Showing posts with label disney movies on blu ray. Show all posts
Showing posts with label disney movies on blu ray. Show all posts

Tuesday, October 14, 2014

The Courier

The CourierThe Courier is similar to "Transporter" with maybe a touch of "The Usual Suspects." The Courier(Jeffrey Dean Morgan) lives and works in New Orleans and appears to live well below his means. He does have a magic Hollywood watch that makes countdown noises only when a camera is on it.

The Courier is made an offer he can't refuse. He has 60 hours to deliver a case to Evil Sivle a notorious hit man people said had died and was brought back to life by voodoo so he can take back what was once his. His whereabouts is unknown. The Courier is aided by street smart Anna (Josie Ho) who is not his usual partner.

Mickey Rourke plays Maxwell a man connected to Evil Sivle, whose face is obscured for most of the film. Morgan comes across as scruffy Morton Downey jr.

As the plots develops and the body count increases, the Courier discovers this is not an easy task as Evil Sivle is "the last face that men see". Evil is just a state of mind we are told.

The ending is supposed to tie the mystery together. It does, but leaves you scratching your head like just watched the ending of "Smokin' Aces." The film had all the parts of a crime/action/mystery/thriller, but fails to bring it all together.

F-bombs, no sex, no nudity. Torture. 3 1/2 stars

Jeffrey Dean Morgan (`Comedian' of "Watchmen") is the Courier, a man with no name, who will deliver anything, anywhere, with no questions asked. One day a man in black suit (Til Schweiger) arrives and forces him to accept an impossible job: delivering within 60 hours a package to Evil Sivle, a mysterious man feared in the underworld. No one knows where he is, not even his face.

The Courier starts his investigation with Anna (Josie Ho), an adapted daughter of Stitch (Mark Margolis), a New Orleans boxing gym owner and friend of the Courier. But someone is not happy about this, sending out a professional assassin team, sadistic Mr. and Mrs. Capo (Miguel Ferrer and Lili Taylor). Mickey Rourke also briefly appears.

"The Courier" is a throwback to the 1970s-style action movies, with a lonely and vulnerable protagonist. You don't have a modern, upbeat, action-packed storyline here. "The Courier" literally means a transporter, but you don't see car chases or martial arts combats of Jason Statham movies. Jeffrey Dean Morgan's hero is more like a less charismatic version of Gene Hackman.

The moody photography by Antonio Calvache ("In the Bedroom" "Little Children") perfectly captures the atmosphere of New Orleans (where most of the story takes place). Also, acting is decent, but "The Courier" loses steam fast, heavily reliant on clichéd situations (hacking FBI database, etc.). Most supporting players are wasted, especially Miguel Ferrer and Lili Taylor, whose characters do not make much sense.

Finally, "The Courier" is directed by Hany Abu-Assad best known for Oscar-nominated "Paradise Now" (2005). Sometimes directors of critically acclaimed foreign language films are hired to direct English-speaking films, and the results are often far from satisfactory (Jean-Pierre Jeunet, for instance). This is exactly what happened to "The Courier," a bland and insipid action that wants to be a character-driven thriller, which it fails to be.

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We got to see this excellent film at the local art house cinema not too long ago. I found it enjoyable and action-packed from the very beginning until the end! Not for the kids, because of language and violence, but recommended for adult audiences that enjoy a great film with plenty of character!

Read Best Reviews of The Courier Here

I adore the actor...a bit violent for my taste but I'd watch any movie with him or not, even though violent movies don't appeal to me, he sure does ....

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Interesting movie certainly worth purchasing. Excellent acting by Jeffrey Dean Morgan. The plot is an interesting one and also an interesting conclusion.

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Saturday, September 6, 2014

Saw III (Unrated Edition) (2006)

Saw IIII'm not even going to bother going over a synopsis of the plot. All you horror fans need to know is that this movie surpasses the first film, but in my opinion, it doesn't stand up to the second film in terms of suspense. Saw 3 is the goriest, most disturbing of the films. It seems like 2006 was the year of gore! First came Hostel, with it's torture and blood, then came The Hills Have Eyes, with it's rape, animal killings, parent killings and brutality, and now comes Saw 3...With it's flesh tearing, bone breaking, head twisting, gore splattered shock-fest. I have NEVER, in all my years of watching horror, had to actually cover my own ears and close my eyes while watching more than one scene in a movie before this one. The opening scene had me squirming in my seat with my lids tightly shut (after 15 seconds into the scene I had to mute the tv because I was so grossed out by the noises) and the scene involving a victim trapped in a device that "TWISTS" every limb on his body until the skin tears and the bones break made me want to literally vomit. But, still, the movie was very suspensful and horrifying. It kept you watching and interested. If you can stomach extreme gore and terror then you might enjoy this film. I have to admit that I REALLY hated the ending though. I can't even explain how upset it made me, but overall, the movie was very scary and disturbing. Better than the first, not as good as the second...give it a try...but do it on an empty stomach!!

Not being an avid fan of the first Saw and disliking a lot the second one, I nevertheless was very surprised in a good way about the third installment. Yes, it's utterly relentless and gory, I saw people covering their eyes with hands in a theater, even I winced a couple of times although I had seen many of the films alike. But what I liked the most here was not the brutal nature of Saw III (and it's quite important for the fans when a movie lives up to its R-rating, so that they can say money was spent wisely) and not even the intricate story-line that keeps you surprised and on the edge of your seat all the time. Not the final twist which was expected of course but surely you didn't know what it would be exactly.

The main merit of the third part is that it doesn't appear to be a usual stupid sequel that lacks ideas, it brings some new sense into the series, glues all the three films together making a perfect trilogy out of it which now can be watched as a one big 5-hour film. There's plenty of flashbacks here that explain a lot from the second and even the first part, and some things become clear that were not in the ends of previous series. It really takes talent to make a movie that not just stands alone, but adds a lot to the other parts and completes them. Guys that were making it are true professionals and real maniacs :)

And apart from being as it seems overly gory and graphic Saw III can boast of being rather thoughtful too. The evil genius of Jigsaw (and of the makers of the film) made the characters (and us along with them) think about rage and its manifestations, about revenge and people's insatiable urge to punish those who took their beloved ones. By quite simple examples inclusive of flesh-ripping, bone-crushing, joint-wresting etc. the killer himself shows us killing is bad. Those will survive who don't succumb to the desire of payback. Only forgiving can grant forgiveness for ourselves. And that's the rule for everyone, even for the evil manipulator's apprentice, and it can't be broken. Otherwise death awaits you as well as your victims. In this movie Jigsaw is seen not as an ordinary killer maniac, but as some kind of a teacher if you will. So this time his puzzles must be solved not only using strength, keen wit and will to live, but also by testing your own virtue and that's something new for this kind of flicks, don't you agree?

I don't know what they will do with Saw IV, because the third part wrapped it all very nice making a perfectly neat structure of a trilogy. I'd leave it like that. You can top previous parts in respect of blood and guts, but it'll be pretty hard to keep the same level of thoughtfulness the third part established.

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To start, let's review the film itself.

The Jigsaw Killer is back, and he's got new test subjects to toy with. With the help of Amanda, his new apprentice, she sets the stage for their two unwilling participants in his twisted game: Dr. Lynn Denlon and Jeff Reinhart. Before the night is over, one will have the chance at life, another will have a chance at revenge, and another will have the chance for redemption. There's not much else I can say without spoiling the plot, and since this review is geared towards why this 2-disc DVD treatment is superior to the previous versions, let's move on.

Saw III has more plot twists than you can shake a broken arm at, and this film doesn't have too many characters to bog down the action as in the previous film. With a running time of 120 minutes, the Director's Cut of Saw III has more gore and violence than the last two treatments. If you think the directors have run out of trap ideas, believe me when I tell you that there are plenty of moments that caused seasoned horror movie fanatics to cringe and wince at the tortures unfolding before them on the silver screen. If you have already been introduced to the 'Saw' universe, Saw III is required viewing.

As for the DVD treatment of the movie, it's common knowledge these days that the first version of a DVD release is typically not the one with the best features, or the most complete version of the film. The most complete version comes later. The best example I can think of is the Blade Runner (Five-Disc Ultimate Collector's Edition) I had to wait 25 years for that.

Thankfully, Saw III got the best DVD version (so far) within a year.

When you open the DVD, you're treated to a certificate allowing you to see Saw IV in the theaters for free. However, the ticket was only good until November 10th of 2007. Even if you buy this DVD after that time, the certificate makes a nice collectable for Saw fans.

When you put in the first disc, you have to wade through 5 movie advertisements before getting to the main menu.

At the main menu, there is an endless one minute loop of "Killer Inside-Messed Up World" playing in the background. It's my belief that DVD menus shouldn't have music playing, and this is a perfect example: The song is WAY too loud. I'm sure it was put there to direct viewers to the music video on the second disc but it's simply an annoyance.

Some of the features on the first disc include:

-Audio commentary by Leigh Whannell, the co-creator of SAW.

