Showing posts with label hd dvd movies. Show all posts
Showing posts with label hd dvd movies. Show all posts

Saturday, October 4, 2014

The Edge of the World (1937)

The Edge of the WorldStunning 1937 film set in the Shetland Islands, and filmed on the North Sea isle of Foula. Director Michael Powell has been called "the British John Ford", and you'll see why when you watch this film.

Based on a newspaper article the director once read, "The Edge of the World" is a heartbreaking documentary-style look at a phenomenon that really faced island-dwellers off the coast of Scotland in the 1930's and 40s.

On Hirta, the ficticious isolated coastal island, the fishing is becoming impossible thanks to the mainland trawlers and their huge nets. The peat the islanders harvest and sell for fuel is almost exhausted. The youth of the island are leaving in droves.

As a result, the islanders face a harsh choice; try to go on with their way of life, or give up everything and ask the government to relocate them on the mainland. There is bitter debate among the inhabitants, with part in favor of leaving, others wanting to fight on, and still more who are uncertain what to do.

While the acting may occasionally seem a bit overdone today, the real winner here is the outstanding photography done on location. Hills sweep up and end abruptly with sheer cliffs. The pounding sea sprays the rocks, and clouds sweep over the expanse of the island, leaving telling shadows on all below. There is also a truly heartstopping race as two men climb the sheer cliffs to decide questions between them.

This is an amazing and moving film that focuses on characters, with their odd beliefs, their customs, their culture threatened, and their whole way of life hanging in the balance.

After one viewing, you will never be able to leave this film behind. Truly an overlooked work, it is indespensible to the serious film buff and student.

Cheers to Milestone, who copied the film's recently restored 35mm print for this tape (and in SP mode, no less!). Until a Criterion DVD edition comes out, this is the best version you're likely to find of this wonderful film, and well worth the price.

The tape includes the twenty minute documentary "Return to the Edge of the World" in its entirety, as well as the Powell WW2 short subject, "An Airman's Letter to His Mother".

The Edge of the World has outstanding cinematography and the acting is also very good. The plot moves along a bit too slow for my taste although as others have noted the scenery more than makes up for the way the film winds its way through the story line. The choreography was very well done and the quality of the print is pretty good except in a few places where it could use a little restoration.

The film begins on a Shetland island not too far from Scotland. We see a trio of explorers who come upon a tombstone at the edge of a very sharp cliff; and one of them tells the other two the story about the tombstone--and so much more. Thus the story is essentially a flashback; and this device works very well.

We first meet several principle characters: there are two family patriarchs, Peter Manson (John Laurie) and James Grey (Finlay Currie). They have a lot on their hands as the fishing and farming on the island of Hirta is slowly but surely dying. The larger fishing boats have been catching their fish; and the younger generation of the islanders is leaving to find a more prosperous way of life in Scotland or even elsewhere. There's quite a crisis when the islanders meet; and two of their sons, Robbie Manson (Eric Berry) and Andrew Grey (Niall MacGinnis) decide to settle the matter by running a race up a sharp cliff--without a safety rope. While Ruth Manson (Belle Chrystall) loves Andrew, she is also Robbie's twin sister; and she hates the idea of them running this race--she could lose both of them. However, Robbie and Andrew think that the race to the top of the cliff is the only way to settle the matter and reach a decision for all.

Unfortunately, Robbie dies when he falls off the cliff; but this doesn't settle the matter. Many islanders still want to stay although the outlook worsens when the peat begins to run out and their latest crop won't be good, either. Complications abound when Peter Manson finds out that his daughter Ruth is pregnant with an illegitimate child by Andrew. Andrew doesn't know Ruth is even pregnant; he himself has left Hirta to find work.

Will Andrew come back when he finds out that Ruth is pregnant with their child? What about Peter Manson--will he be embittered toward the Grey family after the tragic death of his son Robbie? How does Ruth feel about marrying Andrew after Robbie is killed in that race to the top of the cliff? No plot spoilers here, folks--watch and find out!

The DVD comes with a few nice features. We get a documentary entitled "Return to the Edge of the World" that runs roughly twenty-one minutes; and there's another excellent but unrelated featurette entitled "An Airman's Letter to His Mother" from the World War Two era.

The Edge of the World may not be the very best movie I ever watched; it moves too slowly for me although the cinematography is outstanding. Nevertheless, it's still quite a moving story about what life was really like for people in that part of the world at the time; and that's a big plus. I recommend this film for people interested in these themes and issues.

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It has been 10 years since The Shadow of Death fell on the outer isles of Scotland. This is the tale of Peter Manson, his family and the last days of inhabitance on the island called "Ultima Thule" The Edge of the World. You will come to identify with the inhabitance and their plight. But with all the triumphs and tragedies the worst for me was when they let the cats fend for themselves and the dogs (due to economics) drowned.

The filming was spectacular and there is a social statement. Many facets go into making this a first class movie. The film was shot by Michael Powell on the island of Foula in the North Sea. Michael Powell is the visiting yachtsman that hears the story.

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Considered by many to be British director Michael Powell's first true major motion picture, "The Edge of the World" is a 1937 film set on the small Shetland island of Foula, north of Scotland. The island's few inhabitants (six main families) descend back to ancient times and Nordic roots before the new world had been "discovered", and standing atop its towering sheer cliffs and looking west was felt by many to be standing on the edge of the world. Powell's fascination with heights (and falls) may have started here, as his longtime fans will instantly see some parallels to the scenery and situations from his later Black Narcissus (The Criterion Collection) [Blu-ray], and even sporadic touches in "The Red Shoes".

"Edge" is a fictitious story rooted in historical fact about the plight small island communities faced as their populations shrank and their young people were seduced away by greener pastures. It was inspired by the real life story of the island of St. Kilda, when its last 36 citizens were "evacuated", leaving their historical home and the fruits of their blood, sweat, and tears behind.

In "Edge", another community is facing the same problem. The weather is inclement, the work is hard, the routine is dull. But even for those who are stubborn enough to want to stay out of respect for ancestoral duty and tradition, or who don't want to make things worse for those left behind, another reality is hitting home. Few babies are being born, the crops are poor, and the peat is running low. The price they get for their wool is decreasing, while at the same time modern trawlers from the mainland come out and fish their waters, forcing them to go farther out.

The decision whether to stay or go is played out between two young men, each taking opposite sides and arguing for the hearts and souls of their neighbors. In an interesting take, each of their fathers respectively disagree with them, creating tension not just between the boyhood friends but also their families.

The father who is the leader of the island, and who has the strongest desire to maintain the status quo, is faced not just by a traiterous deserter of a son but also a twin sister, who is torn between the differing worldviews of her dad, her brother, and a lover. As one of the younger women on the island (and capable of having a child), who she ultimately could lend her voice to would have power. Whether she ever finds her voice is another matter.

It would not be a spoiler to say that the movie starts from the very beginning with a man standing in a windswept ghost town of rock and stone. The entire rest of the film is flashback, so while you know from the getgo what decision gets made, how they ultimately reach it, and its consequences, are the focus of the film and is fairly compelling. The battle lines are drawn, with the fate of everything at stake except for the island itself. Despite the chaos that sometimes goes on around it, the island stands tall and defiant, beautifully shot but entirely indifferent to the waves continually crashing upon it or the people scrambling on its cliffs.

I have only seen this bluray edition, so I can't comment on how much of an improvement it is over previous versions. I can say this, it is highly watchable and in my opinion true HD, with some nice shots that are fairly remarkable considering the age from when they were taken and the harsh environment the film faced. Conditions on set were dangerous, collar bones were broken, and camera men were fired for not keeping up. So in the end you can see that, there are times when you can tell the real grandeur just could not be captured, but it was not for lack of effort. It is also probably the reason that the next time Powell wanted to do a high altitude movie, the aforementioned Black Narcissus, that he did it on a studio lot employing optical illusions rather than filming on location.

The performances are sufficient but not great, most likely the result of 1937 acting standards. Probably the best performance is turned in by the lead father, played by John Laurie. While some is clumsy and heavy handed, it is evened out by a cast that is eclectic and interesting, including some of the real life populance of the island. Ultimately you end up caring for the characters, who seem believable, so everything works.

