Love Exposure (2008)

First off, I feel I must give this warning for potential watchers of this film. Some of the main themes such as religion, cult and sexuality are brought in to the forefront. If you are uncomfortable with these controversial themes at all, this probably isn't the movie for you. Were a rating to be released in the US for this movie, it would probably be an R or higher. That being said, these themes are acknowledged tastefully and with a purpose.

The characterization is beautiful and the acting is so breathtaking. It's no surprise that Love Exposure won 14 awards and was nominated for 2 others.

The storyline follows three characters, teenagers who have been abused by their parents. The main male character, Yu, is a devout Catholic whose father entered priesthood after the death of their wife and mother. However, his father becomes involved with a woman who eventually runs off. His father changes and forces Yu to come to confessionals every day and force him to confess sins that he didn't commit. Yu is forced to lie to his father but when he is discovered, he feels he must actually commit sins so he won't lie be lying to his father. These sins become more and more heinous until finally he starts taking sneak pictures up girl's dresses. He doesn't take these pictures to be turned on, but instead to merely have sins he can confess.

One day, his friends dare him to dress as a woman and go kiss a girl he likes. He helps to save a girl, Yoko, from thugs and kisses her before he runs away. His life takes a turn when his father's lover returns with Yoko in two and the two become adopted siblings. However, there is someone on the outside, the third character, who is craftily maneuvering their lives so as to induct them into the cult religion, the Zero Church. It's up to Yu to maintain his own faith as he travels through the underworld in order to find the third girl out and save his family from being converted into the cult.

This story is twisted from start to finish and the cinematography is well-thought out and gorgeous. The movie is four hours long, but flies by. Every second is filled with a fantastic romance meets comedy meets thriller storyline. I rate the story five stars out of five. This movie has easily become one of my favorite films of all time.

It's pretty rare to find a four hour movie as compelling as Love Exposure. The director has a kinky sense of humor that manages to be sincere and innocent at the same time as the Yu Honda embraces his inner pervert like a form of sacred art. I haven't seen a movie that mixes the sacred and the profane so much in lighthearted way without losing too much to cynicism. The mains are wonderfully acted, I loved Yu Honda, Yoko, and even the disturbingly evil Ai. The story weaves and bobs around themes that would be verboten in popular movies, but in this context, it has an ease of boundaries and fluidity. The genre-flux from rom-com to kung-fu movie to melodrama is done effortlessly and as the captive audience, I had no choice but to let the movie take me along for the emotional trip.

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Standard movie runtime has been universally accepted at 90 to 120 minutes. Expand beyond that and you better give up the goods -robots, or war, or time travel, or stories of unrequited transdimensional love triangles. But a 237 minute movie about the art of upskirt photography? Now that's bold. Such is the case with Love Exposure, a 2008 film by Sion Sono that has charming topics like lust, religion, and coming of age in a world where being a panty shot photographer is a normal thing. The film has had a long run of success at festivals, but its odd topic and story have kept it from reaching any audience in America -until now. It is now on dvd and I would urge everybody to rent this film.

Read Best Reviews of Love Exposure (2008) Here

This 4 hour romantic shock epic is a must see for the fans of Sono's earlier work or anyone with an adventurous taste in film. I have never seen anything remotely like it and is worth getting a region free dvd player so I can share it with my friends.

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A brilliant farce, metaphorical oddysey that is as ambitious as it is bizarre. Do not be swayed by the running time. Those four hours dissapear instantly. Highly recommended!

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A Man Escaped (Criterion Collection) (1956)

This is the first Bresson film I ever saw and it stunned me. Since then, I have seen most of his other films and each one is remarkable, though a few stand out: Diary of a Country Priest, Au Hazard Balthaaar, Pickpocket, L'Argent. Still, this film is unique in that it retains the austere, minimalist and ultimately spiritual style of the others, and at the same time is a gripping thriller.

You might say of this film -though Bressonian purists might hate me for saying this -that Bresson uses his anti-Hollywood style to outdo Hollywood style. What I mean is: Bresson is known for revealing only what is absolutely essential, a gesture, an item, two hands engaged in an activity, feet walking. This has the effect of encouraging the viewer to pay attention, but also, because it forces no specific interpretation upon these items, encouraging the viewer to participate in the unfolding of events, and become more than merely a spectator. Hollywood style tends also to eliminate much of what is inessential, but to a much different end: to eliminate moments where the viewer might be distracted and think about something other than the film; the aim is to replace thought with the action on the screen, rather than to stimulate thought. In the case of this film, however, where the subject matter is a prison breakout (standard Hollywood fare) the minimalist style employed by Bresson is able to achieve both a high degree of tension, and a high level of involvement. From the moment the prisoner is in the prison, nothing is shown except what is relevant to the single-minded focus of the prisoner: to escape. In that sense, it is not at the end that the man escapes (as already announced in the title of the film), but from the very beginning he is escaped in the sense that he never accepts the status of imprisonment. The film is able to show this without ever having him discuss the matter with anyone. Remarkable.

This is one of cinema's great achievements, a testament of the combination of elements (subject, visual style, photographic image, movement, sound, background music, character, montage) are perfectly blended into a unique experience. The New Yorker print, however, is the worst copy of this film (16mm, 35mm, television screenings) I have ever seen. This was a copy with a lack of contrast, extra noise on the track, looking like a dub. If only there was a decent attempt to attain anything better would have begun to do the film justice. As it is, enjoy what you're stuck with but know there's something better out there.

Burt Shapiro

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This film is absolutely wonderful but when examined closer, it is merely a simple film and that is the main power. In what it is trying to express, a man who attempts to escape from a Gestapo prison camp, it relates to the existential values at the time. I have never seen a more crisp telling of a drama told in straight forward narrative and easy dialog. What is at the basis of this fabulous Bresson film is man's determinism in the face of imprisonment. Truly recommended.

Read Best Reviews of A Man Escaped (Criterion Collection) (1956) Here

(...)

(...)

It seems strange to me that Robert Bresson referred to himself as a "Christian atheist", because God is very much present in this film. A

Man Escaped is based on the true story of André Devigny, a member of the French Resistance who managed to break out of prison just

hours before he was to be executed by the Germans. The movie begins with the prisoner, here called Fontaine, being driven to jail. The

men beside him are cuffed, but he is not. He tries to get away when the car stops but is recaptured and beaten about the head.

In prison, Fontaine nearly succumbs to despair, fearful that his fellow Resistance fighters will be rounded up too, but then a stranger

intervenes, a prisoner exercising in the courtyard who promises to get a note to them. Relieved of this concern, Fontaine once again sets

his mind to escape. While other men remain bound either physically or mentally, Fontaine develops a detailed plan of escape and

arduously sets about implementing it.

Bresson presents Fontaine's machinations in painstaking detail. He also confines most of the film to Fontaine's cell, so the viewer too

feels like a captive. Seemingly forgotten by the Germans, Fontaine delays his escape attempt. He believes that two people will be

required to make the attempt work, but is unable to convince anyone else to join him. He is himself afraid to take the leap of faith that it

requires, seemingly waiting for a sign that he should go ahead. The sign comes quite suddenly in the form of his death sentence, his

crimes not forgotten after all.

But now, just when everything seems to have fallen into place, another prisoner is placed in the cell with Fontaine, a very young man

whom he has every reason to distrust as a stool pigeon, planted at the last minute by the Germans. His execution scheduled for the next

day, Fontaine has but two choices : kill the boy or include him in the escape. Once again Fontaine has thrust upon him a matter of faith.

His resolution to this problem and the ensuing escape are exciting stuff. The very sparseness of the film and the way Bresson strips it of

emotion, makes the action, as he intended, speak for itself, and it speaks volumes. But there are also big ideas at work here, the most

refreshing of which, particularly coming from a Frenchman in the 1950s, is that faith and hope matter and that we can take some control

of events through our own actions. The most famous image of the French intellectuals' view of life is the example of Sisyphus, as per

Albert Camus. Sisyphus, a Titan sentenced to eternal punishment for rebelling against the Gods, has to push a boulder up a hill all day,

and at the end of the day, just as he arrives at the top, it rolls back down again. Bresson's film is perhaps best understood as a refutation

of this fatalistic and futile worldview; A Man Escaped suggests that indeed we can escape the fates, can create our own destinies, if only

we have faith and make the effort. The impetus remains with us, even if the ultimate outcome remains in the hands of "The Spirit".

GRADE : A+

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I first saw "A Man Escaped" in my Introduction to Cinema Studies course during my freshman year at college. It immediately became one of the greatest films I had ever seen. Over time, my feeling on it has evolved to the point that it is now one of my favorite films as well. The story is told in a sparse, visually narrow style that forces the viewer to imagine as well as simply watch. The prison is never seen as a whole; we are only shown pieces of it--a wall, a doorway, and so on. The German prison guards are more often only heard as footsteps coming to Fontaine's cell door. Rarely do we venture outside of Fontaine's cell once he is imprisoned, and when we do, it is usually to the same place, where he washes himself with the other prisoners. With the exception of the end, the plot of the movie revolves entirely around Fontaine's plan and exeuction of an escape. The magic of the film is that Bresson makes these minutiae indescribably watchable; we are invested in Fontaine's every action through the whole of the film, and we watch with anticipation as he grows closer to his goal with each passing month, day, minute. "A Man Escaped" is a beautifully rendered work of cinema, and it will appeal to everyone who wishes to do more than while away the time seeing a simple 'movie'.

