Stitches (2012)

I am aware that some people might absolutely loathe the horror/comedy hybrid "Stitches" and that's a perfectly reasonable reaction. Is it a great movie? Well, it certainly won't be picking up any Oscars. But as sheer lunacy, I am quite in love with this over-the-top bit of ridiculousness! Filmmaker Conor McMahon displays an ample appreciation for the cheesy splatter-fests of yore. In fact, this seems to be a throw-back to the campy horror films that flooded the video market in the eighties. He takes a supremely silly premise, in this case a murderous clown who has been reanimated from the afterlife, and runs with it. With copious amounts of humorous gore, each retribution killing is staged to be more outlandish than the last. Nothing is real. The effects are comic at best and the mechanics of the deaths are ludicrous (forget logic, anatomy, or basic biology and enjoy), but the movie absolutely revels in its own madness. Some might complain that the film isn't scary enough, but I'll contend that it's just right. I didn't need it to scare me, just entertain me. It is pure unapologetic fun. My head tells me I'm crazy for liking "Stitches," but the heart wants what the demented heart wants!

Comedian Ross Noble plays Stitches The Clown, the worst investment a parent could make for a child's party. We meet this low-rent entertainer as he embarks on a gig for Tommy's eighth birthday. His routine is underwhelming, to say the least, but the kids in attendance are monstrously out-of-control. Things take a dramatic turn when the clown meets his untimely demise. Years later, a teenaged Tommy (Tommy Knight) is still haunted by the memory of that fateful day. Despite his better instincts, he decides to once again host a birthday party in an effort to connect with his unrequited love. As the invitations go out, there is one uninvited guest ready to shake things up. Stitches has a score to settle with the brats that put him in the ground, and the night will become a bloodbath of revenge. In typical slasher fashion, Stitches works his way through the party until the inevitable confrontation will determine who will survive and who won't.

Again, "Stitches" really works as an homage to many films that preceded it. It is fast and funny, and it simply works better than you might think. Noble is appropriately disgusting as Stitches, but it is Knight that gives the movie surprising heart. He and many of the young cast prove to be quite likable. It's rare to connect with the characters in a movie of this type, but the screenplay actually makes you care about what happens to them. But the real star of "Stitches" are the murders. So absurd, it's borderline genius. I won't spoil anything, but the movie is loaded with terrifically gory sight gags. "Stitches" seems designed to become a cult movie that people will discover through time. Many will hate it, I'm sure. But if you like this genre, and can give yourself over to the silliness--there is a lot to recommend this experience. For the right audience, this is tremendous fun. KGHarris, 3/13.

By far the most fun i've had watching a movie in a long time. The gore was over the top and the laughs were plenty. Anyone who gives this movie a low rating took it way to seriously. Just watch and enjoy !!!

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Very funny in parts and not really scary but made well and very entertaining. The gore is a little bit rubbery but still has some good kill scenes...who can resist a killer clown?

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This movie was really fun. I LOVED it. I rented it but I am thinking of definitely buying it. It did everything right. The humor in it is excellent but not too much where it makes the movie seem stupid or silly. I thought the killings were very creative and over the top fun. The acting was good too! I thought the direction in this movie was outstanding. One of the best I have seen. The lighting used and camera angles were top notch. The cinematography was beautiful. For the budget, it definitely worked.

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Stitches is a near flawless Slasher /Comedy.An offering from Ireland All I can do is thank them.

Ross Noble as Stitches was joy to watch as was most of the cast, it was a great ensemble.If you like hard core gore and off the wall humor and "did that really just happen" moments you will love this film.

Stitches gets violently killed during a prank at a kids party. The kids were mean bratty and caused his death. Enter 6 years later when the kids that did this are in high school and Stitches rises from the dead to wreak havoc and make it rain blood at the party.What ensues next is one of the most enjoyable, hilarious and goriest slasher/Comedies I have seen in a very long time.The deaths are so fun and creative and the one liners are enough to make you lol,I say do yourself a favor and buy the blu ray or DVD,you will want to watch it again and again..

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The Transporter (2006)

Transporter DVD

Transporter is a high action movies involving an ex-Special forces soldier who earns his living transporting "packages" for various clients, mostly shady. In this movie, the transporter ( Jason Stratham )violates his own rules ( he's real big on rules ) and looks inside the package, doesn't like what he sees and doesn't complete the delivery. Bad idea, now the client is after him, along with the police. The movie is set in the French countryside so if you don't enjoy the thrill-a-minute action, just enjoy the view.

Highly recommended for fans of Jason Stratham , James Bond movies, and high action movies, especially car chases.

Gunner March, 2008

I wasn't expecting to enjoy an action flick last night, but when my hubby popped in Transporter I found my attention held almost against my will. I don't generally choose action for my own movie nights. Unexpectedly, the combination of incredible but well-pulled-off stunt sequences and the undeniable charisma of Jason Statham hooked me in.

In case you (like most law-abiding citizens) didn't know, a transporter is the guy who not only acts as a high-priced delivery service for such savory folk as mobsters, but also occasionally lands gigs driving the getaway car from the scene of the crime. From the opening scene where he is doing just that, our transporter, Frank Martin, is clearly the best in the business. A series of improbable car stunts and narrow escapes during the getaway chase establishes the general fast pacing of this movie and the slick professionalism of our "hero". And guys, his Beemer almost has enough gadgets to qualify as a 007 model.

This transporter made the fatal error of breaking one of his own rules when a mobster hired him to deliver a package: Never Look Inside. Sure enough, he discovered a conscience within himself. From that point on, his fate was set against the powerful underground smuggling cartel dealing in human cargo.

The chase scenes, fight scenes, and general action that ensues throughout the film are interspersed with just enough plot twist to keep it interesting and just enough humanity to keep it grounded without becoming maudlin. This is a somewhat toned-down version of a James Bond-like fantasy, set in the beautiful rural countryside of France and riddled with bullets and explosions that take out cars and buildings instead of entire islands. Of course, there is the obligatory gorgeous female who can't keep her hands off of Martin. Great for the testosterone and the estrogen all at once.

In the end, the Transporter did its job: I had fun without rolling my eyes once.

-Andrea, aka Merribelle

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Looking like a Brit version of Bruce Willis, Jason Statham made his debut back in Guy Ritchie's classic crime caper/comedy "Lock, Stock, and Two Smoking Barrels." Since then he has been given a few side roles here and there in "Snatch" (or Lock, Stock 2 as I like to call it), John Carpenter's "Ghosts of Mars", and then he teamed up with Delroy Lindo to track two Jet Li's in "The One." But who would've guessed that he finally got his own film, and a kick [butt] action film at that. Ever since Corey Yuen and Luc Besson collaborated on "Kiss of the Dragon," I knew that any film they did together from then on would be golden. And "The Transporter" definitely lives up to that standard. Sure there's nothing new here: how many times is a bad guy gonna get a change of conscience over a hot chick, right? And unlike the others, there is actually some good chemistry going on between our hero and his damsel in distress.

Basically, the film combines some great European atmosphere (The beautiful southern coast of France) with some incredible fight and action sequences. Corey Yuen could pretty much create a fight scenario out of virtually any environment. Now I know you could easily replace Staham with Jet Li, but you know what? He really proves that he can hang with the big boys in this film. I mean, he did ALL HIS OWN STUNTS. How awesome is that? Not even our great American action actors like Sylvestor and Arnold can say that. My only criticsim of the film is that I think they should of beefed it up a little bit and went for the R rating. Other than that I think it's a great little action/martial arts movie with a European flavor. It will definitely make you reminisce over the days when Van Damme and Seagal used to make great Action fliks. I can't wait to see what Turkish has in store for us next. Ladies and Gentlemen, a new action star has been born.

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If the world were a different kind of place, Jason Statham would be a huge star. But as it is, despite strong showings in this film and in "The Italian Job," he's not.

Actually, Statham has all the right stuff: he's athletic, intelligent,sexy, honest (to a point)and physically imposing for a short guy. You know the kind of guy you'd share a bottle of Tequila with, let your sister go out with, have beside you when you go to beat up your brother-in-law or drive your Mom to the mall. He's a guy's guy and a woman's guy. He harkens back to the Gables, Stewarts, Fonda's of the world. He's the strong/silent type with extras. I'd really like to see him as a romantic lead, maybe in a film with Drew Barrymore or Jude Law.

This film is nothing new plot wise but it's done with style and grace and the scene of Statham and a bunch of bad guys and a drum full of motor oil is a classic.

If there is any justice in this world, Statham will be the next James Bond. But being that there isn't much, let's hope he has a long, brilliant career instead.

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This 2002 film is action all the way. So much action, in fact, that the story doesn't matter. It plays like a young man's fantasy fast cars, things that blow up, and a pretty girl to decorate the scene. The English actor, Jason Statham, is cast as the cooler than cool hero. He lives is opulent splendor on the French Riviera and is supposedly a former soldier with the British Special Forces. He now makes a living by transporting packages and/or people in his luxury BMW car. For example, the beginning of the film shows him pulling up at exactly the right moment at a bank heist. Four bank robbers in masks rush to get picked up. "The agreement called for three," he says. There is no time to argue as the police are closing in and so they shoot one of their members and throw him out of the car. Of course there is a car chase, with dozens of police cars falling off cliffs or banging into each other as the transporter's car leaps over barriers and is totally immune to all the bullets being shot at him. And that's just the first five minutes.



The transporter's next job consists of delivering a small suitcase to a location. All goes well until he gets a flat tire, opens the trunk and sees the suitcase moving. When he opens it, he finds the lovely Qi Shi, a pretty young Chinese actress who manages her role well, in spite of the fact that she speaks very little English. No problem though because there is very little dialog anyway. Mostly, things blow up, including our hero's luxury house and the pair are forced into a daring underwater escape. There is more and more action and more and more people getting killed and some sort of redeeming value in the plot about saving Chinese slaves from a cargo container. The most important thing in this kind of film, however, are special effects and the martial arts of the hero who can knock out a dozen armed men with a few well-placed kicks.



This is a film targeted to teenage boys. So what is it that kept the eyes of a mature lady like me so glued to the screen? Perhaps its because the action was so intense and outrageous that it just locked in my attention in a way that wound up to be totally relaxing. By all my generally standards I should have hated this film. But sometimes I like to take a mini-vacation from anything meaningful. Hence, I cannot help but recommend The Transporter.

