Prey (2007)

My son is obsessed with movies and has well over 700 in his collection. A lot of them were VHS tapes that were destroyed in a flood so I'm replacing them as I can with Blu-ray, a few at a time. He saw this movie a couple of years ago and liked the action and adventure. A mother and her son and daughter are stranded in their jeep on a remote African trail when their guide is attacked by lions and they are trapped inside as lions are stalking around the vehicle. It's not an A list movie but it's got action and it's good enough to keep you interested. .

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David Lean Directs Noel Coward (In Which We Serve, This Happy Breed, Blithe Spirit, Brief Encounter

Criterion, who probably makes more film fans happier than any other company, has just released David Lean Directs Noel Coward. An odd pairing, at first glance---the man who directed such epics as Lawrence of Arabia, Doctor Zhivago and The Bridge on the River Kwai---with the premier light comedy actor/author/composer of the twentieth century. Even odder is the choice of material: A world class war story about the sinking of a ship; a world class romance about lost love; a world class picture of the British lower-middle class; and the world class comedy fantasy of the last century, respectively In Which We Serve, Brief Encounter, This Happy Breed and Blithe Spirit. Perhaps even more surprising is that all four were made during a period of about three years, from 1942 to 1945.

Briefly, all four films are extraordinary examples of propaganda at its best. Lean and Coward were both fervently patriotic, and England was the underdog at the time in a war. Lean was just beginning his astonishing career; Coward had just finished a dozen or so years of incredible success on the stage, but considerably less success, or even attempts, at a film career. In 1941, Germany bombed London for 57 consecutive evenings.

Coward wrote and Lean directed these films, with Coward playing the lead for In Which We Serve. Coward also produced, wrote the screenplay, composed the score, and officially codirected, though he handed the reigns to Lean in his directorial debut.

Coward was entertaining the troops during the shooting of the other three films, yet his mark is clearly visible in each films. The cameraman for the quartet was Ronald Neame, perhaps less a household name, yet later the director such gems as The Prime of Miss Jean Brodie, I Could Go on Singing and The Horse's Mouth.

In Which We Serve is the story of a ship, sunk off the coast of Crete during the war. Based on incidences in the life of Coward's great friend Lord Louis Mountbatten, flashbacks tell the story of the few remaining survivors, clinging to a lifeboat, waiting for rescue. In lesser hands, this narrative technique would be worse than banal, but the creators, relying so very strongly on flashbacks, allow the audience to see war through the eyes of the women left at home, waiting, not knowing when or if their sons, husbands or boyfriends will return.

Brief Encounter is based on a slight one-act play Coward wrote for Tonight at 8:30 entitled Still Life. A man and a woman, both more or less happily married to other people, meet quite by accident in a train station. To the overused strains of Rachmaninoff, they fall hopelessly, helplessly and enormously in lover. Again, in lesser hands, this stiff-upper-lip-do-the-right-thing sort of drama could be cloying and irritating, but the moral quandary this couple feels somehow slips into the audience's brain, and the horrible realization that although love is usually just nifty, it can cause extraordinary heartache and pain. Parenthetically, Andre Previn has just turned this text into an opera.

This Happy Breed, an ordinary story about an ordinary family living an ordinary life just before the war, grabs the audience with its specificity and universality, until the ordinary becomes extraordinary, and the small pains and pleasures of everyday life insinuates into the audience's psyche. Based on an early play of Coward and drawing on his own lower-middle class background, the triumph here is really Robert Newton and Celia Johnson as the father and mother experiencing the trials and triumphs of everyday life.

The final film, Blithe Spirit, is perhaps the most well known. Rex Harrison stars as an author, re-married after the death of his first wife, hiring psychic Margaret Rutherford to perform a séance so he can learn the lingo of the telepathic trade for his new book. Alas, Madame Arcarti, Rutherford's character, somewhat ineptly brings back the ghost of his first wife, with hilarity and confusion ensuing.

Criterion's restruck prints are wonderful, the extras are pretty astounding, with the complete South Bank show on Coward and some lovely interviews with author and critic Barry Day who has made Coward very much something of his own cottage industry. Day resembles someone who might be in an unexpurgated Alice in Wonderland, but has that fuzzy British charm which can be so endearing. All in all, we owe a deep debt of gratitude to Criterion.

Now, if we could get them to clean up and release the nearly unavailable films Coward acted in, such as The Scoundrel, The Astonished Heart, and perhaps even the television version of Blithe Spirit?

The Criterion Collection has released DAVID LEAN DIRECTS NOEL COWARD, a four-disc boxed set containing the quartet of films that the two artists made together during the first half of 1940s. The collection is being released in both Blu-Ray and DVD editions. This reviewer's remarks are based on the DVD set.

All four films, two of which are in Technicolor, have been magnificently remastered. The colors are brilliant and balanced; the black-and-white images sharp and solid.

I'm not going to use much space talking about the individual movies, since anybody who decides to purchase this collection will, undoubtedly, be well familiar with them.

IN WHICH WE SERVE (1942) was co-directed by Coward and Lean and deals with a ship of the Royal Navy, sunk in the Mediterranean during the early days of World War II. This event occurs at the start of the picture, thus most of the narrative is told via flashback as the survivors cling to a life raft, being strafed by German planes while they await rescue.

Coward plays the ship's captain, and we follow his story, as well as the histories of several crew members. Among the cast in this stirring film, nominated for a Best Picture Oscar,are John Mills, Bernard Miles, Celia Johnson, Kay Walsh, Michael Wilding and Richard Attenborough.

THIS HAPPY BREED (1944) is the story of an average middle class British family seen over a period of twenty years, from the end of The Great War to just before the beginning of World War II. It is a tale of the vicissitudes of life.

The Technicolor film stars Robert Newton, Celia Johnson, John Mills, Kay Walsh and Stanley Holloway.

BLITHE SPIRIT (1945), also in color, is a sparkling comedy about a man (Rex Harrison) who must explain to his present wife (Kay Hammond) why his late wife (Constance Cummings) has decided to haunt them. Margaret Rutherford plays the wacky medium who has brought the poor fellow's problems about. The players are all in top form. A delightful fantasy, adapted from Coward's popular stage play.

BRIEF ENCOUNTER (1945) is one of the finest romantic films ever produced, an absorbing love story, adapted from Coward's play, STILL LIFE.

The plot is very simple. Married doctor Trevor Howard and suburban housewife Celia Johnson happen to meet on a train platform and enter into a quietly passionate, ultimately, doomed, love affair.

This collection includes a fabulous cornucopia of extras. Among them are new interviews on all the films with Noel Coward scholar Barry Day, a 2010 interview with cinematographer/screenwriter/producer Ronald Neame, documentaries on the making of IN WHICH WE SERVE and BRIEF ENCOUNTER, a 1971 television documentary on David Lean, a 1969 audio conversation between Coward and Richard Attenborough, a 1992 British television show about the life and career of Coward and much more, including a 46 page booklet filled with essays about the various movies and the talented men who made them.

© Michael B. Druxman

Buy David Lean Directs Noel Coward (In Which We Serve, This Happy Breed, Blithe Spirit, Brief Encounter Now

Am still thrilled with my 9 film Korean release David Lean DVD Collection Box Set [9 Discs, Import, All Regions] (Oliver Twist /Great Expectations / Blithe Spirit / This Happy Breed /Brief Encounter /Madeleine /The Sound Barrier /Hobson's Choice) (+ "Passionate Friends", unlisted), so was a bit hesitant to buy the Criterion set (after all, 9-set was only missing "In Which We Serve", which was only previously available as public domain release). Bit the bullet, spent $55 for THIS set (after spending $47 for 1st set). Summary: a most worthy addition to library. Criterion set has the 4 listed films, including a wonderfully restored "Serve", numerous extra features (as listed in product description), a 45 page booklet, and just flat-out classy packaging (each film has own case -hardboard w/film photos, and plastic tray-), including shiny black accents for all film titles, all housed in similarly designed box. Substantial extra features, and now having clean copy of "In Which We Serve" (with subtitles!), made this a worthy purchase! (BUT: if your budget only allows for one set, still consider the Korean one. Has only a few extra features, but ALL films are very crisp/clean in video and audio. Don't be 'put-off' by foreign packaging -it is still a lovely box setand audio/subs ARE in English!) To close, please don't disparage (too harshly!) this review. Yes, the Criterion is a magnificent set, but a lover of film might just want to enjoy even more terrific DL titles for same amount!

Read Best Reviews of David Lean Directs Noel Coward (In Which We Serve, This Happy Breed, Blithe Spirit, Brief Encounter Here

I already own the Korean nine film DVD set of David Lean films (minus In Which We Serve)David Lean DVD Collection Box Set [9 Discs, Import, All Regions] (Oliver Twist /Great Expectations / Blithe Spirit / This Happy Breed /Brief Encounter /Madeleine /The Sound Barrier /Hobson's Choice), so I was hesitant on upgrading to blu ray. The Korean DVDs look really good, but these Criterion prints look amazing!! I fell in love with these movies (especially Brief Encounter) all over again. Too bad there are only four films. This set makes me crave for more of David Lean's older films on blu ray. Criterion has always done a great job with restoring these classics and so glad to see these get upgraded to blu ray! Can't say which one looks the best, all of these films look brilliant. Blithe Spirit really looks good with its rich colors that really stand out. While the detail in the black and white fims like Brief Encounter really looks amazing! And every film comes with its own special features.

This is hands down Criterion's best blu ray set and worthy to be in every film lover's collection.

Set like this makes me a big fan of the blu ray format. Thanks again to Criterion for giving us film lover's a great collection. Another great blu ray set from you guys!

Want David Lean Directs Noel Coward (In Which We Serve, This Happy Breed, Blithe Spirit, Brief Encounter Discount?

he Criterion Collection's release of "David Lean Directs Noel Coward" is possibly one of the most exciting box sets that I have been wanting to see in America for quite some time.

A legendary playwright, writer, filmmaker, actor, you name it...Noel Coward has probably done it. And it's one thing that has made fans of his work so appreciative of this individual is because he brings so much life into his work.

