bit bogged down upon themselves with an excessive of moments of silent reflection, brooding sighs, and artistic framing. For the most part this all works, but there will invariably be those a bit put-off by the pace fluctuations throughout (especially those viewers accustomed to the fast-cut American method of contemporary filmmaking).

The sound score is perhaps the biggest surprise with some really nice keys that go a long way in complementing the whimsical backgrounds.

In all, the picture works best when approached as a visually striking romp through a fairly historically accurate setting. Digging too deeply into the mythos seems to reveal complaints in many forms and the cast is a bit too inconsistent to win over the masses. Perhaps such complaints sound harsh, but the truth of the matter is that there is a lot of entertainment to be found here so long as you don't let expectations of grandeur bury it.

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Beautiful Actress! Great character! I very much enjoyed this movie, it had a good story line and the characters were developed enough to keep your interest, even the supporting child actor was charming, thanks!

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ICHI THE BLIND SWORDSWOMAN (2009) is a redux of Zatoichi, the Blind Swordsman; the classic Jidai Geki TV series. Directed by Fumihiko Sori, (Vexille, "Ping Pong"), with screenplay by Shimosawa Kan; this film switches the gender of the lead character, has significant improvements but it also lacks some of the original's strengths. "Ichi" stars beautiful Japanese bikini model/actress Ayase Haruka, and this is her follow up role to "Cyborg She" (which I will review later). The film is a departure from the stylistic style of Kitamura's "AZUMI" and is a welcome return for director Sori to his action roots after the fun-filled "Ping Pong".

Ichi (Haruka Ayase) is a beautiful, blind musician who travels this Edo period Japan with her traditional Japanese guitar and a walking stick--well, a walking stick at first impression, but inside, she hides a razor sharp katana. Ichi may be blind, but she is also a skilled swordswoman. In her quest to find the man who helped bring her up, she comes across swindlers, rapists, gangsters who want to take advantage of her disability. Ichi fights back with her remarkable sword fighting skills. Sometime during her travels, she meets up with a cowardly, dishonored samurai named Touma (Takao Osawa, Aragami) who she ends up saving from angry gamblers affiliated with the Banki Gang. The pair unwittingly become entangled in a turf war between the Shirakawa and Banki clans battling for supremacy in a small inn town of Bitou. Ichi may find the answers she is looking for in the person of the leader (played by Shido Nakamura) of the Banki group of cutthroats--and the resolution of the conflict may reveal the fate of the man she is looking for.

"Ichi" is a film that is very commercial in its appeal. It has the charm to attract the younger generation as well as samurai aficionados, as well as electrify the male testosterone because of Haruka Ayase. This actress is beautiful, and although she barely wears any make up, and this role has wearing rags, her close ups are enough to add excitement and you can tell that she has a model-like statuesque figure. Ayase became well acclimated to the action genre after "Cyborg She" and she does have the presence that can grab attention.

The film may have the somewhat stereotypical themes of redemption, revenge and compassion as is quite familiar with jidai geki films, and I don't deny that the film has certain weaknesses in its premise. I don't mind stereotypical storylines, but film feels a little routine. Ichi was brought up by a Goze group of blind performers and she was exiled when she was sexually abused. The Goze faction of musicians are an odd lot, their rules are certainly fleshed out but I was left asking for the reasons as to why such rules would apply. Yes, "Ichi" does have a lot of emotions going for it, and her links to a certain blind swordsman does manage to entice our attention. The problem is, the film is filled with over-the-top characters that threatens to overshadow its tone. Director Sori is responsible for such anime hits such as "Vexille" and "Appleseed", and you can see the costume designs by our villains look very anime-inspired. Also, the bumbling samurai played by Takao Osawa has his interesting qualities, I can buy his reasons for not wanting to use his sword but this fact overstays its welcome as there were times in the last act that I almost screamed "Draw your sword, dammit!" Of course there is a developing romance between Touma and Ichi, but the film doesn't develop this too much.

Well, does "Ichi" deliver in its action sequences? Yes and no. Yes, the fights are very cool to watch and they are quite kinetic in its execution. There are also a very good number of them, Ichi is on display as she quickly dispatches her assailants with quick thrusts and stabs, complete with very nice posturing, "Ichi" provides great eye candy. There are also a significant use of slow motion to display Ayase's moves--this would normally bother me, but I am willing to forgive its use this time around. Director Sori also doesn't make Ayase's character seem too invincible, Ichi does have her female vulnerabilities, as skilled as she is, she is a woman and has her limits. Ichi has a strong advantage when she fights in the dark, but may have more of a handicap when there are some loud noises. As for why I also said no, well, the fights may look cool, but they were lacking some credible impact in its narrative. The script hampers the action sequences, because while it does attempt to carry emotion, it doesn't feel climactic. I guess the set ups were also too simple and they can be very routine.

The cinematography is quite gorgeous, and accompanied by a somber, moody score, the film does manage to impress me in the way it plays each scene. The film's color palette leans towards the tone of Earth colors as with most jidai geki films and the atmosphere does resemble a Kurosawan samurai film, with the wind blowing dirt meant to signify a finale. The set designs are also good, they are very similar to Kitamura's "Azumi". Director Sori brought along his buddies responsible for "Ping Pong", Shido Nakamura and Yosuke Kunozuka performed well, but it just felt like a step backward when compared to their previous film together.