-Audio commentary by Director Darren Lynn Bousman

-Audio commentary by Tobin Bell (Jigsaw) and Shawnee Smith (Amanda)

There's one choice in the special features section for "D-Box, Mastering Motion" this is a shameless promotion for a company that offers a new way of experiencing motion in movies with special chairs/helmets/etc.

On the second disc, there's a mixed bag of special features.

First, we start with "Jigsaw's Plan", a trivia game that tests your knowledge of the three Saw films to date. However, the questions are not randomized and if you get one question wrong, you have to start all over; making the replay value of this feature almost non-existent.

Nest, we have "Choose the Death" which allows us to view the scenes of 10 Saw traps from Saw 2 and Saw 3 with commentary from the director. Not a bad feature.

The next feature is "Looking Tortured" I'm not sure who came up with this idea, but it was a pleasant little surprise. 4 people are chosen to have makeup applied to emulate their 'Saw' counterparts. The viewer is shown from start to finish how to create & apply the makeup to look like the perfect Saw victim. Anyone who wants to spend $25 on a Halloween costume can watch this and make a better one themselves.

Hydrovibe offers us a music video of "Killer Inside-Messed Up World" with Shawnee Smith offering additional vocals. This video wasn't bad, but it felt like it was tacked on at the last minute. You'll probably find yourself saying "Hey, isn't this that annoying song playing in the background on the first disc?"

"Filmmaker Faves": This feature is totally unnecessary. Do you lay awake at night wondering about Leigh Whannell's favorite line/scene/trap of the Saw series? This is good for trivia night, but it's really not needed. Plus, the font of the lettering is hard to read here.

The last feature is a "Sneak Peek at Saw IV". This scene is mainly to wet the appetites of those folks eagerly awaiting the next Saw movie to come out on DVD, and they will not be disappointed.

The first batch of SAW III DVD's were out in January of 2007, The "Unrated Edition" and the standard edition. Both of these DVD's had features that did not make it to this version, such as some deleted scenes, commentaries, and trailers.

If you are looking for the longest running, most complete version of Saw III, this is the version for you.

Gift Card or Credit Card...make your choice.

Read Best Reviews of Saw III (Unrated Edition) (2006) Here

I am not usually attracted to this type of film...slasher/horror flicks, that is. I find most of them a waste of money and time, to be honest. This is why I was genuinely shocked at how I truly loved the first two "Saw" films, realizing they exercised absolutely brilliant examples of film-making, acting, and special effects. Both films had a genuinely awesome screenplay with well-written, realistically portrayed dialogue...and of course, forgetting the almost-too-intense amounts of suspense both films lavished upon its viewers would be criminal. Some of the scenes in those films brought on the nail-biting suspense I hadn't felt since Ridley Scott's "Alien." I remember being sick with jealousy after watching the first film that novice filmmakers James Wan and Leigh Whannell could create such a brilliant, intricate, breathtaking horror film that had just the right amounts of blood & guts mixed with a truckload of otherworldly suspense. I remember after watching the second film that Darren Lynn Bousman seriously has got a future on his hands with an exquisitely directed "Saw II." So, naturally, I felt more than compelled to view the third installation of the "Saw" franchise before the fourth film hit theaters. Described as "staggeringly violent" and "sadistically horrific," along with the true incidents of audience members vomiting and fainting in the theater, I felt less and less excited about the third Saw film, and began thinking it was nothing more than a Halloween horror film face-off between Saw III and Hostel to see which film could possibly be more sickeningly violent. In addition, I began to think "How could a third film possibly live up to the caliber of the first two?" After viewing the third film, I really wasn't sure what to think of the theory of the film being violent just to be violent. But here's what I generally thought of the third installation to the brilliant "Saw" franchise. The interlocking two-part story deals with a fatally ill Jigsaw capturing a doctor who must keep him alive for however long it takes for a man, who is psychologically insane with his lust for revenge for the drunk driver who killed his son, to maneuver through a series of Jigsaw's infamous "traps." Jeff, the man, is not actually in the traps, though--it's the people who he's been vengeful towards regarding the death of his son--for instance, the judge who locked away the killer for only a short period of time, and witnesses who didn't do anything. Jeff has the power to stop these traps--find it within himself to forgive them. Either that, or watch them get slaughtered in ways too shocking to write about in this review.

That said, Saw III is definitely a step up when it comes to the gore meter compared to the first two films. Some of the traps are so sickening you feel compelled to turn away from the screen. People vomiting in theaters, though, is a gross overreaction. I ate pizza while watching and I wasn't really nauseated or anything. Don't let that fool you, though--Saw III is extremely violent and the violence in the first two films is pale compared to it. There are plenty of moments where I cringed and thought to myself, "Holy crap, that's just wrong." While a part of me wants to condemn the film for being so excruciatingly violent, I can't help but think the violence was a necessary aspect to the story. You'd really have to see the film to know what I'm talking about here, but anyway, Saw III might've competed with Hostel for "most violent award" but the gore wasn't extremely over-the-top or too intense to watch.

Which brings me into my next point--the storyline. As I said in the first paragraph, the story lines for the first two film blew me out of the damn water with their brilliance. This is where the third film declines--and steeply, at that. The development of new characters is handled extremely poorly and in the end, you really don't give a flying crap who dies and who is left living (extremely unlike the second film). The acting is both up and down at different times. Shawnee Smith (Amanda) and Tobin Bell (Jigsaw) are absolutely top notch, as always. Smith's performance, especially towards the end of the film, sent chills down my spine and Bell never fails to disappoint. Yet, literally every single other actor/actress in the film didn't deliver, and that for me was major point loss.

I liked the directing, editing, and cinematography. Especially the cinematography, which reminded me immensely of the 2004 Denzel Washington action flick "Man On Fire," also dealing with the human spirit's lust for revenge at the loss of another. Fortunately, Darren Lynn Bousman's above-average skills as a film director manage to balance a close-to-falling Saw III and keep it shakily on its feet. Again, I blame this on the weak story. Yet, it is hardly fair for me to completely condemn the story. The screenwriters did a very good job incorporating flashbacks into the film, and explaining elements from the first two films that may have been considered plot holes in the past. This aspect to Saw 3 was immensely enjoyable and made for a good film.

Though, the ending was also very poor, in my opinion. It is very depressing, unhealthy, and unsatisfying like a Big Mac. You almost feel at a complete loss--the events building up from the beginning of the film (and, for that matter, the other two films as well) end up--like this? Bleh. Been there, done that. There also is no shocker at the end, unlike the first two films which each had shockers that pretty much blew the brains out of your ears and left you speechless and unable to move.

Still, though, Saw 3 is a decent film. But it should be understood that unless you are EXTREME fans of the first two films, as I am, you should stay away from this movie. You'll be revolted and disappointed, to say the least. But for hardcore Saw fans, it should be rather pleasing. I don't think "Saw 3" was a great film, But it certainly is decent and I've seen FAR worse. I have hopes for the fourth film that it may redeem the third film and restore the hopes of me and a million others that a great movie--turned into just a decent one--can be brought back to greatness.

3-Stars

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The original "Saw" was everything a horror film should be. It had gore both implied and explicit, twists and turns in the plot, and characters that the audience didn't particularly want to see die. Then came along Saw II, which ramped up the gore factor considerably, and while it had its moments, it was obviously only there to make money off of the success of the original. Now the horror genre has been graced with the third offering in the series, which is firmly in Friday the 13th and Nightmare on Elm Street territory. The series is now officially a parody of itself, and its continued existence is only assured as long as it remains a cash cow (which it will).

The main problem with Saw III is that Jigsaw and his apprentice Amanda are no longer believable villains. They exude no sense of terror or aura of fear, as they are creatures that simply could not exist in reality. Jigsaw has essentially become the God of the universe. He knows every minute detail of every person's life. He knows where everyone sleeps, how they take their coffee, how long it takes them to drive to work, when the best time to break into their house to plant cameras would be, how their relationships with their spouses and children are, what color underwear they buy, etc. Both Jigsaw and Amanda are also expert locksmiths, pharmacists, and engineers. With no funds at all, they can craft any torture device of any size in minimal time. These devices are also so expertly crafted that they can be deactivated and removed with one small padlock, even if the device is fully covering a person's entire body. These villains are no longer scary because there is obviously no hope of survival at all. No matter how physically strong or prepared a person is, they cannot avoid being captured by Jigsaw, and they have no chance of escaping his traps alive.

Jigsaw is portrayed as a sort of avenging angel in this movie. Out of all the characters, he is the most rational and detached from emotion. The overall tone of the movie almost implies that he is correct and that everyone should just submit to his will and change their lives according to his system of beliefs. The problem with this logic is that if Jigsaw's beliefs are applied to his own life, he should be the one stuck in a deadly trap. His whole point in capturing and torturing people is to show them that they have been wasting their lives and they need to start living and being happy with their lot. He states that one character was chosen because she spends her life doing nothing but trying to save the dead, while her family life is dying. However, this exact same sentence could be applied to Jigsaw. He spends his life trying to save others from emotional death, and this obsession has obviously killed him inside.