I was hesitant to get the DVD as it is listed as an "all region" import. In the end it played fine on my region 1 Panasonic barebones Blu-Ray Panasonic DMP-BD75 Ultra-Fast Booting Blu-ray Disc Player. The extra features were nice, including a 25 minute documentary of sorts that highlighted Powell and some crewmembers going back many years after the fact. Many of the original people had passed away at the time, but it was nice to see the island both in color and with the benefit of some sweeping aerial shots that were not possible when the movie was first filmed. Audio commentary by Powell's widow, with Daniel Day-Lewis reading excerpts from the book "200,000 Feet on Foula". Also includes a very informative 25 page booklet.

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Based on the real-life exodus from St. Kilda, near Scotland, Powell's gripping melodrama was his first breakthrough before embarking on a fruitful life-long partnership with producer Emeric Pressburger. Combining documentary-like footage of ragged shorelines, craggy cliffs, and the rugged beauty of Foula (the film's actual location) with a simple story of economic hardship and romantic conflict, Powell concocted one of the most deeply personal and moving British films of the `30s. Sparse yet potent, "Edge" stands out for excellent performances--including John Laurie and Finlay Currie as the young lovers' squabbling patriarchs--and one thrilling sequence involving a treacherous foot race up Foula's forbiddingly steep cliffs.

Thursday, September 25, 2014

Father's Day (Blu-ray) (2011)

Father's DayOne would be wrong to assume this is some sort of sequel to Troma's Mother's Day, even more wrong to assume that it's as heinously terrible as some of the no-budget clunkers this company has recently been known to put out. That being said, this movie was actually written and directed by Canadian film troupe Astron-6, and not Lloyd Kaufman, so the first things you might notice are the above-average production quality and slightly better acting.

The overall grindhouse style isn't too far off from Hobo With A Shotgun, or the early Troma Classics, like Toxic Avenger and Class of Nuke 'Em High. An ex-priest goes on a vengeance-fueled journey to track down the infamous Father's Day Killer. Excessive violence, gross-out humor, and an over-the-top plot make this essential viewing for anyone who likes gritty and absurdly offensive low budget entertainment.

This is Troma's crowning achievement in my opinion. A movie so foul, disgusting and funny that you just cant seem to take your eyes off of it. If your a fan of bad movies, sexual depravity and gratuitous blood & guts then step right up, pop some popcorn, sit back and prepare to have your mind blown.

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Ahhh, Father's Day...where to begin? The violence. The butt rape. Revenge. Demons. Strippers with chainsaws. Maple syrup. Tasty berries. A sexy priest. A gay prostitute. Did I mention the stripper with the chainsaw?

Father's Day is a wild, violent, sometimes trippy, sometimes old-school, always fun little flick best viewed at night (the film even opens with a commercial telling you you're watching it late at night, a midnight movie so to speak) and with a group of friends who are ready to laugh.

Boy watches father raped and killed, gets eye cut out, grows up, wants revenge, kills wrong person, goes to prison, 10 years later is let out, seeks peace in the woods. That's only the first 5 minutes! What happens next will please fans of other Troma releases, as well as fans of "Hobo With A Shotgun" and "Planet Terror", two other films that are a little more well-known but equally as good.

The film gets even crazier when our group of heroes go to hell, literally.

Good for a few laughs and some over-the-top gore/nudity. Movie: 4/5 stars.

The blu-ray has good video quality, considering the source material was made to look like an old movie much like "Hobo With A Shotgun" and "Planet Terror". Some scenes have a lot of detail to them, while others don't. Video: 4/5 stars.

Audio is okay at best. I wasn't particularly blown away, but it serves the "feel" of the movie well. Audio: 3/5 stars.

There aren't any extras on this one-disk blu-ray edition, though I've heard other editions of the movie come with more disks and some extra content. I own this version, the single disk blu-ray, with only a theatrical trailer. Extras of single-disk blu-ray: 0/5 stars.

Overall: 4/5 stars. I don't find this film as memorable as some of the other crazy films I've mentioned, especially "Planet Terror", but its still good and provides some fun entertainment for fans of this genre. Video is good, Audio is okay. Rent it if you're not sure. Buy it if you enjoy other films in this genre.

Rating: Not Rated, likely NC-17. Language is comical, Nudity is raw and Sexual content tends to be very mature. The violence is over-the-top and extreme, but some of it can be shocking (genital mutilation, for example) and some of the violence mixes in with sexual content, making it possibly uncomfortable for some viewers. Ages 18 and up.

Read Best Reviews of Father's Day (Blu-ray) (2011) Here

Didn't know what to expect with this film at all. To be honest, I have never seen a troma film before this one and after watching it, I get the hang of there crazy ways. This is one of the most hilarious, disturbing and full blown brutal movies I have seen of its kind. Bought off impulse and pretty Damn glad I did. Bloody, sexy, nasty and wrong in many ways (I mean all that in the best possible way of course.) Stay away if your not familiar with this kind of film, but if you enjoy some messed up and dark entertainment than try it out. Gotta get back to my maple tree now, happy fathers day!

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This new slice of Troma sleaze is an absolutely out of hand gore fest. Excellent 70's/Grindhouse feel with all the guts you could ever want. I highly recommend this film for anyone who can appreciate the out-of-control low budget sleaze that Astron-6/Troma wear like a badge of honor!

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Rent (2005)

RentI saw the movie in a beautiful theater in downtown San Francisco on the Saturday after Thanksgiving and was surprised to find so few people in the movie theater--maybe 75 of us, and the theater could have fit 500. I wonder if some of the lukewarm reviews haven't influenced people's decisions to go to RENT. Hope not, for I'm here to tell you, this movie is dynamite and IMHO much, much better than the play. For one thing, in the movie you can hear every word, even with the increased rock instrumentation, for hundreds of sound experts have worked their magic and made sure that even people underwater could hear every single syllable; whereas on stage, it depended from night to night what percentage of the lyrics were going to be coming across the temperamental sound system of the Nederlander (NYC).

I did miss Daphne Rubin-Vega who was incomparably sexy and chilling as Mimi, but I never believed her being in love, and Rosario Dawson looked like she was just 'playing' at being bad and underneath she was ready to fall in love as soon as she saw Roger through the window. Her scenes of addiction are captured in the movie effectively, in a rpaid montage that might disconcert some rentheads but will, I think, be easily understood by those new to the show.

Yes, some of the actors looked older than 20 somethings. But we forget that most of those who died of AIDS in the 1989-90 period were actually in their 30s. What's the big deal? To me, Angel's fate is all the more sad because he seemed to be healthy for so long and then, all of a sudden, well, any more would bring me into spoiler territory.

Idina Menzel is not as over the top as she is on stage, but there's still plenty of fire power there, and she's bigger than anything in the movies since the heyday of Betty Hutton! She looks remarkably beautiful and she doesn't miss a trick; and just when you think she'll overshadow Tracie Thoms as her attorney girlfriend, Joanne, the latter pulls off some memorable comic business and signals her disappointment and regret with her expressive brown eyes. Anthony Rapp is charming as Mark Cohen, he comes off as a tiny terror, I wonder how tall he is, the constant scenes of him snarking down the streets with his fists clenched in anger at his sides, but no one else around to reveal his true proportions--the old Alan Ladd trick. And Adam Pascal is suave and tormented in equal measures as Roger. His eyelashes are so long I expected them to have a special spotlights in the credits, but no.

I have to disagree with the posters who claim that Larson wrote all the best numbers for the men in the cast. Maybe that's personal pleading, but I find the best songs pretty much divided right down the middle. Mimi's "Out Tonight" isn't as exciting as on stage, but it is much more compellingly staged, as Rosario Dawson steps out of the Cat Scratch Club after her shift only to launch into the second verse, and seems to scale the wall of the loft to get to Roger like Catwoman in the third. ("I'll let you make me . . .") "Light My Candle" suffers a little without Daphne Rubin-Vega in it, and Adam Pascal acts as though he knows he's cheating on her with Rosario Dawson. Afterwards he gets his balls back. The ensemble singing of "Will I?" and "Another Day" are perfectly staged and rehearsed, and it's there that I started to lose it. I guess I must have spent the last seventy minutes of the movie in a continual rain of tears. By the end I had to sit through all the credits in a vain attempt to gather composure. The faces of those whom I lost to AIDS flashed before my eyes. Not all of them, but some of them. I did resolve to go out and try to practice love on a grand scale. They got me this time. "No other path, no other way, give in to love or live in fear."