Ultimately, "ICHI" won't be one unforgettable jidai geki film, but the film does have its charm and the action scenes are good enough for "hack and slash" feature. Plus, there is the absolutely stunning Haruka Ayase who is just so damn attractive who roams around feudal Japan, slicing and dicing her way to her quest. The film closes in a manner that leaves it open for a sequel. Despite the film's flaws, I found it quite entertaining. Don't expect a film very faithful to its roots but just be along for the ride. This "Zatoichi" re-imagining will not make a dent on the classic status of Shintaro Katsu's original but thankfully it is a good enough diversion.

Recommended! [3 ½ Stars]

Video/Audio: 1.78 ratio anamorphic widescreen. Nice clean transfer. The film is sharp with restrained colors, favorable to earth colors. The 5.1 Dolby Digital track is strong and powerful. The English Subtitles are good but sometimes they scroll too fast.

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I like the older Ichi movies but this was different. It gave you a look at the old Japanese life in the past.

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Brubaker (1980)

Of course, I'm biased. "Brubaker" is a fictionalized account of the real story of Tom Murton, warden of Tucker & Cummins prison, in Arkansas, in 1967-68. Tom Murton was my dad & I lived on both those prisons as a 5th grader, before we were unceremoniously kicked out of Bill Clintons state. Most of the movie's events really happened, including the electric torture--called the Tucker Telephone--the whip, the horrid food, the inmate trustees carrying guns, painting death row, & digging up some of the 200 unmarked graves, most of which remain unmarked on Tucker farm. Fictional events include the female prison board member, the black old inmate dying--his name was Reuben Gaines & he got out of prison. My dad assuredly did NOT infiltrate the prison as an inmate, but the scene w/ the old warden barricading himself in his office w/ a Thompson submachine gun was true. Like Redford's character, my dad was not PC & probably unecessarily antagonized both the corrections board, & the governor. But who could really agree to cover up 200 murdered inmates? Governor Winthrop Rockefeller fired my dad, even as the Arkansas legislature was moving to indict him for grave-robbing. We had 24 hrs to exit Arkansas. My dad went on to be a tenured professor of Criminology at the Univ. of MN, Minneapolis & passed away in 1990. The book about all this is "Accomplices to the Crime" by Tom Murton & Joe Hyams, Grove Press. Long since out of print, but available over the internet from rare booksellers for a reasonable price. My verdict on the movie: considering that it's primary purpose was to make money, it's a lot more factual than it could have been.

Brubaker is based on a true story and tells of the events of one man's attempts to reform a prison system mired in corruption, brutality, and a lack of order to any general degree.

Henry Brubaker, as stated in the movie, gained his past experience in corrections working in military prison systems. Brubaker hatches the ingenious plan to insert himself into the prison population at Wakefield Penitentiary as an inmate to experience first hand all the problems inside the facility. What he uncovers is nothing less than barbaric punishment methods, no structured management of inmates, lack of medical care, and the penitentiary itself in advance stages of disrepair.

Henry Brubaker, after revealing his status as the new warden and assuming his duties, goes on to discover that there are no state hired corrections officers on the staff. Inmate trustees, armed with weapons, are given the responsibility of manning watch towers, supervising work crews, and keeping the peace inside of the prison. Furthermore, prisoners are farmed out to local businessmen in the community for work with no pay which amounts to slave labor.

Upon deeper investigation into all the activities in and around the prison, Brubaker discovers other illegal activities including theft of prison food supplies and equipment, inmates being charged fees for almost non-existent medical care, and the revelation that there are prisoners buried on the prison property that were the victims of murder by fellow inmates.

Brubaker confronts the state prison board with these problems only to find out that the prison board is not only aware of these incidents, they think the system should reamin unchanged because it has always been this way and should remain so. You can sense their unhappiness with Brubaker as the new warden who wants to come in and upset their system rather than tow the line.

Henry Brubaker is portrayed as a man of honesty, integrity, and professionalism and in defying the prison board's message to leave well enough alone, he launches his own campaign to reform the prison and correct the wrongs he has inherited as the new warden. Unfortunately, with the power of the prison board and the governor of the state against him, he is eventually removed as the warden and fired.

In the final outcome, many inmates saw the necessity of the changes attempted by Brubaker and were dismayed at seeing him removed and the new warden not making proper progress to reform the prison. This prompted many inmates to file lawsuits against the state for inhumane prison conditions resulting in the governor not being re-elected the following year.

This movie is a fine drama with a very good plot, great acting, and poignant conclusion. I highly recommend this movie to everyone.

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There are only a handful of good prison movies from what I have seen over forty plus years. "Shawshank Redemption", "Brubaker", and "Birdman of Alcatraz" are three of the best. I don't care about Redford's personal politics and therefore my review is not political unlike one rant here. The story is based on a true event, and the acting is superb. My wife asked me the other day if I had replaced my VHS of this with the DVD. I realized I hadn't and I was long overdo to see this again. I immediately ordered it. The movie is one of Redford's best so fans of his should definitely see it. If you aren't a fan, then see it because it is a good drama about what sometimes occurs in prisons whether those that work in that environment like it or not. Corruption happens in all systems so people in law enforcement should not take this movie as an insult, but merely as good drama loosely based on what really happened at a prison many years ago.

