Sid & Nancy (Collector's Edition) (1986)

What I enjoyed most about Sid and Nancy was the profile of the Sex Pistols who (unfortunately) are only a vicarious part of the plot. I know that Johnny Lydon did not approve of this film, but I absolutely loved Schofield's portrayal of him here. In fact, he almost steals the spotlight from the train wreck that is the relationship between the main protagonists. I also thought that technically this film was outstanding. My favorite scene involved the press/party boat. After it was forcibly docked, the shot of Sid and Nancy gliding through the melee was exceptional. This movie has something in common with all period pieces we remember--it is incredibly well-done. My own appreciation for the film, however, was sabotaged by the fact that I was not even remotely interested in the love affair between Sid and Nancy. I found the gradual disintegration of their lives to rather depressing.

I think Sid & Nancy might just be the best rock-based biographical film yet done. Better than Oliver Stone's The Doors, better than last year's dismal Brian Jones flick whose name isn't worthy of being repeated here. The reason Sid & Nancy rises above the rest can be summed up in one word: talent. Sid & Nancy is the result of a passionate filmmaker getting near-perfect performances from his well-chosen cast, of welding great music and attention-grabbing scenery to a modern tragedy that touches many emotions. The result is a five-star film.

People are surprised when I tell them the Sex Pistols rank among my all-time favorite groups. No, I was never a punk, and besides, when I was growing up `70's punk bands were mostly curiosities from modern pop culture history, but I do like the music the Sex Pistols produced on their one and only legitimate album, and the film Sid & Nancy, much criticized by pompous purists and much praised by most everyone else, is a chronicle of that era and two of its most infamously doomed participants. The chameleonic Gary Oldman brings Sid Vicious not only to life, he somehow surpasses the original to vicariously embody a character more memorable than the flesh and blood young man on whom the role is based. Likewise Chloe Webb (who really deserved better career choices than she got after this movie) brings the manic-depressive Nancy Spungen back from the grave in all her alienating, irritatingly pathetic hideousness.

Some say this movie takes liberties with the timeline of Sid and Nancy's short lives, and others say it manages to glamorize them for the wrong things. Probably legitimate gripes, I'll grant, but there are also those who refuse to see the greatness in, say, Shakespeare's Richard III, because the fictionalized villain bears scant resemblance to the real man. That's much the same case here. For all one might say in criticism of this movie, Alex Cox did the impossible and revived the decaying, culture-shocked world of 1970's London, and against that stage he crafted a story that works well. Sid & Nancy is about drugs, music, twisted love between two misfit human beings, needless death, and a revolutionary movement that imploded on its nihilism even as its message was lost on the masses. Sid & Nancy is not only about Sid and Nancy, so emblematic of their time and place, it is the tragic chronicle of the spirit of misguided post-adolescent reaction against a dismal age.

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I think many people don't have the right feelings about this film. Empathy being one of them. Although Sid Vicious and Nancy Spungeon could indeed be described as two wastes of sperm and eggs, empty and apathetic as they lie on their beds strung out on heroin in one scene, we have to acknowledge their backgrounds and their ages. Sid, bassist with 70s punk band The Sex Pistols and Nancy, his American groupie girlfriend, were just a pair of misguided teenagers. Nobody is perfect at the age of nineteen or twenty, nobody really knows exactly what they want to do in life. And there are a lot of young people, who at that age, can't see a future for themselves.

We may very well say drugs are bad and drug addicts deserve no respect, both of the above being true. But the fact is that this is being too narrow minded. Those of us who have had wonderful childhoods and loving parents to guide us through those turbulent teenage years may scoff and scorn at the films title characters, as we see them embark on the doomed journey of drug abuse with only one end in mind. Sid might have been an intelligent, bright and witty young man, Nancy could have had the chance to fix her life if her parents hadn't given up on her and sent her packing. This film is a remarkable movie, one that should be watched with empathy, as it replays the ill fated romance of punk's 'Romeo and Juliet' I understand John Lydon when he scorned the film, but no movie can ever capture real life. As a teenager recovering from the draining world of drugs, depression and apathy, I have to say that this movie accurately portrays the effects of drug abuse.

The drugs do eventually end up taking control of you, and there is nothing more dangerous than having a friend or lover who feels the same despair that you do. Trying to escape the dark hole of drugs seems almost impossible in that scenario. I think this film is an excellent portrayal of the effects of drug abuse, of the 70s punk scene, of the blurry details surrounding Nancy's death.

It's a pity the film was given an R rating, because a lot more young people should see this movie. Sex Pistols fans may also ike to see this movie, maybe to gain an idea of the helplessness of Sid and Nancy's situation. For all those drug addicts out there, I just wanna say, you should see this film before you "climb the ladder to the poppy". During a time when I was stupid enough to want to become a junkie, this movie saved my life. The scene that hit me the hardest was one of the last, where Sid tries desperately to get out of the hotel room he and Nancy share, tries desperately to escape Nancy's rantings of death, before engaging in the scuffle that got her killed.

It may or may not have happened in real life, but I had never felt so suffocated watching a movie before, watching helplessly as Sid's fingers reach for the latch on the door but don't quite make it. I won't give the ending away, but many people have scoffed it. I think it worked very well and understood and exactly the irony that Alex Cox was getting at. Maybe some of you will understand it too. But you have to watch it to find out..You can watch this movie with feelings of disgust, scorn, helplessness and sadness. But this move made me personally, empathise with Sid and Nancy, two lost children in a vast world, searching for something that can't be found. And although many punks made it through the seventies, supress your contempt when watching this movie, and feel sadness for those who didn't.

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Probably the benchmark of the punk rock movie genre is this beautifully lyrical love story of destruction. If you're reading this review, you probably don't need the plot spelled out for you, but for those who need it: Sid was the bassist for the original English punk band, the Sex Pistols, and Nancy was the groupie/girlfriend who sent him spiraling to self-destruction. The film is based on their true romance, and is a heartbreaking and aching portrayal of nihilism and narcissism.

Gary Oldman, back when he was a lean and hungry actor at the top of his craft, puts in a stunning tour de force performance as doomed druggie Sid Vicious, while Courtney Love has a pre-fame bit part as groupie Gretchen (a precursor to her real later life with Kurt Cobain, as detailed in Nick Broomfield's "Kurt and Courtney").

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This has got to be the best film that I've seen about drug addiction and the emptiness of people who fall into it. The decline and death of the protagonists are frightening and depressing, so well acted that it is horribly, completely believable. Oldam and Webb are simply brilliant. Webb is totally believable as a border line personality, at times sensitive, but suddenly abusive and paranoid it is subtle and perfectly acted.

But the film is much more than that. There is also a twisted love between two people who can only be described as complete losers: Sid, who is nothing but a youth disaster become celebrity by chance and Nancy, a suburban cast-off who has wandered into the drug world, S&M for pay, and a pathetic search for groupie association with stardom. While almost nothing on their own, together they enter a downward spiral that can result only in death. Together they are far worse than zero. You helplessly witness their descent into a hell of addiction and chaos.

Finally, there is a wonderful evocation of their milieu: the late-70s punk scene. I recall, as a middle-aged man, how this was the first youth movement in which I had no desire to participate: I had been a late-comer hippy and was aspiring to academia when this started. It was the first "movement" that repulsed me personally, that I had no desire whatsoever to mimic. In this film, you see how talentless and nihilistic punk really was, but also how it had the raw energy of urban youth in societies that could offer them nothing of value. Gone are the ideals and dreams of the 60s. Their chaos and drugs and indirection in the end were all that they had, so they lived it unto self-destruction. Their scene, as portrayed in this film, was a revelation to me and is brilliantly evoked.

Reccommended with enthusiasm. This is like a modern Balzacian tale of meaningless annihilation, a rememberance of a time, and a perfect work of art.

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Pride & Prejudice (2005)

Okay, I am a rabid Frith and BBC fan of the miniseries, but I was very impressed with this adaption and found it refershing in it's grounded, youthful take on the story.

For starters, there is a very grounded nature to the presentation of the story. Some Austenites got their knickers into a twist because they thought it made the family and their circumstances too drab looking. But I loved it! The Meryton Assembly basically sets the stage for this grounded approach-the dancing looks a little heavy footed, the girls look sweaty, and you can't help but think that someone needs to open a window cause it looks awfully sweaty! But at the same time,it made the story come alive, like you were a fly on the wall, peeking in on Lizzy and Darcy and the rest of the gang.

Lastly, I loved the youthful take on the story. I LOVE Firth and Ehle as the '95 leads. They had this chemistry and sensual tension that was electric! But their take was definitely from a mature standpoint-like the way I'd act now as a 33 year old woman. Whereas Macfadyen and Knightley? Theirs is a more youthful, innocent, first love take that I just took to. Great chemistry, Lizzy's a little less cocksure, Darcy's a bit more unbalanced by this attraction, and it felt right in terms of age and stage of development with the actual characters in the book.

Great adaption, brisk storytelling, and a wonderfully irreverent tone by a fun director who knew it was a good idea to knock the pedestal off from under our Lizzy and Darcy, and let them be seen in a more grounded light. And ps-I thought Macfadyen, even though he doesn't have that big of a part, was a great Darcy!

First, to all of the Jennifer Ehle and Colin Firth lovers (of which, I am one), we will always have that remarkable masterpiece. Therefore, we should be able to judge any new versions freely. Having said that, this version is great!