As to the New Yorker DVD listed here, I'm afraid it is severly lacking in quality. The print used is dirty and dark, and the transfer itself suffers from a poor PAL to NTSC conversion that results in 'combing' and 'ghosting' (For those not technically inclined, this basically means that the film runs faster than an American film, but the difference in speed was not properly accounted for, causing a sort of blurriness in some scenes). There are also no special features, save for a few trailers for other Bresson films. As of the date of this review, the New Yorker disc is $26.99, and in my opinion that is simply too much to pay for a DVD that is this mediocre.

My suggestion is this:

A company in the UK called Artificial Eye has just released a new DVD of "A Man Escaped" this April. The picture quality is greatly improved and, because the UK uses the same PAL encoding system, there was no need for a conversion, which eliminates the combing and interlacing problems found on the New Yorker disc. Besides that, there is also a wonderful Dutch documentary (with English subtitles) called "The Road to Bresson" which is almost an hour long and features interviews with Andrei Tarkovsky, Louis Malle, and Paul Schrader amongst others. There is also footage of the notoriously camera-shy director accepting his award for Best Director (for "L'Argent") at the 1983 Cannes film festival. Finally, the documentary includes a delightful surprise at the end which I will not ruin here. On Amazon.co.uk the AE DVD is priced at £11.98, which is actually cheaper than the New Yorker with the current conversion rate. The disc is coded for Region 2 in the UK, so it will not work on a TV or DVD player in the USA unless both the TV and DVD player have multi-region capability and you have a PAL to NTSC converter box. However, the disc can be viewed on any PC by using any of a series of free media players widely available on the internet that circumvent region coding.

In short, if you value this film as much as I do, and want some value for your money, then skip this disappointment from New Yorker and pick up the Artificial Eye release instead.

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Predator (1987)

WOW what a bad looking print. Who the heck was in charge of this Blu-Ray transfer??? Does the 'Ray' stand for Ray Charles? because it looks as if a blind man choose to use this print! All the fuzzies, dots, lines, and blemishes on this print look ever better in hi-def! Why on earth can't the original negative be used? If I'm gonna pay a higher price, then I should get a much better picture. Shame, shame, shame, on them.

This is the worst quality Blu-Ray I have come across so far. $26.95 is outrageous for a DVD to Blu-Ray dub. Your probably better off getting the widescreen DVD than the Blu-Ray and playing the movie on upscaling DVD player, you will get the same quality. The movie is classic, just don't buy the Blu-Ray version unless you find it in a bargin bin somewhere.

Buy Predator (1987) Now

My 1-star review is not for the movie, Predator, which I love. I bought it twice on DVD: the first single-disc release with no extras, and then the excellent 2-disc special edition. I am not going to be buying on Blu-Ray, however, until the chowder-heads over at Fox start including all of the ALREADY PRODUCED extras on their Blu-Ray discs. Case in point: Predator.

Predator on Blu-Ray features a higher definition transfer (though on a single layer disc), but carries over none of the special features from the 2-disc DVD. How hard would this have been? Make it a dual layer Blu-Ray, and just throw them all on there in standard definition. That would have guaranteed and instant buy for me. But this habit of dumping the film bare-bones onto Blu-Ray is reminiscent of the early days of DVD, and I thought we were past that. Other studios are doing a fine job of including all the special features, so why is Fox being dumb? And why are they slapping a $40 MSRP on a bare-bones release?

You would have had me with a good release, Fox. I would gladly plonk down the cash for a true upgrade from my DVD version. But you blew it, and you're not getting my money.

Read Best Reviews of Predator (1987) Here

I recently tried to watch my Predator DVD, circa 1997 (or thereabouts) and it looked horrible. It was a fullscreen, widescreen disc with black bars on top, bottom, left, and right (which insluts my HD TV). The film was also not cleaned before transfer so it included wonderful hairs and scratches too. That's not to mention the films always horrible fuzzyness.

Don't believe all the whiners, Predator: The Ultimate Hunter Edition is the best this film has ever looked, and probably ever will look. Some people complained about too much Digital Noise Reduction. They said that it doesn't look like its supposed to anymore...don't listen to them. I almost didn't buy this disc because of all the complaining people were doing, but I'm glad I did.

Yes, there are maybe 3 shots where Carl Weathers' face looks a little too smooth in the beginning of the film, but that comprises about 10 seconds of the film. The rest of it looks great. The film still has film grain, it just isn't as offensive as it was in the original release. Filmmakers on a budget and with location constraints chose a film stock that didn't need a lot of light, that meant super grainy film. They fixed that imperfection (which wasn't a design choice).

Bottom line, if you are a fan of this film BUY The Ultimate Hunter Edition, not the 2008 Blu Ray release.

P.S. Amazon, do you think you can stop cross contaminating your reviews. This movie's reviews are confusing because it includes reviews for every version of the film. Star Wars is even worse. Please fix this.

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So, you have recently upgraded your home theater for blu-ray and want to replace your old Predator DVD. Should you buy the 2008 release or the 2010 (UHE) release? Perhaps I can help you decide.

When the 2008 edition was released, blu-ray disks were purchased primarily by film purists who believed nothing in the original film should be altered. Today, blu-ray is mainstream and the film purists represent only 4% of the market . Fox, in 2010 was intent on providing a release, Ultimate Hunter Edition, that catered to the tastes of the majority of consumers. The film purist minority is unhappy with that release as well.

I saw the movie in the theater when it was released in 1987. The graininess of the image was disturbing. After some research, I found that the film was shot with a film stock that, in low light conditions created an excessively grainy image and that it was not the filmmaker's intent to do that for artistic reasons.

I own both the 2008 and the UHE blu-rays and have compared them exhaustively. In my opinion, The UHE is the superior disk in terms of color accuracy and detail.

The last word from Fox on the Predator UHE blu-ray comes from Vincent Marcais, Sr. V.P. for International Sales in a taped interview. "The film stock (source for the transfer) was poor. The criticism is unfair. The filmmaker's were consulted, which we always do while they are alive. The UHE is how the filmmaker's wanted it to look"

Lets put aside the fact that the UHE has 5 hours of supplemental information and the 2008 version has none; and the fact that the UHE uses a modern video codec (AVC MPEG 4 vs VC-1 for 2008) and has a higher bit rate, resulting in more potential detail.

Your choice if you consider yourself a film purist is the 2008 release. If you want to enjoy the movie as the director and cinematographer intended, your choice is the Ultimate Hunter Edition. If you are still conflicted, buy both.

In conclusion. I own both, but I only watch the Ultimate Hunter Editon.

I would caution you about visiting other forums to help you make a purchasing decision. The people on those forums represent only 4% of those that purchase blu-ray disks today and most are biased in favor of the film purists view.

Edit. 5/19/2012. I thought it might be interesting to some of you to read some technical details about the difficulty with the source used for the BD and the issue of director's intent:

Perhaps this will put to rest any uncertainty about the director's intent regarding grain/grittiness.

"As I think much has been said online seemingly `authoritatively' about the Director's intent and the use of the film "stock" to make Predator intentionally look gritty or grainy. Well, that's pretty much inaccurate speculation according to someone I recently spoke with intimately involved in the production.

The DP chose the Eastman Kodak stocks he did for the simple fact of capturing "usable" images on film under relatively low lighting conditions in the jungle...'grit' or `intentional' graininess was never intended in any artistic sense for `atmosphere'. If anything, it was an undesirable side effect of the acquisition because it caused "murkiness" esp. in the greys and blacks of dark jungle sequences and didn't allow the filmmakers the opportunity to cut the different stocks together in the same scene, which would have been nice to have had that flexibility. To give you an idea of the challenge, they were apparently restricted to shooting at a max. of only T2 in anything but high noon and the middle of the day.

Don McAlpine shot the film with 35mm Kodak 5247 and 5294, depending on the lighting conditions available, with or without the aid of artificial light illumination. The '94 (400T) was used for really low lit conditions (like those night sequences in the ravine at the end which apparently were only getting 7 or 8 footcandles down there, with only 4 or 5 footcandles after the smoke starting flowing during the action) and the '47 (125T) stock was used for the set-ups involving wide clearances which had more natural light and as well, could be more easily illuminated with artificial light, when justified. You see, once you add artificial light in the deep jungle, all it accomplishes is lighting the foreground to such an excessive degree that it looks obvious and fake to audiences. Lighting considerations were where the real photographic `artistry", if you will, of the captured imagery took place, not in any consideration of grain being used for a `gritty' look."

Vincent Marcais Senior V.P. International Marketing, was asked about the policy when remastering catalog titles and specifically about Predator. The Fox executive acknowledges that they got a lot of criticism, "but I don't think it was deserved," he countered, because the movie was shot on a film stock that wasn't good enough, and the Blu-ray version "represents what the filmmaker wanted it to look like." He said that Fox discusses the issue of "removing grain or not" with the filmmakers, "as long as they are alive".

Corporate Execs at this level are very careful about the statements they make for publication. There will be no remaster or new transfer of Predator in the foreseeable future based on his comment.