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Robert Redford is Brubaker, an honest expert in corrections sent to clean up a trouble-plagued penitentiary. Sent to Wakefield Brubaker enters undercover, living his first few days as a prisoner. We learn that for its brutality, Wakefield was conceived along the lines of a noble experiment one that gave the prisoners unusual autonomy, and was intended to actually correct those imprisoned there. Instead, the experiment has carved a super-class of prisoners who rule over the rest of the prisoners as Trustees. Unafraid to use force, they skim off books while stealing supplies already paid for. Brubaker, once revealed as the new warden, slowly but surely turns the system upside down he can't move too quickly because those prisoners or administrators who are most guilty are also the only ones who can tell him what's wrong. Eventually discarding the old guard, Brubaker soon learns that Wakefield has an even darker secret, one whose discovery threatens the Wakefield's future.

This was a good movie, although it's hard to understand the first time around. The sophisticated system of prisoner autonomy is somewhat hard to believe unless you've already seen the movie before. The setting is interesting a dessicated prison, complete with an antique electric chair (which emerges from the shadows like the monster from "Alien" quite yet terrifying). That said, the movie has no surprises (comparisons to "Last Castle" are incorrect). Brubaker is an utterly honest and incorruptible soul. Once we see how he uncovers grafters among the prison administration and trustees, there's little more for him to do. We know that outside businessmen will be corrupt croneys and that even well meaning corrections bureaucrats will try to rein Brubaker in for the good of the system. The movie blows what should be its focus having Brubaker connect with the prisoners something he does too easily, too much so considering that his first speech reminds them that they are prisoners and that they are there for a reason. There also aren't enough really supportive roles as if Yaphet Kotto was the only reliable prisoner. Still worth a look.

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Brubaker, the movie, never mentions the fact that it is based on the book, "Accomplices To The Crime", by Tom Murton and Joe Hyams. It also doesn't mention that the movie is based on actual events that took place in Arkansas in the 60's at the Tucker State Prison Farm. Author Tom Murton, now deceased, was, in fact, "Brubaker."Professor Tom Murton, Criminologist Tom Murton, was hired by the then Governor Winthrop Rockefeller, brother to Vice-President Nelson Rockefeller, to come to Arkansas to "clean up" the prison system. Nelson Rockefeller lost the nomination as the Republican Presidential candidate largely due to his role in the September, 1971 Attica, NY prison riot that cost both NYS Dept of Corrections employees' lives and lives of inmates. Law suits for that event were recently settled in the millions of dollars payable to inmate victim survivors and the families of inmate victims. Tom Murton was fired from his job in Arkansas, and Gov. Winthrop Rockefeller was not re-elected. Both Rockefellers largely ended their political careers by mis-handling their prisons. Some sort of legal agreement was reached between the movie maker and the State of Arkansas to not mention this historical connection.

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Black Snake Moan (2013)

I was drawn to this movie because I enjoyed director Craig Brewer's earlier film, "Hustle and Flow". If anything, I liked "Black Snake Moan" even better. The movie combines tawdry and lurid components with a tale of love, forgiveness, and hope. I don't think the film is exploitative. Instead it suggests in a simple way how sensual and redemptive parts of life often complement each other.

In thinking about this movie, I was reminded of George Eliot's novel, "Silas Marner", the bane of every high school student. In Eliot's novel, Marner, an embittered miser finds redemption when he raises Eppie, an orphaned girl, from childhood to young adulthood. Similarly, "Black Snake Moan" tells the story of a middle-aged black American man, Lazarus, portrayed by Samuel Jackson, who feels embittered when Rose, his wife of 12 years, leaves him for his best friend. Lazarus happens upon a young scantily dressed white woman, Rae, played by Christina Ricci, who has been beaten and left near-dead on a country road following a wild party. Lazarus takes her into his home and tries to teach and care for her. Ultimately, the movie suggests, both Lazarus and Rae receive a kind of hope, Rae by marrying her boyfriend, Lazarus by finding what may be a promising new relationship.

The story gets life through a great deal of tawdry sex. At the turning point of the movie, Lazarus chains Rae to a radiator to prevent her escape. Rae was a victim of sexual abuse and a neglectful mother, and in her boyfriend's temporary absence for military service, she throws herself at every man she can find. She appears in the movie scantily clad, in a cut-off blouse with a Confederate flag and in shorts. Lazarus has his own frustrations to work out from the loss of Rose, his wife. A black preacher, the Reverend R.L., played by John Cotham, helps both Lazarus and Rae and is the quiet hero of this movie.