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Frenzy (1972)

Frenzy was a homecoming of sorts as it was Hitch's first film shot in the UK since he left during the 40's. I would disagree with those who claim that Frenzy can't stand with Hitch's best work; Hitch's droll and dark sense of humor change what could have been a run of the mill thriller into a minor masterpiece. The best bits in Frenzy are every bit as startling and powerful as those in Rear Window, Vertigo and North by Northwest. Although his wife Alma's heart attack couldn't have informed the pre-production stages of the script and film, it certainly had an impact on the atomsphere captured in the film. There is an underlying darkness here only hinted at before (most explicitly in The Birds, Vertigo and Marnie).

The performances are uniformly excellent. The fact that Hitch chose stage actors and lesser known British film actors for this film gives it a bit more grit and reality than his earlier films. Anthony Schaffer's script plays with the routine cliches of suspense films. A number of sequences (including the scene where the murderer is trying to retrieve a bit of incriminating evidence from one of his victims) flirt with sardonic humor. The dialog like most of Hitch's films is outstanding. Here Schaffer, again, turns many of the cliches (some from Hitch's own films) from film dialog into a droll commentary on both the action and the film audience as observers.

The extras included on this DVD are particularly outstanding given the standing this film has with most film buffs. The new interviews with Anna Massey, Jon Finch and others sheds considerable light on Hitch's methods during the making of the film and discounts a number of myths about him (including the idea that he didn't really work much with the actors. While he trusted the actor's instincts he also recognized that a well rehearsed film is akin to a storyboarded film; it's clear that preparation for both aspects were equally important).

Why is this film a "lesser" Hitchcock for most critics? It probably has to do with the more contemporary edge in some of the scenes. Frenzy has more in common with the brutality evident in early Hitchcock classics like Murder than with Rear Window or Shadow of a Doubt (a film that shares a lot of the same themes although Frenzy is a darker, more contemporary take on the same type of story). Frenzy clearly is Hitch's last great film and although it occasionally slips, its best moments are every bit the equal of his best films. On the whole the strengths of Frenzy outweight the weaknesses and make this terrific film a must for Hitch fans. One interesting observation in closing about Frenzy. Everybody points to Hitch's classic films as influencing Brian DePalma. It's clear that DePalma (who had already begun making films prior to 1972)borrowed more from Frenzy than other Hitchcock classics. Even a film like DePalma's Sisters (released the year after Frenzy) owes a great debt to this film.

For the first time in twenty-plus years, Alfred Hitchcock returned to his native England to make what turned out to be his final psychological thriller FRENZY. Despite a series of only modestly successful films since his 1963 triumph with THE BIRDS, Hitchcock had not lost his touch when he was handed Anthony Shaffer's fine screenplay (based on the Arthur LaBern book "Goodbye Picadilly, Farewell Leicester Square"). And although his approach to sex and violence is more explicit here (thanks to the ease in censorship restrictions that happened only a few years before), Hitchcock still delivers a film quite typical of his work--suspenseful, chilling, and often quite funny in a blackly humorous way.

The film revolves around a series of grisly strangulations of women occurring around London that have the police totally baffled. The killer's choice is a necktie, which pretty much leaves the door wide-open, since almost every man there wears a necktie. We are then introduced to Richard Blaney (Jon Finch) an ex-RAF officer and divorcee who has this tendency to drink too often and get a little bit too rough with people, including his ex-wife (Barbara Leigh-Hunt). The only real solace he gets is from his friend Robert Rusk (Barry Foster), a fruits-and-vegetables salesman in Covent Garden. What Finch doesn't realize, however, is that Foster is, in fact, the necktie strangler. And when Leigh-Hunt is found strangled in her office, the police, having interviewed her secretary, who had heard Finch arguing with her violently only half an hour before she was killed, immediately suspect and later arrest Finch, while Foster gets away. But an alert detective (Alec McCowen) suspects that there is something to Finch's story that could prove him innocent of the crimes.

Although it was only a moderate hit here in America, owing to an all-British cast (all of whom are extremely good), and also quite controversial because of the grisly nature of Foster's strangulation of Leigh-Hunt, FRENZY is nevertheless a brilliant movie, far more concise and better plotted than many of today's serial-killer films of this day. Foster's performance is extremely complex; instead of the typical mad-dog killer, he is a suave businessman with a thing for women--for seducing and then strangling them. Finch's performance is, by necessity, less sympathetic so as to keep the audience off-balance, thinking that he is indeed the killer.

And unlike too many pseudo-Hitchcock films of our time, FRENZY has moments of dry British wit and morbid dark comedy. One involves two policemen chatting in a bar about the killings, where one remarks, "We haven't had a good murder since (Agatha) Christie", and that such a spree "is always good for tourism." Another involves Foster having to get an incriminating piece of evidence off of the corpse of one of his female victims in a potato truck--and he has to actually break off her fingers to do it. Hitchcock later said, "The remarkable thing about that scene is how it improved the taste of the potatoes." Still another is McCowen enduring the "gourmet cooking" of his dotty wife (Vivien Merchant).

A superior piece from one of the all-time great directors, a man who was an influence on everyone from DePalma to Spielberg and beyond, FRENZY is a disturbing but always intriguing horror opus well worth re-discovering.

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Hitchcock's second last film is a tightly-written, well-acted suspense thriller featuring a luckless and underachieving hero being framed for murder, a cunning and psychotic villain whose murderous itinerary is detailed, a gritty and realistic directorial style from Hitch, a story set in a working-class milieu that is far apart from the glamorous and exotic settings of his earlier films, and one horrific murder scene in which the depiction of brutality and evil reached a new height for the director. This film is quite a world apart from the elegant, smooth, urbane suspense pictures he made in the 40s and 50s. But with the increasingly jaded audiences in the 70s, the change was probably inevitable. Still, Hitchcock's craftsmanship made FRENZY as exciting and memorable as his more traditional thrillers.

This DVD from MGM/UA presents the film in a new, widescreen video transfer and a Dolby Digital monophonic sound track. The picture looks a bit dark for my liking; unfortunately there is no "color bars" on the disc for me to test the display. Colors are bright and realistic, however. The audio is bright and sharp.

There is an original 45-minute 'Making-Of' documentary that features new interviews of actors Jon Finch, Barry Foster, and Anna Massey, a theatrical trailer (showing Hitchcock floating on the Thames), 100 or so B&W production photos, and the usual "production notes" and "cast biographies".

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Think about this.The man was 70 when he directed it---6000 miles away from home.For someone who had enjoyed the comfort and routine of shuttling each day from Universal to Bellagio Road for the last twenty years,this was pretty radical---and it couldn't have been any picnic sitting all day on those wet,chilly London streets either. I never appreciated all of this at the age of 21 when I was running "Frenzy" as a 16mm college rental.At that time,I enjoyed a good,tense---maybe not top drawer,but certainly up to standard---Hitchcock thriller.Having seen it many times in the intervening years, I have modified my opinion---"Frenzy" is a GREAT Hitchcock thriller.I won't say "one of his best",because how much room do we have in a pantheon that includes "Shadow Of A Doubt","Notorious","Strangers On A Train" and so many others?Let's just say that "Frenzy" is utterly different from the rest----another bold stroke from a director who was always ahead of the cutting edge. It's also one of the wittiest pictures ever made---funnier than any one of a hundred celebrated comedies I can think of.Anthony Shaeffer had a lot to do with that---he was the writer---and it's a masterful job he turned in---if only these two could have done a whole series of thrillers together!Besides the well-known set-pieces(the potato truck,the back-tracking shot from Barry Foster's doorway,etc.),there are so many wonderful little throwaway moments to treasure---Jon Finch stepping on the grapes,Foster picking his teeth with the tie pin---so many priceless details.Hitchcock obviously loved being in that Covent Garden---it's teeming with moving crates of fruits and vegetables---people hiding out among the deliveries,casually picking samples and eating---it's all so relaxed and evocative---you feel as though you're right there in the bustle of a typical London day. It's great that Hitchcock was able to share such a vivid and colorful homecoming with us---the fact that it's such a marvellously grisly and twisted ride is like the icing on the cake.Yes,the first rape/murder scene is truly disturbing,and I wish he'd toned it down,but Hitchcock was clearly pushing the limits here---releasing a few of those demons that had been pent-up through so many of the code-compliant pictures he'd made for so many years.It's a lapse in taste,but I've forgiven it.There's so much to love in "Frenzy",it's hard not to---besides,you've all got fast-forward buttons.MCA should release this on DVD---truly a buried treasure among Hitchcock classics.

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Everyone who's seen a lot of Hitchcock and read up on him has their favorite Hitch film, and then they have the one which isn't quite their favorite, but which they feel has been criminally neglected in the general consensus. For me, Frenzy is that second film. For some reason, this late-life thriller has never been accorded much respect (most people haven't even heard of it), but it's one of his most well-crafted and cohesive films, without the demure hesitancy which makes Shadow of a Doubt and Strangers on a Train less effective now, and with a great sense of purpose that keeps the audience focused. Even classics like Vertigo have a tendency to drift and lose the audience, I think; in Frenzy, everything is succint and to the point. Hitchcock also finally found the nerve to show murder onscreen, and its occurence is as brilliant as anyone would expect. A cast of relative unknowns deliver excellent performances, particularly the rough-around-the-edges 'hero.' This is beside the point, of course, but I love the way he rolls his R's 'Rrrrrrrrusk!' Another thing I appreciate is that Hitchcock seems to have lost some of his obsession with unreal beauty. There are no polished Cary Grants or dreamlike Grace Kellys in the lower-middle-class world of Frenzy, giving it a terrific gritty reality; here are ugly men and women doing (and suffering) ugly deeds. Some people, discussing this film with me, have pointed out that it may have been the time frame which made the movie seem so realistic after all, that was more the style in the seventies, when it was made. I don't think so, however, when you consider that he followed Frenzy with the funny but airheaded Family Plot, which is as unlike Frenzy as apples and potatoes. Finally, the role that food plays as a motif and symbol is wonderful, totally relevant to the film. This is Hitchcock's underrated masterpiece, period.

