Flash Gordon (1980)

I would give the movie itself five stars, but the DVD and Blu-Ray presentation are not as strong. The 1980 Flash Gordon movie is one of the funnest romps in the space opera I have ever experienced. Much more true to the Saturday morning serial kind of sci-fi that Star Wars was paying homage to. There is an inherent camp value that this movie never forgets and it just makes the film a joy to watch. Plus the soundtrack from Queen just ups the fun factor even more. You would think this combination of music and content would make for a very campy film, but not necessarily. While the movie definitely knows it's roots and is having fun with that you really can't call Flash Gordon a cheesy B-movie.

The Savior of the Universe (SotU) Edition DVD lacks the very energetic commentary by Brian Blessed (plus production stills and other static extras) that the European Silver Anniversary Edition DVD and even lacks the commentary by Same Jones and Melody Anderson made for an International Edition (that of course we never saw in the U.S). In spite of that you do get a remastered film with 2.35:1 anomorphic widescreen, 5.1 Dolby Surround and the movie trailer (none of the European releases had that). While the SotU edition was remastered and looked a ton better than the previous releases it wasn't perfect. While background matte effects are noticeable they are easily forgiven considering the sharper picture, but there were certain matted special effects blocks used on the spacecraft that were painfully obvious in the remaster. Either they didn't bother to digitally clean them up or it wasn't technically possible. Audio also sounded rather thin considering this was supposed to be digitally remastered.

Another thing that bugs me is SatU DVD is set in an impressive and slightly oversized case, but when you open it up all you get is the DVD and the pencil art insert from Alex Ross. No booklet detailing any info on the movie... not even a single page chapter list. Yeah, Yeah... most of you would say "but the remastered movie is what's important" but considering the sendup (and packaging) I would expect at least something more than just a disk and a sketch. I have seen movies with far less noteriety get more in their packaging than this.

Where the Savior of the Universe Edition improves upon the previous U.S. release significantly the Blu-Ray edition really stands out heads and tails above the rest. The visual difference is breathtaking. Details and textures come out that I have never seen before (and I was one of those kids who played the VHS of this film to death). Some scenes show so much clarity you would be hard pressed to think they were done recently. I think the sets that were done to be interiors stand out more for some reason so it's not really inconsistent mastering. The special effects problems that were very obvious in the SotU Edition are still there, but the matte blocks are far less noticeable with some cleaned up entirely. Audio is stand out amazing. Don't bother looking for any noticeable surround, but then again this movie was done in stereo. Now it's in crystal clear, deep and full stereo. No more 'thin' soundtrack.

The packaging for the Flash Gordon Blu-Ray is identical to any other single disk Blu-Ray you may find. That makes it a lot easier to fit in with the rest of your collection unlike the SatU Edition's oversized box. You still get nothing special as far as any booklets or liner notes. Also you no longer get the art insert from the previous release. So still nothing really special on that front.

Both the SotU Edition and the Blu-Ray release have identical features with just a little irrelevant extras added to the Blu-Ray What you get on both is two featurettes. One is from Alex Ross (the guy who painted the DVD cover) on how much he loves the movie. He actually does a really good job of making his featurette much like an analysis of the movie and would have worked great as narration for a documentary. Instead you just get Alex in a chair with a few movie clips thrown in here and there. The other featurette is called Writing a Classic by screenwriter Lorenzo Semple Jr.

The Blu-Ray exclusives are just BDLive and some annoying streaming ticker that will give you "news" from Universal Pictures. If your Blu-Ray player isn't connected online you may be able to spare yourself the latest in invasive advertising. The movie case promises exclusive content from the BDLive features, but none of it is related to Flash Gordon. Currently all you get are more promotional tidbits for other movies. You know what guys? This would be a great place to add those freakin' commentaries you keep leaving out.

I can't for the life of me figure out why they didn't just add the European edition commentaries to the Blu-Ray release and maybe add the new things to sweeten the pot. But to have a Blu-Ray missing some cool bonus material that's already out there? Not the smartest move in my book.

So which edition should you get? If you have a Blu-Ray player definitely the Blu-Ray edition. It is the best remaster visually and sonically by far of any edition, European or otherwise. If you REALLY want that Alex Ross pencil insert exclusive to the SotU Edition then you may have to make a choice or double dip. Unfortunately there is no definitive edition for Flash Gordon, but the current winner in at least presentation of the film is Blu-Ray.

Sometimes certain films end up being much better than they have any right to be. Flash Gordon is one of those films. It is, in fact, and I say this in mortal fear of being mocked and shunned by my peers, one of my all time favotite movies. I can watch this film endlessly, and every time I see it I walk around smiling for the rest of the day... it's just that kind of movie.

The cast, first and foremost, is excellent. They work wonders with the material they're given... admittedly this isn't Shakespeare, but it plays remarkably well, with very few cringe-worthy moments. Standout performances include Max Von Sydow as the astoundingly evil Ming, Peter Wyngarde as the almost equally evil Klytus, Brian Blessed as the leader of the Hawkmen, and Topol(?) as an eccentric Dr. Zarkov. Then, of course, there's the absolutely stunning Ornelia Muti as Ming's beautiful daughter Aura... she's wonderful to look at, and has an exotic accent to boot. When I saw this film in the theater as a wee lad, I had quite the childhood crush on Miss Muti... sigh. Anyway, all of the actors seem to be having a grand time with their roles, and it definitely shows.

With all due respect to the actors, however, I really think it's the brilliant soundtrack that makes Flash Gordon stand out most in my mind. Queen, near the peak of their popularity, provided a wonderful, throbbing, highly eccentric collection of songs and instrumental bits that fit the film perfectly. I badgered my poor mother to buy me the 8-track, in fact, and then proceeded to play it at every opportunity... a very patient woman, my mother. She probably still hears "dumdumdumdumdumdumDUMDUM **FLASH!!** ah-AHH!..." in her sleep. Sorry, mom.

The special effects are actually still pretty impressive, as well... bear in mind, however, that I have a soft spot for 1980's effects. I really miss the days when the answer to "How'd they do that?" wasn't always "With computers." There's a certain mystery to these old effects, and I always respect the effort and creativity that went into making things happen with such limited technology. Sigh... Still, the film is very,very colorful, and there are a LOT of costumes, backgrounds, etc. Everything has a very shiny, surreal sort of look to it, in stark contrast to the realistic, worn-out look of the Star Wars films. It's pretty neat in its own way.

In the end, though, Flash Gordon is just plain entertaining. There's hardly ever a dull moment, and the film's almost 2 hour running time goes by in a flash (pun fully intended, with all apologies to the reader). You get a lot of action in those 2 hours... there are laser battles, lots of starships, hand to hand combat on a floating spike disk(?), catfights (in a harem, no less), flame-throwing rings, dominatrix henchladies, evil Space People, a surprising amount of implied sexuality, and the list goes on and on. Just put it in, turn off your brain, and for God's sake HAVE FUN!

On a side note, I have to say that the DVD release is a bit disappointing. The five star rating is strictly for the film itself, not for the disc. Although the video and audio quality is fine (easily the best version currently available), there is absolutely nothing in the way of extras. Zip. Zilch. Nada. Not even a trailer, for crying out loud. Here's hoping that someone, perhaps Anchor Bay (king of the cult classic), will have the good sense to release a Special Edition. I would love to see outtakes, trailers, making of bios, commentary, etc. This film certainly deserves better treatment than it's given here.

Still, this DVD is currently the best edition of Flash Gordon you're going to find (and it's WIDESCREEN!). Plus, it can be picked up pretty cheaply, if you can actually find it. I wholeheartedly recommend that you search it out, watch it over and over, and then join me in waiting patiently for a collector's edition to come along. Even with its shortcomings, Flash Gordon on DVD most definitely deserves a spot in your collection. Just file it under "Guilty Pleasures." :)

Buy Flash Gordon (1980) Now

When I got cable in the mid-80's I must have watched this film 100 times. It was interesting to see it again on DVD. It is still a FUN movie. The tone of the film is campy and adventurous. I think it captures the fun of the old serials very well -i.e. Flash seems doomed, only to escape to another tight squeeze!