As for David Lean, he's already considered a legendary filmmaker. From directing "Lawrence of Arabia", "The Bridge on the River Kwai", "A Passage to India", "Doctor Zhivago" to name a few... Both Noel Coward and David Lean are legendary for their highly acclaimed work in their oeuvre.

But you go further back to when David Lean first became a filmmaker, it's because of Noel Coward, he was given the opportunity.

For both men, it would begin during World War II. Noel Coward who wanted to do something for the British public during the war and the fact that he was raised with a grandfather who was a Captain of the Royal Navy, Coward so much wanted to do something during wartime. Having worked with British Intelligence, there was no doubt that Coward wanted to do more.

And that opportunity would come in 1942 with the release of his British patriotic (and propaganda) film "In Which We Serve". The film would feature Noel Coward as a lead actor but since he is a man that was only focused on directing certain parts of the film and action wasn't his forte, what best than to bring highly regarded editor David Lean. David Lean got his first opportunity to co-direct the film with Noel Coward and both managed to create a film that was well-liked, praised very well not just in Britain but also in the United States and it earned Coward an Academy Award for "Outstanding Production Achievement).

And this would be the beginning of the working relationship between Noel Coward and David Lean (there is also a third man included in this and that is cinematographer Ronald Neame).

The two would once again reunite for "This Happy Breed". A film adaptation based on Noel Coward's 1939 play and for those who were enamored with Noel Coward's 1933 film "Cavalcade" (directed by Frank Lloyd) about an upperclass British family from 1899 through 1933 (which covered the family through the Second Boer War, the death of Queen Victoria, the sinking of the Titanic and World War I), "This Happy Breed" would feature on a working class British family during 1919 through 1939.

As Coward was busy with his plays at the time, it gave David Lean the opportunity to direct his first solo film. "This Happy Breed" would also give Lean the chance to work (and experiment) with three-strip Technicolor and once again, the reception was favorable for this second collaboration.

The third collaboration between David Lean and Noel Coward was not as smooth as the first two films. Noel Coward wanted his comedy "Blithe Spirit" to become a film and David Lean, known as a serious person was reluctant in directing a comedy. While the film at the time was criticized for a film about "death" (or deceased love ones reappearing as ghosts), not many were wanting to see a film about that subject matter while many were dying during World War II.

Needless to say, both men have differing opinions on both films but both agreed that they should work again for another, more realistic film and that would "Brief Encounter".

The film would captivate audiences as it would win the Grand Prize, the "Palme d'Or" at the 1946 Cannes Film Festival. The film would also earn Celia Johnson an Academy Award nomination for "Best Actress". Recognized as one of the top 100 British Films of All Time (#2 in the British Film Institute Poll), "Brief Encounter" would solidify David Lean's filmmaking career (Noel Coward was already well-known worldwide).

And this popularity would lead David Lean to work on Charles Dickens' "Great Expectations" and "Oliver Twist" and many other well-known films for the next three decades. But the popularity gained from "Brief Encounter" would lead both David Lean and Noel Coward to bigger things and the film would be their Magnum opus and their final collaboration together.

These four beloved films would receive new restoration in 2008 courtesy of BFI National Archives and in 2012, receive a special high definition remastering for Blu-ray release.

The Criterion Collection will be releasing these four films as part of the "David Lean Directs Noel Coward" Blu-ray and DVD Box Sets featuring many special features paying tribute to Noel Coward and also David Lean but most of all, paying tribute to their collaboration for these four films.

VIDEO & AUDIO:

"In Which We Serve" is presented in a brand new high-definition digital transfer courtesy of the BFI (British Film Institute) National Archive's 2008 restoration. With that being said, because this film has been restored, if you want the best version of this film to date, you definitely want to pick up the Blu-ray release of the "David Lean Directs Noel Coward" box set.

As for the DVD, "In Which We Serve" is featured in black and white (1:37:1 aspect ratio) and for a film that was created back in 1942, this 70-year-old film looks absolutely fantastic on DVD. Grain is noticeable, contrast is wonderful. Black levels are nice and deep, whites/grays are vibrant and clear but I can only imagine how much sharper and pronounced the quality is in HD via Blu-ray.

As for the picture quality, according to Criterion, the picture has been slightly windowboxed (for the DVD version) to ensure the maximum image is visible on all monitors. The new restoration was created in 4K resolution on an Oxberry 6400 liquidgate scanner at Cineric, New York, from the original nitrate negative and sections of the nitrate fine-gran master.

"This Happy Breed" is presented in a brand new high-definition digital transfer courtesy of the BFI (British Film Institute) National Archive's 2008 restoration. With that being said, because this film has been restored, if you want the best version of this film to date, you definitely want to pick up the Blu-ray release of the "David Lean Directs Noel Coward" box set.

As for the DVD, "This Happy Breed" is presented in technicolor (1:37:1 aspect ratio). It's important to note that while this film was shot in three-strip Technicolor, director David Lean did not want this film too look like a standard Technicolor film.

"Blithe Spirit" is presented in a brand new high-definition digital transfer of the BFI National Archive's 2008 restoration. With that being said, because this film has been restored, if you want the best version of this film to date, you definitely want to pick up the Blu-ray release of the "David Lean Directs Noel Coward" box set.

As for the DVD, "Blithe Spirit" is presented in technicolor (1:37:1 aspect ratio). It's important to note that the film was shot in Technicolor. Picture quality for an early Technicolor film is very good. There are some specks that do show up a few times but for the most part, for something this old, it looks rather good on DVD and no film warping or any major blemishes.

As for the audio, the audio is presented in Monaural.

According to the Criterion Collection, the monaural soundtrack was restored from a sound print made from the original nitrate track negative. Click, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.

English subtitles are presented in English SDH.

SPECIAL FEATURES:

"In Which We Serve" comes with the following special features:

Barry Day (16:08) Featuring an October 2011 interview with Barry Day, author of "Coward on Film: The Cinema of Noel Coward" discussing "In Which We Serve".

A Profile of "In Which We Serve" (24:27) A short documentary produced in London in 200 for Carlton International Media featuring interviews with cinematographer Ronald Neame, actor John Mills and associate producer Anthony Havelock-Allan, among others.

Coward and Attenborough at the NFT (1:04:57) An audio recording from Dec. 1969 featuring actor and director Richard Attenborough and playwright Noel Coward onstage at London's National Film Theatre to discuss Coward's career and his work on "In Which We Serve".

Theatrical Trailer (1:18) The original theatrical trailer for "In Which We Serve".

"This Happy Breed" comes with the following special features:

Barry Day (14:55) Featuring an October 2011 interview with Barry Day, author of "Coward on Film: The Cinema of Noel Coward" discussing "This Happy Breed".

The Golden Age (44:03) A 2010 interview with cinematographer/producer/screenwriter Ronald Neame who talks about the making of the four Noel Coward/David Lean films and things that took place behind-the-scenes and his feelings towards those films.

Trailer (2:36) The original theatrical trailer for "This Happy Breed".

Re-Release Trailer (2:20) The re-release trailer for "This Happy Breed".

"Blithe Spirit" comes with the following special features:

Barry Day (11:09) Featuring an October 2011 interview with Barry Day, author of "Coward on Film: The Cinema of Noel Coward" discussing "Blithe Spirit".

The Southbank Show: Noel Coward (50:39) A 1992 episode of "The Southbank Show" hosted by Melvin Bragg and covers the life of Noel Coward and his career in theater, film and music. Featuring archival footage and interviews with actors John Gielgud, Daniel Massey and John Mills.

Trailer (2:27) The original theatrical trailer for "Blithe Spirit".

"Brief Encounter" comes with the following special features:

Audio Commentary Featuring the original 2000 Criterion Collection audio commentary by film historian Bruce Elder who discusses the film and also the career of David Lean, Joyce Carey, Celia Johnson and Stanley Holloway. Also, the adaptation of "Still Life" to cinema. There is one section and this relates to Elder talking about a scene with Dr. Alec Harvey and his colleague which I totally agree with him and how that scene was a bit abrupt to the film. Interesting enough, how this abruptness was an inspiration for director Billy Wilder for his film "The Apartment". But for the most part, an informative commentary track.

Barry Day (16:14) Featuring an October 2011 interview with Barry Day, author of "Coward on Film: The Cinema of Noel Coward" discussing "Brief Encounter".

A Profile of "Brief Encounter" (24:14) A short documentary produced in London in 200 for Carlton International Media featuring interviews with screenwriter/producer Ronald Neame, actress Margaret Barlon and actress Celia Johnson's daughter Kate Fleming and more.

"David Lean: A Self Portrait" (57:56) Featuring the 1971 documentary "David Lean: A Self Portrait" by Thomas Craven featuring an extensive interview with Lean about his work and approach to filmmaking.

Theatrical Trailer (3:01) The original theatrical trailer.

EXTRAS:

46-Page booklet "David Lean Directs Noel Coward" comes with a 46-page booklet with essays for each film. For the "Brief Encounter" portion, the essays are all brand new. For "In Which We Serve", the essay "Battle Stations" by Terrence Rafferty (author of "The Thing Happens: Ten Years of Writing About the Movies") is included.

JUDGMENT CALL:

There is no doubt that fans of Noel Coward and David Lean have been highly anticipating the "David Lean Directs Noel Coward" box set release.

These four films look absolutely incredible thanks to the restoration effort by BFI National Archive and watching these films today, no matter if they are over 70-years old they look fantastic. And if it's one thing to look so great on DVD, I believe that the Blu-ray release of the "David Lean Directs Noel Coward" box set is fantastic.

But video and audio quality aside, the reason why I enjoyed this box set is because not only do you get four magnificent films but with each disc down to the booklet, the entire set pays its respect to both Noel Coward and David Lean.

From Barry Day's insightful knowledge to the collaboration of both men, to documentaries featuring both men, interviews with cinematographer Ronald Neame who worked on all four films and many other special features included, the "David Lean Directs Noel Coward" is the definitive collection for any cineaste who enjoyed these four films.

Overall, for any movie fan who have been captivated by the work of Noel Coward and David Lean, the "David Lean Directs Noel Coward" is one of those must-own Blu-ray or DVD sets that a cineaste or fans of British cinema would want in their collection. You get the best versions of these films to date and fantastic special features included as well.

The Criterion Collection's"David Lean Directs Noel Coward" is highly recommended!

