Downfall (2004)

"Downfall" is one of the most astonishing movies I have seen this year. I am a little baffled that it hasn't received more attention in the United States. Bruno Ganz should have gotten an Oscar nomination for best actor. But it did get a nomination for best foreign film. "Downfall" is easily as good and gripping as the renowned hit "Das Boot". It's probably the case that foreign movies don't get as much attention now as they did in the 1980's. Nevertheless, this fine film should have a long life on DVD.

"Downfall" has caused some controversy because it depicts Adolf Hitler not as a demon, but as a human being who was kind to his young secretaries and his dogs. In fact this makes his evil all the more insidious and monstrous. "Downfall" can be seen as an attempt by Germans to come to terms with their part in Hitler's crimes. How could a not-entirely-bad man like Albert Speer or an innocent like Traudl Junge retain their loyalty and admiration for such a diseased figure? We see the terrible events of April 1945 through German eyes. This involves acknowledging the horrible suffering of the German people as they were bombed and smashed into surrender. (Definitely, however, without letting them off the hook for their moral responsibility for the Holocaust and other crimes against humanity.)

We see Berlin turned into an apocalyptic landscape that would not seem out of place in the Book of Revelation. Gangs of murdering Nazis roam the rubble, looking for final victims to lynch. The Volkssturm, the army of old men and little boys recruited for the last defense of the city, is slaughtered by the advancing Russians. Officials of the regime are committing suicide right and left. (Some historians say there were more suicides among the Germans during the end than among the Japanese.) Down in the fuehrer's bunker Hitler's young secretary Traudl Junge (the wide-eyed, pretty, sweet Alexandra Maria Lara) witnesses the death throes of the Reich. Bruno Ganz is amazing as Hitler. The warm, human angel of "Wings of Desire" is entirely gone, replaced by this occasionally lucid, frequently rabid being. For long stretches of the movie, I swear, I entirely forgot there was an actor working up on the screen and it seemed as if I was watching Hitler himself in all his malignancy.

The movie turns the screws of suspense as things get worse and worse, and you get a solemn sense of justice being done at last. (Although there are still crimes that can be committed, like the diabolical murder of Goebbels' small children by their mother, shown in graphic detail.) The key to the movie perhaps can be had in a little speech by Goebbels. An army General protests the wanton slaughter of civilians and the Volkssturm. Goebbels replies, "I have no sympathy. No sympathy! The German people gave us the mandate. And now you cry because your little throats are being cut." It's a chilling moment. And a sobering reminder that politicians must be held accountable, and the people of a nation have to be responsible in their choice of leaders.

I saw this film in Germany in November, 2004, and picked up a copy in Berlin this March...my pre-ordered Amazon.de copy was waiting for me on my return.

This film is essential for anyone who wishes to understand "the evil that men do" (and women, for example, Frau Goebbels, who killed her children because she did not want them to grow up in a world without National Socialism, Nazism). It is a deep film, based on the historical novel of Joachim Fest, and the stunning documentary "Blind Spot" (Bis Zum Toten Winkel) revealing the thoughts of Hitler's personal secretary, Traudl Humps (married to an SS officer on Hitler's staff who was killed in 1943, she became Traudl Jung), shortly before her death as the millenium turned.

The acting is superb. The best new crop of German actors, as well as Bruno Ganz portraying Der Führer himself, are excellent. Most of the elements that led to the coming of the Holocaust, the Third Reich, and its downfall are cleverly intertwined in this phenomenally staged docudrama. In several viewings, I could find virtually nothing to criticize, down to the china used in the bunker, or so-called Führerbunker, to the attitudes of the many Field Marshalls, who were in many ways as "apolitical" as General Tommy Franks, attitudes of resignation, as suicide as the last honorable gesture, of "doing the right thing."

Such films have to be seen in context. After 60 years of banishment of the swastika (Hakenkreuz in German) in Germany, we see the swastika in its full "glory" throughout the film, the beautiful and attractive uniforms originally designed by Hugo Boss (no kidding). In context, in 2004, Germans were suddenly faced with an extremely well-made film that shows Hitler as nearly human (hiding is Parkinsonian tremor of his left hand behind his back as he presents the Iron Cross, 2nd Class, to Hitler Youth defending Berlin after the declaration of "Clausewitz"--Berlin as a war front. While other officers plead for the evacuation of women and children, Hitler responds that the German people (das Volk) do not deserve to survive, because they have lost this war. National Socialism is revealed as the death culture it was. In other contexts, there are excellend books, articles, and documentaries revealing how willing the German Volk were to turn over all thought, conscience, morality, to the Führer, who encouraged them to do so. Unfortunately, the next 60 years would show that the attitudes of National Socialism did not die with him.

I could individually commend the performances of the many players and people behind the scenes. I have been to Berlin, and this IS Berlin, to any approximation I have seen in photos of the time, and I have been in the last remaining Air Raid shelter (bunker) for the populace and it is no different from this soundstage, save the furniture that was probably taken from Jews years before by the party, which ended up as furnishings in the many homes of the high command and Hitler.

After viewing the film, I do recommend that the viewer take in "Schindler's List" or "The Pianist" to complement it. As we are faced with worldwide conflagration against a non-uniformed enemy of Western culture and democracy, it is hard to think of World War Two as the last of the "civilized" wars, even though it was perhaps the last of uniformed armies facing one another (the Cold War, which never went hot, excluded).

This film does show, through the characters of Traudl Junge and her young friend, the Hitler Youth decorated by Hitler personally, as they walk through the Soviet line on their way back to Bavaria, that the policy of war as a solution to any international dispute is at best fragile. Perhaps that fragility is our best hope for peace.

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If you want to know how it feels to enter the abyss, then watch this movie. The viewer is crushed by the heartache of the coming end of the Reich, and wonders how any person could emerge from it with a measure of sanity remaining. Civilians trapped in the street fighting; children enduring tank assaults; the constant drumbeat of incoming artillery; and meanwhile against the constant backdrop of the unreality of the Fuhrerbunker, the men and women living in their "wolkenskukushiem."

What is it like to experience total and utter defeat? The world you have known is collapsing around you, and you are totally helpless to stop it.

Watch the face of the actor who plays Brigadefuhrer Mohnke as he hears Göbbels telling him that the German people will have their "little throats" cut. What would go through YOUR mind? Watch as an SS doctor works his way through the bunker, even as men of the Nordland and Charlemagne SS troops (yes... Norwegians and French volunteers fighting the last battle around the Führerbunker) recheck their equipment and load what little ammunition they have left. The shock on Gen. Helmut Weidling's face, the commander of the famed 56th PanzerKorps, as he is told that HE's now the commandant of Berlin's defenses. The flash of reality that crosses Eva Braun's face when she gives away her mink coat to Traudl Junge, a rare glimpse through the forced happiness she otherwise displayed.

But in the midst of the carnage there is real courage. Forget the politics, forget the Nazis, as you see that there were people who displayed REAL courage in hopeless circumstances... soldiers and civilians fighting hopeless battles through the crumbling streets of Berlin. My mother saw and experienced some of this same anguish in Southern Germany.

But now for the problem-a BIG problem. Soviet atrocities are completely expunged. Even Traudl Junge is shown to have escaped the Russians unscathed... pure fantasy. She was raped by the Soviets numerous times. While SS and Nazi atrocities are shown repeatedly, (guys hanging "defeatists" for example), there is not ONE Russian atrocity displayed. Not one. Thus, despite the fact that the movie is well done and reasonably accurate historically in many areas, it actually strives to rewrite and sanitize history.

Nevertheless, the acting is well done. Ganz does a superb job of humanizing Hitler, which of course makes this movie controversial. Despite the problem above, and my three star rating, the movie is still worth seeing, or even owning. The scenes are riveting and heartrending, and will remind us of the tragedy that became known as the Battle of Berlin. It should also remind us of what happens when people surrender themselves to the power of the State, to let the State run their lives and "care" for them in its brutal maw.

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Why did this movie not win an Oscar? It goes to show how retarded holywood has become. This is one of the best movies of the last decade.

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One of the most significant statements of the always reminded master of the cinema, Robert Bresson, was :"To be models; instead of look like actors." I would say that Olivier Hirschbiegel unconsciously followed this wisdom advise. This (Should I just label it film, or perhaps this term be insufficient, why not better to design it supreme artwork?) masterpiece simply surpassed all the eloquent adjectives of previous reviews.

The impressive narrative dissection, supported by a sinewy script, is loaded of such burden of mesmerizing, engaging and delirious realism, that literally involves you from start to end. This outstanding work is a true radiograph that explores with merciless crudeness all the insights of the last ten days of Adolf Hitler.

Bruno Ganz followed his bliss and stole that coveted pearl, that justifies the supreme artistic achievement of his lifetime. From the initial shot when the nervous secretaries wait for him, until his last Farewell; his delirious anger accesses, increasing withdrawal of the reality, eloquent grimaces deserves for him (without forget Javier Bardem in Sea Inside) the most towering performance in years.

On the other hand the camera leads us to the struggling and increasingly claustrophobic environment. The camera handle and the fabulous angle shots from the floor accent still more that oppressive atmosphere (Do you remember Orson Welles The Trial?).

The inner tragedy is expressed with vibrant expression. Three expressive sequences are enough to support it: watch for instance the ominous sequence in which Goebbels wife dismisses from her children, the child `s horror at the moment he will have to face the death in its portent in the middle of the flaming wrecks and finally the elusive gaze of Eva Braun in her last supper.

On the other hand, the dialogues are never superfluous. With a visible resources economy, Hirshbiegel built a huge stage that reminds us the true intention of the Greek Tragedy or Wagner in Gotterdamenung, to shake the soul through the catastrophe, is what we experience after we leave the Hall a true cathartic experience.

That superior coherence, the fact of fixing without congealing the feat of communicate expressions without the use of words is what it makes of this artwork a supreme masterpiece.

Wonders of Life

There is no recent nature documentary to compare this with, other than going back several decades to Carl Sagan's groundbreaking Cosmos series.