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American Pie 2 (Blu-ray + DVD + Digital Copy) (2001)

Don't you hate sequels that are just clones of the original movies with ten times the action and one one hundredth the plot? Well, then you'll be happy to hear that American Pie 2 isn't one of those movies. The plot, which doesn't play a significant part in either, is different: the four friends, back from their first year of college, have decided to rent a lake house on Lake Michigan and throw the biggest and best party that the town has ever seen. Also, Jim (Jason Biggs) is eagerly awaiting the arrival of Nadia (Shannon Elizabeth) the hot Czech girl that he almost scored with the previous year, and he is taking lessons on how to please girls from Michelle (Alyson Hannigan), his prom date. During these sequences, we, the audience, begin to realize that Jim and Michelle are meant to be, and part of the fun is watching how oblivious they are to it. But the best part is, the entire cast is back, although, there is a shift in importance of characters. The four main guys don't change much, but Finch (Eddie Kaye Thomas) does get a little weirder. Stifler (Seann William Scott) becomes a bigger character in this one, though. He still isn't part of the group, but he is in more scenes and he's in on the deal this time. The girls are a whole different story. In the first movie, they were given significant screentime and they appeared in scenes by themselves. Now, the only girl who you can say has "significant" screentime is Michelle, the girl (of the five main ones) who had the smallest role in the first one. Also, there is only one big scene with only girls, and it is with Vicky and Jessica (Tara Reid and Natasha Lyonne). Michelle is by herself for a few moments at the end, but then Jim arrives to whisk her away. All in all, this movie is hilarious, just as good, if not better than, the first. As I said, not too much story, but (1) there is more plot in this movie than in most other teen movies combined, and (2) that isn't what fans are looking for in an American Pie movie. Enjoy, and prepare for Shermination.

Man, there are few movie sequels that are as good (or better) than the original movie, but AP 2 is one of them!

I laughed a lot, the general feeling is that the cast is really enjoying themselves and is tuned to the task ahead. Very good indeed.

heard they are preparing a third one (Called AMERICAN WEDDING, I guess). I hope the third part of the "trilogy" be as godd as the frst two movies.

Also, this was a message to the Wayan Brothers, who [messed] up totally the second SCARY MOVIE. It proved that they could have written a better sequel.

Buy American Pie 2 (Blu-ray + DVD + Digital Copy) (2001) Now

The first American Pie started the trend, but American Pie 2 has even more laughs. And it has retained and amplified one important aspect of the original, a somewhat cornball sentimentality that offers a nice counterbalance to the gross sight gags and pervasive atmosphere of salaciousness.

Jason Biggs continues to throw himself into the most embarrassing of situations with admirable gusto, and the movie hinges on his ability to play Jim's most humiliating shenanigans with an odd but appealing, dogged dignity...even when wearing only his drawers. His comic timing is even better than last time, and the movie's best moments come of his straight-faced delivery. And in this sequel you can see how Alyson Hannigan managed to walk off with the most famous line in the original: Given much more weight in American Pie 2, Hannigan is a delight, playing Michelle's offbeat geekiness but hidden warmth to perfection. And her deadpan delivery (the "trumpet" line is bound to become another classic) is beautiful as always. Shannon Elizabeth is surprisingly lacklustre, and Tara Reid is still stuck with the most boring character of the bunch, but otherwise the rest of the supporting cast (Seann William Scott is especially good, reprising uber-jock Stifler) is great, and the sight and verbal gags come faster and tighter than in the original, with the benefit of familiar characters. The famous central gag (won't give it away) had me belly-laughing for a solid minute, something I haven't done since the first time I saw Clerks.

No, it's not cerebral, nor is it an unprecedented classic. But for a good rowdy night of teen comedy, American Pie 2 hits the spot.

Read Best Reviews of American Pie 2 (Blu-ray + DVD + Digital Copy) (2001) Here

American Pie was such a smash hit in 1999, the sequel of 2001 is just as good. The five mains guys: Finch, Oz, Stiffler, Kevin and Jim return as college men.

The story starts out with Jim on his last day of his college freshman year. His nerdy father is coming to pick him up and as he walks in Jim's dorm, he's getting laid with a blonde chick. So Jim goes home, Nadia calls him and says she's coming to see him at the end of the summer.

Now, Jim must prepare himself for Nadia because she wants to sleep with him. Now the five guys go out and rent a beach house for the summer to party and meet girls. He doesn't know how good he is in bed so he goes to find the band geek that he got lucky with after prom last year. She tells him he [isn't good]. So she decides to help him out.

Meanwhile, the guys are painters working on a house where two chicks live that Stiffler thinks are lesbians. So see what the guys do to find out. A lot of funny stuff happens here. Now at the end of the summer, the guys have a major blowout and Nadia is here and Jim is ready for her. But now after all the help the band geek gave him, he fell in love with her.

Will he score with Nadia or go for the band geek? Remember Sherman "The Sherminator"? See who he actually gets lucky with. This is the great sequel to first Anerican Pie. It is a must watch.

Want American Pie 2 (Blu-ray + DVD + Digital Copy) (2001) Discount?

I'm not a big fan of sequels. It's usually a frantic attempt of hollywood to squeeze more big bucks out of a successful first movie, and they usually fail miserably, especially where the story is concerned. American Pie 2 is no exception in regards to the story. It has a pretty flimsy plot, and seems to drag some of the gags on a little too long. However, AP2's gags are even funnier than the original movie! Which, to me, makes AP2 even more enjoyable than the original! After all, when I watch movies such as these, I don't really expect any great stories in them. I only look forward to the laughs, and AP2 delivers superbly!

However, the biggest problem I had with this movie is with a few of the characters. To be precise, the character of Heather, portrayed by Mena Suvari. In the original, she was a main character in the story, and played it brilliantly. In AP2, she's reduced to barely a supporting character, and most of her lines are spoken through phone conversations with "Oz". And what did the producers do to her appearance? She was extremely cute in the original, but in this movie her appearance is less than appealing, and seems to get worse as the movie progresses. I know I'm being a bit picky here, but I had to give a reason why I only gave it 4 out of 5 stars, and this was the main reason.

However, it certainly doesn't take away from the laughs in the movie. If you liked the first movie, you'll love this one. Jason Biggs is the perfect actor to play a guy in which bad and embarrassing things happen to. Eugene Levy as his father is just as funny in this movie as well.

There will be an American Pie 3 (American Wedding), due for release in August 2003. I get a sinking feeling that they should've quit while they were ahead, as half the cast will not be in the 3rd movie. Without all the regular characters, any future sequels can't possibly equal the first 2 movies. But, I could be wrong after all, I wasn't expecting a lot from AP2.

Recommended to all American Pie fans.

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Vanishing Point (1971)

The story begins at the end, where we are shown a roadblock of monstrous proportions, and a white 1970 Dodge Challenger rocketing toward it. From there the tale begins, backing up two days to give the rest of the story. An interstate chase is on for the driver of the Challenger, whom we know nothing at all about. As the story unfolds, the identity of the driver is rationed out in flashbacks and news reports, slowly bringing into focus the nature of the character. At first, we naturally assume the driver to be a simple car thief, as does law enforcement. Gradually, we learn that the driver is not a thief at all, he is simply delivering the car. He is a decorated Vietnam veteran who joined the police department after his honorable discharge, married a beautiful girl, and then lost her in a surfing accident. Not long after, he stopped a senior officer from beating and raping a young hippie girl, and was dishonorably discharged from the force. We also learn that his high-octane burn across the desert is to satisfy a simple wager: if he makes it from Denver to San Francisco in less than 15 hours, he doesn't have to pay for the amphetamines he bought to keep him awake for the trip. He is guided along the way by blind disc jockey "Supersoul" (Cleavon Little), who speaks to the driver (whose name is we learn is Kowalski (no last name given, via the AM radio in the Challenger. Supersoul is Kowalski's invisible guardian angel, advising him of the cop's attempts to stop him, at least until some local rednecks bust into the radio station with a storm of rocks and racial epithets and beat Super Soul and his engineer into submission. As Kowalski rockets across the blasted desert landscape, he encounters numerous crackpots and visionaries, all of whom seem to offer another piece to the puzzle that Kowalski's life has become. From prospectors to faith healers, outlaws to newlywed hijackers, we are given a glimpse into a world that exists far from the beaten track we all travel each day. As Kowalski hurtles toward his date with the destiny that was mapped out for us at the very beginning of the film, each rumor and news report seems to contradict the image of him that is being played out by the police of several states, elevating him to something of a folk hero among a growing legion of fans and supporters.

This movie knocked me out from the very beginning. For those die-hards, yes, there are plenty of car chases and stunts to satisfy most fans of car/action films. But that's not the whole story, by any measure. For this is the story of one man, not a mythic legend, or even a regional folk hero. Why does he do what he does? He simply has nothing left to lose or gain. How many men returned from Vietnam at least a little disillusioned by the world they came home to? How many have had their lives mapped out neat and pretty, only to have the blind monkey wrench of fate turn their worlds upside down? Here is a man who is perfectly willing to sacrifice his freedom, his safety, and possibly even his life to win what amounts to a ten-dollar bet, at best. When Kowalski finally arrives at the roadblock, the inevitable conclusion to his odyssey, he takes the only road he knows, a path which had been set for him ever since the beginning.