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The Protector

I've noticed a disturbing trend in a number of these reviews: People are saying they didn't like this movie because of the lame plot. Do these people have any idea how insane this is? Who cares? People are getting spoiled, I guess, by all these expensive, arty, dramatic and well-acted martial arts movies that have been being released as of late, so now they can't appreciate a fun, old school and ludicrously-plotted stunner like "The Protector". (Or, more likely, they couldn't appreciate this kinda thing in the first place.) I haven't got anything against these fancy martial arts movies, mind you, but "The Protector" is a lot more fun than almost all of them, and letting the tired, thin plot get in the way of the spectacular fighting is just insane.

The plot's like this: Some gangsters steal Tony Jaa's elephants, and he's gotta kill 'em all 'til he gets his damn elephants back. There's some subplots, yeah, but what'd I say about the plot not mattering. None of it matters in the least, or should matter, anyway. That said, I will admit that, in the international version, the story takes perhaps a bit too much screentime, particularly at the beginning. Occasionally it seems like the filmmakers forgot that the plot was to be ignored. Still, you never gotta wait around too long for it to get good, and damn does it get good.

I guess the best thing to say is that if you enjoyed "Ong-Bak" I can't imagine that you wouldn't like "The Protector" as well. Jaa plays pretty much the same character he did in "Ong-Bak", being a naive, good-natured rural guy who happens to be a superhuman killing machine. It's a bit less stunt-intensive, on Jaa's part, anyway, but he still does plenty of amazing stuff, and the fights are even better then before. The fight in the restaurant is particularly renowned, and not without good reason. It's a 4 1/2 minute unbroken take as Jaa works his way up the stairs and takes out a few dozen opponents, and it would have to qualify as one of the most stunning action scenes I've ever seen. This is hardly the only standout, and we get plenty of other scenes that would put anything in most martial arts movies to shame: We've got the ultra-bizarre face off between Jaa and a pack of roller-blade clad goons wielding fluorescent lights; We've got him taking on pretty much the whole of the Australo-Thai mafia and breaking at least one limb on each of them; We've got him fighting a colossal, apparently invulnerable Australian dude in a burning, flooded temple. And it just goes on. The fights very pretty substantially in quality, but that's mostly because of how amazing the best ones are.

Anyway, I've not got much else to say. Suffice to say, Tony Jaa is far beyond human and it'll be an absurd crime if he doesn't become far more popular in the States. Check it out.

Grade: A-

This movie blew me away. I won't try and say it should be up for best movie or anything, but if you are looking for a great way to kill an hour and a half, look no further. I'm a huge fan of movies in general, of all genres, but kung fu happens to be one of my favorites.

I've always preferred 70's kung fu movies over modern ones for there lack of Hollywood touch. This has that feel of a 70's kung fu movie, with the picture and sound quality of today's movies. No Keanu Reeves dodging bullets and floating through the air, no Chow Yun Fat fighting on tree limbs that should not carry his weight! Just straight realistic fighting. Sure some parts seem over the top, but it fits the movie perfect.

Almost all of this movie is action (I watched the American version, havn't watch the original Thai version (Tom Yum Goong)that I've heard is 30 minutes or so longer. I imagine the extra footage adds a lot to the plot of this flick. But this one feels like there is no more then 10 minutes of non-fighting scenes.

If you liked Ong Bak, or if you are a fan of the greats like Sonny Chiba or Bruce Lee, then you must see this. You will be impressed. I couldn't take my eyes off the screen. I saw an earlier review mentioning rewinding a bunch of scenes, and how true that comment is. I can't tell you how many times I had to watch certain kicks or moves over to try and grasp what I just saw.

Bottom line if you like action movies and can settle for average acting, plots and storie lines SEE THIS MOVIE

Buy The Protector Now

This movie is what it should be; an action movie first and foremost. Considering that, the movie is pretty sweet. The action is totally out of control just as you might expect. I do like the realistic style of Tony Jaa when compared to movies like Kung Fu Hustle that are a little too crazy at times but fantastic all around. This movie certainly stretches the imagination and that's why we have them. I can state categorically that if you had issues with "Ong-Bak" because of the storyline then you're going to have exactly the same problems here (and, it has to be said, with just about every modern action movie). But if you were thrilled in any way by Jaa's auspicious career-launcher, then the chances are you're going to find plenty to get excited about in "The Protector."

There were three times during "The Protector" when my jaw hit the floor. The most visually splendiferous is a fight in a burning church that plays almost like a demo mode on a high definition version of Tekken, as Jaa goes up against Eddie Gordo, an armour-free Yoshimitsu and a hulking Craig Marduk ("I'll break your face!"), but all of this is for real and, as ever, effects and wire-work free.

But the real show-stopper, the sequence that every fan of martial arts cinema should see the film for, has Jaa visit a large, three-storey, criminal-run club/restaurant and fight a total of 30 opponents (I counted 'em), smashing them into windows, throwing them through wooden screens, assaulting them with furniture, and even picking them up and hurling them off the balcony into a display two story's below, and it's all done in one, 3 minute 46 second stedicam shot. The planning, timing and stamina required to pull this off are just mind-bending, but pull it off they do it's a stunning marriage of fight choreography, stunt work and camera direction that actually has a dramatic pay-off when Kham discovers just what is located on the top floor, as darkly and inventively twisted an idea as you'll find in a film all year, and all the more disturbing because it very probably exists.

So yes, the story is flimsy, but "The Protector" delivers where it counts and is an absolute must-see for all genre fans. Jaa confirms his status as the most exciting screen fighter around today, and if he could just drop the MTV visuals and editing and get himself a decent script, then director Petchtai Wongkamlao could yet climb to the very top of the action tree.

Read Best Reviews of The Protector Here

Put simply: AAAAAAAAAAAA!!!!!!!!

The action and stunt choreography will have your head spinning, so much that you may forget to notice the top-notch soundtrack and gorgeous cinematography, and the fact that all of the cast members deliver strong performances (a rarity in action films).

The Protector is not only a riveting action film, it is also beautiful, with spirituality, humanity and respect for nature at its core. Even those who are not fans of action movies will be amazed at what they're seeing (no wires, no CGI, just pure human talent), and action fans will get such a charge that they may need to be put outside for a few hours afterward.

THE DVD EXTRAS ARE PLENTIFUL AND THEY ARE TOP-NOTCH!!! Don't miss them.

This is like no martial arts movie you've ever seen. Tony Jaa and Prachya Pinkaew have done the world a favor by bringing the unique, spectacular (and, as often noted, brutal) Mui Thai kickboxing style to the screen. It's not enough to say that the bar has been raised. It's been kicked through the ceiling. If you are a fan of fighting movies, your absolutely cannot miss this one. Your jaw will drop, your eyes will pop out and you will howl with disbelief.

Reviewers criticizing this movie for senseless violence need to go soak their heads and check what planet they're on. Of course it's violent!!! It's a marial arts film!!! Were you expecting Ralph Macchio? This is the real deal.

I love Bruce Lee, Jackie Chan and Jet Li, but I promise, you've never seen anything like this. Tony Jaa is the future of martial arts cinema.

Want The Protector Discount?

The difference between the Blu-Ray "ultimate edition" and the 2-disc DVD "ultimate edition" is that the DVD has the special feature that shows the 5 different takes they needed on the one-long-take fight scene. The Blu-Ray, for some reason, omits this feature, so you have to make a choice: either buy the DVD and be disappointed that it's not Blu-Ray, or buy the Blu-Ray and be disappointed it doesn't have the special feature, or buy none of them and be disappointed in the company (the Weinstein one) who released it.

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Redbelt (+ BD Live) (2008)

You can hardly go wrong with someone who has given us the insouciant variety of Glengarry Glen Ross or Wag the Dog. Redbelt is a classic of the same cadre, hands-down the best martial arts movie you have seen in a decade, if not the very best of all time.

Without any flying dragons or crouching whatchamaycallits, mind you. Without even the guttaral shrieks of your standard issue kung-fu flick. So don't be going seeing it expecting your typical jumping jacks and shenanigans from Hong Kong.

It starts in what looks like your average ramshackle dojo teaching Brazilian Judo tricks. The authenticity of the maneuvers is instructive, and gripping. But this soon builds into a thrilling rumination of our common human tussle between staying true to our integrity and giving in to the practical conveniences of the moment.

The screenplay is vintage Mamet. We get a steady dose of one-liners ("I don't teach people to fight. I teach them to prevail.") The narrative offers some unexpected twists but exhibits a gentle unaffected beauty, an austerity that seems almost effortless. You'll watch it in one swoop.

For some inadequately explored reason Amazon and various other sources insist on billing this as a Tim Allen starrer, which is puzzling. He fritters a guest appearance at best (what happened--not enough dates?) and is basically quickly forgotten.

See it instead for the irrepressible tenacity of Ejiofor. He's one of those actors you have seen in strident supporting gigs before, but handed his first meaningful protagonist role here, he brings quite a spine to the film. His character calmly copes with the insidious commercialism and scheming all around him, but his resolve is not without its frailties. Still, we root for him from basically the first ten minutes onwards.

The ending may feel a trifle pat, or at least sudden, but this is undeniably a memorable work of art. Even for people without a flair for martial arts. A highly recommended keeper.

REDBELT is a mesmerizing tour de force. There are so many story elements intricately tied together. Causal action relationships bump up against arbitrary chance events. The honor code of the Samurai warrior meets up and does battle with the criminal scams of a greedy Hollywood film and sports culture. Mamet frames his film with the world of martial arts and yet it is at the same time the classic Greek warrior's noble struggle, "arête", which thus becomes a fascinating fusion of Eastern and Western cultural traditions. The jiu-jitsu instructor's (Mike Terry) caveats to his students in the opening scene in how to marshal their forces and extricate themselves from entrapment by their opponent ("There is always a way out, you just have to find it") all return to test him as the movie unfolds and he becomes ensnared in the dishonorable world which surrounds him. The acting throughout is marvelous with a cast that reflects Mamet's refined sense of individual characters. Chiwetel Ejiofor is superb. While he dominates the film, the other members of the cast are more than impressive, especially Ricky Jay who plays a scumbag fight promoter. If I were to have any criticism, it would be that Mamet sometimes moves too quickly in the exposition of his "magnificent puzzle" and at times during the film, I felt a bit frustrated and confused. But that is a small price to pay for such a challenging artistic experience. The camera work is fascinating. Mamet uses lots of unusual close-up shots, not just of faces but also segments of the landscape in which significant action is occurring. It's a very painterly approach to film. This is a film that stimulates one to see it several more times, hopefully on the big screen. I've not elaborated on any specific scenes, as I don't wish to spoil the challenging denouement of the film. REDBELT is brilliant filmmaking.