Even with all these problems, Saw III does have some merit. The gore in this entry of the series is simply out of control, and exceedingly well done. The tone of the gore has become even more sadistic than in Saw II. An early scene involving chains that have been run through a man's flesh, including his jaw, is absolutely stunning. Pretty much everyone will cringe or look away when he starts ripping the chains out of himself. The final major trap, dubbed "the rack", is one of the most diabolical devices put on film in recent memory. The script is also better than anticipated, and it neatly brings the series full circle, connecting several events that didn't appear to be connected before.

The parallels between Friday the 13th and Saw are occurring with increasing frequency. Jigsaw and Jason both kill in retribution for people not agreeing with their view of how the world should work. While Jason punishes those who do drugs or have pre-marital sex, Jigsaw punishes those who have squandered their lives. Both are unstoppable, invincible whirlwinds of death who can sneak up on anyone, no matter how implausible the situation. Like every Friday the 13th movie ever made, even though the ending of Saw III completely ruined any option for a sequel, Saw 4 is currently in production. Obviously Jason, I mean Jigsaw, will rise again to continue torturing those who don't agree with his world view.

I'll be skipping that one.

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Thursday, July 31, 2014

Highlander: The 25th Anniversary Collection (Highlander: Director's Cut / Highlander 2: Renegade Ve

Highlander: The 25th Anniversary CollectionLoved the highlanders movies and tv show,ever since they came out.first movie was awsome but the second was such a waste and confussing movie that made no sense.but after watching the second highlander on bluray I saw they really changed alot in the movie so it made more sense.still isnt as good as the first tho. Now with the pictures on both I dunno what to even say.the grain in the picture is so bad at times.it. looks like im watchingbit on a old tv with a vhs tape.for such a game changer of a movie you would think that the transfer would of been alot better

Was really excited to see these movies on blu-ray, couldnt wait to get them. They did a pretty good job on the transfer, the problem is that it was poor quality ro start with. The sound effects are just terrible, to me the video is way better than the original and the second disk is in 7.1 and sounds better than the first, but the second movie is dumber than I remember. All in all the first movie is hands down the best of the series, picture quality is pretty good considering. As always it was a pleasure doing buisness with Amazon.

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Should be ALL FILMS. BUt i cant go below 5 on HIGHLANDER.

Nothing bad to say about it. All good here.

Read Best Reviews of Highlander: The 25th Anniversary Collection (Highlander: Director's Cut / Highlander 2: Renegade Ve Here

I will start by saying that I had never seen either of the highlander movies before ordering this.The first film is awesome and I was a little let down by the second. Either way for the price this is a nice two pack to add to your collection.

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What a great purchase opportunity for any movie buff. The viewing quality of the blu ray film is excellent. The packaging proves it is of 100% new manufacture. The price of the product was very fair and I am more than satisfied.

I can highly recommend this suppliers work.

Thank you

Tuesday, June 24, 2014

My Father the Hero (1994)

My Father the HeroI'm a real Gérard Depardieu fan and I enjoyed this movie a lot.

To be cursed with a beautiful daughter, and all the wonderful things that can happen as you have to let her go and grow... well, it's tough. I've got three daughters and man, is it ever a difficult thing.

There's real love and affection in here, even though the daughter attempts to reject all that her father has to offer... eventually there is a meeting of minds, even though there's plenty of misperceptions and 'stories' that get told by the daughter...

"He's my lover", not my dad is where this gets to be hysterical... and to hear Gérard Depardieu sing that old show tune about loving little girls... well, it's hysterical.

His overreactions, her fabrications, the warmth and love amidst the utter humor of it all.

A whole family movie or better yet, a date movie.

Worth watching repeatedly. Well worth buying.

Fourteen year old Nicole's parents are divorced and her French father, Andre, is taking her on a tropical vacation to the Bahamas. Reluctantly, Nikki leaves her mother in New York City for the ten day getaway. She is at the height of her adolescence and she's anything but excited to be in a place that is filled with "old people" as she puts it to her father. While there, she meets seventeen year old Ben, and she's instantly infatuated with him. Wanting to impress her crush, Nikki tells him that she is slightly older than she actually is, and that her father is not her dad, but her boyfriend! Nikki persuades her father into going along with the whole charade, and soon enough, the entire resort finds out and they are absolutely repulsed by the fact that a man of Andre's age has such a young "girlfriend." Hilarious situations and a number of laughs make this movie a winner. One of my all time favorites.

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This movie was really funny to me. I really loved Katherine Heigl in it, I wish she was in more movies. Alicia Silverstone was out for the role but she was too fat or something, but I think Katherine did a really good job. The script is funny, the whole thing about her making people think her dad was her lover was hilarious. If you don't want to buy this movie, you should at least rent it and watch it. It's adorable.

Read Best Reviews of My Father the Hero (1994) Here

Went with ordering a movie because Gerard Depardieu was in it. It didn't even qualify for silly and not worth the time to see it.

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Thursday, June 12, 2014

Fast Company (1979)

Fast CompanyThe 2-Disc Limited Edition was purchased impulsively on its street date release, after I saw it staring at me on a shelf at a local retailer. Having greatly enjoyed Rabid, The Brood, Videodrome, and Crash, I had long been curious to see Stereo and Crimes of the Future. Yet having picked it up for Cronenberg's two early features, I was watching Fast Company for the sixth time on Saturday night of that same week.

Phil Adamson (John Saxon): You know you're out of your goddamn mind, Johnson. You're out of your mind, and you're over-the-hill. First you turn my trailer into a goddamn whorehouse, now it's an insane asylum!

John Saxon's villainy as the FastCo oil company rep is hilarious. Aside from the wonderfully written dialogue, his facial expressions and gestures are fantastic. Lonnie "Lucky Man" Johnson's (William Smith) team consists of a Western genre family-like trio, with character names such as Billy the Kid, P.J. and Elder; all wonderful performances. Gary "The Blacksmith" Black (Cedric Smith) is Lonnie's top competitor. He is neither a one-dimensional friend nor foe. His personal team members, known as Stoner and Meatball, are a funny pair. Stoner is likable and not-such-a-bad guy, while Meatball is a classic A-hole. Candy (Judy Foster) is Miss FastCo, a not-so-dumb blonde with feelings for Billy, and who makes an admirable stand when her self-respect is threatened by her employer's demands. William Smith and Claudia Jennings are the long-distance relationship lovers that I, on a personal level, have grown strongly attached to. Both, individually and together, add to the film something magical and nostalgic for me that I find very rare in most movies that I've seen. The scenes involved with them makes me feel like a small boy spending time with a favorite aunt and uncle. Mind you, I come from a Hispanic middle class background.

The cinematographer is largely to thank for capturing the humor of the film, as well as the documentary-like and exciting treatment of the dragsters; not to mention a multitude of highly admirable shots. Also worth mentioning is the work of Art Director Carol Spier, as well as the choices of music that significantly add to this wonderful little film. I have to say that Fast Company has been one of the most delightful surprises that I have encountered on DVD so far this year, along with The Passion of Joan of Arc, Flesh + Blood, Humanité, and Diary of a Country Priest.

Now, about Stereo and Crimes of the Future after my purchase, I got home as fast as I could, and saw them first. Alas, they did not fully appeal to me, though Cronenberg's aesthetic approach to the storytelling on both, and his very nice camera work, did. I am very glad to have finally seen them, and I do intend to redo so again in the immediate future.

Blue Underground along with the personal supervision of Cinematographer Mark Irwin present an amazing print for a late-Seventies B-movie. The colors and sharpness are outstanding; and the sound is extremely satisfying. David Cronenberg's commentary is both interesting and very pleasing. His own enthusiasm on the film, and at the discovery of the restoration of a thought-to-be lost seen is wonderful. Comments like: "...it's very much me. And I don't think anybody else could have made this movie the way ... that I did." He stumbles at this last comment, probably concerned with sounding egotistical. However, with his style being so distinct along with his input into the script, he has justification to make that statement. Cronenberg also remarks on the commentary: "Worth every penny of it, wasn't it?" I quite agree. And am very pleased to hear a director satisfied with his own work, for a change. This film should appeal to fans of Seventies exploitation and car racing, while bitter and stubborn Cronenberg no-nonsense horror fans might need some lubing, or repeated viewings, to appreciate it for what it is and not for what they want it or expect it to be.

Billy "The Kid" Brooker (Nicholas Campbell): You know something, gang? There's a lot of junk you can put down your pipes, you know what I mean. Now I'm talking about the good stuff. You gotta take care of your baby's engine. So I suggest you go like the pros, and go with FastCo. If you want that power, that performance, and that protection. Yeah. FastCo. This is what all the pro racers use. FastCo Motor Treatment. (Chuckles). All right.

Fast Company is an anomaly in David Cronenberg's filmography. Nowhere to be found is his underlying obsession with dark sexual psychology but instead this is a straightforward car flick. Don't expect Crash. A/V is excellent for this lost film.

But the inclusion of his two early experimental films make this a must have for the Cronenberg fanatic.