These sentiments are vapid and, in the daylight, seem a little silly, but the beauty and power of the movie is to convince you of their truth. Good work all around. I hope the movie's an enormous success.

I was born to love "Rent." Having grown up listening to my mother's record of "La Boheme" playing as she did her housework, I anxiously anticipated seeing the Broadway production when I was in New York in 1999. Although, it was superb, the movie version was so much more enjoyable to me, mainly because the words to the beautiful songs were clear and much more understandable. I realize Broadway is a one-shot deal and a movie can have countless takes on a scene, so I'm not putting down the play I loved in any way, just saying the movie was an easier and more enjoyable viewing experience.

From the spectacular opening scene where the full cast sings the beautiful "Seasons of Love," the stage is set for a glorious celebration of life, living it to the fullest, and enjoying every moment. Yes, there is heartbreak on the screen and many moist eyes in the theater, but this is mainly a joyful story of friendship, love, and reaching out to your fellow man.

The acting is superb, lovingly done by actors who obviously relate to their roles in a profound way. Wilson Jermaine excels as Angel, especially in the show-stopping "Today 4 U." Adam Pascal and Rosario Dawson are believable as the romantic leads and Jesse L. Martin will astound his "Law and Order" fans with his rich singing voice and dancing ability. All the cast is marvelous, the show is electric with its high-energy singing and dancing, and overall, the best movie I have seen in a long, long time. I will definitely get the DVD the day it is available.

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I have seen both the movie and the stage version of Rent. I love both of them. But, we're here to talk about the movie. I love the fact that most of the original cast is back for this. Adam Pascal and Anthony Rapp are perfect as Roger and Mark. Adam shows the tortured soul that is Roger. Finding out he has HIV and dealing with his girlfriend's death puts him in a place he never thought he would be. Mark, Collins, Angel, and Mimi help him realize that he isn't dead yet. Adam takes you through that journey with all the emotions that entails. Anthony shows Mark's emotions throughout the piece. The look on his face when he sees that Roger has come out of the house, and come to the Life Support meeting shows you just how much he cares for his best friend, and how worried he was, and still is for him. Having them in two sepereate locations for "What You Own" also helps the characters and gives the actors a new way of playing the scene. When they come together on the roof and you see the emotion as they say "I'm not alone," that is when they both come to the realization that they aren't alone and they don't have to be. And I have both the OBC and Movie soundtracks, and I've got to say their preformances on the movie soundtrack have improved. How can you not love Wilson Jermaine Heredia as Angel? He is Angel. Jesse L. Martin blew me away as Collins. And if you have seen him in Law and Order, you will love him in this. Wilson and Jesse together are a terrific pair and to see them portray Angel and Collin's relationship is magic. I do think Taye Diggs was a little underused, but with having to condense the play to a movie time frame, Benny was the one who would have to suffer. Idina Menzel rules as Maureen, but neither she nor the actress who I just saw play the part will make me like Over the Moon. That is not my favorite moment in either the movie or the play. Now, to the new additions. In my humble opinion, Rosario Dawson blew Daphne Rubin-Vega out of the water. I thought Daphne sounded whiny as Mimi, Rosario brought life, depth, and fun to her. Tracie Thoms as Joanne was a wonderful addition. I did miss Fredi Walker's voice, but Tracie held her own and made the part hers. Another reviewer seems to think that Adam Pascal and Idina Menzel are suffering from detoriating voices. That is not the case. Adam's preformance, as I said before, exceeded the OBC version. If you don't like hearing his voice in Rent, then I recommend a change of pace, there is the OBC of Aida and his two solo albums, Model Prisoner and Civilian, that will give you a different prespective. Idina hasn't suffered from her preformance in Wicked, she has improved. I look forward to watching the DVD and the deleted scenes, which from what I understand will include the rest of "Goodbye Love" and "Halloween." Unfortunatly, "Contact" wouldn't have worked in the movie. Seeing Collins holding Angel in his arms at the hospital brought you to the same place emotionally as the end of Contact. I hope that the people who didn't see this in the theater will give it a chance on DVD. The story line is still relevant. There are still people living with, and dying from, AIDS. Jonathan Larson's vision still rings true. "There's only us, there's only this. Forget regret, or life is yours to miss. No other road, no other way. No day but today."

Read Best Reviews of Rent (2005) Here

I was sooo dissapointed by the movie version of RENT and I am not a "renthead". I saw the Broadway show for the first time on the 10 year anniversary because I had to see it onstage before the movie came out. I am so glad I did. I didn't know the plotline before I saw it and I literally cried for twenty minutes in the middle of Times Square after leaving the theatre. I couldn't even listen to disc two of the cast recording, for weeks, without crying. The scenes that they left out of the movie should have been left in. It would have added a whole ten minutes to the running time but they were so important to telling the whole story. I don't think I can sit through another viewing of this movie. If you want to know what the Broadway musical was like, buy the original broadway cast recording. It is exactly how the show runs, with little talk and so much more singing. It also gives you the whole story with all the emotion that should be in the movie. If you haven't seen RENT in the theater, the whole show is done with only one set. It's great!!

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This movie is incredible, no doubt about it. From Taye Diggs to Rosario Dawson to Anthony Rapp to Idina Menzel, phenominal talent! I think though there is ONE performance that is worthy of at LEAST an Academy Award NOMINATION and that's Jesse L. Martin. Martin offers most of the laughs from the movie as well as makes the audience cry unlike any other performance this year. Martin's performance is exceptional and adds to the excellence of this incredible movie musical.

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Sunday, September 7, 2014

The Miracle of the Bells (1948)

The Miracle of the BellsUndoubtedly one the finest performances by Fred MacMurry and Frank Sinatra, not to mention the superior supporting cast, Lee J. Cobb for starters. But because Sinatra isn't singing the "experts"; Maltin, Siskel, Ebert and Shalate overlook his REAL acting abiltiy. Sinatra is as pure a thespian as Olivier in this role as a priest (not even a church hymn from Frank's lips is hummed). Maltin's above review includes "ludicrous" plot-I'm sure the movie GHOST is on Leonard's his TOP 100 list. Trust no critic: see the this inspirational movie at once.

Based on Russell Janey's novel, the Ben Hecht/Quentin Reynolds script for this film is sometimes sappy and often uneven, but it's also a nice sentimental story, told in flashback, by William Dunnigan (played in a somber manner by Fred McMurray), a press agent who was never a very happy guy, and is burying the woman he loved (but was never able to tell her so).

The real reason to watch this film is to see Alida Valli play Joan of Arc, in a "film within a film" segment. She is luminous and incredibly beautiful, and would have made a terrific Joan. Coincidentally, the lavish "Joan of Arc" production starring Ingrid Bergman was released the same year as this film.

Another reason to view "The Miracle of the Bells" is to see Frank Sinatra, skinny as a rail, in the unlikely part of a soft spoken priest; this was five years before his success in "From Here to Eternity", and he is surprisingly good, but far from great. He sings "Ever Homeward", a cappella, as he sits among the grave stones; there's a lot of gloomy aspects to the film, one of them being that the setting is a poor coal mining town...though it all has a nice pay-off.

Lee J. Cobb is Marcus Harris, the film producer making "Joan of Arc", and he has the humorous moment in the film with his "I won't stand for any press agent miracles !" rant, which was funny enough to make me laugh out loud, a rarity for me.

Some might say it's improbable that headlines of "Nation Mourns For Movie Star" could ever happen, especially when the "movie star" is unknown, but seeing how today's media obsesses about inconsequential stories, and runs with them for days (nay, weeks !) on end, on a slow news cycle, anything could happen.

