Chinatown (1974)

A remarkable film noir classic, "Chinatown" finally gets the deluxe treatment it deserves on Blu-ray.

Blu-Ray: The Blu-ray looks quite nice. There is grain evident throughout but it isn't obstrusive staying true to the "look" of the original film and films of the time. Detail is quite nice throughout with my only complaint a bit heavy handed DNR on occasion in some scenes but that, again, could be justified if the grain was wildy inconsistent from shot to shot. The transfer walks the fine line of providing us with a sharp looking transfer that doesn't fall into the DNR pit of plastic skin and textures so smooth they rob the film of detail.

It appears that the print used for the previous DVD (and quite possibly the same transfer although I haven't been able to confirm this)was also the source for this edition of the film on Blu-ray. It's also possible this is an older HD transfer (again, I haven't been able to confirm when it was done) which might explain the look of the film for BD. either way, "Chinatown" looks quite good although purists might quibble with the amount of visibile grain and texture at times.

The audio is spectacular for the film.

As near as I can tell all of the extras from the previous special edition have largely been ported over which is good and bad--it would be nice to have some nice extras perhaps something looking at the film within the context of the original proposed trilogy a bit more or with hindsight in relation to the under rated sequelThe Two Jakes (Special Collector's Edition) which seemed to inherent the production trouble that was largely avoided on "Chinatown".

We get the audio commentary with writer Robert Towne being interviewed by film director David Fincher; the feature length documentary "Water and Power" about the inspiration for the film; a half hour documentary "Chinatown: An Appreciation"; "Chinatown: The Beginning", "Chinatown: The Filming" and "Chinatown: The Legacy all addressing the issues surrounding shooting, reception and where it stands in film history and as entertainment. We also get the original theatrical trailer and, although my edition is missing it, reportedly there is a booklet with stills and info on the film.

Bottom Line: Is this worth buying again? It depends on your TV and how good it displays high def and, more importantly, how important THIS film is to you. "Chinatown" has always been one of my Top 10 Films of all time so for me it was a no brainer.

DVD: The latest edition of "Chinatown" has much better contrast, a cleaner, richer looking transfer that more accurately captures a pristine theatrical presentation of the film. The anamorphic transfer has a bit more information on the sides than in the previous edition suggesting that it was cropped slightly differently (and I can't say which is truer to the original this edition or the previous one). Audio features the same 5.1 Dolby Digital mix that was a highlight of the first edition. We also get a cleaned up original mono soundtrack for purists. Both sound very good with the 5.1 featuring a nice dynamic mix.

This new edition is a marked improvement over the previous DVD version(s) and highly recommended.

"Water is the life blood of every community." With this statement, the Los Angeles Department of Water and Power's website begins its biography of William Mulholland, the real life model of two of this movie's characters, water department chief Hollis Mulwray (an obvious play on words) and water tycoon Noah Cross. And indeed water, the access to it and the wealth it provides, is what drives everything and everybody in this movie set in the ever-thirsty Los Angeles of the first decades of this century, a budding boom town on the brink of victory or decay ... and whether it will be one or th other depends on the city's ongoing access to drinking water.

"Chinatown"'s story is based on William Mulholland's greatest coup; the construction of the Owen Valley aqueduct which provided Los Angeles with a steady source of drinking water but also entailed a lot of controversy. Splitting Mulholland's complex real-life persona into two fictional characters (the noble Mulwray who thinks that water should belong to the people and who refuses to authorize an unsavory new dam construction project and the greedy, unscrupulous Cross who will use *any* means to advance his personal fortune) creates the movie's one necessary black and white conflict ... other than this, the predominant shades are those of gray.

Into the wars raging around L.A.'s water supply, private eye Jake Gittes (Jack Nicholson) is unwittingly thrown when a woman introducing herself as Hollis Mulwray's wife asks him to investigate her husband's alleged infidelity. Before he realizes what is going on he is drawn into a web of treachery and treason, and fatally attracted to the real Mrs. Mulwray (Faye Dunaway), Noah Cross (John Huston)'s daughter. Soon reaching the conclusion that he has been used, he refuses to drop the investigation, and instead decides to dig his way to the source of the scheming he has witnessed the classical film noir setup.

To say that this movie is one of the best examples of the genre ever made is stating the obvious ... actually, it borders on being superfluous. Few other films are as tightly acted, scripted and directed, from Jack Nicholson's dapper-dressed, dogged Jake Gittes, who like any good noir detective is not half as hard boiled as he would have us believe, to Faye Dunaway's seductive and sad Evelyn Mulray, John Huston's cold-blooded and corrupt Noah Cross, Roman Polanski's brooding direction and Robert Towne's award-winning screen play, so full of memorable lines and the classical noir gumshoe dialogue, yet far more than just a well-done copy. And throughout it all, there that idea of Chinatown that place where you do as little as possible, and where if you try to help someone, you're likely going to make double sure they're getting hurt.

"Chinatown" was Roman Polanski's return to Hollywood, five years after his wife (Sharon Tate) had been one of the victims of the Manson gang. Polanski and Towne fought hard whether the movie should have a happy ending or not. Polanski won, studio politics were favorable at the time, and the version we all know was produced. Towne later admitted that Polanski had been right; and in fact, it is hard to imagine what kind of happy ending would have worked with the movie at all too deep-rooted are the conflicts presented, none of which lends itself to an easy solution. Unfortunately, being released the same year as "The Godfather II" robbed "Chinatown" much of the Academy Award attention it would have deserved; of 11 nominations (best movie, best actor Jack Nicholson -, best actress Faye Dunaway -, best director Roman Polanski , best screenplay Robert Towne -, best original score Jerry Goldsmith -, best cinematography, and others), the movie only won the Oscar for Towne's screenplay. Generations of fans, however, have long since recognized that "Chinatown" is a milestone in the history of the film noir and in the professional history of its participants, and one of Hollywood's finest hours.

Also recommended:

William Mulholland and the Rise of Los Angeles

Raymond Chandler: Stories and Early Novels: Pulp Stories / The Big Sleep / Farewell, My Lovely / The High Window (Library of America)

Complete Novels: Red Harvest, The Dain Curse, The Maltese Falcon, The Glass Key, and The Thin Man (Library of America #110)

Crime Novels: American Noir of the 1930s and 40s: The Postman Always Rings Twice / They Shoot Horses, Don't They? / Thieves Like Us / The Big Clock / Nightmare ... / I Married a Dead Man (Library of America)

The Bogart Collection (Casablanca/The Maltese Falcon/To Have and Have Not/The Big Sleep/The Treasure of the Sierra Madre)

Double Indemnity (Universal Legacy Series)

The Postman Always Rings Twice

L.A. Confidential (Two-Disc Special Edition)

Buy Chinatown (1974) Now

About an hour into "Chinatown", Noah Cross (John Huston) says to Jake Gittes (Jack Nicholson), "You may think you know what you're dealing with, but believe me, you don't." Gittes, whose heard this rap before, just smiles. "Why is that funny?" asks Cross. "It's what the D.A. used to tell me about Chinatown." If any exchange defines "Chinatown" the movie then this is it. It's a film where the cliched metaphor of the onion is quite apt: the more layers you peel away, the more layers you find. And the less you're likely to understand. It begins life as a simple detective story, but eventually spins out of control into a web of intrigue (another cliched metaphor) that not only includes the murder of water commissioner Hollis Mulwray, but the entirety of 1930's Los Angeles.

Into this web is sprung Jake Gittes, a man who seems to be a typical film noir detective, but upon closer inspection is much more. Or, as we shall see, much less. I'd argue that Jake is an existential anti-hero, seemingly in control of every situation he enters in to, but ultimately just a pawn on an unfathomable chessboard. Minor notes in the movie confirm this hypothesis. A former client calls Jake on the phone, looking for his discretion. "Are you alone, Mr. Gittes?" she asks. "Isn't everybody?" Jake replies, clowning for his operatives, but saying more than he really intends to. It's not the last time he inadvertently comments on the futility of his existence. "That must really smart," says Yelburton, the deputy water commissioner, regarding Jake's newly bandaged nose. "Only when I breathe," he replies, pointing out the paradox. The bandaged nose also acts like a mask. Whereas Jake starts the movie as a handsome man in a slick suit (this is primetime Nicholson), he is slowly physically destroyed. The bandage is just the icing on the cake; it serves as a mask during the movie's middle third, hiding Jake's face and, at the same time, suppressing his identity. Identity, as an issue, is clouded by the fact that no one he meets can seem to get his name right. Cross, in what may be intentional, keeps calling him "Mr. Gitz" (correctly pronounced, 'Gittes' rhymes with 'kitties'). So not only is he a man with no face, he is a man with no name. Jake Gittes, as he gets deeper and deeper into the mysteries surrounding him, is ceasing to exist.

But that's not to say that he is a cipher of a character. How could he be when played by such a vibrant actor? Nicholson is subdued and cool here, in just the right amounts. He captures Jake's slow decent into near madness perfectly, while always allowing the man some sense of control. Nicholson is always watchable in whatever he does, but this may be his best performance because it asks him to tone down his manic energy, allowing it to bubble over in moments, while alluding to it as subtext in others.

Behind him, the acting is mostly superb. John Huston, in his few brief scenes, makes an indelible mark as the pure face of evil. Huston's deep, gravelly voice and imposing -even at age 68 -frame do a lot at conveying the man's power, while his twinkling eyes draw you to him, even though you know better. Although best known as a legendary director, Huston nearly steals the show here. Not faring as well is Faye Dunaway. She plays her femme fatale role with a bit too much iciness, and, in moments, melodrama. Although she holds her own, and portrays great anguish, in the film's climactic confessional scene, for the most part Dunaway isn't up to snuff.

Roman Polanski, who takes a brief but memorable role as the Man With Knife (that's how he's quite functionally billed), directs with his usual visual flare. Shots are composed as reflections in camera lenses or in a car's side mirror. The opening scene begins with a series of photographs detailing one wife's infidelity. Without saying anything, and without showing the audience the room around them, the scene is set perfectly. It's archetypal of how he shoots the rest of the film: with style and subtlety.