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This is a very unusual film for David Cronenberg. Admittally, a tax shelter for it's producers, it's still a very appealing movie. B-movie legend William Smith as racer Lonnie Johnson, whose sponsor (represented by John Saxon) is trying to push him aside. What I really like is the scene where Smith cold-cocks Saxon and he goes flying out of the trailer. Perhaps payback? Saxon ended up with the role in ENTER THE DRAGON that Bruce Lee originally wanted William Smith for. Unfortunately for Smith, the movie he was working on ran over schedule and he had to bow out. Big Bill and Bruce Lee ... now that would be something.

Read Best Reviews of Fast Company (1979) Here

Fast Company (1979) is truly great B-cinema despite the tendencies of scholastic indifference. Whether its lack of reception has been due to lack of availability, its straight-to-Beta stigma or, most probable, an audience's disregard for anything differing from the Cronenbergian macabre is open for debate. What is certain is that this effort, his first with a budget exceeding the million-dollar mark, was a precursor to the personal trajectory of The Brood (1979).

Divorce proceedings underway, David changed focus to his consuming passion of the automobile. The final product was a decent drag strip movie, "a good B-Movie" he admits. The good versus evil tension included in most racing films is combined with some point of view shots from the car racers proper, in itself, well worth the price of the rental. Spending most of the film arguing with John Saxon, his greasy sponsor from Fast Company Motor Oil, William Smith plays Lonnie 'Lucky Man' Johnson, whose iconic status as drag strip guru is tested race after race. His real stroke of luck however comes through his onscreen squeeze, November Playmate 1969 Claudia Jennings. This marked consecutive attempts at casting notables from the adult industry.

Attempting to recreate the similar appeal and subsequent audience draw that worked for him in Rabid, Ms Jennings' luck ran out in an ironic off-screen car-accident, taking her young life shortly after the film was completed.

Want Fast Company (1979) Discount?

Stereo and Crimes of the Future are among the best underground films produced in North America in the late 60's/early 70's, a time when Kenneth Anger and Martin Scorsese were also making their first films. Thanks to Blue Underground for releasing those two important productions (along with the great Fast Company in a fantastic transfer) in such a classy edition.

May the experiment in telepathy begin...

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Saturday, May 10, 2014

Tristana (1970)

TristanaI read the warning here from another potential buyer complaining about the excision of certain frames from the movie's end-montage, so sent an email to the Cohen Group asking about it.

Here's their reply, which sounds very positive indeed, so I'll be ordering this new Blu ray

"Thank you for your e-mail. The version of the feature TRISTANA that we are releasing is exactly the same version that Criterion released on VHS and Laserdisc in the mid 1990's though the quality is far superior. Our scan is from an original negative, as confirmed by one of Criterion's lead producers (This restoration began with Criterion, but not completed before their license expired). We've checked the negative and there are no physical cuts to the ending montage sequence introducing new material. However, we were made aware that a few shots in the end montage differ from the version available in Europe. We accessed this ending and include it as an alternate ending.

Among other extras, we have included

a feature length audio commentary between Catherine Deneuve and critic Kent Jones,

a 30 minute visual essay about the film featuring Buñuel scholar Peter William Evans,

excerpts from Deneuve's diary entries written during production,

a new essay by Cineaste editor Richard Porton

a chapter on the film from scholar Raymond Durgnat's now out of print book on Buñuel, and

Spanish and English language dialogue tracks.

We feel that you will agree that this is the best looking version available anywhere."

Sounds pretty good ... and they only took one day to answer my query!

Note: Apparently, there is some discussion about whether the film ending provided here is the original as conceived by Buñuel. I can't answer that definitively as I was not at the film's premiere in Spain over 40 years ago. In any version I've seen, I personally find the ending a tad abrupt. However, this is the same ending that was on the Criterion LaserDisc release and those involved in both that release and this one maintain that this is the director's vision. The alternate ending provided in the extras was found on some circulating European prints and so it was provided as a Bonus.

Released in 1970, this late period Buñuel classic serves up exactly what you might expect of the master. With requisite jabs at government, religion, and class distinction, I've always felt like "Tristana" was one of Buñuel's most straightforward efforts. There is sly humor, to be sure, and surrealistic undertones that distinguish his style. But those touches aren't as overt as you might anticipate and we're left with a uncomfortable tale of obsession and shifting sexual mores. Nominated for a Best Foreign Film Oscar, this is also reputed to be one of leading lady Catherine Deneuve's favorite roles. Deneuve had worked with Buñuel previously on the iconic "Belle de Jour" (still the most classic Deneuve role, to my mind), but here she had the opportunity to really get into a complex and developing heroine. She starts as an inquisitive innocent, fosters resentment, gains independence, and shoots into vengeful villainy. This is really, at heart, a tale of one dysfunctional relationship that is a long standing battle for dominance. But when both parties try to get the upper hand, can there ever be a satisfying conclusion or victory?

The great Fernando Rey (also a Buñuel veteran, most notably he went on to do 1972's The Discreet Charm Of The Bourgeoisie and 1977's That Obscure Object Of Desire) plays a nobleman who has position, if not exactly much money. When Deneuve's mother dies, Rey takes in young Tristana and becomes a doting paternal figure. However, he seems to have other designs as he molds the young girl to his specifications. Taking her as a lover, the two spend many years together. But as Tristana gets older, she wants to experience more of life and her feelings start to turn to resentment, than to indifference, and finally to vengeance. When another man (Franco Nero) comes into the picture, it might just be the final undoing of our central pair. But an unexpected third act provides a final showdown that perfectly captures the evolution of their relationship.

While "Tristana" isn't necessarily my favorite Buñuel, it is certainly an essential if you consider yourself a fan. Rey and Deneuve are both terrific, and the twists in the story are gleefully unpleasant. Ultimately, in one way or another, each of the central characters is obsessed with the other which makes the dynamic so interesting. Of special value are the bountiful special features. Deneuve and critic Kent Jones provide a commentary track. I was thrown off by what I thought were sync issues while watching the feature (which is in Spanish with English subtitles), but Deneuve explains it by saying her performance was actually shot in French. And with the complaints of prior releases being re-edited, the film has been restored to its original vision with the alternate ending as one of the extra options. Furthermore, the presentation looks terrific. A must for Buñuel enthusiasts. About 4 1/2 stars. KGHarris, 3/12.

Buy Tristana (1970) Now

Hello. I'm posting this review to let everyone know that the new Blu ray of Luis Bunuel's TRISTANA is excellent both in quality as well as being complete. There is an extra feature of an alternate ending in which a few shots are different, but contrary to an earlier post, the ending on the main feature is exactly the same as when I saw this film at the NYFF & also in theatres. The image quality of this Blu ray is very film like and quite beautiful. In fact, I would say that watching this Blu ray is for me a revelation, bringing out facets of the film I had never noticed before. The image is a touch darker in a few interior scenes than when this film was released, but I don't find this to be a problem. In fact, the difference is so slight as to be a non-issue.

In terms of the quality of Bunuel's film, rather than give my own opinion, I'll simply quote Alfred Hitchcock, who felt after seeing TRISTANA that Bunuel was "the world's greatest living director" and that he had never before seen "such brilliant direction of actors" in a film.

I also must say that the extras on this disc are themselves worth the price of admission, in particular, a film long conversation between Catherine Deneuve and Kent Jones, about her career, her methods of expressing the characters she has played, and her memories of the directors she has worked with. In addition, there is a half hour conversation with Bunuelian scholar Peter William Evans on the struggle of Bunuel to make TRISTANA for over a decade in Spain, and a booklet that includes an essay by Richard Porton, fragments of Ms. Deneuve's diary written during the production of TRISTANA & an excerpt from Raymond Durgnat's book on Bunuel.

Read Best Reviews of Tristana (1970) Here

Note: Apparently, there is some discussion about whether the film ending provided here is the original as conceived by Buñuel. I can't answer that definitively as I was not at the film's premiere in Spain over 40 years ago. In any version I've seen, I personally find the ending a tad abrupt. However, this is the same ending that was on the Criterion LaserDisc release and those involved in both that release and this one maintain that this is the director's vision. The alternate ending provided in the extras was found on some circulating European prints and so it was provided as a Bonus.

Released in 1970, this late period Buñuel classic serves up exactly what you might expect of the master. With requisite jabs at government, religion, and class distinction, I've always felt like "Tristana" was one of Buñuel's most straightforward efforts. There is sly humor, to be sure, and surrealistic undertones that distinguish his style. But those touches aren't as overt as you might anticipate and we're left with a uncomfortable tale of obsession and shifting sexual mores. Nominated for a Best Foreign Film Oscar, this is also reputed to be one of leading lady Catherine Deneuve's favorite roles. Deneuve had worked with Buñuel previously on the iconic "Belle de Jour" (still the most classic Deneuve role, to my mind), but here she had the opportunity to really get into a complex and developing heroine. She starts as an inquisitive innocent, fosters resentment, gains independence, and shoots into vengeful villainy. This is really, at heart, a tale of one dysfunctional relationship that is a long standing battle for dominance. But when both parties try to get the upper hand, can there ever be a satisfying conclusion or victory?

