Pet Sematary (1989)

First off, this is the scariest movie I have ever seen. It may not be so for everyone (and I know comments like that often get you a "0 out 0f 30 people found this helpful" but so be it) but if you like King's visceral, deep-seated horror, I recommend it.

The town, the graveyard, the music, the mist everywhere, the monstrous undead animals and the people all make this a frightening ensemble for me. I have to concur with many of the reviewers about the Zelda character (who was incidentally played by a man named Andrew Hubatsek). There's something so phenomenally horrifying about that character to me that I can actually say I have trouble watching the movie, and certainly never again alone. I find those sequences truly terrifying. The flashbacks of Timmy Baderman (sp?) are also scary.

Furthermore, I agree with many of you that this is a different experience from the book, which I also recommend for added terror. I read the book in broad daylight in a friend's house in Hollywood and I still felt like I was alone in the woods at night.

Highly recommend the film to fans of horror, though it might not be your thing if you just dig slashers. DVD completely lacks features, so for the format itself I'd give 2 stars.

It has been the candid observation of numerous film critics that the works of literary horror maven Stephen King don't often translate well to the screen. But when they DO work, man do they WORK! PET SEMATARY is a prime example. Though some of the details of the King masterwork had to be pared down--as is often the case when well-written literature is made to fit into a two-hour visual narrative--this film captures perfectly the spine-tingling essence and atmosphere of the original novel. As with many King cinematic adaptations, it HELPS if you've already read the book. But with a really good one like PET SEMATARY, familiarity with the book is absolutely NOT a prerequisite.

PET SEMATARY tells the story of the Creeds, a young nuclear family who has moved from the Midwest to a small college town in Maine. They take up residence in a old country house a few miles outside the town, and it isn't long before they become friendly with their new neighbor, a bucolic but agreeable old coot named Jud who lives across the street. Jud quickly alerts them to the fact that the road between their two houses is a busy rural highway, and he therefore warns them to be always mindful of their young children and the family cat. Many a pet has ended up in the nearby pet "sematary," Jud explains, due to an unscheduled meeting with a speeding truck or car on that infernal highway.

Inevitably, the Creeds' cat, Church, joins the roadkill ranks, but only the father, Louis Creed, is at home when this happens. Neighborly Jud worries about how the Creed children will take the news, so he decides to let Louis in on secret. Just beyond the nearby cemetery where the children of ages past have buried their beloved pets, Jud tells Louis, is another cemetery that was long ago held sacred by the Native Americans once indigenous to the region. Local legend has it that when you bury your dead there, they will return to life before the end of the following day. Sometimes there is a price to pay for this magic, says Jud, as the dead don't always come back exactly the way they were before they died. Nonetheless, Jud thinks it is worth the risk if they can protect the Creed children from the pain of losing a cherished pet. Being a physician, Louis is understandably skeptical, but he humors his elderly friend and, with the stiffened body of Church in hand, follows Jud up to the "magical" burial grounds.

Much to the surprise of Louis, Church does indeed arrive on the Creed doorstep the next morning. In some intangible way, though, Church seems different--no longer a loving feline, but instead stealthy, aloof, and easily provoked to anger. Jud tells Louis to try to ignore theses differences, and he suggests that if Louis remains mum about Church's resurrection, the rest of the family will never know their little secret.

Of course, as one might guess, it isn't long before one of the Creed children meets his fate on the highly trafficked road. But dare the grieving Louis bury his son in the sacred soil of the Indian cemetery? And if he does, will what worked for a cat work for a human? If so, at what price?

PET SEMATARY is a very satisfying horror film that offers the requisite spooky ambiance, frightful imagery, and outright scares, and all without requiring much effort to suspend one's disbelief. Part of the reason the filmmakers pull this one off is, of course, due to the excellent job that King has done in his adaptation of his own novel. But the lion's share of the credit goes to the excellent performances from the cast. TV actor Dale Midkiff, whose acting style usually teeters on the histrionic, here turns in a subtle yet compelling performance as the family patriarch, Dr. Louis Creed. Even when things get really intense for his character, Midkiff maintains control and convincingly delivers the reactions of an educated, loving father who is grasping for a rational means of rescuing his family from a dangerously surreal situation. Denise Crosby--better known to SF fans as STAR TREK's Tasha Yar--also does an unusually good job portraying Louis' perky upper-middle-class wife.

It is the performance of Fred Gwynne that really makes the show, however. Genre fans know Gwynne from his role as Herman in TV's classic horror-themed sitcom THE MUNSTERS. As the rustic and lovable Jud, Gwynne stretches his thespian skills way beyond the limits of the slapstick of THE MUNSTERS to create a credible and convincing elderly Maine farmer. Gwynne could easily take it over the top and upstage his fellow actors here, but he instead keeps it honest and subdued and thereby makes a significant contribution towards pulling the audience into the fantasy of the filmic narrative.

As with many of Paramount's DVDs, this disc is sparse on extras. However, the digital transfer (for the widescreen anamorphic edition) was made from a very clean print, and both the picture and sound quality are great. For King fans and fans of great cinematic horror, owning this film is a must!

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After reading Stephen King's novel "Pet Sematary" and being a little disturbed by it, I figured that I would rent the movie to see what a terrible adaptation some money-hungry fellow made. After viewing the film I was quite surprised. The first half of the film starts out nice with a happy family enjoying thier new rural home. But then we see the second half of the film in which all turns to hell. After Gage is killed you can't help but feel bad, no one wants to see a boy that cute skin his knee let alone what happens to him in this film. The performances in the film were mostly well done, especially from Fred Gwynne (Jud Crandall), Denise Crosby (Rachel Creed) & Miko Hughes (Gage Creed). The Pet Sematary novel was meant to be disturbing, and this film certainly is just that. Most likely the reason people hate this film and think it's sick is because they too were disturbed by it. It's definitely not a film to give you a positive outlook on life, but I guess that's what makes it such an effective horror film.

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It was 1989. I was 14 and I thought that Pet Sematary was one of the best movies I'd ever seen. It hasn't aged well. Or rather, I have aged out of it. Upon a recent viewing I came to the unsettling conclusion that this film, despite its horrific subject matter, is basically aimed at a young audience; intentionally or not.

Most of the problem is with King's screenplay. Whatever literary strengths he has, they do not translate to film. (Maximum Overdrive...nuff said) It seems that King has very little respect for film goers. He seems to have some respect for film as a medium, but the viewers themselves he writes down to. Look at The Shining, for instance. For years King complained about and trashed Kubrick's classic adaptation. Then King himself finally remade The Shining and he removed all subtlety, crafting a sappy TV mini-series that pandered rather than entertained. Perhaps King likes bad film adaptations, lest a superior film overshadows his work, as is the case with Kubrick's The Shining IMO.

His screenplay for Pet Sematary is up to the same tricks. King does not bother with characterization, he just shoehorns in the books most horrific scenes and pumps them up in some cases (Victor Pascow being the worst offense, he appears once or twice in the book, but in the film the guy is all over the place, doing some sort of stand up comic zombie routine that gets old quick.) He just sort of hopes that characterization will be implied I guess. He also worked in the "spring loaded cat" jump scare several times. You can't disrespect an audiences intelligence much more than that.

The worst part is that none of it makes very much sense. In the book, King went to great lengths to make you believe in his story and it works. Here, King just seems to be shoveling out the story as fast as he can, making story revisions and additions that have no logic in and of themselves and that contaminate the internal logic of the parts of the story that should work. Again, the Pascow angle is the main offender here. In the book he gives a simple warning. It's up to Louis Creed to make the decisions. In the film Pascow becomes an active force that just screws everything up worse with his meddling as he keeps coming back to help out and only ends up helping out the evil force in the MicMac burial ground. Not a very good result for an emissary send from beyond the grave by "higher forces". This is just one example of how little sense the film makes, I could go on for pages and pages. It seems King had his brain turned off while churning out this screenplay. Gone are all of the weighty themes the book explored, only to be replaced by thoughtless illogical attempts to pump up the opportunity to show more ghosts and guts and blood.

King has said that he does not like Pet Sematary as a book. I guess that's understandable. King is, at heart, an optimist. Pet Sematary was his one foray into real pessimistic horror. Perhaps he just felt like turning it into a big joke on those grounds.

I don't have anything bad to say about director Mary Lambert. She did a damn good job considering the screenplay she was working from. In King's original screenplay King tried to rework Jud's character. He wore trendy clothing and listened to the latest rock music on his walkman...you know, so the kids would think how cool this old guy was. Well, if Mary had anything to do with excising that particular bit of cynical pandering...then more points to her. When Stephen King comes along with his own screenplay, and it's a cartoony carnival spook show...well I suppose as a director you give him what you think he wants. Unless you want to end up like Kubrick, listening to this writer whine and complain about you for the rest of either of your natural lives.

The acting here is adequate. Fred Gwynne steals the show, and is largely the only thing that holds it all together. Dale Midkiff does some wonderful round the bend acting towards the finale. Brad Greenquist is having (too much} fun playing the ghost of Pascow, but for what it is its good acting. The only actor who truly made me feel emotion though was Michael Lombard as Rachel Creed's father. I guess he didn't get the memo that this was all goofy fun because his heartbreak at Gage's funeral is keenly felt. Too bad the rest of them didn't miss the memo as well. In short, the actors did what they were asked to do and they did it well for the most part. No real complaints. Unless you're just a jerk that likes to pick on child actors and the like.

Pet Sematary does have a lot going for it though. For one, it's original. Ok not totally original, you will still hear people saying King ripped off his book from a film called Zeder. A movie you've probably never even heard of (and I doubt King had either when he wrote the story) so it's original enough. Especially for the well worn cliches of the endlessly recycled horror genre. It's also very dark. Even with the cartoony gloss smeared all over the film, it's still considered morbid, mean-spirited, bleak, and nihilistic. I don't consider these bad things, especially for the horror genre, except maybe the charge of mean-spiritedness...which does hold some weight. The film does seem to lack a heart...perhaps of any kind, mean-spirited or otherwise.

Perhaps it had to be this way. 1989 was not likely to be a good year for any mainstream film to be so dark and realistic at the same time. Without suppressing the realism it may have been just too much to remain mainstream, which it pretty much had to be considering it was a King vehicle. Mr King is Hollywood's dependable horror whore after-all. No sense making a film with artistic merit that might lower the profit margin.