Buy Redbelt (+ BD Live) (2008) Now

Mixed Martial Arts have been in the spotlight ever since the emergence of UFC and some Hollywood films such as the Karate Kid clone "Never Back Down" (which I have also reviewed) have attempted to capitalize on its popularity. Writer/director David Mamet's "REDBELT" may well be the best U.S. filmmakers have come up with in regards to the world of Jiu-Jitsu and mixed martial arts. The film is about honor and integrity, it cleverly blends the Japanese "code of the Samurai" into the dark side of the world of corruption in competitive sports. The film offers something to think about and for martial artists, it can get under your skin.

Mike Terry (Cheitel Ejiofor) is a well-respected but struggling teacher of Jiu-Jitsu. Terry has his own code of honor and would rather be poor than to compromise his integrity, much to the dismay of his wife Sondra (Alice Braga). His life intertwines with a student/policeman, a fragile young attorney (Emily Mortimer) and a hotshot actor named Chet Frank (Tim Allen). Frank becomes a witness to Terry's fighting skills when he assists him resolve a barroom brawl, and offers him and his wife a business arrangement. However, things go from bad to worst, his ideas are stolen and certain things may well force Terry to compete for money--something he does not believe in.

Rather than focusing on dynamic, jaw-dropping action sequences, "Redbelt" is more a riveting character study of one man. The film may be simple in terms of plot and some key elements may be a little unoriginal, but the storytelling is structured well and the script does provide the necessary emotions to add to its effectiveness. The old adage; "Good Guys finish last..." may come to mind, but what that phrase doesn't complete is that "..but good guys also guarantees their soul.." and I believe in that. The film is nicely paced and the proceedings does exactly what it is trying to say. While Terry is admired by students and other folks, his strong integrity may just hamper his success when it comes to the real world of money and material needs. Mike Terry is a man torn between his principles and his obligations. I truly love his principle of "competition is not a fight, I teach my students to prevail but not necessarily to fight". I also admired Mamet's definition of what exactly a "black belt" represents philosophically and that a belt is just something to hold up your pants.

The film is a real densely executed character study and the spirit of martial arts, and of course, textbook manipulations would occur that would lead to its gripping encounter. The film does offer some of the most realistic fight sequences I've seen on camera. The moves are on display as Terry fights for his goal, although Asian martial arts films will provide a more entertaining experience. I've read that actor Cheitel Ejiofor trained in London, under Carlos Gracie in his academy, and the man definitely owned his role. This was a very good advantage as it did help the actor be more convincing in his role, since he did train in one of the best schools of Jiu-Jitsu. He knows the moves and it showed that he does, I bet the stunt coordinators appreciated this fact as it would be easier to choreograph the art's very complex moves.

REDBELT also delves into the spirit of Jiu-Jitsu as well as the way of the samurai, and it also explores the corruption of money-driven competition; "everything that involves money is fixed" (we all know this but we just tend to deny it). The film shows money-driven competition's ugly face, and it is a very bleak view that is similar to the world of boxing. Quite a real gutsy move in the part of David Mamet. Surprisingly, Tim Allen does a great job as Chet Frank, at first impression, I thought he was miscast but he fit his role. Emily Mortimer may seemed a little "doopie" in the beginning but she also contributes to the film's emotional impact. The film does have a solid cast that reflects its solid direction.

Mamet definitely knew what he wanted to do with the film, the man wants to communicate the integrity and honor of a good man in a very cynical and materialistic world and he does so; the film is structured well and the writing is sharp. The circumstances that led to Mike being pushed to a corner was convincing enough and the links between the characters were credible. The spirit of Jiu-Jitsu is treated as if it is "hallowed ground" when it is within the confines of Terry's school; men and women can find themselves inside while leaving the real world behind.

The film's climax may leave some audiences asking for more and some may even say it seems a bit too cheesy, but if you were paying attention to its entirety, it does make a fitting ending. The climactic fight that occurs outside the ring does effectively represent just what Mike Terry stands for. "RedBelt" may not have that many sequences of fisticuffs and those who are looking for an abundance of choreographed martial arts are better off looking elsewhere. However, if you are looking for a character-driven, thinking man's martial arts drama, then this film will not disappoint.

REDBELT effectively portrays the beliefs and the philosophy of martial arts. As someone often told me; "the measure of a man is not to be judged with the size of his wallet, but what he holds in his heart; if he works hard enough and never compromises his beliefs and integrity, then he is beautiful..."

Recommended! [4Stars]

Read Best Reviews of Redbelt (+ BD Live) (2008) Here

Spoiler Free Review...

I own every Mamet play and dvd and I found Redbelt thrilling. Mostly because he was able to craft a killer story structure. A protagonist with a noble pursuit, in the shadowy underworld of the MMA.

But like most Mamet films, this is not an action movie, it's suspense-drama.

The dialogue is brutal, and the subtext is deep. This movie hits the viewer on a physical, emotional, intellectual, and spiritual level. It's a demanding film. If you watch and you only half pay attention, when the plot twists happen, you'll be struggling to understand.

I watched this with a group of seven, half Mamet fans, half virgins. We all watched the same movie, together, and three people just didn't get it... One fan, two virgins. The other four loved it.

The video and audio quality make this one of the best looking Blu-rays. It's razor sharp, deep black, rich color. Everything looks better and sounds better in HD, and, at least for me, Mamet in HD is wicked sweet.

I highly recommend Redbelt on Blu-ray.

Want Redbelt (+ BD Live) (2008) Discount?

Redbelt is a the best martial arts movie I've seen in quite a long time. There's not a great deal of action in it, but it explores the philosophy and principles behind the main character's (Mike Terry) Jiu Jitsu training/teaching. He's a man who lives by a warrior code, and tries to uphold such principles as honor, loyalty, and integrity inside and outside his gym. In the end, the movie is not about Terry's physical fighting, but about his personal struggle to survive and succeed in a modern world that does not seem to share or reward his values.

Be warned that any casual fan of action flicks who goes into this film expecting a lot of over the top butt kicking and spectacular Jackie Chan-esque fight sequences will be sorely disappointed. There are no acrobatic stunts or flying tornado kicks here. The few fight sequences there are in the film mostly involve Brazilian Jiu Jitsu. And even in a choreographed fight scene, real Jiu Jitsu technique is not the prettiest thing to look at from the perspective of a casual observer. However, those who have some knowledge and appreciation of martial arts will greatly appreciate the realism and expertise demonstrated in Redbelt's fight scenes. Another treat for martial artists and MMA fans is that many small roles in the film are played by world reknowned fighters and masters such as Randy Couture, Enson Inoue, the Machados, Ray Mancini, and Dan Inosanto.

Redbelt is not perfect by any means. Similar to other Mamet works such as Spartan, the film does suffer from some convoluted storytelling and ridiculous plot twists that defy any sensible logic. The ending seems like a lazy cop out, and offers no resolution for all the issues that Mamet confusingly brought up earlier in the film. But even if the storytelling loses some steam by the end, there is still much to be appreciated in Redbelt. Its a throwback to such great films such as Kurosawa's Seven Samurai, in that it explores the principles and philosophy of the warrior code and martial arts, rather than just using them as an excuse to beat people up.

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Looney Tunes: Platinum Collection, Vol. 2 (2012)

Quick reference for "NEW TO DVD" titles, all but "Porky's Hare Hunt" and "The Lion's Busy" have been previously released on Laserdisc and VHS.

Disc 1 "What Makes Daffy Duck", "Birdy and the Beast", "Home Tweet Home" (edited version previously on Saturday Morning Cartoons DVD), "The High and the Flighty".

Disc 2 "Porky's Hare Hunt", "Hare-um Scare-um", "Presto-Chango", "The Lion's Busy", "Strife With Father", "A Horsefly Fleas".

Disc 3 TEX AVERY MGM CARTOONS COME TO BLU-RAY (although in STANDARD DEFINITION)!!!! But sorry DVD fans, they will not be in the DVD version.

Since Hi-Defenition transfers were created when restoring the Looney Tunes cartoons for the Golden Collection DVDs it is easy for WBHV to re-issue these on Blu-ray. This doesn't mean that no further restoration work was done, it only means that most are the same film transfers. It will not be like comparing the old Laserdisc & VHS tapes to the Golden collection DVDs. However they will have better resolution than the DVDs so an improvement will be seen.

The "New to DVD" titles will show the most improvement.

AUDIO:

Disc #1 = 1) English, 2) Espanol, 3) Deutsch, (Not all cartoons have all audio options)

Disc #2 = 1) English, 2) Espanol

Disc #3 = English only

SUBTITLES:

Disc #1 = 1) English, 2) Francais, 3) Deutsch (Bonus Features also have Espanol subtitles)

Disc #2 = 1) English, 2) Francais (Bonus Features also have Deutch and Espanol subtitles)

Disc #3 = 1) English, 2) Deutsch, 3) EspanolCastellano, 4) EspanolLatino

NOTE: The booklet has some errors about what bonus material is on which disc. Here is the correct contents of each disc:

DISC 1 = about 200 minutes of cartoons (3.3 hours) + Blu-ray has 52 minutes of bonus material.

A WILD HARE (1940) Bugs Bunny & Elmer Fudd (the first cartoon to have Bugs' personality associated with the rabbit).