Total running time is 120 minutes.

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Orginally, I saw this movie about ten years ago and it really left an impression on me. It brilliantly grabs the viewer's heart...You would have to be dead not to be touched by this film. I loved it and I'm getting ready to purchase a copy for my 15-year-old daughter to watch. I've shared with her many other classics I've valued in my lifetime, i.e. Jane Eyre (Orson Wells), Wuthering Heights, and Alice Adams. I hope she will treasure the classics as much as I do.

Read Best Reviews of The Miracle of the Bells (1948) Here

I read the first review and had to add my vote to get this great film transferred to DVD. It is a wonderful film that has a great message and is a Christmas Favorite of mine. I watched it every year at the holiday's as a child. Very well acted and worth the time spent to sit and enjoy a film that can rest on the plot and the talent of the actors. No needless sex or violence just a great story!!! Hurry with the DVD PLEASE!!!

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I was able to purchase this movie on a DVD from sales distribution Blackhorse Entertainment

I could not play it on Blue Ray but was able to play it on my old DVD player.

The movie was marvelous. I do not care what the critics say. Alida Valli does an outstanding job. Fred Mac Murray has a magical delivery in this role and the perfect voice sound to make it powerful. Frank Sinatra as a priest shows a good depth of character, plays it just as it should be. No fluff. Lee J. Cobb always a top rated professional does not let you down in this one either. He defends America with eloquent poise. I might add defending America in films today seems to be missing.

Please get the film, pass it on to your children, it is a classic.

Enjoy,

Vicki Youngelman

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Friday, September 5, 2014

Chinatown (1974)

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

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

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

The audio is spectacular for the film.

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

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

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

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

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

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

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

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

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

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

Also recommended:

William Mulholland and the Rise of Los Angeles

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

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

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

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

Double Indemnity (Universal Legacy Series)

The Postman Always Rings Twice

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

Buy Chinatown (1974) Now

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

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

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

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

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

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

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

Read Best Reviews of Chinatown (1974) Here

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

Special features are set to include:

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

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

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

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

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

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

*Chinatown: The Beginning and the End

*Chinatown: Filming

*Chinatown: The Legacy

*Theatrical Trailer (HD)

*Cover artwork using the original theatrical poster

*Collectible booklet.

Want Chinatown (1974) Discount?

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

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

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

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

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

Finally, there is a theatrical trailer.

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Saturday, August 9, 2014

Coraline (2009)

CoralineThis movie, yes is a little creepy. It has a moral, which is the point. The grass is always greener on the other side. The moral is the grass is not always greener and things are not always what they seem. I watched this with our 12 year old daughter. She was fine with it. Not sure that a child of 10 or younger would understand it. We love this movie. The person who commented about the 3D effects is wrong. They must have watched that non Blu-Ray 3D, with the paper glasses. This is the version for 3D TV's and Blu-Ray players.

I am only commenting on the 3D aspect of it....not the story itself.

I have several movies in 3d and for me this is bright & colorful. Story is well done but unfortunately nothing really leaps out of the screen at you except for a few instances. I did not think that I was going to like this but watching this in 3D really changed my mind.

I did not really care for Alice in Wonderland or A Christmas Carol. Cloudy with a Chance of Meatballs and Despicable Me are pretty good but this I found to be more of a visual treat.

I must say that out of all that I have -Saw 3D and Clash of the Titans-Resident Evil... just do not hold up against CGI movies. IMAX does great stuff but those are not movies.

From start to finish Coraline is a visual feast and I would recommend this for anyone that has a 3D television.

Buy Coraline (2009) Now

Universal Studios Home Entertainment have announced the US DVD and Blu-ray Disc release of Coraline on 21st July 2009. Based on the book by Neil Gaiman, this stop-motion animation written and directed by Henry Selick follows an adventurous girl who finds another world that is a strangely idealized version of her frustrating home, but it has sinister secrets.

Available on single-disc DVD, two-disc Collector's Edition DVD and Blu-ray Disc, all include both the 2-D and 3-D version of the main feature and come packaged with 4 pairs of 3D glasses. Features are outlined below...

Single-Disc DVD

* 2-D and 3-D Presentations

* 1.85:1 Anamorphic Widescreen

* English, French and Spanish DD5.1 Surround

* English SDH, French and Spanish subtitles

* Feature Commentary with Director Henry Selick and Composer Bruno Coulais

2-Disc Collector's Edition DVD As above plus a bonus disc with the following content:

* Digital Copy of Coraline 2-D Version (Expires 07/31/2010)

* Deleted Scenes

* The Making of Coraline

* Voicing the Characters

Blu-ray Disc This is a Blu-ray Combo release which comes bundled with a standard-def DVD that includes the 2-D version of the film (AV specs as per the DVD releases), audio commentary, and a Digital Copy of the film. Features include:

* 2-D and 3-D Presentations

* 1080P 1.85:1 Widescreen

* English 5.1 DTS-HD Master Audio

* French and Spanish 5.1 DTS Surround

* English SDH, French and Spanish subtitles

* U Control Picture in Picture (2-D Feature Only)

* U Control Tours and Voice Sessions (2-D Feature Only)

* U Control Picture in Picture Animatic (2-D Feature Only)

* Deleted Scenes

* The Making of Coraline

* Voicing the Characters

* Creepy Coraline

* Feature Commentary with Director Henry Selick and Composer Bruno Coulais

* D-Box

* BD Live My Scenes Sharing

* BD Live The World According to Henry

* Disc 2: DVD with standard-def 2-D version of the film, audio commentary & 2-D Digital Copy of the film (expires 31st July 2010)

Read Best Reviews of Coraline (2009) Here

I was let down when I saw the paper glasses that it comes with. I was expecting clear, transparent 3D glasses but the glasses that it comes with have Pinkish and Greenish lenses.

But after watching the movie with glasses I found that they worked pretty good. I haven't seen Coraline 3D in theatres, but I was blown away with some of the 3D scenes. The glasses do take away the bright vibrant colors (not too much though, Coraline's bright orange coat and Blue hair were still vibrant) but add a completely new feel and mood to the movie that's very appropriate for it.

Some people have said that only a few selected scenes are in 3d. I didn't feel this at all. The entire movie was in 3D. Maybe a couple close up scenes where there wouldn't be too much depth to begin with may be 2D, ( I don't know) But the rest was completely 3D.

I watched the movie on Blu-ray and on an HD TV. That's the only way to get the best picture possible.

There are almost 2 different version of Coraline. The 3D and the regular versions. They both create two completely different experiences. When watching in 3D, you feel like you've been transported into a different world that's gloomy and dark. In 2D Blu ray, you get to observe the same world with rich details that aren't visible in the 3D.

So this is defiantly worth buying. The 3D is not as good as the theatres but still works splendidly.

Want Coraline (2009) Discount?

This uncommon animation starts with tween-aged angst, the kind that demands independence but still wants mom and dad close by. Her busy parents don't have much time for her, though, and her new, remote home doesn't offer much reward for her explorations (other than some rather kooky neighbors). So, even if it's not wholly conscious, Coraline wishes for a nicer place and parents that pay more attention.

As the movie's tagline says, "be careful what you wish for." Like Alice down the rabbit hole, Coraline finds a secret passage to a more magical place. Soon, however, the magic turns dark. That's where the brilliant animation really comes into its own. The stop animation (or at least the look of it) bring to mind Tim Burton with a macabre touch of Brothers Quay. You know your child best skittish ones might find some of the imagery a bit much. Still, kids' stories (like Alice in Wonderland) have always had dark edges. That deliciously spooky sense, plus some great animation, really set this movie apart from the usual.