Those who've followed Professor Brian Cox, PhD. on his extraordinary previous astronomy-centered releases "Wonders of the Solar System" and "Wonders of the Universe" will find this series far more gratifying than his previous work. Here, the Cox-team maintains the physical dissection of reality by turning the lens inward, looking at the origins and consequences of life from the perspective of a physicist. I'll explain why this is such an achievement in a moment.

Cox is rakishly magnetic, and his teaching methodology for conveying scientific principles and laws is marvelously intuitive and delivers one-on-one. He shows you evidence, lots of evidence. This isn't an experiment-centered documentary, Cox isn't lecturing in a lab-coat like Bill Nye; though Cox's demonstrations are incredibly cool and peppered throughout (you'll surly want to attempt them with your family).

The series is broken into five hour-long segments:

What is Life

Expanding Universe

Endless forms Most Beautiful

Size Matters

Home

Cox`s team asserts the traditional BBC Earth legacy, with extraordinary sweeping high-definition aerial footage featuring vast wildernesses teaming with animals, balanced with richly detailed up-close and microscopic footage showing the natural world at all scales. Throughout the series, visuals telescope outward to a larger scale: exploding with colorful vibrancy and pattern. From the complex microscopic life (which echos that of the Last Universal Common Ancestor [LUCA] -another thing I learned from the series) to inquisitive Madagascar lemurs, intelligent jungle primates, boisterous sea-faring animals and outward again to the heavens: gigantic galaxies and nebulous solar nurseries, the one true genesis.

Cox asserts that life is a natural consequence of physics, he does this by emphasizing that in all its forms life is a "system" subject to the laws of physics, while shoring his claims with biological and chemistry evidence.

I can't overstate how important that seemingly trivial fact is. He shows you, with reiterative attention to ensure you understand the subject -like your favorite teacher, the one who influenced you to pursue the career you have today -with practical, intuitive evidence. Cox shows you how to make a homemade particle detector, which he demonstrates in the middle of the desert, he shows you how to isolate and view your own nebulous DNA using little more than dish soap, salt and vodka. He shows you that life is fueled by a fascinating quantum principle called photon gradients, then demonstrates not just their effect, but inventories a legion of photon gradients within all life forms and biological facets around the planet, further understating life's (indeed, humanity's) requirement to obey the laws of physics. He shows you the evolution of the ear and the eye with emphasis on incremental steps during the glacially onward natural selection process. Then he shows you how to make a primitive eye. As we all know, showing is more effective than telling, and in this regard, the Wonders of Life has a brilliant learning core.

You'll see how our DNA is examined to seek common ancestors we share with ANY life on the planet. Yes, ANY LIFE -as in bacteria, insects, whales, chickens, whatever. Go back far enough in time, by examining the two DNA strains, and you will find harmonious segments of DNA code in both species. This not only provides evidence for the first rule of ecology: that everything is connected to everything else, but more importantly assures the viewer how incredibly rare, incomparable and uniquely adapted we are.

It's horrifyingly difficult trying to make thermodynamics fascinating, here again the team negotiates the boredom-minefield with spectacular ease and intuitive visuals.

Take, for instance, the First Law of Thermodynamics: energy is neither created, nor destroyed, it simply changes form.

And the Second Law of Thermodynamics: order tends to disorder; otherwise known as entropy.

And from these large, somewhat vague-sounding laws, life exists in complexity and order, a seemingly jutting paradox with the two thermodynamic laws. Nevertheless, Cox explains again with insightful evidence how life is part of the larger system, and that we are merely participants, unknowingly bound by the laws. We consume and radiate energy from our tissues outward into the universe as heat, a more disordered energetic state.

These are big, fascinating concepts I've never had presented so effortlessly in other documentaries. I forget how life is subject to the laws of physics, because when I think about physics my mind never presents an image of biological systems. I conjure instead pulleys, objects in motion, things like planets and machines. So with all the physics concepts injected with stirring real-life, non-theoretical application, you quickly begin viewing the world through the eyes of a physicist.

From a traditional nature documentary standpoint, there are countless creatures with strange adaptations ready to boggle your mind. Take for instance the spider that produces the world's largest web (25 meters 75 feet) only discovered in 2009 and still shrowded in mystery. And other creatures, like the glowing ultraviolet desert scorpion, the intelligently resourceful Florida octopi and the surprising aquatic genesis of the dragon fly. Frankly, right out of the gate, I never knew dragon flies spent their first months as an underwater predator. I say a reasonable estimate for the portioning is a solid 50-50: physics to traditional nature biology. And in that sense, the series is a groundbreaking triumph. There is NO OTHER nature documentary that tackles biological life with such an engrained physics approach.

I truly wish this series aired in the US. I hugely admire the BBC for how they fearlessly present complicated scientific topics better than American nature doc producers. The US always seems to dumb-down and infuse their documentaries with unintentionally annoying "macho" narration, guitar-solo soundtracks and overly dramatic, to the point of silly and gratuitous, sound-effects with face palming references, "LOOK AT THIS SHARK! LOOK HOW IT CHOMPS! LOOK AT THAT!"

So annoying.

We are not five-year-olds.

It's hard for me to believe that the US would produce a series at the caliber of the Wonders of Life, considering its emphasis on evolution, quantum and classical physics and the origins of chemistry (and life, in general). Not to over-editorialize, but the subjects covered in this series would be deemed too controversial for American audiences. I say this respectfully, acknowledging that Americans gave the world Carl Sagan's "Cosmos," which is clearly a Wonders of Life influence. I merely dare US producers to match the caliber of this or any BBC Earth nature series, with the exception of those lame CG dinosaur documentaries they produced a couple years back (avoid, avoid, avoid).

Fortunately, thanks to the internet, anyone in the US can buy this spectacular visual opus and walk away from each episode FILLED with new and progressive knowledge. You will learn so much about the world -scratch that -about the UNIVERSE, thanks to this series.

I also recommend buying the series used; I paid a little less than $30.00 for my copy, which plays perfectly on my computer drive Blu-ray player, connected to my LCD screen via HDMI, with Dolby surround output. Wonders of Life is 100% worth your time, you'll be as entertained as you are educated, presented with startling intuition and Cox's charismatic one-on-one style.

As an aside, and also as the news has been out for a couple months, it's appropriate to include the following fact: Sir David Attenborough recently announced Professor Brian Cox as successor for when the charismatic knight hangs up his mantle. Long may Attenborough remain at the pinnacle of his gift. I should also mention that if you haven't watched BBC's Africa, Madagascar or Frozen Planet, do yourself a favor and have your mind blown by any of those releases (especially Africa).

Cox, who earned his PhD in Physics from the University of Manchester, works at the ATLAS experiment at the Large Hadron Collider at CERN; surprisingly, he was also the keyboardist for the `90s Brit-pop band, D:Ream.

As the other reviewer stated, excellent series well presented by Prof. Cox. Amazon mentions nothing about this in their specs, but this is a Region B set and will not play in most U.S./North American Blu-ray players. You will need a "region-free" player to view this (or a computer drive). Hopefully, BBC will release a proper Region A version soon.

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It is a terrific Blu Ray set. It is a beautifully crafted story about life. In fact it is the best I have ever seen about the evolution of species. Brain Cox talks in more detail than any other scientist about the organs of our body and what did our eyes, ears, brains and so on develop from. For instance our inner ear with the specialized bones that allows us to hear came from an ancient mouthless fish where it's gills moved and developed not only a mouth but a sensory organ that could pick up vibration. After coming on land the species was unable to pick up sound from the air like it could from the water so the sensory organ changed further and further until it became the inner ear of animals. He goes into the same kind of detail on how the eye developed. Now I have to say I believe in God the Creator and therefore believe all of this developed to eventually create US. If you don't believe that and believe that it is just accidential that is up to you. Either way you look at it, it is fascinating all life developed in the way that it has (either through accidential evolution or created evolution). We have watched all three of the Wonders series by Brian Cox and they are all great. We really enjoy the way Brian Cox presents the Solar System, Universe and in the case of this set, Life. My only problem was that I purchased it for region B/2 rather than A/1. Luckily I had purchased an LG 3D smart Blu Ray machine that can play region B/2 discs. Had I not purchased the new 3D Blu Ray player I would be returning the set. It pays to look at the region that DVDs and Blu Rays are made to work in. I lucked out. After writing this review I went back to the product page and evidentally it only comes for Region 2/B at the present time. I don't think that the Blu Ray Disc or the case indicate the region it was made for. It is only found in the information on the Amazon product page. I recommend the Wonders of Life to any one who enjoys science both physical and biological, but make sure you have a machine it will play on. If in doubt go to the internet site for your blu ray player and check to see if it will handle discs for region 2/B.

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The Collector (2010)

"The Collector" was written and directed by Marcus Dunstan with the writing help of Patrick Melton. The two have worked together on the Saw movies installments 4, 5, 6, and the upcoming 7 so that fact that this movie is "Saw" meets "Home Alone" is a very accurate statement. The premise is that a down-on-his-luck father needs some money by midnight and decides to rob an employer while the family is on vacation. Unfortunately, someone else got there first and has set up a series of intricate, deadly booby traps top to bottom in this mansion.

Josh Stewart stars as Arkin, a guy trying to get by on a honest day's pay for an honest day's work yadda yadda yadda, but when put in a crunch proves skilled at robberies in order to save his family from loan sharks. Little does he know that the second he enters this house, the probability of his ever seeing them again plummets dramatically. There is a dagger chandelier, an acid floor, fish hook curtains, boarded up windows rigged with razor blades, and trip wires everywhere. This is one intense journey into torture porn that only the strong can stomach. If you can't get enough "Saw" and wish Kevin had been just a little more naughty than paint cans in "Home Alone", this is your chance to see something spectacular. Cat-lovers, beware.

This house is a maze of stairways, doorways, hallways, and it can get easy to get lost so the director does a great job of showing the audience where our "hero"...er..."hero-ish guy" is by raising the camera over the door frames through the ceiling so you can see where the good guy is and where the bad guy is easily. There is also different lighting throughout the house. Of course, most rooms are very dark but some have bluish tints and the basement has a creepy slimer-glow.