The great Fernando Rey (also a Buñuel veteran, most notably he went on to do 1972's The Discreet Charm Of The Bourgeoisie and 1977's That Obscure Object Of Desire) plays a nobleman who has position, if not exactly much money. When Deneuve's mother dies, Rey takes in young Tristana and becomes a doting paternal figure. However, he seems to have other designs as he molds the young girl to his specifications. Taking her as a lover, the two spend many years together. But as Tristana gets older, she wants to experience more of life and her feelings start to turn to resentment, than to indifference, and finally to vengeance. When another man (Franco Nero) comes into the picture, it might just be the final undoing of our central pair. But an unexpected third act provides a final showdown that perfectly captures the evolution of their relationship.

While "Tristana" isn't necessarily my favorite Buñuel, it is certainly an essential if you consider yourself a fan. Rey and Deneuve are both terrific, and the twists in the story are gleefully unpleasant. Ultimately, in one way or another, each of the central characters is obsessed with the other which makes the dynamic so interesting. Of special value are the bountiful special features. Deneuve and critic Kent Jones provide a commentary track. I was thrown off by what I thought were sync issues while watching the feature (which is in Spanish with English subtitles), but Deneuve explains it by saying her performance was actually shot in French. And with the complaints of prior releases being re-edited, the film has been restored to its original vision with the alternate ending as one of the extra options. Furthermore, the presentation looks terrific. A must for Buñuel enthusiasts. About 4 1/2 stars. KGHarris, 3/12.

Want Tristana (1970) Discount?

The quality of the blu-ray is impeccable; it really looks stunning and is amongst the most visually elegant and beautiful of Bunuel's films. Catherine Deneuve is transcendantly gorgeous, and Fernando Rey is enjoyably unctuous and loathsome. Familiar Bunuelian themes of cruelty, sexual degradation, transgression.

I hadn't seen the film in close to 20 years, though, and remembered the resolution as being more satisfying. It's not uncommon for Bunuel's films to end abruptly; this belongs to that genus. So, thoroughly enjoyable and sumptuous to look at but a bit of a curious ending. Still turning it over in my head a bit.

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Friday, May 2, 2014

Office Space (Special Edition with Flair!) (1999)

Office SpaceI'm not sure it is essential to have worked in an office to enjoy this film, but I'm certain it will hit home for those who have. The movie was a complete bust at the box office, which utterly mystifies me, because it is hysterically funny and reflects the experience of millions of people across the United States (and I assume elsewhere). In an age where companies are seeking to lay off workers at any possible opportunity, this film has perhaps even more relevance now than it did when it came out in 1999.

The humor of the film works on multiple levels, but for me so much of it is funny with a twist of the knife, for much of the humor hints at a much more serious fact: modern work is genuinely dreadful and alienating. Perhaps many office workers love their job, but I hate mine, and I assume that I am merely one of millions. No one in this film has a meaningful job. Even Lumbergh, though the boss, has an absurd position. Peter Gibbons is at least able to be honest about the ridiculousness of his plight during the incredibly funny sequence in which he is hypnotized.

The film is a collection of many, many wonderful moments. I started laughing from the second that Peter Gibbons gets trapped in the traffic jam and is passed by an old man on a walker, and didn't stop until the very end. The film is a parade of very funny bits, from Michael Bolton and his passion for gangsta rap to Joanna's boss urging her to wear more flair (played by director Mike Judge) to Peter's neighbor who would yell at him through the walls to Peter's bizarre fantasy in which Lumbergh is making love to Joanna holding a cup of coffee in one hand and her ankle in the other to virtually any conversation involving Lumbergh and Milton. Some of the humor is a bit too broad. For instance, although I defy anyone not to find Milton's sequences funny as heck, they don't fit in quite as neatly with the satire of the rest of the film. I wouldn't, however, want to trade them in for a tighter movie.

In a way, this movie has made my life easier to live. I suspected my job was absurd before seeing this film. Now I know it is. But somehow knowing the truth makes it easier to get through the day.

I first watched "Office Space" on a laptop in a Tuscaloosa hotel with my future wife. We were on our way to a conference, and she suggested that we watch this movie. It wasn't too late in the evening, and the running time seemed reasonably short at approximately 90 minutes. I also figured that it would be pretty good, especially with Mike Judge as the writer and director. After having watched it several times since then, I am convinced that "Office Space" is one of the very best cinematic comedies made in recent years.

Watching "Office Space" seems especially therapeutic after dealing with craziness at work. This probably explains the film's broad appeal; it resonates with people who have needed to suffer bureaucratic B.S., the latest manifestations of "office speak," and arbitrary rules at some point in their working lives. Of course, Judge himself drew upon his own memories of work in an office, which he finally escaped after hitting upon the idea for "Beavis and B*tt-head." Although some people have criticized "Office Space" for not having enough "funny stuff," they don't seem to understand the subtlety of Judge's humor, which leans towards the dry and sardonic. One could almost imagine Billy Wilder feeling at home with the plot, though he might have needed a little extra nudging to include the gangsta rap songs.

With a cast that includes no "big-name stars" (except Jennifer Aniston), no central performer clamors for attention with cloying "hilarity." In fact, the quotidian nature of the characters actually enhances the humor. The characters in subordinate positions try to deal with inanities at work by stewing, fretting, and venting in private. Meanwhile, those with more power are content to reinforce the craziness because it guarantees their power, or because they are so entrenched in their positions that they don't recognize the arbitrary nature of the rules they enforce.

The characters are also funny because they remind me of people I have encountered throughout my life. Granted, they come across as caricatures to a degree, but the characters still seem more real than those conjured up for overly facile yuck-fests. In our own lives, many of us probably think that we are "normal," like the main character Peter Gibbons (Ron Livingston) or his girlfriend Joanna (Aniston). However, not everyone can be like Peter or Joanna... or at least our perceptions of them as "normal." Peter's sudden "transformation" into a quasi-Zen warrior, as well as Joanna's semi-stoner attitude, might just put them way outside the mainstream. In any case, I've seen enough people who share similarities with one, or even several, of these characters:

Bill Lumbergh (Gary Cole), Peter's passive-aggressive, narcissistic, and clueless Yuppie boss (complete with aviator glasses, power tie, and coffee mug) at Initech

Michael Bolton (David Herman), Peter's nerdy coworker who just itches to unleash his internal Navy SEAL and gangsta

Samir Nagheenanajar (Ajay Naidu), Peter's resourceful coworker who wants to "make it" in America

Lawrence (Diedrich Bader), Peter's no-nonsense, no-collar neighbor and de facto confidant at the thin-walled Morningwood Apartments

"The Bobs" (John C. McGinley and Paul Willson), coldly congenial external consultants hired by Initech to figure out how the company can "cut costs"

Tom Smykowski (Richard Riehle), the older Initech employee whose forced joviality barely disguises his anxiety about falling victim to The Bobs

Stan (a well-disguised cameo by Judge himself), Joanna's flair-obsessed boss at the T.G.I. Friday's-like restaurant Chotchkies, which provides a non-office doppelgänger for Peter's work environment

And yes, I've seen a few people who remind me of Milton Waddams (Stephen Root), the put-upon office gnome with his barely audible stream-of-consciousness mumbling, coke-bottle glasses, outdated sense of non-fashion, and a passive-aggressive attitude matching that of Lumbergh (and that Lumbergh ultimately underestimates). Peter may be the story's main protagonist, but one could see Milton as an odd sort of antihero as well. His almost incoherent mumbling, mainly consisting of requests to clarify matters regarding his salary, his desk, and his red Swingline stapler, acts as a more personalized counterpoint to the double-talk and nonsensical policies that drive Initech. Albeit in extreme fashion, Milton also demonstrates that greed can only propel a business so far, and that an ultimate moral obligation to one's shareholders doesn't always pay off.

For "Office Space" aficianados, the "Special Edition with Flair" includes a 30 minute documentary that provides some insights into the making of the movie. Some of it might not seem like news to hardcore fans, but I learned a few new things: how Gary Cole came up with Lumbergh's voice; the "bons mots" Diedrich Bader improvised as Lawrence; how Stephen Root got around in thick glasses; where Ajay Naidu learned his dance moves; and the origin of the word a**clown. It also includes eight deleted scenes (some of which you might miss if you blink) and computer downloads. Alas, it does not include the animated "Milton" shorts created by Mike Judge in 1991, which provided the original inspiration for "Office Space." That's about as disappointing as excluding "Hearts of Darkness" from the "Apocalypse Now Redux."

Whether one gets "Office Space" with or without flair, I can guarantee a good laugh to anyone who has had to deal with any kind of work-related nonsense at some point in their lives. It might not change the world, but "Office Space" will probably remain an effective purgative for anyone who has encountered such situations. If nothing else, one can at least hope that the insights of "Office Space" will inform the ethics of up-and-coming managers, and make them prioritize the things that really should matter at work.