On a cinematic level, the influence of Vanishing Point is far reaching, indeed. The story of a jaded ex-cop who has lost his wife, his hope and, to a degree, his humanity, was taken and nitro-injected in George Miller's Mad Max (1979) and the Road Warrior (1982), as Max Rockatansky (not too far a reach from Kowalski) has his life violently ripped out from under him, and thus turns to the open road. At first for revenge, but then because it is the only world he can exist in, a place where jungle law prevails. By then, Max is nothing more than a shell, a ghost of a human who haunts the blighted landscape propelled by a hunger not even he can understand. One of the most effective plot devices is that of not giving the protagonist a name until well into the film. Joel Schumaker used this technique very well in his good movie Falling Down (1993), not giving Michael Douglas' character a name until the final act of the film's story. By doing this, we are allowed to see the character as a sort of everyman, someone whom we may know, or may even be. We are then free to observe the goings-on at a much more personal level, knowing all too well that the story being played out upon the screen could, given the right circumstances, be any of us, and to that end, possibly even all of us. By the time we learn that the character is someone, it's too late. They are already a part of us, bound by destiny and experience. Also of note is the using of a disc jockey to provide a running commentary on the nature and exploits of the protagonist (as well as provide a reasonable source for the music in the film), a device used, to lesser effect, in Walter Hill's The Warriors (1979). Lastly, although film characters have been bumping into oddballs in the desert for years, Abbe Wool's wonderful Roadside Prophets (1992) stands out as the protagonists wander through the desert, encountering numerous wisdom-dispensing desert dwellers, each contributing their ideas, ideals, and experiences in a way that lends toward a larger collective ideology wherein a greater truth resides.

This is a masterpiece of filmmaking. Do yourself a huge favor and check it out.

After seeing this movie in '71, a year before obtaining my driver's licence, it truly influenced my driving skills and my love for high performance American horse power. Seeing the movie now almost a hundred times over, I know the dialog word for word. This is a cult classic to be shared with those 70's era Mopar fanatics who too have seen this movie in it's various cuts at the local driveins. (And attemped to drive just as fast as Kowalski did after they left the drivein). Having the sound track on LP(vinyl) and the movie on VHS, I can revisit my obsession with this film and sound track when ever I feel the need to reassure myself for need of controlled speed. Remember, they used several Challengers during the filming and you can see some of the different cars throughout the film if you have a sharp eye. For those who can fix the frame of the movie just after Kowalski makes impact and someone is spraying water on the wreckage, they can see the the car is a white Camaro. Look at the vent windows on the door frame. Challengers did not have these! For those with a really sharp eye and a large screen can see the Camaro script on the truck lid also. For those newer viewers, sit back and enjoy a pre Dukes of Hazzards true car chase. It doesn't get any better than this. (Unless we can get it on DVD along with a CD version of the excellant music sound track! Hint, Hint!)

Buy Vanishing Point (1971) Now

This is a classic movie that is as much social commentary as car chase. I remember watching this on a Saturday matinee on my local television station (long before the advent of cable television) and was mesmerized.

I recently purchased the VHS version and it was just as sweet twenty years later.

The premise isn't much: the main character, former member of society now riding on the fringe, has to get a car to San Francisco in 15 hours. Load up on amphetamines and off we go. The 'plot' is merely a vehicle for the ride.

The car chase scenes are great and realistic (none of the special effects laden hocus pocus you see today) and the cinematography of the West is beautiful. The characters, from the DJ who plays mystical guide to the helpers the driver meets in the desert, show life on the fringe. I'm sure on some level this is a mystical, metaphorical journey of sorts but to me it is simply fun to watch.

The soundtrack is absolutely great. It is kind of the O Brother Where Art Thou of the 70s -the one that missed the radar. It isn't music you hear on the radio and it certainly isn't mainstream in any fashion but it sure is good.

I give this five stars quite simply because of the cinematography, the cast of characters and the music. Well worth the visit. They just don't make films like this anymore.

Read Best Reviews of Vanishing Point (1971) Here

What's not mentioned on the cover or in any of these other reviews is that this copy must have been transfered by or remastered from the original negative. I've never seen this film look so good except for when i first saw it on T.V. back in the 70's. Everthing is better, The sound, The picture, The action, And i think even the plot is made better by this upgrade. If you already own one of those other copies of this movie, Buy this one, You wont be disapointed.

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Absolutely the best car chase movie ever made! Ex cop, ex race driver Kowalski takes his 440 Dodge Challenger in a mad dash from Denver to San Francico for a reason only he knows! With the aid of blind disc jockey, "Super Soul" he outruns the "Big Blue Meanies" through 4 states, reliving his tortured past and meets an interesting array of people along the way! The movie is fast paced, helped along by one of the best movie soundtracks ever put together, with music from Kim Carnes, Jerry Reed, Mountain, and a whole lot more! The movie begins showing the almost ending and flashes back to Day One! Even when you get to the ending again, it leaves you wondering if there could be a sequal! Barry Newman as Kowalski, Cleavon Little, (Blazing Saddles) as "Super Soul are perfect! I saw this movie 25 times in the theaters in 1971, and still enjoy this movie on video as much today! I give it, 2 Thumbs Up and 2 Big Toes up!

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Frequency (2012)

I first saw Frequency the day it was released in theatres, after I saw a preview that got me extremely interested in the movie. I didn't know quite what to expect, but what I found was well written movie, with excellent acting performances and a very gripping storyline, a truly enjoyable moviegoing experience. The story focuses on a cop named John Sullivan (played brilliantly by James Caviezel in a breakthrough big screen performance) who lives in Queens, NY in early October 1999, which happens to be the date of an appearance of a phenomenon that allows John to communicate with his father Frank (with a very solid and emotional performance from Dennis Quaid), on the same radio, in the same house. The interesing part is that John talks to Frank thirty years earlier, merely days before Frank, a firefighter, dies herocially trying to rescue a person trapped in a blazing fire. Frank and John end up making catastrophic changes in the timeline, which leads to the brutal murder of John's mother(in an excellent performance from Elizabeth Mitchell) only days later in 1969. The movie is really a combination of several different elements. First of all it focuses on a father-son relationship between Frank and John. The interaction between Caviezel and Quaid is superb, and leads to some of the films most emotionally moving moments. The emotion is skillfully achieved, as Caviezel and Quaid don't act face-to-face, but across a HAM radio. The interplay between the two time periods really adds to the movie without overshadowing the its story. Frequency also combines elements of suspense, action, mystery, and tense drama. Frequency covers all of the bases, and does so very skillfully. This brings us to the DVD disc itself, which comes from New Line Home Video, who completely loaded the disc with a huge amount of special features, including many interesting DVD-ROM features that can be accessed by any PC with a DVD-ROM drive and PC Friendly installed. If you don't have PC Friendly on your computer, the DVD will install it for you if you so choose. The disc also has deleted scenes, as well as several feature legnth commentaries(by the director, producer, and actor Noah Emmerich who plays the adult Gordo, John's best friend). The disc also includes an interesting original documentary, as well as a trailer and animation galleries. If you are are willing to let your mind go a little bit to accept the science of the storyline, it actually becomes a fascinating part of the movie. This movie would definitely be a worthy addition to any DVD collection. Frequency also offers an extremely exciting and rewarding finale that will not disappoint anyone who watches it. The bottom line is this: Frequency is a wonderful movie, with incredibly strong emotional performances from the entire cast, very moving dramatic moments, as well as tense, gripping action sequences, and a rousing finale. Frequency is definitely one to remember. This movie truly has it all!

This review refers to the New Line Plarinum Series DVD edition of "Frequency"...

I consider a good thriller, one that not only keeps me on the edge of my seat after the first viewing, but one that keeps me there with every viewing. "Frequency" is one of those, that no matter how often I watch it, it takes it's hold on me from the first frame and won't let go until the last. It's more then just a thriller though. It's some fabulous Sci-Fi entertainment with great special effects, it's the poignant story of a special bond between father and son, and there's lots of heart pounding action sequences as well. Add to that one fabulous cast including Dennis Quaid, Jim Caviezel and Andre Braugher, a fresh take on time travel, and you are in for 2 hours of some fine entertainment.

A Police Officer John Sullivan(Caviezel), by a miracle of nature, is able to contact his father, Frank(Quaid), on an old ham radio. The miracle?...The Northern Lights make a rare appearance in New York. What's truly amazing is that his father died thirty years earlier fighting a fire. He is able to change the course of history, by forewarning his father about the tragedy to come. But by changing the course of history, John and Frank may have unleashed an evil chain of events yet to come. They most work together, with the time they have to stop a serial killer.

The DVD is a great buy. The transfer is gorgeuos. A wonderful widescreen presentation that takes in all the action and special effects in brillant colors. It made be viewed with DD5.1 Surround, which brings it all right into your living room, and it also has an option for DD2.0. A ton of features include deleted scenes, a documentary, "The Science and Technology Behind Frequency", Commentary, you can isolate the score, and much more(see buying info for complete list of extras). There are subtitles in English, and the snap case unfolds to some production notes and a few scenes from the film. You really get more bang for your buck with this great package.

It's a film that will have your heart racing one moment and the next will evoke a lump in your throat at the touching moments. It's got something for everyone. It's rated PG-13, but parents may want to view it before hand, as some of the scenes are quite violent.

It's A Definate Keeper!....Get the popcorn ready and enjoy...Laurie

also recommended:(see my reviews for details)

Die Hard Trilogy Letterbox Edition

L.A. Confidential Special Edition / The Usual Suspects (Special Edition) (2 Pack)

One False Move

Buy Frequency (2012) Now

This highly imaginative science fiction thriller is an entertaining mind bender of a film. Toby Emmerich's story takes a fresh approach to the time travel angle. Rather than having people traveling through time, Emmerich has them communicating through time using a Ham Radio that has been augmented by an Aurora Borealis. Ok, there aren't many Aurora Borealis events as far south as New York City, but there isn't any trans-time communication noted in the scientific literature either, so we need to allow the story a little latitude.