This is one of the best scary movies I've seen in the last couple of years. There is no filler, very little exposition at the beginning, it just jumps right into the thrilling cat-and-mouse game where you keep waiting for the killer to discover someone else is in the house. One more scary note: the killer likes to put people in boxes.

This film also features a quick cameo from Claire's lesbian college friend in "Heroes" and yes, she gets topless so...enjoy that, I guess.

End verdict: go rent this for thrills and chills. Not a movie to eat during. Bring a pillow to shove in front of your face when it gets too freaky.

In an isolated mansion somewhere, a new family moves into a mansion known as the Chases (Michael Reilly Burke, Andrea Roth and Karley Scott Collins) as they believe it is just the right place. However, Arkin (Josh Stewart) was fixing their windows and doors as he is a con-artist that needs more money even for his wife as he decides to play burglar at their house when they aren't home, unfortunately there is another criminal called The Collector (Juan Fernadez) has imprisoned the family with a few other people as he has booby-trapped the house for uninvited guests but can he find a surviving family member and get out alive?

Intense, creepy and gory slasher movie from the writers of Saw IV and V is quite an original and startling shocker. It's been called a Torture movie but there is only a couple but not alot as this is actually a slasher movie in the Home Alone mode where are are booby-traps such as fox-traps on the floors in a hall, acid sticky glue, windows with razors etc and of course the usual stabbing. This one is also quite claustrophobic and brings back the feel of those exploitation slasher era rather than being so-called "Torture Porn".

This Blu-Ray offers brilliant stunning picture with surround sound that is quite chilling even of the screams of victims with extras like trailer, featurette, music video and deleted scenes.

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I don't know what some of these people are talking about, but this movie is AWESOME. I have to admit, I didn't think it was going to be this much Gore in the movie. I haven't been this creeped out in a Horror movie like this in a long time. I just don't understand why there were so many traps in the house. If anyone is familiar with the Video Game "Deception" you will think this would have made a perfect movie. I really don't like much gore like how some of the Saw movies started off, but I was on the edge of my seat the whole time. The only thing I want to know is if this guy is Human?? I wanted to see his face so bad. If there is a sequel, I'm sure they will go into some of the backstory of who the guy is, but if your ready for a good horror movie, This one is worth a watch.

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The Collector is like Jigsaw invited Jason Vorhees and Freddy Krueger over for a cup of tea and some blood-letting. A sub-contractor/thief has staked out his latest rich victim to burgle and this time he needs the money to help his ex-wife escape losing her knee caps to a loan shark. That is the entire story.

The rest of the movie deals with the burglar finding the house is now a house of horror, booby-trapped with trip-wires, bear traps, razors and the master bedroom has the floor entirely covered in glue so the collector can trap the owners of the home like flies on a fly strip. The collector is a silent masked predator and we learn if he likes you, he collects you but if he doesn't want you he kills you. This info is provided by one of the collectibles confined in a large red box.

The problem with the film is, there is no explanation of how the collector was able to booby-trap the house in a short window of time and the movie is mostly a set-up for some ingenious kills including a disembowelment, but the movie comes through with the torture and gore and like Jigsaw, Jason and Freddy before him, the collector will be coming back for more blood and guts.

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THE COLLECTOR takes SAW to new levels of torture horror. It's a well made albeit disturbing film. Filled with grotesque traps and pervasive violence, it's not easy to watch. Josh Stewart is intensely effective in his role of the down on his luck jewel thief with good support from Andrea Roth and Michael Reilly Burke. My main problem is the plot holes:

HOW DID THE COLLECTOR HAVE ENOUGH TIME TO SET ALL THE TRAPS?

WHY DIDN'T THE GUARD DOG ATTACK THE COLLECTOR?

WHY DIDN'T THE FAMILY GO ON THEIR VACATION?

WAS THE COLLECTOR REALLY AN EXTERMINATOR? HE PEELED THE LOGO OFF HIS VAN AT THE END.

HOW DID HE CHOOSE HIS VICTIMS--AND WHY?

Not for the squeamish, but certainly horrifying.

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Underworld (Unrated) (2003)

Boiled down to the fine little dish of steak tar-tar that it is, "Underworld" is the answer to the two horror flick questions you had as a kid:

1) If Dracula and the Wolfman went mano a mano and fang-to-claw, which one would do the thrashing?

2) If Dracula and the Wolfman checked into a cheap motel, got roaring drunk on a case of Night Train, and had a baby, what would it look like?

You get the answer to #1 early and often, which is pretty much what this Transylvania Station is all about. And by the end of "Underworld" you get #2 as well---and trust me, when it's hopping about like an ugly green Mini-Hulk (right down to its one-size-fits-all-monster trunks) you'll wish you hadn't.

You want to know what you're getting when you lace up your thigh-high attitude boots and strap on that trenchcoat for a little midnight fun in Len Wiseman's uber-stylish little monster mash "Underworld"?

Think West Side Story: only here, instead of the Jets and the Sharks angling for a rumble on the other side of the tracks, we have Vampires and Werewolves. Oh, and in "Underworld" nobody breaks into song. Both sides just want to rumble, and the girls just wanna have fun. In the meantime, while not the sharpest stake in the vamp-hunter kitbag, "Underworld" finds its groove, and serves up a bloody two hours of unabashed techno-cool that drinks you dry, trashes the apartment and howls at the moon.

We get dropped into the middle of a war that Celine (the impossibly tasty Kate Beckinsdale)---our supple full-body-suit clad vampiric Death Dealer and narrator---tells us has been "raging for centuries."

On one side of the tracks: the sneering, brutally hip Euro-trashy leather-trenchcoat & hip-sunglasses wearing uber-high-maintenance Vampires. They have posh high-rent neo-Victorian digs, drive around the streets in Jaguars and Maseratis, and have managed to switch up the silver bullets in their glocks and MP-5 submachine guns for something more lethal: liquid silver nitrate, which makes it tougher for their hairy buddies to pull the bullets out. Advantage: Vampires.

On the other side of the tracks: the Salvation Army surplus-wearing tear-your-scalp-off-and-wear-it Werewolves---erm, I mean Lycans, short for Lycanthropes. The Lycans are strictly low-rent, hang out together in what looks like an abandoned public lavatory, and take a bath once every full moon whether they need it or not. Whereas their blood-sucking cousins from the East Side look like they'd be hanging at crazy underground raves when they're not boring each other to tears talking like the Merovingian, the Lycans are strictly the mosh-pit set. Oh, and from what I could tell, there's not a single werewolf girl. C'mon guys---haven't ya heard of "Ginger Snaps"? Bummer. Advantage: Vampires.

That said, the boys have been pumping the rent money they've saved up into super-science research, giving them bullets that encase super-photoelectric magnesium charges (perfect for giving that oncoming vamp a little taste of Club Med sunlight). They also have the upper hand in figuring out how they can mix the bloodlines, bringing the war between Vamp and Lycan to an end. Advantage: Lycans.

And finally, mixing it up with our fanged-kissin' cousins, we have perplexed med student Michael Corvin (played by the annoying Scott Speedman who cashes a check) stalked by Lycan heavies and tagged by Selene, who wants to know why the werewolf army is so eager to get their hands on him.

And that, pretty much, is "Underworld": two hours of movie built around jaw-droppingly gorgeous set-pieces and bouts of total war between locked-and-loaded squads of Things that go Bump in the Night.

Just a note: you'll want to get the Unrated Extended DVD: it fleshes things out, beefs up some supporting characters, and ends with an extended battle sequence---and it's loaded down with plenty of extras you can sink your fangs into.

Plus, the sleeker transfer shows off Wiseman's technical mastery in spades. Wiseman uses sound-stages and CGI to anchor the film's look, and tethers all of it to the fog-shrouded cobbled streets and ancient alleys of Prague: the City itself takes on a bleak and brooding character. The movie looks gorgeous: whether it's the gloomy red-velvet and dark mahogany halls of the mansion, the sleek, sterile Underground, or the industrial ruins of the Lycans, Wiseman and cinematographer Tony Pierce-Roberts make every scene tell. The sequence where a locomotive full of vampire diplomats chugs into a deserted rail-station---with the baying of werewolves in the distance---is jaw dropping.

"Underworld" also gets the most out of its talented stable of actors. There are three centers of gravity in the film: Beckinsdale, who doesn't need her bodysuit to command her lines (though I'm glad she wore it). The Lycan overlord Lucien (the gifted Welsh actor Michael Sheen) steals every scene he's in, and brings complexity and command to a role that could have been a throwaway in lesser hands. Finally, there's the Vampire King Viktor, played by the great Bill Nighy (who also played Shaun's Jag-loving stepdad in "Shaun of the Dead"). Nighy is a kind of demonic embodiment of immortal Puritan rage, and acts like a champ through all that make-up.

Even the supporting actors turn in strong roles: Shane Brolly (Kraven) whines and pouts and lisps and turns in a convincing performance as a spineless worm; Sophia Myles (Erika) comes off as a naughty little vampire cat-girl; Kevin Grevioux owns this film and puts the smack down as Uber-Werewolf Raze; and Hungarian actress Zita Gorog rocked my world---without uttering a single line.

In the end, this batwinged black-lipstick wearing looker of a flick charged into the goth club of my choice, served me an extra-bloody steak tartar , smacked me around, bought me drinks, and talked Shakespeare after. Would a Lycan by any other name be just as hairy?

Blade was interesting, but to me it failed emotionally. You just do not connect with the film on the personal level. The effects were super, but that was the main impact..."wow what amazing effects". You feel like breaking out in a chorus of Peggy Lee's Is That All There Is. Special effects alone cannot make a movie great.

Underworld makes that jump, great FX work, but also gives you characters you really care about, ones that you really love to hate. A strong plot line designed to hook you and keep you, just does that. With the emotional involvement, there is a greater impact, a movie that will demand repeat viewing. Instant Cult Status.