-wiredweird

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Thursday, July 17, 2014

1900 (Three-Disc Collector's Edition) (1977)

1900This is, in fact, Bertolucci's original cut of 315 (!) minutes. Having seen both the 255 minute version and the director's cut, one may actually say what kind of difference can there possibly be between these 2 versions? One is 4 1/4 hours, the other is 5 1/4 hours. They are both incredibly long versions, so what's the point? The point is that there is a huge difference. As incredible as it may sound, the shorter version seems longer, as it doesn't have the same narrative flow as the longer version does. There are subtle differences between the versions that make certain scenes different. For example, there is a scene where the leaders of the town go duck hunting (warning! Bertolucci shows the actual killing of ducks here, along with animals being slaughtered for food). They then go into a church to discuss bringing a new fascist order to the town. In the short version, the church scene only consists of the men talking. In the longer version, Bertolucci intercuts the dead ducks with the men talking, giving the scene a graver effect. The sex scenes are longer and more explicit in the longer version as well. I saw this long version at a Bertolucci retrospective, and there were college kids in the audience who were laughing at the sex scenes! The sex scenes, like in all of Bertolucci's work, are meant to be serious and natural, which they are. I suppose the young people of America have a difficult time taking sex seriously after a decade or so of lowbrow, childish, teenage "comedies". Some of the magnificent camera work got lost in the shorter version, because Bertolucci cut some of the beginnings and ends of scenes, where they would be a wonderful camera move opening or closing the scene. As for the film itself, it is incredibly ambitious and amazing to behold. Bertolucci just came off the amazingly successful Last Tango in Paris, and did something grandly ambitious. He should be commended for that. Many current day filmmakers would probably do a sequel to their already successful film to fill their pockets, and not give a hoot about anything else. Bertolucci originally wanted to release it in 2 parts, but the producer Alberto Grimaldi, who was reeling from the financial failure of Fellini's Cassanova (a film he produced), wanted no part of a 2 part film. So Bertolucci compromised. He only cut one entire scene. He made cuts within scenes (a technique that Terry Gilliam used on his film Brazil, when he had to trim his film from 142 minutes to 131). While this film is magnificent, it took a ton out of Bertolucci. He never worked with Grimaldi again (Grimaldi had produced Last Tango in addition to this film), and he didn't really recover his reputation as a great filmmaker until 10 years later with another epic, The Last Emperor. Since then, he's been erratic, but he can still make great cinema (watch The Dreamers, one of Bertolucci's best films). Since this is in fact the director's cut, by all means see it, rent it, buy it.

This is arguably one of the finest, most ambitious, and unique epic films ever made. When it was made in 1977, it was met with derision, confusement, and indifference. Many people are now able to view this film, and appreciate it for the masterpiece that it is.

Let me clarify the question of the different versions of this masterpiece.

The first cut (never released) was 6:15. The European released version was 5:25. In the meanwhile, Alberto Grimaldi (the film's producer) was negociating with Paramount a 3:15 version, betraying Bertolucci, who didn't know a word about.

After the European succes, Fox offered Bertolucci to work on a 4:15 version for the U.S. market. He accepted, and made a second 4:40 version. But Grimaldi's opposition take the case to a court. A judge viewed all three 5:25, 4:40 and 3:15 versions. He concluded that Grimaldi's short version was detrimental and incoherent. So he invited Bertolucci to work in a 4:15 version.

Bernardo did a third cut to 4:10, that had its premiere in the New York Film Festival. There, critics were very negative, since they already knew the european 5:25 version, and compared so. But Bertolucci once declared that this was simply another film; no a single sequence was missing, it just had another pace. For a given moment, he even prefered this version. But years later, he recognizes the short version lacks the "inexorable passing of time" of the full one.

Let me recall this is the only film in history that has put toghether -for the productionall three major studios then, Fox, United Artists and Paramount.

All this information was taken from the book Bertolucci por Bertolucci, the spanish version of Scene madri di Bernardo Bertolucci, from Enzo Ungari, based on the interviews by Donald Ranvaud about The Last Emperor.

I definitely agree with the people asking for a remastering and release on DVD of the 5:25 original version.

Buy 1900 (Three-Disc Collector's Edition) (1977) Now

"Novecento" was one of the most eagerly awaited movies of the seventies. It was meant to be, as Bertolucci himself intended, the Italian "Gone with the wind", an epic story about what happened in the "bel paese" during the first half of the twentieth century, the political turmoil between WW1 and WW2, the rise and fall of the fascism, the birth and widespread of the communist and socialist movements as a response to social injustice. There was a big project, the financial means to carry it out (American studios financing communist propaganda can you believe that?), some of the world's best actors at the time. And what maybe matters the most there was Bernardo Bertolucci himself, whose political ideas have never been in glaring contradiction with the "Communist Manifesto". So who else could make this movie better than him? Having put this fabulous international team together the standards were set very, very high.

As much as I love Italy and Italians, as much as I love Bertolucci, and as much as I adore De Niro, Depardieu, Lancaster and Sutherland, I have to say this movie let me down a little bit. I mean it's a good movie, but it could have been much better. The problem is that one has to know what happened in Italy during that period of time to fully understand what the movie is really about. Bertolucci knew it beforehand, which probably explains his need to have the best French actor, the best American actor, some other excellent American actors besides his Italian actors troop (some of them are excellent by the way) to be in this movie. I think I can say that I know pretty well the Italian twentieth century history, and yet I think this movie is a little bit of a mess.

The Italian landscape, the countryside, the photography and the colors are really breathtaking. The director really knows how to suit the locations and paysage to almost every moment and particular scene of the movie. But to me, what misses the most in this movie is the dialog. You sit and watch scene after scene and you have the feeling that the movie is finally about to take off, but it doesn't, it quite never does. Yes, there are many excellent scenes, some of them being very explicit in a way or another, but this is the classic example of the total being too inferior to the sum of its separate parts.

As far as the acting is concerned, Lancaster is undoubtedly the one who gives the best performance here, and he seems really lucky to have played a relatively small part. Some of the scenes he's in are among the best of this movie. Depardieu is excellent too. Donald Sutherland is good, but every time he's on-screen one can't help wondering if he's frustrated because of the bizarre acts he has been told to perform or simply because he knows he has to act someone who, whatever the reason, seems to be constantly angry.

But to me the most disappointing is my all time favorite actor, the man himself, De Niro. He comes in and goes out, makes faces, smiles, chuckles, moans, groans and never seems to really be in this movie. Anonymous, that's the word that occurred to me while watching this film, as far as De Niro's acting is concerned. Luckily enough, this movie didn't harm that much his reputation at the time, and he went on later to give absolutely mesmerizing performances in gems like "The last tycoon", "The deer hunter" and "Raging bull".

I have only watched the original 6 hours long version, both in English and Italian, and I have to say I don't have any problems with the accents. I still keep watching this movie 25 years after its release, just to make sure I haven't missed anything before and to see if I can appreciate it more now. And I still keep thinking that this is a somewhat messy movie which failed to deliver the message and the promises it was supposed to deliver to the Italian public, and to a greater extent to the international public. To me this movie is a big project overwhelmed by its own intents.

If you're new to the Italian cinema you'd better try "Il conformista", "The last emperor" and "The last tango in Paris" by the same director, and try also the best of Fellini, Scola, Visconti, De Sica, Antonioni, Tornatore, and... oh yes, how could I forget, the master of the masters, Sergio Leone!

Read Best Reviews of 1900 (Three-Disc Collector's Edition) (1977) Here

1900 is one of those odd films. Done by a very respected director with high-caliber talent (De Niro, Depardieu, Burt Lancaster, Sutherland, etc.) one would expect a film of legendary work. Alas, it is not. This is not to say that it is a failed attempt, but a film that causes as much frustration as satisfaction. There are moments of unbelievable beauty and awe, and others of disappointing audacity. Many times have I had my film buddy lean over to me during its unspooling and ask "What do you see in this?!" It's hard to answer, but suffice it to say that you will either love it or ignore it.

It is important to note that 1900 is also not for everyone; it is a very much an adult film. The sex scenes, in particular the menage-a-trois with DeNiro, Depardieu and the prostitute, are graphic but not excessive. There are quite a few scenes of violence that will cause the viewer to turn-away, so be prepared.

Much to my surprise, the film has been given the Blu-Ray treatment and the results are...not what a fan would want, but probably the best one can expect. The film's 5 1/2 running time is evenly spread out over 2 discs with a final DVD disc offering the only supplemental feature. As for the transfer, it is a mix. The opening credits are letterboxed (??) while the remaining film is presented in 1.85 (it was originally shot in 1:66). The image waffles from natural colors to overly saturated images that often made me think I needed to recalibrate my monitor or that is was on the wrong setting. The sound--which was never that memorable--is presented in Dolby Stereo and sounds as good as it did in the theaters.

