Earth vs. the Flying Saucers[Region Free] (2008)

These films,were in fact filmed in either 1,85 or 1,66,both Widescreen for the cinemas.

Being a Projectionist working in the 50's I can vouch that these films were all presented in Widescreen.

So as one reviewer puts it,these are not fake Widescreen'but are being presented as they were originally filmed.

Had to clear that up.

Here is a list for people jaded by "Star Wars"-type digital special effects and Bruce Willis-type smart-aleck dialogue of what the classic science fiction film "Earth versus the Flying Saucers" (1956) does not boast: it is not processed in Technicolor but only in (glorious) black-and-white; it does not show whole cities sprung sky-high by death-rays or fleets of numberless star cruisers nuking it out among the nebulae; its aliens do not look like the dripping unsought-for results of recombinant DNA experimentation, nor are they invulnerable so that stopping them depends on a hasty "deus ex machina" tacked on by the screenwriters; its scientist hero and his wife are mature people, not teenagers or "twenty-somethings" escaped from prime-time television; they act with deliberation and do not pump air or dance a jig when their efforts prove effective; when people die in the film, they die without bravado. People who insist on such things should know in advance that their particular adrenaline-addiction will not be fixed by this film. Intelligent and discriminating viewers, on the other hand, can expect the superb model-work of Ray Harryhausen deployed economically but satisfyingly throughout the film. They can also expect thoughtful, jargon-free dialogue from screenwriters George Worthington Yates and Raymond T. Marcus, working from a story by Kurt ("Donovan's Brain") Siodmak, and taught direction from Fred F. Sears. "EVFS" gratifyingly violates one of the formulas of 1950s sci-fi cinema: it does not make the audience wait to see the alien nemesis, continually postponing a disappointing appearance, but exposes its first saucer within two minutes of the opening segment. As Dr. Russell Marvin (Hugh Marlowe) and his newlywed wife (Joan Taylor) drive down a California desert highway toward the rocket test-site where Marvin directs his earth satellite program, an enormous craft swoops down on them, maneuvering around the speeding car. Both are fazed by the experience and don't quite believe their senses. When Marvin tries to launch another one of his "artificial moons," a saucer lands on the grounds; soldiers fire on the robot-like aliens, whereupon the craft takes to the air again and uses its ray to blast the installation. It is while waiting to be rescued from the bunker where they have been caught that Marvin and his wife discover that their tape-recorder contains a message from aliens, beamed at them during their close encounter on the highway. The message is apparently friendly, but the aliens turn out to be intent on taking the earth by force. Marvin and his scientist cronies race to develop a weapon to neutralize the saucer-fleet, which makes its attack on Washington D.C. in the film's brilliant finale. Supporting performances come from the ubiquitous Morris Ankrum and from Donald Curtis. Ankrum appears in nine out of ten 1950s sci-fi "B" movies, or so it seems. (See "Flight to Mars" or "Kronos.") Midway through the film, Marvin and his wife, in company with his wife's father, an Air Force general played by Ankrum, board a saucer that has landed on the beach, ostensibly on the Virginia shore. The location is actually Westward Beach, in Malibu, about a thousand feet from where I lived as a teenager, looking as deserted an alien as it is possible to imagine. It is a remarkably stark scene. The interior of the saucer is sparsely and therefore effectively conceived. The aliens regard themselves as supermen, classically "beyond good and evil." In the assault on D.C., Ray Harryhausen contrives to destroy every major national monument in the city. That the alien hardware is not indestructible lends the story credibility: the implication is that humanity is equal to the battle, provided that it does not panic. The DVD of "EVFS" includes two featurettes, "This is Dynamation," about Harryhausen's signature technique, and the more specialized "The Making of Earth versus the Flying Saucers." Presentation is in wide-screen, a real boon. (The VHS was in pan-and-scan television format.) This is a terrifically entertaining item from the black-and-white "alien invasion" genre. Highly recommended.

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This is a 2 disk set. The main film is, like "20 Million Miles to Earth: 50th Anniversary Edition", on 1 disk in both a digitally-restored black & white original version and newly colorized version. This is made possible by a process Sony calls "Chromachoice". This allows you to switch between the color and b/w versions of the film at any time by simply pressing the "angle" button on your remote. It's a good idea but some would argue that it's flawed in execution. I'm one of those. On my player the "angle" icon comes up every time there is a chapter stop and will NOT go away until I press the "clear" button. This is very annoying but at least I can get it off the screen! Based on reports on "20 Million..." other players will display this icon the entire film. There may or may not be a way of disabling this on your player. Frankly, I would rather choose from a menu which version to watch as the novelty of switching wears off after a while and the annoyance of the constantly appearing icon does not. While this is possible you still get the icon "popup" at chapter stops.

Special features on a 2nd disk are:

Audio Commentary by Ray Harryhausen and Other Visual Effects Specialists

Featurette: Harryhausen on Earth vs. The Flying Saucers

Featurette: A Present Day Look at Stop Motion

Featurette: Tim Burton Sits Down with Ray Harryhausen

Featurette: Interview with Joan Taylor

Featurette: David Schecter on Film Music's Unsung Hero

Featurette: The Hollywood Blacklist and Bernard Gordon

Video Photo Galleries

Advertising Artwork video montage of film's ad materials by Producer Arnold Kunert

Sneak Peek of Digital Comic Book Flying Saucers vs. the Earth

All-in-all a good package for a classic Harryhausen film marred only by "Chromachoice" which reduces the score from 5 to 4 stars.

If you are concerned about possible problems with "Chromachoice" on your player, I recommend that you borrow/rent a copy of the newly remastered versions of "20 Million Miles to Earth" , "Earth vs. the Flying Saucers", or "It Came from Beneath the Sea" first to check your player for compatibility issues.

Read Best Reviews of Earth vs. the Flying Saucers[Region Free] (2008) Here

Released in 1956, "Earth vs. the Flying Saucers" was the second film visual effects genius Ray Harryhausen did with producer Charles Schneer. They had previously worked together on the gigantic octopus vs. San Francisco film "It Came from beneath the Sea," and would go on to craft a long series of color fantasy movies that remain favorites with all ages today. "Earth vs. the Flying Saucers" (or "E v. FS" if you prefer) arose from Schneer's interest in the flying saucer-sighting craze of the day. Curt Siodmak, author of many of Universal's classic monster films, hatched the original story of a full-scale invasion by alien craft, but the final script is credited to George Worthing Yates and Raymond T. Marcus. Harryhausen found himself animating not monsters, but futuristic spacecraft. Thus, the film is quite a departure from his usual fare, but nevertheless Harryhausen infuses the movie with his genius and personality. "E v. FS" is the ESSENTIAL alien invasion flick of the decade, far more entertaining than George Pal's stuffy "The War of the Worlds." Everything you want from 50s science-fiction flick is here, and with Harryhausen's visual effects, it all looks damn cool too!

The husband and wife science team of Hugh Marlowe and Joan Taylor (both fun performances) investigate a rash of saucer sighting. The aliens have come to Earth to seek aid, but when they land the trigger-happy military opens fire and the aliens retaliate with a ruthless war of destruction. But don't fear, our peppy scientist couple have come up with a wild invention that may stop the destructive alien visitors. It all concludes in a wild scene over Washington D.C., and not all the monuments end up in good shape.

Ironically, Harryhausen doesn't have very positive feelings about the film: "It remains for me the least favourite of all our pictures. There is a dividing line between science fiction and fantasy, although they can occasionally overlap.... Fantasy has a poetic appeal radiating romance and warmth, whereas science fiction, with all its preoccupations with machines, politics and scientific apparatus, has a tendency to reflect coldness and indifference."

Well, Ray is certainly entitled to his own opinions about his work and his preferece for fantasy, but I think "E v. FS" works amazingly. There's a general giddiness about it, and a sense of invention, that speaks directly to modern viewers tired of the overblown and grim action and science fiction films of today. Harryhausen's flying saucers astonish, moving with jittery speed and very animated motions. The aliens themselves wield awesome technology, like death rays, brain probing beams, and vibrating shields that protect their ships (stunning effects, all of them). The budget limitations resulted in alien suits that are bit simplistic, but they still work. And the finale in Washington is a humdinger. Harryhausen's models and the intricate portrayal of the destruction still look astonishing. He even manages to make creative use of stock footage, instead of merely relying on it for a cheap shortcut as so many other 50s science fiction pictures did.

This excellent DVD presents the film in its original 1.85:1 format (I'll bet you didn't know it was a widescreen film) enhanced for widescreen TVs. Also included is "The Harryhausen Chronicles," a feature-length documentary on Harryhausen's work; it appears on all of Columbia's Harryhausen DVDs, so you might have seen it before. New for this DVD is an interview between Harryhausen and director Joe Dante ("Gremlins"). It's short, but you learn some great secrets about the film straight from its creator's mouth, and you also and get to see the original saucer models. Dante also shares his personal memories about seeing the film as a child.

This is a must for any Harryhausen fan or anybody who loves the 1950s Golden Age of alien invaders.

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A few months ago, Ray Harryhausen told an interviewer that his 50's black and white classics were being colorized, and he was happy with the quality. Amazon lists these 3 films as being in color, but they are NOT (Supplemental material is in color). The booklet contains exerpts from Harryhausen's Animated Life book, so there is no new material here for Harryhausen fans. Since these three films are already included in the Sci-Fi Harryhausen box set, I am curious as to why this set was released at all. If you don't have these films, I highly recommend them as an example of the brilliant stop-motion animation work produced during Harryhausen's early career. For rabid fans, nothing new.

Arthur & the Invisibles 2 & 3-New Minimoy Adventur (2012)

I just saw these available today on amazon on demand (Roku). We really enjoyed the first one, but I was a bit apprehenvise since these were direct-to-video releases. However, the cast and the production (effects) quality were very good. Some of the voice cast changed, but Freddie Highmore and Mia Farrow are back as the main Human characters. Actually, we saw part 2, and rented it on demand and watched it before we realized there was a third part! Luckily Part 3 was also available so we watched it right after Part 2. So if you liked the first one, I recommmed these.

My daughter loved the Arthur first so I bought her 2 & 3. She really liked them although she liked the first one better. Overall these are great movies for the price.

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Good movies, but not as good as the first,as far as the story. Excellent animation and live action combo.