In this movie, atmosphere and scene count for a great deal. The story is set in a small Tennessee town near Nashville, and the story is redolent with poor Southern life, both black and white. There is scenes in shacks and farms, and small town stores and streets, and in clubs and bars that bring the movie to life. Brewer shows the same love for and knowledge of the rural South that he showed in "Hustle and Flow". Most importantly there is music. The tale of sex and redemption is captured in the flow of the blues in a soundtrack and in performances by Lazarus himself. Jackson spent long hours learning the blues guitar in preparation for this movie. The movie includes two scenes of footage with the great Delta bluesman Son House holding forth appropriately on love, loss, and the blues. Music is a redemptive force in people's lives, and in this movie of the hot-blooded South, redemption comes through the blues.

I found the tawdry elements of this movie an essential part of the story it had to tell. "Black Snake Moan" is rewarding.

Robin Friedman

So, let me get this straight. The Deep South. A young, white woman (Christina Ricci) who is also a nymphomaniac, ends up on the doorstep of an aging, black blues singer (Samuel L. Jackson) and he decides to chain her to his radiator. Have I returned to another era of filmmaking? When I first heard about this story, I did a double take. "Black Snake Moan" could be very bad; there are a lot of inherent problems with this story. Or it could be very good; the synopsis has so many weird, uncommon elements that it almost guarantees it will be something wonderful. I am happy to report the latter is true.

I didn't love "Hustle and Flow", writer director Craig Brewer's last film, but I liked it. I just wasn't won over by the story of a pimp who wants to become a rapper. If there's anything we learned from the film its "Don't you know it's hard out there for a pimp".

So when I first heard about "Black Snake Moan", Brewer's follow-up, I was not excited. Then I started to really pay attention to the previews and the images. Okay, this is going to be one strange movie and sometimes strange movies are beautiful because they have a license to go places we don't expect. "Black Snake Moan" is all of these things; strange, beautiful and also contains great performances from Jackson (one of his best) and Ricci (certainly her best).

The first thing "Black Snake" does is set up the two main characters, establishing their lives, before they meet. This may sound like a given, but Brewer spends a significant amount of time showing the despair each person has in their lives, for different reasons, giving us a chance to get to know each of them.

Rae (Ricci) begs her boyfriend Ronnie, (Justin Timberlake) to not go to Basic Training. But he has to go, this is the only way they are ever going to escape the trailer park they live in and have a chance to escape their white trash roots. She runs after the truck in her daisy dukes and oversize flannel shirt and then drops to the ground, crying. As soon as he is gone, she gets the `itch', something she is only occasionally able to control. This time, she won't be able to control it. She calls up the local small time drug dealer, a black man, and they are soon going at it in a seedy motel room. Later, she attends a large party, wearing the same daisy dukes and a cut off t-shirt bearing the Confederate flag (really just a strip of cloth making a valiant effort to cover her breasts, frequently giving up the fight) and tries to hook up. With anyone and everyone. Unable to find someone, she takes some pills and before you can whistle Dixie, she is running around in her panties and a football guard playing a game of football with some friends. Before you know it, she is having sex on the lawn, amid hundreds of used plastic cups. Later, she ends up with a bloody nose on the dirt road outside of Lazarus' small farm.

Lazarus (Jackson) has troubles of his own. A former Blues musician, he learns his wife has been cheating on him with his brother. She wants to leave, but his brother won't leave without his blessing. Lazarus shows great restraint in a confrontation between them. The local preacher, a childhood friend, tries to offer him guidance, but Lazarus won't have any of it. Returning home drunk, he throws all of his wife's possessions into a garbage bag before passing out. The next morning, he takes the garbage bags out to the trash and spots the young girl. He soon realizes she is hurt and tries to figure out what to do. If he calls for help, he will be immediately blamed and may end up in jail. He decides to take her in and help her. He visits the local pharmacist, Angela (S. Epatha Merkerson, TV's "Law and Order") and she gives him some cough medicine for `his niece's' cough.

Fading in and out of consciousness, Lazarus helps her get rid of her cough and tries to help with the black eye and the cuts and bruises. In a moment of lucidity, she attacks Lazarus, trying to tame her `itch' and have sex with him, leading him to find out about her nymphomania. In order to control her, he chains her to the radiator.

When she comes to, wearing her panties and t-shirt, she assumes something happened, but he assures her it didn't. Well, if he wants to, he can, as long as he lets her go. He won't have any of it. He has to help her.

This only begins to scratch he surface of "Black Snake Moan". Because the film is basically about these two characters, and we spend a significant amount of time with them, we learn a lot about each. But it is a testament to each actor that these moments of knowledge come through their performances, one of Jackon's best and certainly Ricci's best to date.

Christina Ricci deserves a lot of credit for the simple rawness of the performance. There aren't many actresses that would take on this type of role, let alone abandon themselves to the character. Rae is half nude throughout most of the film. Naturally, this character, a woman so loose with her sexuality, so promiscuous, would find nudity a natural thing. And the character does bare her breasts a few times. She also has sex with more than one person. But all of these images are presented in a very matter-of-fact way and illustrate the character's soullessness. When she meets Lazarus and he starts to care for her, this behavior stops, because he won't allow it. Gradually, as she realizes he cares for her, she starts to listen to him. She doesn't change completely, or quickly, making the character seem all the more natural.

This performance is very raw and fitting for the character. Ricci seems to give everything she has to the role, making it a memorable, vibrant performance. When she starts to change, we have lived part of the journey with her and we feel as though we have changed with her.

