The Last Unicorn (Two-Disc Blu-ray/DVD Combo) (2011)

Just a note to fans of this film that are on the fence about this new edition.

According to Bill Hunt at The Digital Bits:

Quote

The new Blu-ray will offer the film completely uncensored, but it will also include the edited "family friendly" audio track for those who prefer it. Both the censored and uncensored audio tracks will be DTS-MA 5.1. That comes directly from studio sources (and thank you to those sources!), so fans can rest easy.

/Quote

Hope this helps.

Although anime is beginning to change people's minds, far too many Westerners still think of animation as a genre only fit for children. The Last Unicorn ought to be high on the viewing list of anyone who believes animation is just for kids--yes, it's a "cartoon," but it's also beautifully animated, with unique and unforgettable characters, and the storyline is as true to the original source material (book by Peter S. Beagle) as any movie adaptation I've ever seen.

In her unchanging, always-spring forest lives a unicorn (voice of Mia Farrow), ageless, wise and innocent, and without regret--unicorns can feel sorrow, but it's not the same thing. One day, when men come into her forest to hunt, she discovers that she is the last of the unicorns. With snatches of help and hints from a dizzy butterfly, she sets out to find the others. On her way she picks up an incompetent magician named Schmendrick (voice of Alan Arkin), a withered woman named Molly Grue (voice of Tammy Grimes), and eventually finds the kingdom of King Haggard (voice of Christopher Lee) and his son Lir (voice of Jeff Bridges). But in the changing, aging world of humans, can the unicorn even keep track of who she is and how the story should end?

The movie version isn't perfect. There are some awkward scenes, including a terrible duet by Mia Farrow and Jeff Bridges which never should have been included, and some scenes contain material such as mild profanity, bare breasts and depictions of death which might not be suitable for children. But there is an earnestness to this film, a magic in the way ideas are expressed, that's all too rare in modern filmmaking. This quality helps many viewers overlook the film's flaws.

So if The Last Unicorn is that good of a movie, why does it only rate two stars? Because the U.S. DVD release is terrible. This is a full-frame release, ***not widescreen***. The DVD has poor cover art and offers zero special features. The actual transfer is grainy and blurry in spots, with no evidence of any kind of restoration work. The soundtrack has a distinctly tinny quality. In fact, the only reason one would purchase this DVD was if one had only a single copy of the film taped off television some 15 years ago and watched over and over until the VHS tape nearly wore out... rather like me, in fact.

Don't purchase this DVD. I wouldn't have done so if I had known what I know now. Instead, look for the 25th Anniversary edition released in 2006 by Lionsgate Entertainment.

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Let me start by saying that The Last Unicorn is my favorite movie of all time. I have loved it since I was very, very young. However, I truly wish I had never bought this DVD.

First off, the movie is full screen and not widescreen--this could easily be forgiven if the DVD didn't have numerous other problems. The picture quality is awful and looks as though they ripped the movie from the old VHS master. There are also some scenes where the contrast seems to be up too high. I know that these are not simply issues with the original movie because I have the German release and its picture is flawless (not to mention widescreen) and beautiful. This release also has one of the worst menus I have ever seen. The DVD says it has special features, but I can't find them!

If you're a hardcore Last Unicorn fan, don't buy this DVD. Your old VHS version is just as good.

Read Best Reviews of The Last Unicorn (Two-Disc Blu-ray/DVD Combo) (2011) Here

For those of you not in the know The Last Unicorn is a really nice fantasy movie based on the popular book by Peter Beagle. As the name implies it's about unicorn who found out she is the last of her kind and sets out to uncover the truth behind that. She soon finds out all of the other unicorns have been captured by a mythical creature, and with the help of an inept magician and a surly maiden they seek out to bring the unicorns back from captivity.

The story is among the best in fairy tale fiction. You have a fair number of mystical creatures and learn interesting tidbits about them throughout the film. You also have a romantic aspect between a prince and maiden (which is required for many who love fairy tales), sword slinging action, wondrous magic, singing (we'll get to that later), and comedy all done up by the voice talents of A-list actors like Allen Arkin (Little Miss Sunshine, Edward Scissorhands), Mia Farrow (Rosemary's Baby, Hannah and her Sisters), Christopher Lee (Lord of the Rings, Star Wars prequels), Jeff Bridges (The Big Lebowski, Tron movies), Angela Landsbury (Beauty and the Beast, Murder She Wrote), and a slew of other notable talents.

The action scenes are exciting and directing does well with the movement and colors in these scenes. The scenes that involve the romance feel real with characters hitting home the type of emotions a young love can feel. The fun scenes are really fun, but it's more dialog kind of funny. Lots of good one liners come from the script. Not so much in the realm of visual comedy unless you count the scene with the laughing skeleton and maybe one scene with a talking cat. The villain (done by Lee) is pitch perfect in execution as both a bad man and a flawed human being. The voice acting feels just as perfect with maybe an exception to Arkin's Schmendrick, whose lines sometimes feel a little wooden.

The animation is done by the Rankin/Bass team. They are more known for their stop motion holiday specials. However they also have a respectable cartoon portfolio with tv shows like the Thundercats and movies like The Flight of Dragons, Lord of the Rings: Return of the King and The Wind and the Willows. The animation is much like their other feature films with the same distinctive look and feel. It actually fits well with this movie. The frame rate isn't on the same rotoscoped level as some Disney classics, but it's not anywhere near as distracting as some Saturday morning cartoons made back then.

Now this being a fairy tale, and much like what Disney made the standard for these types of films, there is a singing interlude in the film. Now this is a duet from actors Jeff Bridges and Mia Farrow, and well... they aren't singers. You can hear the strain from the voices. Originally the plan was to have Katie Irving sing Mia's part, but apparently that never happened in the final theatrical release. If you're a big fan of musical numbers this won't impress you. Now as to the rest of the music like the title theme and about all of the montages have songs from the band America, and they are really good, original songs. I recommend getting the soundtrack if you are a fan of this band.

Now previous video releases of this film had various levels of criticism tied to them for various reasons. The original DVD release was a poor transfer with no special features. The 25th Anniversary Edition had a much better transfer and had extra features, but was an edited version; taking out the occasional PG swear words the film had and even speeding up the film slightly (which made everybody talk in a bit higher pitch). Another bad thing about the 25th Anniversary edition was Beagle didn't get any royalties on the release. Now the Blu-Ray edition coming out should address a number of issues:

1 Peter Beagle himself has been expressing a lot of enthusiasm for this release, but unfortunately he's still not in the loop for royalties. If you want Peter to get a fair share please get your copy at the Conlan Press website. They are also selling Blu-Rays signed by Beagle himself.

2 Beagle announced that both the censored 25th Anniversary version and the original uncensored theatrical version will be on the Blu-Ray. Unfortunately the DVD is really just the 25th Anniversary edition so no it's going to have the same issues.

3 When Beagle saw the Blu-Ray he was blown away with what he saw. Does that mean a true high definition treatment? Sounds like it.

Not a whole lot of definite answers to some pressing questions, but since it's all coming from the man himself I find it encouraging. The Last Unicorn will be presenting in full high definition 1080p with DTS-HD Master Audio 5.1 for both the censored and uncensored English audio. This combo pack will have the following bonus features, some of which are exclusive to this release:

Audio commentary by Peter Beagle and publisher Connor Cochran YES!!! Finally a commentary from Beagle.

The Tail of the Last Unicorn Basically a short retrospective from Beagle.

Making-of The Last Unicorn A brand new documentary on the making of the movie.

Escape the Red Bull Pretty much a kid's game made for DVD.

Schmendrick's Magical Gallery Production stills of the movie. This is a bid expansion from the previous DVD version with more stills than ever before.

Art Contest Gallery Brand new extra. I think this will be entries from the 2010 Last Unicorn art contest. Beagle selected the winners himself.

Original Theatrical Trailer

So far from what I am hearing this is the release to get excited about. It fixes much of the problems the previous releases had and gives us the extras we deserved to get from the get go. If you love fairy tale fantasy you owe it to yourself to see this film. Any current fan of the film should go ahead and consider taking that double or triple dip for this edition.

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It's a shame that Amazon is just mixing in all the VHS, DVD, and blu-ray reviews into one huge pile. There are over 500 reviews now for this title, and the blu-ray has only been out a couple of days. If I was reviewing the film, THE LAST UNICORN, then I would give it a 5/5. But I'm not, there is the entire blu-ray release experience to consider:

PACKAGING: In a word, poor. This is one of the "Security Device Enclosed" blu-rays. Once you get shrink wrap off, you get the adhesive sticker that closes the case on both the top and bottom. After it's opened, you have the magnetic strip across the inside and you also have the flat RFID circuit sticker. Try to remove them and you are in for a huge mess. I even had the help of adhesive remover and it still damaged the case removing them. You're better off just buying a new case if you want ugly security tags removed. A couple of advertising inserts, one pretty cool, the other junk. Nothing else inside except the two disc, one DVD and one Blu-Ray. Both are stamped with beautiful color artwork.

BLU-RAY EXPERIENCE: When you put the disc in, you are exposed to several trailer advertisements before you can get to the movie menu. The title menu is locked out if you try to select it with the remote. You can however click 'next' to skip past each trailer. You must hit 'next' on the remote 5 times, each time waiting for the disc to load the new trailer. This should have been a category in the special features section, not force-fed when the disc is inserted.

