Bleach the Movie: Hell Verse (2012)

I typically don't like non-canon Bleach anime namely the movies and arcs that don't follow the manga. This, though, was rather entertaining. As the fourth Bleach film, it certainly is a step up from Diamond Dust Rebellion and is as good if not better than Fade to Black (though I am still a fan of Memories of Nobody). The story is interesting, there is a good dose of what every Bleach movie should have fluidly illustrated fight scenes and not a lot of wasted time of fuzzy, emotional appeals (the downfall of Diamond Dust Rebellion). And there is the added perk of finding out just what the world beyond that terrifying gate is actually like and believe me it isn't a cheerful place. The story also has a few twist that keep things entertaining. Bleach is at its best when showcasing all its cool abilities and fights and this movie puts them on display. Very entertaining, especially for Bleach fans.

A few drawbacks: 1. there is a woeful lack of other characters in this one. The core squad is all there Rukia, Ichigo, Renji, Chad, Inoue, and Ishida but the other big guns only get cameo appearances. Byakuya has an awesome entry, but that's it. One of my favorite parts of the series is seeing the whole gamut of characters get in on the action, so that is a little bit of a bummer. 2. As per usual, someone at some point pulls the "it's all your fault that we weren't paying attention and you suffered for it" line. Although, the saving grace in this instance is that Ichigo won't have any of it. Go Ichigo. 3. The ending is a *little* far-fetched. bet hey, it's Bleach.

If you watch or read bleach you know that Ichigo and his friends are always trying to rescue somebody. Well this time its Yuzu, Ichigo's little sister, and he has to go to hell to save her! I've always wondered if there was a heaven or hell in the bleach universe since apparently one goes to the soul society when he or she dies, but here we learn that hell is a place where the worst sinners go and there are a group of sinners who want to break free from hells grasp and are basically bribing Ichigo to break the very gates of hell in exchange for his sister's soul. I really enjoyed this movie, I would say it may be my favorite bleach movie so far. The animation is awesome, and I just think the concept is just perfect for a bleach side story. The bluray had amazing picture and sound, but featured very little special features. Just a small art gallery and a couple trailers.

Overall, awesome. You've been to the soul society. You've been to hueco mundo. Welcome to hell.

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A group of men escape Hell briefly. In that time, they attempt to kidnap Ichigo's sisters. Chad is able to save Karin, but Yuzu is taken back to Hell when the kidnapper's are pulled back in by their chains. Chad is seriously injured while saving Karin, so Ichigo, Renji, Rukia, and Uryuu go to Hell to save her. The kidnappers are stuck in Hell because of the chains that bind them. They witnessed Ichigo's hollow transformation and they believe that he has the power to break those chains. They will return Yuzu if he cooperates. The battle in Hell is intense and the danger of never being able to leave is high. Especially for a weaker girl like Yuzu.

This is a good movie, but it's my least favorite Bleach movie. The other 3 movies had a pretty good bad guy. The 1st movie had a great character, Senna. You can really get into some of the enemies in the Bleach movies. This one is different. The bad guys are really stupid and have ridiculous looking bodies. The main bad guy is ok, but not very impressive either. The animation, action, suspense, and Ichigo's Hollow transformation are all as cool as you would expect. But this is definitely the weakest Bleach movie yet. That being said, I did enjoy this one, and I think other fans of the series will too.

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The Bleach franchise is excellent anime. This particular title has a few glitches in the subtitling and if you don't mind Japanese sound with English subtitles you will be fine. Otherwise the movie is visually astounding and the clarity if upconverted or just regular dvd is outstanding. Mild violence that is not appropriate for anyone under 13. Very good movie and great for the price.

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Omg I love bleach and being able to get hell chapter for cheap and how clear the image is omg I do love it very much

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The Terminator (Remastered) (1984)

Video:

The new transfer looks great. It's sharp and grain is intact. However, it should be noted that the color-timing is not what you'd be used to for this film. It takes a tealish look, especially in certain scenes. The look works for the film, but it's certainly not what we have seen over the years on TV, VHS, DVD, screenshots, etc. It's a whole-new look for the film. Whether or not it was the intended look from the start, or whether James Cameron had a hand in making it look this way has yet to be seen. But over-all it is a superior transfer, and it makes owning this disc worth it.

Sound:

Fairly active and robust surround sound here, but sadly it is the remix sound. The original mono with the original sound effects is missing once again, so expect a few moments of "Wow, the sound effects there were horrid."

Extras:

A couple of featurettes, nothing terribly formidable. Also, the deleted scenes in SD. All of the extras here can be found on the Special Edition DVD, and missing is the hour-long 'Other Voices' documentary and extensive Easter eggs also found on that release. This would have been the perfect time to deliver a feature-packed Blu-ray with all-new features, but alas...MGM/Fox has decided to cheap out this time. Maybe we'll get a 30th Anniversary Edition in 2014.

I'm quite content with the newly remastered The Terminator (Remastered) [Blu-ray]. Right away I noticed the superior quality in regards to the picture & audio. Fine detail in closeups is very apparent, yet, the film grain is intact. I definitely recommend this new edition compared to the sub-par original T1 blu-ray release from a few years ago.

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I knew that "The Terminator" would be re-issued, and with a better remastering effort. I knew this because the last known re-issue of "The Terminator" on DVD had many extras. Like additional documentaries and the making of the film, etc.. The first issued Blu-Ray of the film actually looked no better than the DVD (it appears to be the same unimproved source copy) but however, it also excluded all that extra material that the last known DVD version had so you will be more anxious to buy the film again, later, that will include all those already existing extras.

I believe this was their plan to double dip the consumer to resell this movie again, on Blu-Ray.

You gotta ask yourself. "How many times have I bought this same movie over the years, with the promise of it being somewhat more improved?" (your purchases of the past included VHS in several re-issues, Beta, Laserdisc, DVD again in several re-issues, BD, etc.) The Blu-Ray has been issued twice already, and now, here comes the third re-issue on Blu-Ray.

It's ridiculous how they do this to us. They give as little as they can on the first release, and then they improve on it just a little more, with a hope to re-sell it again. And then again.

You watch, three to five years from now, you will probably be buying "The Terminator" yet again, because they will again do something more for it to make your current copy inferior to it. They will always add a little something more to a re-issue to make you want to buy it again. Even things that they already have on film, that they will just wait to add to a future re-issue.

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First of all, casual viewers are going to just have to ignore the negs here. That is about all you can do. This is the highest video quality you are going to see on bluray. A 36Mbps transfer of an older grainy film and damn does it look wonderful. The AWFUL red push of the old releases is gone and THANK THE HEAVENS. This film looks unbelievable and I am NOT easy to please when it comes to details and bitrates. Most blurays these days cannot seem to get past 25Mbps, many are much less, and it shows with fluctuating quality throughout the film. Not this one.

They slightly changed the color timing to reflect a modern and SLIGHTLY cooler tone. Some people cannot seem to deal with the fact we are no longer in the 80s and no director worth their salt wants that pinkish/reddish look, that was quite common in that time, to their films now that they have a choice. Blade Runner did the same and The Final Cut looks better than it ever did, though, that release has less than HALF the bitrate of this release. Anyway, the timing does wonders for this film IMO. I have never seen this so detailed in all my life. I really think the new timing gives it a more timeless look and will be appreciated by most people. In no way will it hardly even be noticed for the vast majority. Skintones remain natural and whites are still nice and bright.

As for the sound, it is also the most balanced and proper it has sounded in a long time. There are these few diehard weirdos who cannot seem to deal with the fact that most people don't like mono and don't want to listen to mono in film when there are effects taking place all over the soundstage that take advantage of more than one speaker. Cameron never meant for there to be a Mono track it is just that the producers would not let him have his 4 track stereo because they were cheap bastards. He even came in under budget ffs. Mono also has many other deficiencies compared to stereo with depth of the various instruments and sounds and the overall balance of the mix. You can read about that somewhere else.

I do agree they should have at least included it but quite honestly I would not be using it anyway. They seem to have improved the stereo and multi-channel tracks. To my ears the gun sounds are fine and sound pretty damn good for an 80s film. They redid some of the effects with T2 ones to my knowledge a while back. This presentation seems more balanced than any other releases to my ears.

For the people that are boycotting this release let them. This isn't some travesty like the original Patton release or the Predator: Ultimate Edition release which were DNR'd to within an inch of their life and looked like wax on screen. To the contrary, this is one of the best looking blurays on the market. The old Terminator release is a joke compared to this.