The production design on FLASH GORDON is colorful and bold. Everything is bright and shiny (including the lycra hot pants on Princess Aura!). The sets are HUGE (example: The Hawk Men's floating fortress). I am particularly fond of the Arboria sets -nice and woodsey!

I think the performances from the actors fit the tone of the film. Melody Anderson as Dale is the best. "Go, Flash, go!" is a hilarious scene. Sam Jones is sufficiently hunky and athletic as Flash. And the Brits add a dash of class and fun (Timothy Dalton and Brian Blessed). Ornella Muti as Princess Aura has the best role: she changes from vixen to heroine and gets to vamp around in colorful, sexy costumes.

The rocket ships and sky effects are my favorite part of the film as well. There's something exciting about seeing FLASH GORDON rocket ships flying through the air.

The DVD quality is OK. I think the picture transfer could have been better -I know this film has a lot of blue screen work, but surely it's not THAT grainy! And I wish there were more extras -just a chapter index.

Read Best Reviews of Flash Gordon (1980) Here

Don't buy from online scammers. This DVD will be re-released in the fall of 2005!!!! Cheaper that these clowns sell them for!

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I saw Sam Jones at a convention and he said he recorded commentary for a future region 1 release. And from what I understand, The "Savior Of The Universe Edition" doesn't have it. So I say, WTF?

I could care less about the artist who drew the new cover and how the movie inspired him. He has nothing to do with this movie.

How about an interview with the surviving members of Queen about the making of the soundtrack? How about including the commentary from Sam Jones and Melody Anderson. Or Max Von Sydow, who is still alive. And the writer and director. Who cares about a guy that had nothing to do with the film?

I am happy that it is remastered. But that should be a given. I own the original region DVD and would really only buy this one if it had good extras. Part of me is still hoping that might happen one day.

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James Bond 007 -The Spy who Loved Me Blu-ray (1977)

This is my personal favorite of the Roger Moore 007 movies so I was looking forward to the DVD to see what sort of commentary would be provided to go along with it. Here we are treated ti Producer Micheal Wilson, Designer Ken Adam and writer Chrostopher Wood recounting their memories of the movie in a screen-specific commentary. Added to this is a lengthy "Making of...." feature (over 40 minutes) that all in all combines to make this a movie that belongs in everyones DVD library. The movie iteself is intriguing with very satisfying action scenes, humor and the most beautiful actress ever to grace the movie screen Barbara Bach...

The movie really has it all and we learn before the main titles that this is going to be a very different 007 movie from the ones that preceded it. In 1977 audiences rose to their feet to cheer what is still one of the most amazing stunts in motion picture history. Accompanied by a disco beat (that I like) Bond leaves the cabin of one of the EON series' sexiest femme fatales, is pursued by Russian assassins and then ski's off a mountain-top, apparently to his death. But no a parachute opens and our hero glides effortlessly across our screen and into the waiting hands of the main titles perfect.

I've never been a fan of Bond in the main titles and this is unfortunately the one that started this trend. My favorite main title sequences are those in which 007 does not appear.

The sequence at the submarine base introduces us to a couple of recurring characters, first is Minster Frederick Gray and then Admiral Hargreaves (who would later be promoted to the position of M). These are two welcome additions and Gray's appearance in particular would help the series four years later when the series lost Bernard Lee.

We also are introduced to Gen. Gogol as head of the KGB. Gogol would return in each of the successive movies until 1987's THE LIVING DAYLIGHTS when actor Walter Gotell's health had deteriorated to such an extent that his part was rewritten to a mere cameo, while the chunk of his scenes went to John Rhys-Davies.

What follows is a mix of action (the car chase, battle inside the Liparus and train fight stand out), drama (confrontation in the hotel room in particular) and Moore getting to be ruthless (dispatching Sandor from the rooftop "What a helpful chap.") Of course any review of the movie would be remiss not to mention the introduction of Jaws.

Jaws is a killing machine who, although clumsy, does not think twice about murdering his prey.

Many fans are admirers of Caroline Munro in this picture. For me, the main thing I like about her appearances are the looks it illicits from Bach's Amasova are those flickers of jealousy?

Really, everything comes together perfectly, the perfect girl, some of the best action and drama, great locations and all the while Moore's great humor, it is in this movie that he delivers one of my all-time favorite 007 lines "All those feathers and he still couldn't fly!"

UPDATEIt should be noted that there is a rerelease of this movie coming up on DVD which will feature a newly recorded scene specific audio commentary by Bond actor Roger Moore. So, it may well be worth holding off on a purchase until these Ultimate Editions are released towards the end of 2006.

This is my favourite Bond movie and I have seen them all. Here are some of its assets:

Great locations: Egypt, Sardinia, makes you want to be there as well

The best Bond villain: Jaws

A sexy and intelligent Bond girl + a sexy and ruthless female villain, Naomi (her role should have been longer)

One of the best enemy hideouts, Atlantis, a giant waterworld fortress and the inside of a huge oil tanker

The sets inside Atlantis and the tanker don't have this cheap plastic filmset look that you have in the enemy hideouts of the earlier Connery movies

Roger Moore delivering his strongest performance

The gadgets are also great, especially the Lotus Esprit that also functions as a submarine

Bond's love interest nearly is his equal in her abilities, not some Bimbo, like in many other Bond movies

All in all, a great movie, I've probably watched it dozens of times with a cask of beer and some crackers, always makes a great Bond evening

Buy James Bond 007 -The Spy who Loved Me Blu-ray (1977) Now

James Bond is assigned to foil the plans of the evil Stromberg (Curt Jürgens) to destroy the world, so that he can create an underwater utopia. As Stromberg and his criminal syndicate have targeted both the Soviets and the Americans/British, he is lucky to be teamed up with the lovely Russian agent Triple X-Anya Amosova, played by the gorgeous Barbara Bach.

Bach plays my second favourite Bond girl-and the Bond girls are ALL so exquisite that they are hard to choose between.

Bond engages with several other beauties from the Swiss Alps to the deserts of Egypt ( a scantily clad belly dancing bevy of lovelies , are one of the magnificent delights Bond comes across when visiting his Egyptian host).to the Sardinia, where Stromberg's underwater compound is based.

In this one the frightening Jaws is also introduced as Stromberg's bloodthirsty assassin, , with his metallic razor sharp fangs, which cut through metal bars and chains, the necks of several of his victims, and even a man-eating shark. Jaws also crawls out of various seeming deaths-the perfect foil to Bond, as he has appeared as Bond's nemesis in several subsequent 007 flix.

This is certainly the best of all the Roger Moore Bond's, and while Moore's over-flippant style can be irritating, the surrounding, the action and the ladies let him get away with it , in this one at least.

The theme song by Carly Simon -Nobody Does it Betteris the best Bond theme song.

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One has to admit that the title used for the sequel to Austin Powers was indeed very funny. But how many out there actually remember what its original source is, or for that matter, how good a film "The Spy Who Loved Me" actually was? This movie is the pinacle of the Roger Moore era and features his best performance as 007. But that is only the tip of the iceberg. The film has every element that makes a great James Bond film: a good villain with a great scheme (the dream of an underwater civilization), an even better henchman in Jaws (before he became a cartoon), one of the best and most beautiful Bond ladies (Barbara Bach as Russian agent XXX), perhaps second only to "Dr. No's" Ursulla Andress (although this one is a lot more liberated and sophisticated), exotic locales (Egypt, Sardinia), a fantastic gadget in the Lotus Espirit submarine car, which some might feel even rivals the original Aston Martin, an unforgetable title song (Carly Simon's "Nobody Does It Better"), and what is perhaps the most breathtaking stunt in the series (the ski-parachute jump in the opening sequence). The only slightly dissappointing aspect of the DVD is that the commentary by the director and crew is not as informative as most of the others. But the film is too good to even let that bother you.