The disc will also phone-home as soon as you put it in claiming to "Check for Updates".

As the final credits draw to a close you once anticipated a curtain drawing over the theatre screen. On this blu-ray, however, you are unceremoniously dumped onto an FBI WARNING page using bold red text that threatens to lock you in a cage for 5 years and bankrupt your estate if you even think about copying the movie. It's out of place, changes the mood, and shouldn't be at the end of the credits.

The special features are nice. There is a short "making of" documentary that was shot in 1080p. Some of the people interviewed are recorded over the telephone, but this doesn't distract very much. There is another section that resembles more of a "CD-ROM" type experience where you use the remote next buttons to click through the pages. This section reveals the history of the author in quite a bit of depth. I found this section equally interesting. Another section features artwork from a recent contest that is a nice bonus.

THE MOVIE (no spoilers): 5/5 stars. Everything comes together to create a melancholic and nostalgic quest through some truly spectacular artwork. Each frame of this movie was hand drawn on film and then shot with a camera. There are ZERO digital effects in this film. EVERYTHING is done by hand. And it makes a considerable difference. In fact, I don't think you will ever see this type of film made again. This technique is too expensive and time consuming for contemporary film-making and the temptation of digital shortcuts is certainly irresistible to those funding the project. Couple this in with an emotional musical score by "America" and you have something that is truly unique and it will not, cannot, be reproduced again.

The film is often grainy, but I'm ok with this. I prefer as pure a transfer as possible and I sense that purity was a goal in this blu-ray transfer. It looks crisp and sharp. There are imperfections and sudden color shifts occasionally in certain frames, but it is not distracting. The artwork in this film is so powerful that any small blemishes or imperfections are easily overlooked.

SUMMARY: Marketing greed and anti-theft zealously scuff up an otherwise competent blu-ray experience. The bonus features are solid but the real reason you're buying this blu-ray is the movie itself. And it's worth it.

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Risky Business (2008)

I think most people who buy/rent this DVD have already seen the movie and know what they're getting. There are a lot of good reviews on this movie here at amazon.com but I only saw one that mentioned the quality of the DVD. It is absolutely horrible. The companies who produce these dark, grainy DVDs need to know that the consumers aren't going to accept this type of low-quality transfer. I'd gladly pay a bit more money for a DVD that's viewable. We know how good movies can look on DVD. So why release a disc that looks as poor as this one? As consumers we need to demand better! Just as VHS movies recorded in SLP or EP were unacceptable, so are DVDs that look as bad as this Risky Business disc.

"Risky Business" is without a doubt one of the classics from the 80's which I've continued to enjoy many times. This is simply a great movie with convincing acting, superb music, good script and believable characters. While the plot isn't anything too original, the above mentioned qualities make this movie fun to watch. Tom Cruise, having the house to himself while his parents are away, carries out the fantasy of just about every adolescent male by basically turning his home into a party haven with the inevitable consequences that follow. Rebecca De Mornay (it should be illegal to look that good in a pair of tight jeans!) plays a prostitute that becomes Cruise's "partner" in the scheme of things and Joe Pantoliano plays her sleazy pimp and does a great job in his role.

One thing that stands out about "Risky Business" is that while technically a comedy, the tone is often dark in terms of sequence of events and the eerie (yet great) instrumental music that pretty much makes up the soundtrack. While others might not really like this, I think it makes the movie stand out and avoid the over-the-top silliness that have caused many 80's comedies to become dated by today's standards. Don't get me wrong, I love those 80's movies, but "Risky Business" has a certain quality to it that takes on a more serious tone while also maintaining the fun element.

And finally, I have to say that the DVD transfer is absolutely horrific. Extras are virtually non-existent and image/sound quality is abysmal. 2003 has come and almost gone, so by now it's pointless to hope for a 20th Anniversary Special Edition DVD. So if you intend to buy this get it on VHS. I can't see why anyone would want the DVD other than for longevity's sake.

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FYI disc comes with a digital copy, but the confirmation/serial code expired in Sept. of 2009.

Otherwise, the movie looks great on BD; clearly much money was saved on the production budget by not buying any bras for Rebecca DeMornay.

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Rarely will you find a video store without RISKY BUSINESS. Not only is it a contemporary classic, but it was also Tom Cruise's breakthrough film and a major hit. While reputed to be a very good movie, upon watching it, I found it to be something else. It's an excellent movie.

Tom Cruise plays Joel Goodson, a high-school kid who is just that a good son. He's responsible, careful, and trusted. But when his parents leave town for the week, Joel decides to loosen up but after he nervously invites call girl Lana (Rebecca De Mornay) into his house, everyone goes horridly wrong. With only a few days left to go, Joel must raise his grades, make $8,000, get back stolen furniture, and escape from the clutches of Guino (Joe Pontoliano), the killer pimp. Work is hell. And Joel knows it.

This movie is great. It wildly exceeded by expectations, and is much better than it's said to be. Cruise is great the fact that RISKY BUSINESS is Cruise's first major film is enough to make it worth the watch, anyway; De Mornay is also very good. Paul Brickman's direction has a sort of artistic feeling to it (he also scripted); he has a unique way of creating a film that's funny, erotic, and occasionally suspenseful.

Another wonderful aspect of the film is its terrific soundtrack. It features rockin' songs from such popular artists as The Police, Bob Seger, Talking Heads, Muddy Waters, Phil Collins, and Prince. It also features new music by the hit-making band Tangerine Dream, whose techno, futuristic-sounding score gives the movie an occasionally nightmarish, occasionally unpleasant mood to it and, of course, the film is about every teenager's nightmares come true.

All in all, RISKY BUSINESS is essential viewing from the 1980's, and it works just as well now as it did then. Tom Cruise's first hit, a terrific soundtrack, and a cult classic this is RISKY BUSINESS.

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(2008 HOLIDAY TEAM)This 1983 film that launched the career of Tom Cruise proves its relative timelessness by entertaining audiences even today. Mediocre student and always-obedient son Joel (Cruise) is left alone in his upscale suburban house when his parents take a vacation. It's Joel's senior year in high school and it appears that the only highlight is going to be a boring project for the Young Enterpriser Club contest. When his friend Miles (Curtis Armstong) forces his hand to take a chance, Joel is thrown into an out-of-control scenario involving the charming prostitute Lana (Rebecca de Mornay), her enterprising friends, an irate pimp named Guido (Joe Pantoliano), and a high school full of unfilled but hormonally charged teenage boys. Throw in Joel's father's Porsche, an application to Princeton, and the all-important midterms that Joel is in danger of failing and you've got a fast-paced, hilarious flick of adolescence out of control.

Unlike today's teen movies, "Risky Business" is not preoccupied with sophomoric humor and gratuitous foul language. It's too smart a screenplay for that. Instead, it focuses on the humor of a good boy gone temporarily bad, and how one small act of rebellion changes everything. At times, the film tries to be artsy with its gimmicky camera shots, direction, and editing, thus dating the film more than the costumes and screenplay do, but overall it succeeds. The music is great, particularly for those who remember the times.

Dust off your memories and revisit this fun flick. If you've never seen it, you should, if for no other reason than for seeing why Tom Cruise and Rebecca de Mornay rocketed to fame following its release.

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Bush: Live! (2012)

I was curious about this bluray because the AXS (originally HDNet) broadcast was riddled with Gavin's pre-recorded vocal tracks (used as backing vocals for live performances) being mixed LOUDER than his actual live vocals. It sounded horrible, especially during the chorus'. The first song of the concert, "The Mirror of the Signs" has been omitted from this official bluray release, and if you watched the live broadcast, its easy to tell why -the performance was not very good (it was one of the first times they played it) and Gavin's live vocals were not on 'time' with the pre-recorded backing tracks.

When it comes to live rock bands, Im not into click tracks. Im not into pre-recorded vocals, Im not into sound effects -I want live and raw. Bush's Woodstock 1999 DVD is a better example of this.... BUT, I will say that for THIS release, it was remixed from the live broadcast and the backing vocals have been lowered to make it much more listenable. Visually, the concert is stunning. A+ video. Performance wise, its not Bush at their absolute best but its good to great at times. "Alien" was fantastic.

Plays is 3 USA bluray players I tried. 1 PS3 and 2 different Sony bluray standalones. No worries if you are in the USA purchasing this. Trust me!

BUSH always puts on the best shows, and this one doesn't disappoint.. Loved every second. dont worry about the dvd zones that may be listed, it plays just fin in a US blu ray player.

BUY IT NOW!!!

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Blade Runner: The Final Cut Blu-ray SteelBook

Having seen this movie probably more times and in more different formats than most people, I thought it was time I write a few words about this masterpiece of filmmaking. Truly, I wasn't boasting with my assertion that I've seen this movie as much as I have (I watch this movie almost once a week and have done so for almost 10 years). I own several, still unopened, VHS tapes that for a large part of the nineties I did my best at collecting. I own the Japanese Laserdisc version, a rare bootleg VHS version that was distributed over the internet a handful of years ago that has the narration selectively placed back into the Director's Cut version of the film, not called the Esper Version as some would want to label it, the Director's Cut and now the HD version of the Final Cut. That makes 5, but 6 if you count the Workprint version that comes with this box set. So, I would say that's one more than most.