Nothing to be afraid of with this one. They did just about everything right except include the old mono track. And no one but a few really care because it ain't that great to begin with. 5 stars for a great remaster and at 10 bucks at Walmart, and around that on Amazon, you really cannot go wrong. Extras are the same as the past versions to my knowledge. Peace.

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I own the movie in 3 formats, vhs, dvd and now the remaster. Best i have seen. I really felt like it was the first time i saw it.

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X-Men Quadrilogy (X-Men / X2: X-Men United / X-Men: The Last Stand / X-Men Origins: Wolverine) (201

First of all I was shocked that I could find a collection of ALL the four X-Men movies I was looking for in one set. I was assuming all this time that I would have to buy Wolverine separately. Each movie looked fantastic in its blu-ray transfer, and it has renewed my interest in the X-Men series. The boxset was delivered to me lightning fast, not to mention it was a very reasonable price for all four of these movies. The only thing I was slightly dissappointed about was that the casing for Wolverine was the slim casing while all the others were standard blu-ray design. I would've preferred them to be all the same size. But whataya gonna do? That's up to 20th Century Fox! ;) Overall, I'm quite happy with this experience.

What a great box set. This is a great Blu-ray set for anyone who is a fan of the X-Men series.

Picture Quality and Audio Quality shine; worth a buy, but not all of the discs are region-free!

X-Men Region ABC

X-Men 2 Region ABC

X-Men : The Last Stand Region ABC

X-Men Origins: Wolverine Region AB (not C)

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Bought this set for my boyfriend for Christmas. He was very happy to see the 4 discs in one set, as we had not seen that anywhere else. All cases were the same size, one disc for each movie. Haven't had any issues playing the movies, will update the post if any arise. Overall very pleased with the purchase.

Read Best Reviews of X-Men Quadrilogy (X-Men / X2: X-Men United / X-Men: The Last Stand / X-Men Origins: Wolverine) (201 Here

I love this box set, however be warned that these blurays are in a format for region B/2 and not all blu ray players will support this, luckily my player does and so I give this a 5 star rating

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Even though it was for the wrong region I was able to view it on some of my devices by hacking the region code. One player had no hack but that's ok I can watch it in others.

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Hoffa (Filmmaker Signature Series) (2012)

Here is the closest thing there is in cimena to a real life story of a blood and guts union leader. Jimmy Hoffa was boss of the Teamsters (truckers) union for many years until he met his demise in 1975 at the hands of the same thugs that helped him secure his place as the union boss.

All the memorable moments of Hoffa's life are in this movie including his duels with then Attorney General Robert Kennedy, his accommodation to gangland members for union gain, and the circumstances that led to his final undoing.

I sure like this movie and watch it every chance I get. There are two fine films about the life of the late Jimmy Hoffa (who may or may not be buried in the Meadowlands) -this one and Sylvester Stallone's 1978 effort "FIST", which covered much of the same ground as this one.

Any movie with Jack Nicholson in the lead must be taken seriously, and he does fine work in this film. I enjoyed every scene but have to take issue with some of the historical accuracy, particularly that final scene at the "Road House".

Jimmy Hoffa was, in fact, last seen as a swanky restaurant in a swanky suburub of Detroit right down the street from one of the Detroit's biggest PR firms, not at some nickle and dime diner out in the middle of nowhere.

No matter, I suppose, since I enjoy the flick so much. You will too if you rent, purchase, borrow or steal a copy of this DVD.

A woefully underrated biography of the controversial Teamsters union president that deserved better than it got in 1992. Director Danny Devito and writer David Mamet clearly admire their subject, depicting Hoffa as a hero, a leader who has earned the loyalty of the working men he represents, rather than a self-centered puppet whose strings were pulled by organized crime. Whether or not Hoffa was deserving of such admiration is debatable, but the film offers a convincing argument that he was. As an actor, Devito has little to do but push people around and gape at Hoffa in awe, but behind the camera he performs admirably even if he seems a little too pretentious at times. As for Nicholson, this is one of his most challenging roles, one requiring more than an arch of those famous eyebrows and a flash of that killer smile. With the aid of a hairpiece and a few other modifications to his appearance, he gives one of his best performances in years. This is a fine, memorable film that seemed to have disappeared upon its release as thoroughly as Hoffa himself did in 1975. I don't know the whereabouts of Hoffa the man (and believe it's in my best interests not to know), but the film is on the video shelf. Check it out or buy it, but see it.

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Hoffa is a surprising film which from time to time arises to keep alive the memory of the late Teamster president. Told in flash back form, the film ably describes the dramatic rise and fall of the popular labor leader. Indeed, with Nickleson's portrayal the viewer is convinced of the confrontational life of the man who became synonymous with the International union. Re-enacting the turbulent rise of Hoffa, viewers are treated to the fabulous talents of some of the giants of the silver screen. Few could argue that Jack Nicholson as James R. 'Jimmy' Hoffa is nothing short of magical. In addition there is Danny DeVito who as Bobby Ciaro, in my opinion steals the show. Further enriching the cast is Armand Assante as Carol D'Allesandro, the mob boss who assured Jimmy's rise to power and then later is suspect in the teamster's mysterious disappearance. J.T. Walsh is excellent as Frank Fitzsimmons. The dramatic film superbly encapsulates the early violent trials, successful triumphs and eventual tragedy of the great, but troubled teamster president. ****

Read Best Reviews of Hoffa (Filmmaker Signature Series) (2012) Here

Jack Nicholson's Hoffa is a Nicholson/Hoffa hybrid that plays very well on screen, though I don't know how much like the real man he really is. I've only seen brief news clips (including the extras in the special features section of the DVD). But Nicholson gives a moving and memorable performance as Jimmy Hoffa. The rest of the cast (a young John C. Reilly included) also give great performances.

I knew nothing about Jimmy Hoffa before this movie, so the nature of the film played well to me, giving an arc of events portraying Jimmy Hoffa's rise to President of the Teamsters from a young man concerned with union rights. It also dramatically covers his involvement with gangsters, the law, and Robert Kennedy.

Although Hoffa plays out like a sweeping epic (it IS 2 hours and 20 minutes long after all), there's something missing in its grandeur, and I really think it's as simple as an experienced director. Not that Danny DeVito does a bad job with the film and the actors, it's just every now and then something seems to miss the mark. A lot of the scenes look like they take place in obvious studios, which draws the audience away, and some of the scenes with bigger crowds lack that extra touch of humanity that needs to be given to remind the viewer of the individuals involved in the crowd.

Overall, though, the acting carries the movie through to the end, though, from what I've read, the ending is entirely fictionalized, which is a bit strange considering that it's somewhat of a biopic and not just a fictionalized account of a real man's life.

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Amazon's requirement of 20 words minimum for a review is BS. All I want to do is give a "star" rating. I don't have time to write something about everything I buy, plus my "headline" sums it up just fine. Anyone who likes the movie likely already owns it and they're just trying to decide whether or not to get it on Blu-ray.

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Fast Company (1979)

The 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.

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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.

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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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Uncle Buck (1989)

Director/writer John Hughes is one of those Hollywood success stories who has left in his wake a heap of popular and often entertaining films, leaving an indelible stamp on motion picture history. He may not have won a ton of awards, but the regular folks (as opposed to film snobs) love his work and have made him a very wealthy man. A list of his better known films would have to start with "Home Alone" and "Ferris Bueller's Day Off," and would continue with "The Breakfast Club," "Pretty in Pink," "Planes, Trains, & Automobiles," and "Sixteen Candles," as well as many others.

This particular John Hughes film stars John Candy as Uncle Buck, the kind of character Candy specialized in. He's a middle-aged kid who can't seem to find a good reason to accept any responsibility in life. As he says in one scene, "People used to say to me, 'Buck, you've got it made. You've got no kids, no wife, no office, no desk, no boss, nothing to tie you down. You've really got it made.' Well, they don't say that to me any more."

Among Hughes's "coming of age" pictures, this one is unique. The coming of age is usually a teen or preteen. Here's it's Uncle Buck who is coming of age. His brother and sister-in-law have to leave town for a few days to tend his brother's ailing father-in-law, and they are absolutely devoid of babysitters...except for Uncle Buck, the embarrassing relation they have chosen to avoid until now. Their three kids include 15-year-old Tia (Jean Louisa Kelly, now seen on TV's "Yes, Dear," in her film debut), 8-year-old Miles (Macaulay Culkin, his first major film role and the one that inspired Hughes to give him his next major role in a little something called "Home Alone"), and 6-year-old Gaby Hoffman (shortly before she played the child lead in "Sleepless in Seattle").