After we accept the premise, this ingenious plot incorporates many different elements to entice the viewer. There is the human angle of a son speaking to his dead father, the many twists resulting from altering the ribbon of time, and the solving of a thirty-year-old serial murder case. The various elements are combined effectively by director Gregory Hoblit (Primal Fear, Fallen) to produce a fast paced action thriller with sufficient character development to bind us emotionally to the characters. The fascinating thing about the detective story is that the facts of the crime keep changing in unexpected ways each time John (James Caviezel) imparts something to his father (Dennis Quaid) that causes him to change history. In addition, the action sequences are well done and the visual effects, especially the digitized Aurora are nicely rendered. The aging makeup is also realistic.

The acting was excellent as well, though the New York accents were pretty bad. Dennis Quaid alternated between the goofy and endearing dad and the action hero, and managed to keep it from seeming incongruous. This was a breakout performance by James Caviezel, who heretofore has been confined to minor roles. His was a very emotional and tense role and he handled it extremely well. I was also impressed with Elizabeth Mitchell who gave a vivacious performance as John's mother.

I enjoy a good intelligent science fiction thriller. Lately, science fiction has been subsumed into the horror category, since you seldom see a science fiction story that isn't an excuse to hack up some cast members. This film was more in the tradition of Twilight Zone, relying more on an inventive story than grisly effects to capture the audience. That's why I rated this film a 9/10. With luck, this will inspire a return to more creative science fiction.

Read Best Reviews of Frequency (2012) Here

Without a doubt, this movie will appeal to both men and women (when's the last time you agreed on what movie to watch??? lol).

Anytime Dennis Quaid is in a movie, I'm guaranteed to watch it and this one didn't disappoint. I found that everytime I *thought* I had it figured out....I was wrong. It kept me guessing throughout. Which is good because it wasn't predictable. The constant "shift" of events in the past kept changing the future that the movie because suspenseful and interesting.

I remember reading a review of this movie before I went to see it. The reviewer said that just about every man that sees it will come out of the theatre remincising about their childhood and especially their father. Sure enough, my husband talked about his dad almost all the way home from the theatre.

Buy it.... you will love it!

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Dennis Quaid and Jim Caviezel are so good in this movie. They play father and son able to communicate via an old ham radio even though his father passed away some thirty years ago. The explanation for this is due to unusual auroral activity and the effect it has on electronics. They discover they have the ability to change history by sharing information when John tells Frank how he died in the line of duty, so many years ago. They work together to stop a serial killer that was never caught, and that now threatens their family in both the past and present. Very on the edge of your seat suspenseful, and entertaining!

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The Ring (2002)

"The Ring" is an American adaptation of the 1998 Japanese horror film called "Ringu." The plot is hideously simple: a videotape floating around kills anyone who watches it at the end of seven days. We know this because after the poor viewer gets to the end of the film, the phone "rings" and a voice whispers "seven days." A week later, someone finds the body of the viewer dead as a doornail with horribly swollen facial features. During the final week of life, people who watched the tape suffer from unpleasant hallucinations and nosebleeds. If this sounds like an urban legend to you, you're right on the money. But when this urban legend appears in the form of a movie like "The Ring," it blows hooks hanging off doors or ghostly hitchhikers right out of the water. This movie is full of creepy shocks, claustrophobic atmosphere, and hidden symbols and clues. It even has Naomi Watts, the blond babe from Lynch's schizophrenic "Mulholland Drive" as the main character.

The beginning of the film pulls no punches. Katie and her friend Rebecca are discussing the effects of electromagnetic waves on the human brain when an offhand comment about a videotape that kills comes to the fore. Katie looks fearful as she confesses to her friend that, indeed, she saw the tape in a cabin with some friends. After some playful hijinks, we discover that Katie really did see the tape as we catch a quick glimpse of her final moments of life. This tragedy brings into the story her enigmatic cousin Aidan and his mother, a reporter for a Seattle newspaper named Rachel. At the request of Katie's mother, Rachel begins to investigate the videotape, a task that assumes dire proportions after Rachel watches the tape and realizes she might die in a week's time. What follows is a race against impending doom, a doom that assumes additional dimensions when Rachel's acquaintance Noah and her son Aidan watch the video.

Research into the tape unearths one strange turn after another. A woman who appears in the tape turns out to be one Anna Morgan, a horse breeder who went insane after adopting a little girl named Samara. Moreover, the images Rachel saw on the tape continue to turn up during her investigations. As the mystery slowly unravels, many questions arise. Who is Samara and what is her connection with this dreadful videotape? Is this frightening little girl a ghost who chooses to haunt through the processes of media instead of rattling chains in a house? How can misery transfer itself to an inanimate object? And my personal query, did anyone else find Aidan as eerie as Samara?

One thing is certain: repeated viewings of this film are most helpful. One time through won't do the trick with this movie. You must be patient and pay attention because the answers are do not come easy. I think too many people expected an undemanding slasher film instead of this suspenseful, downbeat exercise in cerebral terror. I for one welcome these fresh attempts to deepen the horror genre. Gory exploitation films and teenage stalker movies certainly have a place (consider how Jason, Freddy, and Michael Myers are now a permanent part of our pop culture), but for those of us who want something deeper and darker to strike us insensate, "The Ring" delivers the goods. The scene where Noah experiences what really happens when one's seven day waiting period expires will stay with me for a long time, and it was all done without a knife, axe, machete, power tool, or whatever else horror film murderers are using to dispatch their victims with these days. I haven't been this unsettled by a little girl since the twins in Kubrick's "The Shining." "The Ring" hits a home run on several levels.

The DVD version, with wonderful sound and a great picture enhanced the horrific aspects of the film. Included on the version I watched was a trailer for the original "Ringu" and deleted scenes that provide additional information about the mysteries of the film, including a chilling alternate ending. Regrettably, there were no commentaries or behind the scenes clips for the movie, although one imagines that a "Special Edition" will soon appear containing such things (for extra dollars, of course). If the Japanese public's response to "Ringu" is any indication, expect a sequel to "The Ring" in our country within a year or two. Sequels often do serious damage to the original picture, but if more films take us deeper into the mysterious realm that is Samara, I welcome them with open arms.

The Ring (unlike its inferior sequel) is a complex, mysterious movie with a deep backstory. However, it is told in a subtle almost evasive way in which the audience needs to figure it out through repeated viewings. The Ring's fascinating yet mysterious story spawned many websites and web forums simply devoted to unraveling its mysteries. If you were ever confused about what in the world this movie was about here are the basic meanings behind the story. Though the movie is meant to be "interpretive" and many create their own explanations to many of the mysteries, here are the ones generally agreed upon by The Ring aficionados. Much of this information is taken from Ring websites and forums. WARNING: Watch the movie first since this will basically give all the major story behind the plot away. You've been warned.

The Backstory of Samara and the Morgan's:

Samara, when alive, was a very powerful psychic child with a terrible sadistic streak. She could implant her nightmarish mental images into photograph film. This specific ability is labelled by Eola County Psychiatric Hospital as "projected thermography". This is what is generaly known as PHOTOKINESIS (the telekinetic ability to create, control, and manipulate light and energy). She also had limited Telepathic powers as she had the ability of implanting thoughts and images into the minds of others (into her parent's minds and the horses at the Morgan ranch), however, she could not tell the future nor read other's minds since she could not stop her own murder. She may have had Hydrokinesis (the ability to manipulate water) and she also seems to have Pyrokinesis (the ability to manipulate fire) -the wooden walls in her barn room were burned by her. Anna Morgan could not have a child naturally and according to her husband Richard, "was not supposed to". The Morgan's left the island and came back with a very young Samara, "adopted, they said". Afterwards Samara began attacking Anna Morgan (along with the horses and apparently Richard Morgan) with horrific images and hallucinations. Anna was driven almost insane and would spend hours brushing her hair in front of a mirror for no reason. Anna spent some time in a mental ward. Samara was diagnosed by doctors and paranormal researchers. Richard Morgan apparently put a stop to that and tries to hinder any more attention on the "little monster" Samara (apparently out of concern for society). Anna, out of sheer torment and maybe also out of concern for society, kills Samara by throwing her down the well. (Its interesting to note that Richard may have also been there helping since its unlikely Anna had the strength to move the stone lid over the well by herself). After spending seven days slowly dying at the bottom of the well Samara contemplates revenge on all humanity over her horrific death. Anna Morgan commits suicide by jumping off a cliff apparently out of a combination of guilt and persisting hallucinations (probably intensified by Samara's agony and rage directed at Anna while dying in the well).

The documents:

There are shown several documents regarding the whole backstory from which some of the above is based on. There are two interesting ones of note. A certificate of live birth of Samara is shown stating the Morgan's as parents. Another interesting document states that Samara was impervious to physical pain. Neither of these two documents seems to be of any relevance in either of the two Ring movies.

Samara, the present:

Samara, now dead, exists mainly in these 3 primary ways:

1) Her psychic energy persists inside the minds of her victims who watched the tape (in dreams and hallucinations).

2) Part of her psychic energy seems to persists in the physical world mainly in broadcast signals (air waves, phone lines) and magnetic media like VHS tape, (example: the phone rings when you make the connection to her after watching the tape). When alive one could assume that Samara learned or accomplished this while spending months isolated in a barn with only a television as her companion.

3) Around the immediate vicinity of death. Her spirit haunts that place down in the well.

The Tape

The images on the tape are a combination of dream imagery and symbols that representing some aspects of Samara's life, her suffering and death, and the "nightmare images" she likes to come up with. Most prominent was the ring of light created by the well's stone lid that she would stare at for seven days until she died -hence The Ring.