It's unfortunate, because if it had been allowed to show the same sort of realism that, say, William Friedkin had brought to The Exorcist, this very well may have become a horror classic for the ages, instead of just another (above average) goofy 80's carnival gore show.

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Pet Sematary is by far the most disturbing horror film I have ever seen. From the creepy opening credits to the tragic ending you will either be creeped out or disturbed by this movie. The most unnerving part of the film is that you can't root for the killers demise because he is an innocent little boy who did nothing to deserve what happened to him, it is a complete injustice. The fact that Rachel Creed (Denise Crosby) is seen with red, swollen, tear filled eyes after her little boy is taken away from her only makes the tragedy seem real. As well, the flashbacks of the Ludlow town's hidden secrets, told by Jud Crandall (Fred Gwynne), are intriguing and make you wonder why people wouldn't move far away from that place. Having picked the cutest little boy to portray the tragic role of Gage Creed (Miko Hughes) is one thing, but him giving such an outstanding performance at the age of 29 months is incredible...incidentally it took 2 girls to play the role of Ellie Creed! All in all this film is great for people who can stand emotionally unsettling situations, it is truely a horror film.

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White Heat (2013)

"White Heat" is unusual in that it is a genre film that is also widely considered to be film noir. It's immistakably a gangster film, yet it deviates from the conventions of that genre in that its main character, Cody Jarrett, is complex and introverted enough to be a noir protagonist. "White Heat" was masterfully directed by Raoul Walsh and features James Cagney in one of this most memorable gangster roles. Treasury Department investigator Philip Evans (John Archer) is hot on the trail of the notorious criminal Cody Jarrett (James Cagney) after the Jarrett gang has robbed a mail train, killing several people and making off with a substantial sum. In order to guarantee himself immunity from the multiple murder charge, Cody confesses to an out-of-state robbery that took place at the same time, for which he receives a couple of years in prison. But the Feds are wise to his scheme and place an undercover agent (Edmond O'Brien) in the cell with Cody, hoping to learn the identity of the person who launders money for the Jarrett gang.

The psychology of Cody Jarrett is the most striking aspect of "White Heat", and the element around which the story revolves. We are told by the federal investigators that Cody is actually "insane". He is bloodthirsty and so unstable that his pursuers fear that he will go completely off his head before they can learn anything from him. Cody also has a pathologically dependent relationship with his doting and equally ruthless mother, who is played to perfection by Margaret Wycherly. Cody is such an extreme personality that James Cagney's ability to make him completely believable is remarkable. The "good guy" undercover cop, Hank Fallon, is bland and submissive, which only increases our focus on Cody. Another striking characteristic of "White Heat" is its technophilia: The film spends a great deal of time demonstrating cutting edge surveillance technology that is used to track Cody. Cody is defeated more by technology and bureaucracy than he is by his own lunacy.

The DVD: Bonus features include a documentary about the film, a theatrical trailer, an audio commentary by author and film professor Dr. Drew Casper, and a "Warner Night at the Movies" prelude to the film. If you have time, "Warner Night at the Movies" is a nice feature. With an introduction by Leonard Maltin, Warner Brothers provides a nice collection of mini-features that emulate the now-defunct tradition of showing a cartoon, a short, a newsreel, and a trailer with every theatrical film. "White Heat" was released in 1949, so we have, from 1949: a trailer for the film "The Fountainhead" (2 minutes), a newsreel of the year's highlights (1 1/2 minutes), a short "Joe McDoakes" comedy, called "So You Think You're Not Guilty" (10 minutes), based on the old vaudeville routine "Pay the Two Dollars", and a Bugs Bunny cartoon called "Homeless Hare" (7 minutes). You can also watch the featurettes separately if you like. "White Heat: Top of the World" (16 minutes) features interviews with filmmakers, critics, and theorists, including Martin Scorsese and Alain Silver, in which they discuss the film's themes, James Cagney's role, and the characters of Cody, Ma, and Cody's wife Verna, played by Virginia Mayo. The audio commentary by Drew Casper approaches "White Heat" as a gangster film, not as film noir, as this seems to be Dr. Casper's area of expertise. Casper talks about how the film was promoted, James Cagney, Freudian influences, themes, and analyzes director Raoul Walsh's style for some scenes. Subtitles are available for the film in English, Spanish, and French.

The intense character study of criminal insanity in Raoul Walsh's "White Heat" (1949) is most likely the other great Cagney performance that has endured the test of time in Warner's gangster genre. Cagney plays the psychotic and sadistic Arthur 'Cody' Jarrett, a ruthless gang leader with a penchant for deriving pleasure from the affliction of pain. Plagued by torturous headaches and a mother fixation with Freud written all over it, Cody revels in murdering his wounded accomplice during a jail break. Cody's 'ma' (Margaret Whycherly) has allowed herself the luxury to forget that she's given birth to the criminal anti-Christ. Meanwhile, Cody's wife, Verna (Virginia Mayo) flaunts her sexuality to every man she meets while enduring the brutality and neglect of her unstable husband. This, of course, ends badly for all concerned. The plot thickens when a henchman plots an 'accident' for Cody, that is foiled when an undercover cop, Vic Pardo (Edmund O'Brien) inflitrates the gang. The finale of this barn-burner will justly go down as one of the greatest in all crime films, as Cody betrayed and about to die, shouts triumphantly, "Made it, ma! Top of the world!" against the backdrop of a burning chemical plant. "White Heat" may have been a remake twice removed, but neither the 26' nor the 34' versions come close to the immediate panic and raw hysteria of this great film classic.

Warner's DVD exhibits exemplary image quality throughout. The gray scale is rich and nicely balanced with deep solid blacks, clean whites and fine distinctions of tonality. Fine details are fully realized, even during some of the darker scenes. Occasionally film grain and minor dirt and scratches appear but these will certainly not distract. The image quality overall is sharp and consistent for a presentation that will surely please. The audio is mono but extremely well balanced and very nicely represented. Extras include an adequate audio commentary by noted authoritarian, Drew Casper, a newly produced featurette which is very succinct and Leonard Maltin's hosting of "Warner's Night At The Movies". Highly recommended!

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James Cagney never exceeded, before or after, his achievement in Raoul Walsh's "White Heat," and indeed few actors have even equaled what Cagney did in that film. His performance as the evil, psychotic yet charismatic Cody Jarrett is the absolute high-water mark for the screen portrayal of a career criminal. Cagney's charisma is so overwhelming that we, the audience, despise the federal agent (Edmond O'Brien) who infiltrates Jarrett's gang and finally betrays him. O'Brien's character is as upright, courageous and resourceful as anyone could wish; yet he's just a worm compared with the breathtaking power of Cagney's Jarrett. Cagney implicates the audience in his crimes more than any of Hitchcock's villains ever did, and indirectly sounds a warning about certain other charismatic characters who have turned up now and then on the political scene. Of course a great performance can't exist in a vacuum; besides Cagney's brilliance and the yeoman service of O'Brien as the federal agent, there are superb performances by Virginia Mayo as Verna, Jarrett's treacherous, trailer-trash wife; Steve Cochran as Big Ed, the thug with big ideas but no brains or guts to back them up; and especially Margaret Wycherly as Jarrett's mom, turning her saintly-mother image from "Sergeant York" on its ear, smiling her icy smile in approval of her son's bloody predations. A brilliant melding of film noir and police procedural, "White Heat" is unquestionably one of the greatest gangster movies ever made. The new DVD of "White Heat" from Warner Brothers is a wow; the print is crisp and excellent, and there are loads of extras including an interesting featurette on the making of "White Heat" and a recreation of a 1950 "Night at the Movies" including newsreels, a short subject and a wonderful Bugs Bunny cartoon, "Homeless Hare."

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It's about time! I've been waiting for "White Heat" to come out on DVD for years, and now -on the heels of the RKO film noir boxed set Warner's issued last summer -"White Heat" is finally being released as part of Warner Bros.'s gangster boxed set, with movies by James Cagney, Bogart and Cagney's rival, "Little Caesar" Edward G. Robinson!

"White Heat" is Raoul Walsh's best movie, even better than "High Sierra," which is quite similar in its plot of a gangster being hunted by the police to his ultimate demise.

It's also James Cagney's big comeback role, for which he did not receive so much as a nomination for best actor. Of course, that's par for the course for AMPAS; Movies that were ahead of their time have been overlooked for most of the Academy's history.

Although firmly ensconsed within the film noir genre, and a movie that's clearly of its time, Cagney's defining role of gangster Cody Jarrett was way ahead of its time: Never before has a thug of the silver screen been played so brutally yet so sympathetically (psychopaths were never played by such obvious leading men; they were usually women, femme fatales such as Barbara Stanwyck in "Double Indemnity" and Ann Blythe in "Mildred Pierce," or the occasional character actor like Peter Lorre, in "M"). In 1949, one didn't see "tough guy" actors such as Edward G. Robinson, Burt Lancaster and Humphrey Bogart play mental weaklings, such as Cagney portrayed in this flick. It was unheard of even for the biggest villains to be turned to mush by a psychotic disorder; Such roles would not become commonplace until the "psychological westerns" (an interesting, but largely forgetable, genre) of the 1960s. Yet, Cagney tackled this role with over-the-top aplomb and sarcastic panache.

"White Heat" boasts a sterling supporting cast, most notably Margaret Wycherly as Ma Jarrett, the hardboiled crime matriarch to whose grease-splattered apron strings mama's boy Cody desperately clings. This too required guts on Cagney's part, given the thinly veiled subplot of Cody's fixation on and fierce attachment to his mother. Although more implied than explicated, 1940s audiences got the Oedipal message.

Steve Cochran plays Big Ed, Cody's right hand man, whose backstabbing rivalry to Cody inflames Cagney's Napoleon cmoplex. "If I turned my back long enough for Big Ed to put a hole in it, there'd be a hole in it," quips Jarrett, who lacks sentiment for anyone else in the world except his ma. Edmond O'Brien turns in the movie's best supporting performance as the undercover cop, whose befriending of Cody behind bars actually betrays the cop's sympathy for Jarrett's mental plight.