You can practically write the film yourself from there, to a point. Buck has to be responsible for the kids, falls in love with them, is a far better (and much, much funnier) surrogate dad than anyone could have guessed, and by film's end things have all changed for the better. Sure, it's a little too much of a happy Hollywood ending to be true (OK, way much too much), but one doesn't expect Shakespeare here, just good, solid, entertaining comedy with a heart. That's typical John Hughes, and since he gives us so many good laughs we forgive him if it doesn't always completely ring true. "Uncle Buck" may be underrated among Hughes's films, but it's well worth remembering.

I miss John Candy. He was one of my favorite comedic actors in the '80s. Some of my favorite movies stars John Candy like "The Great Outdoors" and "Spaceballs". "Uncle Buck" is another hilarious movie John starred in. He plays a happy-go-lucky bachelor named Buck who is a bit of a slob and not very responsible either. He gets a call from his brother in Chicago asking him to babysit his children while he and his wife go take care of his wife's father who had fallen ill. Buck agrees and goes to his brother's house, not knowing what was in store for him. Buck has to contend with two precocious children (one of them played by then unknown Macaulay Culkin)and one angst-riddled teenager named Tia. Tia gives Buck a run for his money with her teenage angst. This leads to a lot of conflict between the two especially when it concerned Tia's boyfriend. The two younger siblings Maisy and Miles are simply a handful and enjoys Buck's company. I particularly loved the scene when Buck is making pancakes and flips an enormous pancake with a shovel. Another hilarious moment is when the nosy neighbor played by the hysterically funny Laurie Metcalfe meets Uncle Buck. "Uncle Buck" is a good mix of comedy and a little drama (towards the end of the film). I thought John Candy put in one of his best performances ever with "Uncle Buck".

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John Candy has his BEST performance EVER in this film by John Hughes. "Uncle" Buck Russell (Candy) is a perpetual screw-up who HAS to get his act together enough to watch over his older brother's three kids & dog, Tia, Miles, Maisy and puppy, Parsey since his sister-in-law's father had a heart attack.

The cast includes Mac Culkin as Miles, Gaby Hoffman as Maisy, Amy Madigan as Buck's girlfriend, Chanice Kobolowski, & Laurie Metcalf (Roseanne's sister, Jackie) as the crazy neighbor lady, Marcie Dahlgren-Frost. Also billed in small parts are Anna Chlumsky (My Girl), Patricia Arquette, and Devon Odessa (My So-Called Life).

This film is totally hilarious but also has those wonderful John Candy touching/sentimental moments.

A wonderful family film that can be watched over and over again!

Happy Watching!

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This is funny stuff. I've heard some critics bag this because of it's shallow silliness but that's what gives Candy his laughs.

John Candy belongs in movies like this. "Summer Rental" and "The great Outdoors" are others where his comedy rocks. I think directors know Candy's talents shine where family issues with kids are involved. Uncle Buck is John Candy's best film. I love his no shockers bouncing car with an on time BANG upon stopping.

Heartfelt moments melded with great laughs make this essential to all Candy fans

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Uncle Buck is Da man. John Candy is perfect as Buck Russel, the irresponsible misfit of his family. The late John Candy's comic timing and execution of his jokes are perfect and he gives the best performance of his career in this wonderful movie.

Called to watch three children during a family emergency, Buck wants to prove to his girlfriend he can be responsible. As a guardian, he clashes with Tia, the rebellious teenage daughter and bonds with two smaller kids who can't get enough of the loveable lout. Look for a great Macaulay Culkin and the girl from Sleepless in Seattle as the younger kids Buck takes care of. Candy has great chemistry with the smaller kids. Also look for Laurie Metcalf from Roseanne in a hilarious cameo as a wacky neighbor.

While Buck has trouble in the beginning, he soon starts handling business. Great scenes include him making huge pancakes for Mac's birthday party, punching out a drunken clown, taking on a nasty school principal, and embarrassing Tia's punk boyfriend Bug. (The scene at the party with the power drill on the bedroom door is great, but the hatchet scene is a classic!) By the end of the movie Uncle Buck is Da man proving he's responsible and showing his girl a new side of him.

The acting in this movie is top notch and Hughes direction is solid. I love the cinematography; Hughes makes some beautiful pictures to tell his great story. I love the shot of the car driving away from the high school! I see this film as the one where Hughes transitioned from angst filled teen movies to slapstick filled comedies like "Home Alone". An early scene in this movie no doubt inspired John Hughes' 1990 masterpiece "Home Alone", Where Buck leaves the kids "Home Alone". Buy this movie cause you will not be disappointed.

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Backdraft (1991)

This is actually a 2-disc "Anniversary" special edition.

Digitally Remastered Picture & Sound

2.35:1 Anamorphic Widescreen

English DD5.1 Surround

English SDH, French and Spanish subtitles

Ron Howard Introduction

Extras:

------

Over 40 Minutes of Deleted Scenes

"Igniting the Story" -Director Ron Howard, Academy Award®-winning producer Brian Grazer and others discuss the evolution of the film from script to screen

"Bringing Together The Team" -From the casting room to firefighter clinics see how director Ron Howard brought together a talented team of actors and real-life firefighters

"The Explosive Stunts" -Filmmakers reveal the state-of-the-art technology and heroic stunts that created the explosive action of the film

"Creating the Villain: The Fire" -See how an overwhelmingly talented team of special effects creators and stunt coordinators worked together to bring the fire to life

"Real-Life Fireman, Real-Life Stories" -Get an insider's perspective on what it takes to be a firefighter in this round-table discussion with the crew of Station 73, Santa Clarit

MOVIE: In a much needed re-release Universal gives us an incredible 15th Anniversary set for Backdraft. Backdraft is a movie that we see so often nowadays, but Ron Howard executed it in such a way that it remains as one of the best of the "real-life hero tribute" films. The script is filled with contrived dialogue and some incredibly lame and cliched plot turns, but it's the fire footage that makes this film exceed above the rest. The filmmakers initially wanted to go with CGI fire, but the tests done looked so fake that they turned to the real thing. Some amazing scenes are shot in this film that we'll probably never see in a film again due to the fact that CGI has advanced so much over the past decade. The characters are likable and relatable, but the acting is a bit overdone. This isn't the greatest film ever made, but the characters feel real enough to keep a strong emotional connection with the audience, and that's the essence of good filmmaking. Many see Backdraft as the ultimate tribute to firefighters across America, and while the ending of the film sends a tribute, the movie is actually very much centered around the two brothers. Heroism and courage are not central themes of this movie, but it's more about embracing the people around you (not teamwork). The film also features the first collaboration between Ron Howard and Hans Zimmer, in which Zimmer produces one of his best synthesizer based scores. A really good film that finally gets the DVD release it deserves.

VIDEO: Owners of the original Backdraft release will rejoice with this all-new digitally remastered transfer. The colors are solid, but I think they picture could have been sharper. There was no hazing or haloing during the fire scenes though, and that was my biggest fear.

AUDIO: I didn't own the previous set of the Backdraft, but I'm guessing that this Dolby 5.1 mix is the same mix from the old set. If it is new, then it's a shame. The subwoofer get's a good workout and Zimmer's score is prominent but the dialogue and quality overall is not that rich or spread out.

SPECIAL FEATURES: The special features are really short, I went through them in one day. Even though they are short, they are great to watch and are informative. When you play the film you will see a short introduction from Ron in his scruffy beard mode. The best featurette was the "Igniting The Story" one in which we go through the script to screen process. We interview some key people about bringing the movie to life, and surprisingly Hans Zimmer gets his own section about the score. I was so happy to see Zimmer in there discussing his work because composers usually never get any screen time in the special features. The other featurettes cover the casting, stunt work, using fire as a character, and then real-life accounts from real firemen. A great set of features with new interviews mixed in with interviews from 1991.

BOTTOM LINE: Buy this set whether or not you own the old one or not. While not the best work we've seen from Ron Howard, it's definitely one of those movies that takes you on an exciting and emotional ride. It also has the honor of being the definitive film about fire fighters unlike the most recent and forgettable Ladder 49.

Buy Backdraft (1991) Now

At the time of its release, Backdraft was regarded by some critics as an admirable if not flawed homage to the profession of firefighting. Of course, compared to the recent Ladder 49 it seems downright gritty and hard-hitting but still doesn't hold a candle in terms of realism to television's Rescue Me. Still, Ron Howard's film has its heart in the right place and does boast an impressive cast. Looking back at it now, Backdraft was one of Howard's early attempts to be taken seriously as a dramatic filmmaker and an initial bid at Oscar glory something that would elude him until A Beautiful Mind.