BUCKAROO BUGS (1944) Bugs Bunny

LONG-HAIRED HARE (1949) Bugs Bunny

ALI BABA BUNNY (1957) Bugs Bunny & Daffy Duck

SHOW BIZ BUGS (1957) Bugs Bunny & Daffy Duck

THE WISE QUACKING DUCK (1943) Daffy Duck

WHAT MAKES DAFFY DUCK? (1948) Daffy Duck

BOOK REVUE (1946) Daffy Duck

DEDUCE, YOU SAY (1956) Daffy Duck as Dorlock Homes & Porky Pig as Watkins

PORKY IN WACKYLAND (1938) (B&W) Porky Pig

YOU OUGHT TO BE IN PICTURES (1940) (B&W) Daffy Duck & Porky Pig

PORKY IN EGYPT (1938) (B&W) Porky Pig

BACK ALLEY OPROAR (1948) Sylvester

LITTLE RED RODENT HOOD (1952) Sylvester

CANNED FEUD (1951) Sylvester

GIFT WRAPPED (1952) Tweety & Sylvester

BIRDY AND THE BEAST (1944) Tweety & Sylvester

HOME, TWEET HOME (1950) Tweety & Sylvester

GOING! GOING! GOSH! (1952) Roadrunner & Coyote

ZIPPING ALONG (1953) Roadrunner & Coyote

SCENT-IMENTAL ROMEO (1951) Pepe Le Pew

THE FOGHORN LEGHORN (1948) Foghorn Leghorn

THE HIGH AND THE FLIGHTY (1956) Foghorn Leghorn & Daffy Duck

TABASCO ROAD (1957) Speedy Gonzalas

MEXICALI SHMOES (1959) Speedy Gonzalas

The Blu-ray disc #1 has bonus featurettes from past DVD sets, commentaries by animation experts and alternative audio tracks.

1) The Man From Wackyland: The Art of Bob Clampett 21 minutes (SD)

2) Bosko, Buddy and the best of Black and White historians examine the vintage B&W WB cartoons 10 minutes (SD)

3) Leon Schlessinger: The Merrie Cartoon Mogul 21 minutes (SD_

DISC 2 (This disc presents collections of 'mini-series' as well as a special favorite selected by cartoon fans in an online poll) about 212 minutes of cartoons (3.5 hours) + Blu-ray has 40 minutes of Bonus Material.

WABBIT TWOUBLE (1941) Bugs Bunny & Elmer Fudd (voted on-line as a fan favorite)

RABBIT FIRE (1951) Bugs & Daffy in the first of the "pronoun trouble" trilogy.

RABBIT SEASONING (1952) Bugs & Daffy in the second of the "pronoun trouble" trilogy.

DUCK! RABBIT, DUCK! (1953) Bugs & Daffy in the third of the "pronoun trouble" trilogy.

DRIP-ALONG DAFFY (1951) Daffy Duck & Porky Pig western parody.

MY LITTLE DUCKAROO (1954) Daffy Duck & Porky Pig western parody.

BARBARY-COAST BUNNY (1956) Bugs Bunny & Nasty Canasta

TORTOISE BEATS HARE (1941) Bugs Bunny & Cecil Turtle, first in hare & turtle trilogy

TORTOISE WINS BY A HARE (1943) Bugs Bunny & Cecil Turtle, second in hare & turtle trilogy

RABBIT TRANSIT (1947) Bugs Bunny & Cecil Turtle, third in hare & turtle trilogy

PORKY'S HARE HUNT (1938) (B&W) Porky Pig and a white rabbit (forerunner to Bugs Bunny).

HARE-UM SCARE-UM (1939) A hunter & rabbit, forerunners to Elmer Fudd & Bugs Bunny.

PREST-O CHANGE-O (1939) two dogs are heckled by a magic white rabbit (forerunner to Bugs Bunny).

ELMER'S CANDID CAMERA (1940) Elmer Fudd hunts a gray rabbit that is not quite yet Bugs Bunny.

BUGS BUNNY GETS THE BOID (1942) Bugs Bunny & Beaky Buzzard

THE BASHFUL BUZZARD (1945) Beaky Buzzard

THE LION'S BUSY (1950) Beaky Buzzard

STRIFE WITH FATHER (1950) Beaky Buzzard

AN ITCH IN TIME (1943) Elmer Fudd

A HORSEFLY FLEAS (1948) the flea from An Itch In Time

HOLLYWOOD STEPS OUT (1941) Hollywood characters

PAGE MISS GLORY (1936) an art deco one-shot cartoon.

ROCKET-BYE BABY (1956) a sci-fi one-shot.

RUSSIAN RHAPSODY (1944) wartime themed musical.

DOUGH RAY ME-OW (1948) Louie the Parrot & Heathcliff the housecat

The Blu-ray disc #2 has bonus featurettes from past DVD sets, commentaries by animation experts and alternative audio tracks.

1) Forever Befuddled a look at the 'career' of Elmer Fudd 4 minutes (booklet indicates this is on disc #1, but it is on #2). (SD)

2) A Hunting We Will Go Chuck Jones' Wabbit Season Twilogy 10 minutes. (SD)

3) Looney Tunes Go Hollywood a look at the Hollywood star caricatures that appear in the WB cartoons 10 minutes. (SD)

4) A Conversation With Tex Avery a rare filmed interview with Tex Avery at the WB cartoon studio 7 minutes. (SD)

5) Looney Tunes Go To War a look at the patriotic roll that the WB cartoon characters took during the war 10 minutes. (SD)

DISC 3 Bonus Content totaling 432 minutes, or 7 hours and 12 minutes on one disc!(Included in the Blu-ray version ONLY, although almost all are in Standard Definition.) Most are re-issues from past DVD sets.

King-Size Comedy: Tex Avery and the Looney Tunes Revolution a new 42 minute documentary focusing on Tex at Warner Brothers, with some MGM cartoons. (Some interviews are in HD, most clips are SD.)

Includes interviews with Chuck Jones, Friz Freling, Bill Plimpton, Will Friedwald, and historians Leonard Maltin, Jerry Beck, Mark Kausler, & Eric Goldberg.

NOTE: the booklet claims this is on disc #1, but it is really located on disc #3.

Tex Avery, the King of Cartoons a 1988 vintage 50 minute documentary from Turner Broadcasting giving a more thorough overview of the life and career of Tex Avery, balancing the WB & MGM years more evenly. **There is quite a bit of duplication between the two documentaries. ** If you want to watch just one of these documentaries, this is the better one to watch. (SD)

Includes interviews with Chuck Jones, June Foray, & Preston Blair.

Friz on Film a 55 minute 2006 documentary for Warner Home Video. Friz tells the story of the origins of Bugs, Speedy, Tweety & Sylvester. (SD).

Includes interviews with June Foray, LT animator Art Leonardi, Leonard Maltin

ToonHeads: The Lost Cartoons A 54 minute Cartoon Network special from 2008 that includes some early cartoons rarely seen today like the "Spooney Melodies" series and gag reels. (SD).

Includes almost complete versions of these cartoons, some of which appear elsewhere on disc #3:

1) Bosko the Talk-Ink Kid

2) Crying for the Carolines Spooney Melodies

3) Lady Play Your Mandolin

4) Any Bonds Today Bugs, Elmer & Porky (Black-faced segment has been censored out!).

5) Spies Private Snafu

6) The Return of Mr. Hook

7) Animation sequence from "Two Guys From Texas" Bugs Bunny.

8) Animation sequence from "My Dream Is Yours" Bugs Bunny.

9) So Much For So Little (Educational Cartoon)

10) Orange Blossoms For Violet (Live Action Animal Comedy) clips only

11) Drafty, Isn't It? Ralph Philips

12) A collection of rare TV Commercials promoted by Bugs and the gang. Tang,

13) Philbert TV pilot clips.

14) Adventures of the Roadrunner TV pilot clips.

Real American Zero: The Adventures of Private Snafu a 9 minute 2007 "Behind The Toones" documentary for Warner Home Video (SD).

Includes interviews with LT Ink & Painter Martha Sigall and historians Jerry Beck, Mark Kausler, & Eric Goldberg.

The World of Leon Schlesinger 2008 49 minutes with Introduction by Jerry Beck & Martha Sigall (SD)

1) Bosko The Talk-Ink Kid (B&W)

2) Sinkin' In The Bathtub Bosko Looney Tune (B&W)

3) Crying For The Carolines rare surviving Spooney Melodies (B&W)

4) Its Got Me Again Merrie Melodies (B&W)

5) Haunted Gold title sequence (B&W)

6) Schlesinger Productions Christmas Party (with optional commentary by LT Ink & Painter Martha Sigall and Jerry Beck) (B&W)

Friz at MGM The Captain and the Kids Cartoons 44 minutes (STANDARD DEFINITION and UN-RESTORED)

1) Poultry Pirates (B&W)

2) A Day At The Beach (B&W)

3) The Captain's Christmas

4) Seal Skinners (B&W)

5) Mama's New Hat (B&W)

The Best of the Rest of Tex (MGM Tex Avery Cartoons!) 84 minutes NOTE: although on Blu-ray only, these are STANDARD DEFINITION and UN-RESTORED (you will notice the difference).

1) Blitz Wolf (1942)

2) Red Hot Riding Hood (1943)

3) Screwball Squirrel (1944)

4) Swing Shift Cinderella (1945)

5) King-Size Canary (1947)

6) Bad Luck Blackie (1949)

7) Senor Droopy (1949)

8) Wags to Riches (1949)

9) Symphony in Slang (1951)

10) Magical Maestro (1952)

11) Rock-a-Bye Bear (1952)

Private Snafu 34 minutes (B&W) (SD)

1) Coming!!SNAFU

2) Gripes

3) Spies

4) The Goldbrick

5) The Home Front

6) Rumors

7) Snafuperman

8) Censored

Mr. Hook 11 minutes (B&W) (SD)

1) The Good Egg

2) The Return of Mr. Hook

3) Tokyo Woes

Who's in charge of these ? Is it you, Jerry Beck, as we were lead to believe? And if so, how about fulfilling your promises and opening the vault? And treating them in a manner that befits their classic status?

I love "Looney Tunes" and I love my Blu-ray and I DON'T MIND paying again for these classics to be remastered so I can see them in 1080p. It's awesome! But to take one of the greatest (if not THE greatest) cartoons of all time, "Red Hot Riding Hood" and slap out on the bonus disc in a standard VHS copy is insulting to me and all the other fans out there. Actually NONE of the content on disc three is in HD so it's NOT a Blu-ray! It's a DVD!