Buy Office Space (Special Edition with Flair!) (1999) Now

If you've ever worked in a tiny cubicle, pushed papers, and fought a worthless fax machine in an attempt to earn a living, you will love this movie. OFFICE SPACE is a hilarious movie that deconstructs everything that makes an office worker's life so miserable: from morning traffic, to catch phrases (it looks like somone has the Moondays), to bosses that totally ignore their workers. This movie had a low budget, but Mike Judge is a brilliant filmmaker. He takes a relatively unknown cast and is able to milk hilarious, yet totally lifelike performances from each actor and unites everything together in a coherent conceptually comedy masterpiece (e.g. the fax-beating scene with the ganster music playing is just pure brilliance). Of course, the film says a lot about the actors as well, they don't seem to be just characters or caricatures: they seem like real people. There is no sex, relative little violence (well, there is a lot of violence toward inanimate objects), and relatively little cursing words (most of the foul language comes from the film's soundtrack). A movie that's destined to become a modern comedy classic.

Read Best Reviews of Office Space (Special Edition with Flair!) (1999) Here

After the hype that has been given to this release for months and months I am pretty dissapointed.

The title of this release is slightly misleading. What they should really call it released slightly updated edition. If you have seen or own the original DVD release of Office Space you aren't missing much.

What we have here is the same transfer and audio mix as in the first DVD, no commentaries or any other extras here. I would have liked to see a slightly better transfer done for this flick. Although this is not bad, there are some issues with it, mainly in the colors. The 5.1 track is still very nice by today's standards and if one of the best mixed soundtracks I have heard on DVD.

Now on to the "flair". What we have is a crappy documentary that is sorely lacking. So much more could have be done there and more information given. It seems like a waste. Instead of spending the money on that lets get everyone in the room and give us a commentary. I'd love to hear all these guys together just joking around, I read a magazine article a few months ago with them all talking about this release and that was better than what we got here.

The deleted scenes are nice to see, and a few give some more insight into the story. Although they mention scenes in the documentary that are not included here, which again makes little sense.

And that is it. Where are the Milton shorts that were supposed to be included? You see 5 second clips in the documntary but I want to see them all.

With the low pricepoint, if you don't own this yet it is worth the money. If you have the first release don't bother, you aren't missing anything.

Want Office Space (Special Edition with Flair!) (1999) Discount?

If you have ever worked in a cubicle farm for a technology company, or ROFL after reading Dilbert cartoons, and know what ROFL means, you will love this movie. Mike Judge (creator of Beavis and Butthead) digs into and makes fun of the things that people hate most about their jobs, with such accuracy that he must have consulted Scott Adams himself while developing the screenplay.

With company names like "Penetrode", this movie takes numerous humorous stabs at the idiocy foisted upon the modern working class by the "management class", those highly-compensated stuffed-shirts with no more qualifications than an MBA hanging on their wall. These are the people who abuse you every time you make a mistake, and try to convince you that they are really your buddy in a thinly veiled attempt to keep you submissive and cooperative. Office Space tears into the very heart of the manipulative phony friendship ploy that so many managers think of as their "brilliant" management technique.

So if you're tired of being shocked every time you touch a door knob, and sick of having half a dozen different "bosses" giving you conflicting work assignments, then I highly recommend that you buy this movie and blow off some steam, before it's too late!

This film is a lot of fun to watch, but if you're looking for an intellectually challenging work of art, this is not the film for you. The story is quite simple; it is a single-layer story that conveys the same information on subsequent viewing as it conveyed during the first viewing. The visual and audio elements are interesting and entertaining, but not artistic. This is a fun comedy that a lot of people can identify with, not deep social commentary. However, the social commentary that IS in the film couldn't be more timely.

The DVD itself is mediocre. No extras to speak of, other than cast bios and one trailer. Transitions from one menu to another are slightly animated, and the way the DVD starts up is cute, but overall the power of the DVD medium is not utilized.

Movie

-------

Originality: B+

Creativity: B+

Complexity/Depth: C+

Relevance/Message: A+

Artistic Merit: C

Overall Entertainment Value: A



DVD

------

Transfer Quality: A

Extras: C-

Use of Medium: C+

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Wednesday, April 23, 2014

6 Souls (2010)

6 SoulsI bought this film based purely on the premise. Julianne Moore plays psychologist Cara Harding who finds herself investigating the case of Adam, a young man who seems to suffer from multiple personality disorder. But as Cara delves deeper into his strange case she soon finds that the answers to Adam's condition are far more sinister than she had ever imagined. **contains some spoilers**

I hoped this would be a smart psychological thriller perhaps with a neat twist thrown in somewhere. I got a twist all right but it certainly wasn't what I had been hoping for. The most disappointing thing about this film is that somewhere in amongst the mess there is a hint of something better, something that never was.

The first half the film is carried by Jonathan Rhys Meyers who plays Adam and all of his personalities. His perfomance in this film really was excellent. He slips from personality to personality with remarkable fluidity while managing to remain extremely convincing. His character switches were what convinced me to keep watching the film since I had been very unimpressed with the rest of it. It wasnt that Julianne Moore was bad per se but she was boring. The character had no depth or interest and this was highlighted all the more when she was up against Meyer's bold performances.

Unfortunately the film, which could have ben smart, then completely derails itself as it descends into a steaming pile of nonsense. The psychological element becomes the supernatural as Harding discovers that Adam's 'personalities' are in fact the spirits of murder victims. Even this might have been workable with a decent script but the directors seemed hellbent on destryoing their own film. The moment Harding goes running off to find a bunch of gypsies living in the mountians, and the wizened old crone that appears to lead them, I knew the film had dug itself into a hole from which it could not crawl out. No explanation is offered as to why the Harding character goes running off to visit these cliche gypsies and their even more cliche crone. How Julianne Moore sat through these scenes without laughing I honestly do not know.

Ultimately the film succumbs to the most irritating of horror tropes let's run screaming through the spooky forest at night. This is a trope that I can barely stand to see in a horror film let alone a 'psychological thriller'. The supernatural explanation offered for the events in the film is poorly executed and downright silly, with characters constantly preaching about God and religion and what will happen to a non-believer.

The first half of the film is worth watching simply for Meyer's impressive performance but if you do switch off halfway through, you really wouldnt miss anything. The film promised so much and gave so little, ending with nothing but plot holes and the dropped jaws of the audiences who like me couldnt believe they sat through the whole hour and forty minutes for that pitiful conclusion

This movie was left at my house by a friend who had purchased it from a man at his job last week. I watched it and thoroughly enjoyed it. I liked it because I just came out of a relationship with a man who acted exactly like the character of Johnathan Myers. Myers played the part of a man who was possessed however carried traits of a serious personality disorder. How the playright came up with this idea was wonderful in my opinion. The movie balanced itself off by adding a twist of religion thoroughout--withcraft, Christianity, and a strong faith lesson towards the ending of the movie. The message here is very very strong. Julianna Moore played the part of the pyschiatrist as well, the daughter of one who was persistent in helping this one particular client--Myers. Another twist in the movie is seeing the demonic forces take over not only her client, but her daughter as well. In conclusion, the movie is a winner and definitely tells a meesage about losing your faith in God. The journey in which this movie takes you is inspiring enough to make you actually sit back when it is over and address your own faith and beliefs. Can't wait to own my own copy.

Buy 6 Souls (2010) Now

"Where am I and why would you think that I was Adam?" Cara Harding (Moore) is a female forensic psychiatrist that discovers that all of one of her patient's multiple personalities are murder victims. The more she digs the more personal the case becomes. When her subject begins to take on the personalities of those closest to her she switches from trying to help him to trying to stop him. But is it too late? This is a movie I had no expectations for going in at all. That said I really enjoyed this and I recommend this to all horror fans. While most recent horror movies have become like Saw, just hacking people up, this one has more of a Silence Of The Lambs feel. More psychological thriller then straight horror but the movie is still pretty disturbing in most parts. The movie reminded me a lot of Fallen, so if you liked that then you will also like this one. I sure did. One of the better horror movies to have come out in a long time. I recommend this. Overall, part Identity part Fallen but all entertaining and a little creepy in parts. I give it a B+.

Read Best Reviews of 6 Souls (2010) Here

Spooky movies are all ridiculous because they are all frightening trips outside of reality. So I judge them strictly upon their ability to hold my interest. This one did a pretty good job. Like a lot of them, this one starts out with a logical scientific explanation of the character's strange behavior along psychological pathologies, but becomes "spooky" when it's found that something other worldly is at the root of the problem. The ability of the writers and producers to come up with something unique, that hasn't been done before is a challenge which, to me, often determines the success of the story line.

This one uses what world religions have used for centuries to control the masses . . . "Believe without question, or you'll wish you had." By the time the protagonist realizes the error of her ways, it's either too late, or at least almost too late to avert disaster. The only diversion from that old formula is the connection to old mountain ways and an old crone rather than a well recognized and accepted religion. The very ending has been done and over done too many times, but all in all a pretty entertaining movie. I enjoyed it and my popcorn.

Want 6 Souls (2010) Discount?