Howard's film dutifully trots out the stereotypical characters: the long-suffering ex-wife (DeMornay), the gorgeous but otherwise unimportant love interest (Jason Leigh), the crazy killer (Sutherland), the gung-ho recruit (Gedrick) who is punished for his inexperience, the feuding brothers and so on. What Backdraft does have going for it is how it shows the camaraderie of the men in the firehouse: the good-natured hazing of the new guys, the communal meals and how they watch each other's backs in and out of fires. It is very much a brotherhood and this film brings this out very well.

Speaking of which, the firefighting scenes are well-staged and executed, done before the proliferation of CGI and this gives these scenes a real, visceral quality. It is like the fire is another character, a living, breathing organism with a life of its own and the ability to take one as well. Howard's camera is able to get into the thick of these fires so that there is no safe distance in which to remove oneself from the action. You're right in there with the firefighters.

The best scene in the movie isn't the impressively staged fires but the one between Donald Sutherland's twitchy, crazed arsonist and De Niro's investigator. It lasts only a few minutes but every moment between these two brilliant actors is mesmerizing and truly brings the film to life proving yet again that good acting trumps SFX and stunts every damn time. In fact, Backdraft should have focused on De Niro's intriguing character and his intuitive knowledge of how fires work and what causes them. The screenplay hints at an interesting backstory for him and his relationship with Sutherland's firebug. Instead, it amounts to nothing more than a subplot and a red herring of sorts.

The first disc features an introduction by Ron Howard as he briefly talks about how proud he is of the movie and what else is available on this 2-disc set.

There is 43 minutes worth of deleted scenes that sheds light on Brian's backstory -his nomadic existence, how he dropped out of the academy years ago and how he talks his way back in. There is also more footage of the mysterious arsonist plying his trade that reveals a little too much a little too early in the movie. We also get more of De Niro and Sutherland which is always a treat.

The second disc starts off with "Igniting the Story," a featurette that traces the origins of the project as Howard and his producer Brian Grazer talk about what drew them to it. The screenwriters talk about the genesis of the screenplay while the term "backdraft" is also explained.

"Bringing Them Together: The Team" examines the casting process. Howard knew Kurt Russell from back when they were child actors and had always wanted to cast him in one of his movies. Baldwin, Glenn, Gedrick and, surprisingly, Jason Leigh (who never seemed too enthused about this project) talk about how they got involved in new interviews for this DVD.

"The Explosive Stunts" takes a look at how they pulled off the realistically rendered firefighting scenes. The highlight of this extra is Scott Glenn recounting a particularly dangerous stunt where he came very close to getting seriously burned.

"Creating the Villain: The Fire." After computer effects tests failed, the special effects guys ran all kinds of practical tests to see the various ways they could manipulate fire. Everything was planned out beforehand.

Finally, there is "Real-Life Firemen, Real-Life Stories" with actual firefighters from Station 73 in Santa Clarita, California recounting some of their own personal anecdotes and what they think of the movie. These guys really love what they do and speak passionately about it.

Read Best Reviews of Backdraft (1991) Here

`It lives, it breathes and it hates'. This is the description made by Robert DeNiro's character in Backdraft, stating the volatile nature of something we all fear, but rely on; Fire.

Backdraft is a different movie, filled with characters who are flawed and angry with one another. There are many messages that go along with this movie. I'm not sure where Ron Howard was going with the relationships of the characters, maybe no where and that's ok. Why try so hard to make the relationships go somewhere in such a short amount of time when we can clearly tell that the issues between them are a result of a lifetime of hardships and disagreements. These are not the kind of disputes that get resolved in a short period of time, if ever. You can take away what you want from the movie in that respect.

The movie centers around Brian McCaffrey (William Baldwin), who returns home to Chicago after years of failed business ventures to make sure he doesn't follow the family line of becoming a Firefighter. After giving in and completing the Fire Academy, he is placed in his brother's company, one of the toughest. His brother Steven (Kurt Russell) is still a bit annoyed with him for not deciding to become a fireman right off the bat (Chicago firefighters have a stout tradition for family continuance and stubborn old fashioned fire fighting that has no room for progressive tactics). He seems determined to make sure Brian either stays with it and becomes as good as he is, or quits. Brian takes it personally at every turn. Sibling rivalry ensues.

Subplots abound as we learn that fire stations are being closed for political purposes and Brian finds he has feelings for childhood friend (Jennifer Jason Leigh). DeNiro plays Donald Rimgale, the Fire Investigator that is looking into the Backdraft murders (a phenomenon that causes a fire in a closed room to subside after using all the oxygen, but explodes when O2 is reintroduced from the open door), high level politicians and businessman are being killed with this method and it becomes an MO. DeNiro is solid in his role as the Arson investigator, spouting lines about loving fire and understanding it's nature. Kurt Russell is good as he swaggers through his role, a character who attacks fire, knowing for some reason that he won't ever be killed by it. Baldwin seems lost as usual, but the character himself is somewhat lost trying to decide what to do in his personal struggle. Leigh doesn't seem interested in her role but manages to get through and Rebecca De Mornay plays the small role she has as Steven's estranged wife with great world-weary realism. Scott Glenn, mercilessly put in a shaved down role, is good as well. The best character though is Donald Sutherland, playing Ronald Bartel, a pyro-psycho who is locked up in a mental institution. He comes up for release occasionally and Rimgale goes in and repeatedly proves just how insane he still is, no matter what he tricks the doctors and release board into thinking. Sutherland is obviously having the most fun with his part. His character is called upon to help find out who is behind the Backdraft murders.

The biggest character of the film though is the fire, and it is astounding. Even though the movie is over 11 years old, it holds up today. With a combination of real fire exaggerated with computer affects in some spots, the visual result is frightening and actually looks alive in some scenes. All in all, the movie is good, although there are a lot of elements squeezed in to make it somewhat epic, and even though it doesn't quite reach that status, it is a good all around movie with great action, emotion and special effects.

Want Backdraft (1991) Discount?

"Backdraft is the story of two brothers. After the death of their firefighter father, older brother Steven (Kurt Russell) follows Dad's footsteps into the Chicago Fire Department. Younger brother Brian (William Baldwin) bounces from one scam or get-rich-quick scheme to another. But Brian eventually winds up back in Chicago in the Fire Department, and in Steven's Co. 17, no less. They go back and forth for a while, until finally Steven drives Brian out of the department and into arson investigation. Brian winds up working for an arson investigator (Robert De Niro) investigating a series of murders-by-arson.

This movie features a stellar cast, giving mostly excellent performances. Special notice should be given to Russell, in what I think is his best performance ever. J.T. Walsh gives an excellent supporting performance as the sleazy Alderman Swayczak, as do Rebecca De Mornay as Steven's estranged wife and Scott Glenn as Firefighter "Axe" Adcox. Donald Sutherland is especially creepy, yet charming as an imprisoned arsonist to whom De Niro and Baldwin go to for advice on identifying the arsonist. Baldwin and Jennifer Jason Leigh (playing Brian's girlfriend and Swayczak's aide) could have held up their parts better, but that doesn't detract from the movie as a whole.

The fire is the real star of this movie. The special effects are truly incredible, and have to be seen to be believed. This movie boasts the best effects I've ever seen in a non-science-fiction movie. Whoever the effects man is should have won an Oscar for the fire scenes in this movie.

Some may criticize the ending for being overly sentimental, but every single time I see this movie, I get choked up during Steven's last scenes. As an older brother, I really identified with Steven and how he wants the best for his brother, but he isn't quite sure of the line between pushing him to improve and pushing him down.

The special effects alone are worth getting this movie, but director Ron Howard put together an all-star cast that (mostly) managed to put together a movie in which the plot isn't entirely overshadowed by the effects. All in all, a very good movie that's well worth your $15.

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Universal Classic Monsters: The Essential Collection (2012)

The 'Universal Classic Monsters Essential Collection' takes most of the top tier titles from Universal's classic horror library of the 30's, 40's and 50's and puts them all together in one box set. These films have not just been remastered in 1080p but have also been meticulously cleaned up with much work done to both video and audio. The end result is an eye opening revelation for all the fans of these films.

(PLEASE see the very bottom of my review for info on the current state of disc defect reports regarding the 'Creature' disc)

To call these movies "classic" is really somewhat of an understatement for fans. These are basically the gold standard for horror films and Universal has finally given them their due. I was fortunate enough to borrow a review set for 2 days in anticipation of receiving my own set that was pre-ordered the same day it was announced. One week to go and I can watch them again! I made notes as I watched and spent a great two days and nights with this set.