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This is the best Bond movie

It has all the elements you expect in a Bond picture.

Action, great special effects, a lovely Bond girl, great music, and a perfect Bond.

Roger Moore knows after two movies, exactly how he has to play bond. A though, humerous and serious Bond.

Barbara Bach is just lovely in this movie. She is beautiful and plays the russian agent Anya perfectly. The most beautiful Bond girl.

The villain, played by Curt Jurgens, is evil and a perfect adversarry.

Richard Kiel is the most rememberale Villain side-kick.

He is a perfect match for Bond, and has a nice weapon...

Talking about dropping in for a bite...

-The Best Bond movie! See it for yourself! It will enjoy you until the last minute!

Mission:Impossible Ghost Protocol Rr (2011)

I won't be cliche and tell you that your mission, should you choose to accept it... You know the rest.

Without a doubt, this is the best of all the Mission Impossible movies, including the original. Over the years, the MI franchise had become something of a cartoon of itself. So, it seemed appropriate that Brad Bird should be chosen to helm MI4 Ghost Protocol. As the Oscar winning director of the Incredibles, he made animated cartoons seem very real. Now, he's made Mission Impossible real again. He's injected a fresh breathe of confidence, humor and camaraderie into a series that sorely needed it. He's not only re-invigorated the franchise, he's re-invigorated Tom Cruise's career as an action star. With this movie, Tom is back on top.

You'll notice that there is a lot of the Incredibles in MI4 Ghost Protocol. That's not only because of Brad Bird's influence, but because the Incredibles was a humorous homage to action films. You could say it's the IMF meets the Incredibles. That is not a deterrent. It's a tribute to a director who can think outside the proverbial action box. This isn't the same old, same old. The movie is much more upbeat and doesn't take itself too seriously. Which works to its advantage.

Tom Cruise has never been better. This isn't the brooding Ethan Hunt of previous movies. He's a man on a mission. pardon the pun. To make a complicated story short, the IMF has been shut down and disavowed after a massive explosion at the Kremlin. That explosion is blamed on the IMF. But, it was nothing more than a diversion to steal a nuclear detonator by a terrorist hell bent on ensuring peace on Earth by starting a nuclear war between the super powers. It's up to Ethan, and his cobbled together disavowed team, to hunt down the nuclear terrorist and save the world. simple.

Once you have suspended disbelief, sit back and enjoy. The cast is uniformly excellent. Jeremy Renner plays an IMF analyst suit (with more than desk skills at his disposal) reluctantly recruited into the field. Paula Patton is the former team leader of a mission gone bad sent to rescue Hunt. Simon Pegg is back as Benji, the computer/technology genius. While it may seem like he's there just for comic relief, he is an integral part of the team. There are no dull moments. The movie has a quick pace, fun one liners and mind blowing special effects filmed in glorious IMAX. Paula Patton and Jeremy Renner both have sensational action sequences. Tom Cruise isn't the only actor who gets to jump off buildings. And if this movie is any indication, Jeremy Renner is going to make a fantastic Jason Bourne. This wasn't a vehicle for just Tom. Everyone gets a piece of the action. It's a true throw back to the original TV series.

and wait until you see the car. James Bond would trade in his Aston Martin for it.

I think there are several reviews already with the same complaints but I just thought I would add my voice to the chorus.

No spoilers.

The Movie5 Stars

This movie has a ton of "hands-down" moments. Among them:

Probably one of the best pure action movies I have ever seen. Yes, the plot is silly, but this is not a movie you walk into expecting it to change your perspective on life. It's just a fun and exciting movie which puts a very nice spin on the tired franchise with the Murphy's Law conundrums. Part of the fun is watching how Tom Cruise and team find their way around everything that the plot throws at them. One of my favorite sequences in MI3 was the Italy scenes where a daring heist is carried off flawlessly. In this movie, you have tons of heist scenes where absolutely nothing goes right and the movie still manages to find that tricky signature balance between action/plausibility/humor that carries the viewer from scene to scene with bated breath.

Direction/editing was first-rate. Brad Bird really has the chops to carry this off and I look forward to his next big screen popcorn pleaser.

Acting. Nobody, and I mean NOBODY runs like Tom Cruise. Despite his tarnished public image, Cruise proves once again why he is the king of action movies. His intensity and star mega power is on full display here and his physical investment is right up there on the screen. He is nicely matched with the supporting cast---Paula Patton is the feminine charm (and how nice it is to see an actress who is not a 20 year old stick and is believable being super sexy and kicking butt!), Simon Pegg is used in just the right amounts and Jeremy Renner is adequate in his role as well, though I am not sure if he can match Cruise on pure charisma if the plan is to have him take over the series someday. He does have amazing arm veins though.

The Imax scenes in the theatre were jaw-dropping and perfectly blended into the regular scenes. And this leads me to my complaints.

The Blu-Ray Disc3 stars

I cannot emphasize how incredibly disappointed I was that these Imax scenes were not presented in the disc.

I have no idea why they skimped out on this, but those panoramic sweeping vista moments were a key highlight to this movie. The opening scenes in Prague set the stage, the Dubai scenes contributed to that sense of vertigo and epic stomach churning anxiety. Why would they not include these on the Blu Ray?

"The Dark Knight" Blu Ray, still my favorite disc, proved you can do this well for the home audience. When I ordered MI4, I was most looking forward to seeing those Imax scenes again and was extremely disappointed they were not included. And yes, that was enough to dock 2 stars for me, despite the movie's excellence.

Do I regret this purchase? Yeah, I kinda do. I am super picky with my Blu Ray purchases because I went a little nuts purchasing 100's of DVD's and promised myself only to buy Blu Rays which were superlative. I was really hoping this would be one of them and I feel a bit cheated because in my opinion, this was not the whole movie. Those Imax scenes were a labor of love to shoot and specifically part of Brad Bird's vision and it is a huge disservice to have not included them.

ETA: I actually did a little research as to why Brad Bird did not include the 16:9 aspect ratio to accommodate the Imax scenes...apparently, this was so that there would be no impact on people who have constant height projection systems. Again, this was Mr. Bird's choice and I guess I have to respect it.

One more thing I did want to add which I did not mention in my review---the Blu Ray itself *is* pretty incredible in both picture and sound. Really great quality. My only nitpick was the exclusion of 16:9 aspect Imax scenes, which even though there is now a real reason for it, I wish were still included as an extra.

Buy Mission:Impossible Ghost Protocol Rr (2011) Now

UPDATED FOR BLU-RAY:

A couple of things about the Blu-ray edition 1) Paramount has done a stunning transfer with nice depth, clarity and detail. Skin tones look quite nice as do textures. The audio is VERY active with a great losslss 7.1 mix.

Be aware however that the sequences shot in IMAX format are NOT presented in the wider aspect ratio for the film (unlike, say, "The Dark Knight"). Also this includes a code for a Ultraviolet "copy" which means you'll have to stream the film rather than upload it to your portable device. There's also a code for itunes as well if you go that route.

The special features are good for the two disc editions but I am a bit disappointed that we don't get a feature length commentary track from Brad Bird and tom Cruise but we do get Bird's commentary for the deleted scenes and alternate opening sequence for the film. We also get featurettes on the dust storm sequence (a truly amazing sequence in a film filled with them) as well as "Mission Accepted" with Cruise, J.J. Abrams and director Bird on set discussing the making of the film.

On the film:

When Tom Cruise lost it a couple of years back it impacted my ability to enjoy the films he was in and for a long while I avoided them. Having said that, I enjoyed "Mission: Impossible Ghost Protocol" and found it to be the most consistently entertaining of the four films produced in the "MI" film series. Bringing director Brad Bird ("The Incredibles", "The Iron Giant")best known for his CGI films made with Pixar was a wise move--Bird proved that he had the ability to make an exceptional thriller with involving characters even when they were CG and now he had the chance to prove he could do the same with live action thrillers.