This movie is quite shorter than what we're used to for P&P adaptations and at first it seemed to me that the dialogue was rushed, but after the first 15 minutes it either slowed down or I ceased to notice it, until Darcy's proposal scene anyway, but it worked quite well there.

This film is also much more of a comedy than the two BBC versions. There were minor changes with dialogue but none of the changes lessened any of the characters or the spirit of the story. Instead, it probably enhanced the feelings the audience shared with the characters. In fact, I think that everything left out of the two previous BBC versions were added to this one so you still get something new from the same story.

One major change is the loss of Mr. and Mrs. Hurst. In a two-hour movie there just isn't enough time to do their characters justice. The rest of the cast is so marvelous though that we barely notice they're missing and it makes the movie flow more naturally.

The actors chosen are wonderful in their parts. I didn't think I'd be able to accept Keira Knightley as Elizabeth but after the first five minutes I was completely taken in by her. She pulls off Elizabeths witty dialogue like, well... Elizabeth and just as Jennifer Ehle added some distinctive traits to Lizzie, so does Keira. She wonderfully manages to show us Lizzie's love of a good laugh without making it seem as though she was a giggling loony and every time she smiles, we smile with her.

I won't critique all the performances but I have to add that Donald Sutherland really does a spectacular job as the head of a household of silly women. The last scene with him and Lizzie had me in tears.

Not to say that this movie was perfect, what adaptation can be without some faults or silly alterations? None are too serious though. The first is at the Meryton ball, when Darcy, Bingley and Caroline walk in, everything stops. The music, the dancing, all conversation and the crowd parts to offer them a path. I thought for a second the crowd had mistaken Mr. Bingley for royalty. It just seemed a bit over the top. But it passed quickly enough. The other was actually Darcy's proposal scene which was done in the rain. I thought it silly that he would follow her outside in such weather to propose, but one can accept that in view of the other changes that turned out so well.

I give this movie 5 stars because I wouldn't want to miss it and I don't think any P&P fan should.

All in all, if you have a good sense of humor and aren't afraid to laugh, like Elizabeth, you will just enjoy the story as it is played out. Remember, afterwards you can always put Jennifer and Colin Firth back in the DVD player.

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OK, I'll admit it: I've gone to the theater to see this 6 or 7 times already--I've lost count; I'm thrilled that the DVD is coming out sooner rather than later.

No, this is not the much-loved 1995 multi-hour A&E version. And no, MacFaydan is not Firth, and Knightly is not Ehle. And some liberties were taken with the original storyline (sometimes a bit disconcerting like Lady Catherine's night time visit?? and Bingley entering Jane's sickroom, even before knocking?? "simply not done" in those days!).

But I very much agree with the positive reviewers below --this version is MOST enjoyable on its own. The scenery, photography, and music are gorgeous (you must buy the CD!). Darcy and Elizabeth are still wonderfully Darcy and Elizabeth. It was a little disconcerting at first to see so much mud, livestock, and plain gowns--but you get past that fairly quickly. And it seems maybe a bit more realistic for country gentry.

BTW--if you're a P&P addict like me, don't miss Pamela Aiden's Darcy trilogy--it tells the entire story from Darcy's viewpoint and fills in a lot of what I think is missing. Also, if you have wondered what might have happened after the wedding and like a "spicier" novel, read Linda Berdoll's "Mr. Darcy Takes a Wife" (Austen meets Bronte and Sandra Brown).

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Yet another re-release DVD, promising more special features when any regular fan, like myself, already has the first DVD release.

About this DVD:

1st Disc: Is the exact DVD released prior to this one. It has the widescreen movie version and all the same features on the previous DVD release.

2nd Disc: This is the new disc with "extra" special features including...

-Fullscreen movie version.

-"The Politics of Dating" A short feature with cast, crew, and director talking about modern vs. P&P time dating (i.e. dancing, the 'touch', etc). Most of the interview clips are recycled from what we've previously seen on the first disc special features. And brought little to nothing new to the table and lasted around 7 minutes.

-"Galleries of the 19th Century" Interactive photo gallery. Fun.

-"The Stately Homes of Pride and Prejudice" A small handful of about 5 minute interviews with cast, crew, and director talking about the different locations they worked at. New stuff, but nothing exceptionally interesting that lasts for long.

-"Pride and Prejudice Family Tree" A DVD menu telling us how the characters in the movie are related. It is pointless and useless, nothing interesting or new.

-And that's IT.

Packaging:

It's absolutely gorgeous. I think all the money was spent on the box rather than putting together a decent 2nd disc. The package is made to look and open like a book. It's a great, beautifully designed set that is hard to resist if you saw it in stores.

Booklet:

A booklet was included in this set with some new, unseen photographs and talk about costumes, characters, and music. It's basically like a scrapbook of images and tidbits of various cast and crew's thoughts.

Included:

The soundtrack is included in a paper sleeve along with a ticket for director Joe Wright's upcoming film Atonement.

Conclusion: If you were hoping for new interviews with the cast and director, unseen behind the scenes footage, deleted scenes, or anything worth shelling out more money to buy another DVD for, then you will be severely disappointed. If you're like me, and already own both the movie and soundtrack this really isn't worth the $28 buy. Because ultimately you're just getting just a pretty box, another copy of the DVD you already own, and a throwaway extra disc. But if you don't have the DVD or soundtrack yet, then I say go for this set because it will be worth the extra money to get both the movie and soundtrack, and flashy box.

I give it 2 stars for the pitiful attempt at "exclusive all-new features"

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This film is a favorite of my wife and I; we have watched it several times in DVD format and thought it looked pretty good. I bought the Blu-ray version as soon as it was released and compared it to the DVD on our HDTV. What a difference! The BD is a huge improvement (as it should be) and has made this fine movie just that much better!

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Memorial Day (2010)

This movie is a poignant characterization of the conflict that combat veterans live with, during and after their experiences. Focused on a WWII U.S. Paratrooper and his grandson it gives us a sense of the emotions that many combat veterans of all eras may go through having to make a decision during a war that you know is going to end badly for someone and then having to live with your decision or in having friends be killed or injured. Anyone who has had a family member or friend who has seen combat can recognize the defensive wall that many veterans erect as their way of dealing with the experience. Hopefully this movie will encourage at least some of those veterans to allow their friends and family to try to understand.

I was lucky enough to see a screening of this film, and was blown away. To echo the reviews below, it's more than a war movie, it's a family movie. The movie crosses multiple generations, and encompasses stories from two wars. For those from the WWII generation this will bring back their own memories from a time with the war was very much part of their daily life. For those with loved ones serving now it gives a real face to what is happening. For everyone else it's a solid reminder that memories are stories that need to be shared, that burdens can't be carried alone and that all generations have something to give to one another.

Additionally, it teaches us that Memorial Day is more than a time for picnics and BBQ, more than just a free day off and a parade but that it's a day when we honor and remember.

I strongly recommend this for anyone, not just those with military ties

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As a Marine veteran and grandfather, this film touched me on both counts. As a veteran, the meaning/importance of those small "souvenirs" one acquires during their time in service can be both cherished and guarded. This film approaches that importance with reverence without the carnage usually found in "military movies".

The closeness between the grandfather and his grandson was also touching and special. I am lucky to be very close to the only grandchild I have, a boy of 5 1/2. We have, since his birth, had a special relationship that continues to grow each day. I too have things to share with him someday.

Sometimes fathers, because of their role and lack of experience/wisdom, cannot share with their son, daughter, or other family members. With the years comes a realization of the memories tucked away which those "souvenirs" represent. This film helped in my confirmation of that.

I recommend this film to all Vet's and their families, and everyone else. I hope I have/will not be the only veteran/grandfather that is touched in this way. I also hope that it helps all who view it to share, respect, and understand those "things" that may never be spoken of by the veteran.

The "story" is 5 star. Own the DVD/Blue-Ray; share it with all who will sit still long enough to watch it. Lord knows we sit and watch allot less deserving films.

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This movie gives renewed meaning to why we celebrate Memorial Day.

This movie is realistic in its war scenes without unnecessary blood and gore.

I admit that this holiday used to be a reason to have a "3 day weekend".

Now I will remember the sacrifice that all of our soldiers have made through the years.

I hope this encourages all veterans to tell their stories so that we and future generations will understand and appreciate their experiences.

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The worst part of movies dealing with war or soldiers during a specific time period is that they often feel like recruitment videos. Either that or they shove patriotism down your throat. "Memorial Day" isn't like that at all, which is a relief. What really balances out the entire movie is the time Kyle spends with his grandfather. James Cromwell's heartfelt performance is really fantastic. His emotion gives much needed heart to a story like this. The thing about grandfathers is that they're supposed to always have a story to tell and have words of wisdom. Bud is the epitome of that, but he waits to reveal that until somebody makes him talk.

The time Kyle and Bud spend together inspires Kyle to start a collection of his own once he becomes a soldier as an adult and has a family of his own. This is the other big intriguing aspect of the war drama. Seeing Kyle collect things throughout the movie only makes you realize what he's eventually going to tell his son one day, which is kind of heartwarming. The last five minutes of the movie are also its bread and butter. It's as if the entire movie was written to give those few scenes more impact and it works so well. It's just a series of really passionate performances along with perhaps the most memorable scene to take place on that porch in the entire movie.