Samuel L. Jackson also seems to lose in the role of Lazarus. Every time we go to a movie, we may recognize the actors playing the role. Not surprisingly, the less famous an actor, the more easily they `become' the character they are playing because we are more likely to forget they are an actor playing a role. Samuel L. Jackson has made many films, many of those very popular, so he is very recognizable. An established actor always has more difficulty disappearing into the character. But Jackson seems to disappear into this character for large stretches of time, allowing me to forget I was watching the famous actor who has also appeared in "Pulp Fiction ", "Snakes on a Plane" and many others. The fact that he can fully immerse himself into the character at all speaks to his ability to make this character seem real.

From the moment we first meet him, we experience some of the troubles Lazarus has with his community, with his wife, with his life. When he finds Ricci on the dirt road, he has to help her. But he has to be cautious. It wouldn't look good for an aging black man to be seen with a half naked white woman, let alone one who has been beaten up. So he looks both ways, to make sure no one is watching and takes her inside.

The more involved he gets in her recovery, the more we realize he needed such a `project' to give meaning to his life. This also brings him into contact with the pharmacist, a woman who clearly has a little `itch' of her own for the aging Blues singer. Throughout the course of the story, Lazarus heals through his interactions with the young lady and may be able to get his life back on track after all.

Justin Timberlake is also good as, Ricci's boyfriend. Going beyond stunt casting, he actually shows he has some acting chops as he makes the character's difficulties real and substantive.

"Black Snake Moan" is a simply made film. The action centers at Lazarus' small farm in the middle of nowhere. Occasionally, he goes into town or other characters come out to the farm and interact with him, but I can't imagine this film cost a lot of money to make. Which makes sense because I am pretty sure if the budget for this film were too high, it never would have been made.

I'm glad "Black Snake Moan" was made, because it contains two great performances, introducing us to characters we have never seen before, and likely are not to see often again. It is also a believable, well-made tale of redemption for two people who need to have some meaning in their lives.

This strange film is, at times, quite a beautiful film.

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Craig Brewer (Hustle and Flow) directs his second mainstream film and John Singleton produces. Black Snake Moan stars Samuel L. Jackson as Lazarus, a religious man living in a small southern town. Lazarus is also a blues musician. His demons are that his wife left him for his own brother and for this he is riddled with anger. Christina Ricci plays Rae, who is an overly promiscuous girl who is traumatized by a history of child sexual abuse. On top of that her boyfriend Ronnie has left to join the National Guard. Ronnie is played by Justin Timberlake. After Ronnie leaves, Rae ends up having a pretty bad evening that leaves her scantily clad and beat up in the middle of a dirt road. She is left on a road just in front of Lazarus's house. After helping her get better, he soon comes to find out who Rae is and what kind of reputation she has. Lazarus sees this as a sign from god that he must heal her of her wickedness in order to receive some redemption for himself. So he ties her up to a giant 40 pound chain.

The film has a great atmosphere. It comes off as sticky and sweaty throughout and plays with that imagery as the characters develop. It consistently offers references to blues music and the characters are loud and full of life. It comes off as exploitative in some ways but that is ultimately done for a greater cause. Samuel L. Jackson is always good, even in really bad movies, but this is one of his best roles in many years. The real star here though is Christina Ricci who I've always felt is doing whatever she wants for now but one day she will be hailed as one of the best actresses around after a performance that hits the mainstream just right. Unfortunately for her though Black Snake Moan has not yet been a commercial success. None of that really matters though because it is still a very good movie although both Jackson and Ricci are even better than the screenplay and direction demand.

Some people say the film is hypocritical for sexualizing Rae and offering several erotic scenes with her, while at the same time presenting a negative view of sexuality. Firstly, I disagree that the film portrays sexuality as a negative but instead portrays excess as a negative. I did not feel hammered down by any messages that sex is wrong. Secondly, Black Snake Moan is definitely not meant to be erotic. It certainly rings of exploitation films but by watching Rae's transformation away from nymphomania and toward stabilization, away from her history of abuse to some degree of resolution, away from vulnerable to honest and confident, and away from being naked to being clothed; I can't help but think this is a fiercely unsexy film that is against hypersexuality alone. To be pro-spirituality and critical of actions often perceived as sinful is not puritanical and not even necessarily anti-sex. I would even argue that this movie uses religion only as a tool, but healing in general as its primary message despite the powerful Christian overtones. No matter how you look at it Black Snake Moan is, above all, a film that reinforces morality. It also happens to be quite entertaining.

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Black Snake Moan sure has a weird hook. Setting: Deep South. An older black man who plays the blues keeps a white nymphomaniac on a chain to cure her of her horniness. About half-way through, my husband turned to me and said "And why exactly did you think I would like this movie?" I winced and said I thought it would have blues as more of a central theme. But guess what, he stayed around and pronounced it a good movie after all! His summary is the best: "everyone has their struggles, and you are never really free of them."

The performances are exceedingly strong, the setting of Tennessee bucolic and beautiful. You really feel as if you are in this small, rural town where everyone knows each other.

Black Snake Moan is bold, and really gives you a sense of empathy for the different characters. Most importantly, it provides hope that if you have your own struggles, someone will be out there for you as well, not to judge you or cure you, but to love you.