"White Heat" ends in a blazing fury of cinematic pyromania, courtesy of director of photography Sid Hickox, who also photographed immortal films noir "The Big Sleep," "Dark Passage" and "To Have and Have Not."

A quintessential film noir, "White Heat" is a highly polished product of the Warner Bros. studio system, the kinda film they don't make anymore. As with all Warner's A-list movies, it features a pummeling Wagnerian soundtrack by the legendary Max Steiner. The score is one of Steiner's most intense and complements the on-screen violence with Steiner's rich use of big brass, low strings and incendiary winds and trumpets.

Put this in your DVD player, and you'll be on top of the world!

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Following the completion of "Each Dawn I Die" in 1940, James Cagney promised not to make another gangster movie. But after almost a decade of trying to change his screen image, Cagney relented in 1949 and agreed to star in the now-legendary classic, "White Heat." As the psychotic Cody Jarrett, Cagney took the gangster genre to new heights. Although certainly a gangster movie in terms of plot, "White Heat" is also a film noir with one of the most deeply disturbed protagonists of all time. One example is the unforgettable prison mess hall scene where Cody goes nuts after hearing about his mother's death. Then of course there's the explosive ending where he shouts the famous line, "Made it, Ma! Top of the world!" Needless to say, Cody Jarrett is one movie gangster you'll never forget.

As the movie opens, Cody Jarrett (Cagney) and his gang rob a train and then head for a cabin in the mountains. The Treasury agents investigating the crime have no evidence against Jarrett but are convinced that he is guilty. So they send Hank Fallon (Edmond O'Brien), an undercover agent, to infiltrate Cody's gang and get the proof he needs to convict Cody and his accomplices. When Cody is arrested for a lesser offense, Fallon becomes his cellmate and slowly wins his trust and respect. When another prisoner tries to kill Cody, Fallon saves Cody's life, and before long Fallon is learning the inner workings of Cody's gang.

While Cody is in jail, his rival, "Big Ed" Sommers (Steve Cochran), takes over Jarrett's gang and seduces Jarrett's treacherous wife Verna (Virginia Mayo). Cody's mother (Margaret Wycherly) finds out about Ed and Verna and makes plans to get payback for her loyal, loving son. But when she confronts the two she is murdered, and when this news reaches Cody in prison, he goes berserk. After calming down, Cody plans and executes a brilliant escape from the prison along with several cellmates, including Fallon. Fallon desperately tries to stay in touch with the Treasury agents, but Cody is dangerously on edge and the smallest mistake could cost Fallon his life.

After getting payback on Ed and Verna, Cody takes charge of his gang and plans a robbery on a chemical plant. After hearing all the details, Fallon gets word to the T-men, and an ambush is waiting for Jarrett and his gang when the attempted robbery begins. As his gang members are gunned down one by one Cody goes completely nuts, climbs on top of one of the gasoline tanks, and starts shooting, and the rest is movie history. Few movie gangsters have ever had such a spectacular death scene as Cody Jarrett. And no one else could've played Cody Jarrett better than Cagney.

The Warner dvd of "White Heat" has an excellent image and audio quality, plus very good bonus features including a commentary by film historian Dr. Drew Casper and a new featurette that includes interviews with famous directors like Martin Scorsese. In "White Heat," Cagney gave one of his very best performances, and Virginia Mayo, Edmond O'Brien, and Steve Cochran were terrific as usual. Despite Mayo's good looks, she convincingly played one of the most unattractive tramps of film noir, who snores while sleeping and spits in public. Both O'Brien and Cochran appeared in numerous noir films, and although they were both very talented neither one became a big star. Of course, Cagney is the real reason why this movie remains so enjoyable. For anyone who likes great movies, this dvd is a must!

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Serendipity (2001)

I am not sure how much I believe in serendipity good fortune discovered by accident also known as fate, but this movie could make a believer out of me. John Cusack and Kate Beckinsale are wonderful together as soul mates that overcome every obstacle to be together! They are successful because it was meant to be. If you can't suspend reality, and just go with the flow, then this movie probably isn't for you. It is meant for those that can have faith.

Do you believe in love? Fate? That everything happens for a reason? Astrology? Premonitions? Near misses of should-of-beens? Well, neither do I. However, this film is full of ALL of these things and come to find out the story is delightful!

John Cusack is a way-cool actor. He always plays the type of guy you want to root for to prevail in some off-the-wall struggle. Kate Beckinsale is nothing short of gorgeous and her British accent is a charming ingredient of this comical look at a love-story-gone-awry.

Cuscack & Beckinsale play a couple of New Yorkers who "accidently" meet up one night. Turns out, they REALLY hit it off. Due to a sequence of unlikely events, they are separated and go their separate ways.

A few years later both are supposed to be married almost on the same day. Only problem is (you guessed it) by now they're supposed to marry different people. At the eleventh hour both start having second thoughts and begin having reveries about their one enchanting evening together.

The balance of the story traces their attempts to get back in touch with each other while their friends believe they've gone looney. The result is what is quite possibly the funnest & sweetest Romantic Comedy since WHILE YOU WERE SLEEPING.

If you have a date tonight, I would SERIOUSLY recommend this film. If you don't have a date tonight, find one & then watch it together. As a last resort, watch it by yourself. Remember: everything happens for a reason! OK, OK, maybe it doesn't but that doesn't mean you shouldn't buy this DVD!

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I watched this film again after seeing it in theaters several years ago, and I had forgotten how cool it was. I remember overhearing a lady in the row in front of me groaning and complaining at every seemingly contrived moment of serendipity that befalls the "soul mates" played wonderfully by John Cusack and the gorgeous Kate Beckinsale, whom I could stare at forever as well as listen to her speak without ever growing tired of it. Anyhow, I guess I understood the lady's skepticism...this movie does appear to be so outlandishly contrived that it strains credibility. Yet, what appealed to me about this movie is that I had similar moments of serendipity/coincidences with a girl I dated in 2000. Seeing this film brings back my own memories...so trust me when I say that the things in this movie can happen to people. I'm one of those people.

Romantic comedies have the poor habit of following the standard, boy meets girl, boy loses girl, boy and girl reconcile, and all is happily ever after. This doesn't wander too far from that formula, but its so downright clever, watchable, and enjoyable that you can't help but fall in love with the story and characters. Romantic comedies also tend to feature interesting selections of music, and this one is no different. I actually enjoyed the song selections in this film and not one of them was familiar to me (using oldies that have appeared in countless other films). I especially got a kick out of Lars, the Yanni-esque boyfriend of Sara (Beckinsale). His new age music is poked fun at by Sara and her sidekick friend (played to comedic effect by an SNL-alum), but I actually thought that was cool about him. Eugene Levy also has a couple scene-stealing moments with his usual brand of comedic seriousness and Jeremy Piven plays the sidekick role he often plays in films.

This film throws every obstacle to keep the two apart and its an amusing development to watch. Overall though, you know the two are destined to be together and its just as well. So, for all the skeptics out there who find this film outlandishly contrived, please suspend your disbelief and realize that such romantic possibilities and coincidences are possible. I experienced it myself a few years ago, so that's why I find this film to be quite credible, not to mention funny and entertaining in its own right.

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In my opinion John Cusak's best movie.

He & Kate Beckinsale are magic together.

The storyline is fantastic, the music

alluring, and the acting first class.

I have watched it at least 20 times.

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Oh Kate, of the enormous white teeth and John of raven hair, black as night! Who couldn't watch these two for a few hours, even though they rarely appear on screen together? But the pair with the greatest chemistry in this movie are real-life best friends John Cusack and Jeremy Piven. Piven gets to use his acting chops a bit more here than he did in a similar best-buddy role in Family Man, and to good advantage. He is the emotional underpinning of this movie, and the only one who seems to really learn anything. Piven deserves to be moved up from supporting actor to lead roles, and soon. Another secondary character worth watching is Northern Exposure vet John Corbett, showing good sportsmanship as a godawful new-age musician/entertainer. Corbett's character is the only truly new addition to a plot cobbled from many others mentioned by other reviewers. The scene where he is watching his own music video for the first time is the funniest in the movie.

The director spares us from bothersome breakups with the cruelly tossed aside fiances, who must do all their wailing and gnashing off camera. How un-flattering that would be to the glossy leads! And as a book collecter I had to laugh at Cusack's obsessive legwork in search of a certain copy of Love in the Time of Cholera, which he could have probably found in a few phone calls after a half-hour internet search.

Enjoy this movie for charming characters and a light romance--just don't think about it too much!

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A Walk in the Clouds (1995)

I read all the other reviews for this movie, and I was amazed at the negative comments the guys made about it. Well, I'm a guy and I loved this movie. Okay, so Keanu Reeves doesn't get the award for best dramatic actor of the century, but he's a lot better than, say, Jim Carey. I didn't perceive him as "woody" or "stoic," but rather I saw him portraying a polite and shy young man who helps out a young woman in distress at his own personal inconvenience. That's a trait you don't see very often these days. It's a pleasant and refreshing change to see a young soldier who is actually moral and decent and willing to help, even at personal loss to himself. Yes, it's a huge chick flick. So what? A lot of chick flicks are great movies, and this is one of them. Buy it and watch it with someone you love. You'll have a great time. The photography is spectacular. The music is great. The story is predictable, but then, so are the plots of most of the action movies. It's a rare movie that is completely unpredictable. This is one you won't forget. Thanks to those who produced it for giving us a good example of the way real men act around women, particularly women in need. This is one movie you can watch with anyone... your spouse, your kids, your date. It's a good, clean, moral tale of shivalry that warms your heart and restores your faith in humanity. It's a totally enjoyable experience.

I've enjoyed a number of Keanu Reeves' movies, from "Bill and Ted" and "The Matrix" to the more recent "Constantine." "A Walk in the Clouds" is one of his forays into the romance genre, and it's a favorite of mine in that category. The story begins during the waning days of WWII, where Army veteran Paul (Reeves) arrives in San Francisco after four years of combat. He makes his way home and surprises a wife he barely knows. After an awkward reunion, she practically shoves him out the door the next day with an admonition to start raking in the bucks by selling chocolates. The life of a traveling salesman is not what he had in mind, but he decides to make a go of it for her sake.