Given that 1900 was never a huge audience favorite, I hadn't expected to see it on Blu-Ray so soon. While I would have hoped for a transfer that was more accurate to its original composition and not so muddy and overly saturated, it will have to suffice given its less then mediocre success.

--QUICK UPDATE--

I've done a little digging and it seems that this transfer is the same one as the DVD. Meaning--it is less than ideal. Robert Harris (who restored Lawrence of Arabia) recently posted a review and complained about the film's image constantly moving. Paying more attention to this Blu-Ray transfer, I also noticed this happening A LOT. The frame keeps shifting for some unknown reason and there is often a warping effect at times. Looking at the DVD that was released several years ago, those oddities also appeared but are less pronounced given its lower resolution. Frustrating beyond belief and it now makes it difficult to watch the film. Moreover, contrast is terrible as many whites are completely blown out losing all subtlety.

To sum up: Get the Blu-Ray if you are a true fan as it probably won't ever get any better. But it is disheartening to see such a lousy release of a film that really deserves better.

Want 1900 (Three-Disc Collector's Edition) (1977) Discount?

I'm still awaiting the American release of this magnificent epic. I've had this on VHS for over 15 years and have seen the film over 10 times. What a great way to spend five and a half hours!

There are magnificent performances by Deniro and Depardieu, by Dominique Sanda, Sterling Hayden, Burt Lancaster and others, including chilling performances by Donald Sutherland and Laura Betti. There are many memorable scenes as we travel through the 20th century captured by the always amazing cinematography of Vittorio Storarro which was at its apex in this film and il Conformisto.

While I appreciate Bertolucci's Socialist bent and his brilliant attacks on Fascism, the only down side to the film (if you don't mind the length) is Bertolucci's Socialist didacticism which is the only times the film loses its subtly and sinks to levels of propaganda.

Still this film compares favorably with other great epics of film history like the Godfather I & II and Lawrence of Arabia. Release it on DVD already!

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Wednesday, July 2, 2014

Zombie (1979)

ZombieOriginally perceived by critics as a Dawn of the Dead rip off, Lucio Fulci's Zombie is an over the top gorefest that has become a classic among fans over the years. Featuring some of the most realistic looking zombies ever to be seen on film (they're rotting and decomposing and look brilliantly disgusting) and plenty of memorable scenes (including the infamous splinter in the eye scene and the beautifully shot underwater battle between a shark and a resiliant zombie), Zombie is a gorehounds' dream. The story is simple, a few inhabitants of a cursed island all become chow for a horde of zombies, but it works for the film as it is simple, unsettling gorey horror Fulci style. There's no social commentary or dark humor like in Romero's Dead trilogy or Dead Alive, just pure horror all the way; and while it may not be as profound as Fulci's The Beyond, Zombie is still a more than solid horror flick worth seeing if you have the stomach for it. Anchor Bay has assembled a solid DVD for the film (they always do great jobs for cult horror films on DVD) with enough extras to satisfy most fans of the film.

"Zombi 2" is the same film as Zombie. That much we've figured out. There's also a "Zombi 3" and a "Zombi 4." What some reviewers have asked is where is the missing chapter? So here goes.

When George Romero's "Dawn of the Dead" was released in Italy, it was released under the name "Zombi." "Zombi 2" was written before Dawn, but was slightly changed to cash in on Romero's success. Thus, rather than call it "Zombi" again, they stuck on a "2," making it seem like a sequel.

When "Zombi 2" was released in the U.S., the name was changed once again, this time to "Zombie."

And the confusion ends.

Buy Zombie (1979) Now

A boat on a New York City coast is discovered by the coast guards as abandoned but only with a literally undead creature on board but gets destroyed, leaving the coast guards puzzled. A reporter with a young woman in search of her missing father try to investigate by going to the caribbean islands with the help of some friends, but a terrible voodoo curse or virus is causing the dead to come up from the graves of the island to devour the flesh of the living as the reporter and company must struggle together to survive the island of the dead.

A shocking and excellent Italian horror thriller from Lucio Fulci whom was fresh off of doing comedies, westerns and thrillers gives us one of the most repulsive and scariest cult classics of all time. There is a creepy tropical atmosphere to give the movie's feel a tender eerieness with it's groovy music score by Fabio Frizzi and graphic gore effects such as the memorable if absolutely horrifying scene involving a woman getting her eyeball stabbed through a large splinter of wood.

The 2-Disc anniversary edition is certainly an improvement over the Anchor Bay version with better picture and digital sound quality that also contains the original Italian language track with English subtitles. It's extras are terrific, it's got featurettes on the history and behind the scenes of how this movie got made with it's success around the world, it's original european theatrical trailer, other trailers to zombie movies avalible from Media Blasters DVD, interviews with the actors & filmmakers and a photo, poster-and-still gallery.

This movie belongs in every horror lover's DVD collection, i highly recommend it but not for light sleepers or the squeamish.

Also recommended: From Dusk Till Dawn, The Evil Dead, Night of the Living Dead ( 1968 and 1990), Dawn of the Dead ( 1978 and 2004), Day of the Dead, City of the Living Dead, House By The Cemetery, Burial Ground: The Nights of Terror, Bio-Zombie, Demons, Suspiria, Tenebre, Cannibal Ferox, Jungle Holocaust, Cannibal Holocaust, Blood Feast, Battle Royale, The New York Ripper, Scanners, Maniac ( 1980), Freddy Vs. Jason, Nightmare City, Cannibal Apocalypse, 28 Days Later.., Return of the Living Dead Trilogy, Re-Animator and The Beyond.

Read Best Reviews of Zombie (1979) Here

Synopsis: When an abandoned ship is found in the New York harbor the local police show up to investigate and they are shocked to find that the living dead are all that's left on board. Anne Bowles (Tisa Farrow), hasn't heard from her father in months and the last she heard of him was that he was on a remote island called Matoul. Reporter Peter West (Ian McCulloch), has been assigned by Gotham newspaper to investigate the bizarre homicide that took place on the derelict boat found in the New York harbor. Anne and Peter join forces as they set off to find her father and the truth about the living dead found on the boat in the harbor. They set off for Matoul and they run into a vacationing couple on a boat Brian (Al Cliver), and Susan (Auretta Gay), who come along for the ride. They encounter Dr. Menard (Richard Johnson), once they arrive on the island and it doesn't take long before all hell breaks loose.

Zombie was written by Dardano Sacchetti as an action/adventure thriller before George Romero's Dawn of The Dead was released in Italy. Dario Argento would re-cut Dawn of The Dead for Italian audiences and rename it Zombi. The success of Zombi in Italy Dardano Sacchetti's script would be reworked by Elisa Briganti to more resemble Romero's movie making Zombie (Zombi 2) a sequel in name only.

Lucio Fulci has always been able to create tension and atmosphere in his films creating nightmarish visions on minuscule budgets. Zombie isn't filled with great performances, but then most of Lucio Fulci's work from the late 1970's on isn't about the actors as much it is about using the actors as objects to achieve his vision. Zombie is filled with some of Lucio Fulci's goriest set pieces included the eyeball being forced on a splinter sequence. Sergio Salvati who has worked as cinematographer on ten Lucio Fulci films and on Zombie he serves up a visual feast as he uses every inch of the frame to capture all the carnage. Through the years Lucio Fulci's Zombie has built up quite the reputation making it a fan favorite and one of the zombie genre's all time classics.

The BluRay:

Zombie comes on a 25 GB single layer BluRay. The film is presented in a 1080 progressive anamorphic widescreen. Colors have never look as vibrant as they do for this transfer, also black and contrast levels look consistently strong throughout. Details generally look crisp and there are no problems with compression. It should be noted that though grain is evident throughout, there are a handful of moments in which its look likes some DNR has been applied to the image.