The Curse:

Samara, now dead, has no power over the world or the living, except down in the well which she haunts. The ONLY way Samara could spread her curse and kill her victims was through the visuals of her VHS tape. The images act as a conduit for her psychic force to infect the minds of the ones who watch the images. If Samara is in your head, she can kill you! (Apparently in the most horrific way causing cardiac arrest and facial deformity.) The VHS tape concerned in the movie had its origin in the lodge that was built above her well where the teens where taping a football game but the "curse" images were taped instead. Samara's angry spirit did it. The victims, with Samara firmly in their brains overseeing them now, were spared death if they made a copy and made someone else watch it, but that is merely a riddle that few can solve in time. Thus, a perpetuator of the curse is spared death but most will die.

The death of Richard Morgan:

Richard Morgan was still being plagued by the hallucinations for years until his death (he states this in the bathtub scene) and somehow knew that now (via the tapes) Samara's curse was out in the world so he kills himself. Richard thought the tape-duping was only the beginning in which Samara would be unleashed on the world.

Conclusion:

There you have it. Take this with you next time you watch the movie, ;). This also does not contradict the inferior sequel's continuity of the story either, even though the sequel seems to diminish the importance of the tape curse (unfortunately). The disappointing sequel is a lot less about backstory, unsolved mysteries and family ambiguities and more about the immediate scenario of Aiden's possession by Samara's spirit and it also tries to add conclusion in the form of a hockey hollywoodesque showdown between Rachel and Samara. The only backstory information we get from the sequel is that Samara's real mother is still alive but insane and Samara's spirit has tried many times throughout the years to posses other children, that's really it.

Buy The Ring (2002) Now

After being barraged with countless trailers and promotions for all the movies that come out, I somehow manage to find only three or four really worthwhile movies that I like every year.

Despite some of the criticisms leveled at The Ring by a variety of disparate sources, I consider it to be (if not a masterpiece) a provocative and entertaining movie.

I watched this movie without the corrupting influence of Ringu to color my views. I have yet to see Ringu (I await its imminent release on the 4th), so I have rated The Ring based on its own merits rather than comparing it to the original (which by the way differed so much from Koji's book as to relegate criticism leveled at Kubrick's "The Shining" for its lack of similarity to King's book to a low level of believability).

I bring up Kubrick to make a point... I consider Verbinski's "The Ring" to be just as frightening as Kubrick's "The Shining." And when evaluating the merits of Kubrick's work, it is unfair to compare it to another source (in this case the book). It is similarly unfair to criticise differences in Ringu and The Ring. Carbon copies stink of redundance... and the twists that Verbinski adds to his work to "Americanize" it should give Ringu fans another perspective from which to view the characters.

The other source of criticism lobbed at The Ring stems from what some consider to be an editing problem on a massive scale. I argue that this was intentional and fit the schizophrenic and unpredictable plot better than spoonfeeding us the whole thing. The whole reason that the movie was frightening to me was that it had all these subtle connections (like the fly on the tape walking in circles) that you had to really look hard to notice. And those little things added to the subtle ghost story that is The Ring.

Upon watching the first scene, I was worried that this was going to be another teeny flick, but then I was pleasantly surprised to discover that the teeny-bop feel of the beginning was incidental and that the plot would be mainly played out by adults. In fact, one of the strongest points of The Ring is that, unlike most horror bilge, it does not use violence to carry the plot. Of the relatively few deaths that occur, I can say that each was in the plot for a definitive reason. There was no ritual "killing of the excess characters" that always seems to be a staple of the more "R-ish" rated movies in Hollywood this century.

And this is the real terror of the movie. There are a few jump scenes (including the infamous final sequence that still makes me nervous when I walk past my TV) but the feeling of dread is constant. I could not distinguish points in the movie when there was less or more dread (as one can usually do in horror flicks to accurately predict such jump moments) so the few BOO!s that there were had me surprised and scared.

The Ring was more than anything else a classical ghost story wrapped in the facade of a modern setting. In fact, I was reminded in some scenes of the last great ghost story to grace the theaters... The Shining. The difference being that the ghostly Samara chooses to haunt our technology rather than be constrained to a specific place. This is an interesting cultural event... our world has been "shrunk" by technology and people are no longer tied to one locale. Neither is the haunting in this remarkably innovative movie.

Overall, I highly recommend this movie for anyone who wants to be frightened sans knowing that a good portion of their ticket cost will be paying for the massive quantities of katchup used to produce the film. Verbinski's "The Ring" is an intelligent movie for an intelligent audience that will neither compare it mindlessly with its predecessor or need the actors to spoonfeed them the whole plot in direct dialogue. So, go watch it. You know, you have to, because... Before you die, you see "The Ring"!

Read Best Reviews of The Ring (2002) Here

I watched this film because I thought it was another I had seen several years ago. It wasn't. "The Ring" is much more. Another reviewer called it a cerebral exercise in terror. Exactly! What could have been so hokey became excellent frisson (that thrilling moment that makes your hair prickle).

First, the premise: An urban legend that watching this particular video, receiving a phone call immediately after watching will cause your death in exactly seven days. Don't we pooh-pooh urban legends? "The Ring" makes us consider their validity.

Second, the video itself. Where did it come from? Who made it? How? Why? So many questions, none answered, ever.

Third, again the video. What do the scenes represent? The strange, surreal images?

That brings in Naomi Watts' character, a reporter doubly bound in the story, first through her son, not unlike the boy in "The Sixth Sense" with his sixth sense for the supernatural. Aiden is definitely attuned to the other world.

Secondly, Rachal is bound to the story through her research. Her niece watched the movie and died horribly seven days later. Rachal first watches the tape, then begins investigating the images. One by one she peels off the layers of this gothic mystery/puzzle/freakshow.

Rachal's appearance in the movie parallels the changes with the story. At the beginning she is frankly beautiful, cool and assured. As revelations unfold and she begins to experience frisson, she begins a shift in appearance, becoming rumpled. By movie's end she is almost gray, as if psychologically preparing to join the urban legend dead.

The viewer's frisson builds. The ending is a nightmare. "The Ring" is definitely a cerebral experience in terror.

SPOILER ALERT:

One of those fast flashes of film reveals this: "Live birth." An intriguing bit of information that many viewers and reviewers missed or I misinterpreted. It explains better what happens at the well between Anna and Samara.

A definite see-again movie!!

Special recognition goes to Jeffrey Leach for his superb review. Please read his for a great overview of this haunting film.

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Ok, let me start by saying that I saw The Ring in the theater and it scared the bejeesus out of me, not so much in the theater as over the next few days in my own home.

How scary is it? It's probably an individual thing. Some people can't stand the sound of fingernails on a chalkboard, for others it's the sound of a squeaking balloon; I thought the Exorcist was a joke, some people call it still the scariest movie ever. For myself, I don't think I've ever seen a movie that freaked me out as much as this one, but that's just me. I guess that what tweaks that sensitive nerve is different in everybody.

There has also been a lot of comparison between The Ring and the original Japanese Ringu, mostly by reviewers whose level of discrimination and taste are, by their own admission, far beyond that of the average American. Please! Most criticism in this area is just snobbery. Ok, I haven't seen Ringu, and I admit that The Ring probably has suffered to some extent in it's adaptation for American audiences. For example, the cursed video contains some images which are meant to be disturbing but which do not have anything to do with the movie, and that probably weakens it. But the original Ringu video (which I've seen) is only about 40 seconds long, too short for an element so central to the film. On the plus side, The Ring's production values are outstanding and the acting is solid. I'm sure The Ring stands up nicely next to the original.

To Verbinski's credit, The Ring doesn't succumb to the temptation to explain everything. That may make the movie seem disjointed and plotless to some, but in my view such spoon feeding is usually just patronizing. Some ambiguity here is probably a good thing.

I can't promise that this movie will scare everyone, but if my TV (which is broken) ever turns itself on and shows static, I'm running!

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Interview With a Vampire

"Libera me, Domine, de vitae aeterna" "Free me, Lord, from eternal life": If a movie begins with a choir and boy soprano singing these words, in a requiem's style and overlaying the camera's sweeping move over nightly San Francisco bay, zooming in on a Victorian building's top-floor window after having followed the life on the street below like a hunter follows its prey if a movie begins like this, you know you're not looking at your average flick, whatever its subject. (And if the first thing you catch is the Latin phrase's grammatical mistake, this is probably not your kind of movie to begin with).

Much-discussed even before its release, due not least to Anne Rice's temporary withdrawal of support and her no less sensational subsequent 180-degree turn, Neil Jordan's adaptation of the "Vampire Chronicles"' first part, based on Rice's own screenplay, is a sumptuous production awash in luminous colors, magnificent period decor and costumes, rich fabrics, heavy crystal, elegant silverware and gallons of deeply scarlet blood, supremely photographed by Phillippe Rousselot, with a constant undercurrent of sensuality and seduction; an audiovisual orgy substantiated by one of recent film history's most ingenious scores (by Elliot Goldenthal). Although the book only gained notoriety after the publication of its sequel "The Vampire Lestat," followed in short order by the "Chronicles"' third installment, "The Queen of the Damned," by the time this movie was produced, Rice had acquired a large and loyal fan base, who would have been ready to tear it to shreds had it failed to meet their expectations. That this was not unanimously the case is in and of itself testimony to Neil Jordan's considerable achievement (only underscored by the botched 2002 realization of "Queen of the Damned"). Sure, some decry the plot changes vis-a-vis the novel and the fact that some of the protagonists (particularly Louis and Armand) look different from Rice's description. But others have embraced the movie wholeheartedly; praising it for remaining faithful to the fundamentalities of Rice's story and for its production values as such. I find myself firmly in the latter corner; indeed, in some respects I consider this one of the rare movies that are superior to their literary originals primarily because the story's two main characters, Louis and Lestat, gain considerably in stature and complexity compared to Rice's book.