The movie grabs you from the opening and never lets up with the pace. Firm direction and with a driving score, the movie reaches for perfection. You have a 1000-year-old war between Lycons and Vampires, and it's all coming to a head. It's a well thought out and executed premise and Kate Beckinsale shines! She is an amazing talent. I first adored her work in Cold Comfort Farm as Robert Post's child Flora. When you compare that gentle, deft bit of humour with this kick a*** vampire hunter, it proves what an overlooked talent she is. With Van Helsing out now (and I am sure this movie led to her landing the role), she is finally getting a spotlight she so well deserves.

A gloomy, atmospheric ambiance to the whole movie is maintained all the way through, adding a strong foundation for the otherworld premise. I am sure some will nitpick things, as all vampire film faces, but kudos for the vibrant energy and sheer edgy feel to the film.

It leaves you hanging, clearly open for a sequel...one can but hope it maintains this high quality.

Kate rocks...you don't need to know anymore! It has about 13 minutes of footage not in the original. A great battle scene and some backstory on Michael. Rounds out the film nicely without dragging it down. A great pounding soundtrack, too!

Buy Underworld (Unrated) (2003) Now

I had been looking forward to the release of this movie all summer long, and it was a great movie! It was just a little different from what I had thought it would be.

The movie, as most of you probably know, is about a war that has been going on between werewolves and vampires. And it is THIS that is the primary focus of the plot (as opposed to the vampires and werewolves themselves). The werewolves have been researching their bloodlines and discovered a human who shares a common ancestor with both the werewolves and the vampires. The werewolves seek out this human, and this is noted by Selene (Kate Beckinsale), who decides to make it her mission to discover the importance of this particular human.

Unfortunately, the writers decided not to delve too deeply into vampire and werewolf lore. I was pretty disappointed by the fact that the supernatural abilities of these supernatural beings were not really emphasized. Instead, the writers chose to merely stick guns in the hands of the vampires and werewolves. In addition, the mythology was slightly different from what I've read and seen before in previous vampire and werewolf books and movies. I don't necessarily have a problem with that, but if you are going to change things from what people are used to, then it should be explained in slightly more detail.

Another thing that was a little disappointing were the effects. The previews led me to believe that the movie would be comparable to the "Matrix" in that department. Unfortunately, the best effects (with the one exception of the werewolf transformations) were all shown in the previews.

All of this aside, the movie was still pretty incredible. The plot was exceptional, which is not necessarily always the case with most action movies, and the action kept me entertained throughout the movie's entirety. The make-up and costumes were also outstanding, as was the acting. I actually saw this movie twice, and the second time around (once I got over the intial let-down of it being slightly different from what I expected) it was MUCH better. I anxiously await the sequel (and based on how the movie ended, there WILL be a sequel) as well as the DVD release!

Read Best Reviews of Underworld (Unrated) (2003) Here

This movie really looks great on Blu-Ray with an AVC encode and the PCM lossless audio is excellent. By the way this movie is also region free (Regions A, B & C) so people can import this if they want to.

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I'm so glad I got this extended unrated version. I have the original widescreen DVD that came out first, but with this copy there were so many extras that I decided to grab it also. After watching both of the versions I've decided I'm going to keep both as they have different commentary tracks. The commentary on the extended version with Len, Kate and 'Speedman' was quite funny.

I usually would be very annoyed with having to own more than one copy of something to get all of the extras, but in this case I wasn't too urked, considering the great deals I got on both DVDs.

I picked my extended one from best buy for only $15, and it came with a movie ticket valid for up to $10 off of one ticket for Evolution (only at best buy). I believe the other one was around that cost also.

If you're a big fan who owns the original DVD of the movie I would definetly recommend getting this version too.

I already know what will happen once Evolution comes to DVD: I will run out and buy it immediately, only to buy the new extended, unrated version a year later. ;-)

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Invincible (2006)

Vince Popale is an out-of-work substitute teacher, and part-time bartender who arrives home to find his wife has left him taking everything. The only thing left behind is a note reminding him that he is a failure, a man who will never amount to anything.

The Philadelphia Eagles are as successful as this 30 year old, Italian-American from South Philadelphia whose sports career is nothing more than "tough touch" football with the boys in a vacant lot, and season tickets to watch the hometown team get their feathers plucked Sunday after Sunday. But his luck is about to change. The new head coach calls for try-outs for any fan that wants to make the team. Only one of the hundreds is selected. That one is Vince Popale.

His next challenge is overcoming the physical and verbal abuse of teammates who see him only as a publicity stunt. His support are a few friends, a father, and new girlfriend (who is a NY Giant fan). He has nothing but his heart, and an all-out desire to make the team.

As a die-hard Giant fan, I found it hard not to cheer for the Eagles in this movie, because it wasn't about them. It was about a man's personal triumph, and his desire to overcome everything that so many said he could never accomplish. This is the kind of story anyone would love.

Mark Wahlenberg turns in a fine performance of Popale. The cast is excellent. The story is uncomplicated, and it resembles the tale of Rocky Balboa, which was released as Popale's real-life star was on the rise. It shows how a team that resented him deeply came to admire and respect their special teams captain.

In addition to a special feature of making the movie with the real deal (VP), the viewer can see the movie in three versions with narrations in two of them.

Don't miss. This is a super bowl of football movies.

It's 1976, and the men in Vince Papale (Mark Wahlberg)'s neighborhood are having a tough time. They're either laid off like him or on strike. They do still have each other, though. They love their backlot football games, meeting at the tavern, and cheering for the Philadelphia Eagles, who have also had a lot of bad luck. A new coach (Greg Kinnear) comes to the Eagles and holds an open try-out. Anyone can come down and try for a place on the team. His pals urge 30-year old Vince to go, and the rest, as they say, is history.

You don't have to be a big football fan to enjoy this movie. Yes, there is plenty of hard-hitting action, but it's also about trying your best, sticking together, and having a good heart. The cast is excellent and the script really held my interest. We get to know and care about Vince and his friends, and their gritty neighborhood seemed real. A very muddy football game filmed in slow-motion is an especially good scene. Not only is this a good story, it's a true story, with a winning combination of action and emotion.

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A few days ago, I heard the real life Vince Papale being interviewed on a sports radio talk show (710AM) and he was personable and sincere enough that I decided right then and there to go see his movie when it releases. In the interview, he spoke quite eloquently of the tough times he'd undergone, his time spent with the Eagles (3 years) and the abuse he took from his scoffing teammates, as well as his relationship with Coach Vermeil. Vince matter-of-factly stated that he was the fastest guy on the Eagles team of '76. He also mentioned Mark Wahlberg in glowing terms, of how he and Mark bonded, and how Mark spent quality time playing with Vince's kid. Like Papale, Mark grew up in a rough neighborhood, so Mark, in his portrayal of Vince, pretty much was acting from close to his roots.

It's 1976 in Philly: the spectre of the Vietnam War still hovers, the energy crisis still looms, blue collar Joes are getting laid off en masse, and everyone's hair is just horrible. And, oh yeah, the Eagles suck. Invincible is the true life story of underdog Vince Papale (Mark Wahlberg), who in 1976 lost his wife and found his school-teaching jobs dwindling, and was then toiling away as a 30-year old bartender. Meanwhile, to shake things up with the going-nowhere Philly football team, new head coach Dick Vermeil (Greg Kinnear) decides to hold open try-outs. Being a passionate, hard core Philadelphia Eagles fanatic and having played as a wide receiver in a minor league football team, Vince jumps at this chance and impresses the head coach with his speed and his hard-contact hitting and, most of all, his heart. Vince somehow makes it on the Eagles roster as the oldest rookie ever (not counting kickers; but kickers don't count, anyway) without the benefit of a college football experience.

Invincible also parallels Vince Papale's struggles with Dick Vermeil's first baby steps as the coach of the Eagles. With the recent crappy history of the team, Vermeil immediately realized that something fresh was needed to lift up the spirits of the Philly fans, who absolutely expected nothing from the team that season. But, predominantly, this movie covers Papale's arduous trek starting from the against-all-odds open camp try out, thru the brutal training camp, to the regular season's opening game, where the Eagles get whacked by the powerhouse Dallas Cowboys, and, finally, to the Eagles' home opener versus the hated New York Giants, wherein Vince becomes instrumental in the Eagles winning Dick Vermeil his first game as the head coach.

This obviously is a star vehicle for Mark Wahlberg, and he brings to the table his compelling street-savvy, average guy grit and charm. He is genuine and heartfelt in this role. Gotta admit, it's been a while now since I thought of him as Marky Mark. He's proven to me, with 3 Kings, The Perfect Storm, The Italian Job, and 4 Brothers, that he's a steadily maturing actor who has some measure of talent and sensitivity. And his physicality comes in very handy in playing the rugged Papale.

Greg Kinnear, also another guy I'm starting to take serious as an actor (very good job in The Matador), capably captures Head Coach Vermeil's touchy-feely personality. Elizabeth Banks (Spider-Man 1 & 2, Seabiscuit) is nicely enthusiastic and spirited, very beautiful, and is a natural as Vince's love interest Janet. I had a blast with the sequence showing Janet clad in New York Giants wardrobe (she's a big Giants fanatic) entering the Eagles' home stadium amidst clamorous boos. Janet, who is not only sexy but is quite knowledgeable about football, is a guy's dream girl.

Invincible makes a point of never letting you forget about Vince's ordinariness and his fish out of water situation by throwing him in several scenes with his regular beer swilling buds as the film progresses. These mugs are rooting for him, yeah, but, at the same time, they want to make sure that he doesn't forget about them should he reach the big time. Meanwhile, Vince's dad is a blend of safe pessimism and hidden hope ("A man can only take so much failure"), leaving his buddy Tommy (Kirk Acevedo), his kindly bar boss Max (Michael Rispoli), and the lovely Janet to be the really steadying rocks in his life.

Ericson Core, first time director here and former cinematographer, does a great job catching the inner city "feel" of blue collar Philly with camera shots of the city's gritty, grimy streets, alleys, and dives. I bought into the realism of the movie's 1970's setting fairly easily. To watch Vince Papale jog thru the streets of Philly is to instantly think of another sports movie set in the same time, in the same city. Think boxing. The football scenes are fairly intense, with plenty of hard contact, with flesh getting pounded and bones being crunched. Just maybe there's too much slo-mo action.