On a train bound for Sacramento, Paul literally bumps into Victoria, a mysterious, attractive Latino woman (Aitana Sanchez-Gijon) who immediately vomits on him. After a couple more odd encounters, they wind up together on the side of a country road. She tearfully informs Paul that her grad school professor-slash-lover impregnated and then dumped her. She fears that her ultra-conservative, autocratic father Alberto (Giancarlo Giannini) will kill her for soiling the Aragon family name by returning home an unwed mother. A scheme is hatched where Paul agrees to pose as Victoria's husband for a day, and then abandon her so she can save face. Of course, things don't quite work out so easily, especially when Paul and Victoria begin to have feelings for each other.

"A Walk in the Clouds" is a visual and relational treat. The scenery of the Aragon estate and surrounding vineyard is almost otherworldly in its lush beauty (hence the movie's title), and made me want to book the next flight to California wine country (even more than "Sideways" did). More impressive was the close-knit traditional Latino family atmosphere, dramatically embodied in the sensual winemaking ceremony, where the married women dance the newly harvested grapes into juice. However, all is not perfect in paradise. Alberto is threatened by his non-traditional daughter and Stanford educated son, who wants to apply modern business theory to the old-world winery. "Gringo" Paul becomes the focal point for his insecurities, and their conflict escalates towards an uncertain and traumatic resolution.

Some have criticized Keanu Reeves for having a "wooden" demeanor. True, he's not the most expressive performer in cinema. But his low-key acting style perfectly fits the character of Paul, a man of the stoic WWII generation dealing with PTSD and his status as an orphan. I was able to sympathize with and root for Paul throughout his journey, and I commend Mr. Reeves for enabling me to do that. The other actors also turn in excellent performances, especially the late Anthony Quinn as Don Pedro, the chocolate loving, brandy drinking sage patriarch who takes Paul under his wing. He provides a good contrast to Giannini's driven Alberto, so concerned about preserving his family that he's forgotten how to love them. And I can't leave out the lovely Aitana Sanchez-Gijon, whose passionate and intelligent Victoria is the thinking man's movie-character catch.

"A Walk in the Clouds" is one of the most romantic movies I've ever seen, and it holds up well under repeated viewings. Highly recommended.

WARNING: The next paragraph has some SPOILER content, but for those concerned with moral content I want to comment on Paul's character and must do so within the context of a choice he makes.

I was surprised and gladdened that Paul was an honorable man who valued family relationships and put the needs of others before his own desires. He doesn't take the easy way out from his albatross wife, even after finding the woman and family he's always longed for. Paul perseveres through sexual temptation, not because of dogma, but because he cares about Victoria and doesn't want to hurt her. Despite his feelings for Victoria, he demonstrates loyalty to his shallow, materialistic wife and tries to work things out. That kind of virtue is somewhat rare in a Hollywood production these days, and lends a welcome old-fashioned, family-friendly air to the movie (END OF SPOILER).

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This is an incredibly beautiful film. It is gentle, sweet, and full of love. With gorgeous cinematography and a wonderful cast, it will transport you to another era. Keanu Reeves is marvelous in it, as is Anthony Quinn. Their drinking/singing scene is priceless. It's a one of a kind gem and if you want some warmth and humanity in your entertainment, this is the one to watch.

Read Best Reviews of A Walk in the Clouds (1995) Here

Just viewed this movie for the third or fourth time since seeing it at the show ten years ago, and still find it an amazing film, for light entertainment-slash-sentimental love story. (Note to all would-be movie reviewers: Learn how to review a movie for what it is, on its own terms, and not for what it is not.) Its a period piece, with stunningly gorgeous cinematography and locales, and a pretty good turn at story-telling, craftsmanship and acting yes even on Keanu Reeves' part. (There seems to be a trend amongst male movie reviewers to give `de facto bad reviews' to such actors as Brad Pitt and Keanu Reeves, 'just because'. Its a sad testament to the frailty of the male ego that some of us feel threatened, challenged, and even competitive with a guy we probably don't even know, and will most likely never meet.) Anyway, I don't really know what movie the Amazon reviewer saw, because, frankly, he was blatantly wrong on all the salient points about this film.

First off, its a good movie, for its genre and the story it tells. Next, Keanu Reeves is completely plausible, and likable in his role as a war Veteran who saw, and endured many terrible things during his time of service, attempted to forget it all, then tried to come back to a normal life with a wife he married on a spur of the moment, as many soldiers do, hoping to make it work. (There was even a pivotal scene between Keanu and Giancarlo Giannini, where he explains why and how he had to `close himself off' emotionally, to do what he had to do to survive the horrors of war, hence, his stoicism, which the Amazon reviewer somewhat shallowly dismisses as `wooden'.) He shows real emotion when he needs to and where it is required mainly, in his scenes with Aitana Sanchez-Gijon, for whom he has real affection, and not Debra Messing, his `impulse' bride. Which would explain (to those who were paying attention) why he really didn't care that she was `cheating on him' with Armistead. Or, for that matter, the vineyard fire at the end, which, to him, must have been much like the scorched battlefields he experienced during the war. (What type of war hero runs and screams with everyone else when such an event occurs?) What the Amazon reviewer calls `wooden', others would label `grace under fire' (no pun intended), or just keeping a level head.

Guess what, reviewer: The farmhands were not chasing insects with their `gossamer wings', but actually try to divert heat onto the vines during a night of killing frost. To this viewer, Keanu Reeves didn't seem `terribly self-conscious', but more like a man who was genuinely and hopelessly in love with someone he barely knew, and trying desperately to impress that upon both her, and her unrelentingly suspicious and un-welcoming father.

In his defense, the Amazon reviewer was actually talking about the `VHS Tape edition', so, its possible he may have seen a completely different movie all together, one other than what most of the viewers here saw. But this reviewer, for one, loved this movie, the ensemble of actors, the locales, the soundtrack, and the quiet, easy way it creeps into the sentimental heart of most people who see it even us guys. Except, of course, for those who had their heads in the clouds, while it was playing.

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I am writing this as a critic who usually stays away from Keanu Reeves in any movie. The only reason why I watched this in the first place was because a friend said I would love it and I definately do.

Keanu Reeves(Paul Sutton) is a WW II vet who comes home to a wife he barely knew and has nothing in common with and hits the road to sell chocolates. On the train and again on a bus he meets Victoria who is a young woman who is traveling home to her family's vineyard although she is also pregnant. As a nice guy, Paul decides to accompany Victoria home and pretend that they are married. What ensues is two strangers falling in love as they try to convince her parents that they are truly married.

This was a great story in which the scenery is spectacular. Along with some of the fabulous scenes of the traditional harvesting and stomping of the grapes, it is a heartwarming movie injected with a bit of comedy from the rest of the Aragon family. Although a bit predictable, this was a really well done romantic movie which I enjoy watching over and over again. I would definately recommend this movie to anyone who is a true romantic at heart.

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Full Monty (1997)

Please note that this is for the two-disc "Fully Exposed" edition:

If you're reading this you're probably already a fan or at least have read other reviews telling you how great the movie is, so I won't clutter the place with more of the same.

But it has to be said that after ten years of being stuck with a DVD that counts "Interactive Menus" as a special feature, I'm beside myself that there's finally some REAL special features to be had.

We get to see some of the history regarding the brass band featured throughout the film, development of the script and production, not to mention two different commentary tracks.

But the real gem, as far as I'm concerned, is the featurette "Translating English to English". It really exposes this bizarre paranoia that the American side of the production had.

Rewinding a bit, I started my Monty obsession with a VHS copy of the movie and always wondered why some of the words didn't match the facial movements of the actors. When the tape wore out I replaced it with the first DVD version, which had an "Original UK audio track" option. Playing that, I realised that they had dubbed some of the words for the US version and that's why it always looked so goofy.

Even funnier, it wasn't the weirder UK expressions like "Chuffing Nora" or "Don't get a benny on". No, they dubbed words like "DIY" into "how-to" and "tw-t" into "git". Tw-t into git?? How is "git" any easier for the supposedly confused American audience to understand?

So the featurette on the subject was just about as funny as the film itself and, for me, that alone was worth buying this version.

Definitely a must-have for any Full Monty fan.

Just about the time you think no one is capable of making a fresh and original comedy anymore, along comes something like The Full Monty, to surprise and delight you with wit and subtlety and insight.

The story of unemployed steel workers in Sheffield, England who decide to put on a male striptease show for one night to make some money is a simple premise that is beautifully realized because of the time the film takes to build our understanding of these men and their different plights and motivations. We come to know and care for them as they come to care for each other. The comedy grows from the characters and their personalities and their different reactions and situations. There is sympathy and sensitivity to their desperation: Gaz (Robert Carlyle), the ex-con hustler, desperate to keep a connection with his son; Gerald (Tom Wilkinson), the manager, desperate to hold onto his middle-class lifestyle; Dave (Mark Addy), chubby and insecure, desperate to hold onto his wife; and so on. Expertly played by these actors, new to American audiences in 1997, but now familiar, the laughter evoked is wry and humane and, in the end, joyful.

The film carefully builds the story with expert comedic setups (the auditions and rehearsals, etc.) of everyday men trying to do something they are seemingly unequipped and ill-prepared to accomplish, with touches of pathos as we see the troubles and strains in their personal lives. All this leads to the Big Night and a grand finale that is funny, heart-warming and beautifully filmed. A terrific little film with a lot on its mind, beneath the humor. Something to do with the dignity of work, of self-respect, and of the touching care one can find amidst people undergoing hard times. A gem.

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I brought "The Full Monty" home one evening when my boyfriend was not feeling well because I thought that a good laugh would cheer him up. His reaction to seeing the video box? "I'm already not feeling well. I don't want to watch a movie about a bunch of male strippers prancing around." And then we put in the movie and couldn't stop laughing.

"The Full Monty" is about so much more than male strippers. The film centers around out-of-work steelworkers trying to cope with life now that their mill is shut down. The movie realistically explores male friendship, men's feelings about failing their wives' expectations, devotion to family, coping with loss,... but in ways that do not become depressing.

The stripper plan comes about because Gaz (Robert Carlyle) needs to come up with money to bring his child support current so that he can continue seeing his son. The father-son relationship is one of the most touching aspects of the movie. Gaz's son, Nate, tags along with Gaz as he tries to put together a Chippendale-style show to catch up on his child support. [As an aside, "The Full Monty" and "A Thousand Clowns" with Jason Robards would be an interesting pair of movies to see together as a starting point for examining what makes a good father.]