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"Black Snake Moan" isn't a perfect movie. I am definitely not a fan of Justin Timerlake, as a singer or an actor. I find it weird that the makers of this film would really think Timberlake was the best person to play the part of Rae's boyfriend.

For the most part, however, I find this movie enjoyable because it is differnt from what is normally available in the theatres. I only saw the director's last film, "Hustle & Flow," after I saw "Black Snake Moan." This guy definitely has a different way of looking at things, and I hope he does not let too many Talking Heads start making creative decisions for him as he crafts his films.

For a movie with an unrealistic premise, I think that the conclusion of "Black Snake Moan" is very realistic. I feel that most people who view this will, at the very least, be entertained by a unique flick.

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Shutter Island (2009)

I tend to look for movies that draw me in and that provoke an emotional response. Martin Scorcese's "Shutter Island" did indeed draw me in, even though I found the film disturbing. Scorcese explores difficult questions of guilt, personal identity, and mind control.

The movie takes place in 1954 on a craggy, remote and forbidding island off the coast of Boston. (I have some familiarity with a United States possession called Navassa, an uninhabited, little-known island in the Carribean surrounded by steep, inaccessible cliffs and was reminded of Navassa by the movie.) Shutter Island serves as a hospital and prison for the criminally insane operated by the United States government. A United States Marshall, Teddy Daniels, and his ostensible partner, Chuck Aule, who calls Daniels "boss", are ferried to Shutter Island to investigate the disappearance of a female inmate who has apparently escaped. The inmate is said to have drowned her three children before her incarceration. Daniels himself carries with him many emotional issues. He witnessed the liberation of the Dachau concentration camp and has had problems with alcohol. His wife died in a fire set by an arsonist. Daniels sought an assignment to Shutter Island because the arsonist and another individual from Daniels' past are incarcerated there, and Daniels wanted to see for himself what was going on.

At the hospital, Daniels meets the head psychiatrist, a bearded, crafty and intelligent individual named Cawley, and his sinister German assistant, Nehring. He meets with staff, with prisoners, both male and female, and with inmates of the "C" ward, used to house the most dangerous prisoners. As the movie progresses, Daniels suffers increasingly from tremors and from hallucinations, most of which are in the form of his dead wife warning him about the island. Daniels also receives warnings and augurs from the patients. He senses that something is not right about the investigation but cannot let it go.

The movie has the makings of a gothic horror film, but it gets beyond that genre by its seriousness and development. The movie builds slowly and inexorably to itconclusion and most parts of the story contribute to the effectiveness of the whole. The feeling of isolation and doom is inescapable, with a mental hospital on a remote island, a hurricane which cuts the Shutter Island off even further from the mainland, and the chilling, hidden natures of staff and inmates on the island.

The movie includes scenes of cliffs and danger on the island, pounding waves, wild rats, a mysterious lighthouse, and lost souls. A difficult and troubled individual, Daniels comes to challenge his understanding of himself in a radical way. I found the confusion in sense of selfhood, in circumstances of isolation and helplessness, chilling.

The movie is based upon a 2003 novel by Dennis Lahane called "Shutter Island" which I have not read. The acting is convincing throughout and the musical background is erie. The movie has received mixed reviews. Scorsese's movies such as "Taxi Driver", "Raging Bull" and "Gangs of New York" with their portrayal of violence, illusion, and rawness have always fascinated me. "Shutter Island" did so as well. The movie has attained a large success at the box office, and perhaps can be viewed and responded to on many levels. I don't think it is for the faint at heart.

Robin Friedman

I think that some of the mixed things I'd heard about it come from the fact that some audiences were a) expecting something different and b) don't like to think. To be fair the studio mislead them by selling Shutter Island as a fun, edge of your seat, thrill ride. It's really a psychological drama disguised as a B grade horror movie. It indulges in all the gothic tropes: the isolated mental hospital, the hurricane that cuts everything off from civilization, hints of Nazi experiments, even the music plays into it. But really that's just the setting. If you take it as the whole thing, that's where you'll run into disappointment. It's more about what's happening in the mind of the main characterwhich is a puzzle in itselfthan the big twist ending. I think that The Sixth Sense and others of it's ilk did a disservice to audiences in a sense. People look for the "trick" in movies, studios advertise the "big twist ending". But this isn't a movie about a twist. Yes, there's a big reveal in the end, and the "what" of the reveal is fairly obvious. It's the "how" and the "why" that we should be thinking about. These are the answers to the psychological puzzle of the film. People get so into the "what" after being groomed on twist endings that they forget there is a "how" and a "why". When the big reveal comes it's more about the catharsis, the coming full circle, the emotional confrontation, than the twist itself.

Yes, it can be confusing not to know whether the main character is dreaming or hallucinating, or really seeing what is. But with patience that becomes clear and the beautifully photographed, eerily haunting dream sequences are worth watching without trying to "figure them out". Just enjoy the performances (impressive across the board), the score, the cinematography, and go where the film takes you. Some might call the ending a cop out. But really it leaves audiences with even more questions: are there some things that are so painful that we're better off (literally) cutting them out of our brains? Is a delusional mind a prison or an escape? Who is sane? Is sanity a choice? In my opinion answering these questions would be the cop out!