Maybe I put too much stock in what William Goldman has to say, but "Chinatown" has to be a frontrunner when tallying up the best screenplays of all time. A good screenplay will have two things going for it: a strong structure (of vital importance always), and interesting dialogue (useful in supporting the structure and in adding colour to the proceedings). Towne gets full marks on both counts. Structurally, it's a dream, a marvelous example of the micro turning into the macro as the web of intrigue broadens exponentially, while maintaining its power on the smaller scale all along. Add to this the crisp, precise dialogue, and you've got a screenplay that's as much fun to listen to as it is to follow. Jake is full of wisecracks and homespun wisdom. When asked about Mulwray's character, Yelburton denies ever hearing him talk about infidelity: "He never even kids about it." "Maybe he takes it very seriously," says Jake. When Cross asks if Lou Escobar, the investigating officer who's handling the Mulwray murder case, is an honest man, Jakes replies, "Far as it goes... of course he has to swim in the same water we all do." On its own this would be a great line, but in "Chinatown", where the water of L.A. plays a major role in the plot, its damn well genius.

"Chinatown" is much more than your average detective story. It's a narrative dripping in character, intrigue, and history. I'd sure like to see just what it was that happened in Chinatown, back in Jake's days on the police force, which made him the cynical sleuth he's become. It'd make a great prequel. As it stands, the movie we've got is a crackerjack yarn, rich enough to demand multiple viewings.

Read Best Reviews of Chinatown (1974) Here

The Chinatown Blu-ray will be released April 3, 2012 and presented in 1080p high definition with English 5.1 Dolby TrueHD, English Restored Mono Dolby TrueHD, French Mono Dolby Digital, Spanish Mono Dolby Digital and Portuguese Mono Dolby Digital, as well as English, English SDH, French, Spanish and Portuguese subtitles.

Special features are set to include:

*Commentary with Robert Towne and David Fincher-Towne and Fincher offer unique insights into this classic film.

*Water and Power (HD)-In this three-part documentary, Robert Towne visits sites along the original Los Angeles Aqueduct for the first time. He is informed of the social and environmental impacts and given insight into the major issues around the creation and ongoing operation of the aqueduct.

*The Aqueduct (HD)-The City of Los Angeles completed the 233-mile gravity-fed aqueduct from the Owens Valley in 1913, under the leadership of a self-taught engineer named William Mulholland. L.A. Department of Water and Power representatives along with Catherine Mulholland, granddaughter of the engineer, discuss the development of the aqueduct and its contribution to the growth of the nation's second-largest city.

*The Aftermath (HD)-For decades a large rural community was desiccated under the management of water rights by the City of Los Angeles over a vast area of the Owens Valley. Legal victories beginning in the 1970's lead to successful reductions in environmental damages and the restoration of some natural habitats. Historians, local ranchers and activists discuss the up-to-date impacts of the aqueduct and struggle to maintain a stable environment and community.

*The River & Beyond (HD)-Prior to the building of the first aqueduct a century ago Los Angeles relied solely on its own local water supply: the Los Angeles River and its aquifer. Today the river as a water resource is largely forgotten. Currently there are plans to re-develop the river to reduce L.A.'s dependence on imported water, reducing the environmental impact on distant communities, while creating parks and open spaces for the city.

*Chinatown: An Appreciation-In this featurette, prominent filmmakers express their personal admiration for the film: Steven Soderbergh Director ( Traffic), James Newton Howard Composer ( The Dark Knight), Kimberly Peirce Writer/Director ( Boys Don't Cry), and Roger Deakins Cinematographer ( No Country For Old Men).

*Chinatown: The Beginning and the End

*Chinatown: Filming

*Chinatown: The Legacy

*Theatrical Trailer (HD)

*Cover artwork using the original theatrical poster

*Collectible booklet.

Want Chinatown (1974) Discount?

So, if you own the previous edition is it worth the double dip? Yes and no. If you're a casual fan, then no. If you're devotee of this masterpiece then I would say yes if only for the new transfer and extras.

The original DVD had a decent transfer and a featurette that included interviews with Robert Evans, Roman Polanski, and Robert Towne. While only running 12 minutes, it was a pretty good trip down memory lane. These new extras bring back all three men and Jack Nicholson for brand new interviews. This new disc also has an improved transfer that is a noticeable improvement over the previous edition.

"Chinatown: The Beginning and The End" is a 20-minute retrospective look at the genesis of the film with Evans, Nicholson, Polanski and Towne talking about how they got involved with the project. Towne talks about several things that inspired his script and how his friendship with Nicholson informed the character of Gittes.

"Chinatown: Filming" is a 25-minute examination of the principal photography. Polanski says that Evans gave him complete creative freedom. However, they clashed over the look of the film. Evans wanted it to look like The Godfather films while Polanski wanted it to resemble a Raymond Chandler detective novel. All four men recount some fascinating filming anecdotes.

"Chinatown: Legacy" is a ten-minute look at how the film was initially received by test audiences. Polanski realized that the film's music had to be changed and Jerry Goldsmith was brought in to compose a score in only nine days! The studio felt that the film was "too intellectual" and the critics loved it. Chinatown went on to be nominated for 11 Academy Awards but only won one for Towne's screenplay.

Finally, there is a theatrical trailer.

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Vanishing Point (1971)

The story begins at the end, where we are shown a roadblock of monstrous proportions, and a white 1970 Dodge Challenger rocketing toward it. From there the tale begins, backing up two days to give the rest of the story. An interstate chase is on for the driver of the Challenger, whom we know nothing at all about. As the story unfolds, the identity of the driver is rationed out in flashbacks and news reports, slowly bringing into focus the nature of the character. At first, we naturally assume the driver to be a simple car thief, as does law enforcement. Gradually, we learn that the driver is not a thief at all, he is simply delivering the car. He is a decorated Vietnam veteran who joined the police department after his honorable discharge, married a beautiful girl, and then lost her in a surfing accident. Not long after, he stopped a senior officer from beating and raping a young hippie girl, and was dishonorably discharged from the force. We also learn that his high-octane burn across the desert is to satisfy a simple wager: if he makes it from Denver to San Francisco in less than 15 hours, he doesn't have to pay for the amphetamines he bought to keep him awake for the trip. He is guided along the way by blind disc jockey "Supersoul" (Cleavon Little), who speaks to the driver (whose name is we learn is Kowalski (no last name given, via the AM radio in the Challenger. Supersoul is Kowalski's invisible guardian angel, advising him of the cop's attempts to stop him, at least until some local rednecks bust into the radio station with a storm of rocks and racial epithets and beat Super Soul and his engineer into submission. As Kowalski rockets across the blasted desert landscape, he encounters numerous crackpots and visionaries, all of whom seem to offer another piece to the puzzle that Kowalski's life has become. From prospectors to faith healers, outlaws to newlywed hijackers, we are given a glimpse into a world that exists far from the beaten track we all travel each day. As Kowalski hurtles toward his date with the destiny that was mapped out for us at the very beginning of the film, each rumor and news report seems to contradict the image of him that is being played out by the police of several states, elevating him to something of a folk hero among a growing legion of fans and supporters.

This movie knocked me out from the very beginning. For those die-hards, yes, there are plenty of car chases and stunts to satisfy most fans of car/action films. But that's not the whole story, by any measure. For this is the story of one man, not a mythic legend, or even a regional folk hero. Why does he do what he does? He simply has nothing left to lose or gain. How many men returned from Vietnam at least a little disillusioned by the world they came home to? How many have had their lives mapped out neat and pretty, only to have the blind monkey wrench of fate turn their worlds upside down? Here is a man who is perfectly willing to sacrifice his freedom, his safety, and possibly even his life to win what amounts to a ten-dollar bet, at best. When Kowalski finally arrives at the roadblock, the inevitable conclusion to his odyssey, he takes the only road he knows, a path which had been set for him ever since the beginning.

On a cinematic level, the influence of Vanishing Point is far reaching, indeed. The story of a jaded ex-cop who has lost his wife, his hope and, to a degree, his humanity, was taken and nitro-injected in George Miller's Mad Max (1979) and the Road Warrior (1982), as Max Rockatansky (not too far a reach from Kowalski) has his life violently ripped out from under him, and thus turns to the open road. At first for revenge, but then because it is the only world he can exist in, a place where jungle law prevails. By then, Max is nothing more than a shell, a ghost of a human who haunts the blighted landscape propelled by a hunger not even he can understand. One of the most effective plot devices is that of not giving the protagonist a name until well into the film. Joel Schumaker used this technique very well in his good movie Falling Down (1993), not giving Michael Douglas' character a name until the final act of the film's story. By doing this, we are allowed to see the character as a sort of everyman, someone whom we may know, or may even be. We are then free to observe the goings-on at a much more personal level, knowing all too well that the story being played out upon the screen could, given the right circumstances, be any of us, and to that end, possibly even all of us. By the time we learn that the character is someone, it's too late. They are already a part of us, bound by destiny and experience. Also of note is the using of a disc jockey to provide a running commentary on the nature and exploits of the protagonist (as well as provide a reasonable source for the music in the film), a device used, to lesser effect, in Walter Hill's The Warriors (1979). Lastly, although film characters have been bumping into oddballs in the desert for years, Abbe Wool's wonderful Roadside Prophets (1992) stands out as the protagonists wander through the desert, encountering numerous wisdom-dispensing desert dwellers, each contributing their ideas, ideals, and experiences in a way that lends toward a larger collective ideology wherein a greater truth resides.

This is a masterpiece of filmmaking. Do yourself a huge favor and check it out.

After seeing this movie in '71, a year before obtaining my driver's licence, it truly influenced my driving skills and my love for high performance American horse power. Seeing the movie now almost a hundred times over, I know the dialog word for word. This is a cult classic to be shared with those 70's era Mopar fanatics who too have seen this movie in it's various cuts at the local driveins. (And attemped to drive just as fast as Kowalski did after they left the drivein). Having the sound track on LP(vinyl) and the movie on VHS, I can revisit my obsession with this film and sound track when ever I feel the need to reassure myself for need of controlled speed. Remember, they used several Challengers during the filming and you can see some of the different cars throughout the film if you have a sharp eye. For those who can fix the frame of the movie just after Kowalski makes impact and someone is spraying water on the wreckage, they can see the the car is a white Camaro. Look at the vent windows on the door frame. Challengers did not have these! For those with a really sharp eye and a large screen can see the Camaro script on the truck lid also. For those newer viewers, sit back and enjoy a pre Dukes of Hazzards true car chase. It doesn't get any better than this. (Unless we can get it on DVD along with a CD version of the excellant music sound track! Hint, Hint!)