SPOILERS:

The convoluted plot boils down to this: Ethan Hunt has been disavowed due to an operation that went awry and he's forced to work with an mysterious analyst named Brandt(Jeremey Renner "The Hurt Locker" and forthcoming "Avengers"), Jane (Paula Patton "Jumping the Broom")and the only member of his team that he's worked with before Benji (Simon Pegg "Paul", "Star Trek") now a field operative. Hunt's team can't rely on anybody within IMF because the organization is being blamed for the destruction of a military facility in the Kremlin. Hunt discovers that Hendricks (Michael Nyqvist of the original "The Girl with the Dragon Tattoo")a dangerous terrorist has active launch codes for a Russian nuclear device and plans on using it to start a nuclear war.

END OF SPOILERS:

A well made thriller with some truly astonishing action set pieces including a scene where Hunt must scale the tallest building in the world in Dubai, "Mission: Impossible Ghost Protocol" truly delivers on its promise and is, quite possibly, the best of the four films that Tom Cruise as starred in and co-produced. The writing by André Nemec and Josh Applebaum (both "Alias" alumni working with "Alias" creator J.J. Abrams as co-producer of the film)focuses on developing the plot not so much the characters in the film (although a cursory attempt is made with the IMF team)but then these type of films aren't about developing character as much as it is to create just enough to help the plot fly.

The action is nonstop in "M:IGP" and fans looking for a spectaular display of explosions/action sequences won't be disappointed. The main flaw of the film is the lack of character development and the use of familiar faces (Jeremey Renner, Josh Holloway in a cameo, Tom Wilkinson)to help flesh out characters that aren't given much screen time to develop but, as I mentioned earlier, that's really not the point of "M:IGP".

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Ethan Hunt is forced to go underground with his team in order to prevent a Russian nuclear missile from striking the United States. Due to the sensitivity of Russian and American relations, he is performing his mission with only a wink-wink from his superiors. This one contains the requisite action and excitement and is the best film in this trilogy since the original. The storyline is not overly complex, and I found myself invested in the action, at times feeling the thrills of the onscreen excitement right there in my seat. This is a fun movie to watch.

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Dormant since the third entry in the series arrived in 2006 that one helmed by J.J. Abrams garnered good audience and critical response Mission: Impossible returns and with rookie live-action director Brad Bird of Pixar fame. What materializes is arguably the best of the franchise delivering some tremendous action sequences coupled with a credible story that elevates it beyond just being a series of incredibly impressive set pieces.

When IMF is framed for the bombing of the Kremlin four agents including Ethan Hunt (Tom Cruise) must go underground to stop a plot to beget nuclear war while also clearing their names. Hunt is joined by the returning Benji (Simon Pegg) and newcomers Jane (Paula Patton) and Brandt (Jeremy Renner).

Bird shows incredible skill at framing fight scenes and providing some beautiful shots of locales. Being set in Russia, Dubai, and India allowed for plenty of opportunity to capture some great looking footage. The scenes with Hunt on the outside of the Burj Khalifa building were so anxiety-ridden that I almost got uncomfortable watching. That might be partially due to knowing that Cruise was actually hanging out there doing his own stunts and that it wasn't CGI regardless it goes to show just how much impact the film had in delivering an intense experience through its action and sense of suspense which carried through to the other scenes as well.

Ghost Protocol leans heavily on Cruise who delivers an outstanding performance an example of his undeniably strong screen presence that shines through more here than maybe ever before. The others do well also in their roles Patton in particular was subdued in a way that typically isn't reserved for the "sexy" lead female.

If there is any area that falls somewhat flat it is some of the attempts at humor which are handled in a subtle enough manner that any misses didn't hurt the film. What the lighter dialogue did do was provide some levity and a chance to breathe in what was practically non-stop adrenaline pumping action from start to finish. There is also a human touch to the story and the relationships between the characters. I particularly liked the ending which wrapped things up in a very satisfying fashion that went beyond what one would expect out of a typical action movie.

Several scenes were shot with IMAX cameras for those who have a (real) IMAX theater nearby it's definitely worth paying extra for. The visceral nature of those scenes are amplified greatly.

Mission: Impossible Ghost Protocol is one of the best action films in recent years. The combination of spectacular action, great performances, expert direction, and a competent story driving the events has become a rarity and Ghost Protocol delivers in every way.

ICHI (2009)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Recommended! [3 ½ Stars]

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

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

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Julie & Julia (2009)

Well, I guess it's finally happened...the consumer and film buff who does not own a Blue-Ray compatible DVD player is now officially SOL. The standard DVD release of Julie and Julia contains as special features only a commentary track and behind-the-scenes featurette. To get the full array of special features, one must purchase the Blue-Ray version of the film, AND of course, a Blue-Ray dvd player. Here are the features NOT available on the standard dvd: tour of Julia Child's kitchen in the Smithsonian; featurette "Friends and Family Remember Julia Child;" and "Cooking Lessons," with Julia Child, Jacques Pepin, and other renowned chefs preparing several of Julia Child's best-loved dishes. Why can't the studio release a two-disc special edition in the standard format for consumers like me who don't own the latest home entertainment equipment? I loved the film (especially The Divine Ms. Streep), loved Julia Child's book "My Life in France," very much liked Julie Powell's book "J & J," and can't tell you how much I've been looking forward to owning the DVD. I'm miffed, and in no position to go out and buy myself a new DVD player in this economy, not even at Christmas. This really stinks. So, five stars for the film itself, no stars for the DVD release manipulation.

All too often when a well loved book is turned into a film, fans of the book bemoan how the director or the screen writer got it wrong and all the wonderful things the book had that got lost on the way to the screen. And then you get the rare case when the film is so much better than the book that you wonder if you'll ever bother to look at the book again. "Julie & Julia" with Meryl Streep and Amy Adams is one of those films.

Based on Julie Powell's blog, a New York office drone, dreading the approach of the Big 3-0, breaks out of her life by attempting to go through every recipe in the first volume of Julia Child's "Mastering the Art of French Cooking" in one year. While the book focuses almost exclusively on Julie Powell in her Queens apartment, the film splits time equally between Amy Adams' Julie on her epic food quest and Meryl Streep as Julia Child in post war France, who takes cooking lessons as a way to break up the boredom of her day waiting for her husband to come home.

Each actress dominates each scene she is in with a sense of life and energy. A lot of fuss is made over Streep's portrayal of Child as she goes from chopping her first onion, literally, to getting her cook book published. But equally important to the film is Adams as Powell, the woman who never finishes anything, determinedly holding on to her self appointed project and this is the driving energy behind the film. As much as Streep pours energy and life into her version of Child, we know she makes it, we know she becomes the Grand Dame of TV chefs. On some level we know Powell success too but for her it is less a quest to be published than to finish the journey of self discovery she has set herself on. Streep shows us how Child started out, we know what she becomes. Adams' Powell brings us along to find out what she will become.

In the book Powell is following Child's direction from the cookbook but is not a particular devote. By comparison in the film Adams' portrayal has her ready to quote Child on any number of topics and this creates the link between the two women the audience needs.

In the book Powell brings a lot of personal baggage that gets old fast, the film ignores this and focuses on what the women have in common. It doesn't talk down to the audience but lets you follow along through cooking, supportive husbands and love. Not just the love of a good meal, but the sort that encourages you to grow and be more than you were. This isn't a film just for foodies, but for people who dare to act on a dream, or think they might. Oh and for record, I haven't deboned a whole duck...yet.

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What in the world does television and concocting-French-food-in-America pioneer Julia Child have in common with just 30-something government employee turned food blogger, Julie Powell?

Other than the love of food, oodles of butter and a big project to fill the need for purpose, the two main characters in Nora Ephron's biopic, "Julie and Julia" share great marriages with men that are not put off by their mate's desire for self-identity defined by more than a few little bouts of self-absorption. Like a good soufflé, Ephron folds the stories told in two books, Powell's "Julie and Julia: My Year of Cooking Dangerously" and Child's "My Life in France" without deflating the overall mixture, although this reviewer would have enjoyed more scenes with the wonderfully talented Meryl Streep who redeems herself quite well (all high-pitched voice, champagne bubbly laughter and squared shoulders) as the indomitable and effusive Julia from her most un-defining role as Donna in that "Mamma Mia! The Movie (Widescreen)" debacle.