Blade Runner first and foremost, is probably the greatest film ever made, from beginning to end and in all of its variations. A bold statement when the film doesn't even rank in the top 10 in the American Film Institute or on IMDb. Spots #97 and #104 respectively (ahem). But as these kind of lists are subjective and truly under the control of mere mortals and their own strange whims, and I take no offense that so many so-called aficionados have over-looked this film for so long. Roger Ebert slammed Ridley Scott and the film during the first theatrical release by stating that `Scott cared more about the lush environment of the film than he did of the story', which as we all know and even Ebert now, in hindsight, has stated that he was unkind and grossly unfair to both Scott and the film.

For years, Blade Runner was divided into two different camps, or rather four and they are: Those that preferred the narration and those that did not and the other camp was those that thought Deckard was a Replicant and those that thought he was either human or felt it was left ambiguous. Ridley Scott has very gracefully over the years, given homage to these thoughts and made many statements that most readers are aware of, chiefly that Deckard was a Replicant. Unfortunately, due to the studios fingering with the film during post-production, Warner Brothers had the right to trim anything after the 120 min mark, and thus butchering the nuance of the film and leaving several things vague and forcing Scott to tack on the Happy ending and the narration because as we all know ... we're all just too stupid to get it.

The new and most refreshing part of the new argument, evinced in the 210 (wow!) min documentary `Dangerous Days' is that Scott gives equal time to those that enjoyed the film with the narration, with Guillermo del Toro (Pan's Labyrinth / Hellboy) in the forefront, with his very candid telling of how Blade Runner changed his life and launched him down the road into filmmaking. We also get to hear a very lucid and warm retelling from Harrison Ford of the nightmare that he not only endured making the movie but the further commitment of having to do the Voice Over narration months later, which ended up having its own strange story as well.

So, now with 5 versions available in this box set, you get to see Blade Runner in every single angle imaginable and it is engrossing every time. Ebert also said in the Nineties that the re-release of the movie for the Director's Cut gives you yet another version of the film, but fails to handle the main problems that were so apparent the first time around. As the film has changed Ebert has gone from student flippancy to utmost respect and enjoyment. Ebert's own site has all three versions of his reviews which are interesting to read in context to the passage of time if you're interested.

There are so many layers to Blade Runner and so many things that can be said from the brilliant look of the newly restored cut, the awesome remixed sound, the Original Score by Vangelis, and the story itself. Blade Runner is probably the high water mark of all films and will probably stay that way for quite some time. Internet voting puts the film as the 4th greatest movie of all time, according to AFI's own user polls so that really puts perspective on AFI's and IMDb's so-called Final Lists.

On a final note, when people watch this film, a lot of people come away with a strange feeling of familiarity regarding the content, the story and the character of Rick Deckard the protagonist, the Detective, the Blade Runner. You should know that Philip K. Dick was an incredibly huge fan of Raymond Chandler and absorbed every one of his stories on a personal level. Hampton Fancher, the screenwriter was privy to this when he penned the screenplay while making the adaptation for `Do Androids Dream of Electric Sheep?' and did his best to not only pay homage to this for Dick but for Chandler as well. Movies like `The Big Sleep' really bring it home and make it evident to the viewer. The novel almost reads like the narration and in latter years I find impossible to not hear Harrison Ford's voice as I read `The Big Sleep'.

"What do you think of my Owl, Mr. Deckard?"

"Is it real?"

Due for re-release in December, this motion picture is one of the finest science fiction films of the 20th century. Part of this is because it projects a future that could be the earth as a place with a ruined environment populated by people that couldn't or wouldn't make the jump to one of the more habitable off-world colonies. The other part is because the film questions what it means to be human, and explores the possibly unsatisfactory answers you might get if you could, like the replicants, hunt down your maker and ask him Why am I here? Why must my life end? I'll pretty much let Warner's press release do the talking from this point forward. Basically you have your choice of three different sets 2-disc, 4-disc, and 5-disc. The discs are described as follows:

Disc 1 Ridley Scott's All-New "Final Cut" Version of the film Restored and remastered with added & extended scenes, added lines, new and cleaner special effects and all new 5.1 Dolby Digital Audio. Also included is commentary by Ridley Scott and a host of others that worked behind the camera.

Disc 2 Documentary Dangerous Days: Making of Blade Runner A feature-length documentary revealing all the elements that shaped this cinema landmark. Cast, crew, critics and colleagues give a behind-the-scenes, in-depth look at the film from its literary roots and inception through casting, production, visuals and special effects to its legacy.

Disc 3 1982 Theatrical Version The original that contains Deckard's narration and has Deckard and Rachel's (Sean Young) "happy ending" escape scene.

1982 International Version Also used on U.S. home video, laserdisc and cable releases up to 1992. This version is not rated, and contains some extended action scenes in contrast to the Theatrical Version.

1992 Director's Cut Omits Deckard's voiceover narration and removes the "happy ending" finale. It adds the famous "unicorn" sequence, a vision that Deckard has which suggests that he, too, may be a replicant.

Disc 4 BONUS Disc "Enhancement Archive" Eight featurettes, image galleries, radio interview with the author, and screen tests for the part of Rachel.

Disc 5 Workprint Version This rare version of the film is considered by some to be the most radically different of all the Blade Runner cuts. It includes an altered opening scene, no Deckard narration until the final scenes, no "unicorn" sequence, no Deckard/Rachel "happy ending," altered lines between Rutger Hauer and his creator Tyrell (Joe Turkell), alternate music and much more.

Also included is commentary by Paul M. Sammon, author of Future Noir: The Making of Blade Runner and a featurette "All Our Variant Futures: From Workprint to Final Cut".

2 Disc Edition : Discs 1-2

4 Disc Edition : Discs 1-4

5 Disc Edition : Discs 1-5

The downside of this 2-disc version is that you are only getting the Final Cut version of the film and the documentary disc. You won't get the bonus disc of featurettes, the disc of past releases, and the workprint version of the film. The upside is that the 5-disc version of the film has some expensive packaging and promotional material included that seems to really raise the price of the entire package.

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Well... here's the deal...

Blade Runner stands as one of those films whose editting and final cut were always a subject for debate. As you may know there are two known cuts of this film: the original theatrical version (shunned by many who claimed it was a producer's cut who did not believe in Scott's true vision) and the director's cut (which is not really the director's cut... it is more a screenplay's cut... with some changes who merely unmade some of the things the producers did on the previous cut).

It is this second version that you will find here (while the first version is no longer available) with a face lift... a new transfer... better sound... and that's it.

In one way, this version is badly needed because all the previous Blade Runner DVD incarnations come from the first years of DVD when you didn't even have a decent menu. And since the DVD technology has evolved a lot since then... why not a new version of Blade Runner, right?

But.......

The mystique surrounding Blade Runner says that director Ridley Scott never REALLY got HIS REAL version of this film. And more... A such an important and much loved film like this should have lots of extras to bring a new light to a film that is so fundamental and trendsetting.

And it seems that after 25 years, all the legal problems preventing all this from happenning were really sorted out between the film's former producers who battled for years for the film's rights.

And now, with all problems solved, we know that in 2007, we'll have that multi-disc version all the fans always dreamt of.

SO, THE DEAL IS... IF YOU ONLY CARE ABOUT THIS VERSION, BUY THIS EDITION. The good thing is you won't even go through those stupid snap cases anymore. Even if you already have it, the better image and sound on this release will certainly make up for it.

BUT IF YOU CANNOT BE SATISFIED WITH ANYTHING LESS THAT THE WHOLE MULTI-DISC EDITION COMPRISING ALL THE VERSIONS AND TONS OF EXTRAS... forget about this version and wait a few months for the longer, bigger, more complete, celebratory, multi versioned, multi disc set that will give you the FULL BLADE RUNNER deal.

It will cost more, naturally, but we've been saving money for it since our childhood, right? ;-)

I'm a big fan. So I'll wait. This version is a quick, just and much needed repairment: a great new transfer (with no extras) for those who just want the film. An entry level I'd say. And I think it is good that Warner Home Video has this version for those who just want the film at bargain price.

But more is coming in 2007. In full!!

So, I'll wait impatiently!!!!!

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I fully agree with the previous reviewers. I already have the original 1992 Director's Cut and have been waiting ages to upgrade it. However, now that the producers have finally settled their legal problems, we are being deluged with a surfeit of Blade Runner editions. This is the first and the least promising of three planned editions. The 1992 Director's Cut is a compromise cut. This barebones DVD is the same as the previous DVD except that it has been fully restored and given an anamorphic remastering.

Following this edition, there will be another entitled, "Ridley Scott's Blade Runner: The Final Cut," to be released in early 2007 to mark the 25th Annversary of the movie, which will include newly restored scenes and will be Scott's final word on the film. Then later in 2007, there will be the "Ultimate Blade Runner" which will contain all 4 versions of the film, the original U.S. theatrical cut, the expanded international theatrical cut, the 1992 Director's Cut and the 2007 Final Cut, all fully restored and in anamorphic transfers plus tonnes of extras. In addition, Blade Runner will also be released simultaneously on both Blu-ray and HD-DVD formats.

