Flash Gordon (1980)

I would give the movie itself five stars, but the DVD and Blu-Ray presentation are not as strong. The 1980 Flash Gordon movie is one of the funnest romps in the space opera I have ever experienced. Much more true to the Saturday morning serial kind of sci-fi that Star Wars was paying homage to. There is an inherent camp value that this movie never forgets and it just makes the film a joy to watch. Plus the soundtrack from Queen just ups the fun factor even more. You would think this combination of music and content would make for a very campy film, but not necessarily. While the movie definitely knows it's roots and is having fun with that you really can't call Flash Gordon a cheesy B-movie.

The Savior of the Universe (SotU) Edition DVD lacks the very energetic commentary by Brian Blessed (plus production stills and other static extras) that the European Silver Anniversary Edition DVD and even lacks the commentary by Same Jones and Melody Anderson made for an International Edition (that of course we never saw in the U.S). In spite of that you do get a remastered film with 2.35:1 anomorphic widescreen, 5.1 Dolby Surround and the movie trailer (none of the European releases had that). While the SotU edition was remastered and looked a ton better than the previous releases it wasn't perfect. While background matte effects are noticeable they are easily forgiven considering the sharper picture, but there were certain matted special effects blocks used on the spacecraft that were painfully obvious in the remaster. Either they didn't bother to digitally clean them up or it wasn't technically possible. Audio also sounded rather thin considering this was supposed to be digitally remastered.

Another thing that bugs me is SatU DVD is set in an impressive and slightly oversized case, but when you open it up all you get is the DVD and the pencil art insert from Alex Ross. No booklet detailing any info on the movie... not even a single page chapter list. Yeah, Yeah... most of you would say "but the remastered movie is what's important" but considering the sendup (and packaging) I would expect at least something more than just a disk and a sketch. I have seen movies with far less noteriety get more in their packaging than this.

Where the Savior of the Universe Edition improves upon the previous U.S. release significantly the Blu-Ray edition really stands out heads and tails above the rest. The visual difference is breathtaking. Details and textures come out that I have never seen before (and I was one of those kids who played the VHS of this film to death). Some scenes show so much clarity you would be hard pressed to think they were done recently. I think the sets that were done to be interiors stand out more for some reason so it's not really inconsistent mastering. The special effects problems that were very obvious in the SotU Edition are still there, but the matte blocks are far less noticeable with some cleaned up entirely. Audio is stand out amazing. Don't bother looking for any noticeable surround, but then again this movie was done in stereo. Now it's in crystal clear, deep and full stereo. No more 'thin' soundtrack.

The packaging for the Flash Gordon Blu-Ray is identical to any other single disk Blu-Ray you may find. That makes it a lot easier to fit in with the rest of your collection unlike the SatU Edition's oversized box. You still get nothing special as far as any booklets or liner notes. Also you no longer get the art insert from the previous release. So still nothing really special on that front.

Both the SotU Edition and the Blu-Ray release have identical features with just a little irrelevant extras added to the Blu-Ray What you get on both is two featurettes. One is from Alex Ross (the guy who painted the DVD cover) on how much he loves the movie. He actually does a really good job of making his featurette much like an analysis of the movie and would have worked great as narration for a documentary. Instead you just get Alex in a chair with a few movie clips thrown in here and there. The other featurette is called Writing a Classic by screenwriter Lorenzo Semple Jr.

The Blu-Ray exclusives are just BDLive and some annoying streaming ticker that will give you "news" from Universal Pictures. If your Blu-Ray player isn't connected online you may be able to spare yourself the latest in invasive advertising. The movie case promises exclusive content from the BDLive features, but none of it is related to Flash Gordon. Currently all you get are more promotional tidbits for other movies. You know what guys? This would be a great place to add those freakin' commentaries you keep leaving out.

I can't for the life of me figure out why they didn't just add the European edition commentaries to the Blu-Ray release and maybe add the new things to sweeten the pot. But to have a Blu-Ray missing some cool bonus material that's already out there? Not the smartest move in my book.

So which edition should you get? If you have a Blu-Ray player definitely the Blu-Ray edition. It is the best remaster visually and sonically by far of any edition, European or otherwise. If you REALLY want that Alex Ross pencil insert exclusive to the SotU Edition then you may have to make a choice or double dip. Unfortunately there is no definitive edition for Flash Gordon, but the current winner in at least presentation of the film is Blu-Ray.

Sometimes certain films end up being much better than they have any right to be. Flash Gordon is one of those films. It is, in fact, and I say this in mortal fear of being mocked and shunned by my peers, one of my all time favotite movies. I can watch this film endlessly, and every time I see it I walk around smiling for the rest of the day... it's just that kind of movie.

The cast, first and foremost, is excellent. They work wonders with the material they're given... admittedly this isn't Shakespeare, but it plays remarkably well, with very few cringe-worthy moments. Standout performances include Max Von Sydow as the astoundingly evil Ming, Peter Wyngarde as the almost equally evil Klytus, Brian Blessed as the leader of the Hawkmen, and Topol(?) as an eccentric Dr. Zarkov. Then, of course, there's the absolutely stunning Ornelia Muti as Ming's beautiful daughter Aura... she's wonderful to look at, and has an exotic accent to boot. When I saw this film in the theater as a wee lad, I had quite the childhood crush on Miss Muti... sigh. Anyway, all of the actors seem to be having a grand time with their roles, and it definitely shows.

With all due respect to the actors, however, I really think it's the brilliant soundtrack that makes Flash Gordon stand out most in my mind. Queen, near the peak of their popularity, provided a wonderful, throbbing, highly eccentric collection of songs and instrumental bits that fit the film perfectly. I badgered my poor mother to buy me the 8-track, in fact, and then proceeded to play it at every opportunity... a very patient woman, my mother. She probably still hears "dumdumdumdumdumdumDUMDUM **FLASH!!** ah-AHH!..." in her sleep. Sorry, mom.

The special effects are actually still pretty impressive, as well... bear in mind, however, that I have a soft spot for 1980's effects. I really miss the days when the answer to "How'd they do that?" wasn't always "With computers." There's a certain mystery to these old effects, and I always respect the effort and creativity that went into making things happen with such limited technology. Sigh... Still, the film is very,very colorful, and there are a LOT of costumes, backgrounds, etc. Everything has a very shiny, surreal sort of look to it, in stark contrast to the realistic, worn-out look of the Star Wars films. It's pretty neat in its own way.

In the end, though, Flash Gordon is just plain entertaining. There's hardly ever a dull moment, and the film's almost 2 hour running time goes by in a flash (pun fully intended, with all apologies to the reader). You get a lot of action in those 2 hours... there are laser battles, lots of starships, hand to hand combat on a floating spike disk(?), catfights (in a harem, no less), flame-throwing rings, dominatrix henchladies, evil Space People, a surprising amount of implied sexuality, and the list goes on and on. Just put it in, turn off your brain, and for God's sake HAVE FUN!

On a side note, I have to say that the DVD release is a bit disappointing. The five star rating is strictly for the film itself, not for the disc. Although the video and audio quality is fine (easily the best version currently available), there is absolutely nothing in the way of extras. Zip. Zilch. Nada. Not even a trailer, for crying out loud. Here's hoping that someone, perhaps Anchor Bay (king of the cult classic), will have the good sense to release a Special Edition. I would love to see outtakes, trailers, making of bios, commentary, etc. This film certainly deserves better treatment than it's given here.

Still, this DVD is currently the best edition of Flash Gordon you're going to find (and it's WIDESCREEN!). Plus, it can be picked up pretty cheaply, if you can actually find it. I wholeheartedly recommend that you search it out, watch it over and over, and then join me in waiting patiently for a collector's edition to come along. Even with its shortcomings, Flash Gordon on DVD most definitely deserves a spot in your collection. Just file it under "Guilty Pleasures." :)

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When I got cable in the mid-80's I must have watched this film 100 times. It was interesting to see it again on DVD. It is still a FUN movie. The tone of the film is campy and adventurous. I think it captures the fun of the old serials very well -i.e. Flash seems doomed, only to escape to another tight squeeze!

The production design on FLASH GORDON is colorful and bold. Everything is bright and shiny (including the lycra hot pants on Princess Aura!). The sets are HUGE (example: The Hawk Men's floating fortress). I am particularly fond of the Arboria sets -nice and woodsey!

I think the performances from the actors fit the tone of the film. Melody Anderson as Dale is the best. "Go, Flash, go!" is a hilarious scene. Sam Jones is sufficiently hunky and athletic as Flash. And the Brits add a dash of class and fun (Timothy Dalton and Brian Blessed). Ornella Muti as Princess Aura has the best role: she changes from vixen to heroine and gets to vamp around in colorful, sexy costumes.

The rocket ships and sky effects are my favorite part of the film as well. There's something exciting about seeing FLASH GORDON rocket ships flying through the air.

The DVD quality is OK. I think the picture transfer could have been better -I know this film has a lot of blue screen work, but surely it's not THAT grainy! And I wish there were more extras -just a chapter index.

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Don't buy from online scammers. This DVD will be re-released in the fall of 2005!!!! Cheaper that these clowns sell them for!

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I saw Sam Jones at a convention and he said he recorded commentary for a future region 1 release. And from what I understand, The "Savior Of The Universe Edition" doesn't have it. So I say, WTF?

I could care less about the artist who drew the new cover and how the movie inspired him. He has nothing to do with this movie.