The relationships between the dancers that Mark Addy and Carlyle assemble is fun to watch. Tom Wilkison (also seen in "The Patriot", "In the Bedroom", and "Moulin Rouge") is excellent as their former supervisor who turns to dancing to cover his wife's extravagant spending. Addy is equally good as Gaz's chubby friend who is struggling with his marriage: His wife wants him to take a job in a local variety store. He thinks she's having an affair because he's too fat.

To top it off, the soundtrack is awesome!

Read Best Reviews of Full Monty (1997) Here

This classic (albeit very modern) 1997 British film, which I have seen a few times now, is one of my favourites. The storyline is highly original, very funny, and hugely entertaining overall, but it's also heartwarming. The setting is Sheffield, England, world famous for its steel. Sadly Sheffield, like most of the North of England, has had to deal with massive unemployment; in Sheffield's case, it's a result of the collapse of the steel industry. Briefly, the story revolves around six unemployed men, victims of the times, who aspire to "putting on" a one-night-only "full monty" (British slang for "taking it ALL off") strip show to raise some much-needed cash.

The idea is actually the brain-child of one of the men, Gaz (played by Robert Carlyle (The World is Not Enough)), who is in arrears in his maintenance payments for his son (who lives with Gaz's ex-wife and her new boyfriend). Gaz is at risk of losing joint custody and fears he may lose his son altogether. His motivation (and indeed his desperation) in coming up with such an outrageous scheme is, therefore, both plausible and understandable, for the men stand to pocket a nice little sum of money if they can, quite literally, pull it off. The film, which is 95 minutes, also features Tom Wilkinson (Essex Boys), who plays the lads' former boss from the steel factory, and Paul Barber (Denzil from Only Fools and Horses).

In conclusion, I highly recommend this film to fans of British comedy in general, but I think its appeal is broad enough to be enjoyed by anyone looking for a thoroughly enjoyable comedy with a really good storyline. Just one thing: Viewers ought to be prepared for fairly thick Yorkshire accents. This may be a bit of a shock at first for the unfamiliar, but close attention helps and it is well worth the effort. It's a cute story that is superbly acted and very well presented. What's more, it's a film that can be enjoyed time and again.

Very highly recommended!

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In the spirit of full disclosure, most of the films and literature on my "all-time favorite" lists are British, so there is definitely something about our cousins across The Pond that appeal to my sensibilities, although I am not of British descent, but "Monty" is special. Being from the Missouri Ozarks, the Yorkshire accents in the movie couldn't be further from what my ears are accustomed to hearing, but in no way did that interfere with my thorough enjoyment of this film. It is warm, sweet, a bit melancholy, and touching while managing to avoid being sappy...and absolutely hilarious.

The key is the situations in which the characters find themselves that are funny and not so much the characters themselves. The result is believability and dignity of each character, even while they find themselves in very undignified circumstances.

As a side note, The "translator" section in the Special Features is puzzling to me because they translate slang terms with which most Americans are already familiar, i.e., "DIY," "tw-t," etc., but leave out British oddities that are unknown in the USA, such as "chuffing Nora" "kit," and "taking the piss" and some terms that, after repeated viewings, still sound like gobbledygook to the average American. No matter. Everyone I know who has seen the film understood what was going on.

This film is not raunchy, tacky, or vulgar, so do not let the premise put you off. It is a lovely story about human beings discovering their dignity in the midst of very undignified circumstances. Highly, highly recommended.

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The Exorcist (1973 & 2000 Versions) - 2-Disc Set ( Exorcist (Extended Director's Cut & Original The

This is the 2010 _Region_Free_ U.K. 2-disc Blu-ray release. It's the same as the U.S. 2-disc digi-book without the book, just the two discs in a standard Blu-ray two disc case. Case cover and disc have European markings. The blue and read seals with numbers (18; minimum purchase and viewing age) are the Irish (Rep. of) and U.K. These are their government equivalents of the U.S. film industry's MPAA ratings; film is rated "R" by MPAA which equates to the Irish and U.K. ratings. The discs have these two seals plus a third, German one (minimum age in Germany: 16). Unlike European DVDs which usually cannot play properly in U.S. DVD players (PAL vs. NTSC encoding; an issue completely unrelated to region protection code "flags"), region free Blu-ray discs should play without any problem in U.S. Blu-ray players. Indeed they should play in *any* Blu-Ray player in *any* region (that's had its firmware updated/maintained properly).

The 2000 "Extended" version is on Disc 1 with some of the extras; 1973 "Theatrical" version is on Disc 2 with more extras. Both discs are 50 GB dual-layer. The 2010 transfer of both versions is excellent without jitter and containing superb detail with equally excellent restoration to eliminate any significant print damage. Color rendition looks good (to me). I did not see any DNR issues. It's not 100% perfect, but quite likely about as good as can be done transferring and re-mastering 37 year old print(s). Some difference in film stocks and shooting units (cameras ??) can be seen in the beginning that was shot in Iraq if one looks carefully at these scenes. In addition, film grain can be seen in places. This isn't the transfer, it's the original film stock used, and the cinematography units and their cameras. In short, on a 1080p HDTV, it's about as good as you'd get as an optical projection of a film print in a theater. Original audio was monaural (surprised me some for a 1973 film). It's been remixed to DTS-HD Master Audio 5.1 ES on the "Extended" and DTS-HD Master Audio 5.1 surround on the "Theatrical." Sounds very good with things still well centered on the "center" channel; remixing was not over-done. Fidelity is quite good considering its source is a 1973 era analog monaural recording (the kind of fidelity and bass thumping found in current films isn't there and never was). Mid-level and higher home 5.1 systems will deliver better audio with finer details to be heard than anyone ever experienced in any theater in 1973. Purists might complain that the transfer was reformatted to 1.78:1 (16:9 HDTV ratio) compared to the 1.85:1 aspect ratio as it was originally projected theatrically using a projection mask on the theater projector's film gate. This was NOT done by cropping anything from what was originally projected in theaters, it was performed by opening up the frame slightly top and bottom during the transfer. The full-frame original negative and work prints are 1.37:1 aspect ratio (~4:3). Cinematography was composed in-camera for 1.85:1 projection during shooting using viewfinder masks. (This was and continues to be an industry standard alternative to shooting and projecting for wide screen using anamorphic lenses.)

What's to say about the film itself? It's a well-known classic even those (adults) who have never seen it generally understand its content. Completely deserving of its R rating by the MPAA due to extremely strong language, a very disturbing scene with sexual content involving the girl (while possessed), and graphically violent death scenes. It is only one or two steps shy of NC-17 although the MPAA has gradually become much more tolerant with film content over the years. Like most thrillers, suspense and horror genre of its era, its pacing is slower than many current films in these same genre that launch immediately into non-stop action. Instead, it lays the character and story groundwork while gradually building the frequency and intensity of disturbing and horrific incidents until the climax at the very end. As I understand it, the "Extended" version is the 2000 Director's Cut which restored nearly all (if not all) the scenes that were cut by Friedkin after the studio execs reviewed the film. Blatty, the novel and screenplay author, was extremely upset with Friedkin for many years over this, in spite of the film's immense success and continued popularity. The "Extended" represents what would have been originally released had a studio exec not suggested these cuts, or if Friedkin had ignored that exec's suggestions. It's become a horror classic that has withstood nearly four decades of other horror film writers and directors chasing after its macabre presentation of pure evil . . . and this done in an era without any CGI and other modern special effects. It doesn't need the modern audio-visual shock methods as its terror preys upon the mind as much or more as it does the visual and aural senses. Few since are its peer. The ten Academy nominations including Best Picture, and seven Golden Globe nominations it received . . . unheard of for a horror film including being the first one nominated for an Academy Best Picture . . . should be telling. In my opinion it's a "must see" . . . either version . . . for those that like or study the horror and thriller film genre (although I recommend the Extended).

Note that even now, the writer and director do NOT consider this a "horror" film and never have. They have always characterized it as a (theological) "thriller." Put it into whatever genre bin you wish. It still ranks as one of the "scariest" films ever made. Various scenes have remained shocking even with repeated viewing and knowing what will happen next.

Abbott and Costello Meet Frankenstein (Blu-ray + DVD + Digital Copy) (1948)

Hello All

I was just wandering through amazon and came upon this section and was just delighted to find "A&C meet Frankenstein" getting such nice compliments.

I would like to let you all know that my father Robert Lees and his writing partner and an old family friend, Freddy Rinaldo, wrote this film.

Freddy is no longer with us but my father is still, all of 92 years old, and is thrilled that after all these years you all like the film.

A little addenda:

You all must remember that A&C were essentially radio comedians,

and it was from his training in radio that Costello had the bad habit of coming unglued if he didn't consistantly get laughs from the crew for each gag each take, no matter how many takes were involved in getting a scene right.. For him the crew was a live audience, so if he didn't take the house down, he would put in another piece of business and reinvent the scene on the spot until he did and he was very inventive! I don't know how successfull they were, but they tried to take him aside and explain how important it was to actually follow the script!! Dad said that Lugosi enjoyed this aspect of Costello very much although I'm not so sure whether the director did, or the writers either for that matter.

Both Dad and Fred respected the "horror/terror" genre in literature very much noting to me when I was younger how complex and interesting the form had become in the hands of writers like Dunsynane Tolstoy Lovecraft Saki,or Poe to name a few.

Tolstoy wrote some strange and luminous things in this old form, once a short story about a Vampyre.

But in those days and by the time Universal Studios got through exploiting it all, "The Wolfman meets Dracula, meets Frankenstein,meets the Mummy, meets the Andrews Sisters" well, lets just say that the bloom was well off the rose.....

And so the object for them was not to parody the genre (at least the serious part) but to parody what Universal Studios had by this time done to the genre....

One of my favorite parts in the film is that sublimely dysfunctional chase scene at the end.

And its true, they had a blast writing the movie.

