Soloist (2013)

I think it's quite extraordinary that none of the reviews of the Soloist discuss the use of Beethoven's work in the film, which in my view reveals a shocking ignorance on the part of the critics. For example, the use of the cello part from the rondo of the second movement (the funeral march) of the 3rd symphony is brilliant, and reveals far more than just the playing skill of Ayres. Ditto the use of the Triple Concerto, various string quartets, less well-known parts of the 9th Symphony, all of which brilliantly move from the cello parts to the lager ensemble and back. It's a moving, innovative, and gorgeous use of Beethoven's work, and it makes a much larger point that the critics seem to miss entirely: Beethoven's work, most of all is about transcendence, the brotherhood of mankind, and the profound spiritual value of music. That's how the Soloist uses the composers's work to tell the story. Beethoven and music are Ayres' path to transcendence, and the way Beethoven's work is handled in the film makes this point clearly. The Soloist is worth seeing (and hearing) for the music alone.

People who see this film as a political statement miss the whole point.

This movie is primarily about the relationship between the weary journalist and the homeless artist, and Downey and Foxx give great performances. It sensitively deals with issues of charity and friendship in ways that challenge conventional ideals, and I liked the fact that in the end, Downey's character seems content to stop playing the role of "rescuer" and instead lets events play out to their natural conclusion. In fact, Foxx's character, for all the mental distress he faces, seems more grounded at times than Downey's character, and you might wonder whether the soloist refers to the cello virtuoso or the journalist who seems to learn what it means to be a friend rather than going solo through life. In that respect, it's a show that operates effectively on more than a superficial level.

Now if they could just have spent a little more time coaching Foxx on his fake cello-playing skills...alas.

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Having casually checked this out recently, knowing absolutely nothing about the film beforehand except from its brief description on cable, which sounded interesting to me, I was and will forever continue to be, stunned by how great this movie is, for me at least. I have since watched extended parts of it as well as the whole thing, several times, have permanently recorded it onto DVD for future enjoyment, and my initial reactions remain the same with each viewing. This is one of the best movies I've seen in a long time. The fact that this didn't really make any box office buzz or profit is not surprising, given the subject matter. But the generally favorable but highly mixed, both positive and negative feelings and opinions about it from other reviewers and critics, and especially the lack of industry awards for this (i.e., Golden Globes, Oscars, etc.), are puzzling to me.

IMHO, this film is simply wonderful throughout, beginning to end, and has moved me to very moist eyes upon each and every viewing, tears of both profound sadness and sublime joy alike. I suspect that most people who have seen this, and have given it thumbs down, are missing the boat here. Although I always try to give, at times grudgingly, respect for the opinions, beliefs, and feelings of intelligent, enlightened folks, no matter what the film, I find it hard to fathom how and why anyone could watch this, stick with it to the end, and not see this as something really special.

The first time I watched this "cold," knowing almost nothing about it and only later discovering that it was all based upon a true story and the characters based upon real people, I nonetheless strongly suspected such was the case early on in the film and to the finish. It just had to be, I reasoned, because so many Los Angeles locales and environments, and particularly specific "Angeleno" details and ideas explored within it, rang so true and familiar to me. This is because of my own personal experiences with LA-centric, relevant places, people, concepts, issues, and events of substance and reality, for nearly a third of my lifetime.

Perhaps the main reason why a lot of folks who didn't or don't think that highly of this as I do, is because of this lack of personal connectedness to it, which I have and they may not. And that goes to all the filthy rich big shots of Hollyweird who chose to basically ignore this, come awards time. I accept these factors as givens, but honestly, this film has universal themes and observations, which really should appeal to most common people with sentimental hearts and rational minds. That this didn't seem to resonate powerfully with more upon release or since, I can accept. But it's a shame, because this really is extraordinary filmmaking, and distinctively honors what it apparently sets out to pay homage to, throughout.

The film, screenplay adaptation by Susannah Grant, is based on a series of columns written by Los Angeles Times columnist Steve Lopez, who chronicled the plight of Mister Nathaniel Ayers, Jr., a middle-aged, homeless, drifting LA "crazy," but a former Julliard-trained musician with schizophrenia, originally from Cleveland, Ohio. The beginnings of this project were eventually inspired by and detailed in Lopez's book "The Soloist: A Lost Dream, an Unlikely Friendship, and the Redemptive Power of Music" which was published in the spring of 2008.

Nicely but not heavy-handedly or intrusively directed by Joe Wright, starring Jamie Foxx as Nathaniel and Robert Downey Jr. as Steve, the movie features original soundtrack music from Golden Globe and Academy Award-winning composer Dario Marianelli, as well as subtle and intense excerpts from works by Beethoven and the enchanting Cello Suite No. 1 by Bach. Needless to say, throughout, great music and the possible redemptive love, "grace," and healing power of it (with even a bit of Neil Diamond thrown in), plays a big part here. But within that basic structure and notion, a superlative visual and cinematic rendering of same, exemplifies the life-changing supremacy of simple friendship which can develop between often-disparate human beings, and which can bring to each, symbiotic rewards. For "the soloist" here doesn't just apply or refer to homeless, at times obviously schizophrenic but talented Nathaniel, but to Steve the talented and humanistic yet cynical reporter as well. By film's end, both forge a life-affirming relationship, despite their immensely different personal blessings and circumstances in life. A real life, rewarding relationship and friendship which apparently continues to present day.

Detailed musical and visual bits in this movie take quite moving and unexpected twists and turns throughout, more than once from far above and apart from the noisy madness of Los Angeles. And about an hour into the film, it unashamedly ventures (when Nathaniel closes his eyes and listens to a full symphony orchestra playing Ludwig Van) into a very delightful and totally spiritual, "closed-eye vision" colorful representation of music as might've been imagined by the late, legendary experimental filmmaker Stan Brakhage. This "closed-eye" section, while brief, came as a complete surprise to me, but should resonate with anyone who has ever really experienced firsthand, the exquisite "beauty" of great music as a transcendental art form. Truth be told however, these moments are only a few in a series of ever meaningful and majestic ones, in what I consider a virtually perfect film.

This movie is not without its lighter sides, and brief but effective moments of humor, but is at its best when relating various true, and serious elements of the modern USA, social/civilized failings as a whole. These range from the obvious, yet-unlearned tragedies/lessons of Hurricane Katrina's impoverished masses, to its equating of those with the continuing utter shame of LA's skid row and homelessness problems and our whole depraved "health-care" system. Also dealt effectively with is the complex and at times troubling, but deeply romantic (in the classic sense) relationship between Lopez the reporter and his ex-wife and co-worker/boss. As well as the search for connectedness to their fellow human beings in a world seemingly gone mad, among which all the characters in this movie, share equally.

As I've said, this film deals with subjects, people, places, and situations which are uniquely familiar to me, having spent so much time in Southern California in circumstances similar to both that of Mister Steve Lopez and Mister Nathaniel Ayers. Jr. At times there, I was near the top, and other times near the bottom. And I can speak with factual understanding of being both a part of the highs of the fancy award ceremony world of mayors and celebrities which Lopez experiences, to nearly being homeless out there myself in the unbelievably bleak environment of skid row and surroundings, which makes up Nathaniel's world.

I could write so much more in praise of this amazing filmic endeavor, but I will just say this in closing. This is truly a work of art, its power and realism enhanced by true events and people and locales, and while it may not be fully appreciated as I write this, I'm sure in the future, it will be seen as a classic, great film with a message which almost everyone, in time, should eventually identify with, in a very special, if wholly individual way. And by the way, again, the very title refers both to Mr. Ayers AND Mr. Lopez, if some haven't caught on or never will, to that.

This is a work, minute by precious minute, to be revered and cherished forever, which I at least, most certainly will.

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If there were ever any doubt that Robert Downey Jr. is one of our best current actors out there, then this film should put them to rest. Still having doubts? Check out his more current resume: Kiss Kiss, Bang Bang, Good Night and Good Luck, Iron Man, and his amazing Tropic Thunder. And these are just a select few that I've cherry picked. This isn't to say that Jamie Foxx (Dreamgirls) didn't do a great job. It's just that Downey Jr. is showing up in some awfully great roles and performing them to perfection, as witnessed here in THE SOLOIST.

This is a story close to my heart. Similar in theme to Lars and the Real Girl, this story doesn't circle around a town coming together to help one man's pysche. This story is about two men who orbit in entirely different galaxies and how a passing swipe ends up creating a lifetime friendship. Yes, there's the mental illness aspect to it and Foxx plays the role of Nathaniel Ayers exceptionally well. His schizophrenia is obvious, and living on the streets hasn't helped. And when newspaper reporter Steve Lopez (Downey Jr.) tries finding a story to write about, he stumbles upon Nathaniel's past as a Juilliard Music School drop-out. Nathaniel plays a violin with only two strings, and as Steve Lopez writes about his newfound friend in the paper, a donation comes floating in: a beautiful cello.

This cello has multiple draws for Nathaniel, and some of them aren't good. The positives are that Nathaniel can play a beautiful instrument beautifully. And that he finally starts forming a friendly tie with someone (anyone!) It just happens to be Steve Lopez. Steve starts showing him around the current musical scene. But with Nathaniel's reawakening comes the remembrance of his past and how he got to where he is. His mental breakdown comes crashing back into current memory, even as Steve, his new friend, tries to help him out more and more.

The side-story of Steve and his wife's reconciliation (Catherine Keener, An American Crime) is pretty much fluff for the movie/story and doesn't add much. It is the touching and powerful story of a friendship forming amidst a respect for one another, a love of music, and facing the challenges of an oft-times debilitating mental illness that drives this wonderful film.

And the music ain't too shabby either.

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The sum of the parts of this DVD are way better than the whole. I certainly enjoyed The Soloist, it is a good movie. But once I began exploring the bonus features on this DVD, the whole became so much more. This is the first time since watching Criterion LaserDiscs with real live director or film historian commentary, have bonus features been this movie enhancing.