How about an interview with the surviving members of Queen about the making of the soundtrack? How about including the commentary from Sam Jones and Melody Anderson. Or Max Von Sydow, who is still alive. And the writer and director. Who cares about a guy that had nothing to do with the film?

I am happy that it is remastered. But that should be a given. I own the original region DVD and would really only buy this one if it had good extras. Part of me is still hoping that might happen one day.

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Snow Buddies (Two-Disc Blu-ray/DVD Combo) (2008)

This direct-to-video movie is a sequel to last year's Air Buddies. In this one, the five pups find themselves in Alaska, where they are soon befriended by Shasta, a Husky pup, and his owner, a young boy named Adam. The boy has big dreams of becoming a sled dog racer, and if the Buddies can get him to the finish line they will be on their way back home. They turn to a wise old Husky for mentorship, but on the day of the race, the Buds unexpectedly find themselves on their own. From what I've been able to see of the film I think many younger kids will love it (the puppies are cute), but adults will be bored.

Here are the bonus features:

* Audio commentary (from the dogs!).

* A blooper reel.

* A hip-hop-style music video of "Lean on Me" by "Hannah Montana" star Mitchel Musso.

* Behind the Scenes "dog-u-mentary," which gives you a tour of the set from the perspective of the video's canine stars B-Dawg, Rosebud and Mudbud.

* A featurette on the film's visual effects.

The movies are based in part on the 1997 feature film Air Bud.

I think people need to be aware that the American Humane Society WAS present during the filming of this movie and none of the animals were treated inhumanely. The same person who wrote one of the Amazon reviews also wrote the same review at several other sites and is spouting misinformation.

That being said, the movie is adorable, my child loved it. He's a fan of dogs and of dog sledding and he enjoyed every bit of it!

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My kids loved AIR BUDDIES--they watched it non-stop and are really excited for Snow Buddies. I've already purchased this one for them as a surprise--I'm sure they'll wear it out too!

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I am planning to rent the movie Snow Buddies to watch with my children. I was concerned about the several one star reviews that sited animal cruelty in the production of the film. I believe, based on reading the American Humane Society's press release, that the criticism is unfair and felt compelled to rebut those reviews. Here is a direct quote from the Humane Society's release:

"American Humane is conducting a full investigation on the trainer and breeders and following the progress of the puppies that have been retired from the production, many of whom have been placed in new adoptive homes. The company producing Snow Buddies has complied with each request from American Humane and has made changes so that working puppies will not be put in any position where they may fall ill. The film production company has been very cooperative and has suspended filming until further notice. All of the dogs in the production now have been checked and are being cared for by a veterinarian. We will continue to monitor the production and release our findings once the investigation is complete."

It may bother some folks that dogs were harmed for any reason and by any person in the making of a film. However, by the Human Society's own account, the film production company appears to have done their best to look out for the welfare of the animals. The problems seem to have been with the trainers and breeders. It seems unfair to punish the producers of the film by condemning their product when they appear to have been unaware of the possible improper conduct of the trainers and breeders.

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My family loved this movie. Disney, of course, did take care of these puppies during the filming. I love the family experience that is so lacking in movies today, this one had it. It also helps to reinforce the friendship that children have with dogs and that all dogs with the proper love and care are good dogs and can be trained well. I wish there were more movies out there like this one. Thank you so much Disney.

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Hidalgo (2004)

Based on the life story of Frank T. Hopkins and his horse Hidalgo, "Hidalgo", from director Joe Johnston, is a compelling, beautiful, and exciting film (even though it stretches its running time to 130 minutes) that interests every moviegoer with suspense, romance, and tales of comraderie.

The year is 1890, and half-American, half-Souix Indian Frank T. Hopkins (Viggo Mortensen), is invited by an Arabic sheik to compete in "The Ocean of Fire", the most prestigious and dangerous long-distance race ever known to man. Usually reserved for the purest bred stallions and the wealthiest and best riders in the world, the 3,000 mile race across the Arabian Desert leaves half of its competetors dead from natural disaster, insanity, or the treachery of fellow riders. After witnessing a tragedy at Wounded Knee Creek, and falling out of his once-claimed title of the best rider in the West, Frank and Hidalgo jump at the opportunity, where they encounter danger in all forms, and must rely on their friendship and strength to pull off the impossible.

Seeing as "Hidalgo" is Viggo Mortensen's first film in which he has been the only-billed star, he handles the pressure well as the quiet and conflicted Frank T. Hopkins. He plays the character with a brilliant subtlely, and gives him an air of understated intelligence and courage. With the right amount of emotion, Mortensen is the modern day Indiana Jones-like action hero; with sex appeal and gripping stunts. Although he lacks charisma in some instances, he is overall perfect and enjoyable in his role. The supporting cast is strong, with the highlights being Louise Lombard as Lady Anne Davenport and a small but memorable performance by Victor Talmadge as Rau Rasmussen. However strange this may sound, the horse Hidalgo gave one of, if not the best, performance in the movie. He made the relationship between himself and Frank heartbreaking and fufilling, and expressed emotions and conveyed certain thoughts across to the audience in simply a look. If there was ever an award for the best animal actor, I would personally award it to Hidalgo.

One of the main highlights of Hidalgo is the beautiful sets and surrounding scenery. Rich in color, there are stunning shots of the Arabian desert, the plains of old America, and snowy forests and rivers, and just the people of each new environment, which make the story overall more enjoyable. The cinematography is jaw-dropping, as the perspectives, running shots of the races, and choice in angles and film speeds are spot on in nearly every scene. The music is also incorporated well, jerking emotions and suspense from the audience.

Although I have heard the contrary, I was thoroughly satisfied with "Hidalgo" as a whole. I loved the way the relationship between Frank and Hidalgo was portrayed, the story was new and exciting, and I was moved, gripped by the suspense, and engrossed in the film from start to finish. Although it runs a little long, ends one too many times, and has some bad dialogue, it will ultimately satisfy moviegoers of most ages due to the content, draw, and overall look of the film.

Unless the Academy opens a new category for "best performance by an animal actor", you won't be hearing of this movie next Oscar season, but that's no reason to miss this movie now. Hidalgo, the horse, and Viggo Mortensen, as Frank T. Hopkins, completely won my heart as well as a place in "Great Couples of the Silver Screen", or at least as great partners in a buddy movie. This wonderful painted mustang plays the serious buddy, making his human tend to business in spite of other inclinations. It is a charming footnote to the movie that Mortensen was so taken with the horse that he bought it after the movie was completed.

Frank T. Hopkins may or may not have lived all the adventures he was famous for recounting, but it is verifiably true that he was instrumental in saving the wild mustang from extermination in North America. For that he is a hero.

This movie version of the 3000 mile race Hidalgo and Hopkins were said to have run across the Arabian desert to keep their title as "greatest long distance race runner" is an old-fashioned popcorn-movie-as-entertainment movie. It should also help the theaters sell quite a bit of bottled water and soda. The film's weaknesses are mostly attributable to the script. The writing (credit is to John Fusco, not-quite-known for writing the screenplay for SPIRIT: STALLION OF THE CIMARRON--an AHA!! moment here) could have been tighter, and left needless plot holes. Also annoying is a slight laxity in editing. However, the story itself is a dramatic one, and the movie is fun to watch. The cinematography does well by the story and the locale.

Omar Sharif, once again as a sheik, comfortable to the core in his role, is a delight. Viggo Mortensen is good to look at, obviously, but made me realize how difficult "laconic" is to play. He manages. Just. Louise Lombard, playing the English seductress Lady Anne, who continually raises her stakes in the race, has the most compelling eyes of any actress I can recall. The original music by James Newton Howard is also well done.

"The Last Samurai" opened on a similar note: Army orders cause a murderous slaughter of Native Americans for which the protagonist feels responsible, explaining his taking refuge in alcohol. Both protagonists have cynical reasons for leaving America, but some prospect of finding their souls again in a very foreign land, a completely unfamiliar culture. "The Last Samurai" has what this film lacks: a psychological examination of the hero's journey. Both films' protagonists and heroines form a prohibited bond, Samurai's developing naturally, this one seemingly more contrived and less deep. But whereas "The Last Samurai" is a war movie, this film ends as "Seabiscuit": a very exciting horse race.

Our audience was completely involved, groaning, cheering, sweating it out for the heroes, the heroine, and even, occasionally, for the also-rans. It is a satisfying ride. B-

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Hidalgo is based upon a true story, so it's no wonder it's thrilling, truth being stranger than fiction and all. Although it's highly doubtful that everything in the movie actually happened, Frank Hopkins was indeed a real life cowboy, master horseman and rider and he did participate in the great Bedouin horse race of the Middle East known as the "Ocean of Fire" in the 1890's.

This wonderfully stylized and lovingly crafted film clocks in at over two hours, yet never bores and your interest should never waver. The international cast is terrific, led by Viggo Mortensen in a low-key, subtle performance which brings depth and a real sense of nobility to the notion of a "cowboy'. We've seen loads of silver screen gun slingers, bandits and marshals from icons like the swaggering John Wayne to the laconic Clint Eastwood, but with Viggo's Frank Hopkins, we may now be witness to one of the most balanced and interesting portrayals of an authentic cowpoke. And it's all the more interesting because Frank Hopkins isn't all cowboy half of him is Native American. This internal duality and cultural division brings character shadings and a unique sense of perspective to Hopkins.