Read Best Reviews of Arthur & the Invisibles 2 & 3-New Minimoy Adventur (2012) Here

This double-feature continues the story of the original very well. The spunk of the Princess is missing from the second movie, but then she is a prisoner of Maltazar. But have no fear, it returns in full in the third movie. -All the characters are there and share great adventures to the completion of the story.

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My kids and I loved the first movie but these two are ok. I think I was bored with part 2, otherwise, the kids liked it.

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Che (The Criterion Collection) (2008)

Steven Soderbergh's "Che" is one of those rare films where you'll either like it or hate it. It is not a conventional biography, it isn't even a conventional movie. Soderbergh is not interested in presenting a loud, thundering film about the icon Che Guevara, but instead he wants to provide an almost scientific analysis of a man driven by an idea and the campaigns he engaged in. Like Sofia Coppola's "Marie Antoinette," this isn't a movie interested in bold political statements, it is simply trying to present events as they are known to have happened. It doesn't matter much whether you're a right-winger or a leftist, Soderbergh doesn't champion or attack Che's political views or goals, he simply presents a man's actions.

Benicio Del Toro (Traffic, 21 Grams) plays Guevara with an uncanny resemblance and a powerful presence. We meet him in Mexico City in the 1950s where he meets a group of Cuban exiles plotting the overthrow of the US-backed dictatorship of Fulgencio Batista. It is here that Guevara meets Fidel Castro (played by Mexican actor Demian Bichir) who lectures him on the dire conditions for Cuba's poor and convinces him to join the revolutionary expedition sailing back to the island on the famous Granma boat. Soderbergh intercuts the jungle campaign in Cuba with black and white passages capturing Guevara's 1964 visit to the UN General Assembly where he delivered one of the most blistering anti-colonial speeches of the era. This sections feel large in scope while the Cuban scenes feel very intimate as Guevara trains guerrillas, engages in firefights with Batista's troops and brings medical services to poor villages where many people had never seen a doctor before in their lives. Soderbergh captures everything with a great air of authenticity in the accents, settings, locations and anyone who has visited Cuba or the Caribbean will immediately recognize the unique sense of humor expressed by the characters. It is in this first half where we see Che taste victory as the Cuban Revolution spreads and culminates in the battle of Santa Clara. Batista falls and the experience convinces Che of the legitimacy of armed struggle. The second half of the film follows Che into Bolivia, a more arid landscape with an indigenous majority population living under another brutal regime. The Bolivia episode is the other side of the coin from the Cuban Revolution, here the struggle to spread a doctrine of armed revolution runs into various roadblocks due to many conditions including culture clashes, inter-clashes within leftist circles and the heavy involvement of the CIA in tracking down Che's expedition. The Bolivia episode feels more fast-paced than Cuba, but also features a stunning attention to detail. The episode ends with Che's execution at the hands of the Bolivian army and CIA, and in its somber tone, we can still see how the man transformed into legend.

"Che" is first and foremost a document, an attempt by Soderbergh to chronicle in as much detail and realism as possible the EXPERIENCE of being a guerrilla in the field, the long hours of debate and boredom punctuated by moments of violence and danger. Like "The Battle Of Algiers" the film feels almost like a documentary instead of as a dramatic narrative. Those looking for a more romantic, adventurous trip should stick with Walter Salles' excellent "The Motorcycle Diaries" about Guevara's journey through Latin America as a young medical student. Soderbergh's film is more challenging because it doesn't provide easy answers or plot points, it forces the viewers to think for themselves and form their own opinions and conclusions. The film doesn't make bold statements about the Cuban Revolution or socialist politics, and yet it forces the audience to ponder political theories and history more than the average, more straight forward biographical movie. "Che" provides a more challenging discussion about revolutionary politics than "Braveheart," or Andy Garcia's right-wing "The Lost City" which provided a more spoon-fed, almost tabloid take on the Cuban Revolution and its participants. Does this mean the film is simply too academic? It depends on what you're looking for. Che Guevara is one of those historical characters that has become such an icon or symbol that many people wear the t-shirt without ever bothering to read anything about the man, this goes for both those who admire him and those who hate him. Even those who are just used to seeing Fidel Castro as an evening news item waving at crowds in his green fatigues will see the icon stripped down to a guerrilla commander trying to strategize and reconcile various parties, groups and opinions about how to carry out a revolutionary change in government. One value of the script by Peter Buchman is that he doesn't reduce these men to just historical titans spewing grand speeches, we instead see the bare bones of politics and how behind the flashy posters and berets, Guevara and Castro were also debating the hows and whens of everything from land reform to foreign policy.

The look of the film is toned down and yet very lush. Soderbergh used the Red One camera for both episodes of "Che" and the result is very impressive, a visual clarity with some of the same grain and depth as film. There are grand vistas in the Cuba chapter, with lush sequences in beautiful jungle terrains. The Bolivia section looks arid and cold, with rich shadows evoking a campaign headed for a tragic end. It was a wise choice to film the UN sequences in black and white film stock, they feel incredibly authentic.

Without a doubt "Che" features the best performance ever delivered by Benicio Del Toro who fully embodies the character, the fact that he did not recieve an Oscar nomination is a complete travesty. He brilliantly changes looks, physique and switches from a man pumped with the idealism of a born rebel to a man struggling in a terrain that is not bending to his will. He never overplays Guevara and brings a real human dimension to a role which could so easily be overdone. Demian Bichir is impressive as Castro, masterfully capturing the famous accent, the mannerisms and yes, the cigar stance.

"Che" is the kind of bold experiment many directors would be afraid of attempting. It breaks many rules and doesn't bow to the demands of cheap commercialism, and yet is always fascinating. This isn't the kind of movie to watch in order to avoid reading the biography, instead it is the kind of movie that might force you to go out and seek further reading on the man. Both sections come here with brilliant commentary tracks by journalist Jon Lee Anderson, author of the great biography "Che: A Revolutionary Life." Anderson provides excellent analysis and historical information that adds to the fascination of the movie, for those who find it hard to grasp the movie at first, the commentary tracks are of great help. In the DVD extra features Soderbergh laments that maybe the time for a movie like "Che" has already passed because nobody actually DISCUSSES films anymore, people appear to simply seek escapism and nothing more. This is certainly not a film for "Avatar" fans, or at least for those who ONLY like movies in that vein, but for the curious with an eye for excruciating detail, "Che" is an experiment worth checking out.

Steven Soderbergh created one of those movies that is lucky to have been made at all -a four-hour-plus biopic of Cuban revolutionary Che Guevara.

But like most biographical movies, it's something of a mixed bag. Visually atmosphere and low-key in style, the two halves of "Che" focus on pivotal slices of Guevara's life, with an amazing lead performance by Benicio Del Toro as the titular revolutionary. Unfortunately, it's also a very slow-moving affair that brushes past some of the more unsavory facets of Che Guevara's life and personality... and ironically many of the positive ones.

Part 1: In the 1960s, Guevara (Benicio Del Toro) is in New York City for a UN conference, being interviewed by a US reporter about his viewpoints as a guerilla leader and revolutionary. Then the narrative jumps back a decade to when he and others (including Fidel Castro) consider the many injustices over in Cuba and start planning for a revolution. Despite being Argentinian by birth, Che follows them to Cuba and joins the guerilla revolution.

But despite his start as a medic, Che began showing talents in other areas, and becomes a leader of the guerilla outlaws in the Cuban countryside. He grapples with his own ill health (asthma), the loss of his compatriots and the attacks from the military, which also threaten some of the non-revolutionaries -and as time goes on, their revolution gained power and notice, and began the ultimate battle for control of Cuba.

Part 2: Later in life, Guevera comes to Bolivia disguised as a bespectacled bald businessman, with the intent of fighting another revolution in that country. But this revolution doesn't go as well as the Cuban one (for Che): shortages in food, internal betrayal, and one of their contacts (Franka Potente) goofs up royally. As Guevera's health deteriorates, the Bolivian army and the CIA take measures to quash his guerilla forces...

Rather than the usual biographical movie format, Steven Soderbergh approaches "Che" as if he were filming a documentary. There are no scenes of little Che being kicked by a rich guy or melodramatic subplots -it's quite literally a slice of the pivotal point of Che Guevara's life, and a 1960s shakycam interview adds to that feeling. As an added note of authenticity, almost all of the dialogue is in Spanish rather than poorly-accented English, giving a you-are-there feel.

The storyline is rather slow, speeding up gradually as the revolution really heats up... only to slow back down in the second half with Guevera's decline. Most of the story is devoted to the guerillas staggering through the countryside, living in rough shacks and campsites. Even the landscapes reflect the ascent and descent of Guevera's power -the first half is crammed with lush, vibrant jungle life, and the second is a washed-out, grey expanse of scrubby brush. Unfortunately, this means that over four hours, the story often drags like a ripped parachute.

But despite the slowness, each movie climaxes with some revolutionary action. Pinging gunshots, explosions, tanks, tense chases through deserted streets and burning trains all play a part in the harrowing finales of each half, which are all the worst because you know that all this mayhem actually took place.

Del Toro is, to put it mildly, astonishing as Guevara -not only is he a dead ringer physically (with the right facial hair and clothes), but he exudes a quiet charisma, literate intelligence and power that make you see exactly why someone might follow him if they agreed with his politics. No one else in the story really gets to stand out, but Del Toro simply IS the cast all by himself.

Yet ironically it's a piously bland, virtuous portrait of Guevera. Soderbergh wimps out on the cruel, extremist sides of his personality and the regime he helped create; on the other hand, he also brushes over the man's fierce intellect, his writing, and world interests. It feels like we're looking at one mirrored facet of a very complex man, and surely more of who he was -the good, the bad AND the ugly -could have been included.

It's obvious Soderbergh put a lot of heart into producing the raw, realistic "Che," but his glorification and simplication of a controversial figure drags down his labor of love.

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I thought this movie was fantastic. I'm not really into politics and don't really have an opinion if Che was a good or bad person. As far as it being a moviethe story, directing, scenery, actingthis was done with the highest of quality. Non Hollywood-like which what matters to me.

Read Best Reviews of Che (The Criterion Collection) (2008) Here

To get a full picture of Che Guevara the man and icon you should watch the film by Steven Soderbergh and listen to the audio commentary by Jon Lee Anderson, who wrote the book Che Guevara: A Revolutionary Life (1997).