In that interview, Vince Papale pretty much admitted that this movie didn't totally stay true to the facts, that some scenes were prettied up for greater audience consumption. What mattered, he said, was that Invincible did stay true to the spirit of his journey. I'm a sucker for underdog stories (coincidentally, Vince's nickname on the Eagles was Rocky), and knowing that Invincible is based on a true underdog story just whetted my appetite even more. Anyway, I just saw this film and liked it quite a bit. Still, I expect some criticisms to make the rounds centering on the film's too conventional plot and script, that maybe they're too trite and cliched. Me, I don't care. I love football, this is a football movie, and it's acted out with unaffected sincerity and great energy by the leads. Football season's just around the corner, but I figure I just got my fix in earlier.

Read Best Reviews of Invincible (2006) Here

If you've seen Rocky then you know the basic story here but the brilliance with Invincible is that it's all true. Ironically, when the real life Vince Papale was just going through his transformation in the gritty streets of Philadelphia, Rocky had just come out and some of his teammates and opponents would tease him by calling him "Rocky".

The brilliance of getting this on DVD is that you can hear the commentary track with the real Vince Papale giving his insight into what was happening throughout this time. The strikes were pulling the heart out of the locals. Vince's wife walked out on him. The Eagles kept losing. The people of Philly struggled on with a mixture of gut determination and faith.

Yes, it's a story of Vince 30 years old, out of work, out of a relationship, making ends meet by tending bar, getting his one shot at a dream. But it's also the story of the whole area he lives in, how they are being beaten down and they still hang in there. Vince's neighbor invites him in and feeds him pasta. His dad and gang root for him every chance they can. Little kids make up jerseys with Vince's numbers on them.

It's funny how, for a sports movie, it actually is much more about the characters. My boyfriend loves football, but I'm not nearly as enthusiastic about the sport. We both really enjoyed watching this together. The soundtrack is gorgeous. The characters are gritty and real. They're not perfect they're human with character and heart. As much as some Disney movies can feel very sappy, this one is encouraging without going overboard. These are real heartbreaks that happened real obstacles that were overcome.

It's fascinating looking back to what football was like in the 70s. Vince explains that the team rooms really were that tiny that the streets in Philly are narrow, the homes restrictive. The emotions and experiences were real. Mark Whalberg does most of his own football work here and takes some massive hits. The movie ends with clips of the real Papale and his teammates, turning their team from a losing one to a group that reached the Superbowl.

Highly recommended.

Want Invincible (2006) Discount?

Movies in high definition are the future. This one was brilliantly made anyways (without the high-definition) and you add in the HD with Blu-Ray and the extra features (documentary on the real Vince Papale) and it just enhances the experience. I saw this at the movies and had to own it. It's inspirational and teaches that you are never too old to achieve your dreams. Definite buy on Blu-Ray or regular DVD.

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Vivre sa Vie (The Criterion Collection) (1962)

My Life to Live is a highly stylized and extraordinarily unformulaic adaptation of a simple premise: a young woman, seeking the freedom and excitement of, what Federico Fellini calls La Dolce Vita, leaves her family to pursue an acting career, only to turn to a life of prostitution. From the opening sequence showing a detached, seemingly clinical exhibition of Anna Karina's face and profile, followed by an uneasy dialogue between Nana (Karina) and Paul (Andre-S. Labarthe) filmed at an angle showing the backs of their heads, we are introduced to the singular, iconoclastic vision that is Jean-Luc Godard. Stripped of expression and sentimentality, Godard, nevertheless, succeeds in creating a film that is visually stunning and full of pathos. We are drawn to Anna, not because of her seductive persona or compassionate actions, but because she is humanity, lost and desperate, incapable of comprehending her misery nor articulating her pain (Note the parallel character of Antonio Ricci in Vittorio de Sica's The Bicycle Thief.

Godard's revolutionary camerawork transcends nouvelle vague novelty: it serves as a cinematic extension of Nana's soul. The awkward angles and long panning shots during Nana and Paul's conversations reveals the underlying tension and emotional distance between them. Deeply affected (understandably) by Maria Falconetti's performance in Carl Theodor Dreyer's The Passion of Joan of Arc, Nana's conversation proceeds in silent film intertitles reflecting her own suffering and innate desire to achieve greatness and escape the banality of her sordid life. The seamless camerawork following Nana as she dances uninhibitedly around the billiard room feels intoxicating, almost mesmerizing a fleeting glimpse of the few brief moments of pure joy she has ever known. My Life to Live is a truly remarkable film: a synthesis of artistic vision and moral tale, suffused with haunting melody, the ballad of a contemporary tragedy.

I give this DVD FOUR stars only because the transfer could have been better. With older films, especially foreign ones, the time and cost of providing a great transfer is too much unfortunately.

This an amazing and powerful film that should be owned if you are a fan of Godard or of the French New Wave. For those who have not seen it and are looking for advice, I say: be cautious. This film is not for everyone, especially if you gravitate toward mainstream films. Don't expect Julia Roberts and Richard Gere.

The French New Wave era brought out a new kind of filmmaking. The films abandoned and sometimes appropriated traditional methods of narrative and formal esthetics, and used this technique as a critique of sorts. Vivre sa vie is no exception. Jean-Luc Godard made a film that requires something more from the viewer than just their attention span. The fairly simple plot of Vivre sa vie is expanded and turned around by various formal aspects of filmmaking made famous by French New Wave directors. Jump cuts, long takes, deep focus and slow pans are cornerstones of The French New Wave, but my interest lays with Vivre sa vie functions as a text, rather than a traditional narrative. By text, I mean that the film has a greater social theme and works more as an essay rather than a film¡Xsomething needed to be read.

Simply put, Vivre sa vie tells a story of a woman that leaves her husband and son, wants to get into the movies, ends up becoming a prostitute, falls in love, then wants to get out of the business. But there is so much more to the film and what is needed is your participation. Participation here, involves much more than a warm body and open eyes. Godard is using the narrative and formal techniques to tell something more about the social predicament of prostitutes and perhaps women in general. He accomplishes this by using very untraditional film techniques that enhances this film to a textual level.

When speaking of text, the notion of ¡§reading¡¨ is implied. The viewer needs to ¡§read¡¨ the scene, rather than just watch. Reading requires the viewer to make connections and draw conclusions from the juxtaposition of the words and images, and not just be told or shown what is really ¡§meaningful.¡¨

Watch the 12th chapter (The young man again¡Xthe oval portrait¡XRaoul sells Nana) when the young man reads the Poe story to Nana. I think that really captures the essence of the film.

Again, just because people think that this film is great, powerful and groundbreaking, doesn't mean that you will enjoy it. Be realistic.

Buy Vivre sa Vie (The Criterion Collection) (1962) Now

"My Life to Live ("Vivre Sa Vie)," released in 1962, was director Jean-Luc Godard's fourth feature film and one of the finest, most exhilarating examples of the French New Wave. The great cultural critic Susan Sontag considered the film to be "one of the most extraordinary, beautiful, and original works of art that I know of." The film is now forty years old, and since its original release it has, unfortunately, been somewhat forgotten, not nearly referred to as much as Godard's "Breathless" and "Weekend." In many ways, however, "My Life to Live" is Godard's most accomplished work. It encapsulates all of the main cinematic innovations of the New Wave movement; in its visual style, it is refreshingly innovative (even decades later) and often awfully beautiful; and it redefines cinematic history at the same time that it pays homage to that history.

"My Life to Live" is part crime drama, part B-movie, but, most of all, the story of a young Parisian woman's descent into prostitution and existential trauma. It offers little or no overt explanation for events or for the choices and actions made by its characters. It proceeds largely through dialogue. And it features the kinds of jump cuts and self-referential awareness common to this style of cinema (not to mention the references to other sources of culture, including a shot of a movie theater playing Francois Truffaut's "Jules and Jim," another exponent of the French New Wave). Viewers raised on Hollywood movies who have not had much exposure to this style of filmmaking will find "My Life to Live" difficult and, to an extent, somewhat unsatisfying, only because it does not conform to American narrative or cinematic conventions. It is both formally groundbreaking in its visual style and unique in its narrative structure.

That narrative structure is based upon twelve tableaux, each with its own chapter reference. If Godard had admitted that this was to make the film more understandable, it was also to give it a pseudo-documentary feel. In that sense, "My Life to Live" blends reality and fiction, film drama and documentary, into a cohesive experience. The camera embodies Godard's approach. Its movement means several things at one time: a visual language that defied the standards of traditional film photography (watch how Godard films conversatins in "My Life to Live"); a sense of documentary, as if Godard was portraying a non-fictional account of a woman's descent into prostitution in post-war Paris; and a technique in which it seems that the camera is always aware of what it is doing.

And what is the camera doing? Most of all, it is obsessed with its protagonist, Nana, played by the chic, mesmerizing Anna Karina, who was Godard's wife at the time. "My Life to Live" is as much a study of her as it is of its fictional subject. Godard's camera lingers on her face, producing some of the most staggeringly beautiful moments in cinematic history and also allowing Karina's outward image to tell exactly what she is experiencing internally. In one of the film's most celebrated passages, Karina's face, eyes wide open and full of tears, fills up the entire screen as she watches Carl Dreyer's equally groundbreaking silent film "The Passion of Joan of Arc." Karina's close-up replaces Maria Falconetti's and becomes just as enigmatic.

"My Life to Live" is a film of multiple artistic merits, one of Godard's finest achievements, and an emblem of the French New Wave. Serious film buffs should not be without it.

Now, a few words about the DVD. Fox Lorber is notorious for producing poor digitial transfers of their films, and "My Life to Live" is no exception. The transfer is actually better than most of their products and is quite passable, with some noticeable image spoilation here and there and with a relatively mediocre audio track. Having said that, most viewers should not have too much of an issue with this disc's quality. The aspect ratio is 1.33:1, the same as a standard television screen, so this looks like a pan and scan version. I do not know if this is the same aspect ratio of the original theatrical print, but if you are expecting widescreen, you won't get it here (although this should not preclude viewers from purchasing this fantastic film).