The Soloist is a solid movie about a Los Angeles Times journalist that meets a homeless man playing a two stringed violin. The film follows Steve Lopez (Robert Downey Jr.), the journalist, through his emotions trying to help Nathaniel Anthony Ayers (Jamie Foxx). The two men end up developing a deep friendship. Gratefully the screenwriter chose not to make this a happily ever after film. The nearly 2 hour film explores insanity, homelessness, and how well meaning people may or may not help these people.

Where things just go crazy wonderful is in the deep bonus features. The film opens with a very strange plea by a very odd looking person almost priest-like, 'if you see a homeless person, they probably don't want money, they really want to just have you say hello. To get more involved with helping see this website.' Its a strange message, delivered by a strange person, and very confusing for the first time viewer. Jumping into the bonus features, it turns out this is the real live Steve Lopez.

The Bonus Features:

Beth's Story a powerful 1.5 minute animated film about a girl who's parents die, she moves from foster home to foster home, finally lives on her own, gets sick, can't pay her bills, and becomes homeless I cried.

A Making of Featurette like none I've ever seen. Not only did this film portray a side of life I hope I never see, nor you see; but they put their money where their mouth is they hired the homeless to actually perform in this film.

A video about the real live Nathaniel Anthony Ayers, Steve Lopez, and his sister. Done with heart and tenderness. It is a beautiful interview piece.

A series of deleted scenes that frankly are hard to tell why they were left out. Several fill plot holes that I found a little disconcerting during the film.

All total there is roughly 45 minutes of bonus features. They give context to how this film was made and why.

I had a few problems with the film itself (they were quickly tossed away after seeing the bonus features). On first view, the Lamp and Mission areas just seemed all too Hollywood. They were packed with homeless people, too much seemed to be going on, they almost looked polished or unreal. As with most true stories, truth is way stranger than fiction. Apparently this is reality on this street, it was not over done. There were some minor pacing problems, early on the story kind of stalled here and there. And I went from thinking that Steve Lopez was this awesome fantastic person, to what his ex-wife says at one point he is just capitalizing on somebody else's misfortune. The worst moment of this was when Nathaniel calls Mr. Lopez asking for help; but he is too busy receiving an award for his LA Times articles about Nathaniel Ayers.

The acting is superb in this film. Jamie Foxx is just outstanding, he proved his acting ability in Ray (that he isn't just a clown like in Booty Call), and just builds in this film. After seeing the real Nathaniel Ayers Mr. Foxx nailed the performance. Robert Downey Jr. is such a talented actor, to say Iron Man, Tropic Thunder, and this film in one breath is some amazing credit to his abilities. He actually improved on the real Mr. Lopez. By far my favorite actor in this film is Nelsan Ellis who played David the director or advocate at Lamp/The Mission.

The film alone is more like a 4 star film. John Wright basically has three films to his credit, The Soloist, Atonement, and Pride and Prejudice. The latter two are not great but good films. The downside to this lack of experience is a number of scenes that run too long and others that run too short or leave plot holes. Frankly I would have traded some scenes off to include three of the deleted scenes when viewed they fill plot holes and the film makes much more sense. Camera work is overall very good. Steady shots are good and solid, handheld is kept to a minimum. I noticed a few jarring cuts from solid shots to handhelds that didn't make good sense. The use of boom shots and huge sweeping pans was a bit over the top most of the time. Near the end there are one shots between Mr. Lopez and Ayers framing is used to great advantage, placing Mr. Lopez on the weak side and Mr. Ayers on the strong side of the frame. A powerful subtle technique.

The film is rated PG-13. There is a bit of strong language, but mostly it is held to a minimum. The subject matter is tough, insanity, and homelessness its probably not fare for those younger than 13. There was a scene or two where my 13 year old son felt a little bit nervous the voices that Mr. Ayers hears in his head are rendered a bit too real at times. The whole production company was very wise to achieve a PG-13 rating. First and foremost this film could reach the widest audience. I don't feel like they compromised anything by keeping the language in reign.

I've always had a fear of homelessness. This film struck a very strong chord for me. It helped me see that there are small things that everyone can do, that can make a difference. This is a beautiful film.

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Strangers in the Night (1944)

This clever little noir is Anthony Mann's first feature film, and it is very entertaining.....the last two minutes strain credulity; however, fans of Mann's masterpieces know that Swiss clock plotting was never his real interest...............of all mid 20th century genre directors he brought Shakespearean character arcs and conflict to the western and crime melodrama and by doing so elevated them to a level of art that has not since been replicated. Why this guy is not a household name like

Wilder, Ford, and Hitchcock is beyond my comprehension.

Don't expect T Men or Naked Spur.......this film is not at that level..........If you are a fan of Mann's movies, this is a must have as you can see several tropes that are used in later better known films............if you have no idea who Anthony Mann is get Naked Spur and watch it first..................if you like it like I think you will, you will want to see every movie he ever made:)

Olive films has put out a VERY nice looking transfer of this movie........I wish TMen and some of his other early noirs looked this good on DVD.. .

This is a good movie. The description calls it a Film Noir but it is more of a regular drama. A Marine goes to met the woman he became pen pals with and meets everyone but her. I was impressed with the quality of the movie. It doesn't say if it was restored but it looks unbelievable for a 1944 movie!

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The setting, the characters, the story,,,the house on the edge of the cliff!! When you see that house on the edge of the cliff you know it's going to be a great movie!!!!!

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ANTHONY MANN'S FIRST JOURNEY INTO THE DARK CONTINENT HAS ALL THE INTRIGUE THAT KEEPS HIS AUDIENCE ON THE EDGE OF THEIR SEATS. USING A TOPICAL BACKGROUND OF A SOLDIER BEING FOLLOWED BY THE DARK CLOUDS OF WAR TO WHAT HE BELIEVES WILL BE HIS REBIRTH BACK TO CIVILIZATION HE FINDS HIMSELF TRAPPED IN THE CASTLE OF THE WICKED WITCH OF THE WEST USING HER POWERS TO SEDUCE HIM INTO HER LAIR....WHAT WILL COME TO HIS RESCUE? FANTASTIC FILM WISH IT WENT ON FOR ANOTHER 60 MINUTES BRAVO ANTHONY!

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SPENT TIME WATCHING THIS MOVIE AND IT WAS ENJOYABLE. PREDICTABLE BUT GOOD AND INTERESTING.

LOOKING FOR ANOTHER OLDIE. TV MOVIE GOLDEN GATE MJRDERS. CANNOT FIND. LB

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The Battle of The Black Sea - The Untold Story of Black Hawk Down (2013)

This is bar none the best source of information regarding the events that led up to, during and after the battle that took place in Somalia in October of 1993. Paul's words are riveting and to the point. Having read every other book related to the battle on October 3/4, this goes above and beyond any other source of information that has been available to the public. There are many pictures and hard to find footage from Somalia 1993 included with Paul's commentary. Anyone interested in this subject will not be disappointed.

Thank you Paul and Panteao for producing such an excellent source of information.

Paul's account of what happened leading up to and during the operation that spiraled out of control and laid the ground work for the movie "Black Hawk Down" is very, very informative as well as entertaining. Chocked full of interesting tid-bits of information, names of participants and a minds eye view of the battlefield from a top Delta operator. He lays out the escalating battle with a no holds barred honesty and attention to detail of actions, inactions, and of the surroundings. His narrative brings to attention the problems he witnessed in command breakdown, lack of cooperation between command groups which compounded the problems in those desperate days, and increased the casualties .

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I was expecting a movie but it turned out to be a one person narrative. I much preferred Blackkhawk Down.

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Street Trash - Special Meltdown Edition (1987)

The ultra-low-budget exploitation flick STREET TRASH (1987) certainly lives up to its name in more ways than one. Not only is it rather trashy when it comes to generally poor or histrionic acting, bawdy humor, gore, and several lingering flashes of T&A, but it is also one of the few films set in New York City's skid row that was actually filmed almost entirely in authentic skid-row venues.

The centerpiece of the paper-thin plot is a case of decades-old hooch called Tenafly Viper, discovered in the miasmic basement of a skid-row liquor store by the store's proprietor. The unscrupulous vendor decides to exploit his seemingly serendipitous find and pad his pocket by selling the stuff to local winos for a buck per bottle. But unbeknownst to him and his unwary customers, the stuff has gone sour and has transmuted into a volatile toxin that literally melts those who consume it into a pile of day-glo goo.

Though STREET TRASH is blatantly and disgustingly lowbrow, it is nonetheless wildly entertaining and, from a technical standpoint, very well made. The make-up FX are skillfully and artistically executed, and never have latex appliances looked so simultaneously gross and hilarious. The action does lag in a few spots, but most of the time there is a constant flow of either gore, skin, or bawdy gags. Also, in contrast to many near-zero-budget exploitation films, the cinematography is fabulous--director Jim Muro shot the entire film using a rented steadicam, and he was so skilled at it that he went on to become one of Hollywood's greatest steadicam operators, working on such films as TERMINATOR 2: JUDGMENT DAY (1991), TITANIC (1997), AND RED DRAGON (2002)--and the editing is near perfect, making STREET TRASH look like a more mainstream, bigger-budget film.

While the acting skills of many of the principals leave a lot to be desired, STREET TRASH does feature a few thespians worth noting. Genre fans will recognize James Lorinz from his role as the mad scientist in the exploitation satire FRANKENHOOKER. In an earlier role here, Lorinz plays a lippy doorman in the employ of a mob boss, and he steals the show in nearly every scene in which he appears. Actor Tony Darrow portrays the aforementioned mob boss, and Darrow parlayed his debut role here into a career of playing similar types in more mainstream gangster flicks, including critically acclaimed films like GOODFELLAS (1990), BULLETS OVER BROADWAY (1994), AND MIGHTY APHRODITE (1995).

The DVD release of STREET TRASH from Synapse is a no-frills disc, but its definitely worth the price of admission. It offers a digital transfer of the film--which has been nicely restored and is completely uncut--in its original aspect ratio of 1.78:1 (enhanced for 16x9 TVs), and the stereo soundtrack is also nice and clear.