Buy Vanishing Point (1971) Now

This is a classic movie that is as much social commentary as car chase. I remember watching this on a Saturday matinee on my local television station (long before the advent of cable television) and was mesmerized.

I recently purchased the VHS version and it was just as sweet twenty years later.

The premise isn't much: the main character, former member of society now riding on the fringe, has to get a car to San Francisco in 15 hours. Load up on amphetamines and off we go. The 'plot' is merely a vehicle for the ride.

The car chase scenes are great and realistic (none of the special effects laden hocus pocus you see today) and the cinematography of the West is beautiful. The characters, from the DJ who plays mystical guide to the helpers the driver meets in the desert, show life on the fringe. I'm sure on some level this is a mystical, metaphorical journey of sorts but to me it is simply fun to watch.

The soundtrack is absolutely great. It is kind of the O Brother Where Art Thou of the 70s -the one that missed the radar. It isn't music you hear on the radio and it certainly isn't mainstream in any fashion but it sure is good.

I give this five stars quite simply because of the cinematography, the cast of characters and the music. Well worth the visit. They just don't make films like this anymore.

Read Best Reviews of Vanishing Point (1971) Here

What's not mentioned on the cover or in any of these other reviews is that this copy must have been transfered by or remastered from the original negative. I've never seen this film look so good except for when i first saw it on T.V. back in the 70's. Everthing is better, The sound, The picture, The action, And i think even the plot is made better by this upgrade. If you already own one of those other copies of this movie, Buy this one, You wont be disapointed.

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Absolutely the best car chase movie ever made! Ex cop, ex race driver Kowalski takes his 440 Dodge Challenger in a mad dash from Denver to San Francico for a reason only he knows! With the aid of blind disc jockey, "Super Soul" he outruns the "Big Blue Meanies" through 4 states, reliving his tortured past and meets an interesting array of people along the way! The movie is fast paced, helped along by one of the best movie soundtracks ever put together, with music from Kim Carnes, Jerry Reed, Mountain, and a whole lot more! The movie begins showing the almost ending and flashes back to Day One! Even when you get to the ending again, it leaves you wondering if there could be a sequal! Barry Newman as Kowalski, Cleavon Little, (Blazing Saddles) as "Super Soul are perfect! I saw this movie 25 times in the theaters in 1971, and still enjoy this movie on video as much today! I give it, 2 Thumbs Up and 2 Big Toes up!

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Nacho Libre (2013)

Much better than most comedies; you do have to have a sense of humor to enjoy it, so if you rarely laugh, don't go to this movie. Kind hearted and humorous portrayal of Mexican culture; if you have lived in Mexico as I have, you should enjoy this. Also it's refresing to see a movie that can be humorous without resorting to overt sexual conversations.

It's good to know that farce is alive and well in the world. Since the mid 90's it feels like film makers have lost their grip on truly great weird comedy. Movies that speak to the few and turn off the rest. It seems that even as the tools to unlock our imaginations get flashier and flashier, and special effect budgets grow and grown, American film grow static and stale. Then when it seems like all hope is lost, a film like NACHO LIBRE comes along.

Somewhere in Mexico, a young priest named Nacho (Jack Black) longs to be recognized. He's tired of serving the same bland food to the young boys in his charge. He's tired of being disrespected by the other priests. He longs to be a luchadore (a Mexican wrestler), and to gain the affections of the stunning Sister Encarnacion (Ana del la Regura). Then when all hope is lost he teams up with a new friend named Esquelta, and takes the Mexican wrestling world by storm. Will the orphan boys get better food? Will Nacho win the heart of Sister Encarnacion? Will he lose everything he has, on a quest to become a great warrior? Giving this movie its due will provide those answers and more. The movie not perfect. It's a little overly long and some of the jokes fall flat on their face. But there is an earnestness and a sweet gentility in the film that will win you over. You cannot enter this movie with the wrong attitude and if you don't like weird movies its not for you. But if you let it entertain you and if you give into the fact that it really bizarre, it will work. You have to take every scene with grain of salt and logic must be thrown out the window. But if you turn off that part of your brain that strives for everything to be plausible, than this film will entertain.

Then for no apparent reason the movie does something I didn't quite expect, it begins to tackle a serious subject. Behind all the silliness is a story about how legalism traps us in a place of boredom and predictability. Whether it be religious legalism or secular legalism, NACHO LIBRE is about a misfit who succeeds because he goes out on a limb. He doesn't give up his religious fervor when the chips are down, when his atheist friend tells him to give into science and logic, and he doesn't give up on God because men of cloth treat him badly. He stays true to his faith and not his religion. This message is not beaten over the audiences head. This is not a religious picture. But it gives the film a dimension that I didn't expect.

Director Jared Hess doesn't stray to far from his Napoleon Dynamite roots. But that's okay. It works here and he hits the right comic tones. I can't wait to get the DVD because I'm convinced that the film really needs to be viewed a second time. (I'm reviewing this based off the movie, not the actual DVD; I have yet to get that.) Knowing what to expect allows the audience to settle into Hess' skewed comedy. The film is very dry and if you don't know what to expect its easy to dismiss the comedy and think the film is horrible. You have to work at it a little bit and let it sink in. But when you get it you'll love it.

If you're looking for an hour and half of silliness you can't go wrong with NACHO LIBRE. It's cute, sweet, and you get to stare at Jack Black's upper torso for far too long. Trust meif you like weirdly sweet Mexican wrestling comedies, this is the film for you.

Buy Nacho Libre (2013) Now

A great Movie. FYI. Nacho does exist in real life, his name is Fray Tormenta(Friar Storm) and is/was a Wrestler now a Teacher/Master and the story is the same a Friar/Priest who wrestles to help ophan kids !!!

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Read Best Reviews of Nacho Libre (2013) Here

Like Napoleon Dynamite, Nacho Libre is going to have people on both sides of the fence, leaving few sitting on it. Count me on the "for" side in fact, this is the funniest, and one of the most heart warming movies of 2006. After a number of disappointments, it was an absolute pleasure to sit through a movie with a script that sings, characters that one wants to root for from the beginning and a soundtrack that can't help but keep a smile on your face.

Jack Black is in Shallow Hal mode here, alternating between disgusting and endearing, and cracking the audience up at every turn. A lot of reviews have mentioned this is not much more than Black running around half naked and sporting a faux Mexican personnage. It is so much more than that. Black's "Nacho" is a classic tortured spirit, caught up in the ordinariness of his mundane life as a Friar at an orphanage but dreams of stardom as a luchadore . . . and, of course, love.

The love interest here is a little complicated as it's a nun Nacho's in love with; Sister Sister Encarnación, portrayed by the stunning Ana de la Reguera (who strongly resembles a younger Penelope Cruz).

Nacho's sidekick features an amazingly hilarious physical actor, the rubbery faced, thin-as-a-noodle, Hector Jimenez as Esqueleto. His screams alone are worth the price of admission.

There are sight gags throughout of the highest and lowest order, touches of the bizarre that echo Mr. Hess's first major effort; combined with an at times almost childlike sense of wonderment and look at life.

This is a major American filmmaker's sophmore effort and it is a glorious, wonderful, big smelly valentine of a movie. You couldn't ask for more from a summer flick than Nacho has to offer. See it!

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This is the kind of movie you need in your collection...it can always make us laugh! Too crazy for words.

Was sent to me in a timely manner that was great!

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Rab Ne Bana Di Jodi (2009)

To most, a Yash Chopra production is synonymous with big doings of storytelling done on a lavish scale, of an extravagant love story, and the brightest talents in Bollywood. RAB NE BANA DI JODI happens to falter on several of these elements. But while it may not be on the same tier as past Yash Chopra classics (Dilwale dulhania le jayenge, Veer-Zaara, Fanaa, etc.), it's still very much worth watching. Bollywood megastar Shahrukh Khan, as expected, carries this romantic comedy.

The opening sequence features two arranged marriages, and both involving the same girl. On her wedding day Taani (Anushka Sharma), young and vivacious, receives the shocking news that the bus carrying her fiance enroute to the wedding had crashed, with her fiance numbered amongst the casualties. Taani's professor father, upon learning the news, suffers a massive and eventually fatal heart attack. On his death bed, her father, not wanting Taani to be alone, talks her into entering a marriage with his favorite student Surinder Sahni (Shahrukh Khan).

Surinder is a nondescript-looking guy, one of those unnoticed types who toil in his cubicle, working as he does for the Punjab Power company, responding to all phone calls with what I think is a pretty neat company motto, "Punjab Power, lighting up your life." Surinder (or Suri) is bespectacled and quiet and kind, and becomes instantly smitten with Taani. But he understands that his marriage to her is only one of conveniece, Taani frankly declaring that she could never fall in love with him, even though she vows to fulfill her wifely obligations. Suri, never expecting someone like Taani to enter his life, professes himself content.

Things go on like this for a time, with Taani continuing to mope and with her and Suri sleeping in separate bedrooms. One day Taani sees a flyer for Dancing Jodi, a dance school competition, and she decides to participate. Suri, longing to see her happy and dancing again, pays for the dance classes and then dons a disguise so that he could be near her, not in a pervo way but so that he could enjoy the sight of her having fun. For the introverted Suri, things are about to get ridiculously out of hand.

It doesn't really make sense, but somehow Suri's best friend is this outgoing, macho salon owner (yes, I said "macho salon owner!") named Bobby Khosla. Bobby does a makeover on Suri and transforms him into this hip, happening cat named Raj Kapoor. Raj wears tight clothes, has poofy hair, and tends to be loud and obnoxious. Thru the luck of the draw, he ends up being Taani's dance partner. Taani dislikes him within moments, but, then again, you know how these movies go. Soon enough, thanks to Raj's antics, Taani is laughing and feeling alive again. And Suri, trapped in a web of his own making, soon finds himself in a fight for his marriage, with his alter ego as his rival. It's all very twisted, but fun.