Lou Costello was always the master of strangulated, speechless terror, so putting Abbott & Costello in a movie with the Wolfman, Dracula and the Frankenstein Monster was inspired. Getting Lon Chaney, Jr., Bela Lugosi and Glenn Strange to play the Terror Trio was just icing on the cake. This time around Bud and Lou play Chick Young and Wilbur Gray, a pair of railroad baggage clerks in LaMiranda, Florida, who have to deliver two large crates to MacDougal's House of Horrors. Inside are Dracula and the Frankenstein Monster, but of course they escape. To make things worse, Wilbur's beautiful girlfriend, Sandra Mornay (Lenore Aubert), is really a mad scientist who wants to put Wilbur's brain in the Monster. Fortunately, Lawrence Talbot (Chaney) has arrived from Europe on the trail of the monsters.

It is rather amazing how long this film goes with Wilbur being the only one to spot the monsters. The comedy in this movie is something of a departure for the comedy team, because it relies more on situational humor and not as much on the "Who's On First" word play. The scene pantomime scene with Lou on the Monster's lap is great, as is the final chase scene with the boys encountering one monster after another. "Abbott and Costello Meet Frankenstein" is the first and the best of the boy's comic team-ups, which does not deserve the reputation it has in some quarters for having made the Universal monsters creatures of ridicule. That might be true of later Abbott & Costello monster comedies, but the charge would be truer of "House of Dracula" than this film, which has the same respect for the monsters as does "Young Frankentstein." Trivia Note: While filming the scene where the Monster throws Sandra through the lab window, Strange was knocked over and broke his ankle. Chaney, who had played the Monster in "Ghost of Frankenstein," volunteered to step in and once again don the makeup and he is the one who re-shot the scene that appears in the movie.

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Abbott and Costello's best known and perhaps best film has them meeting Lon Chaney Jr. as the Wolfman, then Bela Lugosi as Dracula, then Glenn Strange as Frankenstein and then. . . . The plot revolves around the idea that the perfect new brain for the Monster should be a simple one -on that's easy to control. Lou Costello's is simple enough. The slapstick begins when Bud and Lou refuse to believe Larry Talbot (Lon) is the wolfman. The best non-monster bits are variations on what Bud and Lou did in the still funny, Hold That Ghost. You will note that Dracula can be seen in mirrors and that he would not have really died from a long fall (that's not being left out in the sun or getting a stake in the heart). But who cares, this is a silly, enjoyable slapstick that gives us both Lon Chaney Jr. and Bela Lugosi doing a wonderful job acting straight against the boy's antics. Glenn Strange is the Monster. Vincent Price does a cameo. (1948 Directed by Charles Barton).

Read Best Reviews of Abbott and Costello Meet Frankenstein (Blu-ray + DVD + Digital Copy) (1948) Here

Universal's legendary, all-time classic comedy paired Abbott & Costello with a series of movie monsters, including Bela Lugosi essaying Dracula for only the second time on-screen, Lon Chaney, Jr. as Larry Talbot (aka the Wolfman), and Glenn Strange as Frankenstein (there's also a fun cameo by another Universal monster favorite at the very end). "Abbott & Costello Meet Frankenstein" also revitalized A&C's film career for years to come (with the boys meeting everyone from Dr. Jekyll and Mr. Hyde to "The Killer...Boris Karloff"), and still holds up tremendously well especially for any fan of the classic Universal monster movies. The comedy in Robert Lees, Frederic Rinaldo and John Grant's script deftly bridges A&C's antics with a basically respectful treatment of Dracula, Frankenstein and crew, allowing for the film to recreate the feel of the studio's Golden Age chillers in a hilarious setting that never ceases to entertain.

Universal's Blu-Ray presentation of the film, out next week, is terrific: the AVC encoded 1080p transfer is natural in appearance and allows the film, warts and all, to "breathe," so to speak, without any obvious filtering or excessive DNR. The DTS MA mono sound is acceptable, and extras carried over from the prior DVD include Gregory W. Mank's commentary and the David J. Skal-hosted DVD featurette "Abbott & Costello Meet the Monsters" (though, as with the recent Blu-Ray of "Jaws," this featurette is presented in a heavily compressed, terrible-looking standard-def encode). Two Universal 100 Years featurettes and the trailer are also included, plus the trailer, a DVD and digital copy.

EDIT Some users asked if the DVD contained this set is also remastered. IT IS NOT. In fact it's the same "Comedy Legends" older DVD pressing...so don't buy this set if you are not interested in the Blu-Ray.

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Regardless of whether you have ever seen Abbott & Costello or not, this is a DVD you simply cannot pass up. I highly recommend this film because not only is it excellent, Abbott and Costello are always winners! As usual, Abbott is sarcastic and Costello is loveable and charming.



Bud Abbott and Lou Costello star in this hilarious horror/comedy that has not only one but three of Universal's classic monsters: Frankenstein, Count Dracula and the Wolfman.



Abbott plays Chic Young and Costello is Wilbur Grey. Both men work as baggage handlers in Florida. After a brief meeting with Wilbur's beautiful girlfriend Sandra(Lenore Aubert), Wilbur takes a mysterious phone call from Lawrence Talbot (the wonderful Lon Chaney Jr.) about two crates to be delivered to the McDougal House of Horrors.



Thinking nothing of it, the eternally scared Wilbur goes about his business. When Chic and Wilbur get the crates for Mr. McDougal (Frank Ferguson) in a rather unusual manner, McDougal insists the men deliver them personally so the insurance company can inspect the deliveries.



After a hilarious delivery scene, Count Dracula (the immortal Bela Lugosi) and the Frankenstein monster (Glenn Strange) escape the House of Horrors and go to the home of Dr. Sandra Mornay! Dr. Mornay and Count Dracula want Wilbur's brain so they can revive the Frankenstein monster.



Added to the mix is a lovely insurance inspector, Joan Raymond (Jane Randolph) who is 'interested' in Wilbur for the purpose of her investigation. Chic simply cannot understand why so many beautiful women are in love with Wilbur!



I was very pleased to see the classic stars Lon Chaney Jr., Bela Lugosi and Glenn Strange in this film. All three men were just as splendid at comedy as they were in their horror roles. I also found this movie to have some very good special effects for its time. The scene where Dracula changes from a bat to a man is excellent. Vincent Price, a true master of horror himself, appears as the voice of the Invisible Man at the end of the film.



This film also has some great trivia. Lon Chaney Jr. worked as both the Wolfman and the Frankenstein monster on some scenes after Glenn Strange broke his ankle during filming. Boris Karloff also did some promotional work for the film. Check out the Internet Movie Database for more trivia!



Will Dracula and Sandra get Wilbur's brain? Will Wilbur get the girl? Will Chic ever give Wilbur the respect he deserves? Get the DVD and find out!

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Dan in Real Life (2007)

I blame it solely on that horribly cheesy poster art portraying Steve Carell's head laying on a stack of flapjacks, but I wrote off `Dan in Real Life' well before actually seeing it despite the good reviews and word of mouth from friends. It was supposed to be really good, but in my head all I saw was cheesy ridiculousness pretending to be sincere. I'm really glad that I finally gave in and watched this film this past weekend.

What a treasure.

I know this may seem like an odd comparison, and I will say off the bat that the film I'm about to compare it to does have some heavier themes, but this reminded me a lot of last years independent surprise `Rachel Getting Married'. In fact, I actually think that overall, `Dan in Real Life' is the better of the two films, or at least the most complete and comfortable of the two (when have I ever shunned away from discomfort in a cinematic offering?). I had a few issues with `Rachel's construction, but here I was completely soaking up every frame. It was funny, touching, charming, emotionally resonate and beautifully structured.

In quoting the film itself, and my review's title; "Plan to be surprised".

Steve plays Dan, an advice columnist who has lost his wife to an illness and is rearing his three young daughters with difficulty. His eldest daughter just wants to be given some freedoms, his middle daughter just wants to be allowed to express her newfound love and his youngest daughter just wants a little attention. Dan, depressed yet never to the dramatically overstated and clichéd effect that many actors would have played it, is just not capable of giving them what they need. When they make a trip to visit family, Dan meets the beautiful Marie and sparks fly, but she is involved and so they part only to uncover that they will be spending a lot of time together as Marie is dating Dan's younger brother Mitch. Trying to hide their growing affection for one another, Dan and Marie try and play cool, but it soon becomes more than either of them can handle.

The film is so much more than a glorified rom-com, as it seemed to have been marketed as. I really wish that this would have gotten the push it deserved, and that it had been campaigned as what it really is; a heartfelt and honest portrait of middle-aged growth and development. There is a sincerity about the way Dan comes to terms with his own person, trying to understand who he is as a man, as a father, as a widower. Carell is outstanding here (something I never imagined that I would say). Juliette Binoche is marvelous, as usual, giving her delicate performance a layer of spunk and wit that makes her delicious in every sense of the word. I even enjoyed Dane Cook's performance, and I find him repulsive. He was genuine and charming and natural.

I just love the piano-side sing-along (piggyface), for it was scenes like that that gave the film this lovely sense of naturalness.

Between the stellar cast and the wonderfully constructed scripting (nothing is ever too clichéd and even the romance is developed with smarts as apposed to the usual laziness) that contains some comical yet appropriate dialog ("MURDERER OF LOVE!"), `Dan in Real Life' is the real deal. I am just in such a state of pleasant and very welcomed shock right now.

Now, let's talk about fixing that ridiculous cover-art.

A tired formula gets a shot in the arm by affecting performances in this quaint little film that will touch you.

I have grown to really appreciate the acting talent of Steve Carell who really can carry a film. Carell darn near stole the show in Bruce Almighty to the point where the funniest segments were cut from the theatrical release because he upstaged Carrey so much, but those scenes where fortunately made available on the DVD release. Carell was again the saving grace of Evan Almighty and The 40-Year-Old Virgin in which both most likely would have died unnoticed had it not been for his sincere performances. This comedian definitely knows how to act. Carell reminds me of the legendary Dick Van Dyke when he had serious roles or moments and Bob Newhart's dry comedic delivery. It all just seems so effortless on Carell's part.

In another affecting performance we have Carell as a widower raising three daughters alone and giving his tidbits of wisdom on doing so in a local column titled "Dan in Real Life." Even though his wife has died four years ago, he has yet to really move beyond that in the way of a relationship. He has focused all his attention of his children and while that is admirable, a parent is still allowed to look out for himself too. He has not and the annual fall trip to his parents' cabin plays out all too realistically with everyone pushing him to find someone and he does.