Sick? Yes. Foul? For sure. Gross? Often. But its also a lot of fun. STREET TRASH is definitely not for everybody, but for those who enjoy exploitation horror flicks from the 1970s and 1980s, STREET TRASH is definitely one of the best. And the DVD from Synapse will make a fine addition to the collections of those who enjoy such films.

"Street trash makes Herschell Gordon Lewis look like Mary Poppins," Wes Craven

"Loathsome, foul and degrading, Street Trash is a real treat for anyone who thinks they've seen it all." George Romero

"Yeah, that's the bits I like." Den Dennis (The Comic Strip Presents...More Bad News 1988)

Produced and written by Roy Frumkes (The Substitute), and directed by J. Michael Muro, who since done stedicam work on such films as Terminator 2: Judgment Day (1991), True Lies (1994), L.A. Confidential (1997), and Titanic (1997) to name a few, Street Trash (1987) features Mike Lackey, Marc Sferrazza, Jane Arakawa, Bill Chepil, Pat Ryan (The Toxic Avenger, Class of Nuke 'Em High), Vic Noto (Innocent Blood), and Tony Darrow (Goodfellas, Analyze This, "The Sopranos").

The story basically involves the activities of two inner city homeless brothers named Freddy (Lackey) and Kevin (Sferrazza), who live in an auto scrap yard occupying a dwelling consisting of old tires. Thrown into the mix early on is the appearance of some funky looking booze called Tenafly Viper, which was found in the cellar of a liquor store by the store's proprietor. Subsequently he decides to pawn it off on his clientele, most all of whom are shiftless, degenerate dirtbags, for a buck a bottle (needless to say they snap it up). Turns out the stuff is rotgut, literally (unbeknownst to the liquor store owner), so much so it causes the individual ingesting the crud to melt from the inside out. Along with the exploding bums Freddy and Kevin also have to contend with Bronson (Noto), a large, sadistic, psychotic Vietnam veteran who rules the scrap yard with an iron fist and a dagger made of from a human femur bone (think a low grade Colonel Kurtz from Apocalypse Now). Things get especially hairy when a local mobster (Darrow) finds out his girlfriend's been murdered (among other things) by the skid row denizens populating the junk yard, and a renegade cop with a serious grudge named Bill (Chepil) starts rousting everyone for kicks.

I guess the first thing one should know about this film is that there really isn't much of a story, which, in most cases, would probably be a disadvantage, but not so here (for those of us who tend to dwell in the cinematic sludge this is fairly common occurrence). Probably the best thing you can do is sit back and let the experience envelope you in its grimy, odious, putrid fetidity, which comes off as a sort of sewage laden mix between the films of John Waters and Herschell Gordon Lewis. I did learn a number of things from this movie, including the following...

1. One can actually make a home out of discarded tires.

2. If you wear baggy enough pants to the grocery store, you can steal enough food to feed at least three people.

3. I wouldn't eat anything that came out of a homeless man's pants.

4. You can thin out homemade hooch by urinating in it.

5. An alley is a great place to pick up broads, especially if you're a greasy bum (and the broad is wasted out of her gourd).

6. Your puke breath must be really bad when a bum won't even kiss you.

7. Frank, the morbidly obese owner and operator of the scrap yard, isn't adverse to a little necrophilia.

8. The homeless don't particularly covet showers.

9. A severed ding a ling a can be used in lieu of a football in a pick up game.

10. You never defile Bronson in front of the men.

If you like your movies messy, in a visceral sense, then you've come to the right place as this spectacularly over the top nugget of gooey nastiness is right at home next to Peter Jackson's Dead Alive (1992). I'm unsure the deal with the Viper booze, but its effects are instantaneous and highly satisfying. There's some seriously nasty melt action here, perhaps my favorite being the early scene with guy sitting on the toilet, taking a slug, and then reduced to a slimy, festering pile floating in the bowl. Along with the gratuitously goopy goodness there's also a whole lot of comedy, a few fights (the most memorable being Bill the cop going toe to toe with Bronson), some female nekkidness, a severed male member, and whole lot more. The acting was pretty rank but it didn't take away from anything for me, especially given the entertaining dialog throughout. The two best lines (at least of the ones I could post here), in my opinion, are the one I used for the title of my review and the following, occurring after one of Freddy's acquaintances, after shoving copious amounts of food down his pants, is busted by a manager in a grocery store ...

Store manager: I'd like to know what you're doing with all that chicken in your pants.

As I said, there's a decent amount of comedy here, the funniest part for me, beside the flying woody sequence, was when Freddy picked up the drunk broad in the alley, after she just finished puking. As he was dragging her back to his Goodyear abode, she kept trying to kiss him and he kept try to avoid it, given her puke breath and all. To sum things up this is a completely vile and disgusting affair, one definitely worth the time if you have the stomach.

This new 2 DVD set released in 2006, entitled 'The Meltdown Edition', includes an anamorphic widescreen (1.78:1) transfer, audio in a newly remastered Dolby Digital 5.1 and the original 2.0 mono, two audio commentaries featuring producer Roy Frumkes and director James Muro, a two hour documentary entitled The Meltdown Memoirs, which details the history and the making of the film, the original 16mm short film that inspired the movie, a Street Trash promotional teaser, a behind the scenes still gallery, liner notes, and the original theatrical trailer. The interesting thing is, while the 2006 DVD release contains a ton more stuff than the original 2005 DVD release, the newer version is missing one really cool element...with the original DVD release there was included two printed label stickers so you could create your own bottle of Tenafly Viper.

Cookieman108

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that SYNAPSE is suppose to release a 2-Disc Special edition come this (06) spring or summer.

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Street trash is the unholy grail of trash and exploitation cinema. I have been waiting for this release for years and my old vhs copy has petty much melted in my vcr from years of playing for friends who were unaware of it's infamous existence. Thank you synapse pictures for releasing this nasty movie back into the consumer market.

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No offense, but if you are a horror fan your DVD collection in incomplete without this film. You want Gore? Street trash has it. You want cheese? Street Trash has that too. This ultra-low budget film is limited only by the acting, but oh well man...small price to pay for this bloodbath. Hope the x-tras are worth it, but even so this lil' forgotten gem is getting the uncut treatment it has deserved. Plus the whole "Penis Football" scene mentioned makes it worth the price. Plus, if you get the DVD it comes with two free Tenafly Viper stickers based on the vicious liquor that melts everyone in the movie! Too cool! They are in the shape of liquor bottle stickers so you can put them on one after you drink it all while watching this movie. Instant movie memorabilia! Not going to give away the "juicy" details...sorry. Buy it on a whim...its a winner. Gore fans rejoice. Nuff said.

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Sex and the City: The Movie (2008)

I was initially against a continuation of the runaway hit HBO series, Sex and the City The Complete Series (Collector's Giftset) I felt that the season finale was perfection and any other stories to be told would only spoil it. Once the movie started though, I was drawn in and it felt great to see these "familiar" friends again: Carrie (Sarah Jessica Parker), Samantha (Kim Cattrall), Miranda (Cynthia Nixon), and Charlotte (Kristin Davis). Carrie and Mr. Big (Chris Noth) decide to tie the knot, and the movie revolves around how their relationship takes the next step. Meanwhile, Miranda and Steve are dealing with Miranda neglecting their relationship. Samantha has become an L.A. housewife and is none too happy about continually playing second-fiddle to Smith. Charlotte...well, she is just living a perfect life with adopted daughter and husband Harry. The movie continues the vision of the series: insightful, witty, and extremely well written. Jennifer Hudson has a nice supporting role as Carrie's personal assistant; she brings sass to her role and definitely leaves the door open for a possibility of a "next generation" of young hopeful women to hit New York City. My gripes? I felt that fashion played too much of a role; in the TV series, it was a nice semi-silent costar. In the movie, it was a little "in your face" and over the top. I also felt that Samantha's storyline seemed a little out of character and contrived; her supposed weight gain was minimal and for her to ever stay in the background for Smith just seemed out of step. Many original cast members returned for the movie, although some were absolutely wasted as they were relegated to non-speaking cameos. For some reason, Stanford & Anthony are now close friends (possibly even more), which is totally against how they were in the series. Obviously, much has happened in the years since we last saw them; it left a feeling that an explanation scene or two must be on the cutting room floor. Removal of some of the fashion stuff and putting back in more of the witty dialogue would have benefitted the movie greatly.Speaking of putting back in...yes, this version is an extended cut. Many scenes have been lengthened, and it definitely helps give the movie a more finished feel and explains much that I thought was missing in the theater. Extra fun is Carrie's fashion show in her apartment, where she tries on many of her 1980's bad outfits for the girls, who rate whether the outfits should be kept or tossed. In the extended cut, ALL the girls (including Charlotte's daughter Lily) join in the fun and try on the outfits. This is especially wonderful as SJP does not necessarily deserve the lion's share of credit for this successful series; it is definitely an ensemble cast. The restored Halloween scene of Harry as The Addams Family's Uncle Fester is not to be missed, either!

I saw it twice on the big screen thoroughly entertained both times, and hoping for a follow-up!

Bonus features for 2-Disc Special Edition DVD:

DISC 1:

* Audio Commentary by director Michael Patrick King

DISC 2:

* Additional Scenes restored to the actual movie as well as a separate section with deleted scenes that feature commentary by Michael Patrick King as to why they were cut.

* A Conversation with Sarah Jessica Parker and Michael Patrick King: a nice look at the movie with SJP and MPK, giving further insight into many of the choices made for the movie.

* The Fabulous Fashion of Sex And The City: Excellent featurette with Patricia Fields discussing how she finds all the different fashions for the character. Not one to get caught up in labels, her talent is for mixing up totally different looks and creating magic.

* Fergie in the Studio: watch a hit in the making as the singer records Labels or Love for the movie soundtrack, interspersed with Fergie fawning over the original TV series. A short featurette but cool to watch nonetheless.