While both film and novel are narrated by Louis (Brad Pitt), giving an interview to a reporter (Christian Slater) in the hope of achieving some minimal atonement for 200 years of sin and guilt, and while Lestat (Tom Cruise) appears on screen barely half the movie's running time, Lestat is much more of a central character than in Rice's novel; and vastly more interesting. For Anne Rice's Lestat only comes into his own in the "Chronicles"' second part, which is named for him and where we truly learn to appreciate him as the vampire world's aristocratic, arrogant, wicked, intelligent and unscrupulous "brat prince," who although completely lacking regret for any of his actions nevertheless shows occasional glimpses of caring, even if he would never admit thereto. *This*, however, is exactly the movie's Lestat; not the comparatively uninformed and, all things considered, even somewhat brutish creature of Rice's first novel. It is no small feat on Tom Cruise's part to have accomplished this; and in my mind his portrayal has completely eclipsed the character's original conception, which was reportedly based on Rutger Hauer's Captain Navarre in "Ladyhawke."

Similarly, while every bit as guilt-ridden as the character created by Anne Rice, Brad Pitt's Louis regains more inner strength and more quickly so than the narrator of Rice's book, rendering him more of an even foil for Lestat, and equally lending greater credibility to his initial selection as Lestat's companion, his actions to ensure his and Claudia's escape to Europe, and his later decision not to stay with Armand. (Indeed, Louis's and Armand's separation after the burning of the Theatre of the Vampires makes perfect sense in the movie's context; it would have undercut both characters', but especially Louis's credibility had they gone on to share years of companionship like in the book.)

Kirsten Dunst's Claudia was not only this movie's biggest discovery not surprisingly, in an interview included on the DVD Dunst calls this "the most prominent role" of her career so far she, too, embodies the novel's child vampire to absolute perfection; capturing her eternally childlike features as well as her Lolitaesque seductiveness and the ruthless killer hidden under her doll-like appearance. Doubtlessly furthest from the novel's character is Antonio Banderas's powerful and charismatic Armand: But while I do somewhat miss Rice's auburn-haired "Botticelli angel," I always had a problem imagining him as the leader of the Paris coven, in control even of the quicksilver-like Santiago (marvelously portrayed by Stephen Rea in one of his most overtly theatrical performances). Here, too, the movie if anything gives the story greater credibility; although it's admittedly hard to reconcile with parts of the "Chronicles"' later installments, particularly Armand's own biography.

In interviews, Neil Jordan and Brad Pitt particularly have mentioned the emotional strain that this movie put on all its participants; due its almost exclusively nightly shooting schedule, and even more so because of its incessant exploration of guilt, damnation and, literally, hell on earth. Anne Rice's vampires truly are the ultimate outsiders; no longer part of human society, they feed on it, can neither be harmed by sickness nor by methods the world has taken for granted ever since Bram Stoker's "Dracula" (which are in fact merely "the vulgar fictions of a demented Irishman," as Louis explains, simultaneously amused and contemptuous) and are thus, if not killed by fire and/or beheading, condemned to walk the earth forever, without any hope of redemption. It is primarily this element which has given Rice's novels their lasting appeal, and which is perfectly rendered in Jordan's adaptation. I'm still not sure I'd ever want to meet them in person, though ...

Also recommended:

Complete Vampire Chronicles (Interview with the Vampire, The Vampire Lestat, The Queen of the Damned, The Tale of the body Thief)

The Vampire Companion

Ladyhawke

Bram Stoker's Dracula (Collector's Edition)

Let me begin by saying that I have not read the book and am judging the movie solely on its own merits. "Interview with the Vampire" is a luscious, guilty pleasure of modern filmmaking, visually resplendent and with wonderful performances by all (including Christian Slater, Antonio Banderas and Stephen Rea). It follows the adventures of Louis de Pont du Lac (Brad Pitt), a 200-year-old vampire hailing from Louisiana, as he recounts the story of his life (and unlife) to interviewer Daniel Malloy (Christian Slater). Along the way we meet his maker Lestat de Lioncourt (Tom Cruise), his "daughter" Claudia (Kirsten Dunst), and Armand (Antonio Banderas), leader of the Parisian vampires.

Tom Cruise, in my mind, perfectly portrays the elder vampire Lestat...beautiful, cunning, selfish, a seducer, many of the same qualities present in Armand, and possesses an excess of dark humour. Brad Pitt's Louis still clings to the last shreds of his humanity...his sense of right and wrong, the value of life, the horror of killing in order to survive (angstmaster Nick Knight from "Forever Knight" springs to mind). There is a lack of onscreen romantic tension between Cruise and Pitt...something that makes their relationship seem less immediate and binding. However, there is definitely a spark between Louis and Armand (Antonio Banderas), and it was easy to believe that Louis was tempted to stay as a companion to such an intelligent, beautiful vampire who could teach him the answers to his questions. Kirsten Dunst is phenomenal as Claudia, the vampire with the mind and desires of a woman eternally trapped in the body of a doll-child.

The visuals are lavish, moody, stunningly brilliant, especially the world of 1800's New Orleans with its brocades, silks, and elaborate dresses. The atmosphere is appropriately dark, with plenty of fog and menacing nighttime damp. Elliot Goldenthal's score is string-driven, pulsing, tense, and underscores the action perfectly, the crowning piece being "Libera Me".

Yes, this film is graphic at times, including two very graphic scenes involving mutilation, numerous "feedings," homoeroticism, and brief nudity, but "Interview with the Vampire" is an unconventional drama that probes the meaning of life, death, love, seduction, and regret. More than anything Anne Rice's vampires make us realize the conventions and trappings of humanity.

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5 stars out of 5 = Masterpiece

Elegant, sophisticated, beautifully scripted, acted, paced, & filmed, "Interview with the Vampire" is among my top five favorite Vampire movies. No other Vampire film, other than Gary Oldman's Oscar worthy performance in "Bram Stoker's Dracula," delves as deep in a character study of Vampires & how it would be like to be a Vampire from their point of view.

A broad 200 year perspective of the life of Brad Pitts Vampire character, "Louie," the reluctant Vampire who finally succumbs to his fate of feeding on human blood, & in his quest for enlightenment of what he is, he finds out, if anything, he is a Vampire.

The story of a surprisingly great performance of Tom Cruise's, "Lestat," who sees "the dark gift" as everything he could ever want, except companionship, what he wants the most, & realizes the least. Cruise steals the show in his glee for sucking the blood out of the living, & his indignation for turning "Louie" in to a Vampire that still has respect for human life, in a barrage of cold blooded murders, & ranting at "Louie" with black comedic hilarity, yet shocking indifference to life, to the point of sadomasochism . Also, a very young Kristen Dunst's, "Claudia", who also steals the show & matches Lestat bite for bite in the quest for blood, & the sport it brings. A hugely great & complicated performance for such a young girl!

"Interview with the Vampire" is a thinking man's horror film, one that reaches down deep, not just to bring you cheap scares & shallow predictable characters, but a rich tapestry of what it means to be a Vampire, & all the consequences that goes with it.

Read Best Reviews of Interview With a Vampire Here

I haven't cared very much for Anne Rice's recent books, but her earlier work was outstanding. I loved "Interview" in particular, so I was really looking forward to this movie. There is always a risk in adapting such a vivid and powerful-not to mention beloved-book into a film. Director Neil Jordan and his collaborators have succeeded marvelously, though. This is an exciting, engaging film; remarkably faithful to Rice's original text.

The story opens in present day San Francisco. Louis (Brad Pitt), a 200 year-old vampire, is telling his life story to an interviewer (Christian Slater), who is shocked by his supernatural revelation. "I am flesh and blood," Louis tells him, "but not human."

His story takes us back to late 18th century New Orleans where Louis first encountered the Vampire Lestat (Tom Cruise). Desiring a companion, and in love with his beautiful looks, Lestat gives Louis the "Dark Gift"-that is, he makes him into a vampire. They live together for many years, roaming the streets at night, united by their common quest for blood.

Eventually, though, Lestat fears that Louis is going to leave him. Desperate, he makes a vampire of Claudia (Kirsten Dunst), a beautiful young child, knowing the Louis would never leave the girl. Thus they are bonded together as "one big, happy family." As it turns out, though, they are not so happy after all.

The story takes the vampires to Paris, where they finally encounter some more of their own kind. The coven of vampires is led by the stunningly handsome Armand (Antonio Banderas) who quickly falls in love with Louis. Louis is enamored of him as well, but he will never leave little Claudia, something Armand realizes.

The film ends back in the present in a departure from Rice's book. The new twist is exciting, though, and sets up the story for an inevitable sequel. It hasn't been made yet, but if it ever is, I'm looking forward to it.

The big question, of course, is, how is Tom Cruise as Lestat? In one word: brilliant. This is one of his best performances ever, heightened by the fact that he is playing a role so different from his typical screen persona. Cruise has always been an underrated actor, but hopefully that will start to change after people see him here. He is terrific.

The rest of the performances are also quite good. Brad Pitt does very well as the tortured, guilt-ridden Louis. Antonio Banderas is extraordinary as the seductive, young master of darkness. His is the most convincing portrayal of a vampire, filled with power and charisma.