Many of the other performances feel uninspired. Maybe it's just the way Hollywood writes soldiers, but most of them are pretty forgettable here other than Kyle. John Cromwell is pretty exceptional in his full length feature film debut though. Everyone else outside of the main cast just feels like filler. Ho-hum is an acceptable way to describe the majority of the movie as things like the score, battlefield sequences, and lines of dialogue will be a distant memory at best. Although roaming shots of the countryside are extremely colorful on the Blu-ray edition of the movie.

"Memorial Day" is mostly watchable thanks to the performances of John and James Cromwell. The story does its best to reel you in and feel for these characters, but may feel like it's stringing you along with no pay off in sight at times. There are certainly worse war related movies you could spend your hard earned money on.

Special features include Audio Commentary with Director Sam Fischer, Writer Marc Conklin, and Actor John Cromwell and a less than two minute Behind the Scenes featurette.

"Memorial Day" is being released as a single disc DVD and a single disc Blu-ray starting tomorrow, May 29. The movie is not rated, is presented in 1.85:1 widescreen aspect ratio in 1080p High-Definition and DTS-HD Master Audio 5.1 and Dolby Digital 5.1 audio. It is approximately 104 minutes in length. "Memorial Day" will be available in most retail outlets and online stores.

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Changeling (2008)

Clint Eastwood's "Changeling" is not easy to watch, but I implore you to give it a try. This is filmmaking at its finest. It's all at once heartbreaking, infuriating, touching, empowering, and immensely compelling, which is to say that it taps into core human emotions without being manipulative. It tells a story so absorbing, it's as if the movie is happening to us instead of just passing before our eyes. This is appropriate given the fact that it's a true story and not merely based on a true story; screenwriter J. Michael Straczynski relied on actual articles, transcripts, and testimonies to document the story of Los Angeles native Christine Collins, whose nine-year-old son, Walter, disappeared in March of 1928. Five months later, the LAPD returned a boy Collins knew was not her son. Because the police refused to admit that a mistake was made, they deemed Collins an unfit mother and subsequently had her committed to a mental institution. But she wouldn't be silenced, and with the help of some key figures, she took on one of the most shameful cases of police corruption in Los Angeles history.

Angelina Jolie gives yet another wonderful performance as Collins, an honest, caring woman who was clearly striving for independence in a male-dominated society. She works diligently as the supervisor for a telephone company, so much so that she's offered a managerial position. As a single mother, she's firm yet nurturing, and she's upfront with her son (Gattlin Griffith) about why his father left before he was born. After Walter's disappearance, and after the wrong boy is returned to her, she initially faces the LAPD on her own, which leaves her with little since it's a tyrannical system motivated by power, not justice. There's a pivotal scene in which Chief of Police James E. Davis (Colm Feore) makes the following announcement: "We will hold trial on gunmen in the streets of Los Angeles. I want them brought in dead, not alive, and I will reprimand any officer who shows the least bit of mercy on a criminal." This is immediately followed by a shot of officers executing a line of criminals in the middle of a dark street. An elimination of the competition. For a system this dishonest, a persistent woman like Collins is seen as nothing but a disruption.

Of all the authority figures in this film, Captain J.J. Jones (Jeffrey Donovan) is by far the most deplorable. He's obstinate and domineering, bullying Collins into taking in an imposter child, who was found with a drifter in DeKalb, Illinois. Jones has the nerve to question Collins as a mother, claiming she was so happy her son was taken that she's now resorting to phony accusations. Her insistence that he carry on the investigation lands her in a dehumanizing psychiatric hospital, where numerous disruptive women are sent to endure constant medicating and cruel electroshock therapy. A kindly but broken prostitute (Amy Ryan) tells Collins that there's absolutely no winning with the doctors. If you smile too much, you're delusional. If you smile too little, you're depressed. If you're neutral, then you've lost touch with basic human emotions. All anyone can do is learn how to behave properly.

The only person on Collins' side is Gustav Briegleb (John Malkovich), a Presbyterian minister and community activist who made it his life's work to expose the corruption of the LAPD during radio sermons. When Collins is committed, Briegleb takes it upon himself to publicize the disappearance of her son and rally the public to support her. This puts tremendous pressure on the LAPD, as does the recent discovery of a crime scene; buried beneath a chicken ranch in Wineville, California are human remains. A mechanic named Gordon Northcott (Jason Butler Harner) becomes the primary suspect in a string of murders. I don't want to reveal any more about this case, but I will make it a point to praise Harner for not playing Northcott as a fanatical stereotype.

Apparently, Straczynski inserted newspaper clippings into copies of his screenplay, just as a reminder to the actors that everything being depicted actually happened. "The story is just so bizarre," he said, "that you need something to remind you that I'm not making this stuff up." Indeed, a lot of what Collins goes through is so outrageous that it's just shy of being funny. She knows, for example, how tall Walter is, for she measured his rate of growth on a wall. The boy who was returned to her is three inches shorter than the last notch. Collins also notices that this boy has been circumcised; she knows for a fact that Walter has not been. A doctor sent by Captain Jones assures Collins that, after months of improper care and nutrition, children can actually shrink. As for the circumcision, well, she should never put it past a kidnapper to do something extreme.

But what about the LAPD? Should she put it past them to do something extreme, such as returning the wrong child and knowing about it? It's easy to watch this movie and feel just as emotionally drained as Collins; there are moments where I wanted to scream, others where I wanted to cry, and many where I didn't know how to feel. This is not a criticism. The success of a movie like "Changeling" depends on a strong emotional gamut that reflects what the audience thinks and feels. This is, without a doubt, one of the year's best films, a powerful human drama dedicated to the ideals of hope and perseverance.

Changeling is a powerful film. It tells the forgotten story of a working-class woman who brought down the corrupt establishment of Los Angeles 80 years ago.

Angelina Jolie gives a strong, Oscar-worthy performance as Christine Collins, a single mother and one of the first female supervisors at the phone company who refuses to bow down to corrupt police when her son vanished without a trace in 1928.

Los Angeles on the brink of the Great Depression was an epitome of corruption. The police chief, James "Two Guns" Davis, had an officially sanctioned "gun squad" that terrorized opponents with impunity. When Collins' son Walter vanished, the L.A. police were embarrassed by their inability to find him. To squelch public criticism, they tried to convince Collins that a young drifter was her son. When Collins protested, police Captain J.J. Jones labeled her as histrionic and delusional and had her locked in a "psychopathic ward."

Luckily for Collins, her plight came to the attention of Gustav A. Briegleb, a Presbyterian minister and community organizer who regularly lambasted police corruption on his radio show. Briegleb helped Collins get a lawyer and tell her story. Although the movie does not mention it, Collins' case led to passage of a law that prohibited police from incarcerating people in psychiatric facilities absent due process.

Despite the compelling nature of Collins' story, it came close to being forgotten. The old records were about to be incinerated when a city worker telephoned screenwriter and former journalist J. Michael Straczynski and told him to come over and take a look. What Straczynski read that day was so compelling that he spent a year poring over city archives to reconstruct the case.

Straczynski has said that he wrote the script to honor Collins: A woman whose "simple question, `Where is my son?' brought down the entire L.A. city structure."

Changeling owes its aura of authenticity to Straczynski's meticulous research; verbatim quotes from the files and direct testimony from the public hearings are incorporated into the script.

The film's power also owes to its feminist message about a strong woman who refuses to be silenced by a corrupt establishment. The scenes from the public hospital's "psychopathic ward" provide a grim reminder of the horrors faced by women who were labeled as crazy for resisting male authority.

Clint Eastwood was a great choice of director to tell this story. The acting is uniformly excellent, the plot presses forward inexorably, and attention to detail is exhibited throughout. The location shots are masterful in transporting us back in time, as Collins (Jolie) hops on and off streetcars in a convincingly reconstructed 1920s Los Angeles.

Although the film closely parallels the actual history, viewers should be aware that Eastwood took some dramatic liberties, presumably to streamline the story and highlight its good-versus-evil message. We don't find out, for example, that the missing boy had a father who was serving time at Folsom Prison for robbery. Nor is the presentation of the infamous Wineville Chicken Coop murder case entirely accurate. Killer Gordon Stewart Northcott was indeed hanged at San Quentin, but the film does not mention that his mother was convicted of the Collins murder and spent 12 years in prison.

For those who are interested in additional background on that case, it is the topic of a just-published book by James Paul, Nothing is Strange with You: The Life and Crimes of Gordon Stewart Northcott. Former San Quentin warden Clinton P. Duffy also wrote about Northcott in his memoirs. Another source of information is the film's website, changelingmovie.net, which has reproductions of some of the actual L.A. Times news articles on the case.

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Christine Collins: The boy they brought back is not my son.

Short Attention Span Summary (SASS):

1. A single mother's only son is missing

2. It takes five months for the Police to reunite the mother and the boy who said "I am the one"

3. But she knew that the kid was not her son

4. The Police Captain insisted: "Don't go Changeling. She'll love you just the way you are"

5. But she didn't

6. ... and she learned the hard way why the Police Force had such a bad reputation

7. They said she was crazy

8. But she never gave up, always hoping that her son had flown the coop.

Based on a true story, this heartbreaking movie may be difficult to watch, especially if you're a parent. A mother's greatest nightmare comes to life when her only child goes missing, and this unfortunately is just the beginning of a sordid tale of incompetence, stubbornness, malice, abuse of power, madness and murder.

Angelina Jolie more than earns her Oscar nomination as Christine Collins, the young mother at the center of this story, and good performances are also seen from John Malkovich as a fiery Presbyterian minister, Amy Ryan as a wronged woman, and Jeffrey Donovan as the Police Captain that you'll hate for a long time.