He bumps into a lovely woman in town that he's immediately drawn to. She is played by the ever radiant Oscar winning actress Juliette Binoche, the only reason to see The English Patient and one who makes turning 43 seem really cool and desirable. In the hands of any other actress this role would have been blown out of portion, but in the subtle hands of Binoche, it is a delicate and balanced performance. Unfortunately, this terrific woman who seems perfect for him is, in reality, his brother's latest flame that he's brought down to the family cabin to meet everyone for the first time because "this one is different."

Sadly, the effects of this are handled much like a TV-movie or a good episode of that old series "Love Boat", or any other sitcom for that matter. What makes this film ultimately rise above that is admirable work done by the leads. These are seriously understated performances that are quite touching, believable and memorable in spite of a seriously flawed script at times.

Some of the humor in this film is both lame and predictable, but the execution is always dead on. Again, the performances are the key to this tired formula of the awkward romance. I guess this film is a good example of style over substance. Will this save this movie for everyone, no, but I think most might like this film. I doubt many will love it or even remember it much after seeing it, but it's a nice experience in spite of it's obvious weaknesses.

Buy Dan in Real Life (2007) Now

Anyone who actually believes that love is a many splendored may not get their money's worth from "Dan in Real Life." Here's a film that shows just how unexpected, irregular, and confusing love can be, both in terms of family and romantic interests. There's intelligence to this story that's equally humorous and heartbreaking, proving once and for all that love is difficult to receive and even more difficult maintain. At times, it's also difficult to acknowledge, especially if it's being kept a secret. The greatest difficulty of all is letting go of love, to recognize that the past is the past and to know when to move on. All this is explored in "Dan in Real Life," a smart, witty, and touching romantic comedy that doesn't lose itself to an overabundance of clichés. The formulaic elements are there, but they're presented in a new way, and they're used in a story that can actually support them. They're not used simply because we expect them to be.

The plot focuses on Dan Burns (Steve Carell), a widowed advice columnist living in New Jersey with his three daughters. They all drive to Rhode Island for an annual family reunion, and its there that Dan meets Marie (Juliette Binoche), a good-natured woman who has traveled the world and seen many sights. Their romance comes to a halt when Dan discovers that Marie is dating his brother, Mitch (Dane Cook). Dan spends the rest of the film struggling with his feelings, unwilling to let Marie go yet unable to be honest with his family, who he can't seem to connect with.

As simple as this plot sounds, a number of fascinating, thought provoking elements liven things up. One of the most interesting is the relationship between Dan and his daughters. The two oldest are typical in that they hate Dan: seventeen-year-old Jane (Alison Pill) is desperate to see the world, and a great way to start would be to finally learn how to drive; fifteen-year-old Cara (Brittany Robertson) believes that she's deeply in love with a boy from school, and she openly despises her father for not letting that love develop. At one point, she screams that he's a murderer of love. Dan tries to rationalize the situation--Cara has only known the boy for three days, and it's impossible to know whether or not you're in love so quickly. Eventually, Dan begins to analyze his love for Marie, who he had only met three days earlier. His youngest daughter, Lilly (Marlene Lawston), is the least hostile, despite not understanding why her father behaves the way he does. As his love for Marie deepens, he loses track of Lilly, and he ultimately hurts her feelings by neglecting to read a special book she made for him.

Another important element is the relationship between Dan and his immediate family; because he makes himself so distant, they look at him more with concern than with love. Some feel that he needs to finally let go of his dead wife--his parents (John Mahoney and Dianne Wiest) set him on a blind date with an old family acquaintance (Emily Blunt), hoping that he'll finally have some fun. This suits his brother, Clay (Norbert Leo Butz), just fine, since he feels that Dan should "uncork" himself. The pressure they're putting on Dan is unmistakable, as is the fact that their actions are well intentioned but completely unnecessary. This is probably why he attempts to engage his nieces and nephews, even when they make it clear that they don't want to be engaged.

But the relationship between Dan and Marie is the most important element. It all boils down to the fact that two love struck people are under the same roof, unable to show their feelings for each other. How long can this go on? Will anyone notice? Will either of them be able to come clean? These are the questions we find ourselves asking as the film progresses, not only because the story is entertaining, but also because we eventually realize that Dan is not following the advice in his own written columns. Dan himself realizes this when his articles are considered for syndication in a major newspaper--he has become a hypocrite, someone so blindsided by love that he didn't think about who might get hurt by it.

Is it normal for love to be this emotionally exhausting? I don't think I'm the right person to answer that question, which is probably just as well; a recommendation for "Dan in Real Life" doesn't depend so much on what I think, but on the mindset you bring to the theater. This classic Boy Meet Girl fable is told in a non-traditional way, relying more on genuine emotional development than on a formulaic structure. Although it allows for the film's one weakness--an abrupt ending--the emotional development still does wonders for the story, preventing it from becoming a bland, meaningless romantic comedy. It helps that all of the characters are believable, especially Dan; as he comes to terms with the ups and downs of life, our own humanity is reaffirmed. This alone makes "Dan in Real Life" a heartfelt, funny, and thoroughly enjoyable film.

Read Best Reviews of Dan in Real Life (2007) Here

When Steve Carell and Dane Cook were given top billing in "Dan In Real Life," I expected a great or mediocre comedy filled with laughs and humor. Congratulations again goes to the marketing that makes a film appear different than what it actually is. This is the case with "Dan In Real Life," a film that will make you laugh with the characters, but also make you bury your face into your arms at the awkward situations dealing with love.

Dan (Steve Carell) is a widower, whose job is writing for an advice column in the paper and raising his three girls. As much as he's good at helping people, Dan can't seem to connect with his daughters. He decides to take the family to his parents' lodge for the weekend and while there he meets Marie (Juliette Binoche) in town and they immediately make a connection, only to separate soon after. Coming back to the lodge, he finds out that his brother, Mitch (Dane Cook) is dating Marie and Dan has to endure the weekend, tormented with the love he has for Marie and his daughters' dislike of him.

First things first, "Dan In Real Life" is not a comedy. It does have touches of humor and slapstick throughout, but it's much more dramatic. The title character is depressed and trying to make life work for him and his family. This is the film's downfall, because at times, it doesn't know if it wants to be either a comedy or a straight drama. It lands in the middle of the spectrum and this hurts it slightly. Luckily, the acting is very good and keeps the film from being less than mediocre.

Steve Carell is one of my favorite actors (huge fan of "The Office") and he didn't let me down here. From what I saw, he was in every single scene and he truly made them better. At one point, you'll be laughing at the absurdity of his situation, when you'll be sympathizing for his character the next (the "Let My Love Open the Door" scene). Carell makes Dan extremely likeable and a character to root for. Dane Cook gets a bad rap for his acting and although some of his movies aren't great, he does fine here as Dan's brother. Cook downplays it and his love for Marie is believable. He needs more roles like this. As the love interest, Juliette Binoche is great and has good chemistry with both Carell and Cook. All the acting was fine and was the best part of the film.

What really hurt the film was Dan's daughters and the ending. Although the actresses playing them did a good job, their characters were so poorly written. Instead of being loving, they became annoying and grating. Dan is trying his best to help their situation, but they make it harder for him. Finally, the ending was too "sweet" for my taste. It seemed like it came too abruptly and the end credits montage had my eyes rolling. If they took that out, then maybe it would have fared better.

Overall, "Dan In Real Life" surprised me in that it wasn't a consistently funny comedy, but a heartfelt drama. Unfortunately, it had a hard time juggling both genres. Thankfully, good acting helped the film along and made it better than it should have been.

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This, along with a couple other movies now (only a couple though), is the revival of good script writing and good screenplays. This movie has zero special effects, but yet is such a good, good movie. I was very impressed. Carell can play a more serious role. This is where it's at. Dane Cook too did well out of his typical comedy role. I wish everyone would give this a chance. It's great.....More movies should be made like this. It's simple and great all in at once.

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American Mary (2012)

What happens when life doesn't go as planned? When the simple expectations that we set for ourselves and others fall way below acceptable standards? Many of us end up lost, wandering in a haze of confusion and misdirection that, if left unchecked, can put us on a destructive course that we may never recover from. The real world is cold, harsh, and unforgiving, though we are brought up to believe otherwise. This simple and unwavering fact lies at the core of Jen and Sylvia Soska's new film "American Mary".

Mary Mason is a medical student, a starving medical student more to the point. She is alone in the big city, trying her best to survive her schooling which brings the promise of a well-paying career. She is dedicated and enthusiastic, but also a little bit desperate. The world seems to be closing in on her from all sides, Proctors on one end and bill collectors on the other. With no other alternatives, Mary seeks a job as an exotic dancer, after all, the money's good and more importantly, immediate. Arriving at the low rent and downright seedy strip joint (say "seedy strip Joint" with a New York accent for proper effect), she meets owner Billy Barker, who might as well be wearing a shirt that says scum bucket on it, or so we assume.

Mary is an innocent, in its purest form. She brings a resume to her strip club interview, just in case he might request it. This is the first of many complexities in the film. Usually, its takes a smart and seasoned individual to bother bringing a well-maintained resume with them to a job interview (trust me, that statement is surprisingly and alarmingly true), but it takes an innocent to bring a resume to an interview at a strip club. Not to mention the fact that we have an innocent girl applying to work at a strip club in the first place. Some people may find the entire scenario unlikely, but I've known many young women in a similar situation who end up doing the same thing, because dancing for money and showing some flash sounds much better than sitting alone in a dark and empty apartment with nothing but your thoughts.

It's not only the innocence but also her sense of professionalism that sets Mary's life on a collision course with madness. In the middle of the interview, one of Billy's guys burst in and informs him that they've got a serious problem. Annoyed and angry Billy runs out, telling Mary to stay put. This is the first of many turns in the film. Billy returns, desperate, demanding to know how far along Mary is as a surgeon. Being satisfied with her answer he offers her $5000 cash, no questions asked, for a patch job. Mary handles it and walks out $5000 richer but leaving her resume behind. This almost immediately leads to a second job, a larger job that calls upon all of her skills as a surgeon, and requires her to learn a few new ones.