UPDATE: You might want to hold off on buying this version, as an Sex and the City: The Movie (Ultimate Collector's Edition) with approximately 4 more hours of extras is due to be released on December; so far, no Blu-ray version of this set has been announced.

If I had known the series was as enjoyable as the movie, I would never have missed a single episode, but that's the beauty of a favorite series on DVD. "Sex and the City--The Movie" was such a fabulous fantasy with such a great ending that I must see the series now.

Four women who actually care about each other--now there's a new concept, but they actually do, genuinely, sincerely, and apparently for all time. Other reviewers have called the wedding dress a fifth character; some say New York or Manhattan itself. I say the fifth character has to be all those clothes Carrie wears, each dress costing hundreds, I'm sure. As a writer, she could afford such clothes? Wow.

However, anyone with eyes must include Chris Noth's Big character. He is such a hunk! A major element that stands out for me in this movie is the respectful attitudes Carrie and Big show for each other. They are attentive, caring, and considerate (except for --well, I best not say). Anyone can make a mistake.

A huge theme is forgiveness as it plays out in both Carrie's relationship and Miranda's, and in their mutual friendship. Meanwhile, Samantha learns that she is not being true to herself, an issue I just don't want to deal with. I have no idea if she is right or wrong concerning her decision.

The only character without problems is Charlotte, who does seem to lead a charmed life.

Overall, this is a story that reflects real life: problems in love, friendship, living arrangements, doing the right thing, and taking chances. That this movie ends well perhaps bodes well for the viewer, too. You think? Maybe...

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SEX AND THE CITY THE MOVIE SPECIAL EDITION won't satisfy all of the fans of the show. You either love it or hate it. Sure the movie had its pitfalls like the "will Big & Carrie marry or is this the final break-up?" etc., but for the most part it gives us fans one last hurrah. I guess the movie could be seen as the cherry on top of an already luscious and decadent sundae.

Did we need the movie? Probably not, but I'm glad the powers that be decided to make it. And just like that cherry, the movie is just a lovely garnish that topped off a really wonderful television series.

Here's what's on the SATCTM DVD Sp. Ed.:

DVD #1

***Extended Version of the movie--(Run Time 151 mins)--I think the extended scenes show Carrie, Charlotte, Harry and Lily on Halloween (I don't remember that scene in the movie)

***Commentary By Director/Writer Michael Patrick King

DVD #2

***Digital Copy of the Movie--To play on computer/ipods etc., w/out dvd

***Conversation W/Sarah Jessica Parker & MPK--24-minute featurette with director MPK and star SJP discussing various scenes

***The Fabulous Fashion Of SATC--18-minute Featurette with Costume Designer Patricia Field(who should win the Academy Award)--takes viewers on a behind-the-scenes of the fab wardrobe, shoes, bags and jewelery used in the movie and includes shots of the cast while filming

***Additional Scenes w/director commentary--Four additional scenes not in the movie or extended cut and MPK discusses each one

***Additional Scenes w/out commentary--the four above scenes w/out MPK

***Fergie In The Studio--Two-minute thing w/Fergie and the recording session for the song "Labels or Love" for the soundtrack

All in all a pretty good DVD set for fans of both the show and the movie. Seeing it the second time around, I do see things that I missed when seeing it in the theater. One of them being the over riding theme of "Cinderella." But, the friendship between the four women is still what makes SATC/SATCTM so special...at least to me.

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While it is -frustratingly -the third in a "triple dip" (following the theatrical DVD and extended cut DVD), if you are a "Sex and the City" collector / completist, then you cannot be without this set.

Discs One and Two are essentially the same as they are on the Extended Cut DVD release -BUT!! -Disc Two is *expanded* with three more featurettes that were obviously held back from the previous release so hard-core fans would have incentive to buy this package.

One featurette focuses on how they brought the movie to the screen, the second is about on the four leading ladies and the third is the HBO First Look program, "The Making of *Sex and the City.*"

On Disc Two of the extended cut release and this package, a conversation between Michael Patrick King and Sarah Jessica Parker takes place. Disc Three features the full conversation, greatly expanded. It plays as a "video commentary" (with many split screens and zooms in and out) to the theatrical cut of the film. Disc Three also adds a feature on the DVD release party and the day Sarah Jessica Parker did the scene with all the wedding gown changes.

Disc Four is a music disc that is worth it for me because of two additions. As a major aficionado of film scores, I am excited to find Aaron Zigman's "suite" (really two pieces from the film) on the disc and a notation that his score will soon be available on CD. I am also pleased to find the "alternate" version of "Labels and Love" on the disc. This "alternate" is what plays underneath the opening of the film.

Jennifer Hudson's song is also here, as are four songs "inspired by" the movie and the Pfeifer Bros. version of the SATC theme that is featured on the first volume of the movie soundtrack.

The box, designed like the wedding invitation to beat all wedding invitations, comes with a Certificate of Authenticity (only 85,000 of these things exist) and a slim hardcover book with pictures and quotes not only from the screenplay, but the "love letters from great men" referenced in the movie.

Overall, this is a FANTASTIC package both in terms of design and content.

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I'm not going to review the movie, I'll leave that for everyone else. All I can say is that I am SO happy that Warner Brothers changed the digital format that comes free with their DVDs. I had bought last Harry Potter DVD for the digital version, only to discover it was not compatible with i-pods. This version is! If you are going to spend the money and want the option of it for your i-pod, get the Special Edition.

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Marvin's Room (1998)

One of the best dramas of the 90's. I've seen this movie a number of times since its release and it never fails to move me. It is a story of two estranged sisters whose life choices drove them to different paths but after years of no contact brought them together again when one needs a bone marrow transplant due to cancer. That's when they had the chance to talk about unsaid feelings and provide them a closure. Diane Keaton played the sister with the cancer and Streep the sister who'll try to give the transplant. Leonardo di Caprio (underrated actor) plays Streeps rebellious son and De Niro has a semi cameo as Keaton's doctor. The titular Marvin is the father of Streep and Keaton whose been dying for years without actually dying.

Meryl Streep and Diane Keaton were perfection. I especially enjoyed Streep's performance. It was fun seeing her play a bitch and she nailed the role. But Diane Keaton ultimately takes over the movie especially in the end. I was deeply moved by her performance, so natural and true that it stays with me long after the movie ends.

There's a moving scene towards the end of the movie, when out of the blue Keaton said to Streep that she's very lucky because her life was full of love and then Streep consoled her and said yes many people loves her. But Keaton said it's not about that. What she meant was she's very lucky to love her dad and her aunt so much. Makes you realize that the best feeling in the world is to love someone regardless whether reciprocated or not. The ending was just perfect, it's still sad but in a good way where the characters reached the peak of their character arcs. It's a triumphant ending.

I recommend this film to the highest regard possible. It's full of heart and I don't want to say life lessons because the movie ain't preachy, but I guess in some ways made you think about your own life.

Grade: A

This movie is based on Scott McPherson's off Broadway play. It has been turned into a wonderful little movie. A movie that is sort of one of those lost gems. Meryl Streep heads an impeccable all star cast as a woman who comes back in contact with her long estranged sister, played by Diane Keaton. Keaton's character has been taking care of her and Streep's very old and very ill father(played so realistically by Hume Cronyn). Keaton's character then finds out that she has leukemia and needs a bone marrow transplant. The only donors that can help are Meryl and her wayward kids(headed by the solid Leonardo DiCaprio). Meryl and the kids head down to Florida where Keaton is and, well, they bring along some of their own little dysfunction. The movie is sad, but not in the ball your eyes out way. It avoids the usual scenes of death beds and a huge dying scene. None of that is here. The movie is about the family, and the two estranged sisters coming together. Not to mention Meryl's character coming to terms with her son Hank(Leo). The film definitley hits some emotional highs, but it's not, as I've said above, the usual way we've seen it a hundred times before. Robert De Niro appears in a fairly small role as Keaton's character. He also co-produced the film. Our main stars here all shine brightly. Keaton is great, as always. Meryl and Leo makes their characters believeable, if not very sympathetic. In the end, it's Keaton who shines the brightest. Marvin's Room is a nice family drama that was horribly overlooked and forgotten by most people. Give it a chance.

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Words cannot express how much I love this movie! I bought like 8 copies of it and gave them out for Christmas. The music makes me cry and I love the story. My family is sorta like the one in the film and my grandpa is a lot like Marvin. It was very easy to relate to the story. Meryl Streep, Diane Keaton, Leo, Gwen Verdon, Robert De Niro and Hume Cronyn all deserve Oscars and I don't know why that Academy can't recognize great stories when they see it but Keaton deserved her Oscar nomination for Best Actress and did Meryl's Golden Globe nomination. I truly loved Verdon's performance as she reminds me of my grandmother, Leo was terrific and should stick to roles like this more often. I'm still peeved that the Academy didn't give this more Oscar nominations. This is one of the greatest family films to come out of Hollywood in like forever and all should see it. It presents a strong moral of family life and should make others see that we need each other somewhere in our lives and should just lay aside our petty differences about each other. I love this movie so much I encourage all to see it. Box office grosses and awards don't matter with a film like this. My deepest admiartion goes to the writer and director of this film and to Rachel Portman for her touching music. I bought the soundtrack and it is one of the greatest I've heard in years. "TITANIC" has nothing on it and I love it as well. As you can tell, I really, really love this movie! NOW GO SEE IT!!!!!!!!!!!!