Buy this with your eyes open. It is recommended only if you're a completist or have only passing interest in the film. This edition will have a limited run of just 4 months before it is withdrawn prior to the arrival of the next edition.

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Finally, the version I've been waiting for and many others as well. For years Blade Runner fans have been subject to the insane number of versions of Blade Runner and even the 5 disc Blu Ray copy that really is not worth the price you pay. The Final Cut is the version to have if you truly love the Blade Runner experience and have always hated the annoying voiceover by Harrison Ford that has plagued various copies of the film. Ridley Scott himself was able to have full artistic license with this film and you will not be disappointed. What you will be greeted with is a very clean, crisp HD version of the film and just the best single copy out there without all the extra discs of fluff and crappier versions. This version has the omitted voiceover, alternate ending without the "happy resolution" and the inclusion of the Unicorn dream. Any other reviews that knock the film are most likely fans of the voiceover which spoon feeds you information and takes away the lonely rainy feeling you get when watching the film for the first time. Plus in my opinion without the added commentary you are able to judge the film for yourself and not be guided through every single little plot detail. The acting is spot on and perhaps my personal favorite Ford role to date. If you are going to have any science fiction film on your shelf please get this version you will not be disappointed. 5 stars on audio, visual effects, crisp colors and picture quality.

Heavy Metal (1981)

I can't believe the number of negative reviews this movie has gotten! I bet these people don't like James Bond movies, either.

To fully appreciate Heavy Metal, one has to understand the era it came out in. At the time, most animation, at least what was seen in the US, was frequently of the "family entertainment" variety seen in Saturday morning cartoons and TV commercials. Apart from Ralph Bakshi, most animators were basically shackled by the need to present something that was "rated G". Heavy Metal took the exact opposite route. It was a liberating experience for the animators working on the film to be allowed to draw things they usually weren't allowed. And they got paid to do it, too!

After the opening Soft Landing sequence, we're introduced to the Loc-Nar, a glowing green orb responsible for all the evil that has plagued the universe (or at least, that which has plagued the human race). The various stories contained in the film are told by the Loc-Nar to a young girl, as examples of it's awesome power.

The stories include the film noir homage Harry Canyon, the male "wish fulfillment fantasy" of Den (which demonstrates the versatility of the late John Candy, who voices both Dan, the science nerd who gets transported into an alternate dimension by the Loc-Nar, as well as Den, the Conan/He-Man-esque beefcake that he is magically transformed into), the highly amusing Captain Sternn (trivia: the voice of the prosecutor is done by John Vernon, the actor who portrayed Dean Wormer in Animal House), the EC-esque B-17 (aka Gremlins, which went through so many script revisions, it's a miracle it got finished at all), the bizarrely hilarious So Beautiful And So Dangerous (ok, maybe there's some truth to the juvenilia charges during this segment, but only a corpse could keep from laughing at this piece), and revenge scenario of Taarna (imagine a tougher, sexier version of Xena, only about a decade and a half earlier).

While there IS some element of juvenilia here, it's no worse than any other movie that's been released by any major studio during the last 25 years. In fact, I bet it's a little more cerebral than most of those other movies. Harry Canyon is a rather crafted film noir homage, while some elements of Taarna are clearly patterned on Sergio Leone's spaghetti westerns. And while there are a couple sex scenes and a certain amount of excessive violince in Heavy Metal, again, it's nothing compared to some of the garbage that's shown on cable TV these days. I'd certainly rather watch this than Basic Instinct or No Way Out.

This movie is a classic piece of animation. Yeah, some of it's rough around the edges, but that has a lot to do with Columbia's decision to move up the deadline so they could have the original movie out in time for the summer 81 season. One has to consider the scope of the undertaking, and the relatively short time that was at hand to create it.

Look at the "travelling sequence" during Taarna, where she's shown riding her mount (a sort of large bird creature) over a rolling landscape, and consider that it was done WITHOUT the use of any kind of computer generated work. It's explained in the audio commentary on the rough cut of the film, as well as during the documentary how it was done, and why it didn't quite turn out as planned). No one had ever done anything like that, and it had to all be done by hand.

Really, you can't take this movie too seriously. It's a movie that exists soley to entertain. There's no big message or point to the movie. Just put the DVD in the player, turn out the lights, turn up the volume LOUD, and just enjoy the trip.

It should be noted, that this disc also contains some of the best bonus features I've seen on any DVD. Besides the regular movie, you get a full length "rough cut" of the film, consisting of storyboards, pencil tests, and some completed animation. The only audio for this rough cut (besides the optional audio commentary, by Carl Macek, who also does a completely different commentary for the finished movie) is the dialog. There's long stretches of silence, but it's worth watching, as there's lots of bits of dialog that were cut from the final movie (we learn, for instance, that Katharine, like Den, was also transformed when she was transported to this mysterious alternate universe). It's also interesting to note that the stories weren't always in the order that they were in the final movie.

There's also a half hour documentary with interviews from many of the filmmakers involved in making the film. We finally find out why we see a model of a house blowing up at the end (because they didn't have time to finish the animation for that one bit), and also why Cornelius Cole's Neverwhere Land was cut from the movie (either for reasons of length/continuity, or because Cole didn't finish it in time, depending on exactly which version of the story you wish to believe.

You also get a few minutes of deleted scenes, most notably the above mentioned Neverwhere Land, which was originally supposed to link Captain Sternn and B-17. There's also a few minutes that surround an early version of the framing story (in whence the Loc-Nar was actually the power source of a magical merry-go-round, and the various objects on the merry-go-round related in one way to the stories...ie, there's a taxicab, Taarna's mount, etc...each time the girl takes a ride in a different vehicle on the merry-go-round, she experiences a different story).

And finally, you get all Heavy Metal covers up through 1999, plus various bits of production drawings, cels, etc.

In short, this is a classic film that should be viewed by all fans of animation and/or heavy flicks. Prudes and conservatives who get cranky at the very thought of a movie being ruined by a little too much flesh or blood (and really, there isn't THAT much of either in this film) or a little warped humor (ok, there's PLENTY of that here) are advised to keep away. I just wish they had restored Neverwhere Land to it's original place between Captain Sternn and B-17.

Some critics and film historians have labeled 1981's HEAVY METAL as the last film to genuinely reflect the mishmash sensibilities of the post-hippy 1970s counter-culture, and stylistically and thematically this appears to be true. Based on the adult counter-culture cult comic of the same name, HEAVY METAL definitely is a sort of spacey concatenation of disparate visual aesthetics and heterogeneous science-fiction/fantasy narratives. But despite being a hodgepodge as a whole, the film still manages to offer a very entertaining way to kill 90 minutes.

As with the magazine, the film is basically aimed at horny male adolescents, offering plenty of nude, amply bosomed women running around in the midst of stylized violence and gore; lots of rock music (though these ditties from popular metal bands of the late '70s may not appeal to the current generation of horny male adolescents); and references to the drug-oriented sub-culture (definitely not a cartoon for the pre-teen crowd). Each individual segment of HEAVY METAL was scripted and directed independently of the others, which likely accounts for the varying aesthetic and narrative styles. But many of these contributors were (and are now) some of the most talented people in the film industry, including writers Dan O'Bannon, Len Blum, and Daniel Goldberg, and directors John Bruno, John Halas, and Jimmy T. Murikami. (Gerald Potterton, listed in the credits as the film's director, was in reality the overseer for the project as a whole.)

Because the film does not contain a single cohesive plotline, it is best to evaluate each animated segment in its own right. Some of those individual stories are quite thought-provoking or humorous--or both--and even some of the more mediocre segments still offer some fantastic visuals. One of the most intellectually interesting is a story called DEN, in which a young bespectacled geek is transported into a parallel universe and transformed into a handsome, muscled barbarian hero. After falling in love with a curvaceous maiden, he helps her save her people from their draconian Caligula-like dictator. B-17 is probably the most earnest segment, though there seems to be no intrinsic logic to the sparse narrative. In it, the dead crewmembers of a WWII bomber plane are inexplicably resurrected as flesh-eating zombies, subsequently seeking to make a meal of the plane's still-living pilot. Visually, however, this segment is quite stunning, evoking the deliciously gruesome artistic style of the old E.C. comics of the '50s and early '60s. And in the funniest segment--entitled SO BEAUTIFUL, SO DANGEROUS--a gorgeous Pentagon secretary is inadvertently sucked into an alien spaceship that resembles a huge smiley face. After confronting the spaced-out druggie crewmembers, she ultimately becomes the lover of the ship's robot and decides to remain aboard.

After its initial release, HEAVY METAL attained a cult following of sorts and became a favorite of the midnight-movie crowd. Unfortunately, its release to the home-video market was delayed for years due to disputes over copyrights for some of the rock songs used in the soundtrack. Because of this, poorly produced bootlegged copies of the flick were illegally sold (usually at Sci-fi cons) and swapped among fans, and the inferior video quality contributed to the film's unfair reputation for being a mediocre film. But the music disputes were eventually resolved somehow, and the film became commercially available to the home market in the mid 1990s and regained its popularity as a cool cartoon. (Some statistics indicate that it is the most popular film in the Columbia/Tristar home-video catalog.)