Recommended for fans of true crime stories, Angelina Jolie, and period movies that nail the sets and wardrobes.

Amanda Richards, March 15, 2009

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This is fantastic story-telling, well put together, all elements

in place and making perfect sense. Such have become the earmarks

of a Clint Eastwood film..his taste and touch is impeccable

as both a director and producer!

(Of course, his acting, when he is acting, is nothing

to sneeze at either!) Angelina Jolie did a wonderful job

as a woman in the late 1920's who endures an unimaginable

ordeal that must be seen to be believed!

There were some moments that had me on the end of my seat

and others that I almost couldn't bear, mainly the brutality

of the child murderer who is revealed later into the film!

Even though she is not reunited with her son, the story still

finds a way to end on a ray of hope.

This was definitely an oscar-worthy performance in a year

of many oscar-worthy performances!

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The movie is superbly done. Jolie is magnificient as the mother who strives against a corrupt system to bring justice. The sets, the location, and the pacing are all very good. However, I can't say I enjoyed the movie. It is a hard movie to watch. The topics are kidnapping, corruption, and mass murder. The emotional impact is brought home with gritty realism.

In summary, I strongly recommend watching the movie. The movie is about heroism and bravery in face of fantastic odds. The movie is extremely well done. However, I don't know if I recommend buying it. It is very hard hitting and disturbing movie in some ways. The realism is the strength of the movie. I would recommend renting it and then buying it.

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Barbarella (1968)

You want classic Sci Fi with visionary special effects and mind-bending themes? Check out STAR WARS or 2001! You want a zero gravity striptease, costumes that fall off at a moment's notice, and a space craft with wall to wall shag carpeting traveling through a lava lamp? BARBARELLA fits the bill! This is the widescreen DVD version with no edits. Although I have heard rumors of a more racy cut somewhere out there, this is not the PG rerelease from the 70s. See the movie Jane Fonda wants you to forget! Too bad because she's sexy, funny, and beautiful here. Groove to the soundtrack of Phil Spector rip-offs, watch in awe as she seduces ... well... everyone in the film (incuding a female tyrant with a horn!). But still, it's pretty tame and innocent fun. I watch this when I want to be in a good mood. It's silly, fluffy fun! A pink bunny if you will.

This film, along with other stunning classics such as "Beyond the Valley of the Dolls," are sure proof that the age of really, really bad yet good films is behind us. Set in the 41st Century, the hypersexual Barbarella goes in search of the evil renegade scientist Duran Duran and manages to stumble across what must be the grooviest planet this side of "Vegas in Space." In her quest to find Duran Duran ("Pardon me, but do you know Duran Duran?"), Barbarella manages to shag half the planet and pique the prurient interest of the evil, yet uber-sensual bisexual queen ("hello, my pretty, pretty"). After demolishing the amazing Orgasmatron and getting herself locked into the queen's funky chamber of dreams, Barbarella saves the day with a bubble of goodness and some help from her blind angel friend Pygor. The unbelievably bad acting in this film is very well counterbalanced by the fabulous Pucciesque fun fur sets and amazing special effects (i.e. Everytime Barbarella has an orgasm her hair instantaneously perms itself!) It's impossible, given our current climate of cynicism, to produce good quality camp like this today. All attempts to reproduce a movie this overwhelmingly bad would just have to fail. Yet, I cannot recommend this film highly enough run, do not walk, to see it.

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Roger Vadim's sexy sci-fi opus starring his then wife Jane Fonda as the outer space adventuress Barbarella opens with the now famous strip-tease scene over the opening credits. Fonda peels out of her space suit accompanied by the sexy sixties pop theme song. She is totally nude but discretely covered here and there by her arm or a letter from the credits. You can still see her breasts anyway. Based on a notorious French comic strip character, this futuristic saga is more of a fetishistic ode by Vadim to Fonda's kittenish sexuality. Through all of her sexual escapades throughout the film, he focuses (like he did with Bardot) on her beauty and body whether nude or clad in skimpy "futuristic" costumes. What stuns me is this got a "PG" on DVD. It's too raunchy for a "PG". Parents should be cautioned before letting their kids see this. Although, older boys will find it a turn on like their fathers did---but it's very campy and a lot of the humor will be lost on today's generation. Still, it's a nice time capsule for what the sixties had going on and Fonda is beautiful.

Read Best Reviews of Barbarella (1968) Here

I can remember standing in a long line to get in to see this movie back in 1968, the year it was originally released. I was 12 years old, and my dad had dropped off me and my best friend, thinking that we were going to watch another juvenille sci-fi extravaganza, for which I had developed an extreme fondness. It was the dead of winter and there was snow falling, but we perservered, having heard that we would have the opportunity to see Jane Fonda buck naked, and, above all else, we wanted to be the first in our school to lay claim to that dubious achievement. However, the lady in the ticket booth had other ideas. Although we were 12 years old, we looked no older than 9 or 10, which didn't matter anyway, since we needed to be 16 to get into the movie. So, we didn't see "Barbarella", or Jane Fonda's flaunted nudity, and my father had to immediately turn around and make an 18 mile drive back to pick us up in falling snow, with my mom lecturing him, loudly, all the way home about "parental responsibility" and "pornography". And so it was that, 40 years later, give or take, I decided to order "Barbarella" from Amazon and find out what the fuss was all about and why I couldn't get into see this movie back when it first came out.

Well, for starters, there is nudity, for sure, but it's often fleeting and almost demure. There are breasts, a glimpse of buttocks, and...wait...was that what it looked like? Hard to tell and, at this stage, even harder to care. Jane looks good in the title role and she's funny; "Barbarella" may have been the last time that she was allowed to demonstrate any comic ability in a film for almost a decade. Sure, she was sensational in "Klute", perfection in "Julia" and "Coming Home", but she was a lot more fun in "Barbarella".

There's not much plot worth writing about. Barbarella is a sort of agent for the planet Earth, who drifts through the universe correcting wrongs and fighting evildoers. She travels in an outrageous spaceship driven by a computer that talks to her (not unlike HAL in "2001"). The always watchable David Hemmings is on hand as handsome Dildano, with whom she engages in a literal hand-to-hand sex ritual; hirsute Ugo Tognazzi engages her the old-fashioned way, leaving her sated and singing. And John Phillip Law is both blind and blonde as the angel Pygar, who manages to offend the Black Queen (Anita Pallenberg) by rebuffing her sexual advances, proclaiming, "An angel doesn't make love, an angel is love."

It's all very silly and tastefully lewd, on a sophomoric, 60's-era, "Tonight Show" level (and don't get me wrong, I loved Johnny Carson and my dad was the "Tonight Show's" biggest fan). Despite the presence of some very big names of the time, it doesn't add up to much, and a certain degree of tedium creeps in after awhile. Still, the acting is tongue-in-cheek, the sets are wacky and colorful, and there is a sexy innocence about the whole enterprise that strikes me as being very much in context with the times; in that respect, though worlds apart, Antonioni's "Blow Up" has some of that same carefree attitude. Director Roger Vadim (Fonda's then-husband) seems to embrace the spirit of the '60's without ever imbuing his film with much substance.

The quality of this DVD seems variable, for some strange reason. There are scenes where the colors are beautiful and vibrant, and suddenly the scene is transformed into a muddy murk, before the vibrancy just as suddenly returns. It doesn't really interfere with the enjoyment of the film; "Barbarella" is much too slight to be affected by minor color distortions.

Was it worth waiting 40 years to see? For me, the answer is yes, but mainly as a curiosity piece more than anything. It's not great cinema by any means, but it holds a nostalgic place in my mind of a time that is so radically different from the world we're currently living in, as to seem almost inconceivable. "Barbarella" is my own proof that 1968 did, indeed, exist, that it wasn't a beautiful fable where people still had audacious dreams and the courage to pursue their beliefs.

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I remember vividly the first time I saw that film. It was in 1978 and I was only 10 years old. I was trying to find something to watch on television and then, saw the first scene at the beginning where a woman in a space suit strips, ending up completely nude. The scene begins as the space "bubble" on her head gradually lowers, revealing Barbarella's face for the first time. Breathtaking is not strong enough a word. In my opinion, she was the most beautiful creature I had ever seen up until that time and I was instantly hooked.

The combination of the music, which is also a very strong element here, in total harmony with the highly satirical tone not to mention those cheesy sets are all dead-on perfect. Everything was put there to create a world where a highly sensual creature like Barbarella could flourish. Jane really knocked all my senses in terms of feminine beauty in this movie. She looks like some living Barbie doll, with breathtaking features and a gorgeous mane of thick blond hair: the perfect sex kitten always eager and ready for sex.

This is a truly wonderful performance from a great actress. She deliberately plays the character as a "bimbo" while letting the audience in on the joke. Here is this very intelligent woman playing some "nymphet" in the most convincing way possible. She ends up sleeping with practically every man she encounters even though the sex is only suggested through some clever images. And all the while, she lets the audience knows in very subtle ways that she's acting in parody mode. That is probably the most interesting aspect of her performance. Even with simple lines like "Oh", "But that's monstrous!", "That's nice", she succeeds in delivering them completely "straight" with just the right amount of tackiness as if to say "don't take any of this seriously, just have a good time...". There are countless classic lines here and I can admit I know them all by heart.