Balancing the tensions of Native Americans with the US Government of the time, the film explores Frank Hopkin's journey between two worlds that of a half Native American with loyal ties to his tribe and his jobs as a pony express rider and performer in Wild Bill Hickcock's show, all while having to live in the White Man's world. When he's invited to participate in the Bedouin Race, Frank soon discovers there's a whole other world out there bound by similar dogmatic traditions, where women must hide their faces behind veils, much like he's chosen to hide his native ancestry to enable him to live an easier life.

Sweeping cinematography beautifully composes authentic locations and the stunt choreography infuses the race and the action set-ups with fun and authenticity. Viggo must have definitely "lived" horses for the film, irregardless of his prior expertise with them. He clearly is at the reigns of the horse most of the time and he's totally capable and always convincing. Hidalgo the horse may qualify for his own sequel or a TV series. This beautiful animal is more expressive than many human actors and it's just one of the many joys and reasons to give this film a chance. Apparently lost by audiences in it's initial theatrical release, Hidalgo should be discovered by every movie lover.

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It is a shame that many people have not read or heard what a terrific big screen adventure film "Hidalgo" is. Hopefully, now that it is out in DVD it will gain a wider audience. Anyway, a friend told me not to miss this flick, directed by Joe Johnston and starring Viggo Mortensen, and I am glad I followed his advice. Yes, the movie is flawed, but overall, if you like horses and cowboys, "Hidalgo" has a certain grace to it that makes it a treat to watch.

"Hidalgo" is the name of a legendary racehorse not a purebred Arabian, Thoroughbred, or Andalusian, but a mixed breed of Arabian, Barb and Andalusian horses called Mustang. The Mustangs, or Paints, ran wild across the North American deserts and plains. Native Americans caught and tamed many of them and they proved to be much better, stronger and faster, than Calvary horses. "Hidalgo," a beautiful paint stallion, was owned by real life long-distance horse racer, and Pony Express courier, Frank T. Hopkins. Half Plains Indian and half Caucasian, Hopkins was a breed like his horse, and they had run and won many races together. He was a noble man, just and kind, who lived during a sad period he witnessed the slaughter of his mother's people at Wounded Knee in 1890. Filled with grief and bitterness at the brutal murder of his family, Hopkins became a drunken drifter, hooking up with Buffalo Bill Cody's Wild West Show. Also featured in the traveling show was Hidalgo, who Hopkins claimed was the "world's greatest/fastest endurance race horse." One evening, after a performance, he was approached by the representative of very wealthy Saudi Sheikh Riyadh (Omar Sharif). Hopkins and Hidalgo were challenged to compete in the world's most grueling long distance horse race, against the Sheikh's prize Arabian stallion and many other superb animals and experienced riders. "The Ocean of Fire" was a 3,000 mile long endurance race under the burning desert sun, across the brutal Arabian sands.

Hopkins accepted the challenge and took Hidalgo to the Middle East. He was the first infidel to be invited to participate in this race. The Arabs thought the presumption was ridiculous that a small, hybrid mustang could compete against their pure animals, with long and famous bloodlines. They wager that Hopkins and Hidalgo won't last 24 hours. The movie is about this race. And the rest is history.

There are some interesting minor characters like Sharif, the desert prince, his beautiful daughter, Zuleikha Robinson, (there's gotta be a girl, even in a horse film, right?), the competitors with their rivalries and friendships. But the real star is Hidalgo, (a gorgeous animal), with a good performance by Mortensen. And the desert scenery is beautifully filmed. Certainly worth the rental price.

JANA

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What ever happened to just going to the movie TO WATCH THE MOVIE? Not sit there and pick apart everything thats wrong with it. Just watch it and enjoy it make it worth your money and not so that you regret ever going to see it because it was too "fake", it's supposed to be, its hollywood. And yes this movie i thought was a great movie and i'm buying the DVD.

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Sweetie (The Criterion Collection) (1989)

"Sweetie" is here! A Criterion treatment! The first time I saw "Sweetie" was purely by accident. It was before Jane Campion went on to make better known, bigger budget films--this film was her feature debut in Australia. And while I respect many of her works including "The Piano" and "An Angel At My Table", I don't have the passion for them that I do for this oddball of a movie. Part of the joy of seeing "Sweetie" for the first time was having no expectations. The film surprised me in every regard--it's wickedly funny, yet horrifying and moving at the same time. A few years ago, I found it again and I made my friends watch it, too. I was concerned it might not hold up to memory, but that feeling was short-lived as soon as the wondrous Genevieve Lemon came onscreen as Sweetie.

"Sweetie" is a film that really explores the notion of family. As the titular character, Sweetie is a powerful presence whose very existence has crippled her family and, in many ways, held them hostage. Primarily, we see things through Sweetie's sister Kay and I love that the film introduces us to the peculiarities of Kay without explanation. Then when Sweetie arrives on the scene, things start to become very clear as the family dynamic takes the foreground.

I consider "Sweetie" a comedy, but I'm not sure everyone would agree. But then, I have a bit of a sick sense of humor. Certainly there are many laughs to be had in the film--if only uncomfortable ones. But, make no mistake, there is also genuine and vivid emotional turmoil. The films success is that it balances these elements so well--and, in fact, that brings a bold realism and resonance to the proceedings.

The film is shot beautifully, and always slightly askew (which is perfect for the subject matter). The performances are vivid. Karen Colston is great as Kay, and you won't soon forget Lemon as Sweetie. And as odd as the film is, it will stay with you. And you just might recognize elements of your own family dynamic within the excesses presented! KGHarris, 9/06.

I've seen three Campion movies. It took a long time for me to forgive 'The Piano''s humorless, heavy hands and move on to 'Holy Smoke!'. But HS revealed a comic sensibility that 'The Piano' never suspected. 'Sweetie,' Campion's first feature, is by far my favorite yet.

'Sweetie' is an odd film. Mostly, it's an examination of what it means to be an individual--inside of and outside of the repetitive struggles of family dramas--and the perils and joys of exclusion and elitism. Campion uses her sharp wit to draw blood, and without the comforts of a privileged moral voice (e.g. the competent parent or maternal sufferer of most family dramas), the humor can seem a little mean-spirited at times. But 'Sweetie' tempers its alienated perspective with moments of grace that are as terrifying, joyful and sublime as the dry open spaces of its Australian landscape.

Moving the viewer through a fractured world of beautiful and unsettling images, Sweetie is this director's most richly creative and psychically adventurous work.

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This film is to director Jane Campion's The Piano what David Lynch's Eraserhead is to his The Elephant Man a personal highly stylised experiment before the challenge of the more conventional big budget assignments that would allow for both a controlling of each director's excesses and a streamlining of their obsessions. The parallel between Lynch and Campion can also be extended to their mutual interest in loners, misfits and eccentrics, and they both treat them with piteous dignity, in much the same way photographer Diane Arbus did for her "freaks". Sweetie is similar to Eraserhead also because it's an endurance test for those who hold a high opinion of each director's later work. The fine line between pleasure and pain can be felt with great artists and their fine line between genius and crud. Campion here uses a song "Love will never let you fall" sung by Tony Backhouse and The Cafe of the Gate of Salvation Choir as a backdrop to her tale of two sisters. Campion dedicates the film to her own sister and the screenplay written by herself and Gerard Lee is based on Campion's idea, so we know this is a personal story. (Campion's sister Anna is now also a director). Campion doesn't introduce the title sister until she has established the nature of the first, Kay, but also we don't fully understand why Kay is the way she is until Sweetie arrives, and is soon followed by their father. Sweetie is a monstrous child/woman but when the arguments between sisters begin it's hard to know whose side to take, since Sweetie makes Kay just as dislikable. Perhaps because Campion knew the narrative could be reduced to the domestic struggle of those tied by blood, she employs an expressionist use of framing where the person on view is placed off centre, as well as stop motion footage of the growth of plants, a montage of the workings of Kay's mind when she attempts meditation, and a flashback to Sweetie as a childhood performer with a growling dog as audience. There are also strangely disturbing images 2 men dancing together at a cattle station, and Sweetie bathing her father. However, like Lynch, Campion has a wicked sense of humour and the climactic incident in a tree is equally comic, tragic and metaphoric. As the sisters, Karen Colston and Genevieve Lemon are never allowed to become grotesques they are both given touching breakdown scenes and Campion appears to have a special gift for handling child actors, with the little boy neighbour and the girl playing Sweetie as a child at the end particularly good. And like Eraserhead, once you manage to adjust yourself to the slow rhythms and lower your too high expectations, you find that Sweetie gets better as it goes along.

Read Best Reviews of Sweetie (The Criterion Collection) (1989) Here

Once again, the Criterion Collection's given us a marvelous DVD transfer of a wonderful film that had rather fallen through the cracks -in this case, Jane Campion's haunting feature debut, SWEETIE. Odd and intensely personal, the picture's full of striking images (particularly brilliant use of color in the set design), camera angles that are unusual without feeling forced, subversive comic writing, a wonderful soundtrack and, not least, fearless performances from a talented cast. This is the kind of movie that has such strong interior logic, the audience willingly follows where it leads, no matter how bizarre or unexpected the destination proves to be. I'd vividly remembered many scenes of SWEETIE since seeing it theatrically in its original release; experiencing Campion's vision again today is just as strong. The usual superior Criterion touches -fascinating commentary and student works from this director, insightful essay in the accompanying booklet. If the only Campion films you know are THE PIANO or PORTRAIT OF A LADY, you may find many surprises here. Very worthwhile.

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Sweetie (Jane Campion, 1989)/Passionless Moments (Jane Campion, 1983)

Sweetie is the type of comedy I would write if I wrote comedies-relentlessly black, full of subversive moments, and deeply, deeply twisted. Barrel of monkeys? I scoff at your fun!