Fun, because the tone doesn't ever get to that dark place. Shahrukh Khan plays the strutting Raj Kapoor as a caricature, exagerrated and over-the-top. Raj isn't very likeable, but then I don't ever think he was meant to be. It's weird, even keeping in mind that Raj and Suri were the same person, I still could not warm up to Raj. As Shahrukh says in an interview: "The essence of the whole thing is, that you're going to love only one guy and that is Suri." That's one dichotomy in Shahrukh's dual roles. I don't think much of his portrayal of Raj, even if Raj's resulting traits were deliberate on Shahrukh's part (I'm guessing he intended him to be this aggravating). Obversely, Shahrukh's self-sacrificial Suri is sweet and heart-breaking and thoroughly endearing. As Shahrukh also says, "Ninety-nine percent of the people are Suris," and so many of us Average Joes see ourselves in Suri. With due respect to the showstopper number "Phir Milenge Chalte Chalte" in which Shahrukh gets to dance with some of the most famous actresses with whom he's co-starred in the past it's the terrific "Haule Haule" which really captures my attention. "Haule Haule" embodies Suri's gentle spirit and the depth of his feelings for Taani. In the song, when he beams with happiness and does that little dance, one simply cannot help but be won over.

The subplot to all this, of course, is the Dancing Jodi competition. You can probably guess how it ends. RAB NE BANA DI JODI (which I think means "A Couple Made By God") has its flaws but the effervescent tone, the romance, the nifty songs, and the touches of humor should have you overlooking those failings. It certainly made a killing at the Indian box office. This is Anushka Sharma's cinematic debut, but you wouldn't know it by her self-assured performance and her chemistry with Shahrukh, especially when Shahrukh is playing Suri; it's these two characters whose moments together construct the crux and the romance of the story. And Shahrukh Khan is Shahrukh Khan, in Bollywood the star of stars and his Suri having become one of my all-time favorite roles which this actor has ever brought to life.

What I didn't like? Okay, I initially had some trouble buying into Taani's Lois Lane complex, with her just being unable to pierce thru Suri's fairly simple disguise, but I eventually shrugged it off. Because, I guess, since she doesn't spend a lot of time with her husband (only at breakfast and dinner and the occasional movie date) and since the man is habitually so reserved, I can see where it may be difficult for her to put two and two together. In her place, would it occur to you that someone so internal could put on such an audacious act? Another nitpick is that I just found "Raj Kapoor" to be so annoying and not once did I feel that he was a character in his own right. And then there's Taani's late epiphany which, to me, simply smacks of the quick fix resolution.

What I have is the nice two-disc set with the glossy 3D hologram cover, although it's not cool that Disc 1 sits right on top of Disc 2. Disc 1 offers the feature film (which is 2 hours 44 minutes long) with English sub-titles and the typical song selection option. Disc 2, with the sizable special features: the Making Of RAB NE BANA DI JODI featurette (45 minutes long); the Making Of the musical number "Haule Haule"; the Making Of the musical number "Dance Pe Chance"; the Making Of the musical number "Phir Milenge Chalte Chalte," which in addition to featuring five of Shahrukh's past female co-stars is also an homage to different eras of Bollywood (although I think the musical number ""Woh Ladki Hai Kahan" from Dil Chahta Hai did this better); 6 minutes of deleted scenes (no sub-titles); Shahrukh Khan Unplugged 62 minutes of SRK and his ego but with that wit and that twinkle in his eye as a saving grace as he reflects (mostly in English) on sundry topics like this film's director Aditya Chopra, SRK's film preparation, his dual parts Suri and Raj, the importance of getting newcomer Anushka Sharma as his romantic leading lady, his tight relationship with the Chopra family, etc.; Shahrukh and Anushka In Conversation (43 minutes, chunks of it in Hindi), but definitely get around to just before the 32 minute mark to hear an utterly fascinating bit as Shahrukh answers Anushka's question: "Who is Shahrukh?"; and the theatrical trailer and promos.

Despite Raj Kapoor, I ended up really liking RAB NE BANA DI JODI. The ending is very good, even though you do see it coming. The movie has its good share of funny moments, although, as usual with Bollywood, sometimes the humor is forced. But do keep an eye out for the hilarious Dhoom sequence, in which Taani finds umbrage with two fellow dancers on a motorbike and goes tearing off in pursuit thru the tiny streets on Raj's own motorcycle (with Raj on the back). Then there's the funny epilogue to that scene, as Raj fills in his disbelieving but still macho best friend Bobby on that story (and remember that Bobby knows that Suri is Raj):

Bobby: "So your wife was riding the bike?"

Suri: "Yes."

Bobby: "At the speed of 120?"

Suri: "Yes."

Bobby: "And what were you doing?"

Suri: "I was sitting behind."

Bobby: "What were you doing at the back?"

Suri: "I had to hold the handbag, right?"

It's funnier in the movie.

I wish I could give this film more than 5 stars. I'm a big Shah Rukh Khan (SRK) fan after seeing several of his movies, and this one is my favorite by far, due to the HIGH QUALITY ACTING. Shah Rukh plays a dual role in this film and the movie is unforgettable.

Regarding the features: This 2 disk set is excellent quality. The movie is on the first disk, with a great feature of being able to play all of the songs in a row. Most of the time you can play one song, but then the movie continues after the song is over. Not so with this special feature, where it will take you to the next song rather than continue with the movie. There is also an easy to work scene selection for the movie itself so you can jump around as much as you want, from scene to scene.

The second disk contains some very revealing interviews with SRK and Anushka Sharma. I loved that the SRK Unplugged interview is mostly in English and it's lengthy, so it gives the viewer the chance to see Shah Rukh as himself. In the second interview on the disk, when Shah Rukh interviews Anushka, it is mainly in Hindi with no subtitles and only a little bit of English, which is disappointing. HOWEVER, you MUST stick with it until towards the end of the interview, Anushka asks SRK, "Who is Shah Rukh Khan?" That's when you will get a real treasure, in English, of how he truly feels about himself as a person and his acting abilities. It is quite revealing and touching to hear.

Regarding the movie: This is a beautiful love story, and it is beautifully acted by SRK and newcomer Anushka Sharma. I found it a real credit to Anushka's acting abilities that she was able to hold her own so well when acting with such an incredible actor as SRK. Anushka was very believable and portrayed her grief over her losses very well throughout the entire movie. I especially enjoyed her acting in the scene when she suddenly "gets it" -when she finally understands her connection to her husband, Suri, and all that he's done for her. When she sees God in him.

Of course it was very easy to love Suri and root for him right from the start of the movie, because he was the common man, the underdog. Suri constantly revealed his love for Taani in the way he did things for her. He was so loving as he cared for her and did everything he could to make her feel comfortable and happy. Taani, however, was too caught up in her grief and anger towards God for taking her loved ones, that she couldn't see what was in front of her face. When she finally expressed an interest in something, it was natural that Suri would want to share in her happiness, which is what led him to transform into Raj. I found it incredibly brave of mild and meek Suri to be willing to change into a completely different person just so he could spend time with his wife, Taani.

Some reviewers of this movie didn't like Raj, but I did. I could see Suri underneath the surface most of the time, which demonstrates SRK's wonderful skill as an actor. He is absolutely hilarious as Raj, but he also shows his humanity, like in the heart-wrenching scene where Raj is drunk and talking to himself (a dummy with Suri's clothes on it) about his fears. As Raj, Suri gradually revealed his love for Taani to her, which made Taani have to finally face what was really going on in her life. The incredibly tender scene with Taani asking Raj "What do I do?" was just exquisite acting by both.

There are some wonderful musical numbers in this film, including some real show-stoppers. My two favorites were Haule Haule, which is Suri singing about his love for Taani, and Tujh Mein Rab Dikhta Hai, which is Raj/Suri singing to Taani about his love for her. SRK's acting and dancing in the number Tujh Mein Rab Dikhta Hai (loosely translated "I see God in you") is just superb. This is the one song that I play over and over again because it's just so beautiful.

This film is thoroughly entertaining from beginning to end. This is the one movie I will make my adult daughter sit down and watch with me to see if she likes Bollywood. Because if you don't like this movie, you just don't get it.

Buy Rab Ne Bana Di Jodi (2009) Now

So far, the names of Yash Chopra and Aditya Chopra have been behind some of India's most beautiful, romantic movies in the past decade, and this latest production lived up to my expectations, even though it is significantly different from earlier box-office hits like "Mohabbetein", "Veer-Zaara" and "Dil to Pagal Hai", to name a few. The two main aspects which struck me as being most different about this lovely new film, "Rab Ne Bana Di Jodi", are the realistic and traditional Indian settings and the unusual story about an unlikely couple. In most popular romantic movies, the stars are young and attractive, and although Shahrukh Khan, the star of many such popular romantic movies, also plays the lead role in this film, his character is quite different from previous roles. In fact, he plays dual roles in this movie, which he has done to perfection several times already, and Rab Ne Bana Di Jodi is yet another opportunity for Shahrukh to shine and show us even more facets of his limitless talent and abilities. Wearing glasses and a moustache, he is almost unrecognizable as a stiff and boring middle-class working man, but as soon as he speaks, the viewer can look beyond the outer appearance and see the kind, gentle and loving soul within. This is actually the underlying message of this story, and Shahrukh brings it out very skilfully so that the audience follows the plight of this awkward and clumsy geek who is desperate to make an attractive young woman love him for the person he really is. With so many handsome and macho film stars to dazzle the girls, he finds this a daunting task, but is driven by love and faith in God to persist in his quest.

The situation is immediately more intriguing and complex, especially for the Western viewer, because the young woman in question is his bride whom he met only a day before the wedding, according to Indian tradition. The first few scenes are already loaded with deep emotion and drama as we learn that the young woman's happiness over her `marriage of love' a luxury not everyone experiences is shattered on her wedding day when her groom is killed in an accident. This causes her father to suffer a heart attack, and on his deathbed quickly arranges his bereaved daughter to marry an old and trusted friend, Surinder, to take care of her. Already in love with her at first sight, Surinder feels the pain of love for the first time in his life when she tells him she has no love left in her heart for anyone after the tragedy, but will do her best to be a good wife nevertheless. And so begins a charming and delightful story, like a fairytale, yet real enough to tug firmly at your heartstrings, as Shahrukh, playing Surinder the geek, disguises himself as a handsome, carefree and manly dance partner in his wife's evening dance class. Even though Shahrukh looks like his usual self as this attractive young man, his acting moves into new heights and dimensions as he plays Surinder the awkward geek pretending to be Raj, the sophisticated ladies' man. Despite still being awkward and clumsy, she appears to gradually fall for him after all, with never a suspicion that he is in fact her dull husband, which becomes a dilemma for Surinder: does this mean his wife would leave him for Raj because of his outer appearance, or would she eventually see beyond the geek exterior and come to love Surinder's fine qualities?