(And, last but not least, a somewhat related jibe: if you are coming to Godard because you are a Quentin Tarantino fan, you will find that many of the ideas and techniques Tarantino employed in "Pulp Fiction" were lifted right out of this film, in addition to others by Godard. Seeing both, you will realize that Tarantino really isn't that original after all and that Godard was far superior.)

Read Best Reviews of Vivre sa Vie (The Criterion Collection) (1962) Here

This is Godard's most austere film. Its also one of his best. Anna Karina is in every shot and you never get tired of looking into those sad, beautiful, hopeful eyes. The most heartwrenching part of the story is that no matter how far she descends into the grim world of prostitution she remains somehow innocent and to be truthful the world of prostitution actually doesn't look all that grim(her clients are polite, they always pay, there are no drugs, or beatings). She survives not by becoming detached but by remaining inquisitive and continuing to find things that interest her. She loves the film Passion of Joan of Arc, and she loves the Poe story her boyfriend reads, and she enjoys the company of anyone with fresh ideas or a different perspective. She might be a prostitute but she never stops being a human being first and she never stops seeing men as individuals and so she never stops liking them, even when they might see her and treat her merely as a type. Though she can sense the tragedy in someone elses life like Joan of Arcs she does not view herself as being tragic. She might be a prostitute but she does not seem ashamed of this, but rather just sees it as a job. You could almost say she is amused by her own situation. Its her intense awareness of life and her own freedom to live as she chooses and think and feel what she wants to that make her such a fascinating creature. In fact its the moment after she has her first client that she seems to really become fully aware of herself as a truly free creature. Karina's sense of freedom contrasts in an interesting way with her occupation and the films structure which sets a decidedly deterministic, even fatalistic, tone and pace. I do agree that the ending seems too easy and abrupt -many of Godards films end with a kind of suddeness that makes them feel somehow incomplete. The French title of Breathless is Out of Breath and this seems to be Godards ruling principle -film until you run out of ideas(out of breath) and then kill off your protaganist(this happens in Breathless, My Life To Live, and Pierrot le Fou). But whether you like the ending or not the rest of the film is so perfect that the film and especialy Karina's face, her attitudes and expressions, linger in your thoughts long after the film is over. Usually Jean-Luc Godard's style is the star of a Jean-Luc Godard but this is Anna Karina's movie. Cinematographer Coutard as usual does a tremendous job. I think my favorite Anna Karina film is Jacque Rivette's The Nun (La Religieuse)but this a close second. She is way more interesting than any of the other beauties of the era, and one suspects that she is as creative and original as Godard himself.

Want Vivre sa Vie (The Criterion Collection) (1962) Discount?

(Lend yourself to others and give yourself to yourself---Montaigne): ominous advice for the heroine of one of Godard's most easily digestable and congenial films. A seamless and cohesive twelve chapter documentary, _My Life to Live_, starring Godard's then wife Anna Karina, succeeds at striking the perfect balance between the filmmaker's more esoteric artistic tendencies and the ability to relate to a more mainstream audience. Loosely, the plot involves Nana, a 22-year old woman who leaves her husband and takes up casual prostitution. No doubt it is also an allusion to Emile Zola's novel about a female courtesan of the same name. Brilliant camera work is especially evident in the opening scene where we are introduced to Nana and her husband not by their faces, but by an affronting view of the backs of their heads. This visual device is used throughout and is contrasted with some mesmerizing shots of Joan-of-Arc-coiffed Karina, staring directly at the camera. If you thought Godard too intellectual or abrupt, give this film a try.

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Scream Five-Film Set (Scream 1-3 + Two Documentaries) (2011)

Since Lions Gate has been mum on the details/specs of this set, never even issuing a press release containing any info., I thought I'd take this opportunity to answer many of the unanswered questions for those who have yet to order:

1. The 3 movies are the exact same blu-rays that were released separately. Right down to the now dated ads and trailers that you cannot skip past. Same extra features (not many), same picture, same everything -outside of the discs themselves which are all that generic grey "rental" version looking disc with no individual artwork. There is, as expected, NO director's cut of the original film included.

2. The 2 documentaries are on 1 disc, despite this being labeled as a 5 disc set when I (and many others) ordered it.

3. The 2 documentaries are in partial HD. "Scream: The Inside Story" goes between 1080i, 720p and 480p. The only parts in 480p are clips of the actual Scream movies. The rest, for unknown reasons (I suspect a glitch on the discs or a way to cram both docs onto one disc) jumps between 720p and, rarely, 1080p. If your blu-ray player upconverts, the only real noticeable changes are the film clips in "Scream: The Inside Story" being of significantly lesser quality. "Still Screaming" fares a little better with the film clips also being in HD.

4. Despite Lions Gate's website claiming the documentaries contain 4 hours of extras, including commentaries, etc. -there are NO extras. The docs play in DTS Master Audio Stereo. The menu is static with the only options being to choose which documentary you want to play. Even if you are in the middle of watching one of the docs, it will start at the beginning if you even accidentally hit the stop button. There isn't a bookmark option and, most surprisingly, there ISN'T CLOSED CAPTIONING ON EITHER DOCUMENTARY. I think that is very important to note for those hard of hearing. It's an inexcusable omission.

5. The movies are just as you left them. Scream is an excellent little horror film. Scream 2 is a decent, somewhat drawn out sequel. Scream 3 is still an embarrassment (seriously, what are Jay and Silent Bob doing in this thing?). The movies DO have closed captioning available. Just not the docs.

6. The whole thing comes in one normally sized Blu-Ray case with a cardboard overlay. The 4th disc was warped over the 3rd disc in mine, which hasn't seemed to cause any problems, but was distressing when I first opened the package. The cardboard overlay and case itself have the same art as you see displayed at the top of this page.

7. I have just noticed Lions Gate removed the "5 film set" from their webpage entirely and replaced it with "Scream 1-3 Gift Set." The 5 film set was there as recently as Saturday. Maybe they didn't want to be seen falsely advertising the multiple hours of extras the documentaries included (which, as I mentioned above, aren't there).

Overall, I'm disappointed with this package. And I can see why Lions Gate did everything to HIDE the details from the general audience. If you like the Scream movies and don't yet own them, this is the best way to buy them as it's cheaper than it is to buy them individually (if you want all 3) and you get the two docs (as poorly presented as they are). If you already own the movies? I'd pass on this. Clearly there ARE extras out there for the docs and I suspect they'll sell the documentaries separately -probably for under 10 bucks -with closed captioning and all the extras included. The docs themselves, as bare-boned as they are, just aren't worth 20 bucks, if you already own the films.

I hope this review helped anyone on the fence make an educated decision as to whether or not the 4 disc collection is worth it for them. Thanks for reading!

September 26th was a date etched in my brain. I could not wait for the arrival of the "Scream Trilogy: Box Set" let me tell you, it was worth the wait. Besided being the most successful horror series EVER, (yes people, even better than all 27 Friday the 13ths) it's really smart. The dialogue, characters and plot twists are exceptional. Of course, being directed by the MASTER of horror and suspense, Wes Craven, made it even better. This set is absolutely perfect. Each of the Scream films, all in widescreen, with Dolby Digital surround sound, audio commentary and loads of extras. The Scream extras include: 3 Behind The Scenes featurettes, trailers, TV Spots, Q&A with the cast and crew, special effect gallery, film facts etc. Scream 2's extras include: outtakes, deleted scenes, Production Featurette, music videos, trailer, TV Spots etc. Finally, Scream 3's DVD includes: Outtakes, Deleted Scenes, Alternate Ending, Trailers, TV Spots, music video, Behind the Scenes of all three Scream films and so much more. Finally, we get a bonus DVD. This is my favorite one of the set. It includes a 35 minute documentary titled, "Behind the Scream" includes interviews with the cast and crew; Outtakes from Scream, Screen tests, Sunrise Studio trailers, the "Stab 2" trailer, and the cutting room, where you can make your own version of the opening scene of "Scream 3." The set also comes with a 24 page Behind the Scenes book. including pictures, photos, a tribute to the victims etc. The cover comes in two separate parts, which is really cool. All in all, everyone MUST own this set, it's PERFECT!!!

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When I review a movie, especially a box set, I base my review on the bonus material and quality of the set in general. I think most people who buy movies from Amazon have usually seen the movies they are buying already.

The Scream Ultimate Collection is truly that! This box set is assembled very nicely and uses the plastic (not cardboard) cases for the DVDs. I prefer the plastic cases for durability! This set also includes a fourth disc packed with bonus material. Here's a break-down of what's on each disc besides the movie.

Disc 1 Scream Collector's Series

Audio Commentary, Director Wes Craven & Screenwriter Kevin Williamson

Production Featurette

Theatrical Trailers

TV Commercials

Behind-The-Scenes Footage

Q & A with Cast and Crew

Special Effects gallery

Cast & Crew Profiles

Film Facts

Disc 2 Scream 2 Collector's Series

Cast & Crew Biographies

Outtakes

Theatrical Trailer

TV Spots

Master P Music Video

Kottonmouth Kings Music Video

Deleted Scenes, commentary by Wes Craven

Featurette

Feature Commentary with Wes Craven and Crew

French Language Track

Spanish Subtitles

Disc 3 Scream 3 Collector's Series

Outtakes

Behind-The-Scenes, all three movies

Deleted Scenes, commentary with Wes Craven and Crew

Alternate Ending, commentary with Wes Craven and Crew

Feature Film commentary with Wes Craven and Crew

TV Spots

Theatrical Trailer

International Trailer

'Creed' Music Video

Cast & Crew biographies

French Language Track

Spanish Subtitles

Disc 4 DVD/DVD-ROM Exclusive Bonus Material

DVD Special Features

"Behind The Scream" Documentary

Outtakes From Scream

The Cutting Room (Edit scenes using your remote)

Screen Tests Neve Campbell, Jamie Kennedy, Skeet Ulrich

Sunrise Studios Trailers

DVD-ROM Special Features

Scream Trivia Game

Scream Character Web

ScreamSaver

Scream3 Website

Screenplay and Shot List

This box set would be an excellent gift idea for any Scream or general suspense movie fan. This is a must-have for Scream fans! The value is excellent as there are tons of special features and the quality of the box set is very good!