Kay (Karen Colston) is rather mousy, introverted, and not terribly happy in her relationship with Louis (Tom Lycos), whom she lands after consulting a fortune-teller. Not the best start to a relationship, one would think (and one would be right). Still, Kay and Louis are content, in their own miserable way, until Sweetie shows up. Sweetie (Genevieve Lemon) is Kay's younger sister, and she's well, I believe the technical term is "crazy as a loon". No one but Kay, however, seems capable of seeing this; her parents just see her as slightly eccentric, though still their darling baby daughter. Louis is oddly entranced by her. Gordon (Jon Darling), her manager/boyfriend, is convinced she'll be the one to finally net him some success, and he's not put off by the fringe benefits of managing her, most of which he reaps between the sheets. Loudly. As Sweetie slips farther and farther round the bend, though, the rest of the family does come to see that, perhaps, there might be something wrong; unfortunately, no one's equipped to deal with this new perception, and anything that can go wrong, etc.

I should probably insert some sort of warning about triggering conversations/behaviors, but that's kind of the point of the movie, isn't it? This is supposed to push your buttons (in much the same way that Very Bad Things did a few years later). And it does a very good job of it; the movie was castigated and/or damned with faint praise when it appeared, though it has since been recognized as a classic in the making given some of Campion's later output (e.g., The Piano). Campion, who both wrote and directed, is a twisted genius with a camera here; all you can do is sit back and enjoy the ride. And I highly recommend you do so.

I wouldn't normally review a thirteen-minute film, but Passionless Moments, which can be found in Sweetie's DVD extras, is on Jonathan Rosenbaum's list of the thousand best films ever made, so I should probably give it a paragraph. A short made by Campion in 1983, Passionless Moments takes a number of disparate scenes and puts them together. Each of them is oddly familiar, things you've done or wondered about yourself, but presented from odd angles, or with weird cuts; it's as if Roald Dahl got inside your skull and started writing Tales of the Unexpected straight out of your subconscious. It's absolutely worth your time, and is worth the cost of buying the Sweetie DVD by itself. **** (for both).

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The Notebook (Limited Edition Gift Set) (2008)

THE NOTEBOOK has long been my favorite of Nicholas Sparks' many books, so it is a happy surprise to me that the wonderful story transferred to the big screen with all the sweetness, warmth, and tenderness that made the book a runaway best seller.

The best part of this movie was the incredible chemistry between Rachel McAdams and Ryan Gosling as the young lovers Allie and Noah. Their story was told by an elderly couple in a nursing home. James Garner and Gena Rowlands were outstanding as the devoted "Duke" and the woman with irreversible dementia. As Duke recounted the story of Allie and Noah from the notebook he carried with him, the lady's memory began to come back and she could remember.

The movie always changes the book but the one major change (the ending) which had the audience letting out a collective gasp and reaching for the nearest tissue was, in my opinion, really good even if it was pure Hollywood melodrama.

Why does a movie like THE NOTEBOOK appeal to so many? Is it that every woman longs for a man who loves as deeply as Noah? Is it that every one wants a love that transcends all problems---those of class, education, family objection----and lasts forever? Or just maybe in a world of high-tech gizmos and high security alerts, it's nice to get back to basics with a really good love story....and this is definitely that.

THE NOTEBOOK is an old-fashioned love story with the topical subject of Alzheimer's Disease thrown in to heighten the Hankie Factor.

The film opens in the present at a genteel, riverside, Southern facility for the long-term care of the aged. An old man, "Duke" (James Garner), is in the habit of reading from a book to an elegant, but chronically confused and distant, lady (Gena Rowlands) of equal antiquity. The story concerns two teenagers during a hot, carefree, South Carolina summer preceding World War II. They are (in extended flashback) Noah Calhoun (Ryan Gosling) and Allie (Rachel McAdams).

Noah, working in the local sawmill, is the uneducated son of a dirt-poor father (Sam Shephard). Allie, in these months before she's off to a prestigious New York college, is the only daughter of snobbishly wealthy parents, John (David Thornton) and Anne (Joan Allen) Hamilton.

The book's plot is that hoary one about two young lovers of disparate backgrounds and financial resources, who are subsequently separated by circumstances, objection and obstruction by the wealthy parents, and the subsequent engagement of one to another in this case, Allie to a devilishly handsome and perfectly decent, rich, young, Army officer wounded during WWII, whom she meets while serving as a volunteer nurse in a Stateside military hospital. Will Noah and Allie ever get back together? That's what Duke's lone listener wants to know.

At midpoint point in this review, and midway through the film, it should be apparent that Duke and his lady friend are Noah and Allie in the winter of their lives. The latter is now suffering from Alzheimer's and only occasionally recognizes her husband, who reads her the story of their courtship over and over in the hope of stimulating her memory.

THE NOTEBOOK is an engaging love story that even Guys might enjoy. I did. James Garner is one of the most beloved screen veterans, and Ryan Gosling as Noah's younger self is totally likable. McAdams as Allie is effervescent and positively radiant. As a period piece, i.e. that part taking place before and immediately after the war, it's sumptuously photographed with contemporary costumes, hairstyles, music, and lots of vintage automobiles. And the sequence shot in the sunken forest amidst the migrating waterfowl was breathtaking in its beauty.

The film does stumble occasionally. While Joan Allen is superb as the witch mother you love to hate, at least until she reveals a secret of her own late in the movie, the John Hamilton character is a virtual non-entity. And I didn't believe his moustache for a second. (It reminded me of the beards in the Civil War epic GETTYSBURG.) Then, in a very brief sequence showing Noah off at war with Patton's Third Army, he barely bats an eye when his best friend is killed. What was that all about? Finally, the Hollywood ending, written by a screenwriter who must have wet him/herself out of giddiness in the melodrama of the moment, was absurd. Under the circumstances, such a passing is a good trick if one can pull it off, but it's sadly not the case, I fear, for most people in Real Life. Just ask Nancy Reagan.

I doubt that THE NOTEBOOK will receive any Oscar nominations, except for perhaps adapted screenplay (from the novel). But the admission price is still money well spent if you're weary of special FX-laden silliness and you want to see a couple of aging pros, Garner and Rowlands, before they, too, leave us. And girls, take an entire box of Kleenex.

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This screen adaptation of Nicholas Sparks' bestseller is a deeply emotional story of young love, the process of maturity, the crucial choices in our lives, and the frailty of old age. I have not read the book, and thus cannot comment upon the fealty of this film to Sparks' manuscript, but its emotional tone and import is certainly consistent with his other works with which I am familiar. In the opening scene we meet Duke (James Garner), who resides in a nursing home and apparently spends most of his time befriending another resident there, Allie Calhoun (Gena Rowlands), who is captivated by a 1940's story of young love which he reads in installments to her from THE NOTEBOOK which is his constant companion. Allie is suffering from some variety of dementia and these interludes provide some small comfort to an otherwise apparently colorless and bland existence.

The moviegoer is then transported to the 1940's, and the relatively brief appearances of the elderly Duke's and Allie alternate within the film with the enactment of the story contained in THE NOTEBOOK. That story is centered in Seabrook, N.C., where a local young man named Noah Calhoun (Ryan Gosling) is captivated by a beautiful summer visitor from Charleston named Allie Hamilton (Rachel McAdams). (Of course, the viewer immediately wonders if indeed this notebook contains the story of the elderly Allie's life, and if so what part Duke will play.) As you no doubt have guessed, since this is an old fashioned romance they eventually fall in love. The relationship is eventually ended by Allie's mother Anne (wonderfully played by Joan Allen), who, in order to separate her society daughter from the local boy whose career aspirations are success in the local lumberyard, forces an early family return to Charleston to prepare for Allie's freshman year at college. (Do not judge Anne Hamilton too early in this film, however!)

The war years intervene, and Noah, with the help of his poetry loving small town father Frank (Sam Shepard) who has taught him to appreciate the beauty of Walt Whitman's work, withdraws into himself and concentrates on the restoration of the tumbledown waterfront mansion that he had once hoped to share with Allie. Meanwhile, she meets and gradually becomes attracted to a wounded veteran, Lon ( James Marsden); since he is both handsome and rich their eventual marriage seems preordained. However, fate intervenes with a wonderfully deft touch and suddenly the lives of Allie and Noah intersect again. We then watch as Allie is forced to decide whether someone can recapture their past or if only the memories remain after the fork in the road has been taken? Her dilemma is clear, Lon is the apparent right choice, yet her wonderful interlude with Noah never had a proper conclusion.

This is a movie to attend when you want to bathe in your sentimentality, yet there are enough bittersweet moments to keep the viewer from being overwhelmed by the sickly sweetness that often is the result of such cinematic ventures. The acting is excellent, the story is told with restraint, and the cinematography is wonderful. My favorite visual scene was when Noah takes Allie out in a boat on the lake to his secret spot with all the swans; I found it breathtakingly beautiful. Interestingly enough, despite the film's two hour length most of the audience stayed in their seats talking or contemplating the conclusion when it ended and the credits rolled. Why not five stars? Two reasons, first, I am not sure that the movie quite achieves my usual criteria for that rating, wanting to own the DVD and view it multiple times. Second, I found the conclusion a little too contrived in an attempt to bring closure to both the characters and the audience. One final note, read the inscription on the flyleaf of THE NOTEBOOK carefully at the conclusion, it completely explains the origin and its power to entrance Allie.(...)