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Simply Irresistible (1999)

First of all let me say I am a HUGE Sarah fan, and this film has gotten bad reviews from alot of people. This is not a film for you if you are looking for action, if you are, don't get this, because you won't like it. If you like romantic dramas, you will definetly like this. This movie wasn't made expecting EVERYONE to fall head over heels in love with it, it was made for people who enjoy films like this. Sarah plays a young girl who has no parents, and she lives by herself, and she runs her mom's resturaunt with her aunt. When the resturaunt may have to close because rent can't be kept up, somehow, Sarah's character starts to make delicious, delectable, irrisistible food that everyone falls in love with. She meets this guy who is opening a resturaunt, and the film just flows out from there. It's a great film, and it's great for those who want to watch a good movie with their girlfriend or boyfriend or for someone who just wants a good Saturday night movie to chill and watch. Sarah Michelle Gellar gives an amazing performance as usual, and you will not be dissapointed.

Simply Irresistible may not have done well in the box office, but that certainly doesn't mean that this film doesn't have any charm. Just because a movie doesn't find a proper following doesn't make it any less charming, in my opinion. Simply Irresistible is one of the best movies I've seen that hasn't had much viewership. It's fun, sweet, romantic, and just simply enjoyable all the way through.

This movie certainly boasts a top-notch cast that is led by the wonderful and amazing Sarah Michelle Gellar and Sean Patrick Flanery. Amanda, played by Sarah Michelle, starts off as an awful chef but almost magically turns into a wonderful one overnight. She then begins falling in love with Tom, played by Sean Patrick, who is the owner of a popular department store.

Simply Irresistible tells a wonderful and romantic story of how scary falling in love can truly be and how wonderful it can be all at the same time. If you're in the mood for a light, romantic comedy, then I highly recommend this movie.

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I rented this movie purely on the basis of a pretty charming little rave print review by Roger Ebert,and was glad I did (ended up even buying a copy on VHS for myself). The movie is slight and whimsical -lots of magic, not a lot of gritty reality -but it's sweet and strange and has a lot of charm. The characters are daffy and whimsically painted, and don't go the usual hollywood movie route. Gellar is sweet and insecure as the heroine -a much less glamorous role than her weekly (equally fabulous) vampire slaying Buffy heroine -while Buckley and Flanery and the fine supporting cast are all enjoyable to watch in the romantic mishaps that ensue. The wonderful Patricia Clarkson meanwhile is so much fun that she steals every scene she's in without detracting a bit from the appeal of her costars -a pretty good trick (it's worth the price of admission to hear her say, "This is nutty. Hazel-nutty.").

I really loved this movie - started out wondering where it was going, but by the end I didn't care - the writing is offbeat and fun, not so by the book. The movie's not "Schindler's List" or anything, sure -it's pretty lightweight -but it doesn't feel as Hollywood-ish as your usual romantic comedy, and you really never know what the characters will say next. The food also looks glorious and really adds to the sense of whimsy. The soundtrack is as sweet and fun as everything else -if you need cheering up, or convincing that there's still a bit of Astaire and Rogers in the world, this one's a great choice, where a perfect eclair can create true love, and a wonderful meal can make people weep with delight (and float in the air a time or two)...

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"A good cook is like a sorceress who dispenses happiness." ~Elsa Schiaparelli

Sarah Michelle Gellar's softer side appears as she picks up the batterie de cuisine and tackles saving a restaurant from certain death. When it looks like Amanda's career is about to end as a chef, an angel appears in her life and gives her some sage advice about looking for a door that will open when another one closes. As the chef of a failing 70 year-old restaurant, the Southern Cross, she only has her loyal clientele who are not there for the food.

To say she is adorable as a chef is an understatement. She appears in a variety of fashionable outfits and weaves a sweet innocent spell on the viewer. Worth watching to see Sarah dressed up in a variety of outfits and different hairstyles.

There are also scenes of outdoor markets, beautiful orchids and of course restaurant scenes, Sarah shopping, cooking and crawling about on the floor chasing after magical crabs all to romantic music.

Instead of slaying vampires, "Buffy" bewitches Tom Bartlett (Sean Patrick Flanery) and entices love right into her life through cooking a variety of gourmet dishes. If every man has his weakness, Tom's weakness is luscious cuisine.

"She can cook things that make you crazy." ~Tom

As every kitchen sorceress has discovered, the right food can create the right mood and can invite happiness and love into your life. I loved the dance scene and the scene where Tom and Amanda disappear into the scented mist. This movie emphasizes the aphrodisiac qualities of food.

Amanda Shelton (Sarah) only discovers her true cooking talents after meeting Tom. At first she seems unaware of her current fate while Tom seems to be trying to control his fate. He is disturbed by his lack of emotional control and when he falls "in love" with Amanda, his world seems to be spinning out of control.

"My whole life was ordinary and then we met and these amazing things started to happen." ~Amanda

Is it love that makes Amanda a better cook and makes her cooking taste even better to Tom? Are their senses in a state of heightened awareness from the chemicals rushing through their bodies or is there magic floating about? Once she finds a recipe for caramel éclairs, Tom is even more attracted to her.

There are very few movies about cooking or chefs so this one is a treat. Tear drops in the food reminded me of Like Water for Chocolate. The emotions Amanda feels are somehow magically mixed into the food she is cooking. Either the dishes make people cry, stun them or make them lose their inhibitions. She seems to have a magical gift for culinary creations that have an effect on anyone who consumes them.

Is the orchid plant in this movie the "Oncidium Sharry Baby?" It did look similar, although I can't say for sure. Some people say it has a fruity vanilla scent and not really a chocolate scent. Most types of vanilla do not produce the vanilla beans. If you wanted to cook with flowers, you would want to make sure that the flowers you added to your cooking were edible. Orchid flowers are apparently edible.

Vanilla beans are the cigar-shaped seed pods from a climbing orchid and the pods must be picked, boiled and heated in the sun. It literally takes months to produce the delicious vanilla flavor. It actually takes 100 beans to make 1 gallon of vanilla extract. If you love vanilla extract, you might also enjoy: Fiori di Sicilia flavoring for your baking.

After watching this movie you may want to feed your lover oranges, invest in some expensive vanilla extract, get lost in a kiss or cook up some bliss. If you are looking for the best vanilla for your cooking, Bourbon-Madagascar vanilla is superior.

Deliciously cute, silly spells, sweet innocent love and a few hot and steamy kissing scenes in the kitchen. For romantics and lovers of kitchens and cuisine. Almost a culinary Cinderella story.

You might enjoy these books:

The Seduction Cookbook by Diane Brown (Baked Salmon with Raspberry Cabernet Sauce, ideas for late night seduction snacks and information on growing an erotic herb garden.)

A Passionfruit Cookbook by Patrick Jesse Pons-Worley (The flavor of passion fruit is so seductive and exotic.)

Written with a Spoon (Poetry and Recipes)

The Illustrated Encyclopedia of Orchids by Alec Pridgeon

The Edible Flower Garden by Rosalind Creasy

InterCourses: An Aphrodisiac Cookbook (The "Fig Pastries" are decadent and naughty.)

Crab Cooking: Famous Recipes from Famous Places by Joyce Lafray

Movies with Food Themes:

Babette's Feast

Like Water for Chocolate

Scent of Green Papaya

My Big Fat Greek Wedding

Big Night

~The Rebecca Review

P.S. If you need a recipe for the caramel iced éclairs to entice someone with see the comments section for the link.

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Mmmm, mussels...

They provide an excellent metaphor for this little known romantic comedy as they are an unforgiving shell surrounding an unmistakeably unique tasting meat. Either you like them or you don't and so it is with this film. If you have trouble enjoying the average Tom Hanks/Meg Ryan canoodler then this movie probably isn't for you. Only the truly romantic who believe in spells and rapture will appreciate "Simply Irresistible".

The story doesn't always make sense as it tends to meander off in odd ways just like the character Stella, (played dizzily by Betty Buckley), but this is also part of its charm, it's unpredictability. There is a woozy style to the filmmaking that perfectly captures the story's setup. A young chef finds love and fulfillment at the claws of a magical crab. As silly as it sounds, "Simply Irresistible" is also incredibly sincere with first rate performances from all involved.

However even the tastiest mussels sometimes get gritty and there are enough (what the?) moments in "Simply Irresistible" to snap first time viewers out of their trances. This is a film that actually improves the more you watch it, as the discordant moments tend to soften with exposure.

The ending is by far the movie's weakest link as it asks the viewer to believe in an instantaneous makeover for the movie's star and revisit a restaurant scene that has long exhausted its interest. How much better would it have been if leading man Tom, (Sean Patrick Flanery), had met Amanda, (Sarah Michelle Gellar), on the pavement in front of the department store and taken her for a walk through the nighttime streets of midtown Manhattan? We would have gotten to see more of their admirable chemistry and maybe been given a glance at how their relationship would develop after the credit roll. Instead were left literally dangling in mid air feeling a bit silly.

Because of its flawed ending, I can only give "Simply Irresistible" four stars and certain plot holes would have reduced this score to three if it weren't for the always inventive use of soundtrack in the movie. One plot hole that particularly disappoints is the disappearance of Amanda's benefactor Gene O'Reilly, (played wonderfully by playwright Christopher Durang), after the film's first few minutes. More of his presence might have helped to ease the audience into the magical realism the script so heavily relies upon.

Thankfully moments of spontaneous convergence abound, when the dialogue, acting, and direction merge into such effortless liquidity that it's like watching a lava lamp; hypnotic. Nothing creates this effect better than Patricia Clarkson's sumptuously brassy performance as Tom's assistant Lois. Every scene she's in she steals and her seduction of department store tycoon Jonathan Bendel, (Dylan Baker), more than justifies the suspension of disbelief this film requires.

Flanery and Gellar work well together here with Flanery delicately walking a fine line as an ambitious yet romantically feckless young executive enchanted by Amanda's cooking and then by Amanda herself. My favorite moment: when Tom arrives at Amanda's very busy restaurant to break it off with her only to be smitten all over again as she hands him a customer's plate to deliver. The song "Secret Smile" by Semisonic starts to swell as Amanda intones "The mussels are ready" while beaming a thousand watt grin in his direction. It's the kind of magic scene that enlivens this unusual and giddy confection of a film.

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Stripes (Extended Cut) (1981)

Nope! It's NOT just the same movie simply put:

You haven't actually seen Bill Murray's 'STRIPES' until you obtain this 2005 re-release DVD!

The bonus scenes featured DOES INDEED answer various inquiries we once had re this comedy:

e.g. why are those 2 guys ALONE sitting against the EM-50 in Italy before they take it for a spin?....and when in Germany Russell flat-out refuses to rescue the captured troops with the other three in the EM-50, what made him change his mind? (to mention a few)..