Look, I understand the realities of marketing and customer demand; You can't put all Bugs or Daffy on one set because no one (or very few) would buy Porky or Sylvester. You can't put them in chronological order because the average consumer wouldn't buy the black and whites. I don't expect you to remaster all the documentaries or featurettes BUT the cartoons themselves? There's no excuse except a money grab.

The packaging that Volume two comes in doesn't even match the first one! It's completely different.

I honestly don't understand the WB's complete indifference to the Looney Tunes collections and the Looney Tunes collector. It's a rabid fan base. And as proven time and again there is quite a market for deluxe sets. Why not issue deluxe collector's versions? the Complete Tex Avery!! The Complete Chuck Jones!! The Complete One Shots and Minis! Hell, Just do The Warner Bros and the complete MGM! To big? break 'em down! Complete Looney Tunes 1930-1942, Complete Merrie Melodies 1931-1942.....

All cartoons ReMastered??In 1080p? You'd make a fortune and the fans would be happy.

Unlike how they feel now.

Buy Looney Tunes: Platinum Collection, Vol. 2 (2012) Now

I ordered this item because of the Tex Avery MGM cartoons included in it. Wow! "Red Hot Riding Hood," "Swingshift Cinderella" et al on Blu-ray! Sharp, brilliant high definition! Imagine my disappointment when the product arrived, I loaded up the disc containing said MGM Avery treasures, and it looked like I was watching them on VHS. Thanks for making it clear, Product Information, that these Avery cartoons are in "standard definition" (though they look even worse, with those intermittent comb-like parallel black lines that appear occasionally in the image in certain digital videos). My excitement face-planted to disappointment just like that.

Caveat emptor... suckers!

Read Best Reviews of Looney Tunes: Platinum Collection, Vol. 2 (2012) Here

Not only this will be the first time the post-1935 black and white Looney Tunes will be on Blu Ray but also 10 shorts will be new-to-DVD all remastard on this release:

with its original opening titles restored **

with its original opening ringss restored ***

*What Makes Daffy Duck? (1948, Art Davis) Hilarious

*Birdy and the Beast (1944, Bob Clampett)

*Home, Tweet Home (1950, Friz Freleng)** Funny

*The High and the Flighty (1955, Robert McKimson)

*Porky's Hare Hunt (1938, Ben Hardaway) My favorite

*Hare-um Scare-um (1939, Ben Hardaway and Cal Dalton) This version will have its original ending remastard back to the cartoon.

*Prest-O Change-O (1939, Chuck Jones) My personal favorite

*The Lion's Busy (1950, Friz Freleng)** Hilarious

*Strife with Father (1950, Robert McKimson)** Funny

*A Horsefly Fleas (1947, Robert McKimson)

Note: the previous released cartoon "Canned Feud" is remastard with its original opening ringss unlike LTGC Vol. 1 which had the Blue Ribbon reissue version.

And 11 Tex Avery directed MGM shorts will also be on this release, but only on Blu Ray and they're not remastard unfortunately:

*Blitz Wolf (1942)

*Red Hot Riding Hood (1943)

*Screwball Squirrel (1944)

*Swing Shift Cinderella (1945)

*King-Size Canary (1947) Funny

*Bad Luck Blackie (1949)

*Señor Droopy (1949)

*Wags to Riches (1949)

*Symphony in Slang (1951) Hilarious

*Magical Maestro (1952) Hilarious

*Rock-a-Bye Bear (1952) My favorite

I only recommend this for those new-to-DVD and Blu Ray cartoona. And it's only for those who want to have the previous release shorts from the Golden Collections and Super Stars on Blu Ray in HD instead.

Want Looney Tunes: Platinum Collection, Vol. 2 (2012) Discount?

Warner Home Video insists on packing these blurays like sausages... Full of recycled supplement filler from previous DVD sets. But with this one, they hit a new low. A large chunk of the cartoons on this set (everything labelled as "bonus material") isn't in 1080p. It's standard def. All those great MGM Tex Avery cartoons? Yep. They just shoved a DVD on a bluray disk and tried to slip it by you.

Here is a clue for Warner Home Video... Why would a cartoon fan buy this set? Odds are, he already has all the DVD sets... He's buying it for HI DEF CARTOONS. We don't need hour upon hour of repurposed mumbling commentary and rah rah cheerleader animation historians telling us how GREAT! everything is. We want HI DEF CARTOONS. We ESPECIALLY don't want cartoons in DVD quality as some sort of booby prize "bonus".

If Warner gave us what we want, and lots of it, they would get five stars. But the filler on this set that they charged me for and I don't want cuts that in half2 1/2 stars, rounded down for the stupidity of whoever decided that bluray customers want blurays filled with DVDs.

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Persepolis (+ BD Live) (2007)

"Persepolis" is an animated film based on Marjane Satrapi's autobiographical graphic novel of the same name about her childhood in Tehran during the last Iranian revolution and coming of age after emigrating to Vienna. It is an extraordinarily ordinary story about an average woman coming to terms with herself and with the world around her. Did I say "average woman"? My bad. I meant dynamic, charming, intelligent, and fiercely individualistic. Ms. Satrapi's story is among the finest works ever animated and bestows upon the viewer the endless virtues of knowledge, a broadened mind, and a true perspective on humanity. "Persepolis" will break your heart, make you smile and laugh out loud, cheer, possibly sing, and restore your faith in humanity. The fact that this was passed over for an Oscar in favor of yet another mediocre Pixar effort (about a rat that controls a chef by pulling his hair, no less) is the ultimate proof positive that that award (or any other, really) has no merit whatsoever.

Young Marji walks down the street to the place where shady characters reside. As she passes each bootlegger, they whisper the names of the forbidden fruit they possess. "Lipstick" whispers one, "Jichael Mackson" mispronounces another. She continues on until she hears what she wants: "Iron Maiden". She quickly negotiates a price and makes off with her prize just as a group of overbearing religious figures tower over her. They have taken issue with her shoes: plain sneakers. Marjie insists they are for basketball, but another spots her Michael Jackson patch, a symbol of American greed. Then the coup-de-gras; she has "punk is not dead" scrawled across the back of her outfit. Thinking fast, Marjie bursts into tears, sobbing lies about her parents having died in the war with the Iraqis and a cruel guardian who will burn her with an iron if they turn her in. Safely back at home, having tricked the local oppressive religious posse, the young girl grabs a tennis racket as a guitar and bangs her head to the sweet, hard-earned reward of heavy metal. The scene then segues -music still rockingto the frontlines of the war where the new Iranian Islamic rulers are sending young men unarmed to rush the Iraqi army, acting as human shields/martyrs. Their parents are rewarded by the government for their sons' sacrifices with little plastic keys which are promised to open the door to Heaven for their dead children. Such are the complications of everyday life in Iran at this time. The duality of these scenes speaks a lot for the power and message of this film. But while there is highly enlightening political commentary and historical information to be found here, the focus is on the everyday life and struggles of our protagonist with the horrors of her surrounding often being downplayed.

The animation is minimalist art of the highest stylistic brilliance. The endearing nature of Marjie and her family is only highlighted by the ultra-simplistic black and white pencil-and-paper artwork. All of the CG in the world could not improve on this film in any way; the focus is on story, characters, and stylistic integrity, as it should be. The film's philosophies run deep and broad, ranging from harsh commentaries on authority to harsh commentary on purposeless counterculture. Wisdom comes from Marjie's grandmother, from her imaginary chats with God, and her memories of her communist uncle. These are life lessons about integrity, prudence, and acceptance that one should always carry with them and produce many, many quotable quotes.

Do not think for a second that this film is all about heaviness of spirit and preachiness. No, no, no, no; nothing could be further from the truth. Ms. Satrapi is a brilliant social satyrist who fills "Persepolis" with pointed jokes, lighthearted moments, and heartwarming charm while pointing out that at heart, we are all the same. There is a time in Marjie's life where she becomes a lifeless, jaded cynic unable to do anything but watch TV and let life pass her by. Then one day, she wakes up angry again. The result is a musical montage that will likely make you laugh hysterically or jump out of your seat to sing along. Possiby both. This is just that kind of film. Throw in some animated love for Godzilla, Bruce Lee, and Terminator 2 and I am beyond sold.

The DVD has a few behind-the-scenes special features that show us the woman herself at work. Having already fallen in love with her animated doppelganger, seeing the vivacious Marjane Satrapi made flesh is a real treat. We get a view of the old-school animation processes and are able to watch Ms. Satropi act out different characters for the animators to see. This is nearly as much fun as the movie itself. Wonderful feature.

This is a near-perfect film that I would recommend to anybody who isn't going to run away from a mostly black and white animated film with subtitles. And if you are: well, enjoy your life of closed-minded cinematic ignorance. "Persepolis" is a revelation whose duty is to entertain us while reminding us just how good we have it and simultaneously educating us about a culture and history few in the West have made any attempt to understand. Ms. Satropi's insisted that this story be animated and not filmed for this reason: animated characters are more universally identifiable. Set a film in Iran and fill it with Iranians and you have an ethic film that many will subconsciously refuse to identify with. But with animation, all things are possible; even bridging a gaping cultural divide. But at it's heart, this is a film about the enthusiam of youth, the hardships of adulthood, and the triumph of personal integrity. Do not miss this.

Forget your stereotypes of Iranians. `Persepolis' is an engagingly funny, sad, and poignant look at Merjane (Margie) (Chiara Mastrorianni) a girl who grows up in Tehran during the 1980's. Despite our possible preconceptions, Merjane surprisingly sports addidas sneakers, eats French fries, and yearns to shave her legs. The movie provides an absorbing history lesson, showing us the close up ramifications of people's lives behind the headlines, and tells a captivating story about a girl trying to belong and survive under dire circumstances.

Until all the world changing events, Merjane lets us know, "I led a peaceful, uneventful life as a child." Within the family, Merjan's uncle is kindly, yet communist. He's probably seen enough dictatorships and knows of only one way out. His ordeal is documented well enough. The most supportive in the family is Merjane's grandmother (Daniell Darrieux), whose affection and wisdom go a long way. Her parents (Catherine Deneuve and Simon Abkarian) are also good people who yearn for freedom, but know how to keep Merjane's best interests above their own.