Newcomer Anushka Sharma plays the role of Taani, the sad and lost young woman, with apparent ease and with a manner pleasantly different from the usual popular female lead. In fact, both lead roles are deliberately different in order to create a story with a special deeper meaning to inspire audiences, even with spiritual concepts such as whether this match was made in Heaven. For the romantically-inclined, this movie will surely be very satisfying, if not inspiring, and for Western viewers it will be an emotion-packed adventure through India and the traditions and mentality of India's people.

Read Best Reviews of Rab Ne Bana Di Jodi (2009) Here

This was the second Bollywood movie I ever saw. The first was Bride and Prejudice, which I call my gateway movie; it suckered me in by my Austen addiction and then delighted me unexpectedly India has had far, far longer to learn to incorporate (rely on!) music and dance to tell a story (rather than interrupt or stretch it) than Hollywood or Broadway. It even proved to my musical-despising husband that not all musicals are poorly-paced, irritatingly interrupted by pointless songs, and boring.

If Bride and Prejudice was the bait, Rab Ne Bana Di Jodi is the hook, and it was weeks before I realized how deeply it sank. I kept watching it as a Netflix Instant Play, but by fifth time, I realized I should probably just buy it outright.

The most basic plot premise: man falls ever more deeply in love with his own wife, tries to win her love in return. Awww!



The details: Attending the wedding of his favorite teacher's daughter, the reserved, almost expressionless Surinder Sahni falls in love at first sight with the ingenuous and carefree laughter of the much younger bride, Taani. The plot takes a couple of sudden turns and she ends up marrying Surinder instead, but is so traumatized that she tells him, "I will never be able to love you. I will be a good wife to you, but my heart is dead and I cannot love again." Surinder tells her he has never known love and feels no need for it in his life. Of course, he has lied; he does know love. He fell in love with Taani the first time he saw her, of course. But, as the song "Haule, Haule" ("Slowly, Slowly") explains, he believes that love should develop "soft, sweet, slow", and is prepared to give Taani all the time and space she needs to heal and recover herself. Surinder's love begins selfless and becomes self-sacrificing, wanting only to see Taani happy and laughing again, asking nothing in return but the possible rebirth of her smile. Meanwhile, her tiniest dutiful actions (packing his lunch, making his breakfast) bring a complicated, sweet, touching smile spreading across Surinder's frequently immobile face -in private, when nobody is around to see. Outwardly, he treats her with expressionless deference and distance, asking very little of her and sacrificing much for her comfort and happiness; he moves himself into the attic (claiming he always sleeps there) to give her the bedroom to herself.

Taani emerges from her state of shock and begins to respond to his gentle, considerate care with "dutiful" actions that make Surinder feel pampered and cared-for in return; even if she does not love him as she had her fiance, he tells her that her small actions are enough love for him, and we witness his understated, reserved glows of happiness in response. He comes home from work and the dusty, cluttered, cobwebbed attic is clean and spacious, decorated, with fresh flowers on his nightstand. This example, and several other developments, happen in a few seconds each during "Haule, Haule" -you have to watch the action during the songs, because plot and character development happen there too, in a manner so condensed and dense with implication I can only compare it to poetry. If you get up for a snack during the song-and-dance bits because you can still *hear* from the kitchen, you will miss much of the depth of the movie. Surinder's love does develop, softly, sweetly, slowly, from crush-at-first-sight to the adoration expressed in "Tujh Mein Rab Dikhta Hai" ("I See My God In You"). Taani's feelings remain locked away, frozen and unchanging. Everything she does, she does dutifully, mechanically, because it is what she owes her husband. (That sense of debt becomes pronounced late in the film, almost wrenching in another brief scene far too easy to miss the significance of.)

Yes, there is the surface plot Taani joins a dance class/competition, and Surinder undergoes a radical makeover and dozens of dubious quick-changes to pose as the brash, loud, and frankly irritating Raj during the evenings, in order to attend the classes with her. "Raj" is able to flatter, flirt, and romance brazenly in a way Surinder never could without the anonymity of disguise. There are faint resonances with Cyrano de Bergerac as Raj tells Taani all the things that meek, awkward, almost shrinking Surinder could never bring himself to say. They are partnered together in their dance lessons, and gradually a ride home on "Raj's" motorcycle becomes after-lesson dinner and a birthday date. Despite spending hours every day dancing, dining, and laughing with Raj, Taani never suspects that her colorful, swaggering dance partner is actually her mousy, quiet husband. Surinder suspects that Taani is falling for Raj, becomes jealous (of himself!), and despite a friend's advice that "Either way, it's you she's loving!" decides to force the issue and find out who Taani *really* loves -the man she laughs for, or the man she cooks and cleans for.

Yes, it's full of holes in the description; it seems questionable that Raj spends so much time with Taani while Surinder puts in a full workday, even if the dance classes are stated to be "in the evening". It strains belief that a woman wouldn't recognize her own husband just because he shaved off his mustache and dresses differently. There's a lot to question here, if you expect the movie to force-feed you each and every explanation, Hollywood-blockbuster style, and it's then only a 2or 3-star movie depending on how badly inconsistency and spasmodic character development grate on your nerves.

But if you're willing to watch closely, follow subtleties of expression, ask yourself how things are changing and why, and put yourself in the characters' shoes, you will see that the "Match Made By God" is in the details, and the movie flows gorgeously. The smallest things, the nuances of Shah Rukh Khan's performance as Surinder (and unguarded moments as Raj), the song sequences, show a rich, mature exploration of different kinds of love, different styles of self-expression, different ways to say "I love you", and ultimately the wealth of emotion and interdependent partnership that can grow between two very different people. Taani believes she loved her fiance so deeply, so passionately she will never feel again; Surinder's love runs so deep it hardly shows at all.



This was also the first Shah Rukh Khan performance I had ever seen; I'm now a thorough addict. His talent shines through brilliantly, even in the (intentionally) shallow characterization of the ridiculous and abrasively over-the-top Raj, and especially comparing that to the restrained, complex, nuanced expressions of Surinder. I was amazed I had never seen or heard of this actor before. I understand entirely now why Wikipedia says "Khan is today considered to be the world's most successful movie star, with a fan following numbering in the billions..." He deserves it, and I am picky about actors. He holds his facial muscles differently for each character, so that their faces have different shapes, and that makes the implausible deception easy to play along with. His dancing is excellent, but borders on divine if you notice how he manages to bring the body language of the two different characters into the dances as well -Surinder's dancing is graceful and precise in contrast to his awkwardness, while Raj is still all broad sweeps and jerking motion -and how it's in dance that Raj and Surinder reconcile and merge as their distinctive movements blend. Just. Seriously. Brilliant.

Or maybe I'm reading too much into it by now, having seen it so many times... no, you know what? There's no such thing. It's there to find. The first time I watched this movie, I found it sweet and touching; as I catch more details, I find it heart-wrenching and buoyant. I can no more resist tearing up at the first few notes of "Haule, Haule" or "Tujh Mein Rab Dikhta Hai" than I can on hearing Leonard Nimoy say "...and will always be... my friend." It's far from all-tragic; I have to laugh in pure joy whenever I hear "Taani-partner!" as much as on hearing Christopher Eccleston say, "Everybody lives, Rose! Just this once, EVERYBODY lives!" (No, Bollywood is not my usual fare, why would you ask?) The more I watch, the more I see, understand, and love in this movie, and that there *is* always more to find, between the sterling direction and outstanding performance, is what turns the plot into an all-time favorite must-own comfort movie instead of a paper-thin slice of Swiss cheese. And if you wish they'd followed the story a little further, make sure to watch the closing credits.

My ONLY complaint, not worth even a quarter of a star, is about the DVD rather than the movie itself: I cannot find any way to get subtitles on the end credits (though the rough meaning comes through regardless) or the special features on the second disc. (Roughly half the interview content is English, mixed into the Hindi, and the deleted scenes are completely Hindi with maybe a loan word or two, and my Hindi is so far limited to "(Ji) haan", "(Ji) nahin", "Kyaa?" and "Namaste".) Oh, well. Maybe I'll find that detail in here too, someday.

If you have any doubts, rent the movie. If a week later, the thought of a man laying a single rose next to his wife's breakfast plate, then reconsidering, deflating, and putting it back in the vase, isn't etched into your mind's eye with a poignant mingling of hope and regret... well, watch it again. Soft, sweet, slow, the implications will unfold.

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I had never seen a Bollywood movie before, but I was listening to some Bollywood music on You Tube and found Haule Haule. What a great song...it was so good I put it in my Zumba routine! Then I heard Dance de pe Chance and really liked that. Later I found they were from the same movie! Then I heard Tujh mien rab dikhta ha (i don't know if I spelled that right?) what a great song! I was singing it everyday for a week. So I finally saw the movie on Net Flix...and totally fell in love with it. I honestly cannot put my finger on why I love this movie so much. I think that it has something that a lot of Western love stories is missing. I know I do love the characters, especially Suri, I feel I can really relate to his character. The director really shows with visual shots the emotion of the movie from Suri's unrequited love to Taani's feeling of loneliness and uncertainty. One of the best western romance comedies is Love Actually I would have to put this film up there as well, it just touches emotionally the same way. Great movie...one of the all time best romantic comedies!

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New Police Story (2004)

After the disappointing `Around the World in 80 Days,' Jackie Chan went back to his roots in Hong Kong film industry. What is amazing is that Jackie (who is over 50 years old) can still do the death-defying stunts, as is seen in this film. The fact that his best films are made in 1980s cannot be denied, but `New Police Story' delivers its goods with Jackie and some of the new faces from Hong Kong.