Columbia/Tristar's Special-Edition DVD of HEAVY METAL offers a beautiful digital transfer of the film and soundtrack, along with some really cool bounus material. For animation fans, one of the best of the bonus features is a fascinating feature-length pencil-test version of the film (with optional commentary). Columbia/Tristar also offers a version of the HEAVY METAL in their SuperBit collection, but as with their other SuperBit films, the disc space required for the higher bit rate precludes the inclusion of any bonus material. Unless the buyer has a high-definition TV and can appreciate the increased picture quality of the SuperBit disc, the Special-Edition version is the way to go. Either way, HEAVY METAL offers enough entertainment value to make it a worthy addition to the DVD collection of any SF or animation fan.

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This is one of those great DVDs with so many Special Features, you could spend days viewing them all. Most interesting is a feature-length 'rough cut' of the entire film with running commentary throughout. The rough-cut -a combination of rough pencil animation and rare sketches -even contains some deleted scenes. Best of all, there is a Heavy Metal Magazine cover (and back cover) gallery. In addition to being a nice showcase for some beautiful artwork, this section will really bring back memories for anyone who grew up with the magazine in the late 70s and 80s. Of course, the film itself never looked or sounded better than on DVD. The film itself was a nice attempt at capturing the spirit of the magazine -it isn't a complete success, but a very noble effort in animation considering it was released in 1981!

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Back in the 70's a sci-fi/fantasy anthology comic book geared toward adults was published in the United States. This book was called Heavy Metal and it's still going strong today. Most of the stories are science fiction and delve into some pretty strange ideas. The movie was made to in a way showcase the talent that came from the most popular artists and writers of that magazine. There was some up and coming Canadian talent doing the voice work like John Candy and Eugene Levy. While the idea sounds cool enough I think the execution leaves a little bit to be desired. This movie feels like it was a rush job considering some inconsistent production values and even some of the story content. Since it is an anthology of multiple stories I will go down the line so you can get an idea where the quality lies and where it falls short.

Soft Landing This is the opening sequence that comes with the opening credits and it's the only story that connects itself to another story in the movie. The animation is a rough rotoscope technique that has only a wash of paint over real footage. I like how they did it. Very artistic. I have to admit it is a perfect representation of the magazine with its off the wall content and nice design. The hard rock soundtrack feel appropriate in this segment too. It's short, but it sure does make quite a good impression.

Grimaldi This is the story Soft Landing connects itself to and it sets the stage for the theme that supposedly connects the other stories together. It's a weak way to put the anthology together at best. Still it does give the movie something to put the wildly different stories together. The animation is not bad and it can get a little gruesome at times. Again this is a short story since all it does it introduce the Loc Nar. You will see this segment between girl and Loc Nar throughout the movie to help keep the plotline going in the right direction in your mind... if you want to call it a plot.

Harry Canyan This is the story of a New York taxi driver in the year 2031. The script has a classic film noir sense to it that adds some charm to this piece. I hear this story inspired parts of The Fifth Element so that's kind of cool. This story is classic Heavy Metal. The look of the cityscape and stuff reminds me of the graphic novel Hard Boiled as well as work from the artist Moebius. The animation looks like it's at an atrocious 12 frames per second (or less), which kills the coolness of the artwork sometimes. This one probably has the worst soundtrack of all the stories. The rock music just doesn't fit at all. This one is not really bad, but there is plenty to keep it from being really good.

Den This is another classic Heavy Metal type story and it is a funny one. It's a Richard Corben styled story and I guess you can call it every geek boy's fantasy since the star (John Candy) is an 18 yr old nerd who turns into a muscular barbarian hero that always gets the girl. They play that theme up to the hilt with some funny narration by Candy, who is great in this one. This adventure/comedy has a little more story depth than the previous stories but the animation is still choppy. The soundtrack it a good classic fantasy styled piece that works well with this one. Even though the animation (again not the art, which is nice) leaves a lot to be desired the enjoyable story and funny dialog make up for it and make this story one of the better ones.

Captain Sternn This come straight from a character created by Bernie Wrightson that was quite popular in the Heavy Metal magazine. Sternn is an anti-hero in the magazine and in the movie he is now being brought up on charges for his evil deeds (fans of the mag back then must have loved the irony of this). The animation has a more cartoonish feel to it and does't try to make the characters all that realistic like the other short films in this movie. However the animation is LOT cleaner here and I wished the rest of the stories were this polished. The story itself is entertaining as well, but ultimately it's all just one big build up for a wacky yet funny punch line at the end. Amusing enough, but it won't carry the movie.

B-17 This is the scariest of the bunch. A classic horror film created by renowned horror comic artist Mike Ploog. The story lends itself to being scary folklore to frighten WWII pilots or something like that and it pulls it off very well. Artistically it's eerie and has a classic 40's feel to the drawings and the animation seems to be a lot better. Some of the artwork does get limited by the fact it's an animated story, but that only lends more to the style. This is one of the definite shining gems of the movie.

So Beautiful and So Dangerous This can be called Cheech and Chong in space. It's a mix of sophomoric drug humor, interpersonal relationships with robots, and universal perspective. The stoner aliens didn't do it for me at all. Then again that is a certain kind of humor not everybody gets into. The interaction between the Pentagon secretary and robot is pretty funny for adult humor. Again John Candy brings a lot of fun in his role as the robot. What I found interesting was the size comparisons they played with in this short. You have a ship many times larger than the Pentagon controlled by a robot and two half-baked aliens, which docks with an even more massive space station. The animation is on par with the better stuff in this movie, but the soundtrack is yet another hard rock throwaway that doesn't do anything to enhance the story. Ultimately this one is merely okay in my book. Nothing special.

Tarrna This story is the best of the best in this anthology. Nothing compares to it in cinematic execution, which is probably why they saved it for last. The animation is still a relatively low frame rate (by Disney's standards) but there is a lot of rotoscoping done that makes those frames very effective and very beautiful. The soundtrack fits the short film better than any music did on the previous stories. The story is the best of the bunch too. The settings are cool with the futuristic wasteland. The designs are definitely a Moebius influence with some breathtaking landscapes and wild technology scattered about. Of course this story also resolves the plot devised that started the whole movie to begin with so everything is tied up nice and neat. If the other short films (aside from B-17) put this much attention in the execution of their perspective works then you would have a much better movie all around.

Heavy Metal did accomplish what it set out to do in that it showcased the magazine in a time when it was at its highest in popularity. For the non-Heavy Metal Magazine fan it's not as good. Keep in mind the content has lots of blatant animated nudity, sexual situations and graphic violence, Definitely not for the kids. The stories are interesting enough, but that might not be enough for some who expect quality production values all the way through. If you're a fan of the comic book then you probably already seen it and love it. If you are the type of person who jams to classic rock and have that biker rebel streak in you then you might find Heavy Metal refreshing. The rest of you will have to just make a judgment call. It has equal parts good and bad qualities so take that for whatever you see it.

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In looking through the reviews, it seems most (if not all) were written by men, so allow me to add my point of view. I thought the movie was great, regardless of the violence (which I don't think is that much compared to other movies I've seen) and how well-endowed the women were drawn (a rather irrelevant point for me). I agree that it is dated, but as that same person pointed out, there really wasn't much else available in the early 80's. If you keep that in mind as you watch it, the movie's really not that bad. I've always enjoyed animated films and still do and this was the first one or one of the first that wasn't made with only kids in mind. I still enjoy watching it from time to time and probably always will.

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All the Boys Love Mandy Lane (2006)

Just so everyone knows the UK Blu-Ray Is All Region,and can be played on US players.

*This does contain minor spoilers*

Mandy Lane has apparently become the most desirable girl in high school over the summer. She's definitely not like the other girls her age though. While every guy wants to do everything imaginable to her, she's turned them all down. The only guy she really gives the time of day is her best friend, Emmet. That is until a certain incident at a pool party comes between them. Now nine months later, Mandy has distanced herself from Emmet and has a group of new friends. These friends have decided to invite Mandy to a ranch out in the middle of nowhere for a few days and the guys who tag along hope to accomplish what, up to this point, has been impossible. It turns out to not all be fun and games though. When people start turning up missing, they soon realize that they're not alone and someone is taking their obsession with Mandy Lane a little too far.

All the Boys Love Mandy Lane is an interesting film, to say the least. It makes you wait a bit before the actual "horror" comes into play. In fact, the first forty minutes or so are basically filled with high school shenanigans. A bunch of kids drinking, doing drugs, having sex, and just things they're not supposed to. While the last half of the film, is pure horror. It kind of teases you at first. It gives you a little taste and then goes right back into high school mode, but after that things just start to snowball until it's just beautifully horrific in every scene.

The film is shot beautifully. For an indie film, it looks incredible. That's not to say other indie films look like garbage or anything. Mandy Lane just has vibrant colors that seem to jump off the screen. One of the things that caught my eye is the way certain scenes were shot. Unique perspectives, shots overlapping others to look like something else, the way objects in front of the camera go in and out of focus, etc. Scenes like when Bird goes to start the generator after the power goes out, Bird confronting the killer, and the car chase with Chloe being chased by the killer in her car are a few examples. It just seemed like something that was worth mentioning as you don't see too many shots, scenes, or anything in films anymore(especially horror) that you can call unique.