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Most of the reviews of 'Marvin's Room' I've read online all mention Leonardo DiCaprio and how cute he is, how much he is loved, and how he acted wonderfully in the movie. I can't say I don't agreehe adds flavor to the movie and pulls off a very convincing act of a troubled boy. But the floor belong to Diane Keaton and Meryl Streep. I can't think of better actresses for this movie than these twothey're beautiful together. The movie is handled in a dramatic light; from the beach scene to the darkened scene where Bessie tells the story of her dead boyfriend. I don't think there's a better movie of family dysfunction.Most movies on family dysfunction end badly and disappoint me greatly. But this movie is a positive one, and ends in one of the best scenes I've ever seen. Here you have two sisters who haven't seen each other in like twenty years, and suddenly they reunite because Bessie needs a bone marrow transplant; otherwise she'll die. From that, they embrace each other hesitantly but surely; they realize of their love for eachother. They all depend on each other and grow from each other. Lee is someone with lost hope; and Bessie is the one who restores it.You can almost see Bessie's rare spirit reaching out and touching everyone around her. My favorite scene is when Lee convinces Bessie to take off her wig so she can cut it. Of course, anyone's got to feel embarassed if their wigs have to come off in front of anyone; let alone someone you haven't seen for 20 years. But Bessie takes it off with courage and hope; you can totally see it. Keaton was completely magical in this one; she has rare talent. Bessie was the only one emitting hope and triumph in the face of death; and everyone around her began to feel it also. This person is someone I could never be. I admire this character. The final scene... whoo! The rays of light bouncing off the walls seem to be a representation of heaven and love. They all knew Bessie was going to die. This scene is handled with such finality. I would have much preferred the movie end this way than seeing Bessie die. This family is dysfunctional, but this family also experienced love and courage. To be completely honest, I was stunned into dead silence for the first ten minutes after the movie ended. Then I rewound the movie and started watching it again. I couldn't get enough of this exquisite movie. It's much more than a movieit's pure reality and imagination combined. This movie is proof that people like Bessie exist. Keaton definitely deserves the Academy Award nomination. Hell, she should have won it! I love her. I love this movie! Go see it immediately!You won't regret it--trust me.

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Instead of the usual over-the-top heavy-sentiment scenes in a dysfunctional family, Marvin's Room finds a clever, non-contrived way to end by leaving its characters at a magical moment of mutual understanding. It is one of the most powerful endings I've ever seen in a film.

Greatly acted by almost everyone (including a very young Leonardo Di Caprio), great score, excellent screenplay, a tinge of wry humor through it all, and gutwrenching emotion.

I picked up the DVD for Streep, and found her character a little one-dimensional. But when I really think of it, the most remarkable thing about the film is how it reveals how similar the two sisters are, despite their non-trivial character differences. Both abandon one part of their family to sacrifice for another part -they each merely take different parts, and that's why Lee's character is not as bad, selfish or one-dimensional as she first seems. Lee's problem was understanding love. Despite all her lovers, Lee (Streep) had to learn the real meaning of love from her spinster sister Bessie (Keaton).

Worth buying, as anyone with a heartbeat will watch this gem more than once. Highly recommended.

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The Assassins (2012)

First, the description provided by Amazon and Well Go USA (on the packaging of the DVD) confused me when I first started watching the film. Both descriptions reference the Western Han Dynasty (206 BC 24 AD), and in reality, the film was based upon events at the end of the Eastern or Later Han Dynasty (25 AD 220 AD) and the very beginning of the Three Kingdoms period. Added to that, the film seemed to be geared towards an audience familiar with this period of time and the major players (dead and alive). As such, I spent a lot of time figuring out who was who and how they fit into the overall story. If you are not too familiar with the story either, I would suggest you briefly educate yourself on Cao Cao and Xian, Emperor of Han, making note of how Dong Zhou fits into the picture. I anticipate this will help you better engage with the characters and enhance your enjoyment of the film.

From a cinematic perspective, I thought cinematographer, Zhao Xiao Ding's, use of muted colors along with bright colors to capture the mood was particularly well done. And as a directorial debut for Zhao Lin Shan, the film was good, but not quite on par with films like 'House of Flying Daggers' or 'Crouching Tiger, Hidden Dragon'.

Finally, 'Assassins' would have benefitted from a better developed romance between Mu Shun and Ling Ju, particularly as it relates to Mu Shun's role. However, from a political intrigue perspective, it was quite well done. I also liked the inclusion of Chinese opera, it added an emotionally poignant punch at the end.

I think 'Assassins' is probably worth watching at least once, but not a film you will come back to again. (3 1/2 stars)

I love Chow Yun Fat, so when I saw that he had a new movie out, I immediately rented it. The newer movies from China are noticeably more beautiful so I was expecting no less from this movie. I was not disappointed in the least about the cinematography. It was extremely crisp and clear and the use of colors and scenery were wonderful. The costumes were also visually stunning. Unfortunately, that was the highlight of the film for me.

This movie is about the story of Cao Cao, played by Chow Yun Fat. I've watched a couple of movies regarding the Three kingdoms of China so I sort of picked up some of the history between the movies and reading what I can about it. The last movie that I saw that showed Cao Cao in a negative light was Red Cliff (by the way, an excellent movie to watch if you like this time period ) so for some reason I had that mental picture of Cao Cao in my mind for this movie. This movie spun off a different view of Cao Cao which had me rooting for him. Interesting since I was predisposed to disliking him based on what I knew. Chow Yun Fat, was as always, amazing an that was probably what got me. He is such a gifted actor that I'm always blown away by how he interprets and portrays the characters that he is playing. He IS the character and I forget that he is just Chow Yun Fat in a costume. Very multi-dimensional picture of his characterwhich for me kept me interested in his acting more so the movie. There was also a great supporting cast. I've seen a lot of Crystal Liu Fei in her mainland television series and most of her movies so I wasn't particularly very surprised by her performance. The others I was unfamiliar with but I can't say that I was disappointed at all with the cast.

I have to admit, the movie jumped around a little bit so if you don't pay attention, you'll miss some things. And there are some areas where you'll wonder what happened, because there isn't much explanation to what goes on. I found myself with my eyes glazed over at some parts simply because this movie was super slow in areas. I really think some parts could have been cut out and no one would have noticed. Movie was a couple of hours long so be prepared to be in one place for awhile. Also, if you're expecting a lot of actionyou'll be disappointed. This movie is more about the story of Cao Cao and his reign of power and what he had to do to stay on top rather than swordplay and battles. There are some fighting scenes, but again, it's not some Donnie Yen movie where there is advanced choreography. This is more of a history lesson with a storyline. Speaking of whichthe storyline outside of Cao Cao's life progression seemed to be input to create some drama conflict to make it more interesting, but I really felt it didn't add a whole lot to the movie. Rather, I found myself tuning out that part of the story to focus more on Cao Cao's plot. It almost felt like it didn't belong. I give this movie three starsokay, but not one I will watch again. Chow Yun Fat's performance is worth watching but only if you want to give up a couple of hours. If you want a wuxia movieI'd skip this one.

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Nice to see CHO CHOs future after Red Cliff. Gives a different perspective of him. lkNice to see a love story without sex.

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Chow is wonderful and the other actors support him beautifully. All about the days of warlords their life, their loves, their fears, and their destinies. The story is true to the bone. Thumbs up!!!

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This movie has a lot more character development than most asian martial arts/war movies. I love Chow Yun Fat's interpretation of his part.

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Tombstone (1993)

While this movie may never achieve the critical acclaim it deserves, there is a grassroots appreciation for this movie that points out, once again, the different worlds of professional movie critics and the movie-viewing public. For example, Leonard Maltin describes Dana Delany as 'goofy' in this production. Personally, I found her captivating, and -for some reason -the most attractive I have ever seen her.

Kurt Russell turns in another excellent performance, proving once again that he has grown considerably as an actor over the years.

The performances of Michael Biehn, Sam Elliott, Powers Boothe, Billy Bob Thornton, Bill Paxton, Billy Zane, Jason Priestly, Joanna Pacula, even Charlton Heston, in supporting roles -major and minor -are carefully crafted and played to perfection.

But in my book Val Kilmer steals the show as Doc Holliday. Chalk this up as another excellent performance (e.g. Thunderheart) by the oft-maligned but excellent actor.

Do yourselves a favor and view this movie as a stand-alone ... don't try to compare it to the other Wyatt Earp movies; don't compare it to history. Just enjoy it as it is -a truly well-told tale, a violent love story (think True Romance set in the 19th century if you will), full of outstanding performances.

This story (as are almost all tales about Earp) is heavily romanticized. History reveals that there were no good guys or bad guys in the power struggles that took place between town authorities, Earp's crowd, and The Cowboys. Nonetheless, the director has paid close attention to period accuracy in costume, language, and props. The firearms used -an area that is often woefully researched -are period accurate, with only the most minor license taken for cinematic effect.

My guess is that in time this movie will establish itself as an audience favorite regardless of "expert" opinion. And the cast members have every reason to be proud of a truly fine ensemble performance.

This is one of the most entertaining westerns ever made and as such, ranks right up there with "Shane," "Open Range," "Ride the Man Down" and Eastwood's "The Unforgiven." It is a story of changing times that haven't quite changed enough. Kurt Russell gives his best performance as Wyatt Earp, coming to Tombstone with his brothers to settle down and put his lawman days behind him. Tombstone is a wild town still and a group known as The Cowboys and a young gunslinger named Johnny Ringo begin to make this impossible.

Dana Delany is radiant as the actress Wyatt falls for even though he is married. His wife has become a drug addict and his marriage is not the stuff dreams are made of, but Dana Delaney is. The film takes its time as Wyatt and his brothers are slowly drawn towards the history we have come to know, and the aftermath we may not.

This is a multilayered story more faithful to the truth than most versions. What makes this film superior to other westerns is the depth of the story and the realistic performances of the cast. The finest of the aforementioned is Val Kilmer's extraordinary turn as Doc Holliday.

This film more realistically portrays the relationship of Holliday and Wyatt than any other film. Kilmer's Holliday is dangerous and intelligent, and above all, loyal to perhaps his only real friend in life, Wyatt Earp. Kilmer so became the real Doc Holliday that it was said he remained in character on the set at all times, even when the camera was not rolling. His performance is something that will always be remembered by anyone who watches this film.

Wyatt is a real man in this film with raw courage but no self delusions. He is no gunman and realizes he can not beat the quick and dangerous Johnny Ringo in a gun battle. Doc Holliday, in spite of his illness, has Wyatt's back and arrives there first. What follows is one of the most tense and accurately portrayed gunfights in film history.