Roger Vadim who also transformed another former wife "Brigitte Bardot" into a sensation in 1957 with "And God Created Woman", did the same trick some 10 years later with Jane. "Barbarella" is an erotic comedy disguised as a bad sci-fi movie. Everything in it is tacky: the clothes, the sets, the plot, the acting... But the big difference between this and a truly bad movie is that it is tacky "on purpose". Therefore, it becomes a camp movie which defined itself as such before any critic could do it. Roger knew exactly what he was doing and succeded on every front.

I must say it is in my top ten list of my favorite movies of all times. I have seen it at least 50 times over the years and for some reason, the movie easily bears the repeated viewings. Sure, the story might seem quite silly to some but that's beside the point. If you view this on the first level, you will probably find it all quite ridiculous and farfetched to the extreme. But if you look at it closer, you'll realize just how well-conceived it is. I won't tell you about the plot as I feel it has been covered already in previous reviews. The plain fact is that the story mainly serves the purpose of displaying Jane as Barbarella in all her youthful glorious beauty in one skimpy costume after another.

I can not recommend this movie enough. If you like camp movies, you will love this one. And even if you don't usually enjoy fanfares created for no other purpose than to entertain the hell out of us, you can at least bask in Jane Fonda's beauty here seen at the age of 29. Just for the chance to stare at that perfect face and body is worth the price alone.

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Orlando (1993)

This is an amazing, ironic film, based upon Virginia Woolf's whimsically mock-serious epic about an immortal English lord, who experiences 400 years of history, changes his sex to that of a woman after refusing to participate in warfare (a feminist point that is subtly made), and never bores or condescends to us. What surprised me when I first saw it is how dry, boring and pompous it isn't; the film has a nice lightness and dry humor that make it digestible. The photography is beautiful and the film never drags, and the performances, which a lot of critics have suggested are somewhat two-dimensional, are that way for a reason: Orlando's adventure is too awesome to be rendered realistically; the people and adventures she experiences are meant, I think, to be represented symbolically---each character is actually a rough composite of perhaps hundreds of such types she meets in her journey from 1600 to 2000. Billy Zane, who is seen in the movie's poster, plays an American adventurer who romances the female Orlando, but to all of his "Titanic" fans, a word of caution: he's in the film for roughly twenty-five minutes, if that much. The real star of the show is the ethereally lovely, brilliant, and mysterious Tilda Swinton, whose male Orlando is unnervingly convincing; so much so that "he" almost seems to be doing a drag bit once the sex change happens---and because Swinton is so eye-pleasing and delightful, this is not a bad thing. Her intelligence and talent radiate from her face, which is so expressive that many shots consist simply of gigantic closeups of it---she can say more with a gaze than many lesser performers do with a page of dialogue. I first saw this film in 1993, as an exchange student living in London, and it gave me an appreciation for British history and for Woolf's books that I had never had before. It's really quite a smart, funny, cool, hip movie, but with no explosions, car chases, or hot-button themes, it's by no means a populist-type entertainment. If you like period films, or anything English, you'll dig this a lot: Orlando isn't just English, he/she *is* England, and the country should be so lucky as to be compared with Tilda Swinton's long-suffering (centuries of it, in fact, what a burden) poetry-spouting nobleman/woman. Very cool.

Finally got this one on DVD after nearly wearing out my VHS copy. Sally Potter is one of the best directors and of course Tilda Swinton in the title role is mesmerizing in every way. Although a sharp departure from Virginia Woolf's source material, it retains the spirit and scope of the novel. Orlando's tranformation from man to woman half way through is a beautiful moment. Swinton proudly naked and observing herself in the mirror looks directly into the camera and says "no difference really, just a different sex" it brilliantly blurs the line between what it means to be a man and woman. And when I say blur, I mean it in a good way. The gender, sexual orientation and race lines all need to be blurred until they disappear. Orland is a good salvo in that war.

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First let it be said that while I love the film Orlando it is simply impossible to get all the themes and events of the novel into one movie, so I strongly urge all viewers, whether they loved or hated this movie, to read the book, Virginia Woolf's unique love letter to Vita Sackville-West.

The inevitable failings involved in translating a book into a film aside, 'Orlando' is visually exsquisite, the costumes and locations sumptuous and splendid, fully evoking the decadance and contrasting squalor of the centuries in which Orlando lives his/her life. The score perfectly compliments the surroundings, the atmosphere and the themes of each scene, and is beautifully composed and performed.

Though some have expressed doubts over Tilda Swinton's ability to play Orlando, the aristocrat born as man who turns into a woman half way through his/her life, I thought she was the perfect choice. I believe knowing she is a woman initially taints people's ability to find her convincing as a man; to me she played the part with great charm, amiability and empathy, and became even more charming as a woman the character of Orlando at this stage in 'her' life becoming more rounded, more sympathetic, more knowledgable and Swinton captures that well.

This film does not follow the 'rules' of the 'real' world besides changing genders, Orlando lives for 400 years and does not age a day. It is the story of a pursuit for life, for meaning, by one individual determined to discover what that means. Accept it, and enjoy.

In its attempt to capture the most important of the book's events the film does have a slight recurring bump in continuity, it seems, and will no doubt be pretentious and boring to some, if not many. Nonetheless, Orlando is a sometimes humorous, sometimes haunting movie, thought provoking and richly realised.

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The movie starts with Tilda Swinton playing Orlando, a male role (so far), and Quentin Crisp playing Queen Elizabeth. Already, physical sex and social gender have been neatly divided. Later on, Orlando abruptly transforms from man to woman with no reason or mechanism given. S/he takes it in stride, but her place in her social world changes around her. Given the magical premise, it's an effective way to comment on the attitudes of men and women towards each other, based on complete and mutual ignorance.

There was only one small problem with the casting. Swinton is just too lovely a woman to play even an androgynous male convincingly. It took some effort to go along with Tilda the man, but it was worth it for the sake of the plot.

And, if nothing else, I could always watch the incredible costuming and scenery. Architecture and landscaping seemed to have quiet lives of their own, tolerating the people that moved among them. Many scenes were chosen for strong, almost confrontational symmetries, something that definitely attracted my attention. Another scene near the end actually costumed the landscape, Christo-like, for reasons I never worked out. There were a number of night scenes, too, and many seemed to be filmed using natural light. Those scenes often had a grainy look, but not enough to be distracting.

This is an odd movie, but I like it. Swinton's little asides to the camera, sometimes just a glance, added a quirky note. It's a thoughtful movie, about tone and appearance rather than action, and delivers well in those areas. However much I like it, though, I come away a bit unsure what to make of it. Maybe that's why I keep coming back to it.

//wiredweird

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Sally Potter is one of the few directors to achieve the near impossible to create a movie that actually surpasses the original novel.

Not wishing to take anything away from Virginia Woolf, whose The Waves is one of the most brilliant and defining novels of all time, Potter's film version is nothing less than a work of art.

As other reviewers have indicated, when the Orlando character, who was based on Woolf's friend and lover, Victoria (Vita) Sackville-West, crosses gender to become a woman, she automatically loses the right to own the very same property that, as a man, she/he had owned for eons. Even as a socio-political commentary, (see also Woolf's A Room Of One's Own) this speaks volumes about a patriarchal society in which the lowliest, most moronic male had infinitely more rights than the most brilliant and gifted female.

Our society is still dealing with the legacy of the tyranny of gender and the legacy of the Inquisition, in which nine million women were murdered for being women.

Yet despite the dark insanities that underly the film's pivotal transition, Potter's modern classic is a rich and joyful romp, filled with love, hope and transcendence, with a simply breathtakingly beautiful closing section.

A rare and inspired work of genius, in which the production direction and casting cannot be faulted.

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The Secret of Moonacre (2008)

Really enjoyed this film. I'm always eager to see a new fantasy/childrens themed movie. But I must admit that I am critical and occasionally disappointed by todays offerings. But this film did not let me down. Visually I enjoyed the movie immensely and felt that the sets, wardrobe and effects were amazing at times (especially wardrobe). The acting and casting was above board and complimented the film/story well (with the exception of Tim Curry's small role ironically). The story was traditional fairytale fantasy and adapted from the book more than satisfactorally. All in all this was one of the better childrens fantasy movies I've seen out of the crop of offerings in last 5-10 years. Worth seeing...maybe more than once even. Enjoy.

A unicorn, an ancient curse, magical pearls, a blood feud, a forest haunted by bandits, and a bit of "Romeo and Juliet" romance (without the suicide). "The Secret of Moonacre" is something of a modern fairy tale, and Gabor Csupo films it in the style is deserves -a lush, exquisitely magical little tale full of magic.

When her father dies, Maria Merrywether (Dakota Blue Richards) discovers that his debts have left her penniless -all she inherits is a storybook about the Moon Princess and her magical pearls.

She and her governess are sent to live with Sir Benjamin Merryweather (Ioan Gruffudd), her grumpy uncle who lives in a vast decaying mansion. But soon Maria begins to realize that something strange is afoot -it turns out the story of the Moon Pearls is true, and a strange young woman named Loveday (Natascha McElhone) warns her of what will happen in just a few days.

And along the way, she discovers that the Merryweathers and the bandit clan called the De Noirs have been at war over the pearls for centuries. However, the only way that Maria can find the pearls is by enlisting the help of Robin De Noir (Augustus Prew) -and if she doesn't succeed, the entire valley of Moonacre will be destroyed.