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I got to see the sneak preview of this movie this past Saturday (6/12/04) and I absolutely loved it. I've seen Ryan Gosling on television before (Breaker High), but I hadn't seen Rachel McAdams until now. Their characters were so real and so believable. Even though the end may be predictable, this film lacks the typical structure of most romantic movies I've seen. It was interesting to see how the characters evolved and came together.

The film begins with James Garner reading pages out of a notebook to alzheimer(?) patient Gena Rowlands. As the story unfolds, we meet Allie and Noah. Allie comes from a wealthy Southern family. Noah works in the lumber yard. We see their joys as well as their struggles. Though they seem like complete opposites, they fall in love only to be torn apart when Noah leaves for World War 2 and Allie becomes engaged to another man.

I won't spoil the ending, but the two lovers reunite and Allie is faced with the decision of whether to keep her promise to her fiance or to go back to the man she left behind.

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Everyone has different reasons for watching movies. There are ones with violence, ones with romance, ones with mystery, and ones with deep meaning. You sometimes pay for a movie not knowing what you will get to see. I didn't know anything about The Notebook prior to walking into the movie theatre. All I knew is I wanted something nice.

I sat in a mostly full theatre watching this movie. Watching these actors that have been on screen many times before, watching them tell a story. Nothing struck me more than just how this was life. There was a story, one about love, but real love. The kind I watched my grandparents share and when I said my wedding vows I knew I wanted for myself. The colors in this movie, the sentiments, the feeling swept through me like I was there. I finished watching this movie with tears falling down my cheeks. Embarrassed, I looked around for a way to duck out before anybody thought I was a foolish woman for crying. But everyone else in the theatre was crying too. Even the men were wiping tears from their eyes. Husbands held their wives and girlfriends nodded in understanding. I knew then I was not alone. I haven't been so moved since watching Bridges of Madison County. I told my husband later I wish he had been there to see it. I said, everything I ever wanted out of my life with him was there, the good and the bad.

I anxiously awaited for this movie to come out on DVD and it seems now it's been postponed until February of 2005. I will have to wait longer to buy a copy of this movie...a movie I fell in love with one summer day.

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Mother's Boys (1994)

Jamie Lee Curtis and Peter Gallagher are excellent in this forgotten thriller about a divorced mother and father who fight over the right to see their two boys. Jamie Lee Curtis plays the mother who comes back into the boys lives after three yrs away and tries to get them back and destroy her exhusbands new life with his girlfriend. Jamie Lee is pretty good at being crazy in this flick and it is surely one of her best acting roles. The movie has numerous chilling momments that are brillantly filmed. Crystal clear picture makes for an enjoyable movie for all B movie thriller fans. Get this movie ASAP! It probably is not available to rent anymore so pick up a cheap used one like I did--you will not regret it! Enjoy!!!!!

I am a fan of Peter Gallagher which why I purchased this movie. I liked the movie and was very surprised how well this was done. You really don't anticipate (at least I didn't) the ending. Jamie Lee Curtis was perfect for the role of the ex-wife. I enjoyed this movie. I liked the dream effects and the preminisions. This is truly a cliffhanger. Overall the acting was a bit above average. I recommend this movie if you like Romantic Adventure Mysteries.....

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Indeed, it is a predictable premise...only instead of the psychotic ex lover, it's the psychotic soon to be ex-wife...out to get "her family" back.

Jamie Lee Curtis is chillingly convincing as Jude, the maniac woman who left her family three years previous. Now she's back, and she'll do anything to keep her family.

This is probably the only movie of Jamie's besides True Lies that I like she does psychopath extremely well.

The other adult characters in the movie, with the exception of Jude's mother, (played by Vanessa Redgrave, with a pretty good resemblance to Jamie btw...) are imbeciles, but Jamie makes it all worth while. She's that good...she's sick, and she convinced me-whether she's trying to molest her 12 year old son or get the family dog run over by a car, she's got what it takes to make us believe it and make us all want her dead.

Peter Gallagher was better in While You Were Sleeping at least he was supposed to be comatose there.

It's a little cheezy, it's kind of cliche, it's fairly pretictable but it isn't a total waste. And be sure to let the closing credits play the theme song, "The Longest Night" is beautifully haunting and will make your hair stand up.

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This is a very good Suspense/Thriller about a mother played by Jamie Lee Curtis who abandoned her family and now she wants custody and access to her sons. Ms. Curtis gives a sensual and yet chilling performance in this movie as the Sociopathic mother who will not stop at anything to achieve this goal. Ms. Curtis' Father is Tony Curts who is Hungarian just like my Father was and I must say they do make beautiful daughters from that country. This movie ROCKS and so does Ms. Curtis who is now a Baroness in Real Life.

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Jamie Lee Curtis is a much better actress than most people have ever realized. Typically cast as the terrified young ingenue who could really screen, e.g., HALLOWEEN, Curtis takes a turn as the woman from hell in this underrated chiller. She joins a list of notables in this genre: Jessica Walter in PLAY MISTY FOR ME; Patsy Kensit in HELL'S GATE; Kathleen Turner in BODY HEAT; Glenn Close in FATAL ATTRACTION; Rebecca DeMornay in HAND THAT ROCKS THE CRADLE, to name just a few. And Jamie's right up there with them.

Jamie plays a mother who abandons her family twice, once for 3 months and then for three years. All of a sudden, she's back and she wants her family. However, hubby Peter Gallagher has fallen in love with assistant principal Joanne Whalley-Kilmer and is going to divorce Jamie Lee. Jamie's mama, played low key and convincingly by the still lovely Vanessa Redgrave, also thinks the divorce is for the best, harboring a surprising secret to justify this. Of course, Jamie does everything within her power to get hubby and boys back, including poisoning the oldest son's (Luke Edwards, an excellent performance) feelings towards his new mother.

There are some disturbing scenes involving incestuous overtones between Curtis and Edwards that are handled tastefully, and there are three scenes that will pull you out of your chairs!

Curtis exudes a sensuality and evil never seen in her prior to this. With "Freaky Friday" and memories of this gem, Curtis will someday get the Oscar and praise she deserves!

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Bad Girls (1994)

This movie does not pretend to be a serious effort in film making. It's a funny, not so serious movie that's eye and mind candy. Think of it as Charlie's Angels set in the 1870's. Madaline Stowe, Andie McDowell, Drew Barrymore play whores that are run out of one town and are trying to make their way to another. Along the way they run into Stowe's ex boyfriend who was not so kind to her before and even worse now. It's escapist fun and I recommend it heartily.

Bad Girls is my all-time favorite movie. Okay, some of the plots are a tiny bit lame, but what can you expect from a Western? I find this movie to be a fresh look at Western style movies, with strong females using any and every card they have to do what they want. It also has a cast of amazing actors, most that are getting more successful with time. If you like action-packed movies and powerful women, buy this movie!

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We first saw this movie on TV. My wife liked it so much that she didn't want to see how it ended until after we had bought it. Once we had ordered it and received the movie, my wife wanted to watch it from beginning to end. She said it was a keeper. It is now part of our collection. My wife describes it this way: "it is a no-nonsense movie with women as the lead characters."

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I've seen this movie a couple of times over the years and thought it was decent. Like Clint Eastwood's Unforgiven, Bad Girls begins with the abuse of a prostitute whose vengeance sets the whole plot in motion. But in Bad Girls, plot development is synonymous with costume changes. Chaps, corsets, silks and flannel -for women on the run who carry no baggage other than their historical baggage as former prostitutes, these four desperadoes scam more new outfits than a bevy of runway models. And at least one of them had to be packing a curling iron. But, okay, this is Hollywood after all, and what's the point of having four women starring in a movie if they don't at least look good, albeit illogical.

The really grievous problems with Bad Girls are its lack of plot and undeveloped characters. On the lam after the most trigger-happy of the bunch, Madeleine Stowe, kills a customer who's roughing up one of the other girls in the brothel, they have very little sense of purpose once they're on their own. With a vague plan of heading toward the Oregon Territory to run a sawmill, Bad Girls moves forward in episodic fashion as they encounter one difficulty (or love interest) after another. You can practically picture it as a weekly TV series that poses hour-long detours on the road to the elusive Oregon Territory. The barrenness of the plot would be less noticeable; however, if there were at least some solid characters to hang the story on. Stowe nicely plays the sternness of her character against the delicacy of her features but even her tough-gal posture is belittled when she is whipped by one man and rescued by another. Masterson, considering her range as an actress of intelligence and physical dexterity, is given surprisingly little to do. As for the others, MacDowell flirts and Barrymore pouts, though each does what she does very well.

The Cinematography is respectable, as is the directing for what the shooting schedule allowed. Not an extraordinary film, but one that entertains on one level. That and the sexual component really didn't need the exposure it received in this film. In other words it couldve been handled more tastefully, or axed altogether.

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This is a very underrated movie about 4 women who are trapped by their circumstances in the Old Wild West. Mary Stuart Masterson and Andie McDowell are both prostitutes who dream of a better life and when that chance comes along they run with it into unknown and scary territory. All of the female leads in this movie give very solid and real performances and Drew Barrymore proves that she has indeed grown into a fine woman.I give this movie 5 stars because it is a novel concept which the makers of this film managed to realize very successfully.