Doc Holliday and Wyatt Earp remained friends until Holliday finally was overtaken by the tuberculosis which had plagued him for years. As in real life, Wyatt Earp actually does find happiness and settles down with Dana Delaney after his wife dies in this film. The real Wyatt became quite wealthy in the latter part of his life.

The rich tapestry of events that formed the legend of the dangerous Doc Holliday and Marshal Wyatt Earp are given the best and most accurate screen treatment ever filmed. This is a must see western. You will never forget it and you will never see a better and more colorful true to life performance than Val Kilmer's turn as Doc Holliday.

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1993 and it was the battle between two films based on the iconic western figure Wyatt Earp. Screenwriter Kevin Jarre ("The Mummy", "Glory", "Rambo: First Blood Part II") and Kevin Costner were originally set to make the film together but due to a disagreement, Costner would go on to film "Wyatt Earp" while Kevin Jarre would take his script to Buena Vista for distribution and sure enough, it became a contest of sorts as who would get their movie out first and which one would dominate in the box office.

Fortunately, despite numerous problems on the set of "Tombstone", if there is one thing that the film had was its all-star cast as Kurt Russell, Val Kilmer, Sam Elliott, Bill Paxton, Powers Boothe, Michael Biehn, Charlton Heston, Jason Priestly, Dana Delany, Thomas Haden Church, Billy Bob Thornton, Michael Rooker, Terry O'Quinn and many more.

Directing the film would be George P. Cosmatos ("Rambo: First Blood Part II", "Leviathan", "Shadow Conspiracy"), cinematography by William A. Fraker ("Rules of Engagement", "Father of the Bride Part II", "Street Fighter") and music by Bruce Broughton ("Lost in Space", "Bambi II", "Tiny Toon Adventures").

In the end, "Tombstone"earned $56 million domestically and did much better than Costner's "Wyatt Earp" in the box office.

VIDEO:

"Tombstone" is presented in 1080 High Definition (2:35:1). For the most part, the good news is that "Tombstone" looks very good on Blu-ray. The cinematography by William A. Fraker is absolutely beautiful during some of the scenic shots overlooking the fields, the skyline, dusk and dawn. While many parts of the film showcases many colors and for the most part, detail of the town, the saloon, the skin pores, etc. look great on Blu-ray, I noticed that the scenes look a bit dark at times. I haven't had the chance to compare with the original DVD release of "Tombstone" but there are times that seem as if shots were taken during overcast or the shadows of the hats are covering the faces of people.

But despite the dark look of some scenes, "Tombstone" definitely looks sharper and more contrast is seen on the Blu-ray release and blacks are nice and deep. Only one scene which was stock video where you a bit of aliasing but for the most part, I didn't detect any major artifacts or blemishes.

AUDIO & SUBTITLES:

"Tombstone" is presented in English 5.1 DTS-HD MA (48 kHz/24-bit), French and Spanish 5.1 Dolby Digital. Audio dialogue is quite clear and for the most part, the majority of the film is dialogue driven until you get into short action scenes at the O.K. Corral and the final half hour in which the film starts to have more action-based scenes. But one of the things that you will notice is the use of the surrounds in terms of capturing the ambiance of the outdoor scenes. I was watching when Wyatt and Josie were horseriding and are taking a break and all of a sudden I started hearing birds chirping and rustling the trees. I thought that was pretty cool. Also, you will hear the thunderstorms come to life and of course, the gun battle sequences in which you hear rifle shots, gun shots and more. Overall, "Tombstone" sounds very good via lossless.

Subtitles are in English SDH, English ESL, French and Spanish.

SPECIAL FEATURES:

"Tombstone" comes with the following special features in 480i, English 2.0 Dolby Digital audio and subtitles in English SDH, French and Spanish. Included are:

* The Making of Tombstone (27:19) This featurette goes into the cast of Tombstone as they talk about their characters and filming a Western. Director George P. Cosmatos talking about making an authentic Western and the gunfight at the O.K. Corral.

* Director's Original Storyboards (4:00) A special feature showcasing the original storyboards of Director George P. Cosmatos.

* Trailers and TV Spots Featuring two theatrical trailers (:60 and :120) and the "Friends" TV spot (:30).

JUDGMENT CALL:

"Tombstone" is an enjoyable film and for those who enjoy Westerns and for those who like the stories of lawmen vs. the outlaws, the film is quite entertaining and a storyline in which both Kurt Russell and Val Kilmer actually do a remarkable job. Russell as the Wyatt Earp, the caring brother and also not afraid of anyone! And Val Kilmer as Doc Holliday at his most charming and also his most vulnerable and how Kilmer plays off the sickly version of Holliday is really well-done.

But what I did enjoy about "Tombstone" when I first watched it over a decade ago, was how it tried to capture the life of Wyatt Earp and led to the "Gunfight of O.K. Corral" and "Wyatt Earp and the Immortals". Granted, the film is not exactly historically accurate and the adaptation would be of what took place had to receive the Hollywood touch but for the most part, it did capture many of the stories that took place especially with Virgil Earp becoming a marshal, some of the battles that took place and more.

If there was one thing that I was hoping for, it would be a more climactic battle between Wyatt and Curly Bill Brocius. With Brocius being the leader of the Cowboys, I felt that the battle between both men was rather short. Also, there were some scenes of certain characters that felt out of place and this goes with the troubled production as the original screenplay was longer and had a story emphasizing sub-plots of the various characters but was nixed. The fact that "Tombstone" has quite a bit of starpower, I just felt that certain characters were never utilized and if they were, what was the purpose. For example, why was Deputy Billy Breckinridge (played by Jason Priestly) even shown and also, with no historical fact towards his sexuality, why was she shown to have gay tendencies? Also, the character of Sherman McMasters (played by Michael Rooker), just an added scene showing why he broke off with the Cowboys would have been nice to see as well.

As for the Blu-ray, the film definitely looks and sounds better than its predecessor. It's important to note that the Blu-ray version features the 130-minute version and not the 135-minute director's cut version of "Tombstone". Missing is the audio commentary by director George P. Cosmatos and also "The Tombstone Epitaph Actual Newspaper Account" featured in the Director's Cut Televista DVD version. But the making-of featurette, director's original storyboards and trailers remain intact. But you can't help but be pleased with this Blu-ray release.

Overall, "Tombstone" was an enjoyable Western that I have seen a good number of times. Does it rank high compared to the best Western's out there? Definitely not but in my opinion, it's the best Wyatt Earp film that I have seen yet and it's a film that I just found enjoyable from beginning to end. Definitely recommended!

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Having already seen My Darling Clementine (1946) and The Gunfight at the OK Corral (1957) several times, I was curious to observe what director George Pan Cosmatos and his screenwriters would do with essentially the same material in this film. There are significant differences between and among them but suggesting comparisons and contrasts would be unfair to three different films which appeared over a 57-year period.

Now on to Tombstone. Director George Cosmatos worked with a large cast and all of the performances are first-rate. William Fraker's cinematography and Bruce Broughton's musical score are carefully integrated within the narrative and serve it well. My own opinion is that Val Kilmer (Doc Holliday) dominates each scene in which he appears. However, Kurt Russell (Wyatt Earp), Dana Delany (Josephine Marcos), Sam Elliot (Virgil Earp), and Powers Boothe (Curly Bill Brocius) hold their own.

As portrayed in the film, Tombstone (Arizona) is a western town in the last stages of being a community dominated by outlaws. The involvement of the Earps coincide with a growing local desire among residents to establish law and order. The eventual showdown at the OK Corral is a key event but by no means the only one. I was especially interested in how Cosmatos and Russell develop Wyatt Earp's character as he struggles to follow his conscience, establish some stability in his own life, and thereby complete a transition from gunfighter to private citizen.

Back to Kilmer for a moment. I do not recall a prior or subsequent film of his in which he reveals the comic timing, nuances of personality, and conflicting anxieties which he does while portraying Holliday in Tombstone. His is a masterful performance, maintaining an exquisite balance between playful humor and force of will. I recalled elements of that performance while recently observing Johnny Depp as Jack Sparrow in Pirates of the Caribbean. However, the Holliday character is revealed to have much greater depth and complexity than Sparrow's even as both characters demonstrate at every appropriate opportunity a unique flair for mimicry.

I do have a few minor quibbles. First, I think the pace of the plot lags unnecessarily at times. Also, the evolving relationship between Wyatt Earp and Josephine Marcos is not always in focus, even when allowing for a period of adjustment as they take each other's measure. Finally, I really don't understand the purpose of the final scene except to offer an alternative to the neat-and-tidy conclusion which so many other films offer. That said, I think that Cosmatos, his cast, and crew have created 135 minutes of generally entertaining, sometimes hilarious, and often thought-provoking material. Perhaps the more ambitious scale (e.g. timeframe and subplots) precludes the dramatic impact of its predecessors, My Darling Clementine and The Gunfight at the OK Corral. In any event, I enjoyed it.

Final point: I wish all other versions offered special features comparable with those provided by the Vista Series DVD. They include a commentary by Cosmatos, the 134 Director's Cut Edition, featurettes ("An Ensemble Cast," "Making An Authentic Western," and "The Gunfight At The O.K. Corral"), an interactive Tombstone storyline, The Tombstone Epitaph Actual Newspaper Account, and Cosmatos' original storyboards for the O.K. Corral sequence.

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Tombstone has had a long and sorry past when it has come to its releases on video. For we enthusiasts that go back that far this film, despite being released in 1993, saw a laserdisc release but not in AC-3, a definite disappointment as you had a decent picture but dated sound. As if that wasn't enough, when it was finally released on DVD in December 1997 it was still Dolby Pro Logic and while the transfer was widescreen it was a terrible transfer and was not anamorphic. Those anxious to watch the four black coats come down the road in true widescreen and orchestrated bombast wept like Tom Mix at Wyatt Earp's funeral.