Read Best Reviews of Scream Five-Film Set (Scream 1-3 + Two Documentaries) (2011) Here

This is definately a smart move by Buena Vista releasing the box set. The first 2 Scream movies DVD releases were sub-par in many aspects so the re-release is something that needed to be done. First off all, there are going to be 4 DVDs, Scream 1, Scream 2, Scream 3, and a 4th DVD with supplements. The supplements will include deleted scenes, alternative endings, outtakes, screen tests, trivia games, web links, and a "Screamsaver." Of course all 3 movies will be in Dolby Digital 5.1 and believe it or not, all three will be Anamorphic transfers. Where the first 2 were not. All in all this is going to be a great set to own! I've already ordered mine and anyone who loves Scream and loves extras will be in awe come September 26th.

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Since everybody is talking about the movies, I am only going to review the dvd box set special features.

DISC 1: SCREAM

.Commentary by Director, Wes Craven

.Trailers-there are 2, one greenband and one red band(together they last for a little over than 4 minutes)

TV SPOTS-there are 7 tv spots(and each of them run for 30 seconds)

Production Featurette-(this runs for 6 minutes)

Behind the Scenes-there are two behind the scenes. The first is called On the Scream Set(which runs for 3 minutes). The second one is called Drew Barrymore(which runs for 3 minutes)

Q and A with the Cast and Crew-There are two to choose from, one of them is called What's your favorite scary movie?(which runs for 2 minutes and 45 seconds). The second one is called Why are people so fascinated by horror films?(which runs for 2 minutes and 30 seconds).

Special Effects GalleryThe gallery contains 18 pictures)

Cast and Crew ProfilesIn this section you will find profiles for Drew Barrymore, Courteney Cox, Wes Craven, Matthew Lillard, Rose McGowan, Skeet Ulrich, Neve Campbell, Jamie Kennedy, David Arquette, Kevin Williamson.

Did you Know?-Here you will find facts about the movie,and there are 19 facts.

Additional Titles-In here are just some recommemdations, the recommendations are From Dusk Till Dawn, Scream 2, The Crow, Mimic, Halloween H20, and Pulp Fiction.

Scream comes with Dolby Digital 5.1 Surround Sound and in Widescreen (2.35:1)

Disc 2: Scream 2

.Audio Commentary by Director, Producer, Editor

.Outtakes-(this runs for nearly 9 minutes).

.Deleted Scenes with optional commentary with director, producer and the editor.-(this runs for a little over 4 minutes).

.Theatrical Trailer-(2 minutes)

.Tv spots-there are 11 tv spots and all together they run a little over 6 minutes.

.Music Videos-There are two videos two choose from. One is by Master P called Scream(which runs for 3 minutes). The second music video is by the Kotton Mouth Kings and is called the Suburban Life(and it runs for 3 minutes and 45 seconds).

.Featurette-(this runs for 7 minutes)

.Cast Bios-Here you will find Bios for David Arquette, Neve Campbell, Courteney Cox, Sarah Michelle Gellar, Jamie Kennedy, Jada Pinkett Smith,Omar Epps, Elise Neil, Jerry O'Connell, TimoThy OlyphanT, Rebecca GayhearT, Portia Se Rossi, Liev Schreiber, Luke Wilson, Tori Spelling, Laurie MeTcalf, Heather Graham.

.Crew Bioshere you will find Bios for Wes Craven, Kevin Williamson, Marianne Maddalena, and Cathy Konrad.

Scream 2 comes with 5.1 Surround Sound and in Widescreen (2.35:1) enhanced for 16X9 Televisions.

Disc 3: Scream 3

.Audio Commentary by Director, Producer, and Editor.

.Outtakes-(this runs for 6 minutes and 30 seconds).

.Behind the scenes Montage-this runs for 6 minutes)

.Deleted Scenes with optional commentary by director, producer, editor-this runs for 13 minutes and 30 seconds.

.Alternate Ending with optional commentary by director, producer,and editor-this runs for 10 minutes.

.Theatrical Trailer-(1 minute and 24 seconds)

.International Trailer-(1 minute and 37 seconds)

.Soundtrack Trailer-(1 minute and 17 seconds)

.Tv Spots-there are 14 tv spots and all together they run for 5 minutes and 30 seconds.

.Creed Music Video "What If"-This music video runs for nearly 5 minutes.

.Cast Bios-here you will find bios for David Arquette, Neve Campbell, Courteney Cox, Patrick Dempsey, Scott Foley, Lance Henriksen, Matt Keeslar, Jamie Kennedy, Jenny McCarthy, Emily Mortimer, Parker Posey, Deon Richmond, Liev Schreiber, Patrick Warburton, and Kelly Rutherford.

.Crew BiosHere you will find bios for Wes Craven, Marianne Maddalena, Cathy Konrad, Ehren Kruger, and Patrick Lussier.

Scream 3 comes with 5.1 Surround Sound and in Widescreen(2.35:1) Enhanced for 16x9 Televisions.

Disc 4:Bonus Disc

.Behind the Scream-this runs for 31 minutes and 30 seconds.

.Scream Outtakes-this runs for 4 minutes

.Screen Tests-There are three Screen tests. One for Neve Campbell(which runs for 4 minutes and 20 seconds). The second tests is for Skeet Ulrich(which runs for 2 minutes and 30 seconds). The last test is with Jamie Kennedy(which runs for 1 minute).

.The Cutting Room Floor-Here you can make your own scenes but the only scenes that you can use is the beginning scenes with Cotton in Scream 3.

.Sunrise Studio Trailers-there are 9 sunrise studio trailers. I am going to list them.

1.Stab 2-(48 seconds)

2.FrankenPimp-(55 seconds)

3.It walked from the waves-(49 seconds)

4.Is somebody there?-(36 seconds)

5.Zombie Martians from deep outer space-(1 minute and 11 seconds)

6.Opium Den-(1 minute and 16 seconds)

7.The 1st house on the right-(26 seconds)

8.Voodoo club-(38 seconds)

9.The scared bit** projectz-(1 minute and 13 seconds)

.Crew Bios-here you will find bios for Knb Efx,Peter Deming, Patrick Lussier, Bruce Alan Miller, Stuart Besser, Nicholas Mastandrea, and Lisa Beach.

DVD-ROM FEATURES

.Scream Trivia Game

.Scream Character Web

.ScreamSaver

.Scream 3 Website

.Screenplay and Shot List

This is all the special features on this awsome 4-disc collection. If you like the scream movies i HIGHLY RECOMMEND THAT YOU GO TO THE STORE AND BUY ONE, because this is probaly as good as it gets. I hope you enjoyed my review.

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Letters to God (2009)

The movie has a wonderful message and more than being sad it was uplifting.

While the movie does tug at your heart strings. Letters to God is a good movie. We want Tyler to get better. We want his family and friends to be strong. We want everyone who is touched by his story to find the Lord.

The acting is good. The storyline moves and you find yourself really caring about these people. I love the scenes of Tyler and his friend Samantha. Tyler and his brother. Brady the mailman who eventually is saved by Tyler's Letters to God are all very moving.

Not overly religious? Don't worry.

While it is obviously a religious movie, I don't believe messages are crammed down your throat as in some religious themed movies. The movie is a feel good movie with a beautiful message of friendship, strength, inspiration, prayer, second chances and dignified endings.

This is an incredible movie. It lit a fire within meI now want to know Jesus better. Unfortunately, it is in only a few theaters. I drove from Woodland Hills Ca, to Simi valley to see it and it was well worth the trip. When it comes out on Video I will buy it for my friends and family.

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This is probably the best movie I've seen in a long, long time! I was thrilled to see a movie that totally smashed the modern non-religious mentality. Thank God that this story has been told! I hope and pray to see more like it.

Read Best Reviews of Letters to God (2009) Here

this is a movie that inspires everyone you will cry laugh and learn to pray and believe in god the boy playing the part is excellent and as my sister said as we were leaving the theaterhe has a beautiful smile

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I can't say enough about this movie. The deep faith in God and the simplicity of how he prays. I walked out of the movie with a fire inside that I have not felt for a long time. My friend and I promoted the movie to our school principle and also put it in the church bulletin as a must so for the whole family. Please go out of your way to see this film, you won't regret it.

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The Phantom of the Opera at the Royal Albert Hall

I just got back from watching this exact performance at my local theatre, and I must admit, I am most impressed.

I was frightened that this might not be a staging at all, but more along the lines of a "concert in costume" much like the dissapointment I felt when I saw the Les Miserable's concert on Public TV.

Fear not. This production is pretty dead on to the staging that appears in the shows that I have watched live, and considering this was filmed "live" and simulcast, it is truly a sight to behold.

While this performance can't even compare to "being there" it is far removed than the sterile affair put on the screen by Joel Schumaker. Don't get me wrong. There is plenty of things I like about the movie, (like the spine tingling opening sequence, or the red hot sexuality of Point of No Return). But this by far is the most accurate "filming" I have seen of any ALW production.

Unlike Joseph, JC Superstar and CATS, which were "staged" recordings specifically for video, with all the "cuts" that go with it, This is a live filming that was simulcast live around the world on Oct 2, 2011 and ran on limited encore performances in movie theatres for the next few days. There are no "best performances" or "second chances". We get what was actually presented to the audience on Oct 2, and that alone is worth the price of admission.

Due to the height of the roof of the Royal Albert Hall and either logistics or safety concerns revolving around hurling a Chandalier from such a dizzying height, suffice it to say, the chandalier does not crash to the stage at the end of Act 1, nor does it "float" from the stage in it's glory during the overture. Instead, the tarp is removed during the overture, and fireworks accompany the chandeliers destruction at the end of Act 1. This is sure to be a bit of a disappointment to most Phantom fans, and if you need to experience a crashing chandalier, you will have to go to one of the live performances currently touring around the world. On the plus side there are quite a few shots of the show taken "throguh" the chandelier onto the stage below, which gives you the feeling that you are the phantom, spying at the action below from top of the chandelier. It's not as dramatic, but they did what they could and it's hard to fault them for something that was probably completely out of their control.