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Phantoms / Darkness / Venom (2012)

All three are a cut above 'B' movies, some more than others. Phantoms is an adaptation of a very good Dean Koontz novel with an 'A' cast including Ben Affleck and the legendary Peter O'toole. If you've read the book then it will mean much more to you than having to stand on it's own two legs. The screenplay relies heavily upon the reader knowing the novel and that works against it as a stand alone film. If you haven't read it you will have the impression that something is slightly askew and you're not being told everything and that Peter O'toole is slumming...but still you'll find excellent production values with a bang up ending and more than competent turns by every actor involved. For the price it's worth the collection by itself to get the blu-ray transfer of this film(which looks and sounds very good indeed). If by chance you have read the book then this movie is kick ass!!!

Venom is an atmospheric little teen horror flick with the likes of Jonathan Jackson and Agnes Bruckner involved in Voodoo curses in the Lousiana bayous. It's tight and nerve wracking and the kids milk all the poison out of the plot they can. It works and actually of the three films is the most coherent by itself. If you're a fan of Voodoo flicks and teen slasher horror flicks in general and not, I repeat, NOT a member of AAA, then you'll love this foray into deep dark goings on. (you'll have to see to get that little attempt at humor).

Finally there is Darkness starring a great cast in a Spanish international production of a ultimately muddled yet eerily disturbing mash up of current horror trends. Having the cast really saves this film but the Director is to be commended for an attempt that just falls a hair short. Not because it isn't totally tense and frightening but because there isn't anything new here you haven't seen before. However it held my interest until the very end. Anna Paquin (True Blood's Sookie Stackhouse) plays the teen thrust into the new surroundings who begins to suspect evil is afoot but it is her brother Paul (Stephan Enquist in his very first role with no previous experience at age 9) who sets the tone for the first half of this family returning to its rotten roots tale of demonic something or other (literally since I could never quite figure out what the spell being cast is to accomplish) and he does an absolutely outstanding job of acting. The great Italian actor Giancarlo Giannini plays the Grandfather to great effect and the parents (Lena Olin and Iain Glen) give concise acting lessons in cause and effect of evil's influence along with Fele Martinez as Anna's boyfriend and Fermi Reixach as the Architect. Wonderfully filmed and truly frightening at times (especially when the children are just standing around in the darkness)still it loses it's focus at the end and takes the easy way out. Up til then it's modern Gothic at its best.

Gore is mostly absent from these horror films (well perhaps a teeny tiny bit in Phantoms and quite a bit in Venom now that I think about it) and Darkness and Phantoms rely more on monsters and mayhem for their thrills. So as I said...none of these movies is a 'B' film and only fall a hair short of being outstanding 'A' horror films. The blu-ray transfers are clean and crisp in picture and audio (albiet no frills included) and at this price for all three that's a bargain even the Devil couldn't pass up!

I have to admit I got the dvd version of Venom and Darkness on some movie horror collections... and the Blu Ray versions are way better to behold. Making this a darn good buy since it has 3 of them on it. Worth getting for the price.

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I mainly ordered this blu-ray for the movie, "Phantoms", an excellent movie based on a novel by Dean Koontz, which was the book that got me hooked on the author. "Venom" was also very good, but "Darkness" was not quite as good as I expected, though not bad enough to make me wish I had not bought the blu-ray. I would have paid this price for just "Phantoms", but was lucky enough to get a total of 3 movies for the price of one.

I'd recommend this one to anyone who likes Dean Koontz, even if you don't care of the other two, this one's definitely worth the price.

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No real mystery here a bang for your buck and a couple of hours of distartion. Phantoms as a bit more on edge with a sinister plot with the typical government "I'm here to help" but a great late evening or rainy day movie set.

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Awesome movie finally in HD. Great sci fi / horror movie followed by an awesome cast defiantly a must see movie.

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Fracture (2009)

First of all, the movie starts off with a murder and you know who the murderer is. So it isn't a suspense story as much as a psychological thriller, the type that pits two very strong personalities against one another (played by Anthony Hopkins and Ryan Gosling).

Each is a control freak and each is ambitious. The whole thrill of this movie is watching the characters, seeing how they develop and change and wondering how this will all play out.

Looking at the reviews that others have written for this movie, it is clear that people tended to love or hate this movie -and I think I understand why. For one thing, you KNOW what happened -and why -almost from the start. But I happen to like character-driven movies and this one is definitely in that vein. Yes, Hopkins does seem to recreate his Hannibel Lechter personalty (or hints of it) but that worked out fine in this instance.

Fracture is a great psychological drama that stars Anthony Hopkins and Ryan Gosling. Fracture is a film with qualities reminiscent of Alfred Hitchcock era that really left me guessing until the very end. Gosling's performance as a young smitten lawyer named Willie Beachum is something to applaud. I was not impressed when he was cast in a crime thriller called "Murder by Numbers" with Sandra Bullock a few years ago, but those thoughts are now erased from my memory. Beachum takes on the case of a successful engineer named Ted Crawford, who is accused of attempted murder. As the clues become less and less presentable, Beachum suddenly realizes that Crawford is playing some sort of game, and it is a game of chance and elaborate mind games that Beachum just might win.

Fracture did not douse me with puzzles, in fact it really held back in that area and yet the continual drama that played out between the two main characters was more than enough to keep me not just guessing, but simply interested in the film's story as a whole.

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If you like courtroom dramas, appreciate excellent acting and an expertly-filmed movie this is for you. Only once, I think, have I ever proclaimed something "best movie of the year" and all that, because it's all too subjective and also a cliché but that's how I feel about this movie unless something better comes along the last few months of 2007.

This is just a fabulous movie with Anthony Hopkins and Ryan Gosling playing characters who engage in a battle of wits. Hopkins plays a husband who discovers his wife having an affair, shoots her, confesses the same night and then has things cleverly arranged where it's almost impossible to convict him. Gosling plays a young, hotshot prosecuting attorney on his way to bigger and better things with a change of scenery to corporate law but gets stuck with this open-and-shut case right before he switches firms. The trouble is, it's a lot more than he figured and he isn't used to losing. Hopkins knows this, of course, and plays on his vanity.

Gosling evolves from a me-only lawyer to someone who really wants justice, even if it costs him. Both characters are cocky and smart and the twists and turns just add to the fun.

I enjoyed watching all the actors performances and was very impressed. The camera-work by Director Of Photography Kramer Morgenthau should also be recognized, along with director Gregory Hoblit, who seems to direct very entertaining films ("Frequency," "Fallen," etc.)

I could have watched this story unfold for another two hours and would have been happy to do so, am I'm not one to sit still for long periods these days. That's how good this was....just Grade A film-making and storytelling.

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Let there be no doubt, Anthony Hopkins plays a very good "bad guy". Obviously, his best role was in "Silence of the Lambs" where he was evil personified. However, in "Fracture", he is also excellent as the alleged killer of his philandering wife.

In brief, "Fracture" is a court room drama. Hopkins plays the part of Ted Crawford who has chosen to murder his wife in cold blood. The crime is to be prosecuted by Ryan Gosling playing the role of Willy Beachum. To Beachum, the case is a "slam dunk". Apparently, there is a signed confession, a murder weapon and a motive. However, as we soon learn, the case is far more complicated than it appears to be a first glance. Ted Crawford is a clever man who has left no tracks. Indeed, he is acquitted. But hubris then takes hold. If only he had chosen not to continue to press the envelope.

On small criticism I have of the movie is that the gun was never traced by its serial number. When you see the movie, this point will make sense. It's a clear weakness in the plot. If not, the police department involved was monumentally incompetent.

In spite of my criticism, the movie is worth seeing. Not great, but certainly good.

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"Fracture", the new film from director Gregory Hoblit ("Primal Fear", TV's "L.A. Law", "NYPD Blue"), is a pretty routine legal thriller with four attributes that help it stand out from the rest of the pack.

Ted Crawford (Anthony Hopkins), an aerospace tycoon, sits at his desk working on a new Rube Goldberg contraption when he suddenly realizes he should leave the office. He shows up at a local hotel and finds his wife, Jennifer (Embeth Davidtz) having an affair with Rob (Billy Burke, "Ladder 49", TV's "24"), a detective with the Los Angeles police force. When Jennifer returns home, Ted confronts her and shoots her. Later, Rob is the detective called to the scene. When he realizes his girlfriend has been killed, he attacks Ted. At trial, Willy Beachum (Ryan Gosling, "Half Nelson), a deputy DA with one foot out the door for a private practice job, is reluctant to take the case until he learns there is a signed confession. He convinces the district attorney (David Strathairn) that he can close the case in the two weeks he has left, keeping his conviction rate and new job intact. Willie, a man with a lot of debt, anxious to get going on his new high salary position, takes the case and soon meets his new boss, Nikki Gardner (Rosamunde Pike, "Pride and Prejudice", "Die Another Day"), who seems to be attracted to her new Junior Associate. But Willie is cocky and assumes this is a slam-dunk until he starts to learn Ted's strategies to win the trial.

"Fracture" is a pretty routine legal thriller centered on a `brilliant mind' who will manipulate everyone around him in an effort to go free. The one person standing in his way? A younger `brilliant mind'.

There are four factors that set "Fracture" apart from the rest of the pack. The first, and least significant of the four, are Hoblit's efforts to shoot this film in a very lush style, making it an almost beautiful film to watch. Hoblit worked on many of Steven Bocho's television series and the style is similar to "L.A. Law" or "Murder One". All of the surfaces gleam with polish, shadows are heavy and dark, and figures are frequently seen from behind screens or in shadow. Sunlight also seems to play a major influence on all of the cinematography. Often, characters are walking through hallways and we see the glow of early afternoon light trying to break through the dusty passageways or reflecting off marble surfaces. This technique helps to give the film a rich look, even beyond the general lifestyle of Hopkin's character, who is rich and lives in a nice, modern house. This technique helps to give Gosling's office at the District Attorney's office a rich look, even though the office is cramped, unglamorous and very different from Ted's lifestyle.