Ephron depicts 1950s Paris with a foodie's appreciation for what that city did and still does for the world of cuisine--from the very first glimpse of Julia's luncheon of sole meunière--the waiter delectably filets the fish's sumptuous flesh tableside to the audiences' very audible groans of anticipation of and appreciation for its buttery taste, but she also does well by Long Island City and its tangle of grey-tinged tenements, elevated trains and apartments over pizza parlors. Somehow, both Julie and Julia know where to get their ingredients and manage beat, chop (extremely amusing is a scene of Julia alongside a mountain of practice cut onions) and coerce calf's feet, lobsters and ducks into exquisite works of edible art. The luscious chocolate cakes, whipped creams and raspberry mousse tantalizes like the food porn that it is--a sensual and lascivious reminder to what is truly important in life--you will leave the theater hungry.

Along that line, the two couples, Paul (Stanley Tucci) and Julia and Eric (Chris Messina) and Julie either act as the aphrodisiacs for the food or allow the food to whisk them away in the general direction of the bedroom where dessert or in some cases appetizers segue into the joy of sex and more sex--no wonder Julia was always smiling. Both male characters offer their women encouragement along the lines of the supporting architectural buttresses on the Cathedral of Notre Dame even when faced by what may seem a bit of an "I Love Lucy" type scheme. Regardless, both these ladies made their ideas work whether by design or serendipity and Ephron, wisely asserts that it is their good marriages that deserve the credit--even though the real life Powell has an affair which she chronicles in her not-yet-published memoir about learning the art of the butcher.

Amy Adams' portrayal of Julie Powell seems a little seeped in too much sugar especially if one has read the Julie/Julia Project blog or the book that bears the same name as the film. In her version, Ephron sanitizes the conservative-hating Powell, cleans up her apartment, washes out her rather profane mouth and thankfully eliminates the girlfriend dramas that take up a third of the memoir. However, the slim-figured Adams' whose character claims to have gained weight after a year of rich French cuisine simply seems slim and still glows with that Giselle insouciance and naiveté she did so well in the Disney film "Enchanted (Widescreen Edition)." Even so, Adams' innate cuteness and 20-something sense of searching works adequately as a foil for the larger than life Streep as the formidable Child.

Bottom Line? Nora Ephron's "Julie and Julia" chronicles the projects of two women from two very different generations with similar needs. As a combination foodie/chick flick, it works very well in its depiction of determination and the power of a slow and steady perseverance that ultimately leads to success. However, "Julie and Julia" main thrust seems to be a tribute to good marriages where behind every great women stands an equally great and supportive male. Recommended.

Diana Faillace Von Behren

"reneofc"

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I went to see the movie, Julie and Julia solely on the idea that any project Meryl Streep is involved in would automatically be good. I couldn't imagine before going to see it how they would possibly work the storyline because it was based on two memoirs, one each by the two women involved. Meryl Streep played Julia Child and Amy Adams played Julie Powell. Because of her immense respect for Julia Child and her love of cooking Julie Powell decided to set aside 365 days to cook for her husband and herself and as it turned out several other people 524 of Julia Child's recipes. It started out as a way of breaking the boredom of her day job, an escape from having to live in such a tiny apartment, and a means of teaching her self-discipline by sticking to a planned regimen on a day to day basis. The result, however, turned out to be much more than that.

Julia Child had and Julie Powell has a very important knowledge about what makes good food great. Great food is like great sex; both of them have to be more than just "ok" to bring a smile to your face that lasts for days every time you think about it. And both women shared in common the idea that delicious French food should be available to the average American family even if you don't have servants that cook for you or an income that allows you to eat out at a fabulous French restaurant any time you like. Both of them had wonderful husbands who supported and encouraged their dreams of rising above the drab existence of living vicariously on the accomplishments of their men. The film captures beautifully the difficulty of that task for both Julie and Julia. Both of them had forces fighting against their achieving their goals, but the love that was evident in each of their marriages overcame every one of them.

One of the posters for the film is a one-sided poster with a black background, two eggs (one brown and one white), and the question posed, "Passion. Ambition. Butter. Do you have what it takes?" When the movie is over, that question's answer is for both women a resounding "Yes, but as is always the case, neither of them did it alone". The fact that they didn't do it alone though takes nothing away from the uniqueness of their accomplishments.

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I want to start by saying that this is not a simple case of `Meryl Streep is better than Amy Adams' even if a lot of other reviewers want to paint it as that. This is much more complicated than that. In fact, Amy Adams is fine here. She has her moments of charming, her moments of intensity, her moments of hysteria and overall she is adequate. The real issue I have with `Julie & Julia' is that it doesn't live up to the subject matter and the script is a sloppy and uninspired mess.

That, and a few `other' things.

The film shifts from Julia Child's life in Paris and Julie Powell's life in New York. Streep portrays Child as she begins to take a hold of her own identity, learning to cook and channeling her good-natured mentality into a healthy and respectable career. Adams portrays Powell as she tries to break away from the downtrodden near pathetic path she has chosen by finding herself in Julia Child's recipes. It is clear that Powell is inspired and in awe of Child and wants to feel a connection with her.

For me, this all sounds like it could produce delicious results. Sadly, this meal is rather bland.

I'm going to go ahead and start with the acting, since that is what is getting all the attention. When I first saw this film in the theater all those months ago, it was the first bit `potential Oscar contender'. Everyone had been raving Streep as `on her way to the podium for her THIRD Oscar' and so I was excited. I love Meryl Streep. When I walked out of this film I thought to myself, `she was good, and funny, and charming, but there is no way she is the best'. Then I saw a few other films (`Bright Star' and `An Education' to be exact) and there was no question in my mind that what Carey Mulligan does in `An Education' is not only the best performance of this year, but is a complete marvel and one of the best performances in any category of this ENTIRE DECADE. After watching this film for a second time last night I found myself even MORE confused about Streep's Oscar buzz (and countless critic award wins). Meryl Streep is undoubtedly a force in front of the camera. Nearly everything she does is phenomenal. Sadly, for me, her performance here is a tad too far over the top. She is hammy and, while that quality can at times be appealing (her constant jovialness is infective), the script is so dense and hollow that it barely allows Streep to expound on the WOMAN that was Julia Child. There are subtle hints that something is brewing beneath the surface (her sincere breakdown after learning of her sister's pregnancy) but this film is more focused on the food (which all looks delicious BTW) than giving us a real taste of who Julia was as a person.

Streep is entertaining, but she is FAR from Oscar worthy.

Like I said, Amy Adams is adequate. She doesn't really do anything wrong, but the whole idea of her character and her life is far too clichéd to be anything noteworthy. The snag in her marriage and that whole FORCED breakup is ridiculous, but totally something you saw coming the moment she said, in her blog, that she was `risking her marriage' for this experiment. Her manic desperation can at times be endearing and entertaining, but nothing we haven't seen a million times before.

As far as the significant others go, Stanley Tucci is the best thing about this movie (end of discussion) and Chris Messina is the worst. I love the quiet and supportive nature of Stanley Tucci. He just has this softness and this endearing quality to him. I adored him in `The Devil Wears Prada' and I find his work here, alongside Streep, to be equal parts charming and engaging. His warmth never feels forced or awkward (in contrast, when Adams delivers the SAME TOAST she fails miserably at giving it any kind of natural affection). Messina is just an obnoxious stereotype who fails to do anything by overwork his character, and that disgusting way he eats his food haunts my dreams.

In the end, the biggest culprit here is Nora Ephron, the films director and screenwriter. Because of her, the film lacks any real bite whatsoever. It is bland and boring, overly long and full of generic clichés that make this far less than a film of its nature should be. This is supposed to be an inspirational `coming of age', romantic comedy set to the tone of a biopic, but it lacks any of the chemistry and warmth that make those specific film genres so lovely.