The film compares favorably to the epics Lawrence of Arabia by David Lean and Gandhi by Richard Attenborough. It is beautifully filmed and features outstanding acting by Benicio del Toro as Che and a dead-on portrayal of Fidel by Demian Bichir. Although it is 4 1/2 hours long, there are gaps in the film which need to be filled in and Jon Lee Anderson does this, as well as providing a different perspective. I have seen many film commentaries; this is the best so far. Anderson's commentary is deep and as compelling as the film itself. It answers many questions that arise from watching the film.

There are by necessity gaps in all the great film epics. The complete story of Che could not be told in 4 1/2 hours, but in Anderson's commentary much missing information is added. For example, Anderson points out that in Cuba Che was ruthless and made a practice of killing all prisoners, but in Bolivia he did not, and those he released came back to haunt him. He also explains that Cuba was ripe for revolution but Bolivia, which had a long history of unsuccessful revolutions, was not. Also, the leadership in Cuba was united under Fidel Castro but in Bolivia was badly fragmented.

Whether you like this film or not may depend upon your politics, as is evidenced by the reviews written so far. But I think Soderbergh has done his best to provide a fair and accurate portrayal of Che the man, warts and all.

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I stumbled on this movie on cable half way thru the first disc. I knew instantly that I had to buy this movie. This amazingly accurate and well acted biography of Che Guevara is a must have for anyone who either admires Che or just wishes to know more about the Cuban Revolution and the continuing struggles in this hemisphere. Technically it's one of the most beautifully filmed movies I've ever seen.

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The Frighteners (1996)

Just before doing "Lord of the Rings," director Peter Jackson (who can be seen in a cameo as "Man with Piercings") made an off-kilter horror/comedy movie called "The Frighteners," the tale of the undead and the guy who makes a living off of them. Though "Frighteners" was barely in theaters at all, this cult flick is funny, creepy, well-acted and wonderfully directed.

Frank Bannister (Michael J. Fox) has seen spirits and apparitions ever since the car crash that killed his wife. Now he operates an amateur "ghostbusting" operation that is supposed to exorcise ghosts from people's houses -the problem is that the ghosts who haunt those houses are in league with him (Chi McBride as the opinioated afro-ed Cyrus, Jim Fyfe as the nerdy Stuart, and most of John Astin as what is left of The Judge).

Frank's business certainly isn't hurt by the fact that for years after a serial killer's murderous spree, people have died mysteriously of heart attacks. Then Frank starts seeing fiery numbers emblazoned on the foreheads of people who will die, including the husband of doctor Lucy Lynskey (Trini Alvarado). As if trying to stop a specter of death weren't hard enough, crazed FBI agent Milton Dammers (Jeffrey Combs) believes that Frank is the one murdering people. But the evil specter is still killing -and Lucy is the next victim.

Peter Jackson once said that he has a "moronic" sense of humor, and it shows up in all its glory here -from bug spray dissolving a ghost's face to a piece of talking oily sludge to a drill sargeant ghost with submachine guns, this is weird and absolutely hilarious. It's the perfect blend of comedy and horror.

But he's also good during the more serious moments, such as Bannister's flashbacks to his wife's death, or the eerie sight of homicidal young lovers dancing with a gun. The opening shot is pure Jackson, with the camera swooping through a window, past fluttering curtains, and though a hole in the attic floor to a screaming woman below.

Jackson also takes the opportunity to poke a bit of fun at more conventional ghost movies: the big Gothic house, crazy old lady, ghost in '70s clothes, and Fox's hilarious turn as a ghostbuster. Nothing horrific is sacred. "There ain't nothing worse than a bunch of pissed-off brothers... that's ALREADY DEAD!" Cyrus yells at one point.

Does it have a flaw? Yes -the opening scene doesn't seem to make much sense later on in the movie. But Jackson makes up for that with a surprisingly tight, coherent plot, and a satisfying finale that makes more sense than most other horror movies do.

The cast is brilliant, whether it's the twitchy, wild-eyed FBI agent, or the three weird ghosts. Michael J. Fox does an excellent job as Frank, with the right combination of cockiness and pathos, while Alvarado is solid as the idealistic young doctor. But the scenes are reallystolen by Dee Wallace-Stone and freaky-eyed Jake Busey, as homicidal young lovers.

"Frighteners" might not make you believe in ghosts, but it will make you laugh, shiver, and maybe even shed a tear or two. Wildly funny, weird, gross, and sometimes really peculiar, this is Jackson's splatter-gore at its best.

Practically bashed by critics everywhere when released in 1996, the Frighteners can be appreciated today as an underrated gem. After crafting a landmark gorefest with Dead Alive and scoring a hit among critics with Heavenly Creatures, future Lord of the Rings trilogy director Peter Jackson directed this wildly inventive and surprisingly innovative film starring Michael J. Fox as a psychic investigator who, with the help of three ghost pals, runs a phony ghost busting business. Soon enough, people are getting picked off by Death himself, and it's up to Fox to find out what's really going on. So much is going on in the Frighteners that it's easy for the film to become incoherent, but it's exciting visuals and special effects, along with the performance of Fox and the energetic direction of Jackson, make this film a surprise gem that should be (and very well may be) a cult classic. The rest of the cast includes R. Lee Ermy, Jake Busey, and genre stalwart Jeffrey "Re-Animator" Combs.

Buy The Frighteners (1996) Now

Just before doing "Lord of the Rings," director Peter Jackson (who can be seen in a cameo as "Man with Piercings") made an off-kilter horror/comedy movie called "The Frighteners," the tale of the undead and the guy who makes a living off of them. Though "Frighteners" was barely in theaters at all, this cult flick is funny, creepy, well-acted and wonderfully directed.

Frank Bannister (Michael J. Fox) has seen spirits and apparitions ever since the car crash that killed his wife. Now he operates an amateur "ghostbusting" operation that is supposed to exorcise ghosts from people's houses -the problem is that the ghosts who haunt those houses are in league with him (Chi McBride as the opinioated afro-ed Cyrus, Jim Fyfe as the nerdy Stuart, and most of John Astin as what is left of The Judge).

Frank's business certainly isn't hurt by the fact that for years after a serial killer's murderous spree, people have died mysteriously of heart attacks. Then Frank starts seeing fiery numbers emblazoned on the foreheads of people who will die, including the husband of doctor Lucy Lynskey (Trini Alvarado). As if trying to stop a specter of death weren't hard enough, crazed FBI agent Milton Dammers (Jeffrey Combs) believes that Frank is the one murdering people. But the evil specter is still killing -and Lucy is the next victim.

Peter Jackson once said that he has a "moronic" sense of humor, and it shows up in all its glory here -from bug spray dissolving a ghost's face to a piece of talking oily sludge to a drill sargeant ghost with submachine guns, this is weird and absolutely hilarious. It's the perfect blend of comedy and horror.

But he's also good during the more serious moments, such as Bannister's flashbacks to his wife's death, or the eerie sight of homicidal young lovers dancing with a gun. The opening shot is pure Jackson, with the camera swooping through a window, past fluttering curtains, and though a hole in the attic floor to a screaming woman below.

Jackson also takes the opportunity to poke a bit of fun at more conventional ghost movies: the big Gothic house, crazy old lady, ghost in '70s clothes, and Fox's hilarious turn as a ghostbuster. Nothing horrific is sacred. "There ain't nothing worse than a bunch of pissed-off brothers... that's ALREADY DEAD!" Cyrus yells at one point.

Does it have a flaw? Yes -the opening scene doesn't seem to make much sense later on in the movie. But Jackson makes up for that with a surprisingly tight, coherent plot, and a satisfying finale that makes more sense than most other horror movies do.

The cast is brilliant, whether it's the twitchy, wild-eyed FBI agent, or the three weird ghosts. Michael J. Fox does an excellent job as Frank, with the right combination of cockiness and pathos, while Alvarado is solid as the idealistic young doctor. But the scenes are reallystolen by Dee Wallace-Stone and freaky-eyed Jake Busey, as homicidal young lovers.

"Frighteners" might not make you believe in ghosts, but it will make you laugh, shiver, and maybe even shed a tear or two. Wildly funny, weird, gross, and sometimes really peculiar, this is Jackson's splatter-gore at its best.

Read Best Reviews of The Frighteners (1996) Here

I caught this movie on TV, and it was entertaining enough for me to sit through the whole film. I would have liked to give it a 3.6 stars if I could. I think it has a spark of something which makes it a little better than average, but I hesitate to call it excellent (4 stars). Since I knew nothing about this film, I was quite amazed to find people categorize it as a horror-comedy when I later looked it up here on Amazon.

I am an easily terrified person, so I generally stayed away from horror or gory movies. I remember when I finally gathered enough courage to watch "The Shining" because it is said to be such a classic, I had to turn my head away every time I sensed something potentially scary coming up. In the end, my total viewing time of that movie was less than 5 minutes. I suppose this explains how much I can stomach a horror movie. When I watched this movie, the word "scary" never came into my mind. I though it was fun, the special effect nice, and it was nice to see Michael J Fox again after a long while (although I wished his character wasn't so headstrong, as usual). The plot could have been a little more unpredictable. But it was fun, entertaining, but no horror movie.

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Originally, this film was supposed to have had a Halloween 1996 release date, but Universal, in its infinite wisdom, elected to shift the release date into the summer probably because of the awesome special effects. Unfortunately, the summer of '96 was dominated by ID4 and its city-destroying effects, which left the ghosts of Peter Jackson's The Frighteners spinning in the dust. I didn't think much of the film then.

I remained aloof until one night two or three years ago; I was up late, just flipping through the channels, when I just happened to run across this film. I recognized it, and seeing as nothing else was on, decided to give it a chance. Needless to say, I enjoyed it. It had quirky humor blended with horrific dark elements; the blending is done in such a clever way that it never completely loses either element, yet the tension is ratcheted up by shifting from more humor in the beginning to more horror towards the end. The film really walks a fine line, and it does so beautifully.

Being so impressed, I had to have it on DVD, and within a few weeks of that late night viewing, I had the original DVD release. Happy as I was to have the film, I was somewhat dissappointed by the lack of special features and, knowing it was from Peter Jackson the man behind LOTR and the bevy of supplemental materials those films had on their DVD releases somewhat surprised. I figured it must have been due to the film's poor box office, and assumed a more comprehensive release was out of the question.