The other three factors are the talent of three actors involved in the film. First and foremost is Anthony Hopkins. Hopkins has played this type of role before, the brilliant mastermind, but he does it so well. There are and will be inevitable comparisons between this role and Hannibal Lecter (both are brilliant, both are deadly, both play mind games with a young `protégé') and Ted Crawford is Hannibal light. But it is always interesting to watch a master like Hopkins, even when he is lobbed a softball like this role. Crawford, an aeronautical engineer, likes to create elaborate rube Goldberg contraptions, with long metal chutes, allowing Crawford to place a metal ball at the top and watch it move through a series of passages, all connected, much like a large version of the game "Mousetrap". When he realizes his wife is cheating on him, he decides to shoot her and comes up with a way to get through all of the legal challenges and hurdles. Presumably, studying these contraptions helps him work through all of the possible variations.

As the story progresses, Hopkins manages to add some nice touches to the role, making him seem even more devious and menacing. During a character's testimony, Crawford, who has chosen to represent himself, doodles on a yellow legal pad, periodically ripping the pages from the pad. Each time he tears off a sheet, the sound reverberates through the quiet courtroom, causing Beachum to turn his attention to the defendant.

Ryan Gosling does a great job as Willie Beachum, the Assistant District Attorney who gladly accepts a high paying job at one of the most respected law firms in Los Angeles. Beachum is cocky and trying to move beyond his roots; he grew up poor in Oklahoma and now has a load of debt from law school. He clearly always saw the District Attorney's office as a stepping-stone and is now glad to be leaving it. When he meets with his boss (played by David Strathairn), a comment is made about Willie's high conviction rate and the lengths he would go to get it. Willie is a complicated guy and not beyond inflating the truth or maneuvering things to benefit his goals.

When he meets his new boss, Nikki Gardner (Rosamunde Pike), he is instantly attracted to her and they flirt. This is yet another example of his cockiness, because he knows he is good looking and doesn't care if he flirts with his new boss. The fact that this leads to the film's biggest plot hole is beyond the point. because he is so brazen about it, this adds significantly to his character.

He strides into the courtroom and decides to prosecute Ted's case, despite his impending new job, because he considers it a slam-dunk. Ted signed a confession, there was no one else in the house, and how could he lose? Then, Ted begins to pull the strings and manipulate everything and everyone.

To a lesser extent, David Strathairn adds significance as District Attorney Lobruto, Willie's boss. From the moment Lobruto walks into Beachum's office to confront him, we see that Lobruto has world-weariness to him. As an elected public official, he is aware of what little he can accomplish and accepts everything else with ease. He has been beaten down by the system and takes his young Assistant DA's defection with the slightest disgruntlement. But he understands. If he had the same chance, he would probably take it.

Embeth Davidtz, Rosamunde Pike, Billy Burke, Bob Gunton and Fiona Shaw all play supporting characters, some with greater success and greater impact, but they all add to the texture of the story, making it interesting to watch.

"Fracture" is not a great film, but it is fun to watch all of the twists and turns, the machinations Hopkins' character puts everyone through. For it to be a great film, Hopkins would have to add something different to his character. Is it just me or does it seem odd that Crawford is playing mind games with a poor guy from the South, who came from a questionable background? Does Beachum's background sound familiar to anyone else? Did they ask Jodie Foster to take the role before she refused it because it was too similar to Clarice Starling? Gosling does a good job with the role, but Hopkins is such a great actor and this role is not a stretch that it seems like a disappointment.

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The Bad Seed (2011)

I personally feel that this is one of the greatest horror movie made. Forget all of that blood and guts and popping out of the bushes to scare people. That fear only lasts for a second...This movie plays with your mind and lasts forever. Nothing is scarier than polite Miss Rhoda Penmark.

This movie contains brilliant direction and an amazing cast. Many people feel that the acting is overdone and that they act like they are still in the stage version, entertaining an audience in a theater but that is the way it was meant to be made. Making it look like a regular movie would ruin the essence of the evil, 8-year old killer. Nancy Kelly is truly amazing as Christine. Her "breakdown" scenes are heart wrenching and done very well. She is most-natural and does a wonderful job in playing a woman going through the delemma of whether or not she should hate or love her daughter. Her performance is beautiful, "She killed him! But she's my little girl...and I love her!". The highlight of her acting is when Rhoda just kills one of her victims (I won't say who) and Rhoda is playing the song she always plays on the piano faster and faster and faster. It is such and amazing scene. She deserved the Tony she won during the play and the Oscar nomination. Now, there is Patty McCormack who is definatly chilling in this role. Her perfect smile is just as scary as her evil ways. When she describes the way she killed the little boy I always shudder ,"But he told me that he was going to tell on me...SO I HIT HIM WITH MY SHOES AGAIN!! I hit him harder that time." After the scene where she confesses her murders and Christine tells Rhoda to throw her shoes down the incinerator, the shot of Rhoda's sillouette tossisng the shoes while Christine just sits in the backround and watches with fear, as Rhoda smiles, brings chills down my spine. Her acting gets an A+ and she also deserved the Oscar nomination as well as Kelly. Another, nominated for an Oscar for her role, was Eileen Heckart for the role of (which I think is one of the greatest characters in theatrical history)Mrs. Dagel..the grieving mother of one of Rhoda's vicitms. Although only appearing in two scenes, she makes just as big of an impact as Christine and Rhoda do. Heckart is brilliant in the role and it would be almost imposible to find someone who could do as good of a job as she did. Her beautiful monolougues are truly amazing and heartfelt. Other great performances are that of Henry Jones, the creepy Leroy who is the only one who realizes that Rhoda is evil, Evelyn Varden, as the housekeeper, Monica, who spoils Rhoda terribly, Miss Fern (I can't quite think of her name), as the teacher at The Fern School, and Christine's father (I can't think of his name now either), who is a former mystery writer with a big secret that he is keeping from Christine, which has to do with why Rhoda is a bad seed, something inside of Christine that she passed down to her daughter.

There is a lot of controversy over the ending curtain call and the happy spank that Christine lays on Rhoda. I feel that the curtain call and spanking gives the audience a sese of relief since the movie is so disturbing.

I reccomend this movie to everyone that can handle a plot that is different and disturbing.

Don't blame Rhoda for her murderous acts. It isn't her falt, she is just a bad seed.

Does heredity and environment play equal parts in a child's development? Or is one factor stronger than the other? That's the loaded question the film The Bad Seed (1956) brings forth, seemingly siding on the side of heredity. Personally, I would tend to lean towards environment, but until we can definitely discern the nature of the wiring of our brains, mapping the neural networks and determining the thought processing pathways, we may never know...does bad beget bad? It's possible, but if so, what choices do we have in terms of ending genetically transposed evil from traversing one generation to another? Enforced sterilization? I wouldn't touch that subject with a ten foot Lech Walesa...

The Bad Seed, directed by Mervyn LeRoy (No Time for Sergeants), is actually a film based on a play written by Maxwell Anderson, which was based on a novel written by William March...quite a circuitous path to the silver screen, but one worth waiting for, in my opinion.

As the story begins, we meet the Penmarks, Kenneth (Hopper), Christine (Kelly), and their eight year old daughter Rhoda (McCormack), replete with blue eyes, blonde hair and pigtails. The family appears very normal, except Rhoda, who seems just a little too sweet, a little too ingratiating...but whatever...soon after Kenneth, who's a colonel in the military, has to leave for an extended period of time on some army business, one of Rhoda's school mates dies mysterious drowning incident, after supposedly falling off the end of a pier (seems the boy won an award coveted by Rhoda). No one is overtly posing the theory of foul play in the boy's death, but Christine discovers evidence suggesting her daughter may not be `sugar, spice, and everything nice' (by this time the audience has already entertained the notion that the glossy, sickly sweet veneer presented by Rhoda may conceal more than any of the cast is willing to accept). Connections are made, and truths are revealed (along with a long buried secret), but how does a mother accept the possibility that her child, her own flesh and blood, may be a cold, methodical, remorseless monster, especially when nearly everyone else believes differently .

While I did enjoy this movie, it does have its' faults. As others have mentioned, the film appears much like that of a staged play (not necessarily good for a film). The theater and film are two very different mediums, and what's good for one may not be good for the other. The theatrics within some of the characters (especially that of Ms. Kelly), while necessary for the stage, didn't always jibe on the screen. I do think all the actors did really well, even if a few of the performances tended to be over the top, but for the sake of the film, I think director LeRoy could have provided a stronger production coaxing a bit more subtly from certain cast members. Also, I have to say I found it a little hard to swallow at times that nearly everyone should except Rhoda's sweet, sweet act so whole-heartedly, as she tended to pour it on so very thick. Are, or were, adults ever this gullible? I could understand a certain amount of denial, as we like to think children are basically pure, unadulterated little lumps of clay, waiting to be fashioned into beings better than ourselves, but it seemed everyone (well, except for the handyman Leroy, played by Jones) was so very patently blind to her rather transparent act. Maybe I complain too much...the film did have an incredibly eerie quality throughout, and Patty McCormack did a wonderful job presenting her character, often giving me a major case of the creeps with a side order of the willies. Two performances that really stand out are that of Eileen Heckart and Henry Jones. Heckart plays the mother of the boy who died, drowning herself in the drink, trying to come to terms with what happened, knowing there is more to what happened than nearly everyone believes. Jones performance as Leroy, the creepy, borderline pedophilic handyman is probably the best, as he believes, while Rhoda has most everyone else fooled, he can see right through her act she puts on for the other adults, and takes some kind of perverse pleasure in teasing and taunting her, that is until he comes to the realization that Rhoda might not be just a spoiled, bratty child but something much more...something truly evil... The scenes with Jones and McCormack are chilling, partly because McCormack's character tends to drop the sweet, charming, adorable act knowing it won't work on Leroy, but also secure in the knowledge no one would believe him. The film runs surprisingly just a tad over two hours, but I felt the time was used well. Some have commented on the ending, and the difference between the film and the play, but one should keep in mind the ending used complied with The Motion Picture Production Code which had specific requirements with regards to criminal activity portrayed on the screen. It may have felt `tacked on', but it sure was satisfying (divine retribution, perhaps?)