The start of this movie is promising. Julienne Moore plays Dr. Cara Harding, a psychiatrist who does not believe in multiple personalities disorder. Her father, played by Jeffrey DeMunn, introduces her to a patient who he believes is an interesting case since he is a young man who appears to have split personalities (played by Jonathan Rhys Meyers). Rhys Meyers is incredible as he flawlessly and believably acts out various personalities with different accents and mannerisms. DeMunn was excellent too but I did not really care for Julienne Moore in this as I found her somewhat boring and not credible.

The movie is great for the first half or so but then it gets boring and stupid as it morphs from a fast-paced psychological thriller into a confusing far-fetched supernatural horror movie. If the second half could have continued like the first, I would have thought it was a great thriller. But the second part spoils it. Not worth the time to watch.

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Wednesday, April 16, 2014

The Outlaw Josey Wales (2011)

The Outlaw Josey WalesAlthough Clint Eastwood gained his greatest critical acclaim as a director for 1992's "Unforgiven" and 2003's "Mystic River" -both of which are incredible pieces of American cinema -his best film remains this perennially popular Western from 1976. Here's Eastwood's own take on it: "I do believe that if I'd made that picture in 1992, in place of `Unforgiven,' it might have received the same amount of attention, because I think it's equally as good a film. I think the subject matter of `Josey Wales' is timeless." Orson Welles himself named it one of his favorite movies!

Yet critics at the time completely dismissed it as just another Clint Eastwood Western-Revenge flick. On the surface, the plot might give you that illusion: Missouri farmer Josey Wales loses his family to marauding Union cutthroats during the civil war. In retaliation, he joins Qunatrill's raiders in the guerrilla warfare that flames across Missouri. When the war ends, Wales refuses to surrender. He flies west across the country, chased by his former leader Fletcher (John Vernon in a great, sympathetic performance) and Terrill, the Union captain who murdered his family (Eastwood regular Bill McKinney). It seems Wales has no future except to stay alive long enough to get his revenge.

But...that's not at all what movie ends up being about. Gradually, Wales finds himself at the center of a growing community of outcasts from many different backgrounds: an old Cherokee named Lone Watie (Chief Dan George, in the film's most unforgettable performance), a band of Northern settlers (including Sondra Locke in her first role with Clint), a girl from another Native American tribe, the residents of a dying Texas town, and a red bone hound. Gradually, "The Outlaw Josey Wales" turns into a story about forgetting revenge and a fixation on death, and instead about embracing life and rebuilding a community. "Dying is easy for men like you and me," Wales says to a Comanche chief (Will Sampson) in one scene. "It's living that's hard." It's one of the most unexpectedly uplifting and moving films ever made. And, let's make no mistake about it, it's also an action-packed, tough, and exciting film.

Strangely, the film came out of extremely difficult circumstances and rough beginnings. Eastwood purchased the rights to Forrest Carter's novel "Gone to Texas," only to discover that the author was actually Asa (Ace) Carter, who had worked as a speech writer for George Wallace supporting racial segregation and had once created a subgroup of the Ku Klux Klan. Upon meeting Carter, Eastwood and his producer Robert Daley found the man to be a borderline sociopath (he drew a knife on one of Daley's secretaries at a restaurant). Regardless, Eastwood loved the beautiful story too much and pushed on with making the film. He hired Philip Kaufman to both write and direct the movie, now re-named "The Outlaw Josey Wales." Kaufman (along with Sonia Chernus) wrote a stunning script, but after only a few days on the set, it became obvious he wasn't working out as a director; his style clashed with Eastwood's. Eastwood quietly removed him as director and took over the job himself. As Eastwood's biographer notes, "Kaufman was to a degree the victim of Clint's growing confidence in his own abilities."

Despite this confused beginning, "The Outlaw Josey Wales" turned into a magical piece of Western cinema and a huge hit with audiences. It gets better and better with each viewing: a thrilling adventure when you first see it, its many layers of beautiful subtlety emerge each time you go back to it. Bruce Surtees's photography is astonishing, Jerry Fielding's music exciting and unusual for a Western, and every performance top-notch. Few films are as all-around well done as this American classic.

The DVD offers the film in a glorious widescreen transfer with a new 5.1 sound mix, but there are no extras. Considering the history behind the making of the film, this disc really ought to sport some fascinating commentaries and documentaries, but alas, nothing. Still, I can recommend few films higher than "The Outlaw Josey Wales."

This review refers to the Warner Bros DVD Widescreen Edition of ""The Outlaw Josey Wales".......

Josey Wales is another of Clint's Eastwood's bigger than life Western characters that you won't soon forget.Josey though, is not like the others that preceeded him. It becomes apparent throughout this film, that this tough loner, on the run from murderers, has a heart the size of Texas.(And of course in this one we DO know his name!).

Eastwood also does an artful job of directing this tale, that has everthing from action to romance, and even a little comedy.

The end of the civil war is nearing. The northern soldiers though, won't let up. The "Red Legs" as some of these notorious war criminals are called are still pillaging,and plundering the homesteads in the territory and...killing the families.Wales is a victim of these brutal attacks, his house burned to the ground and his wife and son viciously attacked and murdered. He joins up with a group of others who are out to avenge their families and they become a notorious group. When they are offered a deal at the end of the war, they all turn themselves in..all but one...Josey Wales!

Ride with Josey(everyone else does) across the beautiful western vistas, as he takes on the "Red Legs" that are after him, saves a family from "Commancheros", makes friends with the Indians, and wears his heart on his sleeve as along the way he seems to attract a group of outcasts, including a dog, that he just can't leave behind.

Clint surrounds himself with the most marvelous cast, including Sondra Locke, Bill McKinney, John Vernon and Chief Dan George who provides many of the lighter moments in this action packed western.

If you are already a fan of this film made in 1976 and wondering about the quality of the transfer, you will be thrilled by the way it looks and sounds. The picture in widescreen is gorgeous. All scenes including the darker and nighttime are sharp and clear. Colors are vibrant. The soundtrack remastered in 5.1 Dolby Digital is also wonderful. From the pounding hooves of the racing horses, to the rain, to the music and the dialouge,you won't miss a thing.It's a dual-layer format, but I did not notice any of those little pauses that casues sometimes."Extras" are in the way of production notes only. There are some interesting facts on how Eastwood came to read the book and make the film.

What?! You haven't seen this yet??? It's a must for any Eastwood or Western fan! Go for it. "Now, Spit!"..Chief Dan George......Enjoy..Laurie

Clint multi-packs:The Gauntlet/True Crime,

The Clint Eastwood Collection (In the Line of Fire/Unforgiven/Bronco Billy/Dirty Harry/The Outlaw Josey Wales/The Beguiled),City Hall/Midnight in the Garden of Good and Evil*actually a John Cusak double feature but Midnight in the Garden of Eveil is directed by Clint

Buy The Outlaw Josey Wales (2011) Now

As I am not ordinarily a fan of westerns, I was surprised to find that I really enjoyed this film. It was an engrossing and entertaining movie, and, unlike others in this genre, it is an intelligent and well thought out film.

The film tells the story of a Missouri farmer who, towards the end of the Civil War, finds his home overrun by renegade union soldiers who set fire to his homestead, kill his wife and son, and leave him for dead. After burying his family, he joins a group of confederate guerillas who have suffered similar tragedies. Ultimately, the war ends and their leader brings them in for surrender, except for Josey Wales, who watches their surrender from afar. Good thing he did not join them, as their surrender turns into an execution by the very same men who had pillaged his home and killed his family.

Wales escapes only to be relentlessly hunted down by the very men who had wronged him, as well as by bounty hunters who want that five thousand dollar reward offered for his capture. Wales rides on to escape them, and along his travels acquires a motley entourage whom he befriends and who befriend him. What happens on his journey is classic Eastwood.

Clint Eastwood plays his role as a stoic man of few words, while Chief Dan George is an absolute delight as part of Wales' entourage. The rest of the cast is uniformly excellent. Of course, Sandra Locke, as Eastwood's real life main squeeze at the time, got star billing, even though her role was one of the smaller ones and her performance the least impressive of the supporting cast.

This remains one of the more entertaining films in this genre. It also made Hollywood sit up and take serious notice of Eastwood as a major force in the film industry.

Read Best Reviews of The Outlaw Josey Wales (2011) Here

While he was still a star and hero on the long-running TV western Wagon Train, Clint Eastwood emerged on the Hollywood scene in western-theme movies, specifically his trio of "spaghetti westerns" with director Sergi Leone, the best being "The Good, The Bad, and The Ugly".

After establishing another remarkable character in Dirty Harry, Clint returns to his western "roots" as the vengeful Josie Wales, in "The Outlaw Josie Wales". This is Clint's 31st film and his fifth as a director. Actually, the film was started with a different director, Philip Kaufman of "The Right Stuff" fame. After numerous and intractable arguments over the interpretation of the film, Clint fired his director a week into shooting and took over directorship himself. We will never know what sort of film Mr. Kaufman would have produced, but Eastwood's final product is a true gem in western filmmaking.