I am pleased to say I was wrong, and this new Director's Cut DVD edition is the answer to any desires I might have had for a better release. A full 14 minutes has been restored to the movie, there's a full-length commentary by Jackson, storyboards, a trailer...but, by far, the best thing about this disc is the 3 hour and 45 minute documentary on the second side. It is the most comprehensive special feature I have ever seen, and considering I managed to watch it all in one sitting, it's also one of the most enjoyable. It's very in-depth and virtually any question one might have had about the making of the film is sure to be answered within. Regardless of the other features, the upgrade to this disc is worth it for the documentary alone.

I whole-heartedly recommend a purchase.

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Goon (2012)

I am a semi-recent hockey fan, female, from California, and also a big movie fanatic in general, and I found this movie to be entertaining, funny, fun, not too gory or anything... The main character was consistently charming and endearing in a sincere way... The pace was good. As a "puckhead," I know what details are a lil bit exaggerated, but as a movie fanatic, the narrative was engaging, fast-paced, not too formulaic, adventurous, and simply sweet in all regards!!! I wish there were more movies like this out there! GO DOUGIE!!!!

This film one-ups the relentless verbal crudity, testosterone-fueled raunchiness, and bone-crunching violence of the legendary ice hockey movie "Slap Shot," combining it with the dry wit and doltish characters you may know from SCTV's "Great White North" sketches. Based on a memoir by hockey pro Doug Smith, it mixes in broad jokes about beer, women, Russians, and Québécois to make something quintessentially Canadian, yet it's also accessible to those of us who did not grow up with Molson running through our veins and visions of the Stanley Cup haunting our dreams.

"Goon" features an excellent cast of Canadians led by the winning Seann William Scott, perhaps best known for his role as Steve Stifler in the "American Pie" films. Scott plays bouncer Doug Glatt, a sweet-natured, dim-witted man-child who just happens to be very good at beating the crap out of people. After a fracas at a hockey game leads a local team to hire him, his thuggish efficiency on the ice gets him promoted to a minor-league club, the Halifax Highlanders. Coach Ronnie Hortense (Kim Coates) assigns him the task of protecting the team's high-scorer, Xavier Laflamme (Marc-Andre Grondin), a former prodigy now less interested in hockey than he is in cocaine and strippers.

Eugene Levy (also in "American Pie") is Doug's father, a doctor ashamed of his son's job as a hockey enforcer; Jay Baruchel (one of the screenwriters) is Doug's friend Pat, a rabid fan who hosts an amateurish cable program devoted to the sport; Alison Pill (Baruchel's real-life fiancée) is Doug's crush Eva, a "puck bunny" with a thing for hockey players; and Liev Shreiber (the only major star in the film) is renowned enforcer Ross "The Boss" Rhea, who becomes Doug's nemesis in the arena.

Since it's a comedy, "Goon" gives us a happy-if-cockeyed ending in which Doug gets the girl and his underdog team wins redemption in the final showdown. But that's not really the point: this is an over-the-top love letter to the rough-and-tumble culture of hockey and of Canada itself, as well as an excuse for boys being boys, with all of the aggressive idiocy, drunken profanity, and bloody brutality that involves. Entertaining stuff. I recommend it.

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Warning This film has very over the top dirty language. If that's not your thing don't post a review about this movie. On to the movie: I watched the movie with my wife who is not a huge sports fan at all. Neither does she like blood much. This movie had pretty much everything a man loves about a movie Action, Sports, Fights, Overcoming bull crap in your life. Then it throws in just enough of a romance to keep anyone else with a pulse interested in the rest of the movie. It's not too long, it's gets to the point and it pulls you in from the start if you're a hockey fan.

Just remember it's rated R.

Read Best Reviews of Goon (2012) Here

Who doesn't love a good underdog story? Add in the fact that this is based on a REAL person (man i love that guy)... and especially when he's hot and he gets the girl in the end... and along the way he beats the holy crap out of everyone who deserves it... the fight scenes were AWESOME and the story was memorable...the characters are absolutely irresistable. It makes me want a hockey guy of my own. In the meantime I'm going to rent this again and watch it a couple more times! He was totally blessed by the fist of God. :-)

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What is cool is this is based on a true story of a guy who used to box and who is now currently a police officer (seek out the documentary short about this guy). Also do not miss the end credits to see the real Doug fight it out!! :)

Had to watch this a 2nd time as I was laughing too hard and missed some of the jokes. Great movie! Can't remember the last time I wanted to see a movie twice but will buy for sure when it is released on Blu Ray (mabye latter this year?)

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Basic Instinct (Unrated Director's Cut) (1992)

Basic Instinct is certainly a film that has not only aged well with time, it makes you wish they could still make a sexy erotic thriller this good today. With so much political correctness going on these days, a film like Basic Instinct would never be made quite the same way, had it been made today. Attacked while it was being filmed for it's quote "negative depictions of the Gay community" as well as a so called "date rape" scene, the film became controversial practically the day it became green lit.

Sharon Stone became an overnight sensation portraying the rich, seductive & powerful Catherine Tramell, a role that seemed tailor made for the actress. But in fact director Paul Verhoeven (Robocop, Starship Troopers) had to fight hard to prove to both Carolco Pictures and actor Michael Douglas that she was in fact the only person suited for the role. Having worked with Stone on his last picture, Total Recall (1990), Verhoeven knew that Stone had something special to give to the part and he finally got that message through to all those mentioned. I'd go so far to say that with the exception of her Oscar nominated performance in Martin Scorsese's Casino, Catherine Tramell is still Sharon Stone's best performance.

So what's the big deal between the R-rated & Unrated versions of Basic Instinct? Basically a little more violence and a little more sex. There's more stabs with the ice pick in the Unrated version (about 3 or 4), more shots of the victim actually being stabbed (courtesy of a man made puppet designed by Rob Bottin) and that's about it for the violence. The added sex has mainly to do with the first encounter between Michael Douglas's Nick Curran, and Sharon Stone's Catherine Tramell. The added scenes are hot & very well done, but overall, the result is still the same. The only other difference is the Unrated version includes an audio commentary with director Paul Verhoeven and director of photography Jan De Bont. This commentary is not available on the R-rated version. But both versions do include the 2nd commentary by Feminist critic, Camille Paglia, who praises the film as one of her all time favorite movies. Her commentary is quite informative and really gave me a lot of insight into the film that I never noticed before. Those of you who own the Special Edition Laserdisc that came out a few years back should be urged not to get rid of it. It's special features are quite different from those on these DVD versions. Even the Paul Verhoevan Commentary is different from the one on the DVD. Plus the DVD doesn't give you the option of viewing the final shot of the film with the alternate scoring conducted by Jerry Goldmith, although it is shown during the making of documentary. Still worth keeping.

I personally love how much the movie feels like an Alfred Hitchcock film. The dress Sharon wheres for the interrogation scene is very similar to the one Kim Novak wore in Vertigo. There are many references to Vertigo in the film, as well as The Birds, North By Northwest, Rear Window and a few others. This adds a lot of class to the picture that only enhances its creativeness. It may be a long time before another picture comes close to matching it.

Basic Instinct..destined to become a classic!

"I hate rugrats". Sharon Stone as Catherine Tramell

Basic Instinct is a guilty pleasure. I love this film, and have had the Unrated Director's Cut on VHS for many years. I bought the so-called Collector's Edition (included the ice pick pen) a while back and returned it because it missed quite a bit of footage. Recently, I tried again---and this time it was ice pick bingo! (Who needs the pen, anyway?) The Unrated Director's Cut is listed on Amazon as an unrated special edition (Special Edition Unrated) which "contains scenes the director was forced to cut." There is no image available. You can identify the DVD as Artisan's release, ASIN B00005N919. Make no mistake, THIS IS THE VERSION TO BUY. I also highly recommend the soundtrack on compact disc. Jerry Goldsmith's music is haunting, and one of the best scores ever composed for film.

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I will dispense with the standard plot synopsis and, for the most part, a review of this movie. 14 years later, most of us looking at a special edition "Basic Instinct" DVD already like it enough to at least show interest in possibly buying this. My question was, is it worth it to replace my old "Basic Instinct" DVD with a new one?

By my count this is the 4th DVD transfer of this film (there was a bare-bones DVD of the theatrical release, then a special edition with extras, then the unrated directors cut special edition with the same extras (that one had the dumb "ice pick box," but was eventually, and is now, available in a standard box whose cover art looks just like all the other releases (including the original VHS release): All white box, torso-and-up shot of Stone and Douglas whith her clawing his back), and now this one that still retains that same image of the stars, but now it is inside the lettering of the title).

I mention this for two reasons.

The first may not matter much to amazon and other on-line shoppers, but here's what happened to me while walking around Best Buy today: I already owned the "bare-bones" version (I picked it up for 5 bucks brand new at least 5 years ago, so this has never been a movie one needed to drop a lot on to own), but I wanted the unrated director's cut I saw advertised in the Best Buy weekend circular. I picked it up off the shelf and saw there was the older '02 special edition release right next to it for $5.99. I was not crazy about spending $15 (not that that is a terrible price, mind you) on a movie I already owned so I decided to go with the '02 version (I'll get to the comparison between the two in a moment that is reason #2). I got home and found out it was the special edition alright, but it was the original theatrical version. It had extras and such, but the point of replacing the thing in the first place was to get the director's cut. So I went back to Best Buy and, sure enough, because the boxes look the same except for a tiny-worded "director's cut" in the bottom corner, I grabbed the wrong one. The director's cut was there and it to was also only $5.99 (and because of some additional sale I was unaware of it rang up as something like $4.40). So BE CAREFULl WHEN SELECTING A VERSION OF THE FILM. The ice-pick box, dumb as it looked on the DVD shelf, seems to be gone so there is no easy way to tell all these apart. You gotta do a little reading. "Special Edition" doesn't automaticly mean "director's cut." (Especially for a DVD that has had as many similar and similar looking releases as this one.)