The full screen (original aspect ratio) picture on this DVD looks really good, and the audio is clear and sharp. Special features include an original trailer, an interview piece with McCormack titled Enfant Terrible, and a commentary track featuring Patricia McCormack and everyone's favorite cross-dressing actor/playwright and Bette Davis enthusiast Charles Busch

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Buy The Bad Seed (2011) Now

Cool-as-a-cucumber Rhoda Penmark is not at all what she appears to be. Hiding underneath that sweet, perfect exterior exists an unspeakable evil. Patty McCormack is superb as Rhoda, the pig-tailed murderess. The whole cast, in fact, is first-rate here. Some chilling moments await the viewer of this film, including a classic ending! A very good music score accompanies the action, as well.

This film was originally a stage play, and this "stagy" feel somewhat comes through in the movie version as well. But the film's convincing and effectively-told story cannot be denied. I would have loved, however, to have been able to see the stage play version, which starred the same group of actors we see in the motion picture.

Patty McCormack was 10 years old when "The Bad Seed" was made in 1956. Patty was so good here, she received an Academy Award Nomination for Best Supporting Actress. She lost the Oscar to Dorothy Malone, however.

Two other "Bad Seed" actresses were also nominated for Oscars -Nancy Kelly and Eileen Heckart. Heckart was heart-breakingly good in this movie, playing the mother of one of Rhoda's victims.

In my opinion, Henry Jones (as handyman "LeRoy") could very easily have been yet *another* Oscar nominee that year. Jones was wonderfully "offbeat" in "The Bad Seed", delivering lines with a relish that simply *must* be replayed multiple times when watching this DVD. They are just too good and humorous to only view once. Such as his witty warning to little Rhoda: "They've got a little blue [electric] chair for little boys; and a little pink chair for little gals!"

This DVD retains the originally-shown "actors taking a bow" ending, which (in a way) dilutes the fabulous conclusion of the story. But, I like having the original ending included here nevertheless. You can always turn it off before you get to the last few minutes, so that you'll be left with that great ending "on the pier".

Original poster art adorns the cover of this DVD. And while I really like the diabolical look on Rhoda's face on this package, I'm perplexed (for the most part) by the written passages that are shown. They don't seem to quite "fit" this movie, IMO. Most curious I thought. Well, anyway, at least Warner Brothers has given us some original artwork for the cover (which is nice).

DVD Specs ...... Video is the OAR (Original Aspect Ratio) as seen in theaters in late 1956 -Full Frame (1.33:1). This actually kind of surprised me a tad bit. Because I thought this film just *might* have been shot in a Widescreen format (which was, by 1956, becoming commonplace among movie studios). But, obviously, I was mistaken. The Full Frame format is correct for this movie. .... Audio: 1.0 Dolby Digital Mono soundtrack (English only). The audio for the Commentary Track is in rich-sounding 2.0 DD Stereo, with excellent channel separation between the two channels. .... Subtitles: English, French, and Spanish.

The video quality on this disc is absolutely superb! Just perfect from what I can see. This B&W film has never looked better on your TV screen. Just a terrific DVD transfer.

DVD Special Features include an Audio Commentary Track and a 15-minute "Making Of" documentary ("A Conversation With Patty McCormack"). McCormack, who was 58 years of age when this DVD was produced, provides some interesting observations about the making of the film during the documentary and she also participates in the Audio Commentary Track as well. The Original Theatrical Trailer is also included on this disc. This trailer, which has a run time of 3:19, is in very good shape (picture quality-wise), and is of particular interest to me for the many "alternate takes" that are shown of various scenes from the film. Nearly every scene that is previewed in this trailer is a slightly different variant from what ended up in the final cut of the movie.

This 1956 suspense-filled treasure looks mighty fine on DVD. Pick up a copy of this Grade-A thriller and let little Rhoda come into your home any time of the day or night. Just make sure you don't kick the DVD around carelessly -because Rhoda wouldn't like that. And when Rhoda is displeased, she gets slightly cranky. :-)

Read Best Reviews of The Bad Seed (2011) Here

Over the years, there have been so many female villains, it's easy to lose track. Anne Baxter(ALL ABOUT EVE), Ann Blyth(MILDRED PIERCE), Joan Bennett(SCARLET STREET), Bette Davis(THE LITTLE FOXES to name one of many), Gene Tierney(LEAVE HER TO HEAVEN), the list goes on. But I think they all would have been more a little unnerved to get in the way of Rhoda Penmark. This movie is one that is so impish in it's own delight, it's impossible not to smile & go along for the ride. Originally a play, the film does tend to lose it's strength with all the psychobabble & it does occasionally get caught up in it's own pretentiousness, but fear not. For any & every minute that Rhoda(played to the absolute hilt by Patty McCormack)is on the screen, you BAD SEED virgins out there will wonder how this film is unknown to you.

Nancy Kelly delivers what would have to be one of the most over-the-top performances in the history of cinema as Rhoda's unsuspecting mother & Evelyn Varden's overbearing landlady, Monica, chews enough scenery to last a lifetime. But it's all about Rhoda. Evil, ruthless, determined, selfish, sweet, & yes, at times, loving. The sheer joy of watching this film is being secure in the knowledge that no matter how sweet this girl is to those around her, unlike us, & eventually her Mother, she's got them fooled.

Nancy Kelly was nominated for a Best Actress Oscar for her work here & both Miss McCormack & Eileen Eckhart(as the mother of one of Rhoda's victims)scored Supporting nods. Nobody makes films like this anymore..and why? Nobody could.......

Want The Bad Seed (2011) Discount?

This is yet another one of those late night classics I "sneaked in" when I was eight, (when I was actually supposed to be in bed). THE BAD SEED still packed quite a wallop, even then. Now, nearly a half-century since its release, the staid, somewhat static presentation certainly belies its stage play origins, and some of the acting borders on MST3K campiness. But it still retains much of its original ghoulish charm, and those only familiar with the noxious TV movie remake should definitely check out the original.

Christine Penmark has a great life with a handsome, successful husband in the military, (PERRY MASON'S William Hopper) and the cutest daughter anyone could be lucky enough to have, Rhoda. With blonde pigtails and fetching freckles, Rhoda is precocious, charming, polite, gregarious, outgoing, vicious, vindictive, manipulative, calculating, homicidal...She's 'DENNIS THE MENACE' with a sex change on a 'roid rage bender; Damien Thorn's demonic sibling in a pretty summer frock.

She easily dispatches several of the cast members with the same kind of shrug and smile she would use to ask for milk and cookies, and Christine begins a little intuitive detective work, searching her own troubled past for the clues to why, as Rhoda's crimes and her darker nature become more and more horrifyingly apparent...

Controversial in its day, I wish I could've been in the audience who attended its premiere. And the morality code be damned, I never accepted why they tacked on the "shocking" ending, though the times being what they were, I do understand why it was unavoidable. All I knew is that at the young age I was when I saw it, the concept of a little girl evil enough to make GOD strike her dead, scared the absolute Hershey squirts out of me!

Most of the cast is from the original Broadway production, and though the acting seems more geared for the stage than screen and therefore appears to be overdone, I thought Nancy Kelly was fine as the emotionally disintegrating Christine. Considering what she discovers about Rhoda, as well as what she learns about herself, it's a wonder she wasn't MORE freaked out! And what more can be said about the jaw-droppingly awesome performance by Patty McCormack? We can trace a line of child-acting evolution from her turn as Rhoda directly to outstanding screen tykes like Dakota Fanning, but we have yet to see a turn from any of our younger thespians that will give you nightmares the way Patty's has done for countless adult moviegoers. (Okay, there was Harvey Stephens as the adorable little devil who had this problem with churches...)

Henry Jones as Leroy should've damn well been honored with a Best Supporting Actor nomination at the very least. He made such an impression on me, that for years afterward, I always thought of him as "toasted Leroy." And Eileen Heckart balanced humor and histrionics with tightrope precision as Mrs. Daigle, the mother of the little boy who becomes Rhoda's first victim. Though you can't help but laugh at her at some points, your sympathy for her pain is always palpable.

It would be hard to do a bad movie with all these veterans around, and Mervyn LeRoy knew that. It's only too bad he didn't attempt to open things up a bit more to let the movie out of its "playhouse" cage. Still, it remains a classic, in spite of the fact that with what we now know about kids today and what they are capable of, in places with tragic histories like Santee and Columbine, the subject matter is sadly enough, no longer sensational or unique. Which is a lot more chilling realization than this movie could achieve for today's audiences.

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