Another one of the deleted scenes is the (talked-about) 7-minute "South America" segment

where we DO see another side of Harold Ramis while Murray is truly hilarious!

A BETTER print with superior STEREO 5.1 dolby sound now vs the previous mono DVD, including a great feature in two parts -"Stars & Stripes" that will leave you dazzled in understanding this entire film: how it was made, rare image stills, and how the actors (a good number of them)

felt in doing the film along with Murray himself, being interviewed from of all places TOKYO!

This new DVD gives you 2 movie options:

1.) the EXTENDED version featuring the deleted scenes-

(with added option of audio commentary from the director and head writer)

2.) the ORIGINAL theatrical version-

*BOTH WS*

There's also the option of seeing all SIX bonus scenes one after the other -

The EXTENDED version does a fine editing job inserting the deleted scenes at the right places,

even indicating (via small permanent text) where these bonus scenes START and END -

-an extremely smooth flow minus any pauses or audio dropouts...

However on this strange ORIGINAL version, there ARE crude pauses/slight audio drops only at the marks where the deleted scenes were MEANT to be placed (or were previously removed),

it's as if they didn't (wouldn't or couldn't) simply EMPLOY the main original print for this DVD -

-unsmooth/choppy at these marks, esp when the guys drive to Germany and meet the girls -

e.g. Murray hugs P.J. Soles with the line: "I Brought The Magic Suitcase"..

That very scene literally disappears thus disappoints on this ORG version -

One Major Blunder:

A bonus scene w/P.J. Soles (there's MORE of her) & Murray in a hotel bedroom from Germany

is in fact the EXACT same bedroom set in a PREVIOUS short scene where she pulls Bill out of the trunk at General Barnacy's house; When you compare the two you'll believe they intended this to be START of the 'Barnacy Bedroom' segment..

But overall (the pauses & blunder notwithstanding), they did a great job

in christening this DVD as: "The ULTIMATE Stripes"

definately worth forking over (at best) a Hamilton and an Abe for...

The mark of a great comedy is that it remains funny after numerous viewings. "Stripes" (the 1981 release that helped make Bill Murray a star) passes this litmus test with flying colors. Now at last there is a DVD release, replete with extras, worthy of this enduring comedy.

Ivan Reitman directed Murray, Harold Ramis (who has subsequently directed many comedies of his own) and a great supporting cast led by John Candy as new recruits in the U.S. Army.

The wonderful veteran actor Warren Oates, who died shortly after the film's release, is their tough-as-nails drill sergeant. The by-play between Murray and Oates (opposites don't always attract) is priceless.

Suffice it to say that hilarity ensues, with the improbable unit putting on a virtuoso performance at their graduation ceremony ("That's the fact Jack!) sans their injured sergeant. This leads to them being charged with the security of a new super weaponized mobile home (it's called an, "urban assault vehicle") in Europe. Improbable? Absolutely. Hilarious? Most definitely.

Murray and Ramis also each has a lovely MP to accompany him on the duo's escapades as the ribaldry doesn't stop until the closing credits.

You can watch the "Stripes" with deleted scenes included or without.

The obvious highlight of the DVD extras is an hour long documentary on the movie with all principles interviewed (at his insistence, Murray's interview is done in black light). It is one of the better retrospectives of its kind.

And "Stripes" is one of the best comedies of this or any other time.

Buy Stripes (Extended Cut) (1981) Now

Absolutely one of the funniest movies ever made. It would definitely have to be highly ranked, if only for the fact that it is possibly the most quoted movie of all time. Who among us has never said "Lighten up, Francis" or "You can't leave, all the plant are gonna die! ". Bill Murray is at his best, and Harold Ramis is the perfect straight man for him. Add in a supporting cast that includes John Candy, Judge Rheinhold, John Laroquette and Sean Young, and you have something pretty special. Also, gains points for the fact that it doesn't start to fade out at the end, like many comedies do when the decide to get "message-y". It just keeps up the energy and humor right up to (and including) the credits. To this day, the only movie I have ever enjoyed so much that I went right back to see it the very next night.

Read Best Reviews of Stripes (Extended Cut) (1981) Here

Stripes was one of my favorite movies as a kid, and I'm happy to say that I still find it just as funny today. This extended cut adds several deleted scenes, some good, some not-so-good. My personal favorite is one where Harold Ramis' character reaches the breaking point and he and Murray go AWOL, hitching a ride on a cargo plane and parachuting into South America. This scene gives Harold Ramis a chance to shine, and is very funny, but during the commentary track it is mentioned that it was cut from the film (despite being a favorite of the studio execs) because it didn't seem to fit in the film from a pacing aspect (it is suggested it would've gone well over the end credits, but this was before such a thing was common).

Speaking of the commentary track, it isn't mentioned on the packaging, but it's there, and includes director Ivan Reitman and writer/producer Dan Goldberg. And apparently, the extended cut wasn't Reitman's idea -some of the deleted scenes he prefers to not have in the film. The DVD also includes a nice 2-part documentary which includes interviews with the cast.

A great film!

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I'm a bit perplexed by the reviews criticizing this movie because of its unrealistic depiction of the Army. Do these same people complain that "Animal House" doesn't accurately display college life or that "Vacation" isn't what a family trip across the country is really like? (Hey, I live in St. Louis and could easily take exception to the outright offensive inaccuracies in "Vacation", but I still love the movie!) This is a comedy, folks. It's not "Saving Private Ryan" or "Band of Brothers", and it never claims or tries to be. It uses exaggeration and absurdities to make us laugh. It isn't striving for realism, although to its credit, I have heard plenty of people say that this is the best movie they've ever seen at giving you the feel for what its like going into the service, and that their own drill instructor was identical to Sgt Hulka.

The first half of this movie is just about the funniest comedy ever made. Bill Murray and Harold Ramis are the perfect slobs with shiftless lives who try to maintain what's left of their dignity by enlisting in the Army. Their chemistry is wonderful and they truly are believable as out-of-shape but likable losers. Virtually every line and every character is memorable (Psycho, Ox, Cruiser, that lady in the cab, John Laroquette, and of course Russell and Winger), and this has to be the most quotable movie in history. No, John Candy would not have spoken to a superior officer that way when he gets off the bus (or at least not have gotten away with it), but that's what's so funny about it! And speaking of Sgt. Hulka, Warren Oates should have been given an Oscar nomination for this role. He's the high point of the movie for me, and his intense, over the top performance reminds me of Robert Shaw in "Jaws"some actors are so good that they can chew scenery and get away with it. So for the first half of the movie, there's not an unfunny moment. Maybe basic training isn't like this, but the scenes are so well-done that a generation of adolescent guys has grown up thinking that it is and have no doubt gone into the military with this movie in the back of their minds.

The second half of the movie sort of devolves into a bearable but not great action movie, with its contrived plot about the stolen military RV and the rescue mission across the Czech border. Still, the same characters are present and continue to sustain the movie until the end. Great music, tooI don't think this has ever been issued as a soundtrack but it contains one of the most memorable themes ever written for a movie.

The DVD itself is passableno extras, somewhat grainy video, unspectacular sound. But we surived watching it over and over again on basic cable with plenty of edits and subpar picture quality, so I can't complain too much. I suppose someday it will be given a "Special Edition" with a commentary and a retrospective from the stars, but the movie stands on its own without anything fancy.

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Funny Face

In 1957, Paramount produced a very enjoyable musical comedy called "Funny Face", directed by Stanley Donen, and to the music of George Gershwin, Adolph Deutsch, Roger Edens and Leonard Gershe. With a simple plot, the film begins in New York City within the offices of the major fashion magazine named "Quality". Its president, Maggie Prescott (Kay Thompson), is determined to find a new way to promote the magazine. In a moment of inspiration, she comes up with the slogan "Think pink," and breaks into song praising the color pink and saying that everything (from women's clothing, soap, furniture, etc.) must be pink. Of course, she "wouldn't be caught dead" in it.

Moving on to another magazine project, Maggie wants to find the perfect spot to photograph one of the magazine's models named Marion (Dovima, who was a major fashion model in the 1950's working closely with photographer Richard Avedon. This was her only film.). An assistant suggests that they go to a bookstore in Greenwich Village to create an intellectual atmosphere. Maggie, Marion, a host of Maggie's staff all in pink and the magazines head photographer, Dick Avery (Fred Astaire), force their way into a dingy, but quiet, bookstore along with all of their equipment. A store employee, Jo Stockton (Audrey Hepburn) protests the uninvited intrusion vehemently, but the "Quality" magazine army locks her out of the store to work undisturbed. After several hours, the "Quality" mob vacates, but the books and store are left in a shambles for Jo to clean up. Dick offers his help to clean the store, but Jo refuses. After Dick leaves, Jo proceeds to sing another wonderful song in the film, "How Long Has This Been Going On?"

Maggie decides that "Quality" must find a real "Quality woman" to represent the magazine and it isn't Marion. When Dick develops the photos taken at the bookstore, Jo is in one of them. He suggests to Maggie that Jo could be the woman that they need, but Maggie has her doubts. To lure Jo to the "Quality" offices, they order a large number of books and want them delivered. Jo arrives hours later with a pile of books and is accosted by Maggie's staff who want to redress her in preparation for a photo shoot. Jo escapes and hides in Dick's dark room. They talk and he sings to her another of the film's title song, "Funny Face". Jo completely disagrees with everything that "Quality" magazine represents; she believes in "empathicalism", a philosophy that rejects all material things, as described by her idol, Professor Emile Flostre, who lives in Paris. When Jo is told that the "Quality woman" photo shoot and a fashion show will be done in Paris, she reluctantly agrees to be the model since it will give her the opportunity to meet Prof. Flostre.

The film continues in Paris where Jo models many clothes designed by Givenchy and a romance between her and Dick Avery develops. Jo finally gets the opportunity to meet Prof. Flostre (Michel Auclair), but will he meet Jo's expectations? Will the romance between Jo and Dick survive the photo shoot and meeting Prof. Flostre? Does Maggie get to produce the Paris fashion show of your dreams? You'll just have to watch this very entertaining film to find out!

The songs in the film include:

* "Think Pink" 5/5, Kay Thompson. A fast, snappy & whimsical song.