"The Secret of Moonacre" is loosely based on Elizabeth Goudge's classic fantasy novel "The Little White Horse," although they take some hefty liberties in the name of drama. However, it's still a lovely little movie with a distinctly British flavor, as well as a mixture of wide-eyed optimism and the usual stuff about pride, getting along, love overcoming all, and so on.

The script is a mixed bag -the dialogue has moments of banality ("It is not the pearls but the greed in our hearts which brings us this misery"), but also some enchanting humour ("How can I possibly go to live in the country? It's full of... the countryside!"). And a small warning: the De Noirs look like refugees from "A Clockwork Orange."

But the movie is worth getting if nothing else for the sets and scenery. Director Gabor Csupo paints the entire movie with lush magical forests, a bandit citadel with a dungeon, a bedroom with murals and a sea-bed, dusty old libraries and an overgrown kitchen where an elfin cook bounces around like a Lewis Carroll character. Nearly every scene looks like a pre-Raphaelite painting, and Csupo milks it of every ounce of fairy-tale beauty and magic.

And though this is only her second movie, Dakota Blue Richards easily takes center stage and gives a gutsy flair to her ladylike character. Gruffudd and McElhone are quite good as the grumpy aristocrat and the pretty hermit, and Tim Curry is sneeringly nasty as Coeur De Noir (although he seems totally lost in the last scene).

"The Secret of Moonacre" has some flaws, but it's still a charming little fairytale that enchants the senses and makes you feel warm'n'fuzzy. A lovely little treat.

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The Secret of Moonacre played at our local theater last evening and I caught it with my daughter (age 10) who had seen the trailer for it recently and had been talking about it ever since. What a beautiful film, both physically (what you see) as well as story-wise (what you get).

A filmed fairy tale based on the acclaimed novel "The Little White Horse", the story of a young girl recently orphaned is filled with joy, fright, heartbreak, laughter, love, hate and hope. Sent to live with her eccentric uncle at his very mysterious home of Moonacre Manor, a young Maria finds herself in a world of magic and myth. Discovering that an ancient family feud has kept Moonacre in danger for many a year, Maria also learns that she is the next moon princess and that she alone may be able to succeed where others before her have failed. From there, the story takes you on a journey that is captivating throughout as Maria attempts to save Moonacre from slipping into eternal darkness, something that must be accomplished before the 5000th moon rises, something she cannot quite accomplish alone. As I do not want to put any spoilers within this commentary, I will only tell you that the final scene of this film is simply upliftingly fantastic.

The Secret of Moonacre is perfectly suited for children. I would say for ages 8-15, more for girls than boys, but there are elements to the film that boys, too, will enjoy. The special effects are superb starting with Maria's bedroom which is located atop Moonacre Manor with a clear ceiling that lets her view the starry / dreamy nights while laying in her bed. For girls there is a beautiful Unicorn and a very rare Moonacre rabbit; for boys there are outlaws in the forest (led by Tim Curry btw), an evil-looking but protective dog and an extroadinarily unique black lion. Moonacre is a love story and Moonacre is a joyous fairytale. It is a film with a female lead herione who challenges a world she faces that is filled with obstacles. Moonacre comes complete with lessons taught (i.e. how jealously and hate are destructive and yet they can be overcome). It is a film definitely worth repeating as its filled with small details that only repeat viewing will expose. The Secret of Moonacre is destined for greatness.

My daughter already wants to own it and for sure, she will. I've already placed an order for the blu ray version which I can only imagine will be stunning to watch.

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It's so hard when a favorite book is turned into a movie. You want to love it.....and sometimes end up wanting to sing comic songs on the graves of the butchers. (I'm not saying how they got into their graves).

I also want to sing comic songs on the graves of reviewers who think the imagery is taken from other movies. No, Elizabeth Goudge did it first.

I can understand changing the story a bit but think things could have been tightened up to include some of the other storylines.

Why on earth make Rowlf black? Why does Robin have to be on the wrong side? Why do the villagers seem so mean greeting Maria with "She's a witch!" instead of "Be you the one, dearie?" Why oh why didn't they manage to include Old Parson? I would have been a lot happier with Old Parson and the children of Silvery Dew along for the ride.

BUT.... visually, it's beautiful. I adore the costumes, impractical as they are for roaming in the forest! I enjoyed the whole 'look' of the movie. Elizabeth Goudge's descriptions of people are so detailed it seems a shame they didn't stick to that, but Maria and Miss Heliotrope are wonderful exceptions.

The interviews and 'extras' were enjoyable also.

Maria's bedroom was just as it should be and I can forgive a lot for that.

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I really enjoyed this delightful film, mostly because of the wonderful performances. There isn't a false note. The leading girl is really special, with great support especially from Juliet Stevenson, who stands out. Suspense mixes surprisingly well with unexpected humor. And the film has Tim Curry, always a plus.

Also the scenery and whimsical sets just seem perfect, and even the imaginative costumes contribute to the magical atmosphere.

Excellent family film.

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Solomon Kane (2009)

The hero, Solomon Kane, is an early 16th century Puritan who roams the earth fighting evil. The character was introduced in 1928 by Robert E. Howard, the creator of Conan.

This movie is a wonderful sword and sorcery story. It's not quite true to the Solomon Kane stories as written by Howard, but it's a very exciting and entertaining origin story for the Kane character. Purists may complain that it's not verbatim Howard, but it is well written. Presumably now that he has been given a back story, he can go forth in sequels vanquishing evil in true Howard fashion.

The film introduces Solomon Kane as a murderous privateer who one day discovers that his wicked past has caught up with him and the devil is ready to claim his soul. A near escape from the devil's own reaper is enough to set Kane on the path to righteousness. He forsakes his violent past to become a man of peace but, as they will do, circumstances conspire against him.

James Purefoy is marvelous, as always, in the Kane role. He is one of those rare actors who can deliver pages of exposition with a well timed facial expression. Max von Sydow and Pete Postlethwaite are excellent in their supporting roles. Rachel Hurd-Wood is luminous as the young Puritan girl whose rescue becomes Kane's mission.

As sword and sorcery should be, this film is quite dark...figuratively and literally. Dark magic, demons, ghouls, witches, bloodletting, murder, and torture are portrayed against a background of dark, dreary, icy winter days not to mention the somber dress and sober speech of the Puritans as Solomon Kane seeks redemption for his past transgressions.

This movie was originally premiered in 2009 and went into release in Europe in 2010. US fans of Kane and Howard have had to wait until now for a domestic release. It's a mystery why this film didn't find a US distributor until now, but the long dry spell is over. It's terrific! I have one of the region 2 DVDs, and was pleased to see the HD instant video rental is better quality. I'm looking forward to a Reg A BluRay release in the not too distant future, too!

Highly recommended!

Can a person who has sinned truly be redeemed, and if so, how can he do it?

That question is at the heart of "Solomon Kane," a grimy, rainy story focused on a man who has done horrible things, and now desperately tries to redeem himself. But despite a lack of real setting, Michael J. Bassett's dark fantasy is a strangely compelling, haunting one, and James Purefoy's lean, desperate performance fits his character beautifully.

For many years, mercenary Solomon Kane (Purefoy) killed and stole without regard for anyone. But in one raid in Africa, he found the Devil's reaper waiting for him -and only barely escaped. Terrified by the prospect of hell, Solomon devotes himself to peace and God at a monastery. And after the abbot sends him out into the world, Solomon befriends a family of Puritans, particularly the pure-hearted Meredith (Rachel Hurd-Wood).

But when the family is slaughtered and Meredith is kidnapped, Solomon throws aside his vow of nonviolence, believing that saving her from death will save his soul from hell's grip. So he sets out to rescue her from the evil sorcerer Malachai, his skin-masked swordsman, and his hordes of cursed soldiers but he has little idea of what they're planning for him.

I honestly didn't expect to like "Solomon Kane" as much as I did -most movies that try to combine action with theological/philosophical stuff fail miserably. But somehow it just clicks in this movie, especially since the main character truly believes himself to be destined for hell, but he tries to do the right thing anyway.

And Solomon's world is suitably bleak: a gritty, muddy, rain-soaked, grey-skied world, where witches and black-eyed soldiers wander around killing people. There are some filler scenes (like the crazy priest tossing Solomon to a zombie pack), but the story feels almost like a spiritual journey that happens to have a lot of hack'n'slash gore and forbidding dark castles in it.

But it does have some flaws -there's a lot of theological sketchiness, and apparently one of hell's best minions is a... wingless Balrog. And the whole crucifixion scene felt unnecessary and a little silly ("GOD, GIVE ME STREEEEEEEEEEENNNNN...").

But James Purefoy gives a really powerful performance, giving Solomon a raw, hungry energy and a dark-light duality that is very compelling -he's a natural warrior, but craves peace and justice. It's also rather refreshing that he doesn't have any romantic tension with Rachel Hurd-Wood's wide-eyed Meredith -Solomon just admires and treasures her for her innocence and kindness.

"Solomon Kane" is a movie I didn't expect to enjoy as much as I did, especially since I'm still scarred by the horrors of "Jonah Hex." But it ends up being a gritty, gripping quest with some very strong acting.

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This is an Awesome Movie! I am a bigtime REH fan and although this might not be word for word Howard text, personally I believe it accuratly embodies the spirit of Solomon Kane. I love it.

UNFORTUNANTLY!!! For whatever lame reason this has not been released in Theaters or on DVD in America. So what do you do?