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It goes without saying that Martin Scorsese is an incredible filmmaker. He has added another classic to his resume with the mind-bending thriller, "Shutter Island". The film stars Leonardo DiCaprio as a federal marshal who is investigating the disappearance of a patient / prisoner from a mental institution for the criminally insane. DiCaprio shines in his part, perhaps brighter than he has in any other Scorsese film. He is accompanied by Ben Kingsley, Mark Ruffalo, Max von Sydow, Ted Levine and Jackie Earle Haley, amongst others. "Shutter Island" does a great job of playing mind games with the viewer. This film makes for a great DVD to own, because you can watch it as many times as you would like and you can discover new clues in the plot over and over again. Also, after viewing the film the first time, once you know the outcome of the plot, subsequent viewings are really terrifying if you put yourself in the main character's shoes, knowing the ending. That's what I do when I watch the film now, and I think it's genuinely scary because it is so competently written. Scorsese's direction is excellent, as are all the actors' performances in the film. The film is a dark noir styled trip down the rabbit hole that is frightful and tense throughout. Definitely a modern Scorsese classic here, folks. Well worth checking out, multiple times. Highly recommended! 4.5 stars.

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"Shutter Island" is a mystery with a twist, and I don't want to give it away. So, I won't go into a lot of detail about the plot. Leonardo DiCaprio and his partner travel to an institution for the criminally insane on an island, and nothing is as it seems.

As my wife put it, about 60 minutes in, you know it's going down one of a few paths, all of which are cliches. Sure enough, an hour and 15 minutes later, she was proved right. The problem with the twist ending in the 21st century is that we've all seen a ton of movies with twist endings, and it has become harder and harder to actually surprise the audience. Also as my wife put it, there's a good movie buried in here somewhere. The characters are interesting; the idea of a mental hospital at the dawn of modern psychiatry is interesting; and the location is fantastic. Strip away about 30 minutes from this languidly-paced film, do a few more drafts of the script, and this could be a winner. The way Hollywood works, the remake/reimagining in 2030 will win an Oscar.

On the plus side, DiCaprio turns in a tour de force performance, as usual. The guy is a fantastic actor, and this is an actor's film. If you like watching a great actor do amazing things with a character, you will enjoy this movie.

At best, "Shutter Island" is worth a rent.

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Shutter Island is a difficult film to review. The way the film unfolds is an interesting one, but is difficult to put into words without spoiling everything from the film. It strings you along so many different paths that guessing how the film ends is nearly impossible. While watching the film, however, nothing really made sense until the last twenty minutes or so. Between Teddy's hallucinations and what's transpiring on the island, it's almost exhausting trying to grasp what's actually happening in the film and what's occuring in Teddy's head. The finale to The Departed, another Martin Scorsese/ Leonardo DiCaprio pairing, was (and still is) one of the most talked about endings when it comes to recent films. Shutter Island doesn't necessarily top The Departed, but is along the same lines. Its ending gives new meaning to at least one repeat viewing of the film.

There's no denying that I've been a fan of Martin Scorsese's films for quite some time. Films like Taxi Driver, Goodfellas, Cape Fear, Casino, and Gangs of New York are prime examples of some of the best films ever. I can't say the same about Leonardo DiCaprio. While I can't argue the fact that I enjoy quite a few films he's been in, he didn't really do anything for me as an actor. I didn't see this potential or charisma that everyone else seemed to. Until now. His work in Shutter Island puts his acting skills on display for the world to see. His devastation towards the end of the film is not only believable, but absorbing as well.

The cinematography is on a level you'd come to expect from a Scorsese picture. The way Ward C, the ward built during the Civil War that contains the island's most dangerous prisoners, is filmed in particular may be the high point as far as cinematography is concerned. The never-ending darkness makes you think something is going to jump out at you at any moment and its metal cage-like structure that constructs the walls feels claustrophobic; like you're a prisoner yourself. That "rat in a maze" line from the trailer really fits the film well. Everything in the lighthouse with the spiral staircase is pretty amazing, as well.

An interesting note about the film is that the soundtrack is used sparingly. I didn't notice one throughout the majority of the film. It seemed to only be used during dramatic moments. There's also a gunshot towards the end of the film that is going to make you jump because it's so damn loud. Seriously. It's insane. For an R-rated Scorsese film, it seemed pretty mild in the language department. The F-word is said 422 times in Casino, 296 times in Goodfellas, and 237 times in The Departed while it's only said a handful of times in this film. Just seemed a bit odd for a Scorsese picture.

Shutter Island is pretty confusing until the finale (basically from "Why are you all wet, baby?" to the end). It's pieced together slowly and is a combination of Teddy's memories, hallucinations, and what's actually occuring in reality. The way it unfolds is kind of like trying to solve a Rubix Cube. It takes time and a little bit of effort, but is well worth it in the end. Shutter Island is a film that makes you think. Remember that going in. Teddy has quite a few lines towards the end of the film that are going to stick with me for a very long time. It's a film that will only get better with repeat viewings. When it's all said and done, it was well worth waiting an extra four months for this film.