* "How Long Has This Been Going On?" 5/5, A blues song sung by Audrey Hepburn at the bookstore.

* "Funny Face" 5/5, Fred Astaire. A charming song.

* "Bonjour Paris" 5/5, Fred Astaire, Audrey Hepburn, Kay Thompson. A fun song filmed at various locations in Paris.

* "He Loves and She Loves" 4.5/5 Audrey Hepburn and Fred Astair. Filmed at Le Château de la Reine Blanche in Coye-la-Forêt with Audrey Hepburn modeling a wedding dress.

* "How To Be Lovely" 5/5, Kay Thompson and Audrey Hepburn. A fun & gutsy song.

* "Basal Metabolism" 4.5/5, A blues song that Audrey Hepburn dances to in a bistro.

* "Clap Yo' Hands" 5/5, A fun, melodramatic blues song sung by Fred Astaire and Kay Thompson to sneak into the bistro. (a.k.a. "Ring-a Them Bells")

* "Let's Kiss and Make Up" 4.5/5 Fred Astaire. A love song sung again at Le Château de la Reine Blanche.

* "'S Wonderful" 5/5, Audrey Hepburn and Fred Astaire. Another love song sung at Le Château de la Reine Blanche.

Some may think that "Funny Face" is nothing more than fluff, but it was produced to entertain with color, fashion, music, dance and comedy and it does so very well. The acting, singing and dancing from Audrey Hepburn, Fred Astaire and Kay Thompson is quite good and I rate "Funny Face" with 5 out of 5 stars. If you're primarily interested in Oscar-winning dramas, "Funny Face" may disappoint you; but if you enjoy light-hearted musicals and like to laugh, then you'll probably be very entertained with this fun film!

Think Pink! S'wonderful! Songs that are among the many wonderful memories from the classic love story and popular 1957 musical "Funny Face" starring Audrey Hepburn, Fred Astaire and Kay Thompson featuring memorable Gershwin songs, exciting choreography, beautiful fashion and beautiful scenes shot in Paris. "Funny Face" was not just a regular musical of that time, it was a special film that highlights the style of an era and of course, another stunning fashion collaboration between Audrey Hepburn and her designer Hubert de Givenchy. And also bringing together two top tier music talents such as Astaire and Thomas, all three in one film is just fantastic!

The film starts off with publisher and editor of Quality Magazine, Maggie Prescott (Thompson), looking for a new fashion trend. A woman that exhibits beauty and intellect and both Prescott and fashion photographer, Dick Avery (Astaire) decide to look for this woman who can "think as well as they look". So, the two along with the magazine staff visit a bookstore (Embryo Concepts) in Greenwich Village in Manhattan, they meet Jo Stockton, a shy bookstore clerk who also has a passion for philosophy.

Prescott tries to convince Stockton to consider becoming a model for the magazine but she does not want any part of it. But Prescott, quite persistent in having Stockton become this new face, tricks her to bringing books to the offices of Quality Magazine. As Stockton tries to hide from staff, she hides in the film developing room where Dick Avery is working. Having known that Stockton's dream is to go to Paris and attend a lecture of renown philosopher, Professor Emil Flostre, Avery convinces her that by becoming a model for Quality Magazine will eventually bring her to Paris and attending the lecture of her favorite philosopher.

So, off to Paris they go and as Dick and Jo spend time together, they eventually start to fall in love. As Jo is being prepared for the Gala to introduce her as the new fashion trend for Quality Magazine, she gets caught up in a lecture for her favorite philosopher, Emil Flostre that she forgets to attend the Gala. Thus Dick goes to look for her and causing a scene that embarrasses her in front of Flostre. But it seems that all is lost. Quality Magazine may not have their model. Dick may have lost the special woman in his life and as for Jo, she may have lost the one person that she truly loves.

"Funny Face" is a classic from it's first song sung with Kay Thompson belting out "Think Pink" to the three talents singing in Paris, Audrey Hepburn's dance at a bar (which many have seen through a recent GAP commercial), to Astaire's talents as a vocalist and dancer and Gershwin songs such as "S'Wonderful", "How Long Has This Been Going On" and "He Loves and She Loves" but for film-goers at the time, it was a film that utilized the VistaVision technology (a higher resolution and widescreen technology developed by Paramount in 1954 and an older technology that continues to be used today) and a film that featured the beauty of Paris. Talented actors, beautiful outfits, beautiful music taking place in a beautiful city, there's nothing funny about "Funny Face", the film is just overall... Beautiful!

VIDEO & AUDIO:

The film is presented in widescreen format, enhanced for 16:9 TV's. A lot of the Centennial Collection releases have been remastered for high definition and having the previous DVD's, I can tell you that the DVD looks great. The shots of Paris from yesteryear to the dreamlike scenes between Astaire and Hepburn as they dance to Thompson's "Think Pink" and white and pink just stands out. There are just many of these classic scenes that the remastered video make the film come alive. But I can only imagine how this film would look in 1080P if released in Blu-ray.

Audio is featured in Dolby Digital English 5.1 Surround/English, Restored Mono, French Mono and Spanish Mono. The film of course is dialogue-driven but for those who love those Gershwin classics, they do come alive for this film courtesy of the Dolby Digital 5.1 track.

SPECIAL FEATURES:

Similar to the three previous "Centennial Collections" from Paramount, the special features are all on disc 2. Because "Funny Face" was released in 2007 as a DVD, some of the special features from that disc can be found on this Centennial Collection but there are a few new features included as well.

* Kay Thompson: "Think Pink" Kaye Thompson who played Maggie Prescott was a woman who was known for her quick wit, her sharp tongue and multi-talented. Her friends and people she worked with take part in this near-27 minute featurette in which they talk about her past, her work in "Funny Face", the memories they had working with her but also her contributions as an author with her popular books series "Eloise". It was a great featurette to have included on this DVD.

* This is VistaVision A 25-minute featurette about the history of the VistaVision technology, the films that used it and the films that continue to use it today. A very interesting featurette especially for those who are interested in learning more about another technology outside of Anamorphic CinemaScope and the beginning of hi-res Widescreen film.

* Fashion Photographers Exposed A 18-minute featurette about fashion photographers and how "Funny Face" inspired many of them but also giving us an idea of the life of a fashion photographer and how the work of a fashion photographer in reality differs from Dick Avery's character from the film and all the staff involved with working with a fashion photographer.

* The Fashion Designer & His Muse An eight minute featurette (that was included in the original 2007 DVD release) about Audrey Hepburn and her designer Hubert de Givenchy.

* Parisian Dreams An eight minute featurette about "Funny Face", a love story set in Paris and how Paris enhances a love story. Originally included in the original 2007 DVD release.

* Paramount in the 50's Retrospective Featurette A near ten minute featurette on Paramount and it's popular films in the 1950's, featured in various Paramount releases.

* Galleries Featuring production stills, movie stills and publicity shots for the film.

The Centennial Collection also comes with a booklet that features information of facts of the film which include how the film differs from the 1927 Broadway musical that starred Fred Astaire and sister Adele. Also, the collaboration of screenplay writer Leonard Gershe and collaborating with real-life fashion photographer Richard Avedon and much more!

And the DVD is just classy with it's black and gold packaging (which most of the Centennial Collection are packaged) and ditching the pink and white packaging.

If there is one thing about "Funny Face", I could imagine how the film captured the attention of viewers with its stylish presentation of the fashion but also using the city of Paris and it's iconic monuments and the beauty of the city portrayed in color in this film.

Also, to have talent such as Audrey Hepburn (singing and dancing) and how she would only do the film if Fred Astaire and of course, having Kay Thompson in a rare film appearance all together is just amazing. From the classic opening scene of "Think Pink", to the moment when each person arrives in Paris and you get a beautiful look at the architecture and scenery and the choreography of Audrey Hepburn as she unwinds and starts to dance in the red-dimmed bar and many more scenes that are just enjoyable to watch.

There are just so many of these classic moments on "Funny Face" and it's not just the music scenes, there are just beautiful scenes such as Audrey Hepburn in a wedding dress, and the multiple modeling photo shoots featuring Avery and Stockton such as the scene where Stockton wears an elegant red dress and walks down the steps asking Avery to take a picture while he tells her to stop and she keeps saying "I can't Stop, take the picture" and saying it with a smile. And then with each photo shoot, the photography stills are showcased in various versions. May it be in full color, grayscale and then a combination of both. These things may seem common place today especially in color correction years of PhotoShop but back then, a lot of these visual images back in 1957 were new, fresh and unique.

And of course, the age difference between Astaire and Hepburn really doesn't matter in this film. Astaire is just full of life and he can move and dance much fluidly than many youngsters, so to have these two talents come together, it's no surprise that Hepburn feeds of his energy. Their chemistry work in each musical number and also when their characters are together. And as much as I love "Roman Holiday", "Sabrina" and "Breakfast at Tiffany's", "Funny Face" is one of those films that shows you the pure charm and the versatility of Hepburn as an actress.

Now, you may be a person who owns a prior DVD release of "Funny Face" (and other Audrey Hepburn films on DVD) and wonder if this DVD is worth upgrading to. I can tell you right now that these Centennial Collections are the definitive versions to buy on DVD. Remastered, in Dolby Digital 5.1 Surround Sound and even more special features than their previous DVD incarnations, these Centennial Collection releases are just beautiful to watch, to hear and enjoy.

This DVD is highly recommended!

Buy Funny Face Now

FUNNY FACE is one of the most enjoyable and delightful of Hollywood musicals. Featuring an immortal George & Ira Gershwin score ("He Loves and She Loves", "S'Wonderful", "Let's Kiss and Make Up", "How Long Has This Been Going On?"); the smartly-written screenplay by Leonard Gershe also marks this film with a strong storyline. I've yet to meet anyone who doesn't like this movie.

When Quality Magazine invades a pokey Greenwich Village bookstore for a photo shoot, it's the "dowdy intellectual shopgirl" Jo Stockton (Audrey Hepburn) who gets unwittingly discovered. Photographer Dick Avery (Fred Astaire) finds something special in this "funny face" and jets her off to Paris as the new model for Quality's beauty campaign. Of course love comes knocking for Jo and Dick, but not before some marvelous songs have been sung, and showstopping dances have been performed.