With that said, this review will focus on the video/audio quality of the set and not the films' content. Basically, what everyone is wanting to know is whether or not this upgrade is a major step up from the legacy series DVD sets. Other than containing the more popular top tier titles and only one of the sequels (Bride of Frankenstein) the answer is YES this is a HUGE upgrade. In fact, once you see these transfers on a properly calibrated display you will NEVER want to watch them any other way. I simply can not imagine them looking any better when first released (other than a few missing frames here and there these days) and the audio is most definitely the best it has EVER sounded. Major kudos and hats off to the team at Universal that did this fantastic job of restoration.

The included booklet is very nice but doesn't contain anything the more than casual fan doesn't already know. Still, it is nice to have and looks great. Unfortunately the US set has the cardboard sleeve design of the new 'Indiana Jones' set and as such is going to receive numerous complaints about disc scratching, etc. The Box itself looks great and even the discs look really good. It is a shame Universal opted for the slide in/out disc storage system. Spindles and hubs would have been SO MUCH better! Due to time constraints I had no time to view any special features and just watched the films. (ok, I admit to watching both 'Bride" and 'Dracula' twice!)

***** Since writing this review I have received my UK Coffin version set. I am still blown away by the video and audio quality and have now had a chance to check out many of the special features. Seems almost all the special features from the Legacy sets have been ported over, unfortunately still presented in SD video. Still, it is a tremendous value and die hard fans will of course be holding on to their legacy sets until the remaining titles are released on Blu. (if ever)

The coffin packaging is very nice, but as another reviewer has pointed out, the disc case that holds the gate-fold disc holders , booklet and art cards is a BIT too small and constantly removing it might eventually cause the coffin to split. To solve this I am keeping the "Swag" in the coffin and the discs in the inner case just next to the coffin on my shelf. I can't figure out why they wouldn't notice this before producing large production runs but that's just the way it is. The discs themselves are much better protected in the UK packaging as they sit on hubs instead of those annoying cardboard sleeves so many are worried about. So basically, the CONTENT is stellar on either set but the packaging on BOTH sets leaves just a bit to be desired overall, albeit for different reasons. *****

If you don't know by now, here are the titles that are included in this collection:

Frankenstein/Bride of Frankenstein (1931 and 1935)

Dracula/Spanish version of Dracula (1931)

The Mummy (1932)

The Invisible Man (1933)

The Wolf Man (1941

Phantom of the Opera (1943)

and last but not least

Creature From the Black Lagoon 3D+2D (1954)

All titles are presented in their original Black and White other than 'Phantom' which was shot in color. Each film other than 'Creature' (widescreen format) is presented in their original 4:3 aspect ratios and sporting nice healthy bit rates for each film and VERY nicely restored sound presented in DTS HD Master Audio stereo, although each film is actually a mono track with identical sound output on both sides.

THE VIDEO QUALITY:

So how does the video quality fare you ask? Absolutely Stupendous! The grain structures are INTACT and for the most part that is a VERY good thing! You will see things as you have never seen them before. You will see things you wished you hadn't seen before such as the crudely painted warped/rippled backdrop during the graveyard and ending scenes in 'Frankenstein'... Various black wires and threads are now clearly visible during effect shots of 'The Invisible Man' , etc. I for one am glad the restorers saw fit to only remove print damage such as scratches and white specks and left the original productions alone as much as possible.

Details and fine texture abound. Equipment in Frankenstein's lab reveals every nuance and texture, fabrics and set decorations become crystal clear, even shaving bumps are visible on Colin Clive's face and there is so much more added detail to Jack Pierce's makeup jobs that it would take a 5 page review to document all the new things I noticed and could see clearly for the very first time. At first I constantly A/B'd the new transfers against the legacy DVD collections to check for any discrepancies but soon realized I was dealing with something that was so much improved it was a useless exercise. These are flat out gorgeous to look at and some of the best vintage black & white restoration jobs I have seen. If you have watched these films over and over like I have on both VHS and DVD, you will be extremely excited about these new renderings.

For those that insist the video quality is no better than the Legacy DVD sets, I suggest perhaps some may have their players connected to a standard video connection or SDTV , or perhaps for some reason just can't appreciate what high end restoration/scanning rendered in 1080p has done for these films. There is NO comparison between the Legacy sets and these transfers and that goes for video AND audio. I have kept my Legacy sets to hold on to the missing titles for each parent film. (ie: Son of Frankenstein, Ghost of Frankenstein and the ever popular Mother-In-Law of Frankenstein, etc.)

Rather than go through each and every film in great detail I will just pick out a few moments that stood out for me personally. I was absolutely floored when I began watching 'Frankenstein' where light and shadow resolved as never before. Each and every scene was vastly improved to the point where I found myself actually cheering out loud as I watched. It truly is eye opening. I did notice a slight glitch between scenes where the video just stopped for a fraction of a second. This had nothing to do with a layer change and appears to be an encoding/editing error as my DVD's do not display this pause. (occurs at the end of the meeting between Victor, Elizabeth and Dr. Waldman before they show up at the lab)

During the early scenes in 'The Mummy" the detail revealed in Boris's bandages is extraordinary. You can truly see the extent that makeup man extraordinaire Jack Pierce went to with this makeup, actually achieving the look of an ancient and rotting mummy. These details were lost to both the VHS and DVD version and only now can you see them perfectly clearly. With the massive increase in detail comes an increase in involvement while watching the film. I guarantee you will be sucked into the story like never before!

'Dracula" has been so improved that it deifies description. Yes it is a very old film and problematic in certain areas but the picture quality presented here had me almost having to pick my jaw off the floor. Renfield in 1080P? It just doesn't get any better than this! Bela's eyes actually gave me the creeps and I have seen this movie a good 50 or 60 times over the last 50 some odd years. It is simply outstanding! And YES, Dracula does groan at the end after Van Helsing whacks the stake for those that were wondering. (Renfield screams too which seems to be cut on some earlier DVD versions)

'The Invisible Man' stands out for me as one of the best transfers. Maybe I only think that because it is a personal favorite. Still, I found it to be almost on par with the new Casablanca 4K scan for overall balance and detail. I really enjoyed watching it and I was very happy to see that one of my favorite titles turned out so very well! (ok, maybe not as good as the new Casablanca scan, but pretty darn close)

I have only viewed 'The Creature' in 2D and can not comment on the 3D rendering. (vision problem precludes me from evaluating 3D in my reviews)

I can definitely say this of the 2D version, it is by far the clearest, most detailed rendering I have ever seen of this movie and unfortunately betrays clearly just how fake the "Creatures" suit really is. On the other hand, Julie Adams is even more of a dish than ever before in 1080p so this transfer certainly DOES have it's advantages. (hard to believe she ended up selling Real Estate in Cabot Cove. Maine!)

Another real standout is 'The Wolfman" with both contrast levels and detail being absolutely fabulous. A tiny amount of EH causes just a smidgen of 'ringing' in the video but it is so little only the most picky would EVER notice it. And the fog/mist is handled very well in this transfer, something that normally is a sore point with digital. It looks REALLY good. There are many instances of depth in this movie and actually in ALL of them during their respective running times. When I first put on 'Frankenstein" and noticed perceived depth I was totally astounded. DEPTH from a movie shot in 1931? Nothing short of amazing! Universal Monsters on Blu Ray rocks! I'm here to tell ya!!

Yes, there are a few soft shots here and there, but nothing egregious and at least 90% or more of the time the image is flat out brilliant.

Noise reduction is either not used or used so judiciously that you can not see it happen. Edge enhancement was not even needed and if used I can not notice it. Picture flickering has all but been eliminated using some very sophisticated digital tools. At times it still fluctuates just a bit on the older titles but shows up mainly on the character faces. It is so small and infrequent that only the truly obsessive (like myself) will even notice it. Still, most annoying defects of the past are now history.

Scratches, tears and white specks have been sent packing. GREAT!

THE AUDIO QUALITY:

Each and every film is an auditory revelation. Gone are the crackles, pops, hiss and wow and flutter that has plagued each home release before this one. With all these undesirable elements finally removed, the dynamic range seems much greater and the full frequency spectrum, such as it is for these older films is given a chance to really shine through. Of course there is no LFE or surround activity and the mixes are the original MONO minus the sonic aberrations that started from the very first playback of the original source. Simply put, the audio on this set is superb considering the source elements. I highly doubt it could have been done any better by anyone.