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Who Framed Roger Rabbit: 25th Anniversary Edition (Two-Disc Blu-ray/DVD Combo in DVD Packaging) (19

Filmmakers have been combining animation and live action since the days of silent film--but 1988's WHO FRAMED ROGER RABBIT not only bested everything done previously, it set a standard that is unlikely to be surpassed. Although it has been available on VHS and in a mediocre DVD release for quite a few years, the film finally gets the star treatment in this "Vista Series" double DVD release, which includes the film in both pan-and-scan and letterbox formats and an assortment of extras, many of which are quite interesting.

The concept and story are well known: cartoon characters are not drawings, but are living entities who work in the film industry, and when Maroon Cartoon star Roger Rabbit is accused of murdering Marvin Acme (Stubby Kaye), he turns to private detective Eddie Valiant (Bob Hoskins) for help. Trouble is, Eddie hates "Toons." After all, one of them offed his brother, and Eddie hasn't been sober since. The concept is a clever one, and the story could have gone in any number of directions--but ROGER RABBIT hops down a completely unexpected trail. Set in 1947 Los Angeles, the film uses classic "noir" elements (and references everything from THE MALTESE FALCON to CHINATOWN); it also makes considerable sly social commentary on racism, with the "Toons" performing in a Cotton Club-like nightclub, literally working for peanuts at the studios, and more or less confined to living in "Toontown," which might easily be read as social ghettoization. And all of these sidelights are interesting and entertaining. But the most attractive thing about ROGER RABBIT is that it is just plain fun to watch.

Part of that fun comes from the marvelous performances of Bob Hoskins, Christopher Lloyd (as the evil Judge Doom), and Joanna Cassidy (Valiant's sidekick Delores), who lead the live action cast. Another chunk of the fun is the way in which the film cameos a host of famous cartoon characters, ranging from Betty Boop to Bugs Bunny and the Warner Bro.s gang to Dumbo--and animation buffs will love the fact that Betty Boop and Bugs Bunny, to name but two, are voiced by the artists (Mae Questel and Mel Blanc) who created the character voices in the first place. But the big deal here is the extremely believable way in which the "Toons" fit into the real world. They rendered with astonishing detail and remarkable three dimensionality. It's just an amazing thing to watch.

The overall DVD package is a bit odd, for it offers less in the way of bonuses than one might expect. The first disk includes a pan-and-scan version of the film, three Roger Rabbit/Baby Herman shorts, a kid-friendly documentary, and a CD-ROM game; the second disk offers the letterbox film with extras that will appeal to more mature viewers, most particularly on-set shots and a nifty documentary called "Behind the Ears." The upshot is really a one-disk release that has been expanded to two by the trick of cramming both pan-and-scan and letterbox versions into a single package. That's annoying--but even so, this is easily the best release of this film to date. It at gives the rabbit some justice at last, and I give it five stars on that basis.

One of the great joys of movie-going is to see a concept, that on-the-face-of-it is so goofy and off-beat that it should never work, but, in the end, does work and works in spades! So it was for me with Who Framed Roger Rabbit. This Vista Series DVD brings the film to us with a crisp & clean picture, THX sound, and a beautifully packaged set of extras that include a very clever interactive menu, plus loads of goodies presented smartly, with humor and surprises.

Seeing the film again reminded me how impressed I was with the audacity and accomplishment of Bob Zemeckis and his collaborators on bringing off with care and intelligence, a sharp & funny film that plays to both children & adults. Who would have thunk it?

Taking a Chinatown-like story of early Los Angeles with some basis in fact (destroying the Red Line to make way for freeways) complete with murder & intrigue & marrying it to the screwy conceit that cartoon figures, aka Toons, actually lived and worked as live actors and inhabited a section of LA called Toontown is such a manifestly dopey idea that it would take enormous inspiration, intelligence and attention to detail to make it even nominally work. All of those qualities were present, as the extras demonstrate, in abundance here, and the result was movie magic.

Made prior to CGI coming into its own, the characters were brought to the screen brilliantly. As one of the animators pointed out, even early CGI was rejected because the film-makers wanted the characters to maintain their cartoon look, only brought into 3 dimensions. The hows and whys of what they did to achieve this magic are worth a look.

Anchored by the great casting of Bob Hoskins, Christopher Lloyd and Joanna Cassidy and Charles Fleischer, brilliant technical work, and a clever story strung through with great good humor, dialogue and jokes for kids and adults, this film has some cherished, favorite lines, from Baby Herman's "That's my problem, I've got a 50 year-old lust, and a 3 year-old dinky.", to Jessica Rabbit's: "I'm not bad, I'm just drawn that way.", to Eddie on the wayward bullets "Eh, Dum Dums!" This is great stuff.

"Toons, gets em every time!" Some kind of classic here, and well worth your while.

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I have loved this film ever since it was first made, but this DVD really does not do it justice.

Despite being called a 'special edition', it contains not a single extra feature. The widescreen format is not anamorphic, which means that the MPEG aspect ratio is 4:3 and the picture resolution of the viewable area is lower than it should be. The quality of the film print used is poor and contains scratches and white speckling. The film has also had some bits edited out, so I suppose you could say it contains a negative number of special features: i.e. some normal features taken out. This is a shocking misuse of the format because the DVD standard contains the possibility for having optional scenes which can be shielded from young viewers, so why wasn't this used?

I doubt it will be long before the next version comes out, the 'collector's special edition' or whatever they will call it, so my advice would be to wait for that.

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I was 10 when "Who Framed Roger Rabbit?" came out and it is just as much fun to watch now, maybe funnier because I missed some of the humor back then. Roger's a riot and his wife, Jessica Rabbit ("I'm not bad, I'm just drawn that way"), is truly a toon vixen. Bob Hoskin's Eddie Valiant is sent to find out the truth when the owner of Toon Town is murdered after playing patty-cake (literally) with Jessica. Everyone assumes a jealous Roger did it and that washed-up detective Eddie can't hack it anymore. There is lots of subtle humor, like when Eddie asks for a scotch on the rocks in a 'toon bar and instead of ice he gets actual rocks. Eddie seriously hates Toon Town because his brother had a piano dropped on his head, but he eventually becomes pals with Roger, overcomes his hatred of Toon Town and clears Roger's name. Christopher Lloyd's Judge Doom is perfectly creepy and his squad of weasels are funny as they try to stop Eddie and Roger from discovering the truth.



The interaction between the live actors and the toons is seamless, probably why the movie won four Oscars. The behind the scenes features and commentaries are great, the entire 2-disc set is incredibly well-thought out and packaged, making it a must-have for the fan.

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This is one of my favorite movies ever; there's not a moment that I don't believe that toons and humans are interacting...but this version is a censored version of the film. They cut parts without the consent of the director, and for this reason, I beg you not to buy this version. Wait until they correct the bowdlerization of this masterpiece

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Hannibal

I think it's fair to say that Hannibal Lecter became an American horror icon for most people with the Oscar winning film "The Silence of the Lambs." Personally, I discovered Lecter back in 1981 when author Thomas Harris introduced him in "Red Dragon." As a kid, I read this novel with a sick fascination and it was easily the scariest book I had read up until that point. Michael Mann adapted it into the film "Manhunter" in 1986 with character actor Brian Cox in the Lecter role, but it wasn't until 1991 and Anthony Hopkins that Lecter became incredibly popular. Hopkins revisited the role with another interpretation of "Red Dragon" and then "Hannibal," and has owned the role ever since. When I heard that NBC was helming a drama based on Lecter, I thought it was a disastrous idea! Network television is no such place for such evil! But I must say that the program has far exceeded my rather limited expectations. Created as a prequel to the events of "Red Dragon," the show has a thoughtful slow burn appeal that shows surprising restraint. The program might have some gore, to be sure (especially by traditional network standards), but it succeeds most spectacularly as a psychological study of two men with more in common than they'd like to admit.