Neil Jordan's direction is top-notch. Visually, "Vampire" is stunning, helped considerably by Dante Ferretti's superb production design. Anyone who has read the book-and anyone who has not-is sure to enjoy this haunting, erotic treat.

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First off as a film, I would give it 4 1/2 stars.

If you own the standard DVD save your money. Almost no difference in picture quality.

Fast & Furious: 1-5 Bundle (2013)

This is a bundle of five "The Fast and the Furious" movies. Please note that this is not a box set, it is just the five movies sold together each movie comes in its own separate blu-ray case. Video/audio quality varies by disc, but is generally excellent; these discs also include a variety of special features that take you behind the scenes of the making of the movies.

The Fast and Furious films vary greatly in quality, but they are all entertaining. If you are into cars or the racing culture, then these movies are made for you. I'm not much of a car guy myself, but I enjoyed these films because of the car chases and stunts, which have become progressively more over-the-top but are always fun to watch. My favorite of the films is the most recent one, "Fast Five", which is less of a racing film and more of a heist movie.

In addition to the blu-ray disc, each movie also comes with a Digital Copy (compatible with iTunes) and an Ultraviolet copy which allows you to stream the film on various devices.

If you've never seen the Fast & Furious films, or if you're a fan but have yet to buy them, then this collection of five films on blu-ray is the perfect set for you and comes highly recommended.

Here are the links to the individual releases:

The Fast and the Furious (Blu-ray + Digital Copy + UltraViolet)

2 Fast 2 Furious (Blu-ray + Digital Copy + UltraViolet)

The Fast and the Furious: Tokyo Drift (Blu-ray + Digital Copy + UltraViolet)

Fast & Furious (2009) (Blu-ray + Digital Copy + UltraViolet)

Fast Five (Blu-ray + Digital Copy + UltraViolet)

I'm a big fan of the movies but really and Van Diesel. And I also watch a lot of Ultra Violet and iTunes movies, so this is perfect for my home blue-ray, my iPad on the go and for the Nexus 7 for work. So basically you are getting three versions per movie, not bad. I ordered this bundle as of "Deal of the day" and got it for 37.00 bucks.

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This is a great item for all Fast and Furious fans out there. I watch these movies all day,everyday and it was definitely worth the money. I recommend this 1-5 bundle for all Fast and Furious fans.

Read Best Reviews of Fast & Furious: 1-5 Bundle (2013) Here

This set came exactly as was expected. Five movies, all in cases the same as you would purchase individually at retail. Only two criteria held these back from a five star rating. Firstly, the short film that took place in between Fast and the Furious and 2 Fast 2 Furious from the DVD Franchise Edition of the first two movies is, for no logical reason, excluded from the 2 Fast 2 Furious Blu-Ray unless I have completely missed something, along with the entire content of the bonus disk, though I understand that was exclusive to that collection. Not a huge deal since I know the entire storyline as I've been a fan since I was thirteen years old, but for my girlfriend who has JUST started watching the series I feel she missed out a little having me explain how Brian made it to Florida and where the Skyline came from instead of watching the short film as an introduction. My only other complaint was that the package came with all five movies taped together with packaging tape. For those who simply discard the cardboard sleeves surrounding the movie cases, no big deal. For me, annoying that the edges of my sleeves are peeled off. Great product, I got it for a steal as a deal of the day. Buy this if you're a FATF fan as there will be at least a seventh movie, so no comprehensive "the series is over, here's everything" collection will not appear for likely several more years.

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My husband loves the Fast & Furious movies so I was really pleased when Amazon offered such a deal on the bundle for seasons 1 5. In fact, I purchased several set for gifts for other Fast and Furious movie fans in our family who don't live close enough to borrow my husband's set. Good Quality and Great pricing!

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Elite Squad (2011)

I loved this movie. It was largely panned by American critics, never even making it to American theaters, except for maybe one or two in NYC (none in LA).

The film provided a valid, complex viewpoint of some of the problems that modern-day Brazil faces. If you look at comments of reviews of this film on major publications' web sites (like NYTimes, LA Times, etc), you will see that the overwhelming majority of comments are from Brazilians who: 1) loved the movie, and 2) stated that the movie got the situation right.

The film shows the point of view of patriotic police officers that want to do right by their country, although they are confounded by their fellow police officers, the well-armed drug dealers, the bought-off constituents of the slums (favelas), as well as the leftist middle class that excoriates the police on the one hand for its heavy handed tactics as well as its corruption while at the same time sustaining the local drug lords by buying their product.

It is the film's viewpoint towards the leftist middle class that I think doomed the film to never get a proper showing in the US. That, and the fact that this "honest" police force feels obligated (and in the eyes of some in the viewing public, justified) to use extra-judicial, heavy handed tactics to get results in fighting crime.

SEE THIS FILM!

Wow, what a great movie! Let me first say that I am extremely picky about movies and have found myself watching fewer and fewer as time goes by, mostly because most movies now seem to be boring and pointless. So when I do, on a rare occassion, enjoy a movie, for me it is unusual. I didn't just enjoy this movie though, I loved it. In fact, I did that rarest of things I watched it twice!

This movie focuses on the efforts of an elite Brazilian police unit in Rio and their efforts to reduce drug-related crimes. It is violent, compelling, entertaining and a first-class movie experience. Why? Because this movie avoids all the stereotypes of other cops versus drug-dealer movies, especially the simplified good guys vs. bad guys Hollywood take. It is also surprising and rewarding to see the drug war through the eyes of Brazilian culture as opposed to an American view.

The movie focuses on two young policemen, their experiences in the corrupt local police force, and their progression into joining the ranks of BOPE, the "Elite Squad" of the movie title. It is narrated by Captain Nascimento, the leader of a BOPE squad who is desperately trying to find a replacement for himself because after ten years in BOPE the stress and tension is causing him severe physical reactions, and he longs to spend time with his wife and newly born son.

This movie is AWESOME for two reasons I believe. One is that the voice of Nascimento is compelling and beautifully haunting; just listening to him speak in Portuguese as the movie plays will send shivers and chills through your body. Do not ever, ever, get a dubbed version of this movie, it would destroy the magic here. The second reason is that the movie is so highly realistic. All the characters are complex, three-dimensional, believable human beings, and their actions, reactions, and motivations are all perfectly in sync with their characters. There are no wrong, silly, or false notes played in this movie, it all rings true. The drug-dealers (trafficants) and believable, the corrupt police force is ultra-believable because the movie shows why they are corrupt, and the BOPE officers, shown through Nascimento, are completely believable as they struggle against both their corrupt peers and the desperate trafficants. This is no silly, Hollywood shoot 'em up, this is the real deal and it is my favorite movie this year. It's going into my top ten movies ever list.

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The movie is quite violent, so it will appeal to action movie fans, but more than that, it is a social movie.

I was born and raised in Rio, close to one of the many favelas in that city.

Years ago, I attended the same university one of the characters in the movie did. The students there are accurately depicted. They are upper middle class students that preach peace and social services, but while doing that, they also smoke pot. When I didn't see any problems at the time, but now, I can see the hypocrisy of preaching peace, but also financing the violence by smoking pot.

I also have a really good high school friend that's a Capitain now in the PM (Military Policy). He's not part of that Elite Squad, but he's an honest cop. So while severly underpaid, there ARE honest cops out there.

Not really a movie review, but a rant, but this movie was quite realistic and nostalgic for me.

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or something roughly translated to that effect is the motto of BOPE, The Brazilian special operations police outfit.

The story 'Tropa De Elite' tells the story of Captain Nascimiento, a captain in a BOPE squad, who because of personal and family issues wishes to relinquish his command and is in search of a worthy successor for his job. The story is a parallel to the life of 2 close friends, Neto and Matias, young and idealistic who join up with the regular police force and quickly learn the murky truth behind the corruption and extent to which it has permeated to the entire echelons of the police force. Frustrated with their role at being mere facilitators of this level of corrupt activities, they decide to take charge and do some good for the society as well as the police force.

I will not get into the specific details for the sake of sounding like a spolier, but during the course of this they come into contact with Captain Nascimiento during a hostile interaction with drug dealers from the favelas and they sign up for BOPE.

The rest of the movie revolves around the completely different personalities of Neto and Matias and how the Captain must decide who has more courage, integrity and dedication among the two friends, for the job of a BOPE captain.

One of the most intense scenes in the movie, is the course of the BOPE training that Neto and Matias have to endure.

Additonally, It also deals in a very humane manner as to the pressures the people in BOPE face and thei families as well, much to the romanticism of the whole concept, their lives are equally under a great deal of stress and issues.

But it conveys a very brutal and realistic truth, as to who actually encourages drugs and their sales and the inevitable violence that accompanies it. In the end, it is the very people that use drugs are the ones who encourage (both indirectly and directly) the whole crime in society, by and large

Its a very powerful and remarkable film, this is going to be a must buy in my collection when it becomes available. I would definitely recommend for you to see it.

Want Elite Squad (2011) Discount?

Tropa de Elite (Elite Squad) shows us the day of a member of BOPE, a urban task force existent in Rio de Janeiro, Brazil.

Inspired by the book 'Elite da Tropa' written by a former Captain of this task force (Capitão Nascimento), Tropa de Elite will give you the inside look on a 'favela', the training of BOPE, their personal problems and, even with all the bad things and the danger of being a member of BOPE, the desire and strength shown by young people who believe in good.

This is definitely, a 5 star movie.