That's my first point. The second is to inform you that, in comparing this new version "special edition director's cut" with the $5 version I got, the only difference, besides the newly arranged cover art, is that there is an interview and an introduction by Sharon Stone. That's it. Other than that, it has the same bonuses, commentaries, etc. And that is said if that even matters to you in the first place. If you just want the movie, there is no reason to opt for this new, more expensice release; or if you already have the director's cut, replace it with this one unless you really want to hear from Sharon Stone (that's her now, mind you, not 1992 I'm just sayin'...)

So why was this made then? "Basic Instinct 2" hits theatres in a few weeks. I'll reserve judgment on that move until I see it, but I can judge this as a cash grab. I'm not angry though. "Basic Instinct" is hardly the first film to pull this stunt and I almost wish that some of the movies I really loved had just one "special edition" or update from its first DVD incarnation, not to mention 4 or more. I would just hope there would be something that sets them apart from the previous version.

That's not the case here.

* One quick observation I could not resisit mentioning: It is ironic that a movie as notorious for its graphic sex and violence as "Basic Instinct" that the Amazon info lists its rating as simply "Unrated for drug use and laguage." :)

Read Best Reviews of Basic Instinct (Unrated Director's Cut) (1992) Here

Forget the rated version of BASIC INSTINCT. It's white-washed and missing graphic scenes of sex and violence that make the movie what it is. Sharon Stone plays the devil ... yes, Paul Verhoven admits that she is the the devil incarnate as a blonde ice-pick weilding bisexual psychotic who tempts and outsmarts every single person in the cast! Priceless here in DVD land is Camille Paglia's radical feminist take on the movie. She's fast and funny describing BASIC INSTINCT as a movie where women take back their sexual power! Come inside and check out the steamiest erotic thriller ever! Political correctness means it could never be made today. Trashy, yes! But also very well done and stylish. Sharon Stone became a star, and Michael Douglas never quite recovered. See why!

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I doubt that Artisan even bothered to remaster this DVD release -it looks like it was either 1) taken directly from the Laserdisc master or (and most likely) 2) taken from a general release print (not the original print) of the movie. What a shame -Artisan usually produces some great DVD packages, but not this time. Save your . . . money. . . and wait until a better DVD transfer hits the shelves...

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Enter the Dragon (2007)

So here it is... more than 30 years since the original theatrical release of Enter the Dragon, Warner Brothers releases the definitive 2 DVD Special Edition. It's a fine offering, long overdue, and considering the reasonable price, really offers a lot of nice extras, though most of them have been available elsewhere and have therefore been seen before (at least by rabid fans like me).

To start with, there is of course the movie Enter the Dragon (ETD) Bruce Lee's magnum opus that was not released until after his unfortunate death in 1973, but sealed his immortality. The plot is simple enough Bruce is a modern day Shaolin monk who is somehow enlisted by the British/Hong Kong government to infiltrate the island of Dr. Han (Shieh Kien), a crusty old renegade Shaolin gone bad who holds a yearly martial arts tournament to recruit talent for an international opium and prostitution racket. Roper (John Saxon), or "Loper" as Bruce says his name, is the established Hollywood caucasian star brought in because of reservations about Bruce's ability to carry the film, while Williams (Jim Kelly) is the token blaxploitation character who, this being the 70's, is kind of a Shaft/Superfly ass-kicker and, in the spirit of horror movies, is the first to die at the hand of Han actually, at his artificial, interchangeable, iron, and oftentimes bladed hand. Even Jackie Chan and Sammo Hung, as young Hong Kong stuntment before they became stars in their own right, make infamous appearances as guys on the receiving end of Bruce's wrath. But the real point, or value, of this movie is that Bruce Lee shines throughout with his incredible fight sequences he once again casts Bob Wall as whipping boy, hitting him with lightning fast punches, an insane skip side kick, and a great groin shot that still makes me wince despite hundreds of viewings; he has some fantastic weapons sequences with staff, double escrima sticks, and nunchaku; and he more than lives up to his reputation as the "man with three legs" as he demolishes armies of scrawny Asian guys whose gung fu is pitiful in comparison (check out the guy laughing in the background as Bruce connects three successive roundhouse kicks to one sap's head in the final mob fight). This was totally innovative and amazing in 1973 as the first ever martial arts movie made in Hollywood and despite all the subsequent copycats and modern day wire-fu flicks, no one has ever matched Bruce's intensity, charisma, and moves. There are some classic dramatic sequences as well with Bruce speaking English in his own voice (unlike all of his Hong Kong movies whose English versions are horribly dubbed), such as Bruce teaching a student and rapping him on the head as he expounds some homespun Zen philosophy or Bruce poignantly asking "why doesn't someone just pull a .45 and settle it?" Incidentally, this is the uncut version of the movie with some extra scenes not included in the theatrical release basically Bruce talking quasi-philosophy (well, actually, it's someone else dubbing in Bruce's voice) with his Shaolin elder that he later recalls in the final fight sequence.

Of course, few people who buy this DVD don't know all this already, so what's new? Well, there is a commentary track by producers Paul Heller and Fred Weintraub there's some interesting tidbits, but overall it's disappointingly uninspired. Then there's "Blood and Steel: The Making of Enter the Dragon" a newly produced documentary short that includes some rare and new footage a clip from Bruce's Hong Kong TV appearance in which he breaks 4 dangling boards; an interview with John Saxon, Lalo Schifrin, and the kid who gets smacked on the head by Bruce in the movie (now apparently a well-known Hong Kong director); and several minutes of on-location footage shot with Ahna Capri's handheld Super 8 camera that has never been seen before (it's short of amazing, but it's new and therefore gold to diehard fans). On disc 1 there's also a soporific Linda Lee (Cadwell) interview, another "making of" featurette with on-location footage shot by the AD, John Little's short "In His Own Words" featuring most of the Pierre Burton interview, and some old black and white movies (with sound) of Bruce kicking his buddies and hitting his heavy bag in his Los Angeles backyard though these have all been previously available in one place or another (including the 25th Anniversary ETD DVD).

Disc 2 includes all of the TV and theatrical trailers for the movie (somewhat repetitive) and two previously released Warner Brothers documentaries Warrior's Journey, which captures and knits together the lost Game of Death footage (GOD) in its available entirety, and Curse of the Dragon, a George Takei (Sulu of Star Trek fame) narrated documentary released around the time of Brandon Lee's death. These are both decent films, with Warrior's Journey a real gem with the GOD footage the definitive way to watch Bruce in widescreen duel nunchakus with Dan Inosanto and try to deconstruct Kareem Abdul Jabbar's fighting style while sporting the iconic yellow and black tracksuit revived by Uma Thurman in Kill Bill Vol 1. Curse of the Dragon is interview heavy (Kareem, Taky Kimura, Paul Heller, James Coburn, etc.) but also includes clips from Bruce's childhood movies, his Green Hornet screen test, his appearance at Ed Parker's Long Beach Karate touurnament, and some backyard work-out footage with Coburn. But once again, these films have already been released before on their own, so while decent, they're less than revelatory.

And so, what we have here is by far the best available version of ETD that now exists and probably ever will, complete with a lot of nice extras, most of which have been available elsewhere. It's nice to have it all in one package (there's no apparent need to sell Warrior's Journey as a standalone product anymore) at a reasonable price. On the other hand, Lee worshippers will no doubt wish that there was more why not include the complete Green Hornet screen test, or a Jim Kelly or Jackie Chan interview or commentary track, the complete James Coburn training session footage, all of the Ahna Capri film, more ETD outtakes, or maybe even "Kentucky Fried Movie," a parody of ETD released many years ago... but what can you do Bruce died 31 years ago and this is the legacy he left behind.

I recently watched Enter The Dragon on the Voom HD Kung-Fu network, and it looked relatively good, but not great.

The Blu-Ray version obviously got a lot more attention, care, and cleanup. It is by far the best looking and sounding version I've ever seen of the movie. It sounds like the bass was tweaked quite a bit, because whenever Bruce would hit one of his signature punches, my subwoofer put out one heck of a thump. It sounded great, if not a little over the top.

Some of the signature grain of the original is still there, but the images are much more crisp and sharp than any other version.

Definitely worth it for the Bruce Lee fans out there.

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I recently purchased a Playstation 3 and an HD LCD TV, and this is the first Blu-Ray disc that i have bought. Ive seen this movie dozens of times on TV, VHS and DVD and i thought i knew every fight scene back to front. Since seeing it today, i discovered how much i was missing in those old video formats. There really is that much more detail and smoothness in the images. Its a great showing for a 30yo movie. There is also a great deal of documentaries and extras if you dig that kind of stuff.

As for the movie itself...its a classic action movie with fantastic fight scenes, a convincing bad guy, funny bits, armies of dumb henchmen, hot chicks and Bruce Lee in his prime! What more could an action film lover want?

Read Best Reviews of Enter the Dragon (2007) Here

I've watched the recent HD DVD version of this movie and found the picture quality excellent. The colors are richer and the overall quality appears to make the picture jump out at times when viewed with the Toshiba A x1 player.

I don't think it is fair to give the movie a low rating, as one reviewer did, based on the fact that it is an older movie. Comparing any older movie to modern day production values is misleading and inaccurate. Following this comparisson, one would have to give a low rating to all movies not done in the past few years.

Enter The Dragon was innovative for its time and utilized production methods that were top quality for its time.

The transfer itself is the citeria that the review should be judged on, which in this case is done quite well.

As for the comparrison to the 60's James Bond movies, the HD version of You Only Live Twice is superb. Yes, the fashion, music, dialogue,... are not modern day; how can a film escape it's own time period. However, the Connery Bond movie screenplays far outweigh the childish, comic book portrayals in the curent Bond films with only protracted stunt sequences to amuse a child like mentality.

It is interesting that for an "outdated" film like Enter the Dragon, it's character depictions, plot and fight choreography are most often duplicated by today's style of martial art movies.

Have today's "highly evolved" movies no original ideas other than replacing Lee's actual fighting skill, speed, gracefulness and charasmatic screen presence with acrobatic clowns whose abilities are enhanced with wire work.

The picture and sound quality of the HD Enter the Dragon is most striking when viewed on the Toshiba player. It is certainly more entertaining then watch a highly detailed HD version of the inane Pitch Black or recent Jackie Chan, Jet Li films whose silly plot lines and poor acting are to be ingnored just to impress friends coming over to view how amazingly life like the picture quality is!