Bottom Line: If you are a fan of these films this purchase is a no brainer. You simply can NOT go wrong here folks. I purchased them all, first on VHS, later on DVD, then remastered versions of the DVD's, the entire legacy collections, etc. This was well worth the wait and almost every film in this collection will see multiple viewings.

The only thing really lacking here is the exclusion of all the sequels, especially the Frankenstein and Wolfman series sequels. I also wish the 'Werewolf of London' along with 'The Old Dark House', 'The Black Cat' and a few others could find their way to Blu Ray in the future. But for now, this is what we get and along with the legacy DVD sets (for the sequels and extras) this collection of horror classics on Blu Ray is a real gem. I do think it is just a BIT overpriced but things have a way of coming down in price over time and this will be no exception. However for me, it is a MUST HAVE day of release purchase and I will never regret it.

(From what I have seen, the UK packaging is nicer..both for the standard set and the collectible coffin version which is what I have ordered and since received now)

Marty G's most HIGHEST RECOMMENDATION for this set!

****Note: Reported problems playing 'Creature' in 2D seem to be limited to players that have older firmware versions or older players in general. Apparently putting both the 2 and 3D versions on the BD and the associated layer change has thrown a monkey wrench into SOME players out there. My Oppo plays it flawlessly but I am aware of many who have had trouble with this title. My advice is to update your firmware and if that doesn't work you can always purchase an under $100 player that will solve most new disc playback problems.

No series in the history of the cinematic horror genre has endured as long as the Universal Monster classics of the 1930s and '40s a time marked by the Great Depression, the rise of Hitler's Germany and America's eventual involvement in WWII. At the outset, the Universal films were hugely successful with audiences seeking an escape, but by the time the U.S. became embroiled in the conflict, the popularity of the studio's trademark monsters became less inviting to viewers, who turned their attention to war-time enemies as the cinematic nemesis of choice. Before that happened, however, Universal established a litany of Monster Classics that would inspire long-running franchises and become favorites of viewers for generations to come.

Universal's eagerly anticipated UNIVERSAL CLASSIC MONSTERS: THE ESSENTIAL COLLECTION arrives on Blu-Ray this week and pays a new, glorious high-definition tribute to eight of the studio's genre benchmarks, all presented in fresh, and impressive, 1080p AVC encoded transfers marked by a surprising amount of detail.

Looking at Tod Browning's 1931 DRACULA is virtually like gazing upon the Bela Lugosi classic for the first time. The movie is best remembered for its opening Transylvanian set-piece that introduces viewers to Lugosi's unforgettable count, and while the London sequences tend to be static and dull by comparison, the increased detail seen here in the Blu-Ray's HD presentation even makes the talky, latter sections of the picture more interesting. In fact, without any overt use of DNR, this ranks as one of the studio's most satisfying catalog transfers to date. The DTS MA mono sound is nearly crackle-free, and Philip Glass' Kronos Quartet score (which makes the stilted drawing room sequences a bit livelier at least) is also available in Dolby Digital stereo.

Supplements include two commentary tracks reprised from prior DVD editions: an authoritative discussion by historian David J. Skal, and a more recent talk with Steve Haberman (screenwriter of the awful Mel Brooks spoof "Dracula: Dead and Loving It"), both offer enlightening analysis and artistic commentary on the film; "The Road to Dracula" (35 mins.), hosted by Carla Laemmle, returns here from its original DVD appearance, as does the still gallery "Dracula Archives" (8 mins.), while "Lugosi: The Dark Prince" (36 mins.), a carry-over from the 75th Anniversary DVD, sports interviews with historians and directors including Joe Dante paying tribute to Lugosi's career. Trailers are included for the whole Universal "Dracula" series (Dracula, Dracula's Daughter, Son of Dracula and House of Dracula), and an eight-minute restoration featurette (HD) includes a look at the studio's efforts to restore both the English and Spanish language versions as a part of their centennial efforts, noting that a portion of the Spanish "Dracula" had to be taken from an international print as the studio's negative was badly damaged during the third reel.

Speaking of the Spanish "Dracula," it too has been lovingly restored here in a 1080p AVC encode that's perhaps not quite as crisp as the Lugosi version, even if the elements seem to be, on balance, in healthier condition. An optional introduction with star Lupita Tovar is included as well.

James Whale's FRANKENSTEIN introduced viewers to Boris Karloff in his legendary role as the Frankenstein monster, and while the film remains a striking work for its 1931 release date, it pales in comparison to THE BRIDE OF FRANKENSTEIN, the 1935 sequel graced with a spectacular Franz Waxman score that shows, in the space of four short years, how quickly movie-making had progressed as a medium. Whale's playful, inventive direction, the performances of Karloff, Colin Clive and Elsa Lanchester, and that Waxman score one of the all-time greats are unforgettable aspects of a film many regard as the finest in the pantheon of Universal Monsters.

Each included here on separate BD platters, "Frankenstein" includes a number of supplements carried over from prior releases: "The Frankenstein Files" is an engaging 45-minute account of picture's production and legacy; "Karloff: The Gentle Monster" (36 mins.) is a carryover from the 75th Anniversary release; "Frankenstein Archives" is another 10-minute assortment of stills; "Boo!" is a fun 1932 Universal "Brevity"; commentaries are provided by Rudy Behlmer and Sir Christopher Frayling; and a full trailer gallery boasts the original coming attractions for Frankenstein, Bride of Frankenstein, Ghost of Frankenstein, Frankenstein Meets the Wolf Man and House of Frankenstein.

Also included on the "Frankenstein" disc is Kevin Bronlow's fine 1998 TCM documentary, "Universal Horror." This examination of the beginnings of Universal's monster franchises is narrated by Kenneth Branagh and offers ample vintage footage, interviews and an entertaining look into the genre's origins.

Visually, both movies look more detailed than I've ever seen before, with crisp 1080p presentations that blow past prior DVD releases even if there does seem to be, perhaps, just a bit more filtering on "Bride of Frankenstein" than "Frankenstein" or especially "Dracula." Regardless, the image still looks exceptionally good, and extra features not as substantive as the other discs include the original DVD documentary, "She's Alive! Creating `Bride of Frankenstein,'" plus a stills archive, commentary with historian Scott MacQueen, and trailers for Bride, Ghost and House of Frankenstein (surprisingly, "Son of Frankenstein"'s trailer is nowhere to be found in this set).

In 1932, "Dracula" cinematographer Karl Freund helmed the first appearance of what would ultimately become thanks to both a handful of sequels and a contemporary series of modern fantasy films (with another version headed to theaters in 2014) the most durable of Universal's monsters, THE MUMMY. Boris Karloff carved out his second iconic studio role as Imohotep, who lusts after Zita Johann in an entertaining if somewhat creaky film with unforgettable imagery (though ironically, Karloff only appears in the patented Mummy make-up for a couple of minutes).

A bit uneven in its overall visual appearance, there's some occasional filtering on-hand in "The Mummy"'s 1080p AVC encoded transfer compared to the other films in this set. It's certainly an appreciable improvement on DVD, however crisp detail is in evidence during most of the transfer, but some sequences look sharper than others. Extra features include "Mummy Dearest" (30 mins.), a documentary from the original DVD release; "He Who Made Monsters" (24 mins.), a Jack Pierce retrospective; "Unraveling the Legacy of The Mummy" (8 mins.), a brief featurette from the 75th Anniversary DVD; "The Mummy Archives" still gallery; commentaries by Paul M. Jensen and a more recent track with Rick Baker, Scott Essman, Steve Haberman, Bob Burns and Brent Armstrong; and trailers for all the "Mummy" films (The Mummy, Mummy's Hand, Mummy's Tomb, Mummy's Ghost, Mummy's Curse).

Inbetween "Frankenstein" pictures, James Whale helmed a magnificent adaptation of H.G. Wells' THE INVISIBLE MAN, a 1933 classic that, in certain ways, holds up better than any of Universal's earliest genre outings for sheer dramatic impact. Claude Rains gives a memorable performance as a scientist who slowly goes mad after an experiment renders him invisible a portrayal that relies heavily on his voice since Rains is only on-screen for a few minutes. John P. Fulton's visual effects, especially for their era, are superb, and Gloria Stuart believably renders Rains' sympathetic girlfriend.