The story is given a new touch in `New Police Story.' This time Jackie plays a veteran Hong Kong police officer Wing, whose overconfidence leads to a botched raid. Feeling guilt deeply, Inspector Wing, now disgraced, is given to drink until a young `police detective' named Fung appears before him. With a help from Fung, Wing again begins to hunt the culprits responsible for the deaths of his men.

[NEW BREED OF VILLAINS] As in his `The Myth,' Jackie's answer to the recent boom of wuxia (Chinese period martial arts films), in `New Police Story' Jackie Chan clearly intends to do something different. The baddies of the new film are a bunch of masked young gangsters, who can rob and kill as if it is a video game. As a fan of Jackie's actions, I can swear that this is very unusual choice. For in many cases the villains of his films may have been assassins or gangsters, but they never acted like spoiled kids. It is certain that deaths are sometimes depicted, but not in this violent way. Violent, in this case I mean, for Jackie's film. The decision of director Benny Chan (`Who Am I?') would divide the viewers' opinions, but it is certain that he and Jackie are trying to seek a new direction.

[ACTIONS] But you want to know the actions. Good news is that Jackie is still alert and agile, and can move like when he was in his first `Rush Hour.' Considering the fact that he is now over fifty, this is just incredible. There are two outstanding scenes here; one is Jackie climbing down the vertical wall of a tall building in a very unique (and dangerous) way, followed by Jackie hanging on the roof of a runaway bus in the street of Hong Kong. The other is in a Lego showroom, where he shows a bone-crunching fighting against one of the baddie.

[ACTING] This may not interest you, but Jackie does another new thing, and that is acting. Well, of course he must have been doing that for long, I know, but what I mean is he takes more time to reveal the complex nature of the character he plays, to show his ability as actor. There is even a love interest for his character.

[SUPPORTS] Some of Jackie film fans seem not to remember the names of the supports, or you just don't care. For `New Police Story' Jackie assembled great cast. Nicholas Tse as mysterious Fung is a standout among them, and so is Daniel Wu as the leader of the gangs. Among the fighting scenes, Andy On shines who was wasted in deplorable `Black Mask 2.' As to the female players, after the 8 years' retirement Charlie Yeung comes back as love of Jackie's inspector, giving the rather generic story a human touch, and very busy (and very cute) Charlene Choine from the popular duo Twins also appears.

`New Police Story' may not be the right place if you are going to see Jackie Chan films for the first time. It is overlong, sometime unnecessarily serious and violent, and Jackie's stunts, thrilling as they are, are not his best. Having said that, I must say it is a welcome addition to the works of one and only Jackie Chan, far better than any recent English-speaking films of his.

Longtime fans of Jackie Chan -that is, those of us who were fans pre-Rush Hour -know that his craziest stunts have always been reserved for his Hong Kong productions, no doubt due to the conservative nature of American films' insurance companies.

However, in recent years, Jackie has been trying to lay the groundwork for his post-action career by taking on roles with minimal action so that he can display his acting prowess, which has often been overlooked by "pure" action fans. He has shown great depth from time to time, and recent films like "Gorgeous" eschew almost all martial arts action in favor of real acting.

In "New Police Story," Jackie appears to pass the baton to his young costar, Nicholas Tse. I compare this film to "Drunken Master" or one of Jackie's other early films in that it is a master/student story, except that here, Jackie is the master on his way to retirement.

Jackie is Hong Kong inspector Wing, a 'top cop' who is disgraced when he leads a raid against a gang of rich punks that goes horribly wrong. After falling into a drunken depression, the younger brother of on of the fallen cops from the raid (Tse) steps in to help Wing find revenge -and peace with himself.

Jackie has a number of dramatic scenes in this film and he carries them well -I almost forgot it was Jackie Chan and not Chow Yun Fat or another Hong Kong actor known for drama. Jackie has a few action sequences, but he seems to allow Tse to carry out a lot of Jackie-style "goofy fights" in his stead (using his own coat as a weapon, etc.). I should mention that this is a very dark, violent film, quite unlike the usual Jackie Chan fair. Of Jackie's prior work, only "Crime Story" comes close, and this film is far darker.

All in all, this film is well worth seeing, although I suspect only Jackie and/or HK cinema fans will truly enjoy it. 4.5 out of 5 stars!

Buy New Police Story (2004) Now

I've long been a fan of Jackie's films. He breathed new life into the genre like no other with his humorous style of combat; and it's inspiring to still see him move like he does at his age. The action in The New Police Story were just as fun as most of his lighter films; and the stunts were typically incredible, just as you expect from a Hong Kong production that isn't stiffled by Hollywood politics and/or insurance. And despite the more dramatic seriousness of Police Story, with a little Drunken Master mixed in, I found myself laughing much more than I expected. Aside from a few sequences that demand a little further explanation, The New Police Story was about as much fun as my favorite Chan films. The only real disappointment of the Blu-ray was that Lionsgate didn't include a lossless track for the original language. A lossless audio option is provided for the dub track; but only lossy audio is included in the original Chinese. That said, since I had a guest that doesn't like reading her movies, I opted for the dubbed track when we watched it and was surprised at the fidelity. The translation was word-for-word the same as the subtitles in the approx 5 minute portion of the film I compared the two. And the harmonics sounded very natural and dynamic. That Jackie did (most) of the voice dub for his character himself, further helped to make sitting through the dubbed track, not only bearable, but enjoyable.

Read Best Reviews of New Police Story (2004) Here

This movie is great action movie ever. This movie shows great of jackie chan's actions. I do have this dvd. I agree with the people to buy this movie, also this movie is the best action movie. I want you know this movie is awesome. They do hardcore actions. Even Jackie chan sliding on big builing in HONG KONG. I am big fan of jackie chan. I have all of his dvds but this movie is best action movie since rumble in the bronx or supercop. You have to watch that movie!!!!

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Don't ask questions, just buy this movie. If you are a fan of Jackie Chan, you have to own this one. This Ain't no Rush Hour. This is NOT an American action film. This is a Jackie Chan Action Film with all of Jackies crew. This movie has it all, good fights, good action, and good acting.

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The Saphead: Ultimate Edition (1920)

The new Blu-ray disc (and re-issue DVD) from Kino Classics presents TWO DIFFERENT versions of THE SAPHEAD, derived from two different camera negatives.

I prefer watching the "Alternate" version, it is way better in the second half with better interior details.

The first version is the standard "Rohauer" version with his re-issues titles and film tinting. The "Alternate" version (accessible from the extras menu) presents what is believed to be the foreign camera negative version that would have been sent to other countries to have the 1-frame dialogue cards translated (Kino inserted the Rohauer dialogue cards that are long enough to read).

The "Rohauer" version has new Rohauer titles and a brief history of the story on stage before the movie starts. The "Alternate" version recreates what the original title card might have looked like. Unfortunately the original title cards have not survived over time.

The "Rohauer" version is 2 minutes longer than the "Alternate" version, but this discrepancy, demonstrated in a brief bonus documentary, is due to slightly shorter cuts of some scenes. Nothing major is missing.

The "Rohauer" version may look sharper at first, but you will notice much more detail in the dark areas of the "Alternate Version". The wedding scene is particularly dark around the edges, Kino tried to compensate for the edge darkness by raising the black levels on the edges, but this does not restore the details, It just gives a weird halo effect that looks unnatural. The "Alternate" version has all details and a smooth grey-tone.

The "Rohauer" version tints all scenes various colors (muted somewhat on this new re-release) while the "Alternate" version only tints the night scenes blue. Which version is correct is unknown as the tinting continuity log is lost. The negative of the "Alternate" version had all of the night scenes mounted on one reel for tinting while all other scenes were edited together. This hints that only the night scenes were originally tinted.

The bonus documentary "A PAIR OF SAPHEADS" compares selected scenes from the two versions, showing how the camera placement differs. Sometimes one version has tighter framing, other times it is the other version with tighter framing. It is obvious that two different negatives, filmed at the same time, survive.

Comparing this new Blu-ray to the old "Art of Buster Keaton" DVD (which only contains the "Rohauer" version) shows an overall sharper, stable image. The old DVD was not bad, this is just a little better. The tints on the old DVD are much more brighter, this new Blu-ray tones them down to a more natural look.

Aside form the above mentioned bonus, there is also an audio recording from May 5th 1962 of Buster Keaton at a private intimate party. The amateur recording is primitive and often hard to hear as the microphone is too far away, so turn up the volume. This peak into his off-screen world shows his joy in social parties.

There is also a collection of stills from the movie.

A miss-named, miss-leading bonus item called "Why They Call Him Buster" would lead you to believe this is a documentary about Buster starting out in show business. But NO this is only a promo for Kino's LOST KEATON DVD & Blu-ray release. Shameful! Why didn't they just call this a promo.

I am sorry there is no audio commentary, I especially like to listen to them on silent movies. They often help you understand out-dated jokes or forgotten cameos.

As far as the movie goes, this is Buster's first feature film. Since the original title card is lost we don't know if he got star billing in the title, but in the cast credits he is last.

While not his best work, Buster is still enjoyable here and this is a 'must-have' for his fans. Buster is the 'comedy hero' in this otherwise dramatic film.

If you are just getting to know Buster, i direct you to his classics like "The General"The General [Blu-ray] and "Sherlock Jr." Sherlock Jr. / Three Ages [Blu-ray].

This collection contains the first 3 films Buster made following the filmmaking apprenticeship he experienced under Roscoe "Fatty" Arbuckle from 1917-19. After seeing the dissatisfying results of "The High Sign", he was hired to do "The Saphead" while thinking up a better idea for his 2-reeler debut, which eventually came to be "One Week".

THE SAPHEAD (1920): "The Saphead" is based on the play "The Henrietta", which had been a hit on Broadway and starred Douglas Fairbanks in the role of Bertie "the Lamb" Van Alstyne. Fairbanks had recommended Buster for the role in this filmed version, retitled "The Saphead".

Buster's role doesn't start until about 10 minutes into the movie, where we see him wolfing down a big meal and being overly pampered by valets and servants. Bertie the Lamb is the son of a wealthy man who thinks his son is spoiled and soft. Because Bertie has read a book that states that the modern girl is more interested in a dangerous guy than a safe guy, he goes to a gambling parlor and then tries to get himself arrested. In this scene, fans of Buster's are given a rare treat: He opens his mouth and shows his teeth, which almost develops into a full smile! What a cutie!!