Once the novelty of watching films on the superior HD DVD passes, classic movies will always stand on their own merit.

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This movie is a classic of any genre. It has such a great dated fill to it like other classic sixties and seventies films such as Goldfinger, Deliverance or Dirty Harry. I love the cast and their interaction. A Chinese, African American and white guy all fighting together like there's nothing out of the ordinary about it, which is how it should be. These days you would have to have some joke where the Chinese guy makes some "innocent" crack about the 'hood or the black man calling the white guy cracker. In this film everyone is treated with equal respect. It seems to me this is something that was more common place in films in the early seventies or maybe it was the influence of Bruce Lee's own philosophies. Whatever the cause, it's nice to see three different races represented as equals.

The plot is a cross between a James Bond movie and the standard Kung Fu pictures. Bruce Lee is recruited by a shadowy government organization to infiltrate a mysterious island as a participant in a Karate tournament. This is basically a character and action driven movie because there isn't much suspense. It's pretty much a given that Han is up to something.

Where this movie shines is the martial arts action. I originally saw Enter The Dragon as a double feature at the drive in in the early eighties. I remember thinking as I watched the first feature (Kill Or Be Killed) that the fighters were fast. That is until Bruce Lee came on. I had never seen anyone move that fast before or since. The final fight in the house of mirrors holds up well and is every bit as thrilling as any fight scene of today.

As for the bonus features, the trailers are interesting if for no other reason then it's amusing to see how far commercials have come. The interview with Bruce Lee is particularly poignant. It makes you wonder what would be next. He had a powerful personality and very definate views on fame and movie making. I think his films would have only gotten better and may have even brought equality and better roles for minorities to the movies decades sooner.

Tooth Fairy (2010)

Dwayne 'the Rock' Johnson dressed up as a fairy has got to be one of the more ridiculous images in recent movie history. That's just one of the things that makes Tooth Fairy hilarious. The movie is filled with witty (and sometimes corny) humor. The plot and character development also feel pretty natural. Indeed, even though the plot device of a boyfriend trying to win the love of his girlfriend's children has been used far too many times, it didn't feel stale.

Meanwhile, the toothfairy "kingdom" or whatever had a great combination of magic and sass. It's set up kind of like MI6 from James Bond Julie Andrews even acts as the head tooth fairy. At the end of the day, it's kind of like The Santa Clause but with wings and an attitude.

TOOTH FAIRY

STARRING: Dwayne Johnson, Ashley Judd, Stephen Merchant, Ryan Sheckler, Chase Ellison, Destiny Whitlock, Seth MacFarlane, Julie Andrews and Billy Crystal

WRITTEN BY: Lowell Ganz, Babaloo Mandel, Joshua Sternin, Jeffrey Ventimilia, Randi Mayem Singer and Jim Piddock

DIRECTED BY: Michael Lembeck

Rated: PG

Genre: Comedy

Release Date: 22 January 2010

Review Date: 18 February 2010

Nearly all of Dwayne Johnson's movies have been enjoyable, but this is the first time he's shown talent with acting. I've gotta say, he was pretty darn good in Tooth Fairy.

Johnson plays Derek, a professional hockey player with the nickname `The Tooth Fairy' which he was given for knocking out so many teeth on the ice. It's more than annoying in movies like this, where we know the character will eventually become the tooth fairy, and for some reason they feel the need to previously deem him with a strictly on the nose nickname; kind of like Tim Allen's character Scott Calvin having the same initials as Santa Clause, if you will. But I'm not a child, so my point here is irrelevant.

When Derek makes an un-wanted comment to his girlfriend's daughter about the tooth fairy not being real, he is sentenced to two weeks of `tooth fairy duty'. This sounds a little ridiculous, but we both know this film isn't aimed at you or me, but at the little ones. So looking at it from their point of view, it's on level with the plot of a great film like The Godfather or Saving Private Ryan, in comparison.

Derek's girlfriend is played by Ashley Judd and the harbinger of Derek's two weeks of doom, is a head fairy of sorts, played by Julie Andrews. There are plenty of humorous shenanigans to be had with Derek trying to cover up the fact that he is a tooth fairy, between his girlfriend and her two kids; which is to be expected.

While in `fairy land', Derek is met by a kind of Q character from the James Bond Franchise. His name is Jerry and he is played by none other, than the legendary Billy Crystal. Thank God he's back! Crystal is as enjoyable as ever, while him and Johnson exchange comedic moments back and forth while Derek is being given his fairy `instruments'; dog and cat repellent, magic fairy dust that will shrink you, etc.

Derek is also granted a humorous British side-kick / guardian angel named Tracy (Stephen Merchant). I don't know that I have ever seen this gentleman before, but I'm sure I haven't seen the last of him; he was hilarious. Jerry is a fairy who has been denied his wings and is forced to assist those sentenced to `tooth fairy duty.'

No it's not going to be the best movie of the year; but if you have even a smidgen of a sense of humor, you will at the very least smile.

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I must have missed something. I considered myself lucky to have laughed a couple of times, otherwise I found myself staring at my TV screen in total disbelief. This was a comedy?

Derek Thompson (Dwayne Johnson) aka, THE tooth fairy, is a washed up hockey player who gets his kicks crushing the dreams, hopes, and aspirations of children. He steals a dollar from his girlfriend's daughter then tells her there's no tooth fairy. Everything has consequences and he soon finds himself on the bad side of the head tooth fairy, Lily (Julie Andrews). His punishment, become a real tooth fairy for two weeks. What follows is a spate of slapstick, tooth jokes, and a whole lot of nastiness on the part of this over-the-hill hockey player.

Dwayne, as Derek, spends most of the film whining, pouting, and shouting while ginning like a psychotic lunatic at the oddest of times. He looked like a maniac. And let's not forget that he got his kicks from knocking out teeth and destroying the dreams of children; things he obviously enjoyed doing. Worse. Every time the audience is led to believe this repugnant idiot finally gets it and is about to be redeemed, he reoffends and does worse. That's a definite pattern of abuse not to be applauded (the fact that it's at the very heart and soul of this film is disturbing. The fact that it's a comedy is even more troubling). That this cretin keeps apologizing after every abuse then does something worse suggests that any form of a relationship with this guy is doomed. And that too is troubling. That this movie became a box office hit................!

Read Best Reviews of Tooth Fairy (2010) Here

I thought this movie would be so corny that I would have to turn it off after a few minutes, but to my surprise I really liked it! It's genuinely funny and fairly unpredictable. I was very pleasantly surprised. It's actually not just for kids, adults will enjoy this one as well.

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There hasn't been a Dwayne "The Rock" Johnson movie that's failed to deliver yet (as far as I'm concerned), but Tooth Fairy is the first disaster on his resume. He'll bounce back just fine, I'm sure, but this movie is as close to unwatchable as any movie I've seen.

I'm shocked at the majority of favorable reviews on here. I'm not sure if I was watching the same movie! Or maybe they watched the movie with their 5 year old kids, and the kids laughed and had a good time. But for an adult without children, this movie was a complete disaster.

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Seven (1995)

SE7EN Can anything more be said about what a great film this is???? Well, now, YES because New Line's new Double DVD is a fantastic package and a MUST for any fan of the film. The film has once again been remastered from the original film elements and it has never looked better -even better than the old Criterion laserdisc. Colors, shadowings, sound, contrast have all been adjusted for optimum effect (one of the extras on disc 2 shows the before-and-after on several scenes). Just check out the green lamps in that library scene WOW! The film is on Disc 1 and there are 4 separate commentary tracks...the most interesting one in my opinion is Track 2 which discusses the genesis of the project from script, to selling it to a studio and the fight to retain the original ending. Fincher is always interesting, but hearing Andrew Kevin Walker discuss his inspiration for writing the script and the struggles to get it made is even more fascinating. The voice behind one of the most original screenplays in years is pure genius. "Extras"-filled Disc 2 features deleted scenes (including the original opening)...most of which are just slightly extended scenes from the film (you see more of "Pride", etc.). There is also an alternate cut of the ending with different shots that was test-screened to an audience plus a storyboard of a different ending that was never shot. All of these come with or without commentary. An analysis of the opening credit sequence offers different angles and commentaries on 3 variants of the sequence. There are still galleries with commentaries by the photographers. Yes, "Sloth" victim's decay is included in the photos (unfortunately, not as clearly as it was presented on the Criterion LD) as well as John Doe's notebooks and lair. There is only one theatrical trailer (where are all the tv spots, etc. that were on the LD?????) and a short EPK. There are also some DVD-rom features on both discs (script-to-scene, etc.) to round it all out.

Only downside is that a lot of the extras on the Criterion LD are NOT INCLUDED HERE in any form. Although Criterion holds the rights to their original commentary track (Featuring Fincher, Pitt, Freeman, Rob Bottin , Walker, etc) and some other extras, surely NEW LINE owns the rights to the tv spots and other such promo materials. Where, for instance, is the great gallery of original artwork and poster concepts that so playfully used the number 7 or the sins as the backdrop???? New Line created these so why aren't they included here? The Criterion disc also had out-takes and many other things not included here, so don't ever toss that disc out! It's sure to be valuable some day. And with this DVD, which also includes items NOT on the Criterion LD, they combine to make the ultimate "SE7EN" collection.

"At first sin is a stranger in the soul; then it becomes a guest; and when we are habituated to it, it becomes as if the master of the house." Tolstoy.

Although not originating from the bible, the concept of deadly sins is almost as old as Christian doctrine itself. Theologians like 4th century Greek monk Evagrius of Pontus first compiled catalogues of deadly offenses against the divine order, which 6th century pope Gregory the Great consolidated into a list of seven sins, which in turn formed the basis of the works of medieval/renaissance writers like St. Thomas Aquinas ("Summa Theologiae"), Geoffrey Chaucer ("Canterbury Tales"), Christopher Marlowe ("Dr. Faustus"), Edmund Spenser ("The Faerie Queene") and Dante Alighieri ("Commedia Divina"/"Purgatorio"). And in times when the ability to read was a privilege rather than a basic skill, the depiction of sin in paintings wasn't far behind; particularly resulting from the 16th century's reformulation of church doctrine, the works of artists like Hieronymus Bosch and Pieter Bruegel the Elder brought the horrific results of humankind's penchant to indulge in vice back into general consciousness with surrealistic eloquence, reminding their viewers that no sin goes unseen (Bosch, "The Seven Deadly Sins") and that its commission leads straight into a hell reigned by gruesome, grotesque demons and devils whose sole purpose is to torture those fallen into their hands (Bosch, "The Hay-Wagon" and "The Last Judgment;" Bruegel, "The Triumph of Death" and "The Tower of Babel").