Arguably tthe healthiest looking of the original, early `30s Universal Monsters classics, "The Invisible Man" appears in top form in its 1080p AVC encoded HD transfer here there's still a bit of filtering present in some sequences (like "The Mummy," some scenes seem to be affected more than others), but on balance the transfer is exceptionally good for any film of its vintage. Special features include the original DVD doc, "The Invisible Man Revealed" (35 mins.) plus production photographs, trailers for the Invisible Man series, and commentary by Rudy Behlmer.

Scripted by Curt Siodmak, Universal's 1941 classic THE WOLF MAN stars Lon Chaney as Larry Talbot, who becomes cursed with the fate of a werewolf after wandering in the forests of Wales and bitten by one of the creatures. Claude Rains plays Talbot's father, and the supporting cast includes Maria Ouspenskaya and Bela Lugosi as the Gypsies who predict Talbot's fate, along with Evelyn Ankers as the love interest and additional supporting turns from Ralph Bellamy and Patric Knowles. The settings, atmosphere, and direction (by George Waggner) are all top-notch and the movie compares favorably with the Universal chillers of the period.

Last released on DVD a couple of years ago, "The Wolf Man"'s 1080p AVC encoded HD transfer is solid, generally in-line with the other transfers in the box-set, with deep blacks and added detail over its standard-def releases. Extras are bountiful here, highlighted by David J.Skal's "Monster by Moonlight" documentary, a DVD carryover hosted by John Landis, this is an engaging look into the Wolfman's creation and phenomenon as the last great character to originate from Universal's "Golden Age" horror cycle. Eschewing the testimony of countless historians (as were utilized in Skal's other documentaries) in favor of interviews with make-up artist Rick Baker (who discusses Jack Pierce's lasting legacy) and screenwriter Siodmak, the program is entertaining and enlightening, even though it uses a generous selection of film clips from the Wolfman's subsequent cinematic appearances to round out the program. Of special interest to film music fans will be the discussion of "The Wolf Man"'s musical score by Frank Skinner, Hans Salter, and Charles Previn, which is given a few minutes of analysis in the documentary by John Morgan and conductor William Stromberg. Morgan notes how most film scores today consist of musical wallpaper while Stromberg discusses one particular cue that had been cut down in editing, where Talbot watches a Gypsy burial. The "Archives" section also contains an abundance of still-frame photographs and publicity shots, underscored by the original music without dialogue.

Universal authority Tom Weaver's insightful commentary also returns as well a "Wolf Man Archives" of still photos and artwork. Also on-hand are the eight-minute "The Wolf Man: From Ancient Curse to Modern Myth" (10 mins.) and the 2009 effort "Pure in Heart" (37 mins.), a loving tribute to Lon Chaney, Jr., with historian Gregory Mank, Rick Baker, Joe Dante, Kim Newman and others paying respect to the original Larry Talbot. Trailers for Werewolf of London, The Wolf Man, Frankenstein Meets the Wolf Man, House of Frankenstein, House of Dracula and She-Wolf of London round out the disc, which also includes the same Jack Pierce documentary contained on "The Mummy"'s Blu-Ray.

The sole Technicolor offering in the "Essential Collection" is PHANTOM OF THE OPERA, the studio's lavish, operatic 1943 take on Gaston Leroux's novel with an accent on the love story courtesy of director Arthur Lubin. Claude Rains is the Phantom to Susanna Foster and Nelson Eddy's romantic leads; it's a sturdy, if unspectacular, film that receives a similarly respectable 1080p AVC encoded transfer. The image looks a bit hazy at times and some of the source elements aren't as vibrant as other Technicolor films of its era, but it's still an upgrade over the DVD. Extras include the lengthy 51-minute DVD documentary "Phantom Unmasked," plus Scott MacQueen's commentary and the trailer.

The final disc in the set may be the most exciting for Universal Monsters fans, as 1954's CREATURE FROM THE BLACK LAGOON debuts on Blu-Ray, not only in its 2-D version but its first-ever 3-D home video release as well! For 3-D enthusiasts, being able to see the film in pure three-dimensional form and not an anaglyph 3-D version like we used to see on TV back in the `80s is a revelation. Both occasional pop-out effects and depth-of-field photography add immeasurably to visuals that are often flat and uninspired otherwise. In fact, seen in its native 3-D format, effects and shots which otherwise look awkwardly (or routinely) framed make visual sense, and the overall experience enhances Jack Arnold's `50s monster mash as a result.

One of many films shot in 3-D during the `50s, this Blu-Ray release of "Creature" hopefully will usher in a wave of 3-D catalog titles in the fledgling format, and certainly its inclusion here in Universal's box-set makes this a must-have for "Creature" fanatics with 3-D home theater set-ups.

Other extras on the "Creature" platter include "Back to the Black Lagoon" (40 mins.), a DVD retrospective, plus Tom Weaver's fascinating commentary, trailers for the Gill Man series, and production photographs. The 2-D version is also included, and probably because of the film having been shot in 3-D, it's a bit blurry and less detailed in its 1080p AVC encoded transfer compared to all the other films on-hand in the box-set.

All the discs are contained in a hardbound "digibook" release with original poster artwork (consumers should be mindful that a bit of adhesive may be stuck on the edges of some of the discs, and ought to be removed promptly before playback). A small accompanying booklet offering trivia and glossy photographs rounds out the release, which will undoubtedly rank as essential Halloween viewing for all Universal Monster fans. Highly recommended and here's hoping sales are strong enough to scare up a second volume of all the various Classic Monster sequels in another release for next October 31st!

Buy Universal Classic Monsters: The Essential Collection (2012) Now

This box set is truly worth every penny it costs: a collection of eight iconographical titles in the "Universal Horror" pantheon from the 1930s and 1940s. The titles are DRACULA, FRANKENSTEIN, THE MUMMY, THE INVISIBLE MAN, THE BRIDE OF FRANKENSTEIN, THE WOLFMAN, PHANTOM OF THE OPERA, and THE CREATURE FROM THE BLACK LAGOON. Each DVD comes in a plastic case sporting original poster art, and all eight are neatly packaged in a single box for easy organization. Each of the titles have been significantly restored, and although the bonus features vary a bit from disk to disk each disk has a short documentary and interesting critical audio track.

The "Jewel In The Crown" of the set is DRACULA. While critical response to the film varies, the DVD includes both the Bella Lugosi and the so-called "Spanish" Dracula, as well as the option to play the Lugosi version with or without the recent Philip Glass soundtrack as well as memorable bonus material. The weak link the collection is THE PHANTOM OF THE OPERA; the Claude Rains remake isn't a patch on the original, and it is a pity that the silent Lon Chaney version was not offered instead. Still, the Rains version has its charms, and it far surpasses later film versions of the same title.

While each of the DVDs included can be purchased separately, those wishing to have all these titles will find the box set more cost-effective. Sure to delight fans of Universal horror classics and fans of classic film in general; strongly recommended as an essential.

Read Best Reviews of Universal Classic Monsters: The Essential Collection (2012) Here

Buyer beware! Amazon just shipped our replacement copy of this entire set, and the 2D Blu-ray of Creature From the Black Lagoon is STILL DEFECTIVE.

The defect affects both picture and sound at around 59 minutes in. From there on the disc skips and glitches for several minutes. We have two high-end set-ups and neither one of our players, one Sony, one Samsung, play this disc properly. Now that we have received a total of TWO copies of the entire set (thanks, Amazon, for the prompt replacement) we KNOW it is a result of Universal's legendary lack of Quality Control.

Otherwise it's a wonderful if pricey set. But don't waste your hard-earned money on this until Universal acknowledges this defective disc and promises that they have fixed this disc. (I cannot say if any of the other discs are defective, as we haven't even had a chance to screen them all.)

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Universal Studios the Master of the Horror movie has masterfully restored & remastered EIGHT of the their BEST in the "CLASSIC MONSTER COLLECTION! Seven Black & White and One Technicolor (The 1943 "Phantom of the Opera") are presented in OUTSTANDING Clarity and Sound. The entire set is preserved in the actual theatrical FULL Screen format (4:3 aspect ratio-tv). Each of these 8 movies have extensive extra features including; background featurettes, commentary by film historians and a Picture montage of original lobby posters & publicity photos. This is an absolute must have for your DVD Home Theatre library!!!