"The Saphead" is actually a drama that's peppered with the subjects of infidelity, illegitimate children, death, suicide, and financial ruin. The only comedic moments in the film are supplied by Buster, who is allowed to practice his trademark pratfalls in a few scenes, which help illustrate the depth of his inept character, the Lamb. But because of his role, the film is worth watching simply because he's in it.

THE HIGH SIGN (1920): "The High Sign", a 2-reeler that was shelved after its completion in January 1920, was actually released to the public after Buster had an unforeseen accident that derailed his filmmaking schedule, thus leaving him without a release to fulfill his contract obligations in April 1921. Buster intended "The High Sign" to be his 2-reel debut under his new contract, but was unsatisfied with the results, believing that his debut should have stronger material. "The High Sign" features him as a shooting gallery employee who is forced into the role of "button man" for a group of low-rent gangsters, who use a "high sign" for a password. Although "The High Sign" wasn't up to Buster's standards, it's as good as most of the 2-reelers he made in the future, and I think it deserved a better reason to be released than as an alternative because of the consequences caused by a broken foot.

ONE WEEK (1920): "One Week" is the second 2-reeler Buster made, which did pass his quality control inspection. It's also, to this day, one of his most popular 2-reelers, so he was correct in releasing it first. "One Week" is about newlyweds who are gifted with a house-building kit. Not knowing that the jealous former suiter of his bride has sabotaged the construction directions, they build what turns out to be a cockeyed house (and throughout the film, they don't seem to notice that anything is wrong with it). The gags center around this dysfunctional building until the end, when we get to see one of the most famous scenes of Buster's career (involving a train).

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Disclaimer: I am a huge fan of Keaton's work. This is why it pains me to say that "The Saphead" is weak, and not just by Keaton's standards. As much as I love this man skip this film. That said, I gave this DVD three stars because of the short features which follow it. "The High Sign," described by one reviewer as "a lark," is actually one of my favorites. Filled with enough gags for any short comedy, Keaton's acting is a pleasure and the plot is the sort of comedy/conspiracy narrative G. K. Chesterton might have made if silent films were his thing I'm always reminded of "The Man Who Was Thursday." "One Week" is another wonderful short. With the famed, surreal hobby-kit house and a perfect ending, it is another must see Keaton short.

So here's the problem: is it worth getting The Saphead just for the two shorts? If you're a Keaton fan and want to fill out the collection then go ahead, you won't regret it. If you're not a big fan, but like Keaton at his best, go for a DVD of more consistent quality I recommend the Our Hospitality/Sherlock Jr. double feature.

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THE SAPHEAD is a rather dull romantic comedy. I'm guessing that if it didn't have Buster Keaton in the title role, this film wouldn't have seen a DVD release for another twenty years. From a historical viewpoint, I suppose we must be grateful to the film, as it established Keaton as a bankable star, thus enabling him to go to bigger and better things. But judging the film on its own merits, I can only say that I was completely bored by it.

The movie has a few major flaws. The most annoying is the fact that Keaton (although the star) doesn't have enough screen time, and the other characters are one-dimensional and simply not interesting. The script is adapted from a play by the name of THE NEW HENRIETTA, and I can only hope that the material was funnier on the stage, because it certainly didn't translate well to the screen. The story takes too long to set itself up, the plot isn't terribly inspired, and, worst of all, most of the jokes aren't all that funny. Keaton does his best with what he has to work with, but, truthfully, there isn't much to this. He livens things up a bit on a handful of occasions, but for the most part, he is overwhelmed by the leaden script.

Also included on the DVD are two short movies. Unlike the main feature, these two were co-written and co-directed by Buster Keaton himself. The difference couldn't be any more staggering. Give the man some creative control, and he turns out material a thousand times better. While the main feature is slow, ponderous and dull, these two shorts are fast-paced and hilarious.

The first short film is THE HIGH SIGN. By cheating his way through at a shooting gallery, Buster finds himself employed as both a bodyguard and a hit man. The movie culminates in a large house with multiple revolving walls and trapdoors. Buster and company leap through them with reckless abandon. I'm quite torn by watching this. Part of me wants to admire the craftsmanship and the effort that went into designing the physical gags and the intricate set. The other part of me just wants to be engulfed by the sheer entertainment.

The second short on the disc, ONE WEEK, starts with a fun gag involving Buster Keaton and his new bride attempting to exit one car and enter another -while both automobiles are still moving. In any case, the newlyweds have been given a house as a wedding-gift. But there's one catch. The "house" is a kit, a do-it-yourself construction job. Thanks to some sabotage from the wife's ex, Buster builds himself a bizarre structure, with several features not found in ordinary homes. Anyone who knows anything about Buster Keaton's style of comedy should salivate at the thought of his baffled but determined character given over to that premise. And the result here is wonderful. The production crew built a giant house prop worthy of Keaton's comedy, and there's a fun gag that involves the moving of an unwieldy piano that rivals the problems that beset Laurel and Hardy in their Oscar-winning short film THE MUSIC BOX.

The picture quality is quite good considering that the material is over eighty years old. The DVD cover claims that the soundtracks are a modern recreation of the original scores, and while I can't independently verify that, it seems appropriate enough. I'm hesitant as to whether I should really recommend this DVD given that I was so utterly bored by the main feature. The two extras (of about twenty minutes each) are worthy of purchase though. Perhaps I should say that this disc will mainly be of interest to Buster Keaton fans. People looking for a solid introduction to the man's work should probably choose one of the other entries in the Art Of Buster Keaton DVD series.

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This DVD contains one feature and two shorts from Keaton's earliest work as an independent filmmaker after he ceased his three year partnership with Roscoe Arbuckle in 1920 after Arbuckle left the Comique company to sign with Paramount.

"The Saphead" does not showcase Keaton the filmmaker, but rather Keaton the actor. The script is from a play, the directors are individuals Keaton never worked with before or hence, and the studio was Metro, predecessor of MGM. Keaton plays Bertie the Lamb, mild-mannered and spoiled son of Nick Van Alstyne, "the Wolf of Wall Street". In spite of the fact that Keaton had no creative input to the film and isn't actually its centerpiece, there is much to like about this film and much that is so Keatonesque. Keaton plays an old-fashioned romantic and someone that is thrust into the role of the fall guy by the actual bad guy a theme he repeats in his own features. He also has down pat the part of being the well-dressed dapper man of the 1920's, which he repeats with more comic effect in "The Battling Butler".

"The High Sign" was Keaton's first two-reeler after he went solo in 1920, but it was not the first film he released. Here he plays a drifter who gets hired by a member of the gang "The Blinking Blizzards" to run a shooting gallery. In a turn of events that can happen only in a Keaton film, Buster winds up being hired to both kill the father of the girl he loves and also to protect him. The film ends with a funny chase sequence through a house that has a series of trick doors, false walls, and traps that could only be designed by the mind of Keaton.

Keaton disliked "The High Sign" and delayed its release. Instead, his premiere release was "One Week". Here Keaton is the groom in the story of a pair of newlyweds that receive a wedding gift of an assemble-it-yourself house. Unfortunately, the bride has a jilted suitor that wants revenge. He gets it by renumbering all of the containers of building supplies that come with the manufactured home. The result is a house that is incorrectly assembled to say the least. The roof doesn't fit, the kitchen sink is on the outside of the house, and the chimney is over the bathtub, among other faults.

I really like the score on all of the Kino Keaton DVDs, and the video, though not perfect, is better than anything you'll find in the public domain. The only bad thing I can say is that there are no extra features or commentary at all. In their earlier DVDs, of which this is one, it seems like Kino didn't really grasp the power of DVD to deliver extra features and just reissued the VHS tapes of many of their silents in DVD form with no upgrades.

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Terry Fator: Live from Las Vegas (2009)

I just saw his Vegas show at the Mirage. The characters are so realistic. You believe Terry is conversing with another person. He is so musically talented in many different genres! This is a great keepsake if you have seen him live, and for those not able to go to the Mirage, it will be a great substitute. He is a major entertainer of our day!

Ever wonder what happen to some of those American's Got Talent winners. Bianca Ryan who was the first winner seem to vanish after her first CD.

However when it comes to Terry Fator, you see he has ventriloquism talent and musical chops to pull off a show worth a million bucks. His "Wooden" friends are believeable and enjoyable.

When I got the screener DVD, it did not have the commentary tracks as the final copy did, it only had the filmed concert. This is-according to a friend who seen his live show at the Mirage -his live show. It transfer well to DVD. Better than some of Jeff Dunham's DVDs. The show of puppets and music will keep you laughing and humming along. His range and vocal talent is so verse for entertainment

There is one problem with this show, there is a Micheal Jackson comedy duet with one of the puppets that seems to fall flat due to MJ's death.

One of the highlighs of the show is when Fator makes a male live audience member into a Cher puppet (dress and all). Fator does Sonny for a I got you Babe song

This is real family entertainment with an edge for young and old alike. After you see this once , you want to see this again

So Terry, when is the next DVD. I want to see more!

Bennet Pomerantz AUDIOWORLD

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I saw Terry Fator at the Mirage Hotel in Las Vegas. I never watched "America's Got Talent" so I didn't know who he was. What a show this was!! Terry Fator's characters are so funny and they seem so real because they each have a personality of their own, and Terry can really sing. He can sing anything Rock, Soul, Country, etc. I obviously can't keep going to Vegas so I am ordering this DVD so I can view this show in my own living room. I can't wait to get the DVD so I can see him again. We absolutely loved him!!!

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I followed Terry on America's Got Talent and pegged him to win from his first audition. I saw him at the Mirage in Vegas

and he was unbelievable! I can't wait to get the DVD!!