More recently, the seven deadly sins have been the subject of Stephen Sondheim's play "Getting Away With Murder" and a ballet by George Balanchine ("Seven Deadly Sins"); and on the silver screen the topic has been addressed almost since the beginning of filmmaking (Cabiria [1914], Intolerance [1916]). Thus, "Se7en" builds on a solid tradition both in its own domain and in other art forms, topically as well as in its approach, denouncing society's apathy towards vice and crime. Yet and although expressly referencing the writings of St. Thomas Aquinas, Chaucer and Dante David Fincher's movie eschews well-trodden paths and grabs the viewer's attention from the beginning; and it does so not merely by the depiction of serial killer John Doe's (Kevin Spacey's) crimes, which could easily degenerate into a mindless bloodfest that would defeat the movie's purpose. (Not that there isn't a fair share of blood and gore on display; both visually and in the characters' dialogue regarding those details not actually shown; but Fincher uses the crimes' gruesome nature to create a sense of stark realism, rather than for shock value alone.) In addition, Doe's mindset is painstakingly presented by the opening credits' jumpy nature, his "lair"'s apocalyptic makeup and his notebooks, all of which were actually written out (at considerable expense), and whose compilation is shown underlying the credits. The movie's atmosphere of unrelenting doom is further underscored by a color scheme dominated by brown, gray and only subdued hues of other colors, and by the fact that almost every outdoors scene is set in rain. Moreover, although screenwriter Andrew Kevin Walker explains on the DVD that the story was inspired by his observations in New York (and the movie was shot partly there, partly in L.A.), it is set in a faceless, nameless city, thus emphasizing that its concern isn't a specific location but society generally.

Central to the movie is the contrast between world-weary Detective Somerset (Morgan Freeman) who, while decrying the rampant occurrence of violence in society, for much of the movie seems to have resigned himself to his inability to do something meaningful about this (and therefore seems to accept apathy for himself, too, until his reluctant final turnaround), and younger Detective Mills (Brad Pitt), who fought for a reassignment to this particular location, perhaps naively expecting his contributions to actually make a difference; only to become a pawn in Doe's scheme instead and thus show that, given the right trigger, nobody is beyond temptation. As such, Somerset and Mills are not merely another incarnation of the well-known old-cop-young-cop pairing. Rather, their characters' development over the course of the film forces each viewer to examine his/her own stance towards vice.

Morgan Freeman and Brad Pitt perfectly portray the two detectives; while Freeman imbues his Will Somerset with a quiet dignity, professionalism and learning, muted by profound but not yet wholly irreversible resignation, Pitt's David Mills is a brash everyman from the suburbs with an undeniable streak of prejudice, a penchant for quick judgment and a thorough lack of sophistication, both personally and culturally. Notable are also the appearances of Gwyneth Paltrow (significantly Brad Pitt's real-life girlfriend at the time) as Mills's wife Tracy and ex-marine R. Lee Ermey as the police captain. Yet, from his very first appearance onwards, this is entirely Kevin Spacey's film. Reportedly, Brad Pitt especially fought hard for his casting; and it is indeed hard to imagine "Se7en" with anybody other than the guy who, that same year, also won an Oscar for portraying devilish Keyser Soze in "The Usual Suspects": No living actor has Spacey's ability to simultaneously express spine-chilling villainy, laconic indifference and limitless superiority with merely a few gestures and vocal inflections.

While "Se7en" can certainly claim the "sledgehammer" effect on its viewers sought by its fictional killer, the punishment meted out to Doe's victims taking their perceived sins to the extreme pales in comparison to that awaiting sinners according to medieval teachings. (Inter alia, gluttons would thus be forced to eat vermin, toads and snakes, greed-mongers put in cauldrons of boiling oil and those guilty of lust smothered in fire and brimstone.) Most serial killers have decidedly more mundane motivations than Doe. And after all, this is only a movie.

Right?

"Sin ... engenders vice by repetition of the same acts, [clouding the conscience and corrupting the judgment.] Thus sin tends to reproduce ... and reinforce itself, but it cannot destroy the moral sense at its root." Catechism of the Catholic Church (1994).

Also recommended:

Getting Away With Murder

Red Dragon (Widescreen Collector's Edition)

The Silence of the Lambs (Two-Disc Collector's Edition)

Cabiria

Intolerance

The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso)

The Canterbury Tales (Penguin Classics)

Aquinas: Selected Writings (Penguin Classics)

Bosch : C. 1450 1516 Between Heaven and Hell (Basic Series : Art)

Buy Seven (1995) Now

Seven is a very disturbing thriller about a serial killer,John Doe(Kevin Spacey), killing people via examples of the seven deadly sins gluttony, greed, sloth, lust, pride, envy and wrath. The story begins with Detective Mills (Brad Pitt) being assigned to Detective Somerset (Morgan Freeman). Detective Somerset is due to retire at the end of the week, and Detective Mills is moving up in the world, and is to take Somerset's place. This is a very disturbing movie. It will keep you enthralled and glued to your seat for the entire 127 minutes. Indeed, I was staggered that I never once lost concentration or was bored with this movie.This is a movie with an unexpected ending that is absolutely unpredictable and which is not at all a "Hollywood" style ending.

The disc itself. The movie is presented in its origianl form, 2.35:1 aspect ratio, letterboxed not Anamorphic.The picture is dark in itself however the detail is quite good and crisp with very few problems (odd shimmer effect in certain scenes). The sound is recorded in Dolby Digital 5.1 which has no audio sync problems and the use of the surround mainly during rain sequences adding tone. The track was bass heavy in spots and gave the .1 channel a working. There is a small section of extras , a 6 min featurette, production notes and Star bios. My only complaint is this disc however a FLIPPER, yes it is on 2 sides!, split after the conversation between Morgan freeman and Gweneth Paltrow in the coffee shop. Just as suspense is building the film requires a turn over. Please note film distrubutors this is annoying and in the age of DVD unnecessary.I hope that the film is re-released as a dual layered film and includes some of the extras from the Lasedisc version.

All said and done the film is one of the best, along with Silence of the Lambs, in its genre and the disc even with its faults is a qaulity purchase.

Read Best Reviews of Seven (1995) Here

I thought this movie was incredible the first time I saw it I love films that DON'T end the way you expect them to, that don't follow the safe and true path, so if you don't already own the videotape or the original DVD release, that alone is a great reason to buy (or at least rent) this new DVD.

We'll start off there...

1. It's simply a great movie. A modern classic. The screenplay is just brilliant. The characters are developed and complex. Screenwriter Walker hit upon a great idea and ran with it. (And I am bitterly jealous.) Even if New Line were able to get away with making it into just another cheesy cop flick, the idea would have been intriguing. Walker went the extra mile, though, and pushed himself to try new twists and turns. Kudos to him and directory David Fincher, Brad Pitt, Morgan Freeman and everyone else who pushed to keep the plot's integrity. The acting is superbe, Gweneth Paltrow is a true angel and Kevin Spacey (yes, lovably average-looking Kevin Spacey from "American Beauty") just resonates with evil.

2. It's not just my assumption that New Line tried to "emsculate" (my word) the "SE7EN" script; it's on the record now with the "Stars" commentary track. It's never been easy to get a movie made when it cuts against the grain (just ask Terry Gilliam). Studio suits are notorious whimps when it comes to trying out new stuff, as Fincher, Pitt and Freeman attest to. Though the suits may not think so, I think the director and actors are being nice they don't name so many names. But they do talk about the battle with the studio to keep the picture from being watered down and turned into just another blasé film version of a TV cop show. Plus you get to feel like one of their buds as they talk fairly candidly about what was going on during production, their thoughts and feelings about the story, etc. It is particularly interesting to list to Morgan Freeman analyse his character's psyche and hear how he came to certain acting choices a gem for other actors. The "Stars" audio track is often quite funny, too, as with Fincher and Pitt's observations about how the dead GLUTTONY guy was "enhanced" (again my word) to recompense the actor for having enduring hours of make-up and playing a stiff.

3. Speaking of commentaries, the "Sound" commentary track with Fincher, Author Richard Dyer, composer Howard Shore and sound designer Ren Klyce is an enlightening treat, one I've never experienced before (though I don't own every DVD out there). They explain the complex process of applying the different continuous sounds of the city and music in a digestible fashion. It'a fascinating, too, to watch the movie with the background noise brought to the fore and the dialogue and up-front sound effects cut out. Very surreal.

And tying into that...

4. The sound has been remixed for the home theater, and it will blow you away. There's background noise everywhere, just like in a real city. It's crisp, it's clear, it's there in your face (or rather your ear, if you prefer). Why, their creation is alive! It's aliiiiive!

5. The "Story" commentary track with Fincher, Dyer, screenwriter Andrew Kevin Walker, editor Richard Francis-Bruce and New Line production president Michael De Luca breaks the story down piece by piece. This track alone should be a film school student's dream come true; it dissects the movie nearly scene by scene. Wannabe screenwriters and movie directors should listen to this track over and over again.

6. The picture quality on this new DVD cannot be overstated. It has been transferred from the original negative and it is simply sumptuous. It's not a post card, mind you, and it's not meant to be, but it no longer has that "ER" faded feeling to it, either. For example, the all important color RED really JUMPS OUT out at you from the darkness now, adding to the creepiness of the moment. When something is supposed to be disgusting, again like the dead GLUTTONY guy, it is. It's just so real and vivid, like you're there in the moment. It's unlikely that many movies will ever get the loving treatment "SE7EN" has received for this new DVD release, and it's a shame. This makes those movies that have been rushed out onto DVD to make a quick buck (and there are plenty of them) look that much crappier. (Ever see "Splash" on DVD?) That's why people who love movies, and not greedy MBA schmucks, should run movie studios.