I think Michael Welch deserves a nod for his acting in this. It was pretty exceptional. I'd really only seen him in the Day of the Dead remake, which was awful on every level. His performance in this overshadows his performance in Day any way you look at it. His portrayal of Emmet in this in the closing moments of the film are what caught my eye. I mean, you truly believe he's psychotic. It'll definitely make me keep an eye on him with his future projects.

All the Boys Love Mandy Lane isn't your average slasher film and that's its biggest strength as it brings something fresh to the table. As I mentioned before, it takes awhile for the ball to get rolling in the horror department. If you're patient though, things do wind up paying off. If you could hold off for Wolf Creek to pick up, then I think you'll be in the clear for this. You can probably guess who the killer is within the first few minutes of the film, but the way things unfold are where the film shines. This is worth seeing for the ending alone as while it does reveal why the killer is doing what they're doing and things of that nature, it leaves a lot of things open ended. While that can either be a sink or swim kind of situation, I think it works well this time around. Mandy Lane isn't the most original horror film to come out in decades or anything, but if every horror film from now on had as much originality as this film does...then there might be hope for horror films yet.

Rating: 7/10

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It's a crime that is this film isn't available in the US. It's head and shoulders above the usual tripe in this genre. A smart, subtle take on the slasher film with well-drawn characters and excellent cinematography and direction. See it now, any way you can!

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All The Boys Love Mandy Lane is a movie with a checkered past. As legend has it, Mandy Lane was picked up by the Weinsteins and thrown on a shelf to rot. Theories abound as to why, but the presumption was that a shotgun wielding teen killer was a little too Columbine for the Weinsteins to market, schedule and release. Aside from some festival screenings Mandy Lane has never seen the light of day in the US. Thankfully here in Australia, and in the UK, Mandy suddenly arrived out of nowhere on DVD to little fanfare. Shame, Shame. This film is a rare antidote to almost every teen horror, by essentially not being a horror film at all. Maybe its an overstatement to call Mandy a drama, but she's definitely a thriller and a genuine critique of the modern teen, prone to ugliness and violence wrapped in smooth skin, blonde hair and a tan. Often these teen horrors, of which there are SO many, purport to be 'saying something' about the teen culture exhibited but actually don't and instead use the hot bods to lure in a teen audience negating the chance to make them look at themselves and possibly even consider, hey maybe I deserve to be hatched up by a slasher. Again, this is what may have made the Weinsteins cautious of Mandy, teen retribution at the end of a shotgun it is a terrifyingly REAL scenario. And here in lays a contradiction about Mandy Lane you can see the ending coming a mile off, however, instead of being disappointed, you so hope you are right. Amber Heard as Mandy does a good job with a difficult role, Mandy is not a cut and dry kinda gal. The supporting players also keep it real, no over acting in the stoner scenes. You get a sense that these actors know what it's like, no 'Whoa man' moments. It's to the credit of director Jonathan Levine for keeping it real, he's not a horror director, going on to make The Wackness (2008) and it shows, all for the good of his film. One last positive is the film's use of music. No metal here, 60's teen idols instead, more evidence that Levine is blissfully unaware of teen horror trappings.

Want All the Boys Love Mandy Lane (2006) Discount?

I watched the region 2 dvd I purchased via Amazon UK ($16 US including shipping) and received it in about a week (South East Florida). The movie starts slow but is very good and has an excellent ending. Amber Herd is the perfect Mandy.

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A View to a Kill (James Bond) (1985)

A viewer below mentioned how the scene where Roger Moore carries Tanya Roberts out of City Hall reminded him of a time when heroes were heroes. I could not agree more. "A View to a Kill" is not the best film out there, I admit, but to me, it is more than just a movie. It marks the end of the genre of the classic Hollywood hero. There are heroes today, but those actors also do comedies, dramas, and other types of movies. Roger Moore is the truly the last cinematic hero. Some of his films are not perfect (nobody's are), but his name alone is associated with action and adventure. You see his name in the credits, and you know that you're in for some sort of spectacle. For me, Roger Moore belongs up their with the likes of Errol Flynn and Douglas Fairbanks Jr. Guys like Pierce Brosnan and Nicholas Cage are good, but I know they're acting. Moore was a natural. He was the last actor that you believed WAS the character. They don't make them like that anymore. That's why I love "A View to a Kill." Not so much for its content, but for what it is.

When I first saw this film on its initial release I didn't know what to make of it. It seemed like it got its inspiration from GOLDFINGER and Ian Fleming's Bond novel MOONRAKER. However, it was like a jumble of everything thrown up in the air and played out in the order in which they landed. Actions just seem to turn on a dime in this film. For example: Bond is being chased down an ice-covered slope by Soviet troops in Siberia all to an exciting John Barry score. This is an excellent scene. A gattling gun mounted on a Soviet helicopter blows the ski mobile right out from under Bond. He picks himself up, grabs the runner from the ski mobile and begins to ski board down the slope this time to the musical accompaniment of the Beach Boys' "California Girls." What happened to John Barry's score? The scene and all its dramatic tension are destroyed, yet it seems to work much better today, 21 years latter.

The film looked a bit sloppy. The stunt doubles are not always matched to Roger Moore very professionally. His hair colour seems to go from brown to straw to red. In one scene when Bond is chasing May Day through Paris in a borrowed taxi, there is one camera shot where you can see that it is definitely not Roger Moore. The fight scene where Bond and Sir Godfrey wrap up some of Zorin's guards in the warehouse has to rank at the bottom of the series. The editing couldn't even salvage it.

However, your heart kind of went out for Roger in this one. He didn't have a good outing in this picture and it being his last Bond film, he perhaps deserved better. There were a few memorable scenes that do make this film a good one. After Bond is chased into the woods on horseback and is captured, Bond tells Zorin that there will be retaliation if they kill him. "You amuse me Mister Bond," says Zorin with indifference. "The feeling's not mutual," responds Bond. After that scene I was hoping that Bond would really put this fellow out of his misery. The one image that remains with me from this film is when Bond carries Stacey on his back climbing down the fire truck ladder rescuing her from the burning City Hall. As corny as that scene may have looked it hearkened back to a time in films when heroes really were heroes. Roger did a fine job during his tenure.

After Bonds have come and gone through the years A VIEW TO A KILL somehow still entertains more with each passing year.

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The extras are very good. I like the cut scene in the police station. The music video is outstanding.

A VIEW TO A KILL is Roger Moore's last James Bond film and it is one of his best. It is the pinnacle of Roger Moore's irony and contradiction to the James Bond established by Sean Connery and brought to fruition by George Lazenby. Here Roger Moore gives greater depth to James Bond than we have ever seen making his performance one of the most endearing. Guy Hamilton established this approach with GOLDFINGER and honed it with his excellent THE MAN WITH THE GOLDEN GUN, which was a mixture of action and absurdity at its best.

A VIEW TO A KILL is the most luxurious looking Bond movie. Zorin's magnificent palace and stables are the type of cinematic refinements found in GOLDFINGER, THE MAN WITH THE GOLDEN GUN, MOONRAKER and OCTOPUSSY. Zorin along with Scaramanga, are the best villains of the series. Zorin's a real psycho. May Day, Zorin's right hand, gives a real twisted performance right out of the outrageous 80's.

The opening pre-title sequence is one of the best. Bond is being chased down an ice-covered slope by Russian troops in Siberia to an exciting John Barry score highlighted by the Beach Boys' "California Girls" while he escapes on a ski mobile runner turned ski board. This is an excellent scene full of action and laughs. The Beach Boys' "California Girls" was a stroke of genius. John Barry really knows how to score a Bond movie!

The getaway in a mini sub disguised as an iceberg was another stroke of genius. I was on the edge of my seat. Duran Duran's opening main theme is the best of the series. It was even better than Lulu's THE MAN WITH THE GOLDEN GUN. Maurice Binder's main titles were his best since THE SPY WHO LOVED ME.

This film is just so great. Roger Moore looks young at heart in this one. I never saw him move better. I think these are the most stunts that he ever did in any Bond movie. The fight scene in Zorin's warehouse was one of his best. I like the way he lays out the guard on the conveyor belt and gets automatically wrapped like a corrugated carton.

The steeplechase scene was also great and real suspenseful. I didn't know that Roger could ride a horse like that. When he breaks away into the woods that was really well filmed just like the similar scene in MOONRAKER.

The Eiffel Tower scene where Bond is chasing May Day through Paris in a stolen taxi, is one of the greatest scenes in the series. It was so amusing. When Bond's taxi gets cut in half I thought he was done for. However, he keeps up with her and manages to crash a wedding on a moving barge. Crazy stuff! This kind of thing is what made the 80s so great!

Q had some of his best scenes in this film. The microchip briefing in M's office was good and reminiscent of MOONRAKER and OCTOPUSSY. I liked Q's surveillance machine. That was very innovative. It was also good to see Bond, Moneypenny and M all at the races. General Gogol had some good scenes too. I like when he puts the cassette in the player in his car and it starts playing the Japanese Spa music. That was really funny.