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Our family first saw Terry Fator on America's Got Talent. We instantly fell in love and were rooting for him from the very beginning. Hit talent to not only do ventriloquism, but also do amazing impersonations, blew us away. When he won AGT, we were thrilled for him and began watching his performances whenever we could on talk shows or You Tube. We have always watched him with our kids as he always presented good, clean family entertainment. We were so excited when he released his DVD. We bought it and sat down to watch it as a family. Within the first few minutes we were disappointed at the amount of adult humor. We were expecting the same "good, clean family entertainment" that he'd provided our family with in all his past performances. On this DVD, even the puppets that my children loved on You Tube were making inappropriate jokes or using vulgar language. My husband and I still really enjoy watching him, but we are sadly disappointed that the purchase we made for our family is inappropriate for our children, who love Terry Fator. We do understand he is a Vegas act and needed to make some changes to be in Vegas in order to sustain his act for an hour for an audience of adults; but were not expecting all the vulgar humor that we saw. Since I was not prepared at all for the PG-13 humor, I wanted to write a review in hopes that someone else is better prepared for what they would see if they bought it. Make no mistake, we feel that Terry Fator absolutely deserved to win AGT and is one of the most talented entertainers ever! We love him, but were disappointed at his changes in his act to make it more adult geared and less family entertainment.

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Shrek 2 (Two-Disc Blu-ray 3D/DVD Combo) (2004)

STORY: This fairy tale satire continues right from the first movie as Shrek and Fiona are on their honeymoon. Prince Charming finally reaches the castle only to find the "gender confused" big bad wolf reading Pork Illustrated. The movie is basically focusing on the self awareness of who Shrek and Fiona really are. The fairy godmother of Fiona and the mother of Charming is out to make sure that Fiona falls in love with Charming and not Shrek. As Shrek is lost in the woods he stumbles upon the masterfully crafted character that is Puss In Boots. Puss is probably one of the greatest fictional characters of all time, he is played to perfection by Antonio Banderas. The first Shrek was a slight satire on the fairy tale genre. Shrek 2 is an unbelievable high on satirical parody (if that makes sense). The pop culture references come flying in one after the other. I really feel that any body under 12 will not get most of the jokes made in this movie. For the kids we have the farting and the burping and for the more learned individual we have references to gender confused wolves, cats on catnip, meeting the in-laws, crazy wooden boys with strange fetishes, the ass, and tons more. There is no way that anybody cannot watch this movie and not laugh. If you need to compare Shrek 2 to something look at it as a lighter version of a Family Guy, Airplane, or Hot Shots type of thing. While the references are not as exaggerated as they are in parodies such as Hot Shots, they are very well placed and well executed. While many people feel that the story and the "heart" that the first movie had was lost within the many gags there is still that "heart" that the characters possess. Yes, the ending is your typical fairy tale ending that has a valuable moral, but then again this is a fairy tale. This movie is smart, funny, and overall a well-crafted piece of work.

ACTING: All the former cast members return as well as the noticeable additions of John Cleese, Julie Andrews, and Antonio Banderas. I can't express just how funny Puss In Boots is. Without Puss the movie would without a doubt have been really boring and "kiddyish" if you will. The most humorous jokes are deployed in the film's ending which is a hysterical romp. John Cleese plays the enraged father and Julie Andrews as the accepting mother. Prince Charming is played by Rupert Everett, and really his only funny scene was when they stopped by drive thru and he got a kiddie meal and was wearing one of those paper crowns as found in burger king. The cast makes the film, Puss makes the film.

BOTTOM LINE: The kids will not find this one funny except for the small amount of fart gags. The people who will find this the most amusing will be in the range of 15 to about 50. Anything above 50 might find any kind of animation too childish and will probably stay away from this one unless they have young kids. The animation by Dreamworks is fantastic as well, make note of the scene in the rain and just how realistic the natural surroundings look. Shrek 2 is faster and funnier than the original and should become a classic just because of how smart the movie is.

I first saw this with some friends, then took my parents to see it the next day. I was amazed at how many little nuances I missed the first time around. This film is jam-packed with hidden tongue-in-cheek jokes and visual humor there is so much detail. This film is a delight for young children to the senior set and everyone inbetween.

Eddie Murphy is back as the lovable Donkey his is perfect in this role and personally, I think he (Donkey) should have his own spin-off movie. This one character is a movie unto himself.

Joining the crew from the original Shrek installment are Julie Andrews (Fiona's mother), John Cleese (her father), Antonio Banderas (Puss-n-Boots) and Jennifer Saunders (the naughty Fairy Godmother).

The clever ways in which the screenwriters twisted the fairytale characters while still giving them reverence and respect is enough to make you cry from laughing so hard. There are inferences to movies such as "Flashdance" and "Mission Impossible" and many others. Pinnocchio is no doubt a wooden embodiment of Michael Jackson (high-pitched voice, good dancer, longs to be a little boy, etc.) and there are many inferences to famous people... there is even a helicopter view of police chasing a white bronco!

There were very few moments in this film in which I was not laughing outloud or doubled-over and in those few instances, it was to catch my breath.

This film is an instant classic that is safe to show to your kids and grandkids from now until generations to come.

On top of the fantastic animation and lovable characters, the underlying story is an awesome theme to teach to children: it's not how you look or how other people treat you that matters it's the content of your character and how much you love others. I cannot recommend this film enough it is one of the best of the year.

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The story begins somewhat where the last Shrek film left off, with a twist.

Get used to there being a twist...

The story begins with the recitation of another standard fairy tale opening, that one might think as an ending, where Prince Charming (charmingly voiced by Rupert Everett) dashes through incredible perils to reach the unfortunate-cursed princess, Fiona, as his kiss is the only thing that will break the curse. The only problem here: when he arrives to kiss the fair princess, he is greeted by another story-book character who informs him she is on her honeymoon.

Honeymoon?

The stage is set for a frolic of fairy-tale proportions. The main characters are back Shrek (Mike Myers) in his typical ogre self (who knew ogres spoke with muddled Celtic accents?); Fiona, every inch the ogre herself night and day (reprised by Cameron Diaz remember the tale from the first film where she was beautiful by day and hideous by night), is blissful on her honeymoon with Shrek. They return home to be greeted by Donkey (once again the humourous Eddie Murphy), to almost immediately be summoned to Fiona's home by her parents, the king and queen, so that they may meet the husband (not quite the prince they were expecting) and be welcomed into the kingdom of Far, Far Away, which is, true to its word, far, far away (are we there yet? is the constant refrain during the journey).

It is quite delightful to imagine John Cleese and Julie Andrews as the king and queen; their characters do not imitate their features physically, but their standard screen personae come through their voices and characterisations. Rupert Everett as Prince Charming, the scheming social climber, is very well done, with typical British fop panache. However, there is no mistaking Jennifer Saunders (Absolutely Fabulous) as the Fairy Godmother (who, it turns out, is Prince Charming's mother, and given that it is Rupert Everett, well, enough said...) the animation captures the twinkle in her eye and the sardonic smile as she holds the king to ransom for the secret that he hides (she once granted a wish to him, which is hinted at early on in the film see if you can predict what it is!).

The king and queen are not surprisingly shocked to discover the ogre-ific state of their only daughter, not to mention the son-in-law; the king decides to do away with Shrek, hiring a hit man (in this instance, a hit cat), Puss-in-boots, voiced by an over-the-top Antonio Banderas. Attacking with the grace of a cat, he is nonetheless thwarted in his charge by a nasty hairball, and joins with the quest to find Happily Ever After-effects with Shrek and Donkey.

There are some good songs here, remakes of popular songs sung with style that befits a fairy-tale, medieval recreation of Hollywood/Hollyweird. Just as Fiona had her surprise chance to be an ogre in the first film, Shrek gets his chance to be drop-dead gorgeous in this film, by stealing the Fairy Godmother's potion for Happily Ever Afters. Donkey shares in this potion and becomes a dashing stallion. So, everyone will live happily ever after, right?

Right, but again, there's a twist (and I'm not going to tell you what it is).

There are lots of cameos Larry King voices the ugly sister, and Joan Rivers voices her own characters as the red-carpet announcer at the royal banquet akin to the Oscar ceremonies. There are one-liners galore, so many it is hard to recall them all take a notebook with you to the cinema!

One of the trademarks of Shrek is its homage to various other films try to make all the connections Flashdance, Lord of the Rings, Ghostbusters, you name it, it is satirised. The same holds true for various fairy tales the three blind mice, little Red Riding Hood, Sleeping Beauty, even Pretty Woman!

The animation quality is superb, and shows just how astonishingly lifelike modern computer-generated graphics have become. An interesting effect, rather like a cross between clay-mation types of physical movements and hand-drawn facial expressions, the type of animation here is approaching lifelike and realistic, again with the twist of being almost puppet-like, to fit the fairy-tale aspect of the film.

Stay through the credits! Why people get up and leave the cinema as soon as the names start I shall never understand, but they missed out the bonus scene at the end, that is well worth the wait (Banderas, as Puss-in-boots, heading off for the Kit-Kat Club, begins the scene, and it just goes on from there).

This is a film for children of all ages, with enough humour for adults to keep them interested, and a classic tale, with modern twists, to delight all audiences.

Read Best Reviews of Shrek 2 (Two-Disc Blu-ray 3D/DVD Combo) (2004) Here

I have never seen an animated movie of this quality. Finding Nemo was impressive visually, but the story, character expression and humour is geared more to children.

IMO Shrek 2 edges it in visuals and production value, and trounces it in terms of soundtrack, story, characters, humour and dialogue. The wit is on an adult level while keeping a childish verve and innocence. I have never come across this before in animated feature films.

Myers, Murphy and Saunders are brilliant. The visuals are wonderful. Bravo Dreamworks!

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The people writing reviews here need to remember, we aren't reviewing the movie. We are reviewing the DVD. We all know its a great movie. In fact, most of us have already seen the movie at least once. That sad fact here is that the dvd is a RIP OFF.

I agree with all the previous complaints.

1 Disc, as compared to most major budget kids movies being released with an entire extra disc of features.

Movie Previews, that they actually LOCK YOUR KEYPAD so you are forced to watch everytime you put the dvd in. This I find SO insulting. I paid good money for this dvd. It shouldn't be like this.

The release of this dvd is even so cheap, there isn't even an INSERT inside the dvd case. The total presentation of this DVD is so shoddy and pathetic. I really wish I could take it back, but sadly most places I know have a firm policy that you cant return dvds, only trade them for the same title. Sad. Because this DVD is a total rip off.

Buy this DVD ONLY if you *LOVE* this movie and can't possibly wait to see if a Special Edition or two disc set is released in a year. Because if you are a true DVD collector, you *WILL* be dissapointed with this DVD.

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