Once the money has a grip on her, it begins to dictate the course of her actions, and of course this happens quickly. With cash in hand, Mary handles her business as well as treating herself to some new threads. This doesn't go unnoticed by the surgeons at her school, and soon Mary finds herself invited to very swank party. So desperate for approval and overwhelmed at the thought of socializing with the medical professionals that she so desires to be, she doesn't question it and the Mary that walks through the hotel door is never truly seen again.

American Mary is a downwards spiral of a film and I mean that in the best way. It's first and foremost a horror film, but it's also equal parts a cautionary tale, and maybe even a little bit romantic comedy. It's a tale not only of innocence lost but also innocence found. As Mary's life seems to spiral out of control many of the characters whose lives are jaded and chaotic reclaim their innocence and find focus through her. And for a moment they all seem to be on the same page, but the reality is that they're ships in the night, heading in opposite directions.

Mary has a pet bird; it's interesting to note that once Mary accepts her position as a back alley surgeon and moves into a new place that can also serve as her office, we never really see the bird again. Its cage remains covered. In the East, birds symbolize the departed soul, and in the West, the bird symbolizes the saved soul. Mary seems to be Hungarian, and Hungry is considered the transitional country between the East and the West. Which does the Bird represent? Since it remains covered, it can be thought of as both departed and saved, dead and alive. Perhaps it's a reference to Schrödinger's cat. Either way, the principal remains the same. No, I'm not over-thinking the film, it really is that deep.

American Mary is a deeply effective film. You can't help but fall in love with Mary and want to save her, and she wants to be saved, but won't let you. Like the best films, it will haunt you for days afterward, forcing you to play out scenarios in your head where the sun would rise and better decisions would be made.

Katharine Isabelle is Mary Mason and is absolutely captivating. In the many great performances she has had over the years this is her finest. She owns the character and the film every second that she is on screen, causing us to feel emotions that are constantly at odds with each other, and that takes subtlety and talent.

Antonio Cupo, who plays Billy, the strip club owner is truly endearing. As we get to know him through his actions we find that he is not the two-dimensional thug we perceive him as at the beginning of the film, but Mary's counterpart, a little boy who got lost along the way and is just doing what he needs to do to survive.

Tristan risk as Beatrice Johnson, the living Bettie Boop stripper, kind of represents choice in the film. She is a saint and sinner, Mary's salvation and she could end up being her undoing. Beatrice is a woman who has the best intentions, but whose world is violent, unpredictable, and most of all, unforgiving.

Lance Delgreggo, Billy's strong arm and Mary's protector, is played by Twan Holliday. A leather clad enforcer whose performance may be the film's most poignant, in the sense that he's the only one that brings out the light and Mary's eyes, if only for instant.

And finally, Paula Lindberg as Ruby Realgirl, the ultimate in duality represented on screen. Ruby is the innocent sex symbol, the beginning and the end, the cause and effect and in some ways, the moral center of the film.

Every one of these performances is crucial to the film and I do not hesitate to say that each of these characters is important to the story no matter how large or small the part.

This brings us to the Soska sisters. The girls are wise beyond their years and talented beyond reason. That may sound heavy-handed, but I've seen many many films by many many writer-directors and it takes a very special person, or persons, to make a film this perfect on their sophomore try. The last person to do it was David Fincher with his film "Seven" and that was almost 20 years ago.

With Dead Hooker in the Trunk, Jen and Sylvia Soska showed the horror community that they can make complete and entertaining film with almost no money. With American Mary, they're about to show the world what they can do when you write them a check. Beautifully composed shots, lighting that conveys warmth while sustaining the feeling of cold isolation, and layers of imagery and emotional substance, this is a film to be absorbed, and you will do so with minimal effort. A film about hope and love as much as it's about violence and violent intent.

I urge everyone to see this film and support it. An original horror idea by arguably the next great film-making team and brought to life by true artists. American Mary is the type of film you can discover again and again, seeing something new each time you watch it. There are so few of those films out there and even fewer filmmakers capable of telling a story in such a way. I've met the future of horror; its last name is Soska.

Read all my American Mary coverage at sinfulcelluloid.com

American Mary was by far the best Horror film of 2012 in my opinion.Directed brilliantly by Jen and Sylvia Soska It was Raw,Gritty and Fearless.

(Katharine Isabelle)in the Title role as Mary Mason was amazing and never faltered in her performance who's dialogue went from dead serious to humorous at a moments notice.

Mary is a Medical Student studying to be a surgeon, she gets down on her luck and needs some quick cash in which along the way she meets some real amazingly freaky characters and gets mixed up in Body modification and eventually revenge that involves unwanted Body modification.

You do not want to mess with Mary that is for sure.She has some help in the form of an underground sex club owner who may or may not be in love with her. The gore and effects are amazing and the film is beautifully shot.In this respect and other respects it reminds me of Asian extreme cinema such as (Audition) (I saw The Devil) etc but the English version.

I paid 40 dollars for this import because it is the uncut version and it is worth every cent, the one being released in June in rated R and has about 6 minutes cut from it.

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I am totally disappointed in this so-called horror flick. I pre-ordered it based on published reviews...2 months before it was released. What a mistake. The parts I remember most are the agonizing sounds of Mary's cell phone chimes. If I counted correctly, 37 times this phone rang in the movie...and each time it took away from the moment/mood. I think the 1-star topper is at the end of the film when the police are more concerned about carrying Mary's birdcage out of her apartment than focusing on the crime. What a lame script. In fact, there really wasn't a script and nothing creepy...just some blood-filled slicing (way overdone). I urge others to save their money. This is not what it was built up to be. I am a horror film fanatic and this one does not make it into my Top 200. This takes horror films to a new all-time low.

Read Best Reviews of American Mary (2012) Here

"American Mary" is about a young female medical student (Katherine Isabel) who turns to a world of body modification surgery in order to pay her way through medical school. The movie turns too bizarre right around the middle, and as a result, it fails because of a lack of character development.

In some ways this film is similar to "Excision" because is has a strong female lead and focuses the majority of its running time on a bizarre fixation with surgery. "Excision" was a success because the audience was able to connect with its lead characters. This film, however, takes a look at the underground world of plastic and cosmetic surgery, and it would all have been spectacular if the viewer was able to maintain any type of emotional connection to any of the film's stars. The cast does a good job, but the script is lacking, and at times, random characters who have nothing to do with the plot are introduced and their actions are often unexplained. As a horror film goes, this is better than most of what's out there, especially in the acting and production department. But this film could have been something special with a bit better script and better development of its characters.

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Horror films can be a tough sell. There are so many of them produced under conventional means i.e. follow the basic `scare' formula but every now and then one comes along with a flair all of its own, with a style all of its own, with a look all its own. That's a cause for celebration however modest because flair, freshness, and originality aren't exactly available with every feature. AMERICAN MARY has some wonderful touches, and on those points alone I think it's definitely worth seeing. Will it be entirely satisfying? I think that depends upon your personal tastes and expectations for character development.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you're the kind of reader who prefers a review entirely spoiler-free, this ain't it! Still, I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

Mary Mason (played by the comely Katharine Isabelle) is your typical med school student struggling to make ends meet. She's about to be kicked out of her classes for failing to keep up on her tuition payments when she answers an advertisement at a strip club for performing erotic massage. Before the night is over, she's swept into a world of underground surgery fixing up a victim for the club's owner which only opens the door to an even stranger off-the-records business of body augmentation. Suddenly, she's up to her elbows in blood and stitches. What's an American Mary to do?

It's easy to give kudos to AMERICAN MARY for attempting something original because, largely, that's what writer/director/sisters/stars Jen and Sylvia Soska did. Unfortunately, that's all they did, as they amped up the `weird for the sake of being weird' factor but heavily scrimped on any (and I do mean ANY) emotional connection between these characters. That's what I found a shame to the picture I wanted to not so much `like' Mary Mason (I don't believe filmmakers ever really intend for us to like their villainous creations) but I wanted to fully `appreciate' the journey she was on. However, Mary as played by Katharine Isabelle approaches the role preand post-catharsis (her rape and the subsequent descent into medical madness) absolutely devoid of any emotion. In other words, before being awakened to this weird subculture, Mary behaves mostly passionless to all things; and, after being awakened to the same, she's still pretty much passionless. Before being raped by what must be the most downright evil portrayal of a college professor/surgeon, she's passionless about life; and, after the assault, she's still pretty much devoid of any feelings.

Now, maybe (and I do say MAYBE) that's what the sisters Soska wanted to show that Mary was always destined to be what she became, that she was never going to be a victim in her world but, if that was the case, how is it she could still casually dismiss the only person in this world her ever cared about her her `Nana' by simply deleting her telephone contact once she learned she died and THEN sit sulking in the dark? If she wasn't going to be a victim of her emotions, then why the one scene sulking? If it was to convey "see, she's only human after all," then they've changed their message. If it that wasn't the intent, then why include such a trivial plot development at all?

That's the thing about Mary I never know how she thinks about anything. As a character, she simply `does' what she does. At times, much of the film felt like what others call `torture porn,' but I never got the sense as a viewer that Mary took any delight in torturing those that she did. The only legitimate display of emotion I can recall in the entire piece was when she was almost discovered, was konked over the head by a security guard, and then got back up and beat the young man (presumably to death). While her face showed little emotion, her body betrayed her, thumping and thumping and thumping away on the body the way she did. That was the only real emotional development Mary suffered, so I'm still left wondering what it was all about.

AMERICAN MARY is produced by IndustryWorks Pictures, 430 Productions, American Mary Productions, and Twisted Twins Productions. DVD distribution is being handled through XLrator Media. As for the technical specifications, the film looks and sounds mostly very solid, though there's one really strangely miked club sequence wherein vocal levels clearly are out of whack (not a big deal, I just like mentioning these little things when I see `em). The disc offers a making of short as well as a director's commentary, if you're so inclined.

RECOMMENDED. AMERICAN MARY is slow. At 100-plus minutes and all the glowing praise I've read for the film, I was really expecting something more than just `weird for weird's sake.' I don't know that this world this bizarre body modification culture is real (I suspect it is), but I kept wondering what the Soska Sisters were trying to say about it since it didn't seem particularly `American,' particularly `Mary' (i.e. routine, predictable), or particularly anything other than the portrait of a really unconventional class of people bordering on torture porn. When I don't know what the message is, I don't know what to take away from the experience; when I don't know what to take away, then I'm left to my own devices ... this time out, my devices haven't a clue.