I bought the UK version trying to be legit and all, and although its real nicely packaged, it is no better than any of the high quality Peer to Peer versions available for download. The disc itself is a little less than 4 gigs and the bitrate is unimpressive.

My advice is to either wait till someday it does come out in America and then buy it (hopefully a better copy) or buy the Blu-Ray Disc for twice the money and assume that its of better production quality.

I dont fault the seller, but the manufactuer.

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When I was growing up, it was through Robert E. Howard's Conan and the Lord of the Rings that I got introduced to Fantasy. As much as I enjoyed Conan, I actually found Solomon Kane to be a superior character created by Howard, although there were fewer stories and since I don't think Frazetta ever did a cover for the paperback reissue, it did not nearly approach the popularity of at least many of the Conan stories in the 70s.

That said, when I encountered this on rental with Amazon, I had to check it out for old time's sake, and thoroughly enjoyed the production values, the acting and direction of the film, and its overall faithfullness to Howard's original character and to the ambience (moody, dreary, winter) of some of the Solomon Kane stories. Solomon, as I recall, was a Puritan swashbuckler who dedicated his life to finding and fighting demonic evil. He is not a "fun" character, but the religious underlay of his motivation in the film is relevant without being cloying. Quality of the rental and streaming on the XBox360 was excellent.

The story is fast paced, and the back story is quickly and effectively delivered. I watched in HD, and the special effects were mostly quite good IMO, although I found the fleet battle in the beginning not very convincing -but it can't be on more than thirty seconds. Dialog drew a good balance between avoiding obvious anachronisms while avoiding pedantic fidelity to the language of the day. Likewise, fighting and stunts were also generally plausible. There is no fencing per se in this movie -rather there is sword "fighting". It's about survival. I had never seen a demon quite like the CGI demon who comes after Solomon in the climax, but it was very effective. The supporting cast (Von Sydow and Postlewaite and others) are excellent.

How disappointing that this was not released at all in the USA in theaters. I really hope there will be a sequel.

RECOMMENDED: No sexual content or language, but considerable graphic violence and blood.

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I have been waiting for Solomon Kane to arrive in the US for quite some time. The title has languished, sadly labeled "unknown release" at the bottom of my Netflix queue for over a year. And then, lo, Amazon offered a "pre-theater release rental."

The film was a delightful dark fantasy romp with stunning visuals provided by effects master Patrick Tatopoulos. Filled with action and adventure, the movie did a good job of representing the spirit of Howard's classic Solomon Kane. It weaves together incidents that could be the subject of Howard short stories into a strong storyline and pays homage to the original fantasy witchhunter. With good pacing and a tip of the (large, Puritan) hat to classic adventure films, the movie actually provides a far more entertaining experience than many recent, more lauded fantasy adventure films.

The format currently offered by Amazon (pre-theater streaming) is absolutely brilliant. I wish more companies would release films this way. I was able to thoroughly enjoy the film in the comfort of my own home on my own system. This distribution model is wonderful, and I hope more follow it. I, for one, am more than willing to pay a few dollars more for the opportunity to avoid the theater experience and its added costs.

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The Night Porter

"The Night Porter" must have been one of those films that shocked people when it first came out. Directed by Liliana Cavani and sporting a garish cover on the Criterion Collection DVD (yes, the cover image does come from a scene in the movie, but not in the way you would think), "The Night Porter" deals with extremely unpleasant psychological situations stemming from the holocaust. The film is definitely not for everyone, but those capable of keeping an open mind may find much to like about this generally repulsive piece of art house cinema. You have to hand it to Criterion for continuing to release pristine transfers of films considered anathema to mainstream audiences. My experiences with this DVD company have introduced me to such wondrous delights as "Blood for Dracula," "Man Bites Dog," "Peeping Tom," "Hearts and Minds," and several other challenging titles. My only gripe with Criterion concerns the cost of their DVDs, which often seem quite high even for such great movies.

"The Night Porter" is about a night porter working in a fancy hotel in Vienna, Austria twelve years after the end of World War II. If the movie merely touched on the surface aspects involving night portering, it would be a dull affair indeed. How to make a film delving into the multifaceted fascinations of checking in luggage, or taking phone calls from irate customers? No, "The Night Porter" has little to do with the hotel industry and much to do with a hideous relationship between two tortured souls. The night porter at this particular hotel, Max Aldorfer (Dirk Bogarde), was once an SS officer assigned to a concentration camp where he tortured and killed inmates. Post war investigations into war atrocities has Max and his fellow Nazi henchmen on edge; they meet often to discuss their efforts to suppress evidence and other ways to cover their tracks. Max is ambivalent about these meetings, and becomes even more so after a chance meeting with a woman he had a very special relationship with in the camp. This woman, Lucia Atherton (Charlotte Rampling), initially expresses horror at seeing her former lover/tormentor in the flesh after all these years, but then something grim and repellent happens. The sick spark that united victim and oppressor all those years ago blossoms anew. Lucia feigns a lame excuse to her husband about staying behind so she can indulge her desires for Max. And this is only the beginning of the trouble.

Max's friends express great alarm about this relationship. They see Lucia's presence as a significant danger to their yearning for anonymity, and they want Max to jettison the love affair and come over to their way of thinking. Max suspects spending time with Atherton presents a danger to him, but he cannot bear the idea of giving her up again. He secrets her away in his apartment in an effort to hide the relationship from his companions, who warn Max that keeping this woman in bondage will force them to take drastic measures to insure their secrecy. The former Nazi's go so far as to monitor Max's apartment twenty four hours a day, taking pot shots at him whenever he sticks his head outside for even a minute. When Max and Lucia run out of food and drink, they make a terrible decision about their future that will have permanent, unpleasant results for the pair.

It would be easy to write off "The Night Porter" as an exploitation film, a movie in the same vein as Tinto Brass's "Salon Kitty" or "Ilsa: She-Wolf of the SS," two films which borrow themes from National Socialist Germany to make a cheap statement about the nightmare of the holocaust. "The Night Porter" does contain many disturbing images that could rate as exploitation fare: the flashbacks to the concentration camp where Max and Lucia first meet immediately comes to mind, as does the little dance number Lucia performs for her lover and a room full of SS officers. Having said that, I really don't feel this movie is exploitative. There is something more going on here than mere sensationalism, perhaps a statement about the nature of power and how it pertains to love during a horrific event. I would need to watch the film again to examine Lucia's desire for Max, but for the former SS officer I think the need to relive a time when he was a man with position and power is the main reason he rekindles this doomed relationship. Here's a guy who held the power of life and death over thousands of people, and now he works as a lowly hotel clerk. Why wouldn't he want to taste again the rush of power he gets when he dominates Lucia in his apartment? Sure, it is sick, but people do inexplicable things in relationships all the time that are just as disturbing.

A quick note on the performances: Charlotte Rampling and Dirk Bogarde both excel in their respective roles. Rampling especially is always easy on the eyes and has a wonderfully expressive face capable of transmitting complex emotions to the audience without uttering a word. If for no other reason, you should watch this film just to see these two actors turn in amazing performances. Married with a marvelous picture transfer, sumptuous set pieces, gloomy atmosphere, and a great script, "The Night Porter" is a one of a kind film that is sure to make an impression. Thanks again, Criterion, for releasing yet another brilliant cinematic oddity.

Jeffrey Leach has written an extraordinarily insightful review of "The Night Porter," and I just want to add a few lines, as otherwise I'd just be repeating him. I recommend that anyone trying to understand this film read his review for help with the extremely difficult territory it explores.

For those who find the film to be exploitive or perverse (in an unrealistic way), please remember that we now know, as a result of so much information gathered regarding the sexuality of children who were abused during their formative years, that if a girl, young and inexperienced as Rampling's Lucia was when she was in the concentration camp, finds the right combination of emotional tenderness (as in Max's kissing of her wounded arm) and sexual stimulation/initiation, these experiences become so deeply imprinted as to be easily re-awakened in adulthood. After the intensity of such experiences, "normal" sexuality can seem dead and flat, not at all a match for the earlier times of dis-inhibtion. While this may be difficult and even offensive for those who have no similar touchstone of experience, psychologically it is accurate--frighteningly so--and "The Night Porter" shows us just how far it can go. When Lucia puts on the little girl's dress she's purchased, the image is jarring but sums up the truth of her stunted psychological and sexual development. We end up wondering whether she ever had a passionate moment with her oh-so-normal husband. With the experiences of the camp having been the most intense and indelible of her life, how could she not seek to re-create them? And how could Max, who despite his sadistic acts seems to have genuinely fallen in love with "his little girl," not fall backwards himself into the time when they were locked together in the deepest relationship of all--two people may never be closer than victim and torturer, completely dependent upon one another for the only human contact either has. Hence we see the Stockholm Syndrome constantly repeated, abused girls become abused women, etc. As Lucia says to a former Nazi doctor who comes to Max's apt. to check on the situation, "There is no cure." Whether one agrees or not, whether it is true for everyone or not, it is accepted as true by these two, and all their actions spring from this perception.

Liliana Cavani's precise and compassionate direction gives her characters the safety they needed (Rampling is astoundingly courageous in her no-holds-barred performance--most actresses would have run screaming from this role), and Bogarde is memorable as this strange combination of father/lover. Together the three create this dark and disturbing but deeply human story of damaged people who somehow find a way to live fully for a brief time before their end.

One last note: I agree with Mr. Leach that Criterion can be too expensive, but at least they give us what no one else will touch.