The Universal Studios of the 1930's revolutionized special effects and the horror movie under the helm of Carl Laemmle Jr., Director James Whale and make-up genius Jack Pierce. Universal also had one of the greatest stable of stars many to play in reoccurring roles; Boris Karloff Frankenstein (1931), The Mummy (1932) & Bride of Frankenstein (1935). Bela Lugosi Dracula (1931) & The Wolfman (1941). Claude Rains The Invisible Man (1933 Karloff was replaced by Rains due to contractual disputes), The Wolfman (1941) & The Phantom of the Opera (1943 in fabulous TECHNICOLOR). Dwight Frye (the mad assistant) Frankenstein, Dracula, The Invisible Man & The Bride of Frankenstein. Una O'Connor (the hysterical screamer) Frankenstein, The Invisible Man & The Bride of Frankenstein. Edward Van Sloan (The Scientist/Doctor) Frankenstein, Dracula & The Mummy. Lon Chaney Jr. became The Wolman (1941).

Summary:Dracula (1931) established Carl Laemmle Jr. & Universal as the King of the Horror Picture while Bela Lugosi became the undisputed KING of the Vampires. Provided in 3 versions Original, New Musical Score & Spanish Version filmed with all Spanish cast (see my review). Frankenstein (1931) established James Whale as the Master Director of Horror (also did, The Invisible Man & The Bride Of Frankenstein). Boris Karloff became a Super star playing "The Monster". (AFI top 100 film see my review) The Mummy (1932) has Karloff playing in the lead role as a cursed Eygptian Priest returning from the dead after 2500 years. The Invisible Man (1933) establishes Claude Rains as a star with his voice. Playing a manical chemist who discovers invisibility with insanity is only seen at the very end of the picture. ( Outstanding special effects). The Bride of Frankenstein (1935) Karloff in an encore role with a wife. (Considered to be the Best Frankenstein of the series). The Wolfman (1941) establishes Lon Chaney Jr. as a superstar. He is bitten by a werewolf and begins a cursed nightmare. Phantom of the Opera (1943 in Technicolor) has Rains in the lead role of the tormented manical violinist who loves a young upcoming opera singer. The Creature of the Black Lagoon (1954) Outstanding underwater photography. Is a cult classic of a gillman fall s for girl. "Beauty & the Beast" storyline.

This is a great collection and a must for the classic collector. Enjoy.

The Descent (Original Unrated Cut) (2006)

You've got a pretty tight group of girlfriends. You're a pretty tough girl yourself. You do a lot of adventurous stuff that usually includes mostly just your girlfriends.

After a year's hiatus due to a terrible family tragedy, you decide it's time to hook up with your girls and shake the bad memories on a spelunking outing.

You head to a remote area of the Appalachian Mountains to some charted caves recommended by a spelunking guide, according to one of your group members. You embark with 6 friends into the caves from the highpoint in the mountain...down...down...down through the bowels of the mountain in search of an exit at a lower point.

Then two of a plethora of bad things happen. A tunnel that you came through is sealed off leaving you only one way to go...down. And your partner reveals the reality that a guide didn't recommend the caves at all; she thought it would make the excursion more adventurous in unexplored caves. There is no charted way out.

Think that's a problem? How about shining your light down the next tunnel where you see an eerie human-ish looking figure crouched in the dark peering back at you?

The Descent has chills. There's high suspense. It goes without saying that there are good old fashioned jump-out-of-the-dark scares (they are in a cave!). No special effects needed here to generate excitement. The creatures are well designed and scary.

The story flows very well. The acting is better than the average Horror flick. And Director Neil Marshall (Dog Soldiers) keeps a better than average flow of twists and turns coming.

Do indeed see it if you're into the genre. The Descent is one of the movies on my Amazon Listmania List, "15 Flicks Guaranteed To Leave A Permanent Impression".

Note: The US theatrical version had a lame ending compared to the original UK version. The US DVD release gives you the option of which ending you'd prefer to view. Go with the original.

I'm not typically accustomed to going "gaga" over horror films. It's not that I don't like them, I love them--but truth be told, it's hard to find genuinely good ones. I'm entertained by lots of the gory, splatter films that have recently dominated the box office. Usually, however, it's a matter of accepting the limitations within these films and getting whatever enjoyment you can out of the scenarios. It's been a very long time since I thought of a current horror movie as a 5 star event, so nothing could have surprised me more than "The Descent."

The preliminary setup is a good one. Our heroines begin to explore some unknown, uncharted cave systems and quickly become trapped. Now our ladies must use their resourcefulness and intelligence to try to get out. The dynamics start to play out between the women--good and bad--and a real fear for survival starts to set in. We are squarely in a man versus nature psychological thriller atmosphere. It recalls for me "Open Water"--a film whose horror is about helplessness and being stranded, not about sharks.

But just as soon as I was sure where I was headed, the rug was pulled out. The last third becomes a monstrously bloody battle for survival. It is so well choreographed, I was sucked in wholeheartedly. And far from being victims--our heroines exhibit intelligence, brutality, resilience, loyalty and a real survival instinct. We've got some real female empowerment going on! For pure horror, this film goes out with a real bang.

I was completely blindsided by this one. There's a good screenplay, a credible backstory, appealing actresses, great cinematography and nice effects.

"The Descent" may not be the "best" movie I see this year--but as a pure adrenaline rush, I promise you it will be one of my favorites. KGHarris, 12/06.

Buy The Descent (Original Unrated Cut) (2006) Now

Neil Marshall's "The Descent" completely lives up to the hype! It is one of the bloodiest horror films to ever play on the big screen for sure. It is the definition of claustrophobic & it is truly one of the most jump out of your seat scariest big screen horror flicks since Ridley Scott's "ALIEN". Just more proof that the great horror films & the great horror film Directors are comeing from the world of independent films. Even though the concept isn't so fresh it seems that everything else about it is. The cave creatures are brilliantly gruesome & realistic(great make up/efx). Even with all the mostly dry & un-original remakes out there,the last 8-9 years has still produced some of the best horror films ever & "The Descent" is truly the final seal of approval that we horror movie fans will look back at the turn of the century as a great era in horror movie history let alone movie history in general. If I'm Alive 20 years from now I will be so glad to say I saw this one in the theatre. A masterpiece!

***UPDATE*** Coming from someone who saw the American theatre ending,IMO the original UK ending that comes with the widescreen unrated original cut is excellent & just as good if not better than the shortened American theatre version.

Read Best Reviews of The Descent (Original Unrated Cut) (2006) Here

This is probably the most effective horror movie I have ever seen. The all female cast does a phenomenal job of keeping the audiences attention (and no there is no nudity). Shows what a talented director and cast can do with little money and a good story. Has more scares and is more entertaining than the majority of horror that is released in theatres.

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So this was a rather interesting film. I'd say that it was probably one of the most enjoyable films that I've seen in recent weeks. It provided an interesting location, mind-bending ending, and a unique cast of all females that react reasonably in the face of danger. What else really made the grade for this film?

Plot: Ok, so it's not the most original plot I've ever heard of. A bunch of girls go caving, and lurking in the darkness is an evolved human, evolved to live perfectly in the dark. Cavemen gone crazy more-or-less. Still, the plot might lack some ingenuity, but they brought it out in a way that seems to master this form of the story. I've seen other cave movies before, but they weren't put together like this one was. In fact, they did a good job of explaining almost every aspect of the adventure in a true, realistic manner. You felt like the character had no choice and made responsible efforts in their quest to survive. The ending is somewhat of a give and take piece, it lets your imagination run for a bit, as it's more symbolic rather than direct, so you'll have to take away your own thoughts of the film, but I think that this makes it leave a lasting impression.

Atmosphere: So this was another thing that I enjoyed. This movie boasts some excellent camera work. If you're at all claustrophobic, this movie will probably scare the h"ll out of you. They did a great job using the darkness and lighting the scenes effectively and mysteriously. They also used red flares, and green glow sticks in specific sequences, which gave a nice stylized look to the overall film.

Effects: There was quite a bit of gore in the film...some of it better than others. I noticed a few scenes where the gore was just amateurish, and yet there were many scenes where it was really well done. A production schedule glitch? I don't know, but I would've loved to see the whole thing with a mastering of these effects. I think though that what they do provide over-rides the less-than incredible gore, and I think most gore fans will be pleased with the quality of the effects.

Acting: There's a lot of new faces, at least new as in the sense of the American market. I've not heard of these British actresses before. They did a most excellent job, and really lost control on this production. It seems like they knew exactly how to react and the director did a great job of bringing out the emotion of the scene. It was a most realistic and reasonable ride throughout the film. I think that the females were "friends" off-set, because it really shows through in the film.

This is a definite recommendation, and a film that I will add to my collection in the near future. I think that it was interesting, fun, creative, and it really keeps you going from beginning to end. It's got a good amount of suspense, tension and gore. In my opinion, it should make any horror film fan happy.

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