The plot centers around a FBI profiler named Will Graham (Hugh Dancy). Graham can literally get into the mindset of a killer, and the show stages vivid and brutal recreations as Graham uses these skills to analyze crime scenes. This innate ability to think like a monster has taken an emotional toll on Graham, and he is an absolute mess. Hannibal Lecter (Mads Mikkelsen) is a brilliant psychiatrist who aids in an early investigation but is drawn to the darkness within Graham. Through the course of the episodes, Graham and Lecter become closer. Each seems to get something very important from the relationship. Are they doctor and patient? Friends? Or is Lecter playing a sick game of cat and mouse? It's a fascinating dynamic, one of the strongest components of this show. While some of the episodes are self-contained, more and more is revealed about Lecter as the season progresses. Anyone who is familiar with "Red Dragon" might know where this is ultimately heading, but it's the journey that is more important than the destination in this case.

Dancy is pretty terrific as the scarred and haunted hero. And Mikkelsen is the master of understatement. He underplays every scene to perfection, and this detachment gives "Hannibal" a chilling center. Other familiar characters from the books (and movies) are present like reporter Freddie Lounds (a female in this version), prison warden Frederick Chilton, and FBI Director Jack Crawford (played by Lawrence Fishburne). Gillian Anderson also pops up for a few episodes as Lecter's therapist and they play off each other wonderfully. "Hannibal" is generally well cast, although some of the smaller recurring roles have yet to be developed in any kind of meaningful way. But as long as Graham and Lecter remain in the center, you aren't really paying much attention to the peripheral cast.

The plotting in these 13 episodes is a mix of self-contained stories with several significant on-going threads. Not every individual case is a compelling as the central story strand, but that's to be expected. I always wonder why everyone in the world isn't dead with the number of serial killers that populate popular entertainment! What really distinguishes "Hannibal," though, is its tone. It is not played as an action thriller. Oftentimes, it is quiet and contemplative relying on character interactions to up the unease factor. It is smart, literate, and takes its time. That's what was so unexpected for me, and why the show might not be perfectly suited for someone looking for mindless entertainment. It requires and rewards patience. The actors are great, the staging is unsettling, and the effects are solid. This was put together by a team (led by Bryan Fuller from Heroes and Pushing Daisies) who wanted to honor the Lecter legacy and be true to it. One of the more unusual network offerings of the last year, and one of the best. KGHarris, 5/13.

Absolutely brilliantly done with a cast of characters whose acting talents are far superior to nearly every other on network television. You cannot surpass the level of depth of character development, the writing, where as they discuss real theories of psychology; build up, and character development between Will Graham and Dr. Lecter is unlike anything else on television and cannot be done with a movie.

Eventually we will view shows like this one not to be just a show, but rather a series of movies, each telling a story, where at one point a 2 hour movie will not be enough anymore to satisfy our palate for something as savory as this series.

This will become a classic.

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Its hard not to compare this show to the Following with Kevin Bacon. On the surface, they're very similar. Tortured main character, gruesome murders, creepy psychopaths. Yet, they are, in essence, nothing alike. Bacon's character is a cliche. Will Graham, the protagonist in Hannibal, is so beautifully drawn, I can't take my eyes off him. He is a "special investigator" with the FBI. Those who work with him see him as fragile, so much so that they all seem to be holding their collective breath, waiting for him to shatter. The thing that makes him an invalid in their eyes is his stunning depth of empathy. This is how he solves crimes. Hannibal Lecter, a psychologist (and future notorious psychopath) who works with the FBI and Graham, has a different perspective. When Graham asks "how do you see me?". Lecter says Graham is "the mongoose I want under the house when the snakes slither by."

The production quality is high, the supporting cast is great. The show is smartly written.

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Love this show! I had to break up with The Following because it just wasn't plausible (all the procedural gaffes aside...how can anyone's necktie be askew ALL THE TIME?!). Hannibal is elegant, refined, well-dressed, and damn sexy. Mads Mikkelson will have you saying "Anthony Hopkins who?" (it's no easy feat to make the viewer able to visualize someone else as the infamous and well-fed Dr. Lechter). Yes, you will have to work at understanding his accent--but constantly leaning in on the edge of your seat every time Hannibal is on-screen is part of the character's appeal. He has your attention. All of it. The story line is enthralling (overall it is ongoing, but there are shorter arcs), and the show is beautifully shot. Every frame is like a work of art. If you're a fan of the genre--you need to be watching this show.

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Fantastic ...unlike anything I've ever seen on regular TV. Dexter meets CSI. Great performances, with intense and intelligent scripting. Anticipating the next episode!

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Michael Jackson: Moonwalker Blu-Ray (1998)

Michael didn't write a story he wrote an outline of what he wanted his movie to be like and someone just cashed in by saying he "wrote" a book.

Also it isn't worth more than $20. I bought this book on this site a month before he died for $8.00(s/h included) and it's a shame to see that the sellers up their price to make money off a dead man.

This is a great transfer to BD not available in the US. I've played it on my US PS3 as well as a different stand alone BD player with no issues whatsoever. The sound is excellent and the picture is good overall. Some of the sequences are better than others, but that's to be expected with the age of the source material.

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Finally able to update from VHS. I would have loved some of the extra out-takes from the original release

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Growing up this was my favorite movie ever and this movie will make anyone who is a fan of music a Michael Jackson fan.

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excellent movie. now that i've watched since long time, it seems better and i realized that it wasnt a movie it was just a copilation of music videos.

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Hotel Transylvania (Blu-ray 3D / Blu-ray / DVD + UltraViolet Digital Copy) (2012)

Hotel Transylvania, directed by Genndy Tartakovsky from a screenplay by Peter Baynham and Robert Smigel, is an animated comedy/horror-spoof, mostly for the kids but fast-paced enough and with enough humor to keep everyone entertained for an hour and a half. It's not as smartly written as 2010's Megamind or as sophisticated and dazzling as 2011's Rango, but it is fun to watch and satisfying in a popcorn-movie kind of way. Adult fans of old horror films will like spotting some of the more obscure monsters (Brain From Planet Arous anyone?) and picking up on some references that will sail over the head of younger viewers.

The plot begins in 1895 where we find a very paternal Count Dracula (Adam Sandler) looking after his infant daughter not long after the death of his wife. Determined to keep her safe from "the humans", Dracula comes up with an idea to create a sanctuary, a place where monsters of all kinds can come to relax and be themselves without having to constantly worry about humanity coming after them with torches and pitchforks. He directs his servants to convert an old medieval castle hidden deep in the remotest part of Transylvania into a resort/retreat for monsters from all over the world, and voila! the Hotel Transylvania is born. The hotel is staffed, appropriately, by zombie bellhops, haunted suits of armor, housekeeping witches and talking shrunken heads, with a kitchen overseen by an obsessed lunatic chef Quasimodo (Jon Lovitz) and his pet rat Esmeralda.

Of course the years seem to fly by for a parent, even an immortal one, and before Dracula knows it suddenly it's 2012 and the day of Mavis's 118th birthday (that's 18 in human-growth years). The castle is filled with guests, many of them old friends of the family who've come especially for the occasion, including a very domestic Frankenstein (Kevin James) and his high-bouffant wife Eunice (Fran Drescher), a life-of-the-party mummy named Murray (CeeLo Green), a very frazzled werewolf named Wayne (Steve Buscemi in superb form), his highly-pregnant wife Wanda (Molly Shannon) and their pack of snarling hyper-active wolf kids, and Griffin, the Invisible Man (David Spade) who can't understand why he sucks at playing charades.