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Despite the misleading cover photo, this is not another stab at exploitive and kitschy WW2 sick humor a la "Ilsa:She-Wolf of the SS", but a far more ambitious and artful work of cinema. Disturbing and repulsive, yet quite compelling, "The Night Porter" brilliantly uses a depiction of sado-masochism and pycho-sexual politics as an effective allusion to the horror of Hitler's Germany. Dirk Bogarde and Charlotte Rampling are both broodingly decadent as a former SS officer and concentration camp survivor, respectively, who end up in a twisted, doomed relationship years after the war. You would have to search high and low to find two braver performances than Bogarde and Rampling give in this complex story (Harvey Keitel and Holly Hunter in "The Piano" comes the closest). Like the film "Seven Beauties", the "sex" you think you're watching is really a subliminal lesson on the ugly politics of facism and oppression. Obviously, this is not going to be everyone's cup of tea, but recommended for any cinema buff up for a challenge.

Read Best Reviews of The Night Porter Here

One of the great cult films of the early 70's, The Night Porter can be viewed as a treatise on the decadence of the Nazi regime or an exploration of the lingering ties between abuser and abused. Gruesome and surreal in some scenes, passionate and haunting in others, it is definitely one you will never forget. The cabaret scene and the final image of the two doomed companions walking along still haunts me today. If you are looking for a great cult movie or just something different, well now you've found it!

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Being 21-years-old at the time of this review, I had never seen many of the decadent films to come out of Europe during the 1970s, let alone any that dealt with the Nazi Party or The Holocaust. After a good deal of reading online, I ordered "The Night Porter" from Amazon, and decided to give it a try.

Needless to say, I've been haunted for days.

Lucia (Charlotte Rampling in an outstanding performance) arrives in 1957 Vienna, along with her composer husband. A Holocaust survivor who has gone on to live quite a comfortable life, her picture-perfect existence is shattered when she encounters Max (Dirk Bogarde), her ex-Nazi captor, tormentor and lover, whom she had an affair with for many years.

Max is hiding out in Vienna, working as a night porter in the hotel and hoping to avoid standing trial for his crimes. A member of a kind of support group for fellow nazis, he and his comrades seekt to eliminate any witnesses who could send them to prison -or even death. Agonized over his love for Lucia and the loyalty to his friends, Max decides to go into hiding, where the sadistic/masochistic nature of his past affair begins to resurface.

Never before had I seen a film quite so dark, so decadent, so psychologically penetrating. Rampling in particular is as beautiful as she is heartbreaking; for only someone who was truly mentally ill would continue a relationship as violent as the one she shared. Bogarde fairs equally as well, portraying Max's feelings of anger and love with an eerie authenticity.

The most disturbing part of the movie is that we the audience *know* there cannot be a happy ending; that disaster looms at any moment and that these two people have been traumatized (perhaps beyond repair) by the events of WWII. In my opinion, this is what made "The Night Porter" so realistic -by showing that the after effects of the Holocaust can and will be felt for decades after the war ended. Perhaps even today.

In sum, if you are in the mood to watch a film that portrays violence and sex as one of the same, withouth the requisite happy ending, than "The Night Porter" may very well be for you. While the film doesn't go into much detail about the Nazi party speciifically, it builds such an aura of tension and doom that it doesn't even matter. This may not be the happiest film to ever be made, but it remains among the most memorable.

Flipper (1996)

I gave a shot at streaming this to keep the kids (8 and 3) occupied one recent afternoon. They're hooked. We've streamed it at least a dozen times since then.

It's a bit formulaic and ham-handed at times, has some scary bits, but otherwise it's entertaining for the kids and sends a decent message.

POSSIBLE SPOILERS BELOW STUFF FOR PARENTS

Parental heads up: Mild profanity; Elijah Wood looks at a Playboy.

Scary bits: A dolphin gets killed; a hammerhead shark goes after Elijah Wood ala Jaws; an ambiguous moment where it appears the bad guy might try to kill Elijah Wood.

I was alive when I saw the original movie released that lead to the TV series starring Luke Halpin and Tommy Norden. I bought this film simply because I have loved Paul Hogan's work and adore Elijah Wood. So I took a chance.

In merit to this film and its premise, this film's take off of "Flipper" shows a more disfunctional family approach to the Ricks family we see in the old 1960's TV series. Elijah Wood, who plays Sandy in this film, is sent to stay with Ranger Ricks for one summer. You presume Sandy's mother can not take care of him for the summer, while she pays Porter Ricks, played by Paul Hogan; $100 a week to take care of the boy. I don't know who can get by on $100 a week these days let alone in 2003 when this film was made. Porter Ricks living conditions are quite a far cry from the clean environment and ethics taught in the old 1965 tv series. Since this film is drawing from the original characters created from the 1965 series, it makes sense to make a rough comparison. This film in other words can not just be judged for its own merits alone, since it draws from the old 60's Tv series in premise.

There is no sign of Bud in this film or hint to a sequel that might introduce him and frankly, it was the relationship between Flipper and Bud that made the old 1960's tv series work so well. Tommy Norden was not only a cute kid to watch, but had a fabulous personality as a young actor.

The character development in this film needed allot of work, not to mention somekind of decent story line. In the opening, Sandy and Porter Ricks seem distant from each other and don't really seem that much closer by the time it all reaches the end of the film.

Flipper appears into this half hazardly via Sandy witnessing some fishermen killing Flipper's mother and, for some reason, Flipper is drawn to Sandy after roaming the oceans with no pod or family. How he finds Sandy isn't clear either when there is no earthly way a dolphin, as intelligent as Flipper, could have known where Sandy lived.

I liked that Flipper tracked Sandy down in his lonliness, but it would have made more sense if Sandy had tried to rescue Flipper from the gunman, who shot Flipper's mother, which caused this bonding to take place, while leaving a clue for the dolphin to find Sandy. You really have no idea why flipper is drawn to Sandy, other than the fact that Flipper gets lonily, in need of a family, and magically tracks him down.

The dolphin in this movie is cute; that goes without saying. Makes me think of the mechanical dolphin, named Darwin, they used in SeaQuest.

I think this film would have had allot more going for it, if they had simply worked to create somekind of story that brings Ricks, Sandy and Flipper together via stuggle and need for each other. It seems the story was trying to do that along the way, but kept missing.

Frankly, this story really does not go anywhere and that's ashame. You can read other reviews to get some idea of what the story is about. Otherwise I think the chemistry between Paul Hogan, as an actor, and Elijah Wood, as an actor, could have really worked in this film. They both are excellent actors when it comes down to it. It just seems the whole thing was slapped together with the idea in mind; "This will sell, everyone loves Flipper", but we also like a good story or it doesn't work.

Also, as long as the character "Sandy" was going to be used in this remake, it makes no sense to take away Bud from the family profile; given this film is drawing from the original work of the original film and tv series of the 1960's.

Cinematography wise; this film is done well, but I can see why it would have been hard to even make a sequel with this, simply because the story really goes no where or at least in a direction that might even suggest a sequel.

I felt very lost at the end when Sandy goes home at summer's end to be with his mom: At least you think it is his mom, even though that isn't made clear in the script. He's allowed to come back next summer to visit Porter Ricks, but the whole thing just comes apart with this type of ending when you consider the original premise of the Ricks family of the 1960's and that they were a family. You don't see that happening here, even though the writer is drawing from the old 1960's series. Too bad.

I hate to give anything a number 2 rating. Can't imagine how anyone could have blown it with something as delightful as Flipper, but this one really isn't worth your money. It's more a rental film or something to pass your time when nothing else is on tv to watch.

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I really enjoyed this movie! It's very cute and quite funny in places, has decent acting and of course the dolphin is simply delightful!

Sandy (played by a tender Elijah Wood) is a rebellious teenager from Chicago who is sent to stay with his Uncle (aussie Paul Hogan) over the summer. Thinking there will be NOTHING to do accept fish on a crummy boat for 8 weeks, Sandy finds pleasure out of being difficult and objective. However things take a turn when he saves the life of a friendly and intelligent dolphin, who later on becomes known as Flipper and the two soon develop a strong friendship.

Being an Australian, it was great to see an old classic in this movie to bring a little something extra. Elijah Wood did a wonderful job i thought! Best known for his portrayal as Frodo in the "lord of the rings" Wood shows real profession at such a young age.

And i wont finish without mentioning the beautiful dolphin! Those animals are such a joy to watch because you can really sense that they are smiling! He was simply beautiful! Children are going to love the several sequences in which Flipper dives and plays in the water. Beautiful cinematography!

So in conclusion, "Flipper" is just wonderfully light and fun escape from heavier films and the other destractions of life. It'll make you wanna jump in the pool and you will laugh in several places. Good acting and gorgeous animal interaction work together to make this sweet tale of friendship a pleasure to watch over again!

Read Best Reviews of Flipper (1996) Here

My four year old daughter is in love with this film. We rented it from the library and she asked to "own" it so I ordered her one for a Christmas present. Yes a dolphin does get shot in the beginning but you don't actually see the animal get hit, (an older child would be able to put it together)but a hammerhead shark does eat a seagull and there is blood involved. But otherwise this is a fun, lighthearted movie.

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I believe this one was overlooked when it came out. The only thing is Uncle Porter (Paul Hogan)has gotta get some other food besides all those cans of Spagetti-O's. If you are a Paul Hogan fan then you will enjoy this film. I am ready to visit Uncle Porter just so i can enjoy the beach and ocean. LOL Good Movie!

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