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The Comancheros (50th Anniversary Edition) (1961)

John Wayne rules in this big, sprawling western adventure film. The screenplay, co-written by western novelist Clair Huffaker, struggles with the historical accuracy of Texas in the 1840s and the rifles seem a little advanced for 1843, but, nit-picking aside, this is an entertaining film. Texas Ranger Jake Cutter (Wayne) and sometime gambler Paul Regret (Stuart Whitman) go under cover after a vicious army of outlaw raiders known as "Comancheros," led by the diabolical Graile (Nehemiah Persoff). Hard-hitting, large scale action sequences deftly directed by Michael Curtiz, who directd some of Errol Flynn's better adventure films, will please action-adventure fans. The movie includes a comfortable blend of action, suspense, and humor with occasional serious overtones of duty, friendship, and the love of a good woman. Taken within the context of the film that isn't as corny as it might sound. Great outdoor color photography adds to the appeal. A pulse-pounding musical score by Elmer Bernstein matches the excitement. Lee Marvin makes the most of his costarring role as Tully Crow, one of the West's wildest bad men. Watch for the hilarious vignette featuring Edgar Buchanan as a judge of dubious integrity. Ditto the comic relief segment with Guinn "Big Boy" Williams as a seemingly bewildered gunrunner. There is nothing intellectual or artistic to say of this movie, but it's good old fashioned fun. Recommended viewing.

The Comancheros is another great John Wayne western with a great supporting cast. The story follows Captain Jake Cutter, a Texas ranger, and his efforts to capture a prisoner, and then to infiltrate a group of gunrunners and bandits, the Comancheros. This group has been supplying the Comanches with repeating rifles who then wreak havoc on the area. There is plenty of action here with numerous shootouts, and also plenty of great characters. At parts during this movie, I wondered why the Duke never took more comedic roles since he is very funny in several scenes.

John Wayne plays Captain Jake Cutter, the big, brawling Texas Ranger who attempts to bring in a prisoner who keeps escaping his grasp, "Monsoor" Paul Regret, played by Stuart Whitman very well. Another notable performance is Lee Marvin's Crow, the contact between Cutter and the Comancheros. He doesn't have a very big part, but what is there is very good. The film also stars Ina Balin, Nehemiah Persoff, Michael Ansara, Patrick Wayne, Bruce Cabot, and Joan O'Brien. Elmer Bernstein also turns in another excellent score that has elements of the Sons of Katie Elder and The Great Escape. The DVD offers a widescreen presentation which looks very good, two trailers(one in Spanish), and also Movie Tone News about an award presented involving the movie. More John Wayne movies should be put out like this, and I give credit to the companies putting out so many new ones recently. A very exciting, enjoyable Duke western that all his fans will love!

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You can see by the title that I am a John Wayne fan, and this rip-roaring Western is one of the reasons why. With equal portions of rousing action, humor, and drama, this film keeps your interest and, like the Duke's performance, never loses its authenticity. It's said that John Wayne took over direction of some of the action sequences, and they're great. There are well-drawn, clear differences between the good guys and bad guys, but the characters are human and developed enough for the actors to sink their teeth into, which all do with gusto. By this time in his career, the Duke only had to show up on screen to be the authentic Western hero, but as usual he goes 'way beyond that, giving a colorful, humorous, absolutely real and terrific performance as the Texas Ranger who helps a man on the wrong side of the law redeem himself and find the woman he loves--as well as stopping a motley, dangerous bunch of white renegades (Comancheros) who are selling weapons to warring Comanche Indians. It's great movie-making and a great couple of hours with the Duke, so check it out!

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I agree completely with every word the previous reviewer,Wayne,said about The Comancheros Blu-ray,this is a reference disc for the blu-ray format!!!!!! STUNNING/PRISTINE Picture Quality,and Audio too.

I have a fair collection of blu-ray films,and the "modern" films are excellent Picture Quality,as you would expect,however,it,s what blu-ray does to the "older" films,especially westerns,that is so amazing.

The Searchers/How The West Was Won/Zulu/The Outlaw Josey Wales are a joy to behold,Home Cinema of the highest calibre,A+++++,well,The Comancheros Blu-ray joins that List,REFERENCE DISCS FOR BLU-RAY!!!!!

I say this as somebody who watched The Comancheros when it was first released at the Cinema,I must have been 10 years old,but that did not prepare me for the absolute pleasure of watching this Duke western on blu-ray,simply put,FABULOUS!!!!!!

Davy Cairns,Scotland.

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Finally, "The Comancheros" is released on DVD. This is one of Wayne's best, and most enjoyable westerns(that says a lot, because the Duke's westerns were always classic). The acting is superb, Stuart Whitman turning out one of his best performances, and John Wayne underrated as usual. Lee Marvin also makes a powerful, short performance. That cast alone makes for a classic. Michael Curtiz's("Casablanca"-1942) last film, he creates one of the better 1960's westerns. Several people have mentioned the guns in the film. Historical facts are often changed to create entertaining films. This film is not a history lesson, it is an example of classic hollywood at it's best. A well crafted, fun, classic western. Recommended for both fans of classic westerns, and classic films in general.

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