During the time, we get a first person perspective on the Shah of Iran, his rise to power, the unrest that led to his exile, and his subsequent replacement by Ayatolla Kohmeni while Saddam Hussein rose to power in Iraq. From the narrative and the played out scenes, we get the pedestrian view of how these events came into fruition and their implications in everyday lives. Later, the Iran-Iraq War is particularly unsettling for her entire country. For her safety, Merjan flees her country and settles into Austria where she develops not so close friendships with the "Out" group, seeking refuge in the punk rock/alternative scene. With Merjane telling her story we get an intimate and often comic take on the angst of adolescence as well as what it's like to be a foreigner who's mostly misunderstood or ignored. She returns to her own country and her family, but the changes have made her an alien in her own neighborhood. Knowing the origin of this film, you can probably guess what happens next...

The animation is unique and interesting. Reminded that this film garnered a nomination for Best Animated Movie Oscar*, the extras show the French artists creating the film one frame (or picture) at a time. Done mostly in black and white, the backgrounds are stylish, but mostly stagnant with the characters remaining flowing for every scene. Oddly, it is only during the transportation scenes (like when she's waiting at the airport) when we are given the full color treatment. Inevitably, it must be that hope colors her consciousness every time there's a new transition in her life. I have one objection: I didn't like all the body fluids presented. I thought they kept it real enough without having to show all of that. Ironically, the blood made a difference. We need it as evidence; it provides an unflinching detail of the ordeal(s) at hand and respects all the people involved.

Our funny bones are tickled several times as our colorful rebel resorts to splendid retorts to zealous extremists ("Girls who reveal themselves will burn in hell," says one educator), and we are served some truly funny thoughts about her body changes during puberty and the fallout of dating. 'Persepolis' has many simple joys entailed upon its viewing: A fascinating first-person history lesson, an absorbing story, and a splendid protagonist.

(Not since Art Spiegelman's groundbreaking 'Maus' have I seen a similar graphic novel treatment give this much of a wollop.)

*`Ratatouille' won the Oscar for Best Animated Film from 2007.

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(2008 HOLIDAY TEAM)Hand-drawn animation, especially simple black-and-white drawings, is so rare to see on the big screen that one has to appreciate the emotional nakedness that Marjane Satrapi and her fellow cartoonist Vincent Paronnaud bring to this 2007 fictionalized memoir of Satrapi's formative years as the free-spirited daughter in a liberal Iranian family. The 95-minute film follows the same abstract style found in her best-selling autobiographical graphic novel, adding color for the present-day scenes and using a shadow theater approach to the historical sequences. The cumulative effect works well within the context of the story's volatile emotional changes as it alternates in quicksilver fashion between poignant, funny and harrowing. The film reminds me a bit of Mark Forster's adaptation of Khaled Hosseini's The Kite Runner, which also has a protagonist forced to live in exile due to the advent of war and tyranny. The difference is that Satrapi's family stayed in Tehran throughout the turmoil brought on by the Shah's overthrow, the oppressive fundamentalist regime that followed, and the Iran-Iraq war. Some of this comes across as a bit muddled, but the propulsive narrative drive and empathetic voice characterizations compensate greatly.

The plot flashes back to Marjane's childhood in Iran during the 1970's as she gradually begins to understand how her family has been mistreated and imprisoned due to their Communist leanings under the Shah. Once the Islamic Revolution deposes of the Shah in 1979, the family faces even more persecution by the new government. Forced to wear a burqa, Marjane has an escalating desire to express her individuality through listening to heavy rock music and questioning authority at every turn. During the 1980's, Marjane's parents decide to send their daughter to Austria to continue her education since Iran was becoming a political hotbed with the oncoming Iran-Iraq war promising even greater horrors. In he meantime, Marjane never fits into Viennese student life, and her situation worsens with a series of bad romantic relationships. She ends up on the streets, and her desperation becomes such that she returns home to Iran. Falling into a crevasse between Western and Eastern cultures, Marjane falls into a depression until she faces up to her true fate. What Satrapi and Paronnaud do especially well is make the animated Marjane's journey a universal one that gives personalized insights into the current challenges facing the Middle East.

The 2008 DVD offers both the original French and English-dubbed versions of the feature. The filmmakers recruited quite a cast of voices to inhabit the characters, including Chiara Mastroianni as Marjane, her mother Catherine Deneuve as Marjane's mother, and another legend, Danielle Darrieux as Marjane's feisty grandmother. Deneuve and Darrieux played mother-and-daughter in Jacques Demy's candy-coated musical, The Young Girls of Rochefort over four decades earlier. On the English version, Mastroianni and Deneuve repeat their roles, but Gena Rowlands takes over for Darrieux. There are several other extras on the DVD, the chief one being a half-hour documentary in French, "The Hidden Side of Persepolis", which gives a highly detailed look at the production process. Satrapi and Paronnaud are interviewed extensively, as are several crew members and both the 91-year-old Darrieux and Mastroianni (a dead ringer for her father Marcello). There are two other pieces a brief short, "Behind-the-Scenes of Persepolis", which focuses primarily on the English dubbing process with Rowlands and Iggy Pop, and a half-hour press conference held at the 2007 Cannes Film Festival with Satrapi, Paronnaud, the film's producers, as well as Mastroianni and Deneuve. There is no full-length directors' commentary track, but three scenes have individual subtitled commentary Satrapi on the opening scene in color, Mastroianni on the amusing "Eye of the Tiger" scene, and Paronnaud on the establishing shots of Vienna. Particularly interesting are five other scenes where we are shown the storyboards versus the final animation.

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Well.... As an Iranian woman (a bit younger than Marjan)I remember those days very well. It is a very accurate movie about that era. It brought me many sad memories from the time that Tehran was attacked by missiles. I was too young to remember the actual revolution and the street demonstrations and I have a very vague memory of the Shah's era, but I remember the war and the post war era. She draws a very accurate picture of the hidden parties in Iran, the alcohol consumptions in parties, the Islamic police, the secretive dates between boys and girls, the security guards in the airport etc..

The moral of the story is that Marjan had to immigrate from Iran for the second time (which was her last time) simply because she felt like a stranger in her motherland...She had to start her life all over again in another country. Iran was not her country any more... The same story happened to millions of Iranians who left Iran in some point after 1979 and now live in exile including myself.

This is a true story of the dreams that were shattered after the Islamic revolution...the families that were broken.... and the collapse of the most ancient civilizations on earth...It is the story of one of the biggest human tragedies in 20 century and the movie very cleverly shows that.

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AMAZING! I would recommend this film to everyone. It's a wonderful story about coming to age during a turbulent time. A must see for anyone who has a heart and emotions. This film was heavy with comedic elements mixed throughout. It made me laugh, cry and really think. Don't be scared that it's a foreign film. You do have the option to play it in English, without subtitles. Definitely worth the money. Spoiler Alert: The ending is somewhat dissatisfying.

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Boogens (1981)

Well, I wasn't exactly a kid when this gem of a film came out, and it didn't give me nightmares or make me afraid to go in the basement, but it was one of the most enjoyable movie dates ever with my future husband in December 1981. We liked it so much that we bought the VHS version as soon as we found that it was available in the 1990's, and made an anniversary tradition of sending the kids to grandma's, lighting a fire in the fireplace, turning out the lights and popping some Boogens into the VCR (we even brought it along to a hotel once). The tape lasted about a decade before becoming unwatchable a few years ago, so it will be terrific to be able to revive the tradition for our upcoming 30th anniversary. Thanks for releasing this long-awaited treat in DVD format!

The Boogens is a 1981 horror flick that has become a bit of a cult classic partially due to it's unavailability for almost 2 decades and partially for it's amusing title. It's just fun to say "Boogens". The film also has sentimental importance to me, as it was one of the horror flicks I saw with friends at the legendary Oritani grind house in Hackensack, N.J. A time when B movies were still released in a theater, where they belong, and a time I now cherish in this direct to DVD and VOD age. Now being given the chance to revisit this low budget chiller, it's time to answer the question of whether it's as fun as I remember or has time and nostalgia created a far better memory then it was a movie. And I'm happy to report it still is a fun flick, although 80s nostalgia does play a part. In a way, "Boogens" is a quintessential horror for the late 70s, early 80s with it's slow burn, creepy old man with ominous warnings, and nubile girls in skimpy bathrobes investigating noises in dark cellars. This is exactly the type of movie Ti West paid homage to in the recent "House Of The Devil". A few months later Evil Dead would arrive and crank horror flicks up to 11 and Jason was just getting started on his body count.

This 1981 horror stars Rebecca Balding ("Silent Scream") and takes place in rural Silver City, Colorado, a small mining town where the mines are being reopened for the first time since a supposed cave-in 70 years previous. But, unknown to two college grads (Fred McCarren and Jeff Harlan) working on the re-opening and their two nubile young ladies (Balding and the equally cute, Ann-Marie Martin), the mines were caved in on purpose and unsealing the tunnels unleashes our title creatures and they are quite hungry.

Boogens is well directed by James L. Conway who also directed pseudo-documentaries like "Hanger 18" and "In Search Of Noah's Ark" and who went on to direct a lot of genre TV including episodes of all the post-original "Star Trek" series and the current, "Supernatural". He directs with a leisurely pace but, builds some nice suspense and also knows to keep his monsters hidden until the very end. And when we do see them, they are good old fashioned prosthetics, there's something charming about prosthetics that CGI rarely matches. He gets good performances out of his cast and the fact that they are all very likeable helps add suspense when they are in danger. There is some nice gore but, it is used sparingly and the body count is low. This movie was made just as the slasher sub-genre started to gain momentum and before body count became crucial to the proceedings.

Sure, by today's standards "The Boogens" is tame, slow and cheesy but, it is the type of horror that they made when I was in high school and I will always have a soft spot in my movie geek heart for them. The transfer on blu-ray is absolutely beautiful and it`s worth a look for horror fans, especially those who enjoy horror from this era. Welcome back, "Boogens".