And so, the erstwhile lovers of home theater and this film in particular, which should be reference material right next to Saving Private Ryan, Jurassic Park and other 90s pheoms, waited and waited, and waited some more. Finally our prayers were answered in 2002 with the Tombstone The Director's Cut (Vista Series), a very nice transfer, a DTS 5.1 mix, a lot of nice goodies and all was well with the world.

Then came Blu-ray and despite being one of the main purveyors of the format, Hollywood/Disney sat on Tombstone again. It sat patiently in the corner, during the great HD-DVD war it could have been right there saying "I'm your huckleberry, that's just my game." But no, it was left. So, it was with great trepidation and expectation I approached this release knowing there was no way it could live down its 1997 release but the Vista release left a lot to live up to. It should come as no surprise it falls in between.

THE GOOD

This is the best video transfer yet of this film. It's a gorgeous 2.35:1 AVC transfer. It retains the grain of the original but otherwise this print is pristine. The colors snap and are vibrant, it's devoid of any artifacts and despite closing in on 20 years this film holds up well and is visually spectacular. You won't be disappointed. As the Vista Series transfer was done in 2002 I believe this is an entirely new transfer as I doubt that one was HD. Also the Vista Series features a "Director's Cut" of the film that is of dubious merit. This Blu-ray features the original theatrical release of the film.

The DTS-MA soundtrack sounds great, not jaw dropping but great. You have some nice deep bass rumble from the horses, the shots go flying over your head, etc. I would guess that this is either a straight up sampling of the DTS mix done for the Vista Series or possibly a slight rework from that master material. I don't believe this is a complete remastering in DTS-MA It sounds good though and you won't be disappointed.

THE BAD

It's not bad per se but you get less extras than the Vista Series. Why they put some additional material together for a prior release and then leave it off the Blu-ray? One reason usually: to sell the "deluxe edition" Blu-ray at a later date. I wasn't expecting the little map and the fancy case like the Vista Series but at least give me what I had before. Also there is nothing new here at all. Kurt Russell has made reference to essentially directing this film, George Cosmatos has passed away now, I would have been interested in a Kurt Russell commentary track or some information on the production. This film has a very interesting production history and the extras don't cover it, instead you get the stale "making of" fluff piece.

I won't go into the film, if you don't know this film by now I can't help you. It's easily one of the best westerns ever made and I'm talking right up there with John Ford and the rest. This is a superb flim with an all-star cast and not a poor performance to be found. It's also got more one-liners than you've ever seen in a flim before.

Overall this is 4/5 stars, it could have been better but I appreciate the effort for the main feature.

(Updated 3/10/2012)

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The Tigger Movie: Bounce-A-Rrrific Special Edition (Two-Disc Blu-ray/DVD Combo in Blu-ray Packagin

Sitting on the couch with my 2 year old son, I've become something of a connoisseur of children's movies at this point. To be blunt, most of the modern "Pooh" films from Disney are pretty much garbage. The Piglet and Roo movies are especially painful, and got tossed out after about 1/2 a viewing each. In both of those, the characters are just being yanked and shoved through the motions by a giant, souless marketing machine that is determined to squeeze yet more cash out of them, even if it has to kill them in the process.

This "Tigger Movie" is different though. Again and again I found that it moved me to tears, and the story, animation and writing all hit home, almost like they were created by people who actually cared deeply about what they were doing. So far, it's the only one of the modern Pooh films I've seen that captures much of the original Disney/A.A. Milne magic. My son loves it too.

There have been so many Pooh-related feature films, direct-to-video films and television series that it's getting difficult to keep track of them (word is that there is another theatrical feature in the works). To the best of my recollection, "The Tigger Movie" was produced by the television division but was very successful in its theatrical release and was followed up with "Piglet's Big Movie."

This is actually quite a nice film. The amazing thing about these characters is how flexible they are for so many stories. The plot here revolves around Tigger's family background and his search for his "family tree." The animation, apparently done in Japan, is very fluid and suggestive of the earlier films -and the domestic artists behind it are among the best in the business, including Floyd Norman and Toby Bluth.

John Fiedler, as Piglet, is the one remaining cast member from the original films, with Jim Cummings voicing Pooh and Tigger and none other than John Hurt taking over the narration from Sebastian Cabot.

It sure is nice to see "Songs by Richard M. Sherman and Robert B. Sherman" in the credits. This was technically their last film for Disney, though its success surely should have resulted in others. My favorite of their songs is "Round My Family Tree," but they all have the delicate charm of their other Pooh songs. They also collaborated with Kenny Loggins on "Your Heart Will Lead You Home," which got a lot of airplay.

The DVD offers a handful of bonus features -several games, mostly, plus a storybook version read by the great Corey Burton and a digital copy. But it is particularly good to see two short episodes from the Emmy-winning "New Adventures of Winnie the Pooh" series. Each episode relates to the plot of the feature. Wouldn't it be great if the series was packaged season-by-season on DVD? Hmm?

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When I first heard this movie was coming out, my main question was why a theatrical release instead of direct-to-video? Many Disney sequels have gone that route, including the last feature-length Winnie the Pooh film, The Search for Christopher Robin.

The simple fact of the matter is probably that Disney figured they could make more money with a theatrical release (it came out with absolutely no competition for its intended audience). Happily, it's also true that this movie was a step above the usual direct-to-video fare. Most of the animation was uninspired (it's easy to tell there are fewer frames per second than in major Disney theatrical releases), but the scripts and voice acting were actually quite good.

I've been a fan of the Winnie the Pooh stuff for what seems like forever, so it's hard for me NOT to enjoy any of it. But the simple, hearwarming story of Tigger's discovery of himself and how much his friends really care about him just works. Sure, it's a childlike tale, but isn't that the target audience? We're not looking for Citizen Kane when we turn to Winnie the Pooh. We're looking for comfort and support to be who we are. It's a great message for kids, and this movie does a great job of presenting it.

I was a bit trepidatious when I saw that Jim Cummings (the voice of Pooh in all but the original shorts) was taking over for Paul Winchell as the voice of Tigger. Turns out that he does an unbelievable Paul Winchell impression! Very impressive voice acting in this one - really quite seamless.

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I like this movie mostly because I have no problems with my son watching it, as with all Winnie the Pooh movies. It is a Pooh movie that doesn't have the five minute stories but one large story. In this movie, Rabbit suggests to Tigger to go find other Tiggers to bounce with and so Tigger is off to find his family tree, which must be the greatest tree in the hundred acre woods.

It is rather cute and the songs that go along with the movie are great. My son and I will dance to a couple of them. It is also fun to watch all of the Pooh friends try to dress up like Tigger and "do as Tiggers do." My son loves this movie! Even as an adult I enjoy sitting back and watching this film.

Cute story, a little humor,and kid-friendly... this movie is highly recommended.

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This is a fantastic DvD for the whole family. This movie is my favorate of all the pooh movies.Tigger is given alot of depth here. Great story line and Grade A animation. If you own a surround system your in for a treat. Incredible music and effects. I hope disney does another film someday with Tigger as the main character.

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Over the Top (2009)

Over the top is such an emotionally moving film. The music that runs throughout the entire movie just adds to the effect. If someone is looking for the most inspirational speech in the history of mankind, then look no further than the scene right before the final arm wrestling match between Hawk and Bull Harley. Stallone emotionally explains how he becomes like a machine, or more specifically a truck, by simply turning his hat backwards. I watch this scene every morning to keep me going. This movie did not have enough white guys with perms in it, though.

This is a typical Stallone film with a typical Stallone script, which is exactly why I enjoyed it so much. All the elements are present in Lincoln Hawk, Stallones character in OTT, that made films like Rocky and First Blood so special. This is basically a road movie about a father whose trying to win the love of his son, Lincoln's ambition to win the world arm wrestling championship is cleverly used as a constant parody to the developing relationship between father and son. So as long as you aren't looking for anything too deep and meaningful and appreciate Stallones other films then you should really enjoy this.

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Over the Top is exactly that, over the top. The clever title is an obvious double-entendre in that it's a story about arm-wrestling that is completely ridiculous; yet, it somehow manages to be a highly enjoyable movie with real, albeit unanticipated, drama.

Amidst the preposterous father-son bonding, in which a borderline mongloid named Hawk (Sylvester Stallone) shares a long-haul trucking get-together with his son, as well as the finer points of arm wrestling via a pulley system generically rigged up by Hawk (pun intended) there is one the most comical, unbelievable scenes in movie history. While stopping for a bite to eat at a greasy spoon diner in which Hawk's prissy, weakling, snowflake, WASP son preaches about the benefits of health food Hawk decides that it is high time his son proves his worth and strength via an absurd arm-wrestling match staged between his son and a tough, street kid on top of a pinball machine. I'll let you be "surprised" by the outcome.

The ultimate arm wrestling showdown seems more like a collection of carnies or psych-ward patients than a group of competitors in an arm wrestling tournament. There is a pretty good chance that there was no blood testing at the time of this event, and if there were, more than one guy would be found with horse steroids or psychotropic drugs in his system. The favorite of the competition, Bull Harley, who seems like a villian in a video game because of his epic proportions, probably has stool bigger than Hawk's arms. Through sheer will and determination, Hawk manages to spin his hat around and channel the energy of 100 suns in order to win the title.

I'd feel bad about the spoiler if it weren't so painfully obvious and insignificant. The pleasure in this movie is the journey, not the destination. It's a great, mindless movie, and I watch it nearly every time it's on late-night TV.

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Whoa, hey! Hey, remember that movie "Kramer vs. Kramer"? Yeah, that was about child custody, too. Yeah, but it wasn't that good. I don't know, it was missing something, you know? Ah, what was it missing? I can't.. oh, wait! I know! Arm wrestling!