The underwater scenes in this film were excellently filmed. I was holding my breath when Bond taps the tire of the sunken Rolls for air. That was very innovative. Zorin's San Francisco pumping station was also done well. When Bond was underwater I thought for sure he was going to get sucked in by those propeller blades.

The sets in this movie were great. The interior of Zorin's airship was very reminiscent of GOLDFINGER and DIAMONDS ARE FOREVER. Zorin's mine was one of the best sets from the entire series. Just like SPECTRE, Zorin eliminates undesirables just like they were terminated similarly in THUNDERBALL and YOU ONLY LIVE TWICE.

Stacey was the best Bond girl since Mary Goodnight. You really feel for her. I almost thought Bond was going to leave her in the elevator shaft the way she was screaming. Bond saves her just in time. She was also great in the fire engine chase and the ultimate battle between Bond and Zorin on top of the Golden Gate Bridge.

This film has it all: action, suspense, humor, laughs, terror, set designs, great underwater scenes, car chases, an great John Barry score and one of Roger Moore's best performances.

Read Best Reviews of A View to a Kill (James Bond) (1985) Here

All in all, I'd have to say that this was a below-average Bond film. The girl, Stacy Sutton (Tanya Roberts) threatened to singlehandedly bring the entire movie down herself. She is easily the least interesting off all the Bond girls (a geologist who works at city hall? Pul-Leeeze!), and she did a very poor acting job to boot.

Still, I can't help having a lot of fun every time I watch this. Stacy aside, all the characters are interesting (Zorin, MayDay, Jenny Flex). This film goes all over the place: the Eiffel Tower, aristocratic England, diving scenes, horse races, mining scenes, the Golden Gate Bridge, and finally a blimp (emblazoned with the famous "Zorin" logo of course)!

It's so off the wall that it works. Roger Moore is hitting on girls a third of his age (of course from the looks of it he was 93 when he made this one), there's action all the time, and a far-fetched but interesting plot.

There are many better Bond movies than this, but somehow this is one that I like to watch quite a bit. I really can't defend my liking this, I just do!

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A View to a Kill is my all time favorite Bond movie. I think Roger Moore gives a great performance in his last Bond film. ...The pre-title ski scene is magnificent, probably my favorite out of all.

The best thing out of this whole movie is Max Zorin's main method of transportation is by blimp, a very interesting aircraft. Very interesting when involved in the finale action scene. Also I must say i was very fond of Zorin's head of security, Scarpine, played by Patrick Baucheau.... One last thing about this movie is that I think it has the best music out of all the Bond films especially what they play during action scenes.

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One Touch of Venus (1948)

After being married to Jennifer Jones (who is/was my particular 1940's screen love goddess), Robert Walker stars opposite a very erotic Ava Gardner, described by film critics in "The Naked Contessa" (1954) as, "...the most beautiful woman in the world", so she was aptly cast to play Venus, the goddess of love, in this 1948 production.

Robert Walker plays Eddie Hatch a lowly paid window dresser at the store owned by Whitfield Savory II (played by Tom Conway a relative of the suave George Sanders).Eddie is instructed to ensure that the curtain will not snag at the forthcoming unveiling ceremony of the recently acquired statue of Venus.When finished, he impulsively (he's finished the boss' drink) kisses the statue which promptly comes to life!! Eddie is to marry Gloria (Olga San Juan), who rather irritatingly, keeps reminding him they are to marry each other.They have drifted into their relationship and marriage just seems the next logical move but who said love is logical!! However, Eddie's friend Joe, (Dick Haymes), is secretly in love with Gloria himself but he doesn't know it.Whitfield Savory II is likewise ignorant of his subconcious love for his efficient secretary, Molly Stewart, played by Eve Arden in one of her typical wise-cracking, comic roles; (see her as Mildred Pierce's efficient manager in the Oscar winning film of the same name (1945) opposite Joan Crawford.

I was mesmerized by Ava Gardner as she spreads her instinctive love to bring all these true lovers together, while working her magic on Eddie himself who is soon in love with her.She seems reluctant to return to Mount Olympus as she is having so much fun here on Earth.She loves helping people but when her task is over, Jupiter, the head of The Gods, (who communicates by thunderflashes), summons her back to Mount Olympus.Reluctantly her effigy returns as a statue at the store, much to the relief of the Whitfield Savory II who thought Eddie had stolen the statue whilst she is in her live alter-ego on Earth.This sub-plot gives rise to some comic Keystone Cops type chases especially when Venus comically turns one of the "gumshoes" into an owl, albeit temporarily as she loves everyone really!.Molly believes Eddie is innocent good for her I say!

Watch out for Sara Algood who plays Eddie's landlady, (see her in previous roles as Mrs Beth Morgan in "How Green Was My Valley (1941) and as Mrs Maile in "Cluny Brown" (1946).The lovely song "Speak Low" is sung by Dick Haymes miming to his own recording while Ava effectivly mimes to another well matched singer's voice.Another song about men, sung in the ladies dressing room as a trio, featuring Ava, Olga & Eve.

The audience feels strong sympathy for Eddie and he is finally given his divine award (including a modest pay rise) when a very beautiful new store recruit called "Venus Jones" (Ava),appears in normal human form to him there.We have to assume this will eventually become another love match engineered by Mount Olympus!

I found this film hugely enjoyable as I love classic 1940's films having made them something of a speciality.It has fewer of the songs than in the original Broadway musical but this seems to fit the plot.It is a difficult title to find on video.I obtained mine by winning an e-Bay auction after searching on Robert Walker.

This 1948 comedy was adapted from a Broadway musical that starred Mary Martin and featured a score by Kurt Weill. Sadly, the music, except for three songs, has been cut from the movie.

The film, directed by William A. Seiter, is reminiscent of TOPPER, HERE COMES MR. JORDAN and other like fantasy-comedies that were popular with movie audiences during the 1930s and 40s.

[During the 1960s, TV shows like BEWITCHED and I DREAM OF JEANNIE filled this void.]

Robert Walker stars as a shy window dresser for a big department store, who impulsively kisses the store's invaluable statue of the Greek goddess, Venus. A moment later, the statue, played by Ava Gardner, has come to life and Walker faints on the spot.

Upon awakening, poor Robert discovers that he's in very big trouble. He's being pursued by the cops for stealing the statute and, if that isn't bad enough, it appears that Venus won't return to her pedestal because she has fallen in love with him. Even worse, his jealous girl friend (Olga San Juan) is convinced that he's been unfaithful.

Dick Haymes, Eve Arden and Tom Conway co-star in what is still a clever, if somewhat silly, romp that should entertain the entire family.

© Michael B. Druxman

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I'm not as well spoken as the previous reviewers, still, I grew up with this movie and watched it every time I saw it listed on TV. In fact, I'm always looking for a black and white copy I can afford to buy. It is just one of my favorite all time movies. I love the characters and most of the actors Eve Arden being my favorite by far and Ava looking so gorgeous, as well as Walker looking so vulnerable, confused and frustrated. It's a fun time 90 minutes or so of losing yourself in a far out comedic love story. I enjoyed the music and I'm one who tires of musicals after awhile this one did not bore me. Dick Haymes' singing is a joy. I recommend it highly to anyone even the more serious curmudgeons who feel they might not like it.

Read Best Reviews of One Touch of Venus (1948) Here

This adaptation by director William A Seiter of the musical with music by Kurt Weill and lyrics by S J Perelman and Ogden Nash is generally considered a bowlderisation, with songs cut and Mary Martin's stage performance lost in favour of the usual Broadway to Hollywood compromises. However there can be no doubt that casting beautiful Ava Gardner as Venus, the goddess of love, is apt. Here Gardner is more playful than usual, and even making her chase a reluctant Robert Walker can be forgiven. Although it is thought that great beauties are all the more desirable when passive rather than active, Walker not realising Gardner's worth is true to the slapstick comedy tone. The idea of Gardner as a marble statue on display in the art gallery of a department store, brought to life by window dresser Walker's drunken kiss at midnight during a lightning storm, introduces the unrealistic romantic narrative, with songs that appear without the musical genre strictly being adhered to. If I am happy to not have I'm a Stranger Here Myself from the stage show, it's because I don't like the song anyway, and even when Speak Low is presented unsatisfactorily and that Gardner is dubbed whilst singing it, cannot detract from it being one of the loveliest melodies Kurt Weill ever composed. I like how it is used as a siren song, where Seiter intercuts between Gardner and Walker, and Dick Haymes and Olga San Juan, with Gardner and Haymes both singing to departed lovers in a duet. As the only one of the cast who appears able to sing, Haymes also gets the bulk of My Foolish Heart, even if given new lyrics and a generally unappealing romantic partner in San Juan. The other song to survive is That's Him, where Eve Arden gets to join in as Gardner is dressed. Arden talks most of her lyrics but still it's nice to see her in this context, in addition to the barbs she delivers as comic relief otherwise, thanks to the screenplay by Frank Tashlin and Harry Kurnitz. I also liked Walker's line re San Juan "She's so terribly one track minded. Even when we have dinner together she eats rice", and there is a lowbrow moment when James Flavin as a detective is turned into a human owl by Gardner. If the others running around tend to become tiresome, there is still Gardner, looking ravishing in black late in the proceedings, and given a gorgeous closeup. And Seiter adds a sweet conclusion.