Kay Thompson steals the entire movie as the deadpan magazine editor Maggie Prescott. She gets things off to a cracking start with "Think Pink", traipses all over the streets of Paris with "Bonjour Paree"; and also gets a kooky 11 o'clock beatnik routine, "Clap Yo' Hands" (with Astaire). The character of Prescott is a thinly-veiled caricature of noted fashion editor Diana Vreeland; whilst Astaire's role is modelled after photographer Richard Avedon. Fans of "Seven Brides for Seven Brothers" should keep an eye out for former brides' Virginia Gibson and Ruta Lee, reunited here as two of Prescott's assistants.

Audrey Hepburn's early ballet and dance training came in handy with making FUNNY FACE, her "Basal Metabolism" routine is spectacular (and she sings quite well too). Filmed on location in Paris, the entire movie definitely has the proper European Travelogue feel to it.

This 50th Anniversary Edition of FUNNY FACE will feature a brand-new High Definition transfer of the movie, some great new featurettes ("The Fashion Designer & His Muse", "Parisian Dreams"), plus the material from the previous DVD release ("Paramount in the '50s" featurette, a photo gallery and the trailer).

Read Best Reviews of Funny Face Here

The movie is wonderful! And I have the first DVD that came out. When I saw there was a 50th Anniversary Edition I was thrilled, hoping, or let's say, expecting to have extra features as many 'anniversary editions' often offer. So I ordered the DVD sight unseen before its release. That was a mistake! The extras are boring and the featurette of Paramount can be found on other DVDs. A pity they had a chance to honor the work of Kay Thompson, the work of Fred Astaire and Audrey Hepburn, even some commentaries on the making of the film, information on photographer Richard Avedon....too bad.

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Audrey Hepburn does indeed fill the air with smiles in Stanley Donen's exquisite and happy film about a shy book clerk in New York who is transformed into the toast of the Paris fashion world. George and Ira Gershwin wrote some of their best songs for the film and a few additional numbers were contributed by Roger Edens and Leonard Gershe, who also wrote the delightful story. The premise is quite frivilous but the execution glorious and joyful and it is easy to see why this was Audrey's favorite among all her films.

Fred Astaire is winning as fashion photographer Dick Avery and Kay Thompson is marvelous as Miss Prescott, the one-track mind owner of Quality Magazine he works for. Hepburn is adorable as the shy New York bookstore clerk, Jo Stockton. They bully her into letting them do a photo shoot, making a mess off things for her to clean up. From the moment Donen's camera catches her sliding on the ladder in panic we are in love and we know it won't be long before Jo and Dick are also.

Jo is a shy intellectual, mad about empathicalism, a screwy philosophy endorsed by Professor Emile Flustre (Michel Auclair) who, of course, lives in Paris. Once Dick displays his own brand of empathy by kissing Jo while they are cleaning up, he gets an idea for a new layout and the seed of love is planted in Jo's heart. Donen captures Hepburn's child-like yet feminine grace like no one else ever has and her wistful and waif-like beauty has never been seen to better advantage than in Funny Face.

Making Jo the face for Quality magazine may not be such an easy task, however, as it goes against everything she believes. Being chased by Miss Prescott's minions, Jo ducks into Dick's darkroom, where she and Dick share a lovely song and dance moment to the title-tune, Funny Face. Once Jo discovers it will all lead to Paris, where she can meet the great empathicalist, Emile, she gives the green light and the fun really begins.

Stanley Donen staged every song himself, and it shows. That moment that nearly always exists in every musical, even the great ones, when we are tempted to fast-forward and get on with the story, simply does not exist here. Every number is lively and imaginative, easily holding our interest. None of the numbers is more joyful or fun than the one when they first arrive in Paris and become typical tourists. Ray June's photography shows off the beautiful City of Lights and the funny and happy face of Audrey Hepburn in wonderful fashion.

It is like watching a great chef make the sweetest and most delicious of pastries as Dick takes Jo through one great shoot after another all over Paris, transforming the cocoon into a butterfly. The two share a lovely song sequence in a garden with a brook outside a church, when Jo finally tells Dick she is in love with him. Hepburn in a white wedding gown is as elegant and graceful as the doves and swans surrounding them.

There are some fun complications involving Jo's idol Emile, of course, who Dick knows is more man than philosopher. A fun and frantic ending caps a film that is a sheer delight from beginning to end. Astaire was somewhat older than Hepburn and it seems to work in the film's favor, as you could see where the innocent Jo would need a more worldly man to appreciate her charms rather than take advantage of them.

This is a wonderful confection from Stanley Donen, who would work with Audrey once again in another classic, Charade. The little girl from Holland who aided the Dutch resistence during WWII grew into one of the most lovely and luminous stars ever to grace a movie screen. She is gone now and Funny Face is a wonderful way to remember her......

Night At The Museum (Triple Play) (2011)

I thought this movie would mostly be for kids, but I think I laughed as much if not more than the younger folks around me. The CGI is good, the plot is neat, and Ben Stiller, Owen Wilson, and Robin Williams deliver the goods. It was also a treat to see Dick Van Dyke and Mickey Rooney in action again. Not to mention that Carla Gugino is a feast for the eyes. It's nice to watch a good film for the whole family once every so often. It makes you feel like a kid again, without a care in the world.

This solid family movie from director Shawn Levy (the new PINK PANTHER, CHEAPER BY THE DOZEN 2) comes from a solid book like Jumanji, and Zathura, the 1993 kid's mystery-comedy of the same name.Like the original story, Larry (or was it Hector originally) becomes a night guard at New York's Museum of Natural History,in order to "grow up" in the eyes of his ex-wife and his son. He expects to have an easy time. But on his first night, he dozes off, then wakes up to a missing dinosaur skeleton.Soon his learns that history really comes alive at this museum and he's got his hands full keeping it in line.

Ben Stiller, as Larry, panics his way from exhibit to exhibit,as only he knows how. Briefly intiated by the original nightwatchmen, played by comedy, TV and film legends Dick Van Dyke,Bill Cobbs and Mickey Rooney.

The retiring watchmen are worth the price of admission (watch the closing credits as they reveal the ultimate fate of the three characters and Mr. Van Dyke shows that he can still chimney-sweep with the best of them.

Owen Wilson yet again teams-up with Stiller for a small part literally, he's a miniature from an historical diorama (see Starsky & Hutch, The Royal Tenenbaums, Meet the parents, Permanent Midnight, Zoolander for more super Stiller/Wilson team-ups). Actually the role is more than a cameo and is worthy of the story. The two play off each other superbly, like a modern-day Bing & Hope, only funny (I Kid, I Kid).

Another standout casting is Robin Williams lending Larry a hand as an animated-wax Teddy Roosevelt. Williams is able to savory his moments of insanity as a relatively static historical mentor while enfusing others with moving realism and soulfulness (seriously).

Loads of great visuals, especially at the IMAX engagements, like the animated dog-like T-Rex, Mammoths, stampedes and more. Definitely in the spirit of Jumanji, only with much more heart.

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A movie where history literally comes alive? No way! But, somehow, this kooky idea works in an endearing and surrealistic way.

Ben Stiller stars as Larry Daley, an underachiever with a penchant for bouncing from job to job as he is constantly evicted from one apartment after another. Having had a divorce, Larry shares custody of his son with his ex-wife and her new husband. After finally being fed up with feeling inadequate in the eyes of his son, Larry takes a job as a night watchman at the Museum of Natural History in hopes that the semblance of stability will help earn back his ex-wife's and his son's respect. However, things are not always how they appear, as Larry soon discovers that at night, the museum comes to life...

The film has a bit of a slow start as the plot lays the ground work for Larry's desperate acceptance of the night watchman's position. I was left feeling anxious for the hilarity to ensue when the museum finally awakens from it's slumber. Fortunately, once the storyline finally gets to that point, the wacky hijinks commence, one right after the other, causing the film to become far more satisfying. If you overlook the fact that this is a Ben Stiller vehicle (as in, a comedic role that has a fairly cookie-cutter resemblence to most of Ben Stiller's previous roles) the movie turns out to be a wild ride of incredible special effects, and hilarious moments in the interaction between Larry and the newly life-like museum displays.

Robin Williams does an amazing job as a wax figure of Teddy Roosevelt, who becomes a sort of guide and mentor to Stiller's character of Larry as Larry struggles to come to terms with the unbelievable things he is witnessing. Owen Wilson also has a small supporting role as a teeny tiny cowboy from one of the displays in the diorama room, who is hell-bent on busting out of his display and doing battle against the Roman General, Octavius (equally tiny) who resides in the display next to his. Wilson's character is also fairly typical of his usual roles, but that doesn't make it any less funny. Actually (if you're looking for a little trivia) Wilson and Stiller only came face-to-face during filming once, for only a few minutes. All of Wilson's scenes were filmed in one day (in front of a green screen so that his character can be shrunk down to size and re-inserted into the film). The production crew placed a toothpick on the various sets so that Stiller had a focal point for where he was supposed to look when delivering his dialogue during the scenes that would eventually include Wilson's shrunken cowboy.

This whole movie is one giant leap into the magical realm of suspended reality that Hollywood is so good at creating. Can museums really come to life? No --but man, it be cool if they did. Keep your eye out for my favorite (and in my opinion, the funniest) scene from the film in which Larry finally confronts Attila the Hun, who makes a habit of chasing him down and attempting to dismember him each night. Larry squares off against Attila and his barbaric horde, and proves he's in control by bringing Attila to tears. You have to see it to truly appreciate the humor. I also enjoyed the keys stealing monkey, Dexter, and his crazy penchant for causing Larry a lot of trouble. As far as special features go, this particular disc only has 2 audio commentaries available. If you're wanting more than that in the special features department, you're probably better off purchasing the 2-disc special edition.

Bottom line -it gets off to a slow start, but eventually picks up and dazzles the audience with it's style, humor, and the general laugh-worthy age old question of "Can't we all just get along"?

Read Best Reviews of Night At The Museum (Triple Play) (2011) Here

When I saw the trailer for Night At The Museum, I pretty much knew instantly that I wanted to see it. What I didn't know was how much I would end up enjoying it. Its a rare Hollywood treat these days to see a film that not only you can take the whole family to, but can almost guarantee that everyone will also fully enjoy.

While Ben Stiller will probably never be considered a great actor, he certainly has pretty good judgement of which films to pick from that will make a great impression on the majority of film-goers these days. Will Smith is another who has an uncanny ability to pick (for the most part) great rolls that tend to further his career and keep us fans wanting to see what he'll do next. While I wouldn't put Ben in the category of Action Hero like Will, Ben certainly has a certain something about him that just makes him fun to watch.