But this is also a day Dracula has dreaded as he promised Mavis (Selena Gomez) that on the day she turned 118, she had his permission to go out into the world. Compelled to keep his word but unable to face the prospect of Mavis going off into what he feels is a world too dangerous for her, he concocts a scheme to scare her into wanting to stay at the castle. Which works, somewhat to his surprise. But his scheme turns out to have unintended consequences and before Dracula has time to feel relieved, the unthinkable happens a _human_ suddenly appears at the hotel, a young backpacker named Jonathan (Andy Samberg) who "heard about this cool old castle" and wanted to check it out. Panicking, and fearing for the reputation of his hotel if it were found out that a human was on the premises, Dracula quickly disguises Jonathan as "Johnny-stein", a supposed cousin of Frankenstein (actually just a cousin of Frankenstein's right hand, as it were). But before Dracula can get Jonathan out of the castle and out of his hair, Mavis and Jonathan meet and "zing!" it's love at first sight. The rest of the plot is rather predictable over-protective father wants to keep boy away from his daughter, but daughter and boy keep seeing each other but the pacing is kept fast enough and the humor abundant enough that it keeps things fresh and funny all the way through. Particularly in scenes where Johnny's fun-loving nature livens things up by inadvertently starting a horses-and-riders pool fight, introducing some new music over the grumbling protests of zombie-Beethoven, zombie-Mozart & zombie-Bach, and engages Dracula in a floating-table race, causing the stiff and stuffy Count to unexpectedly rediscover what fun is.

The animation, while not ground-breaking, is well done, with a lot of attention to detail which gives the film a level of texture you wouldn't ordinarily expect in a light comedy. For example, at one point Mavis leads Johnny into a cave, the entrance to which some horror aficionados will recognize is shaped like the face of the Phantom of the Opera. While Genndy Tartakovsky is well known for his work producing several successful TV animated series (Dexter's Laboratory, Samurai Jack, The Grimm Adventures of Billy & Mandy, The Powerpuff Girls and Star Wars: The Clone Wars), Hotel Transylvania is his first feature film. Fans of Tartakovsky 's TV work might be expecting something more in the distinctive style he used in those shows, but I don't think they'll be disappointed with his choice to be more traditional here. The production design was done by Marcelo Vignali, who worked on several Disney films including Mulan and Lilo & Stich as well as Cloudy With Chance Of Meatballs, and the art direction was done by Ron Lukas and Noelle Triaureau, both of whom also worked with Vignali on 2007's Surf's Up.

The voice cast is excellent. Adam Sandler, whom I don't usually care for as a rule, is actually quite good as the over-protective fatherly Dracula. Andy Samberg brings out Johnny's guileless but ever-upbeat goofiness in a very winning way, while Selena Gomez brings the perfect touch as Mavis, the teenage vampire cutie who loves her dad and all his old weird friends but just wants to get out there and see the world she's only heard stories about. Kevin James does an affable Frankenstein, and Fran Drescher is perfect as his loud and brassy Franken-wife, Eunice. CeeLo Green's Murray is the liveliest and hippest mummy you've ever heard. As always though, it's Steve Buscemi who gets the best lines (or who makes his lines the best ones by his inimitably wry delivery) as the much put-upon buttoned-down-shirt-and-tie-wearing werewolf Wayne. One of my favorite scenes is where Dracula, Frank and Wayne are trying to track down Johnny. Dracula wants Wayne to follow his scent, and Wayne can only sigh wearily and ask "Do you have _any_ idea what years of changing poopy diapers have done to this nose?"

Recommended as a fun enjoyable film for everyone and in particular for classic horror-film fans.

Hotel Transylvania was a really good cartoon movie. The movie is about a young vampire girl Mavis (Selena Gomez) who wants to go out and explore the world. Her over protective father Dracula (Adam Sandler) does not want his young daughter to go out and mingle with humans. He beleives that humans do not like vampires and will try to hurt her but he did tell her that when she turned 118, she could go. The movie centers around Mavis's 118th birthday and her party. All of her monster friends and relatives come to celebrate and they have an unexpected guest.....a human. Mavis falls for the human and the rest as they say, is history. The movie was cute and age appropriate. I took my 5 year old to see this and did not cringe once. She laughed her little head off. I would see it again anytime. I hope you find your Zing!

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What a fun and heartfelt film Hotel Transylvania was when I recently attended a screening whereby producer Michelle Murdocca (Open Season 2, Stuart Little) explained, "Executive producer and star, Adam Sandler did an amazing job joining this production late in its original inception. It took some 10 years to get this project in theatres," who herself was on the project from the beginning.

Russian born director Genndy Tartakovsky (Star Wars: The Clone Wars) says, "It was a fun an amazing challenge to get this going and it was a real different environment working with a larger studio." His attention to the details made this film work from page to screen.

The story centers around a place where all monsters can go to be themselves. Naturally walking around, celebrating anniversaries, eating as they do, sleeping the way they do, even swimming in pools and enjoying a night of fun and partying. The place (a really creepy castle) was built by Dracula himself (voiced amazingly well by Adam Sandler (Click, Bedtime Stories)) and because of an early accident due to the fear that monsters have toward humans, a tragic accident leaves him to be a single father. Raising and `protecting' his daughter from the outside world.

Mavis, his daughter, who is sharply voiced by Selena Gomez (The Wizards of Waverly Place, Another Cinderella Story) reaches her 118th birthday and decides she needs to see the world because of the sheltered life her father has created for her. Due to a series of mishaps and bad turn of events a `lie' goes very wrong and she soon realizes what she has been hidden from.

In steps a real human, quite by accident, Jonathan, played by Andy Samberg (SNL, That's My Boy), wanders his way into the hotel. Yet another lie, Dracula tries to cover his true human self and pass Jonathan off as a `real' monster. Another thing that Dracula didn't see coming was the moment that Mavis and Jonathan meet and their eyes connect, you guessed it, the real magic of the heart happens.

The screenplay by Peter Baynham (Borat, Bruno) and Robert Smigel (SNL, You Don't Mess With The Zohan) does something that most live-action screenplays try to achieve but never do, it mixes some great fast paced visual gags with a real heart and real believable story. This movie is about a father and daughter relationship as well as misconceptions we all carry with us based on really never checking things out for ourselves.

This film has a great line-up of really hysterical characters including; Frankenstein voiced by Kevin James (King of Queens, Hitch); Mrs. Frankenstein Wanda voiced by Molly Shannon (Superstar, Analyze This); The Wolfman Wayne voiced by Steve Buscemi (Boardwalk Empire, Grown-Ups) and his wife Eunice voiced by Fran Drescher (The Nanny, Beautician and the Beast); The Mummy Murray voiced by CeeLo Green (Kung Fu Panda, Kick Ass) and playing the hunchback Quasimodo is the voice of Jon Lovitz (Big, A League of Their Own).

Great for the Halloween theme and in full 3-D, this film was amazingly funny, and full of great classic-style sight gags that you'll probably need to see it more than once to catch them all. "I took a lot of time to make sure this film worked on all levels. From the script to the performances and even the technology in making it," says the director Genndy . And you can really see it on screen!

What makes this animated feature by Columbia Pictures so good, is that it has a very big heart and an extremely relatable story to go with it. The whole family will really enjoy this film!

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Hotel Transylvania has Dracula (Adam Sandler) as a peaceful monster who just wants a place for him and his monster buddies to have away from humans. So he turns his castle into a hotel. But eventhough Dracula wants to keep everyone inside and safe from angry mobs, his vampire daughter (Selina Gomez) wants to get out and explore the world.

Dracula wants his daughter to think humans are all bad but when a harmless fun loving human (Andy Sanberg) wanders to the castle, Dracula tries to disguise him as a monster and sneak him out quickly. That doesn't go well since he meets Dracula's daughter and they hit it off without her knowing he's a human.

The film may sound more like Hotel Happy Madison, since you have Sandler and his buddies like Kevin James (Frankenstein), Steve Buscemi (The Woofman) and the David Spade (The Invisibleman) doing voice work. However the film is better than most of their live action films and has much more of a plot than Grown-Ups did. I do admit though that it's not laugh out loud funny and that it mostly won me over with it's charm.

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there are some good laughs here, but the plot is predictable and full of unnecessary holes, the voice acting is basically a list of cameos from big name comedy with only Adam Sandler and Andy Samberg standing out with any real character.

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