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Wow! That's all I can say about this one. I first saw the Boogens when I was nine years old and it scared me so bad I couldn't even look under my bed for a week. I had to wait more than half a lifetime to find the movie again on VHS, but when I did it hadn't lost any of its gruesome charm whatsoever. Set in the majestic Rockies (my native territory) The Boogens focuses on four twenty-somethings who move into a nice, if somewhat sinister cabin in the woods which was the site of a brutal killing in the beginning of the film. The four soon split up for various reasons and go about their own ways. The story kicks into overdrive when the first of them is dragged under his vehicle and sliced open by the nasty claw of the Boogen. We see this only in quick flashes of ingenious editing that gives us only a "taste" of the real thing. Dark, cramped, sometimes unbearably spooky, the Boogens sent a message to us in the early eighties: Horror is not dead, not even sleeping, we just have to know which cave to look in to find the scariest monster, and The Boogens provided it. I thank the director and the cast for giving a nine-year-old boy the scare of a lifetime!

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In the small mining town of Silver City, an evil has been unknowingly unleashed on its unsuspecting residents. The old mine has been sealed up and abandoned for over seventy years but now some outsiders are about to make a big discovery and it isn't silver or gold. What unspeakable horror lives in the mine? Is there any way to escape it? What is a Boogen?

The Boogens is a slow paced horror film that relies on its ability to build up the suspense for most of the film and then unleash everything it has on the viewer in the last 20-30 minutes. If you're a horror fan looking for a high body count and plenty of gore and nudity then this film may not be for you. There isn't a high body count, there's very little gore and barely any nudity to speak of. Fans get a brief glimpse of Rebecca Balding's butt in one scene and her breasts in another, that's it. As for the creatures; we never really see them until the last 20-30 minutes of the movie.

Thanks to Olive Films the "Boogens" has finally seen daylight on Blu-ray and DVD. I don't know what type of restoration Olive Films did to the print if any, because the film still suffers from embedded artifacts, speckling and a certain amount of graininess throughout. Don't get me wrong, the video image is clear and definitely viewable.

Aside from the old school non CGI creatures and effects this film also benefits from an eerie music score, so the mono soundtrack provided on this release was a bit of a disappointment for me. The mono sound is clear and crisp but I had hoped for a 5.1 sound option as well. I expected this Blu-ray release would be filled with tons of bonus features and extras, it isn't. The only extra included is an audio commentary from director James L. Conway, screenwriter David O'Malley and actress Rebecca Balding.

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The Boogens, despite its name, is a well paced horror film which pays justice to the cult monster movies of the 1950's. The editing style gives the viewer a well balanced blend of suspense, shock and gore to make the film both eerie and frightening. I originally saw this movie on cable about 18 years ago and was equally entertained after watching the VHS copy I recently purchased. The "Boogens," themselves, are a bit cheesy looking and were designed after a sheep's brain with slashing tenticles for legs (I learned this from the make up effects person in charge of creating the creatures for this film). The directing coupled with the editing style are what save this movie by giving us only a glimpse of the the creatures, keeping us on the edge of our seat for the majority of the film. This is one of the few real monster movies that are a credit to the monster genre.

I know 3 stars may not seem like much but only the best films are worthy of 4 and above.

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The Color Purple (2011)

This is the best movie I have ever seen. Whoopi Goldberg, Oprah Winfrey, and Danny Gover are magnificent, and the supporting cast does an equally impressive job. On an artistic level the film is wonderful, but its emotional effectiveness (a rare combination of rawness and innocence) is indescribable. I first saw The Color Purple when I was 11 (I'm 16 now). I live in rural Louisiana, where despite major advances in American society in general, violent racism thrives. I honestly believe that if I had not seen this film, I might have become one of those men whose only joy is hatred. I remember vividly the exact moment I abandoned racism (and many other prejudices) and became a better person: the scene in which Sophia is attacked outside the store. She'd just been hit in the head, and as she lay on the ground the wind blew her dress over her head, exposing her underwear. I am crying right now remembering that moment, that stripping away of dignity... The movie is beautiful, simple, and powerful. Don't be afraid to let children watch it, because sometimes children's lives can be changed too.

I just bought this disc and watched it last night. I bawled my eyes out. I haven't seen it in many years and had forgotten what an incredible film it is. I gave it only 4 stars because of what many other reviewers have said about the DVD -it's not double-layered and requires a "flip" right after Celie and Shug kiss.

I was particularly moved by Oprah Winfrey's performance. We all know her as OPRAH now. I'd forgotten how amazing she was in COLOR PURPLE.

I think if Spielberg made this movie today he might not shy away from some of the heavier themes like he did in 1985. But his filmmaking technique was incredible for this film. It plays like an old-fashioned Hollywood movie. The colors are gorgeous. (How did they get all those perfectly purple flowers in that field ? ) The camera work is exciting.

Everyone has their "crying" moments in COLOR PURPLE. These are mine: 1. The breakup of the sisters ("Ain't no mountain, ain't no sea..."). 2. Celie gets the letter ("I got two children..."). 3. God's Tryin To Tell You Something ("See daddy, even singers got soul") and, of course, 4. The end.

It's about life. It's about love. It's about us. Thank you Alice Walker, Steven Spielberg, and Whoopi.

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This review refers to the VHS Special Widescreen Edition(Warner Bros) of "The Color Purple"....

Okay, so where to start with this remarkable film?...How bout here...Oscar People!...Did you watch this film???...11 nominations and not 1 statue to go down in the books for this beautiful cinematic achievement of 1985? Yes, the winner of the best film of that year, "Out of Africa", was also wonderful and absolutely deserving of all the accolades it received. But there was so many outstanding attributes to this film from Steven Spielberg's artful direction, to the touching performances, to the cinematography and the wonderul music headed up by Quincy Jones, that it is one that nearly 20 years later still stands up to repeated viewings and a box of Kleenex. One that is still being talked about, as I noticed the reviews are still steadily being written,and one that didn't get the recognition it deserved!

Whoopi Goldberg, Oprah Winfrey, Danny Glover and Margaret Avery, will touch your heart and soul with their incredible performances in this very dramatic story. Sisters Celie and Nettie have each other to love, and it seems that each other, is all they have that is beautiful in the world. When they are torn apart by unfortunate circumstances they must face the world on their own. Celie(Goldberg) is the main focus. She is forced into a situation of an abusive marriage at the early age of 14 and life for her does not get any easier from there. For decades she hopes beyond hope to hear something of her sister Nettie who's last words to Celie were, "Only death can keep us apart!". Celie's character develops quite a strength over the years and she also forms a strong kinship with an unlikely source. It is a film that is unforgettable and once seen, will stay with you always.

Whoopi did capture a Golden Globe and an Image award, and was also recognized by the Nat'l Board of Review for her outstanding work. Mr. Spielberg did not go unnoticed completely, as he was awarded the Outstanding Directoral Achievement in Motion Pictures by the Directors Guild of America. The music captured an ASCAP(Film and Television Music Award). Just see if you can get Quincy's Jones' "Miss Celie's Blues" out of your head after the film!

I've had this VHS quite a few years. It has stood up to many viewings. The picture and colors in widescreen are very nice, and the Dolby surround sound is excellent.Someday I am sure I will wear it out and then I will upgrade to the DVD, as I know I can not be without this treasure in my collection.

DVD: The Color Purple

Every moment of this film is filled with emotion, and it is not without a few smiles as well. Highly recommended....enjoy...Laurie

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Having just watched the two-disc "Special Edition" of COLOR PURPLE this weekend, I believe this newer version has outdone the original single-disc dvd that was released in 1999 (which you had to flip over halfway through in order to see the second half of the film.)

The second disc of this "Special Edition" contains several excellent documentaries about the making of COLOR PURPLE. Most refreshing is Alice Walker herself, who is wise and thoughtful about the movie-making aspect of her Pulitzer Prize-winning book. Steven Spielberg has some reflectful things to say as well he admits to his own limitations in filming the Shug/Celie love scene. (Alice Walker calls the scene "sweet").

Oprah appears looking glamorous and very different from her mid-80's self. As she tells the story of how she won the part of Sophia, one cannot help but be moved. Whoopie Goldberg, too, is very humble about the process of winning then filming the role of Celie.

It's wonderful to see the new interviews with the cast (Margaret Avery looks incredible!) and shocking that COLOR PURPLE did not win in any of the categories it was nominated for at the Academy Awards. I always thought that Akosua Busia gave an incredible performance as Nettie did you know she shares a screenwriting credit on Winfrey's BELOVED?

Watching the film again was a wonderful experience. The dvd looks incredible and sounds great no complaints there. (It is dual-layered, so it is not necessary to flip the disc any more!) Spielberg can still tug my heartstrings with this movie. I cry on cue at several scenes. His direction and the actors' performances are truly wonderful. My only qualm is that THE COLOR PURPLE is an old-fashioned film in style. It is more like GONE WITH THE WIND than BASTARD OUT OF CAROLINA. There are some themes that Spielberg glosses over that could have been examined more closely. The film is not diminished by this. Another director, however, would have made a differently styled film.

THE COLOR PURPLE is one of my all-time favorite films. I'm glad to have this "Special Edition" in my dvd library.

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Despite the ever so popular view that the film is a condemnation of black men I (a black male) have to disagree. What the film so adeptly demonstrates is the very harsh realities that far too many women (black women in particular) have had to endure for far too long in a male dominated society. The strength of all of the female characters is indominatable. That being said we should not forget how important racism was in creating the attitudes of black males then as today. That doesn't excuse the behavior nor eliminate the responsibility for the acts but it does however help to explain them.

Spielberg's direction is better (in my opinion) in this film than in any other film of his career (Schindler's List) included. For him not to have received the Oscar as best director and for this film to have been denied the Best Picture award is one of many great injustices perpertrated by the ... hollywood establishment. The most dramatic (not emotional mind you) scene in the movie is when Celie is getting ready to shave Mister at the same time as her son is undertaking his ritual and Shug has intuition about Celie's murderous intent. Absolutely flawless. The music was perfect as it built in intensity.

You'll laugh, cry, think and be entertained. What more could you ask for.

Whoopi Goldberg is one of the best dramatic actresses I think i've ever seen. The same can't be said for her less than comedic talents. Oprah and Margeret Avery were outstanding and so deftly contrast Whoopi's performance and underscore the many different indignities suffered by all of the women albeit in different ways.

It ultimately is a triumph of the human spirit.

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