The production also makes extensive use of LED screens as backdrops much like was done in Love Never Dies. This can is be both effective and a bit disconcerting. One example is the backdrop of Andre and Fermin's office, which is setup to look like a wall with opera posters posted on it. From a distance, these work fine. However, some of the cameras are really close to the stage and causes this effect to pixelate greatly which takes away some of the suspension of disbelief.

The use of LED screens is also used to mimic Christines Mirror during her Angel of Music number in which Christine approaches the mirror with the Phantoms face singing in the upper right corner of the mirror. Towards the end, the screen simply slides away to review the Phantom walking towards her with the fog rolling at his feet.

Another different use of the screens is during "Notes" when the phantom is reading how Christine is to star in 'Il Muto, we see handwriting appearing as well as the phantom singing his instructions on how Christine is to be granted the role of the dutchess while Carlotta plays the pageboy. One cool effect that the LED screens provided was during the end of Think of Me, Christine faces the rear of the stage, and the actual applause from the live audience is projected on the rear screens giving the audience the feeling that they are behind Christine and their own reaction is the reaction of the "audience" who just watched her aria from Hannibal. It's hard to describe but a cool efect.

It's also fair to note that these "screens" were necessary given the sheer size of the arena, and in the vastness of the RAH, some consideration had to be made to those in the nosebleed seats, so we see some scenes where the Phantom is projected on the real wall so that the paying customer in the back can better see the action.

It's just that they lose much of their effectiveness when filmed.

Speaking of filming, the camera work is stunning. Thanks to HD and the extreme closeup we fully see the emotional range the Phantom shows at his love/hate relationship with Christine. Some might say we see too much as I was distracted by wrinkles in the Phantoms facial prostesis where it was peeling from his neckline. Proof positive that this was shot live.

The performances from the cast were spot on, and it's amazing how I find different parts of the musical which resonate with me depending on the production.

In the live stage productions I have seen, the "Phantom of The Opera/Music of the Night" sequence always sent shivers down my spine. The motion picture's rendition of "Past the Point of No Return" has a sexual tension and animal magnetism not experienced on any stage performance I have seen. The stand out number for me in this version clearly was "Wishing You Were Somehow Here Again." This has never been a favorite number of mine until now. Sierra Boggess really sells that performance and my mouth was on the floor when it was over.

The Phantom in this production is also more believable. Ramin Karimloo brings out an anquished performance of a "monster" with the heart of an "artist". His makeup is not over the top but grotesque enough to give someone pause. My biggest beef about the motion picture is that no woman in her right mind would have rejected Gerard Butler's Phantom. Even with his "hideous" makeup he was way too pretty. A slight rash, a droopy eye and a swollen lip? Really? I've seen uglier people at Wal-Mart. But Karimloo's Phantom is sufficiently hideous. You sense the bravery it took Christine to kiss him in the final scene and that courage is not lost on the Phantom, which leads to his change of heart.

One suprising highlight was the role of Carlotta. In all the past performances, Carlotta was portrayed in Caricature. Nowehre is this more apparant than in Minnie Drivers over the top performance in the film. Here, Carlotta is almost a sympathetic character. She clearly fears not only the Phantom, but also the rise of this "precious little Ingenue". She clearly see's Christine as a threat to her dominance at the Opera and we see a true human side to her as portrayed by her fear when the piano starts playing by itself during the rehersal for Don Juan Triumphant. In the past Carlotta had always been a throwaway part, but in this performance it is done with an authenticity that I have never before seen.

Overall, the show is brilliant and I am ecstatic that it will be coming to DVD/Blu-Ray. Unfortunately Phantom is no longer touring in North America, so my chances to see it live require a trip to New York, or Las Vegas to see the "truncated" version. And if my children never have the opportunity to see it live, at least they can appreciate this version. While it is nowhere close to experiencing Phantom for yourself, it is definitely more authentic than the movie, and slight staging differences aside, is as accurate a staging of the original show as could be done in the venue that it was pressented.

One final bonus is the appearance on stage of the surviving Orignal London Cast including Sarah Brightman and Michael Crawford. Unfortunately Michael does no singing, but we do get two numbers with Sarah and four previous phantoms. The Phantoms are outstanding, but clearly Sarah's voice lacks the punch it had 25 years ago. This is not a criticism but just a fact of growing older. It was still nice to see the original production team on stage.

While it seems I have levied quite a few criticisms in this review, it is simply there to let you know what you are getting before you buy. The performance was outstanding and much more accurate to the original show than the movie. If you are a fan of the original show, you will find plenty to like here. If you are a fan of the movie, you will see different nuances than was presented by the film.

Anyway, however you look at it. At it's core, it is still Phantom, and a mighty fine one at that. A must buy for anyone who loves this show, and anyone who has yet to see it performed on stage.

For the 25th anniversary of Phantom Andrew and Cameron did a fully staged concert version of pretty much the whole show at London's Royal Albert Hall complete with minor set piece and fully costumed with a cast and orchestra of over 200. (More complete then the movie just a like cut here or there NOTHING to really get excited over.) This version is nothing short of incredible. Now fans of Sarah and Michael DON'T KILL ME, please. I saw this in the theater for the live broadcast and was amazed by the performances in this. Ramin Karimloo and Sierra Boggess, who co-starred in the "Phantom" sequel "Love Never Dies" in London, reunited for the special production and with amazing chemistry. Having grown up on the OLC recording and owning about a half a dozen others I've never grown to really like the piece outside of the original cast. Maybe it's nostalgia for it or just the way others have sung it but this time I was blown away. Never in my life have I cried at this show until now. Ramin's Music of the Night was like hearing the song for the first time all over again and Sierra's high notes are flawless and clearer then ever Sarah did back in her early days. The odd standout performance for me was of all things Kiera Duffy as 'Carlotta'. She brought a fullness and venerability to the role I never ever thought about and her look go absolute terror during the rehearsals for The Phantom's opera still sticks out in my mind as genius. The performances in this alone make this for me THE version of phantom. Visually one should know off the bat that the chandler does not crash down... it is after all just a concert. The staging is mostly done with LED screens which, while not MY preferred thing, are alright. Small set piece are brought on and off and the costumes are all here in their glory. While I hope the LES screens don't make their way into the regular staging they did help to set the mood for the night, but it was hands down the cast and orchestra that makes this astounding. At the end there is the usual speeches and bringing out of the old cast and Michael and Sarah are there and while Michel doesn't sing Sarah does. She sounded eh.. ok... I wish she would get over her whole singing-with-my-arms-in-front-of-me thing but it was nice as she was backed by four past phantoms. That all is just sprinkles and dusting on what I hope will be looked back as one of the finest performances of this show ever done.

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The DVD will contained the live streaming held on October 2, 2011 at the Royal Albert Hall. I had the privilege of seeing it in the theater in the U.S. on 10/2/11 and once again on 10/5/11 as a rebroadcasted Encore performance. I'm so excited that I'll be able to watch it again and again. The taping of the show and cinematography were spectacular. You by no means feel like you are in a seat in the audience watching it from may rows in front of the stage. No, you are up close, on stage, beholding closeups of the various performers play their iconic roles to perfection. You see the costumes like you've never seen them before, the rage and hurt in the Phantom's eyes, the conflict and yearning of Christine for two men. The performances of Ramin Karimloo (Phantom), Sierra Boggess (Christine), and Hadley Fraser (Raoul) are nothing less than brilliant, as well as the rest of the cast. If you love Phantom on stage, you'll love this DVD. The after performance reprisals of the Phantom of the Opera and the Music of the Night with legends such as Sarah Brightman, Anthony Warlow, John Owen Jones, and Colm Wilkinson will move you to tears, plus the appearance of Michael Crawford, Andrew Lloyd Webber (of course), Cameron Mackintosh, and Charles Hart. This DVD is a Phantom keepsake indeed.

Read Best Reviews of The Phantom of the Opera at the Royal Albert Hall Here

I was lucky enough to see this live in the US on October 2nd and like my fellow reviewers, it was "PHANTASTIC"! I have seen the show twice before and loved it and have always loved the beautiful music. Andrew Lloyd Webber did a great job with this (along with Cameron Mackintosh) production. Ramin and Sierra shone as the Phantom and Christine. I'm not going to lie -I wan't sure about Sierra at first since I had never heard her sing before, but she's amazing. And Ramin...my goodness! I saw him as Enjorlas in the 25th Anniversary Concert of Les Miserables as well and he was so powerful there. I knew he'd make the perfect Phantom.

What I really loved about this was you truly felt like you were not only there at the Royal Albert Hall, but that you had a front row seat (better than a front row seat even). The close-ups are amazing. And this was not in a concert style format like Les Mis was last year. It was the entire show (nothing left out!!) with the actors actually acting, not just standing at a microphone singing.

The end of the show was just...I still, after two weeks of seeing it cannot even begin to explain the ending/encore. Of course ALW came out and gave a speech and then introduced the original London cast minus Michael Crawford and Sarah Brightman. I was a little bummed but of course, he announced them after the cast had come out. So great to see both of them and I must say Michael looks as good now as he did in 1986!!! And Sarah...wow. She sings 'Phantom of the Opera' as four past Phantoms (including Colm Wilkinson, John Owen Jones and Anthony Warlow...there was one more but I forgot his name) came out and sang with her. It was great! But that wasn't it. The four Phantoms (plus Ramin) sang the most beautiful version of Music of the Night. I got goosebumps. It was just gorgeous! I wish that Michael Crawford had sung as well, but I'm guessing he had a good reason.

This is definitely a DVD worth buying and watching over and over again. I know I will!

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I saw this live on Oct 2 and it was stunning. The set design was brilliant and the acting was supurb. I adore Sierra and Ramin as Christine and the Phantom. They're the best since Sarah Brightman and Michael Crawford. I was disappointed that Michael Crawford didn't sing with Sarah Brightman. It would've made it that much more special. This is a spectacular musical and a timeless story that will live on long after we're all gone.

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