Museum is an example of a good script actually turning into a great film. Who can't love seeing a film that features Owen Wilson, Robin Williams, Dick Van Dyke AND Mickey Rooney? I consider that to be near genius casting, and it paid off Big Time. Ben's character is a nice enough fellow who just can't seem to catch a break. He moves from job to job and place to place and his stability is forcing some desperate possibilities in his relationship with his son. He takes a moment to apply for the Night Watchman at the Museum, and is hastily trained by Dick Van Dyke and left for the night much too quickly--especially for what ends up happening after the sun goes down. Part of the microscopic instructions he is left with is a collection of papers stapled together which gives him step-by-step instructions of what will happen, and what to do when it does.

One phrase by his trainer comes back to haunt him that first night: Don't let anybody in...OR out. He can't understand what letting someone out means--but he catches on rather quickly. The T-Rex skeleton is one of the first exercises he runs into. Followed by a group of monkey's bent on playing tricks on him and of course the small dioramas come to life as well creating a miniature war between those in the Wild West and the Armies of ancient Rome. There is SO much to enjoy here that you can't help but hope for a sequel--if done right of course. The addition of Robin Williams as Teddy Roosevelt was a nice touch as well. Along the way we discover a re-ignited relationship with Ben and his son...a possible new love interest and of course what good action/adventure isn't complete without a conspiracy? All out fun is the best way to describe this latest outing for Ben Stiller. The effects are fantastic and helped to make the movie even more enjoyable...so if you are looking for something the whole family can watch -and the whole family will also ENJOY...this is a no-brainer.

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I'm a Stiller fan his facial expressions alone make me giggle. I believe he outdid himself with Night at the Museum, not because it's a massive blockbuster of a movie, but because my five-year-old, usually such a serious boy when at the theater, could barely keep himself from falling off his chair in laughter.

Larry, an out-of-work divorced father of one, finds himself employed as night guard at The Museum of Natural History in New York City. On his first night on the job, he discovers every exhibit comes to life at sundown. Ben Stiller goes on to play fetch with a T-Rex, gets chased by Atilla the Hun, and eventually finds himself on a wild ride to retrieve the Tablet of Akmenrah. Owen Wilson, as Jed, and Robin Williams, as President Roosevelt, are irreplaceable co-stars in this highly entertaining film.

Such great family fare this makes! It does encourage curiosity, and I'm now itching to visit this very museum the next time I'm in New York. I'm definitely anticipating the release of this DVD!

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Khiladi 786 Bollywood BLU RAY With English Subtitles (2012)

Can never go wrong with an Akshay Kumar movie. Funny, fast paced, action movie. It had good reviews in the tabloids too.

A bit long winded and I was hoping for an endingsoon after the middle of the movie......Not one of Akshay Kumars best...

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Very funny!! If you liked "Kung Fu Hustle", you will love this movie. Ashkay is a delight. You can't even describe it to people; they must see it to understand the plot, because it is convoluted, complex, and oh, so funny. I left the theatre feeling good, and now I'm ordering it to enjoy it with family and friends.

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D.O.A. & Consenting Adults - Blu-ray Double Feature

solid suspense 2 pack! picture quality on both movies a couple notches above there respective DVD releases and at the price point this is a no brainer ..Dennis Quaid in rare form in the first feature and kevin spacey in one of his earlier roles that you see why he plays the sarcastic cocky yet swarmy types so well!

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Slender Thread (1965)

Was fortunate enough to come across The Slender Thread on a cable movie channel several years ago. This film is Anne Brancroft & Sidney Poitier are at their best extrodinary performances! Poitier plays a Seattle college student volunteering at a crisis center. One night when he's at the clinic alone, a woman (Bancroft) calls needing to talk saying she's taken pills. While Poitier tries to get help for her, he keeps her ton the line while he learns about her life, family, and why she wants to die. With a brillant script by legendary writer Stirling Silliphant, direction by Sydney Pollack, and original music by Quincy Jones; The Slender Thread engrosses the viewer from the start. We're drawn into the building suspense, caring about the people, concerned for the outcome. This dramatic character study is enhanced all the more by being in black & white. Plus, it features a fine supporting cast including Telly Savalas, Ed Asner, and Dabney Coleman. The Slender Thread is a great example of perfect film making. Why hasn't Paramount Pictures released this classic on DVD? Please, letterbox & release ASAP so it can be re-discovered by movie connoisseurs everywhere! A must own for Poitier/Bancroft fans.

Black and white was rare for a big budget film in 1965....sometimes done for effect (Psycho, The Hustler) or just a lack of funds (I believe color film at that time added about 25% to the budget).... This is a pretty good film either way.... Definitely talky, but it never seemed to get boring....pure drama....flashbacks fill in the blanks.... Poitier is fantastic as usual....very interesting all around....just watching them try to trace a phone call draws you in to the story....good stuff....different to be sure....

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Of all his movies I think this one might just of been one of his best and hardest to do.

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i always enjoyed Poitier films. he seemed to give his greatest effort in anything he did. this is a rare classic requires some patience to really appreciate. the flashback scenes with Anne Bancroft in conjunction with Poitier's usual stellar performance make this a must for intelligent viewers.

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I've been waiting for YEARS for this movie to become available on DVD. I'm a happy chick. :) This is one of the most well written and directed movies around. Both Sidney Poitier and Ann Bancroft are superb. I HIGHLY recommend this movie to anyone.

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Howl's Moving Castle (2004)

(In fact 4.5 Stars) Though 'Howl's Moving Castle' ('Hauru-no Ugoku Shiro') may not be Miyazaki's best film, it is still far more enjoyable than many other films, Japanese or American, animated or not. I for one very much enjoyed watching it, and I love the film for its interesting characters and the rich textures of the designs, especially the fantasy world itself where witchcraft and humans' mundane works can be seen side by side. And the titular six-legged castle that really walks among the wilderness is something you never see except in his films.

Miyazaki's new film is based on a book of the same title written by Diana Wynne Jones. The film's story is told from the viewpoint of a 18-year-old girl Sophie, who is working at a milliner's shop every day. But she can hear the sound of bloody battles from the distance, and it is clear that this beautiful country, where witches and wizards live among humans, is going to see another war sooner or later.

But apparently Sophie is still leading an ordianary life until her uneventful routine days are suddenly broken by one accidental meeting with wicked 'Witch of the Waste,' who turns her into an old woman with a curse. Seeking for her place to live, Sophie goes to the wilderness where, the townspeople say, a young wizard named Howl wanders. In fact, Sophie encounters Howl's Moving Castle in the foggy moutainside, and she decides to hop in. There, forbidden to talk about her curse, she starts a new life with young and handsome Howl, who speaks to her kindly like a prince, but at times acts like a spoiled child.

[MIYAZAKI'S LOVE STORY] You will be impressed with many fantastic and colorful images created by Miyazaki. You might find an anti-war message deep in the film's story, but will find the romantic relations between Sophie and Howl is the most touching and impressive part of the film. Sophie's romantic feeling towards Howl is expressed in a unique way (which I don't disclose here), and Miyazaki, as usual, is very good at drawing the character of this independent heroine. One interesting thing is, probably this is the first case in which Miyazaki attempted to show a love story in his films. And a kiss too.

I must say that not everything works in 'Howl's Moving Castle.' I haven't read the original book, but it is obvious that Miyazaki made changes. Not that I'm blaming them. But the story is sometimes told too hurriedly, and when you think something (actions or whatever) will start, it ends abruptly. Howl's character is full of contradictory traits, that's good, but his complicated personality could have been more effective and convincing with more detailed episodes about, say, his mentor magician (and politician) Madam Suliman or Witch of the Waste.

(If I am not mistaken, 'Howl's Moving Castle' is a rare case for Miyazaki who prefers to use his own stories, and this is the first time he adapts someone else's story in 15 years, last time being 'Kiki's Delivery Service. But 'Kiki's' story written by Eiko Kadono is not long -I know, I read -while 'Howl's' story is, I think, much longer. Maybe these facts have soemthing to do with my complaint.)

Greatly helped by Jo Hisaishi's beautiful score, 'Howl's Moving Castle' is full of imaginative power, with one strong heroine you can relate to (though she is 90-years-old), plus memorable supports including fire damon Calcifer, (not a bad guy at all), and ubiquitous Prince Turnip who always appears at the right moment. Flawed, to be sure, but enjoyable fantasy tale with a healthy amount of humor and lots of imagination.

The review above refers to the original Japanese version. I know the English version includes the voices of Christian Bale, Jean Simmons, and Billy Crystal, but as I have never seen the version, I did not talk about them. Still, as Mr. Miyazaki is not likely to approve any changes done to his films, I hope what I saw in Japan, you will see in your country.

Not a lot of directors would be brave enough to take on a love story between a girl-turned-old-lady and a wizard missing a vital organ. But Oscar-winning Hayao Miyazaki tackles a new fantasy realm in in "Howl's Moving Castle" -namely, that of fantasy dowager Diana Wynne Jones.

Sophie (Emily Mortimer) is a plain, unhappy young woman working in a milliner's shop -lightened only slightly by a mysterious wizard who rescues her one day. But then the evil Witch of the Waste (Lauren Bacall) comes into the shop, and casts a spell on her, turning her into an ancient old lady (Jean Simmons). Sophie ends up wandering into the Moving Castle, a chicken-legged chaos machine, and encountering the sexy if childish wizard Howl (Christian Bale), smart-aleck fire demon Calcifur (Billy Crystal), and preteen apprentice Markl (Josh Hutcherson).

Sophie appoints herself the cleaning lady and starts whipping the castle into shape, trying to deal with Howl's temper tantrums and the war brewing all around them, and trying to cure her peculiar curse. But when she runs an errand to a castle in Howl's place, she finds that her new boss has some sinister problems of his own -including his missing heart, and impending transformation into a monster.

Don't expect much fidelity to the novel; Miyazaki takes plenty of liberties with the story. As a result, it feels more like his story than Jones', with all the earmarks he usually has -blobby monsters, colorful rural settings, intense anti-war messages, strange machines, and a Jules-Verne atmosphere of Victorian technology. But "Howl's Moving Castle" is very different from the others Miyazaki has done, since he kept the British flavour of the original book.