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Genius! Sylvester Stallone is a trucker who fights to have his child's custody and arm wrestles for money! The absolute best 80's music is orchestrated in this beautifully made motion picture artifact! I was shivering as the excitement crawled up my body like a spirit would dance in a house. YES! NO? YES! Overwhelming spiritual movement of an epic masterpiece can only be performed by the gigantic, oversized of a genius named Sylvester, Sylvester Stallone! He hath brought retribution to the movie audiences after "Rhinestone", another ideal flick. YES, hamanee times do I have to tell you that this movie is the real deal. It doesn't get any better than this. His opponent drinks oil and is ugly! YES! Stallone is now and forever a supernatural being that shouldn't be reckoned with!

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A Love Song for Bobby Long

For those who have read Ronald Everett Capps' novel 'Off Magazine Street' and savor the slow, lugubrious, decadent pattern of life in the poor section of New Orleans, then Screenwriter/Director Shainee Gabel's transformation of those ideas into A LOVE SONG FOR BOBBY LONG will certainly satisfy. Though Gabel has manipulated characters names and identification to fit her sensitive interpretation of Capps' story into a visual manifestation, the changes are sound and serve to make this remarkably fine low budget film a humid, alcoholically lethargic slice of New Orleans as viable as, say, Tennessee Williams. There is a captured ambience of the South complete with decay, shanties, intermittent rain, and aimless broken lives that sets a fine stage for a rather minimal story.

Purslane Hominy Will (Scarlett Johansson) is a young high school dropout living in trailer park trash in Florida with a low class boyfriend Lee (Clayne Crawford) when she learns of her mother Lorraine's death in New Orleans. Though she hasn't seen or heard from her obese, druggie, songwriter mother in years, she wants to attend her funeral and strikes out for New Orleans.

Arriving on the doorstep of her mother's rundown, rotting house, she discovers Bobby Long (John Travolta), an unkempt drunk who once was an English professor in a college in Alabama but fell into oblivion and alcohol when he lost his wife and family. He is living in filth with Lawson Pines (Gabriel Macht) who, as Bobby's teaching assistant whom Bobby has deemed gifted, has followed Bobby to write Bobby's biography a work in progress that has stalemated in favor of alcoholism and disillusionment. Pursey hears that Bobby and Lawson were Lorraine's closest friends (she had invited them to flop in her shabby house, entertained by their low key scholasticism and literature quoting), and that Lorraine had willed her home to the three of them.

Pursey moves in reluctantly she has nowhere else to go and immediately is at odds with her 'roommates'. Likewise Bobby and Lawson resist Pursey's presence and insist she 'get a life' by returning to highschool, making use of her obvious intellect. The verbal sparing that eventually leads the three to find a sense of family lays the foundation for the predictable conclusion.

That is the simplicity of the tale if it is storyline that is important to you. Gabel's distillation of Capps' novel is in the atmosphere she creates with these gifted actors. Bobby may be a drunk but he is the spokesman for a neighborhood of sad broken lives. The world is confined to the street that contains the local bar, churches, and graveyards each of varying importance but all drenched in humidity and frequent rains and alcohol and aimless living. The local bar is tended by Georgiana (Deborah Kara Unger) with whom Lawson is having a strained affair. The folk who gather at Bobby's literature-spouting soirees include gardener Cecil (Dane Rhodes), Junior (David Jensen), to mention only a few well-defined characters. That anyone could alter the ennui in the way Pursey changes things is a minor miracle.

The minimal music score by Grayson Capps is atmospheric as are the off-screen comments and quotations of great literature of TS Eliot, Robert Frost, WH Auden et al. The cinematography by Eliot Davis is properly claustrophobic and decadent in atmosphere. And while some feel the movie is too long for the minimal story, the length and pacing are in keeping with the traditions and the literature of the South and for this viewer it works exceedingly well.

Travolta, Johansson, Macht, and Unger give multifaceted, highly sensitive performances. As for Shainee Gabel (whose only other film is the controversial 'Anthem') here is a writer and director to watch. The DVD contains some excellent deleted scenes and one of the more informative 'making of' segments with Gabel, Travolta, Johansson, Macht, and Rhodes speaking with quiet eloquence. Highly recommended. Grady Harp, April 05

Weeds and undesirable elements seem to be extremely resilient to whatever tries to remove them. These undesirables might even try to get rid of themselves in the process, but only grow stronger as time passes. In a remote and undisturbed place these undesirables can find a spot where they can find support, like-mindedness, or respectful privacy. Some undesirables have a stunning appearance, but nonetheless they are rejects. A Love Song for Bobby Long is a story about a small group of undesirable's in the outskirts of New Orleans where the magic of the city still can touch them.

The camera opens shooting a man who the audience later discovers as Bobby Long (John Travolta) who lights a cigarette amidst the haze of alcohol while stumbling towards the door with a paper bag covering a bottle of booze. When Bobby opens the door blinding light enter the room, as if the daylight would be something foreign and new to him. Stumbling Bobby moves in an intended direction, as if he has a purpose. He limps due to a discolored toe that probably gives him difficulty in wearing proper shoes, as he wears a slipper on the aching foot. Limping and stumbling Bobby arrives to a graveyard to pay his respects to Lorraine, someone near and dear who recently has passed away.

Some distance away from New Orleans in Florida lives Pursy Will (Scarlett Johansson) Lorraine's only daughter who finds out from her deadbeat boyfriend that her mother has died. Angry Pursy packs her belonging and leaves for New Orleans to attend the funeral, as she discovers that she has arrived too late and two men live in her mother's decaying house, Bobby and Lawson Pines (Gabriel Macht). Quickly, Pursy learns that these men are not leaving, and these two alcoholic losers, especially Bobby, do not desire her presence. Nonetheless, she stays, as she has nowhere else to go.

A Love Song for Bobby Long brings the audience on a venture into the part of human society where most do not want to go, as people link it with losers, deadbeats, and misfits the undesirables. Despite the bleakness of the situation there are also moments of sunshine and pleasantness, which brighten the existence for all of those who try to forget and avoid society. The moment of brightness begins to intensify as Pursy arrived, as her name also refers to a yellow flowering weed, yet she keeps on verbally beating down herself and alike. Something is missing in Pursy's dropout existence, something that Bobby and Lawson recognize, as Bobby used to be an English professor and Lawson his teaching assistant.

Eventually, Pursy pursues her General Educational Development (GED) test with a possibility to reach college. However, Pursy struggles with her societal existence, as she perceives herself as a misfit, an undesirable. Her negative self-perspective makes it hard for her to academically bloom, which both Lawson and Bobby recognize as they keep on encouraging her to study. This leaves the audience with the notion of human dualism, as she does not want to be where she is; yet she does not want to leave.

Director Shainee Gabel provides an interesting and thoughtful cinematic experience, which the audience can experience through lucid and cryptic reasoning concealed in literature, existential philosophy and psychology. The mise-en-scene and the framing of scenes enhance the situational atmosphere, which seems to grasp one part of New Orleans with delicate touch and tact. This combined with a well-performing cast and a script with empathetic and genuine feel ultimately offers a seriously intriguing story of second chances, hope, and love.

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I won't go through a scene by scene description of the film since others have already done that. I will say that this is an excellent film with real characters and complex personalities. There is no sex, nobody is blown up, not an once of blood and still it's vastly entertaining! Who would have thought it? Bobby and Percy and Lawson are all very real and earthy people with real and earthy problems that aren't washed away in an instant by miracles. I've read that this movie went on too long.......In my opinion it wasnt long enough. Great Work!!

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I'm not picky about movies, but a lot of times I find myself trying to avoid the drawn-out character studies. They really get to me usually, firing straight down into my core, making me really feel. And that makes my somewhat ansy. The truth is that the best movies are often the ones we tend to overlook, and I'm ashamed to say that I didn't want to watch this. I'm so glad I did. It was the best couple hours I've spent watching a movie in a long time.

Bobby Long is John Travolta, an ex-English professor who once had a big house and a nice family, but now lives in a dilapidated home in New Orleans where he drinks like a fish and eloquently rants about how wonderfully misunderstood he is. He lives with a younger man named Lawson, a former student of Long's, and an aspiring writer. Most of his work ends up in the fireplace. The home these two guys share belonged to a woman named Lorraine, who has just passed away, everyone being able to tell stories about what a great woman she was. Lorraine had an estranged daughter named Pursy (Scarlett Johansson), and upon learning about her mother's death, leaves Florida and her trailer-park life to discover the memory of her mother, as well as discover herself with the help of a couple very intelligent drunks. Just when Bobby thinks he has learned all he could ever know, life throws him a curve ball.

Truly, a wonderful film. It moves along at a decent pace, slow enough for you to feel sucked into the Alabama lifestyle they lead, but fast enough to keep you interested in their engrossing lives. Don't skip out on this one. HIGHLY RECOMMENDED

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I loved this film! Some critics knock the movie for using some clichés and there are some aspects of New Orleans in particular that are romanticized. Romanticism aside, the cinematography is beautiful and the film features many of New Orleans great attractions such as the Café du Monde, the old mansions of the garden district, and the dreamy Audubon Park. Of course, what is New Orleans without music? The soundtrack is a wonderful mix of jazz and twangy southern blues that is nicely incorporated into the plot. If that doesn't do it the acting alone makes the film worth seeing. The script is well-written, and the actors do a good job of making it seem spontaneous and real. I never felt like they were reading from a script. John Travolta's performance as the washed-up Bobby Long, an alcoholic former English professor who reminisces about his glory days is magnificent and one of his better performances. Gabriel Macht, plays Lawson Pines, the brilliant, guilt-ridden writer who can't seem to write anything good. Macht, best known for independent films, is one of the better kept secrets of the film world. His allegiance to Bobby is touching and also leaves you wondering, "Why?" His performance is very well done. Scarlett Johansson who plays Pursy Will completes the package and is the powerhouse of the film, but does so without overshadowing the other cast members. Her portrayal of a lonely, strong-willed young woman who reminds her two has-been roommates that they are still alive and capable of much more than drunken lechery is superb and believable. Overall, I think the film is very well done and entertaining. It is a story that highlights many human frailties and struggles and it demonstrates that redemption can be found through friendship and family in the most unlikely places.