In Eastwood's western trilogy he was known only as "the man with no name", a loner who generously dispensed his form of western justice at the barrel of a gun (or two). There was not much character development. We don't learn what drives the man or what he feels inside. With Josie Wales, Clint plows new ground, as he plumbs the emotions of the vengeful Wales. He builds insights into the character and feelings of Wales, a man with a name AND feelings. This makes the movie more than a mere "shoot 'em up", and adds depth and meaning to the film. Eastwood does much the same and more, with his 1990 blockbuster (and his last western) "Unforgiven", with Oscar results.

Josie Wales can be viewed with interest and pleasure on several different levels. There is of course the "vengeful man" theme that is the movie's backbone. Then there is the multi-cultural theme, where instead of going it alone, one man against many, Wales has a collection of "family" that collects as the movie progresses: an old Indian Chief, a talkative Indian "Squaw", a grandmother and her granddaughter (Sandra Locke, whom Clint would have an affair with that would end his marriage to his wife Maggie), and finally a collection of townies from a dying silver mining town. Finally, there is the "healing" theme, namely, how does a man who suffers the violent loss of his wife, son, and home, deal with his vengeful anger, emotional loss, and begin to heal.

Mere trivia, but interesting: Clint Eastwood never once shoots and kills a Native American Indian in any of his western films. Instead of battling indians as do most of the other western film stars, Eastwood's charcters build alliances with the Natives, learning to live in peaceful co-existance rather than a state of perpetual war.

Clearly, this is Eastwood's best western up to this point in his career. It is definately worth a "look" and my guess is that it will become one of your favorite westerns.

Jim "Konedog" Koenig

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Of all the years and several formats for this movie to be released in...this IS the best it has ever looked and sounded! Over the years (even DVD) the transfers have been soft and lacking detail. Well, this blu-ray brings back what has been missing all these years. This is one stunning transfer! The soundtrack DTS-HD 5.1 really sounds like surround for the first time. In the past, it seemed like three channel...but now all the speakers are employed (and the subwoofer is used).

If you are a fan of this classic and love blu-ray, upgrade today! Throw out that old DVD and do your eyes (and ears) a favor and get this version. I am still shocked how well this film from 1976 looks! It finally shines!!

I can't believe what I have been missing all these years! Great restoration job.

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Sunday, February 9, 2014

Wild Things (Unrated Edition) (1998)

Wild ThingsI was one of the few people who actually saw this in a theatre. One of the most pleasant surprizes I've had, it's rare to walk into a movie that completely exceeds you expectations. If you haven't seen this before, you would do yourself a favor by NOT trying to find out much about the plot before you go in. You only need to know that 1)There's some gratuitous nudity, 2)It is more complex than it appears to be, and 3)Bill Murray will once again steal a movie with only a handful of lines.

The "Unrated version" didn't have a whole lot of extra skin, (undercutting the main marketing point for this release). However it did integrate several additional scenes that were available as "extras" in the original edition. It's nice to have them weaved into the movie rather than hunting them down after the fact trying to think of how they'd fit in. My favorite is the post legal battle lunch between Bill Murray and Robert Wagner; great lines, fun situation, and played perfectly.

Wildthings stands up pretty well to repeated viewings, I've watched my old copy probably twice a year since I bought it. It is a modern tight, complex thriller that doesn't have a dopey sticking point or obvious logic gap in how it fits together. How many times have you watched the latest and greatest hollywood thriller only to find some incredibly huge plot hole that renders the entire movie a waste of your time? Wild Things actually delivers, in my opinion setting a standard for being one the best of this type of movie (and certainly the best in the last 10 years or so). Some of the acting gets a little wooden, but it's more than compensated for by the rapidly unfolding and novel plot.

Hitchcockian with tan boobs would be the short review. If you haven't purchased the original edition, then get this one instead. I own both, and have no regrets on either.

Anyone thinking the unrated version is going to have extended motel or pool scenes will be sorely disappointed in this "unrated" version. I think there was maybe one extra scene. The difference in the two can be summed up using an expression of Adam Sandler's, "Big Whoppedee Do".

So if you have the "R" version already, save your $10 bucks.

UPDATE. Well this little gem has popped up on Blu Ray Wild Things (Unrated Edition) [Blu-ray] and those of us that bought it have the dilemma of whether or not to take the plunge and buy it again. I for one, am because its a great movie. Unfortunately, as with the earlier DVDs there are no extras. So now I own 3, yes 3 different DVD versions of the same movie. Oh, and I bought the soundtrack years ago too. LOL

Buy Wild Things (Unrated Edition) (1998) Now

"Wild Things" is a gloriously lurid and decadent little gem of a movie. I love movies that respect the intelligence of the audience while pandering to their base desires (most studio releases skip that first part), and "Wild Things" fits the bill perfectly.

The plot is well, the plot is twisted, in every sense of the word. The story that seems to be unfolding ends at the halfway point of the movie and then the real story begins. And in a technique I've never seen before, it continues through the ending credits, as director McNaughton gleefully fills in the holes.

"Wild Things" offers great, juicy turns from Neve Campbell, Denise Richards, Matt Dillon, Kevin Bacon, Theresa Russell, and especially Bill Murray as a hilariously corrupt small-time lawyer. Along the way we get lots of steamy, lurid peek-a-boo sex and nudity (which is so gratuitous it inspires genuine laughter), violence, and characters motivated by nothing more than pure greed. Put 'em together in the Everglades, and you have one hot movie.

I generally don't like movies that mess with the audience by hiding information, and then springing it on them later as a "twist." But twists work beautifully if the character is just as befuddled by them as the audience. Since "Wild Things" offers nothing but characters who think they have secrets and alliances but are actually only pawns in a game, every twist is justified.

This new "unrated" version incorporates scenes that aren't necessary, but are joyful anyway. If you have the original cut and you've got the money to throw around, go for it. If you haven't seen it, well, it's probably not for anyone. But if the thought of a wicked little Hitchcockian melodrama, dripping with sex and humor and directed with a wink, appeals to you, you can't go wrong with "Wild Things."

Read Best Reviews of Wild Things (Unrated Edition) (1998) Here

My review will pertain just to the extended "unrated" version of Wild Things.

People purchasing the unrated DVD of the 1st (and great) Wild Thing film hoping to see a substansial amount of extra sex and nudity are likely to be sorely disappointed.

Despite the label stating that this is "the unrated version too hot for theaters", it appears to be more of an initial cut of the film containing material that was left out of the final theatrical cut for good reason.

Most of the extra footage is just little dialogue bits here and there that state stuff a bit more obviously then what was given to the viewer the 1st time through in theaters.

There's also sort of an alternate part added to the ending that just makes no sense whatsoever as well regarding a potential genetic relation between Denise Richards and Neve Campbell's characters which would have added an incestuous angle to their lesbian relationship.

The only addition that I think really should've stayed in the movie is a admittedly nice extension to the makeout section in the pool featuring Neve and Denise. We now get to see Neve remove Denise's bikini top revealing her stupendous & breathtaking breasts with some very nice added kissing between the two hot actresses,

Since the film was kind of a tongue in cheek sendup of sleazy movies of this nature and didn't have a problem wallowing in said sleaziness, I don't know why the filmmakers cut this part out.

What I recommend doing is just holding onto the original R rated theatrical cut DVD (especially since the unrated DVD doesn't carry over the nice commentary track from the 1st release) and if you're a massive fan of the movie, pick up the unrated cut and get a DVD case that holds a DVD on each side. Then, just make your own 2 pack of the film this way as the unrated cut has some nice but pointless additions (like see Denise Richards washing her truck in very skimpy clothing) that hurt the flow of the movie but are worth having for the diehard fans of the film.

Just don't get rid of your original DVD like I mentioned.

A great, sexy and sleazy film nonetheless, but the unrated DVD is a complete wasted oppurtunity IMO.

Want Wild Things (Unrated Edition) (1998) Discount?

WILD THINGS is the epitome of the good looking contemporary thriller: all of the actors are in top form; the men are handsome; the ladies are ravenous; the story has more twists and turns than a Grisham novel; and the story setting fuses so effortlessly with the tale that it becomes another added element of mystery.

I had the good fortune of seeing WILD when it had its theatrical run, and, at that time, I wondered about the prospect of some unused footage. This thriller continued to re-invent itself -even through the closing credits -so I imagined that there were some elements that the director left on the cutting room floor so as not to bombard the viewer with information overload. Most of what's been restored here is passable: Kevin Bacon's character is fleshed out a bit more, but he ends up appearing more of a conspirator a bit too early in this version as opposed to the original.

However, the stunning Denise Richards, Neve Campbell, and (yes) Theresa Russell make this picture definitely worth exploring on subsequent viewings because they do represent three complex personalities: (1) the woman who can have it all and takes it; (2) the woman who wants it all and takes it; and (3) the woman who is deprived of it all but finds a way to take it anyway.

Also, think what you will of the talents of Bill Murray, but his short work here coupled with his star-power performances in GROUNDHOG DAY and LOST IN TRANSLATION truly show this man is in peak form when the script requires it.

Rediscover this guilty pleasure in its unrated form!

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