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ONE TOUCH OF VENUS is a musical comedy/fantasy about a window dresser named Eddie who kisses a statue of the goddess that then comes to life in the exquisite form of Ava Gardner. Venus falls in love with him; matters are further complicated when Eddie's boss is smitten by her loveliness.

The 1951 version of SHOW BOAT is another stage-to-screen musical that features Miss Gardner.

Parenthetical number prior to title is a 1 to 10 viewer poll rating found at a film research website.

(6.5) One Touch of Venus (1948) Robert Walker/Ava Gardner/Dick Haymes/Eve Arden/Olga San Juan/Tom Conway (uncredited: Arthur O'Connell)

"ONE TOUCH" TRIVIA--

Mary Martin was Venus on Broadway. Elia Kazan directed this S.J. Perelman play.

Mary Pickford bought the screen rights, intending to bring the original cast to the screen. Later plans included Miss Martin, Frank Sinatra, Clifton Webb and Bert Lahr, but when Mary became pregnant, Pickford sold the rights to UNIVERSAL and the movie was entirely recast. Plans to shoot in Technicolor were also abandoned.

The Venus statue of Ava Gardner originally depicted her in the nude; the studio demanded (and got) a more modest version.

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The Skin I Live in (Two-Disc Blu-ray/DVD Combo) (2011)

The most important thing I can tell you about Pedro Almodóvar's film, The Skin I Live In (original Spanish title: La piel que habito) is that you should avoid as much as possible knowing anything about it beyond the most basic setup before seeing it. This is one of those cases where spoilers truly can rob you of the full experience of a film. I say this as someone who went into the movie knowing little about it beyond the fact that Pedro Almodóvar directed it and that it had to do with a plastic surgeon obsessed with a mysterious female patient. And that really is the best way to see it.

Adapted from Thierry Jonquet's novel Tarantula (original French title: Mygale) by Pedro Almodóvar and his brother Agustín Almodóvar, The Skin I Live In is a complex and, as the background layers are peeled away through revelation, deeply disturbing and chilling film.

It begins in the present day where we see Robert Legard (Antonio Banderas), a prominent plastic surgeon and medical researcher who, because of the tragic death of his wife in a fiery auto accident several years earlier, is obsessed with creating a new kind of skin superior to the skin we're born with, one that is not only both tougher and more resistant to burning and injury but also heals quicker and with little to no scarring. In his mansion, Dr. Legard has a special patient under his private, personal care, a young woman named Vera (Elena Anaya), on whom he is trying his new skin out. Our first impression is that Vera is a burn victim that Legrand is caring for, but it quickly becomes clear that Vera is more prisoner than patient. But just who is Vera? And how did she come into Legrand's rather questionable 'care'? And why does she so strongly resemble Legrand's dead wife?

As in so many his films, The Skin I Live In has many of Almodóvar's almost trademark themes running all through it: complex familial relationships; the intertwining of family and personal secrets; the nature of desire, brutality and obsession; the lengths to which individuals can and will go; how actions can have the most unexpected and sometimes devastating consequences, and how, ultimately, we can never escape our pasts.

The performances are pitch perfect, most particularly Antonio Banderas' controlled and controlling and casually chilling Legard, who has his mansion wired so that he can observe his 'patient' from almost any part of the house, and Elena Anaya's Vera with her perfect face and body and the haunted eyes that peer out from the skin she lives in, always aware that she is being observed. Added into the mix and subtly working in other elements from classic standards of horror are Marisa Paredes's Marilia, Legard's old housekeeper who serves as a kind of matronly Igor to Legard's Victor Frankenstein, fiercely loyal but openly disapproving; Roberto Álamo's Zeca, a brutal criminal on the run who serves as a kind of Hyde to Legard's Jekyll lust, rage and animal cunning to Legard's cool controlled calculation. And last but not least, Jan Cornet's Vicente, a callow young fool whose impulsive self-indulgence triggers a chain of events with consequences more dire than he could imagine. All of whom are bound to each other in ways known and unknown.

The only reason I rate this four stars instead of five and call it a near-masterpiece instead of an all-out masterpiece is in how the final acts play out. After taking the viewer through a series of ever deeper and increasingly disturbing revelations, Almodóvar seems to settle for what I felt was a disappointingly conventional resolution. But that said, the film still stands out for all of the unexpected places it did take you before that slip back into the expected. There may be times when you'll think you've seen this movie before and you know what's going on, but I assure you, you haven't and you won't until the revelations have been made.

Highly recommended for any fan of Almodóvar's and for anyone else who likes well-crafted films that really push the boundaries.

A fascinating and powerful departure for Almodovar, or perhaps more

accurately more an terrific hybrid of the best of his old and new.

This has the darker, more actively perversely disturbing and violent themes

of some of his early work like 'Matador' but shot and directed with the

far smoother and more mature hand he has developed over the years. It

also uses the more complex and fractured time structure style of

Almodovar's more recent work, to great effect.

In the end it's a gorgeous looking, philosophically complex mystery and

horror film. Although not gory, this is a disturbing work, both on a

literal story level, and also for the questions it raises about sexual and personal

identity, love, sado-masochism, and passion run amok.

These themes are all Almodovar touchstones, but delivered here with a

visually stunning icy touch, and with much more complete logic than in

his early works, which often felt less fully thought through, and had

more frustrating plot holes and character leaps.

Not a 'scary' film, but a creepy, moody and highly effective one. A

dark fairy tale as told by, say Stanley Kubrick.

It's good to see Antonio Banderas reunited with Almodovar, and he

delivers a wonderfully complex and quirky modern day Dr. Frankenstein.

Less emotional than my two very favorite Almodovar films (Talk to Her,

All About My Mother), but its exciting to see this extremely talented

film maker continue to evolve and grow, and I think this represents

work that can stand among his best.

Buy The Skin I Live in (Two-Disc Blu-ray/DVD Combo) (2011) Now

I was telling a friend last night that there is no way you could adequately describe a plot of a Pedro Almodovar film. They are so over the top, so larger than life, so filled with twists and turns. There is always some sort of car chase or people escaping the scene of the crime on a moped. There is always a lot of drama. There are always many quirky characters in this case a mad scientist and a man running around in a tiger costume and cowboy boots. You have to enter a very surreal, crazy world in order to enjoy a Pedro Almodovar film. All of that said, I love his films and they bring me great joy. I told that same friend that I love Pedro Almodovar films as much as I love the idea of him. He is truly an icon in the world of film. When I read the first review of this film by Roger Ebert, he was also reviewing the film Mission Impossible 4. In a film world where almost everything is a sequel or of a certain genre, the world of Pedro Almodovar is unique and refreshing. He is truly an original someone who has a very unique identity and a strong sense of self. I don't want to get into any plot specifics because it would ruin the drama for you. However, if you "get" his film, if you are willing to open yourself up to his world, then The Skin I Live In is a treat indeed.

Update May 7, 2012

I just got back from my second trip to Spain. Spain has changed a lot in the last few decades. A very conservative Catholic country that never went through the Protestant Reformation, Spain was under the control of the Church for decades, and then endured decades of rigidity and repression under the military regime of General Francisco Franco. To understand Pedro Almodovar and his world, you need to understand a little about the country of Spain from which he comes. Now, only about 20 percent of the people of Spain consider themselves practicing Catholics this from the country that gave us the Spanish inquisition. Secularism is the reality of Spain right now, and The Skin I live In and the rest of Pedro Almodovar's films come from the creativity and breaking down of barriers and stereotypes that have burst on the scene in Spain in recent years.

Read Best Reviews of The Skin I Live in (Two-Disc Blu-ray/DVD Combo) (2011) Here

**NOTE** Beware reviewers here who reveal major spoilers because they didn't like the film. Full appreciation of this film requires knowing next to nothing about it going in.

Don't let the awful trailer dissuade you: Almodovar delivers the best film of 2011, and more than makes up for the disappointing BROKEN EMBRACES. This is absolutely masterful filmmaking, with career best performances from Banderas and Elena Anaya, an incredible score, and the most shocking twist cinema has seen since the early 90s.

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Every now and then a film comes and introduces to the audience an entirely new unheard of concept. The Skin I Live is a film with a unique plot, very well dramatized, high intensity story, some super acting and ended making me wish there were maybe three of four minutes more to it.

Of whatever little I have seen of Antonio Banderas, this is his best film.

The director Pedro Almodvar has made some outrageous films. Let's talk "All about my mother" , "Volver" , "Broken Embraces" , "Talk to her" were made with such a heavy unforgiving sincerity. His work, I dare add is no less than a great book or a great painting which lasts for years it is art. Of these films, All About My Mother was the most poignant one but imagine this I think the director may just have raised the bar a little with "The Skin I Live In"

A real treat and easily among my top 5 films of 2011. The makers of the film deserve all the academy awards they can get but I won't be surprised if this is overlooked as it doesn't have a political message but there is a wondrous world this director manages to create within his films and for the love of that, this film deserves to be watched. The Skin I Live In stands alone, I have never seen anything like it. It will disturb you, rot your mind but in the end, own your vote of confidence.

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