7. Although I've watched the movie's original opening (I think they could have kept it in, but with the new vibrating title sequence), there's still a ton of stuff on the second supplemental DVD I haven't yet had time to explore. I have the "Fight Club" DVD, though, and even though that's a different studio (Fox), I am confident that David Fincher will not let me down, so my 7th reason for getting this DVD two-pack is all the fun exploring all the extra stuff, such as extended scenes, the fourth "Picture" commentary track, and veiwing the dead GLUTTONY guy frame by agonizing frame. (If that's your thing, Sicko.)

This film may actually convince me to put off my mother's heart transplant so I can buy a DVD-ROM.

(Shut up, Mom! No one lives forever! Geez.)

Want Seven (1995) Discount?

I wish more movies like Se7en were made, and not because I'm into only creepy, unsettling films. Se7en simply doesn't pull any punches. The excellent characters, script, music, and atmosphere all work together to create the perfect canvas to paint this brutal tale of a serial killer that tortures and kills specific people in accordance with the seven deadly sins. Everything in Se7en has been tweaked to perfection. The movie captures your attention so completely that you can't look away, even at some of the truly morbid scenes. And let's not forget the acting! Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and Kevin Spacey are all simply outstanding. Every word they utter seems real, unlike most Hollywood films where the characters are contrived and simply not believeable. The ending is shocking and depressing, more than equaling the rest of the film.

As if Se7en wasn't awesome enough, the DVD is simply loaded!! This is one of those rare cases when a movie DESERVES to be stocked full of extras! Obviously, this movie is not for the squeamish or weak of heart, but anyone who can handle this kind of a movie will discover one of the best films of the 90's.

16 Blocks (2006)

Jack Mosley (Bruce Willis) is an aging, rundown, alcoholic cop who, at this stage of his career, finds himself at the bottom of the totem pole. Thus, he gets saddled with the menial errand of escorting smalltime thief Eddie Bunker (Mos Def) 16 blocks from the precinct to the courthouse, where Eddie will testify in a grand jury. But what begins as a routine assignment for Detective Mosley becomes a desperate bid for survival as the bleary eyed, hung-over cop and his charge find themselves under relentless attack by focused, well-armed assailants intent on making sure Eddie doesn't make it to his court appointment.

16 Blocks is a thinking man's action thriller. Even though, on the surface, it looks like a suspense film, a case could be made for it to be considered a character study picture. Amidst all the frenetic bullets and chase sequences, you'll find many moments of casual interaction, as leisurely enacted by Willis, Mos Def and even Morse. Willis and Mos Def, in their mismatched buddy roles, put in some character acting and have several scenes where they just have conversations (some on point, some non sequitur), in between the chases. Mos Def's motormouth character, in particular, spends an inordinate amount of time just riffing about suits and signs and bakeries.

Bruce Willis continues his recent trend (see Hostage) of portraying jaded, burnt-out cops who end up seizing one last shot at redemption. He excels in playing this type of role: tired, world-weary, kicked-around, maybe even a little corrupt, but, ultimately, someone not to be eff'd with and someone who can be depended upon to doggedly do the right thing (Bruce seriously needs to patent this character). Jack Mosley, as played by Willis, is laconic, paunchy, shuffling, stuck on the bottom rung career wise, and has a dire craving for alcohol. But the audience never doubts he'll man up when the chips are down.

I'm a fan of Mos Def, from way back when he was just a hip hop artist. Don't get me wrong, he was and is a great rapper. He flows and rhymes with insight and intelligence. And he's great as the host of HBO's Def Poetry. His natural, off-the-cuff style of acting is making folks sit up and pay attention (check out Brown Sugar, The Italian Job, and Something the Lord Made). With 16 Blocks, he comes out of left field with his jazzy interpretation of Eddie Bunker: verbose, optimistic and a bit quirky. The only negative in his portrayal is the grating fashion in which he channels the nasal voice of comedian Eddie Griffin. Other than that, Mos is solid.

David Morse is great as the main villain. He injects his Det. Frank Nugent, Jack's crooked current supervisor and ex-partner, with equal doses of complexity, cynicism, and immorality. Nugent's been around the block, knows the ropes and could care less about minimizing collateral damage. Yet, a part of Nugent still cares for his former partner Mosley and regrets having to put him down. But, in the end, he's gotta do what a dirty cop's gotta do.

Director Richard Donner gauges the tempo of this movie just right. Not too plodding, but not all out action, either. Oh, the action scenes are plentiful and charged with enough tension but they aren't break-neckedly constant. There is ample breathing room in between the pursuits, a pace which nicely suits Willis's middle-aged, gimpy-legged hero, as he actually gets a chance to take in oxygen, in between exchanging gunfire and platitudes.

The sparse Special Features consist of an alternate ending not seen in theaters, several deleted scenes with wiseacre commentary by Richard Donner and his screenwriter, and a theatrical trailer. A film commentary would've been nice.

16 Blocks is a well-meaning movie that is introspective and thoughtful, yet strives to give the fans their money's worth with its done-by-the-numbers shoot-em-up violence. There is a worthy message here trying to make itself heard, thru the voice of Eddie Bunker, that Pollyanna of a crook. The movie has a top-drawer star at the top of his game, who seems, in fact, to get better as he ages. And it's got Mos Def, who I firmly believe will be heard from for a lot of years to come. Three and a half stars and a solid recommendation.

Veteran director Richard Donner (the first and best "Superman" and "Lethal Weapon") does an excellent job of moving things along in regards to the plot as well as crisply addressing the psychological, moral and social implications of his characters actions in the terrific "16 Blocks." And it helps tremendously to have Bruce Willis and Mos Def in the leading roles.

Willis: gutted, disheveled, disgusted with life and his job as an NYC detective, Jack Mosley... swigging out of a 5th of Canadian Club at 8 AM, limping from an injured leg, looking and acting every bit as a man who has given up on life and waiting for retirement so he can put a bullet through his head. But there is a lot more going on in Jack's head and Willis is very much up to the task of giving him a truthful inner life that both grates on your nerves as well as touches your heart.

Though hampered by a cartoon character voice, the excellent Mos Def gives small time crook Eddie Bunker emotional weight and depth. Eddie's motto? "People can change" ...a mantra that will resonate all through this film.

Donner has tackled some weighty emotional and social issues here: redemption by way of the truth, save a life and that life becomes your responsibility...themes not usually associated with this type of police action picture. In fact"16 Blocks" reminds me very much of Sidney Lumet's sublime "The Verdict" in its juxtaposition of the casualties of basic human nature and its failings and the morality or lack thereof of Justice.

Buy 16 Blocks (2006) Now

Resting heavily on the shoulders of THE GAUNTLET (Clint Eastwood, 1977), 16 BLOCKS gives us a standard Bruce Willis action film and does so admirably. Not overly so, but a positive nod is deserved.

Jack Mosley (Willis) is an old, alcoholic cop who's always done "the right thing" for his department. And now he's assigned to take a fast-talking thug named Eddie (rapper Mos Def) just 16 blocks for a court appearance. Trouble is, though, Eddie is scheduled to testify against some crooked cops who live and breath right in Jack's backyard. Jack is unaware of this and soon discovers he's got much more than just a simple escort job on his hands. People (cops mainly) are trying to kill Eddie. Jack quickly has to make a decision: protect Eddie and "do the right moral thing," or let his fellow brethren have their way with him and "do the right thing for the department."

Willis plays the aging cop well. He grumbles and drinks and generally hates what he does. The dirty New York offices and streets were shot well and gave an overall sense of the uncleanliness of Jack's life (including his past, which comes up toward the end of the film).

Mos Def plays the irritating convict and his grating voice bugged the crap out of me. He sounded very nasal and whiney but, in contrast, this added a strange upbeat quality to a film that could've gotten too dark.

I also like the fact that Willis isn't trying to play the "young stud" anymore on film. He's getting older and I'm happy to see him in roles befitting his age.

The alternate endings on the DVD are worth watching, too. Personally, I would've gone with an alternate ending rather than the one seen in theaters. But maybe that's just me...

Read Best Reviews of 16 Blocks (2006) Here

"16 Blocks" is directed by Richard Donner, who helmed the "Lethal Weapon" movies (I know he did the first one for sure) and has, essentially, a story you've seen before. People on the run from something and have to be somewhere by a certain time, everything holds them up and they eventually pull through. While "16 Blocks" runs slightly different then that, it's basically what I said. Turns out though it's one of the most entertaining, funny, and smart action films I've seen this year thus far. In another role as a down-and-out cop, Bruce Willis is spectacular. He catches the tiredness perfectly. Willis plays Jack Mosley, a drunken detective who mopes around and seems like he's ready to retire. As he's leaving the station, his lieutenant tells him he has to pick up a petty criminal and drive him 16 blocks to court, the guy who was supposed to drive him apparently got held up. The guy is Eddie Bunker

(Mos Def, 'The Hitchhiker's Guide to the Galaxy"), who is testifying against a bunch of crooked cops. After two hitmen fail to kill Eddie and Jack finds out that the cops are involved, they begin to run. Heading the chase after them is Detective Frank Nugent (the always spectacular David Morse, 'The Green Mile'), an ex-partner of Jack's. As I said, the movie is very entertaining. There's a scene in the film that takes place in a bus that's reminiscent of "Dog Day Afternoon" and at this same scene, the movie momentarily loses it's footing; but quickly regains it. Looking beyond the story, the performances are great too. Mos Def puts on a Mike Tyson voice for some reason, but manages to deliver a charming performance; Willis is playing a character he played in "Sin City" but he's still great; and David Morse is always great. As for the (actual) ending...It's smart, surprising, and redeeming. The alternate ending is good, but it was a good choice that they didn't put it in the movie.

GRADE: A

Want 16 Blocks (2006) Discount?

My boyfriend brought this movie home because a coworker told him it was preety good, there began my skepticism. However within the first 5 minutes I was HOOKED.

The theme of the movie is based upon the good cop bad cop premise, however what sets this movie apart from all the other cop flicks is the raw emotions of the charcters. MOS DEF delivers a superb performance, his role as Eddie gave just the right amount of emotion and innocent humor that put this movie in the 5 star catagory for me. Bruce WIllis of course never dissapoints with his cooler then ever demeanor. Just when you are like oh damn its all over for them there he goes in true Bruce Willis stlye, calm cool and collective.

Buy this movie you wont be dissapointed. You wont be bored at all during the journey through 16 Blocks.

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