This release comes with six audio options, a 7.1 DTS-HD mix in English, a 7.1 DTS-HD mix in Italian, a Dolby Digital 5.1 Surround EX mix in English, a Dolby Digital 5.1 Surround EX mix in Italian, a Dolby Digital Mono mix in English and a Dolby Digital Mono mix in Italian. There are a multitude of audio options to choose from and all of the them are in very good shape and for purists the original mono mixes have been included. New to this release are a pair of 7.1 DTS-HD mixes in English and Italian respectively. Channel separation of these two mixes is extremely good and the lower end frequencies are also well represented. This release comes with ten subtitle options, English, English SDH, French, Spanish, Português, Deutsch, Japanese, Chinese, Korean and Thai.

Extras for this release are spread over two discs.

Extras on disc one include a brief intro before with film with filmmaker Guillermo Del Toro, a poster & still gallery, four radio spots, two T.V. spots and two trailers, international trailer (3 minutes 45 seconds anamorphic widescreen) and U.S. trailer (1 minutes 33 seconds anamorphic widescreen) and a audio commentary with actor Ian McCulloch and Diabolik magazine editor Jay Slater. Outside of few moments of dead silence, this is actually a pretty good audio commentary that provides a lot interesting information about this film.

Extras on disc two (25 GB Blu-Ray) include eight featurettes, `Zombie Wasteland' interviews with actors Ian McCulloch, Richard Johnson and Al Cliver and actor / stuntman Ottaviano Dell'Acqua (22 minutes 19 seconds anamorphic widescreen, in English & Italian with English subtitles), `Flesh Eaters on Film' interview with producer Fabrizio De Angelis (9 minutes 39 seconds anamorphic widescreen, in Italian with English subtitles), `Deadtime Stories' interviews with co-screenwriters Elisa Briganti and Dardano Sacchetti (14 minutes 30 seconds anamorphic widescreen, in Italian with English subtitles), `World of the Dead' interviews with cinematographer Sergio Salvati and production / costume designer Walter Patriarca (16 minutes 29 seconds anamorphic widescreen, in Italian with English subtitles), `Zombie Italiano' interviews with special make-up artists Gianetto De Rossi and Maurizio Trani and special make-up artist Gino De Rossi (16 minutes 34 seconds anamorphic widescreen, in Italian with English subtitles), `Notes on a Headstone' interview with composer Fabio Frizzi (7 minutes 25 seconds anamorphic widescreen, in Italian with English subtitles), `All in the Family' -interview with Lucio Fulci's daughter Antonella (6 minutes 8 seconds anamorphic widescreen, in Italian with English subtitles) and `Zombie Lover' Guillermo Del Toro shares his thoughts on Zombie (9 minutes 37 seconds anamorphic widescreen, in Italian with English subtitles).

Topics discussed in these eight featurettes include, the lasting legacy / popularity of Zombie, make-up and special effects the shark and the eye ball scenes, what is was like to work in Italian cinema in the late 1970's and early 1980's, guerilla style filmmaking like how they were able to steal the shot on the zombies crossing over the bridge, the origins of the screenplay including a once proposed western / zombie hybrid, how Lucio Fulci became involved with this film, how this film changed Italian horror films, production related topics like the visual look of the film, the sets and creating a new zombie, audience reaction to the film, the score and all the participants discuss what it was like to collaborator with Lucio Fulci. The interview with Antonella Fulci is well balanced discussion about who Lucio Fulci was in his personal life and professional life, while the interview with Guillermo Del Toro is nothing more than a super fan discussing how he became of a fan of this film.

In all there is a lot of ground covered in these eight featurettes, which were all put together by Red Shirt Pictures, who are without a doubt the best company currently working on special features for Cult movie releases. Overall Blue Underground gives Zombie its strongest home video release to date.

Note: Blue Underground are also releasing Zombie on DVD.

Written By Michael Den Boer ,Thanks Micheal.

Want Zombie (1979) Discount?

Repeated.

First, this movie from an entertainment value from 1 to 10 is a 10 plus.

Second, this movie from a technical visibility and technical audibility release value on DVD from 1 to 10 is a 4.

Reason for the first critique: The PROS

1. Director Lucio Fulci directs a fast paced nail biter from start to finish.

2. Excellent film scoring as the music really accentuates the drama.

3. Excellent casting, the actors are solid for this type of film no phonies.

4. Excellent locations from New York City to the exotic Carribean where the two main characters meet up with vacationers who agree to charter their boat and take the main two characters to the island of Matool where the horror begins you'll know why there going there as you see the film.

5. Excellent makeup effects for zombies and the gruesome and great death scenes.

6. Excellent cinematography to heighten the tension during the film.

Reason for the second critique: The CONS

1. Anchor Bay Entertainment's DVD release of this movie is poor. This critique of poor DVD quality is rare when it comes to Anchor Bay Entertainment releases as their remastered-from-the-good-old-cellar-movie reputation normally puts out excellent quality DVDs with full frame-by-frame color correction, removal of original picture blurriness, and excellent audio track remastering, but this movie somehow slipped through the cracks as perhaps there was a rush to get this movie out on DVD due to its immense popularity among gore hounds and Fangoria Magazine fanatics. The rush job to DVD certainly shows. And below are the main points to look out for on this particular Anchor Bay Entertainment release.

2. Poor picture clarity. The picture from start to finish is viewable, but not at all crisp and without blur. This will be corrected see ALTERNATIVE DVD below.

3. Poor color management. The color from start to finish lacks vibrance and richness. The color frame-by-frame is as dead and bland as the zombies themselves. The opening scenes especially as the abandoned yacht( or so you think ) sails into New York Harbor as it is coralled by the New York police, you will see that the city buildings including the World Trade Center towers look more purple/grey in tone, the harbor looks dark brown-grey in color, the sky looks grey in color, and the facial tones of the characters look more fuscia-pinkinsh-beige. The color on this release is horrible and will be corrected. The most frustrating aspect of the poor color is when the movie shfts to the Carribean as two main characters meet up with two vactioners and the four somehow agree to sail for the Island of Matool, after some hesistancy, you will see that the color really suffers here. The exotic locations the beautiful water, the green of the palm trees, and the like are painfully lacking the vibrant standout color correction needed to make every film frame standout with crisp clear picture quality and life like color. This will be corrected see ALTERNATIVE DVD below.

3. Muddled audio track. The sound is clear, but not at the level of a remastered audio track with either DTS or THX Sound treatments. The musical score periodically steps on the sound effects This will be corrected see ALTERNATIVE DVD below.

4. From the original uncut full-version, there are some scenes missing on this DVD. This will be corrected see ALTERNATIVE DVD below.

5. Periodic purple outlines on the edges of the widescreen black bars.

This will be corrected see ALTERNATIVE DVD below.

-----> ALTERNATIVE DVD

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Friday, June 20, 2014

Hamlet (1996)

HamletPart of the genius of Branagh's interpretation of Hamlet is in the use of the techniques of the cinema to enhance the production. Branagh has not condensed the acts like some mass market soup, as was done in Olivier's 1948 Oscar-winning production, or in, say, Zeffirelli's 1989 Hamlet lite starring Mel Gibson (both excellent, though, within their scope), but has kept every word while directing our understanding so that even those only casually familiar with the play might follow the intent and purpose with discernment. Recall that for Shakespeare--the ultimate actor's playwright who wrote with precious few stage directions--interpretation was left to the direction and the actors, an open invitation that Branagh rightly accepts.

The use of flashback scenes of things implied, such as the amorous union of Ophelia and her Lord Hamlet abed, or of a vast expanse of snow darkened with distant soldiers to represent the threat of Fortinbras' army from without, and especially the vivid remembrance in the mind's eye of the new king's dastardly deed of murder most foul, helps us all to more keenly appreciate just what it is that torments Hamlet's soul. I also liked the intense closeups. How they would have bemused and delighted an Elizabethan audience.