It's also different because it's a love story -and a surprisingly un-cheesy one. In less skilled hands, having Howl say "I finally found something worth protecting. It's you" would seem inane, but Miyazaki keeps it brief and powerful. And even though Sophie looks elderly through most of the movie, Miyazaki never falls into trite observations about inner beauty. He just lets the story tell us that.

The animation is virtually flawless, from the chaotic absurdity Moving Castle to the breathtaking aerial battles with the bird-man Howl. Tiny details are everywhere, from painted ceiling beams to elaborate doorknobs. But there are also quiet, entertaining moments, such as Sophie attempting to houseclean the entire Moving Castle. Calcifur is the one sore point -he's not done badly, but he looks vaguely artificial. I suppose a fire demon is hard to animate.

There are a few flaws, in that the story could have used a bit more fleshing out -at times the relationships between the characters are sketchy. Not much detail, for example, is given about sorceress Suliman (Blythe Danner) and her relationship to Howl, or why she's so peeved at him. Or about the nature of Howl's increasingly dangerous magic and why he did what he did to lose his heart.

While there are the usual "howls" that the English dubbing is inferior to the original Japanese, the assorted voice actors did exceptional work in the American version. Christian Bale and Billy Crystal are the major standouts -Crystal is funny and dry as usual, while Bale is sultry, sexy, soft-spoken and deep. Except, of course, when Howl runs around the house shrieking that his hair is ruined.

"Howl's Moving Castle" moves on a little too fast in places, but it's still a breathtaking, romantic, colorful ride. A wonderful story, told by one of the few filmmakers who could do it justice.

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Probably many people find the story confusing. I felt the same thing when I saw it in the theater for the first time! The story seemed arbitrary and I couldn't connect the pieces together. But when I watch it again on the DVD, I realize the movie is probably about one thing: personal freedom.

Howl is a free person. He doesn't has a heart and even his home (which is usually characterized as a stable point in one's life) can move :-) He is disguised as different wizards in different counties, and when Sophie asks him how many identities he has, he said "Enough to guarantee my freedom". When Sophie confronts Suliman, she comments Howl as "selfish and cowardly and unpredictable, but he's straight as an arrow. He only wants to be free." But in Miyazaki's world, nothing is black and white. According to Suliman, Howl's power is too great for a person without heart, and he will eventually becomes a monster (some political figures come to my mind).

Sophie, on the other hand, is bounded by responsibilities. She is young, but her heart is old. She refuses the invitation from her friends and keep working at the hat shop. When her sister asks her "Are you going to spend your life in that shop?" She replies "It meant so much to papa. Besides, I'm the eldest.". Even her sister asks her to "look out for yourself".

When Sophie is turned to an old lady, it actually set her free because the good thing of being old is that one has "so little to lose" She becomes more adventurous and takes control of her life. She is very assertive as being the cleaning lady in Howl's castle and even tames Calcifer to cook her food. For Howl, his turning point comes when he refuses to move his castle anymore (I'll leave it to the reader as why he does that) By the end of movie, he regains his heart. He feels terrible because it is like "trapped under a stone". And Sophie says, "Yes, a heart is a heavy burden".

There are other wonderful things in the movie. For example, this is probably one of the few movies that tell me what it is really like to be old. But I do want to highlight the thread about personal freedom as it will help you to tie up the pieces of the story.

Read Best Reviews of Howl's Moving Castle (2004) Here

Not a lot of directors would be brave enough to take on a love story between a girl-turned-old-lady and a wizard missing a vital organ.

But Oscar-winning director/writer Hayao Miyazaki tackles a new fantasy realm in in "Howl's Moving Castle." In this case, it's the world of fantasy dowager Diana Wynne Jones, and he wraps the storyline in humor, romance and genuine flair. No, it's not faithful. But it is fantastic.

Sophie (Emily Mortimer) is a plain, unhappy young woman working in a milliner's shop. But then the evil Witch of the Waste (Lauren Bacall) comes into the shop, and turns her into a hobbled old lady (Jean Simmons). Sophie ends up wandering into the Moving Castle, a chicken-legged chaos machine, and encountering the sexy, immature wizard Howl (Christian Bale), smart-aleck fire demon Calcifur (Billy Crystal), and preteen apprentice Markl (Josh Hutcherson).

Sophie appoints herself the cleaning lady and starts whipping the castle into shape, trying to deal with Howl's temper tantrums and the rapidly deepening war. And, of course, trying to de-curse herself. But when she runs an errand that Howl is too scared to deal with, she finds that her new boss has some sinister problems of his own -including a missing heart.

Don't expect much fidelity to the humorous fantasy novel. Miyazaki takes plenty of liberties with the story, leaving out characters and adjusting others. As a result, it feels more like his story than Jones', with the earmarks of his style -blobby monsters, colorful rural settings, intense anti-war messages, strange machines, and a Jules-Verne atmosphere of Victorian technology. But "Howl's Moving Castle" is very different from the others Miyazaki has done, since he kept the British flavour of the original book.

Moreover, it's a love story. Miyazaki has vaguely touched on romance in prior movies, but here it's full-blown, and surprisingly un-cheesy. In less skilled hands, having Howl say "I finally found something worth protecting. It's you" would seem inane. In Miyazaki's hands, it's not. And even though Sophie looks elderly through most of the movie, Miyazaki never falls into trite observations about inner beauty. He just lets the story show it.

Not that it's all lovey-doviness -Sophie's housecleaning and Calcifur ("Sophie, help! I'm going out!") provide plenty of amusement. And the animation is as close to flawless as you can get, from the chaotic absurdity Castle to the breathtaking aerial battles that Howl swoops in on. Tiny details are everywhere, from painted ceiling beams to elaborate doorknobs. Calcifur is the one sore point -he's not done badly, but he looks vaguely artificial.

There are a few flaws in that the story could have used a bit more fleshing out -at times the relationships between the characters are sketchy. Not much detail, for example, is given about sorceress Suliman (Blythe Danner) and her relationship to Howl, why she's so peeved at him. And it's a bit hard to comprehend why Howl's condition would turn him into a monster bird.

And while there are the usual "howls" that the English dubbing is inferior to the original Japanese vocal work, the American voice actors did exceptional work. Christian Bale and Billy Crystal are the major standouts -Crystal is funny and dry as usual, while Bale is sultry, sexy, soft-spoken and deep. Except, of course, when Howl runs around the house wailing that his hair is ruined.

"Howl's Moving Castle" moves on a little too fast in places, but it's still a breathtaking, romantic, colorful ride. A wonderful story, told by one of the few filmmakers who could do it justice.

Want Howl's Moving Castle (2004) Discount?

Well before HOWL'S MOVING CASTLE, Hayao Miyazaki had established himself as the finest creator of feature length animated films in the history of cinema. So pointing out that this marvelous film isn't quite as good as his very best work really isn't very illuminative. He has done at least three or four films that are better, but that cannot be said of any other animator. This film suffers only by comparison with his own work, not with that of anyone else.

A number of Miyazaki's films have been set in non-Japanese settings, so this one's being imagined in a vaguely European locale really isn't terribly unique. In every other way, this is an exceedingly typical Miyazaki creation. There is, for instance, the preoccupation with flying, fields of non-identical flowers that wave in the breeze (each drawn separately by hand and not computer), richly detailed landscapes, and eccentrically designed rooms. There is hardly a moment in this film that isn't a delight to gaze upon.

In two ways this film stands comparison with anything that Miyazaki has done. First, he has created a host of astonishingly vivid and convincing characters. What is marvelous about them is that none of them are simple, but are wonderfully complex and often deeply flawed. Howl of the title is a powerful sorcerer, horrified by the absurd war being waged in the land, but in danger himself of turning into a giant bird of prey. He is struggling with sanity, infected by the insanity that he sees throughout the world. The central character, Sofia, begins the movie a young, simple girl who embroiders hats in a hat shop, but who is turned into an extremely old woman by a witch's spell. Through the rest of the film the spell waxes and wanes, sometimes maintaining completely the illusion of her being ancient, but sometimes in sleep restoring her completely to her youth. At times she appears a blend of old crone and young girl. There is also a extraordinarily well-conceived scarecrow that lays claim to be the finest such creation since THE WIZARD OF OZ. There is even an animal, a dog that is the utter antithesis of all the too cute, too loud sidekicks that populate the Disney films. Almost immobile, unexpressive, he can't even quite bark, but can only manage a bit of a wheeze.

The second way the film stands out is visually. With one exception, every aspect of this film is magical and unique. For instance, the scarecrow is fascinating to watch at every moment, despite the fact that except for being able to hop about on its post as if it were mounted on a pogo stick, it is incapable of facial expressions or moving either arms or hands or legs. As usual in Miyazaki, every aspect of nature is vibrant and alive, but even more than in previous films his interiors are stunning. Each room is filled with bric-a-brac and personal items that make them feel actual and lived-in unprecedented in animation.

So why does HOWL'S MOVING CASTLE fall short of Miyazaki's very best work, even while it surpasses the work of most others? There are two reasons. First, Calcifer the Fire Demon, at least in the English version (I have not seen the Japanese original), is both uninventively drawn and poorly voiced by Billy Crystal. The drawing I dislike because in contrast with everything else in the movie, Calcifer is drawn as an orange blob with eyes and mouth, a hunk of poorly differentiated color in contrast with everything else onscreen, which is carefully nuanced and hued. It is one of the least imaginatively executed characters in all of Miyazaki. I love Billy Crystal, and have thoroughly enjoyed his work way back in the days of SOAP to the present, but he just wasn't appropriate for this film. His loud, somewhat brash New York accent simply didn't mesh with all of the others. The second major problem I had the film was the last quarter of the story. At a certain point the story lost both its coherence and its pacing, and failed to maintain pace with the earlier parts of the movie. The movie did not fall apart, but neither did it remain equally marvelous throughout.

One other element in the film was both a delight and a mild disappointment: the Castle itself. Visually, this is one of the most amazing things one will see in an animated film, and the magical door that allows one to exit in any of four places suited it perfect. The only problem is that we don't get to see much of the interior. Virtually the entire action is kept inside one room in which all seem to eat and sleep. I wanted Sophie to explore!

These minor points aside, I enjoyed this film very nearly as much as I have any of Miyazaki's other films. If you are a Miyazaki fan, it is highly unlikely that you will have any reaction other than sheer delight, and if have not seen Miyazaki before and love this one, you will be delighted to learn that he has done even better.

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