Branagh's ambitious Hamlet is also one of the most accessible and entertaining, yet without the faintest hint of any dumbing down or abbreviation. A play is to divert, to entertain, to allow us to identify with others whose trials and tribulations are so like our own. And so first the playwright seeks to engage his audience, and only then, by happenstance and indirection, to inspire and to inform. Shakespeare did this unconsciously, we might say. He wrote for the popular audience of his time, a broad audience, it should be noted, that included kings and queens as well as knaves and beggars, and he reached them, one and all. We are much removed from those times, and yet, this play, this singular achievement in theatre, still has the power to transcend mere entertainment, to fuse poetry and story, as well as the high and the low, and speak once again to a new audience twenty generations removed.

Branagh himself is a wonderful Hamlet, perhaps a bit of a ham at times (as I think was Shakespeare's intent), a prince who is the friend of itinerant players. He also lacks somewhat in stature (as we conceive our great heroes); nonetheless his interpretation of the great prince's torment and his singular obsession to avenge his father's murder speaks strongly to us all. Branagh, more than any other Hamlet, makes us understand the distracted, anguished and tortured prince, and guides us to not only an appreciation of his actions, wild and crazy as they sometimes are, but to an identification and an understanding of why (the eternal query) Hamlet is so long in assuming the name of action. In Branagh's production, this old quibble with Hamlet's character dissolves itself into a dew, and we realize that he was acting strongly, purposely all the while. He had to know the truth without doubt so that he might act in concert with it.

I was also very much impressed with Derek Jacobi's Claudius. One recalls that Jacobi played Hamlet in the only other full cinematic production of the play that I know of, produced in 1980 by the BBC with Claire Bloom as Gertrude; and he was an excellent Hamlet, although perhaps like Branagh something less than a massive presence. His Claudius combines second son ambition with a Machiavellian heart, whose words go up but whose thoughts remind below, as is the way of villains everywhere.

Kate Winslet is a remarkable Ophelia, lending an unusual strength to the role (strength of character is part of what Kate Winslet brings to any role), but with the poor, sweet girl's vulnerability intact. She does the mad scene with Claudius as well as I have seen it done, and of course her personal charisma and beauty embellishes the production.

Richard Briers as Polonius, proves that that officious fool is indeed that, and yet something more so that we can see why he was a counselor to the king. The famous speech he gives to Laertes as his son departs for France, is really ancient wisdom even though it comes from a fool.

Julie Christie was a delight as the besmirched and wretched queen. In the bedroom scene with Hamlet she becomes transparent to not only her son, but to us all, and we feel that the camera is reaching into her soul. She is outstanding.

The bit players had their time upon the stage and did middling well to very good. I liked Charlton Heston's player king (although I think he and John Gielgud might have switched roles to good effect) and Billy Crystal's gravedigger was finely etched. Only Jack Lemon's Marcellus really disappointed, but I think that was mainly because he was so poorly cast in such a role. Not once was he able to flash the Jack Lemon grin that we have come to know so well.

The idea of doing a Shakespearean play with nineteenth century dress in the late twentieth century worked wonderfully well, but I know not why. Perhaps the place and dress are just enough removed from our lives that they are somewhat strange but recognizable in a pleasing way. And perhaps it is just another tribute to the timeless nature of Shakespeare's play. The mirrors in the great hall added to the effect of a vast and indifferent castle environment, and in the scene with Ophelia and Laertes returned tended to magnify the focus.

There is so much more to say about this wonderful cinematic production. It is, all things considered, one of the best Hamlets ever done. Perhaps it is the best. See it, by all means, see it for yourself.

--Dennis Littrell, author of "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!"

There is a moment at the start of this film when Hamlet, until then holding himself rigidly erect through sheer force of will, seizes a moment of privacy and literally deflates with exhaustion and despair. In itself, this perfect gesture would mark Branagh's portrayal a masterful work. But what follows raises his performance to the sublime: He embarks on the "O that this too too sullied flesh would melt, /Thaw, and resolve itself into a dew..." soliloquy not with Burton's anger, Olivier's melancholy or Gibson's bitterness, but with an exhalation that embodies the emotion most genuine given the circumstances: overwhelming grief. This is a perfect note, and what follows shows an understanding of the play's mental and emotional landscape that puts other portrayals to shame.

I have seen many performances of Hamlet, but I have never seen one as perfectly pitched as this. Branagh's Hamlet is strong, resourceful, thoughtful and restrained. Branagh purposely rejects the psychological poses that other actors find so hard to resist. After all, Hamlet and Richard III are the two Shakespearean plays that afford actors the most range. It's hard playing the Dane on a leash when one can go wild with existential abandon and not only dodge the charge of overacting, but actually attribute such excess to the character. There are few meatier roles in the repertoire that simultaneously offer the actor such depth on the one hand and such leeway on the other.

For me, such moderation exemplifies Branagh's devotion to Shakespeare. It must have been tempting for a man of his talents to show off. But to forego such gestures, to offer in its stead restraint, is to put service before self.

For, of course, Hamlet is restrained. His very life depends on it. His whole course of action is based on it. His safety revolves around it. Hold off the will to strike, restrain the impulse for vengeance, apportion each action in only the most miserly measure. The walls have ears, conspiracies abound and death lurks around every corner. In such an environment, is it plausible that a man of Hamlet's intelligence would show his hand by indulging in excess? A restrained performance feels right because a restrained course of action is the only course possible for our hero.

This does not stop Hamlet from making bold gestures. But such gestures must always be made under cover, and here again, Branagh shows his creative mettle. The Player King scene provides a counterpoint. Branagh lets go here and shows his excitement when the occasion demands it. Likewise, his graveyard response to Ophelia's death: the cover of madness conflates with reality because Hamlet's act cannot be sustained forever. Branagh knows exactly when to allow the cracks to show.

Those used to earlier works may find Branagh's version overly long and laboured. Many directors have cut out scenes and soliloquies in a misguided attempt to "tighten up" the production. Branagh makes what I believe is the right decision: to leave them all in because every scene, every soliloquy adds texture and is indispensable to the whole.

The best Hamlet I have seen.

Buy Hamlet (1996) Now

Phenominal acting by Kenneth Branagh makes this film both entertaining and a fine addition to anyone's library, be they a Shakespeare afficionado or simply looking to enjoy a good film. This is a refreshing switch from the stereotypically stale rap such a wonderful playwright is encumbered with. While it does take some time to watch, this is not necessarily a bad thing. As a result, there are always new things to discover with susequent viewings. Admittedly, the language itself is a barrier at first. For me, it is much more difficult to comprehend without the text before me. But, once realization dawns, I would say it is well worth the wait. Currently, my favorite part is when Hamlet tells his uncle to go to hell on the first tape. The delivery is subtle enough to elude most on the first pass, myself included. While this is not a line unique to this film, as the text exists in others, it is a high point for me. Kenneth Branagh makes the film, though. Accolades are also due equally noteworthy actor Charleton Heston for a brief but inspiring appearance. I am eagerly awaiting this title to emerge on DVD, as I hope many others are too. Perhaps a public outcry would prompt the distributor to arrange its (hopefully forthcoming) release.

Read Best Reviews of Hamlet (1996) Here

Yes, finally Warner Bros. has confirmed that this film will be issued on DVD sometime in 2006 for its tenth anniversary. Rumors of legal problems delaying the release (some stated even by WB themselves) were apparently just that -rumors. [Or, whatever it may have been, they can't talk about.]

The DVD is expected to have Branagh's "full cooperation".

Check here for more details:

Want Hamlet (1996) Discount?

This is one monumental piece of filmmaking. To the dectractors, for whom it was probably too long for their MTV attention spans, I can only say, go back to Britney Spears and save your comments for something you know something about. I'm sorry, but these responses really get me ticked in this instance. This is the "full" text, as written. Every word is a gem. Every scene is necessary for a full apprecition and understanding of Shakespeare's scope and genius. I didn't detect a dull moment or a lapse in directorial love and care for the duration of the film. Even Robin Williams, who I find annoying of late, was perfectly cast. The cameos, supporting roles, and stars all shone equally. This film is a triumph on Branagh's part, even better than his masterful Henry V. He's followed in Olivier's footsteps and even superseded him in many respects. I didn't for a moment doubt any of his choices, either as actor or director. For me, this is the definitive Shakespeare recording of the modern era. Enough said.

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