Predator (1987)

WOW what a bad looking print. Who the heck was in charge of this Blu-Ray transfer??? Does the 'Ray' stand for Ray Charles? because it looks as if a blind man choose to use this print! All the fuzzies, dots, lines, and blemishes on this print look ever better in hi-def! Why on earth can't the original negative be used? If I'm gonna pay a higher price, then I should get a much better picture. Shame, shame, shame, on them.

This is the worst quality Blu-Ray I have come across so far. $26.95 is outrageous for a DVD to Blu-Ray dub. Your probably better off getting the widescreen DVD than the Blu-Ray and playing the movie on upscaling DVD player, you will get the same quality. The movie is classic, just don't buy the Blu-Ray version unless you find it in a bargin bin somewhere.

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My 1-star review is not for the movie, Predator, which I love. I bought it twice on DVD: the first single-disc release with no extras, and then the excellent 2-disc special edition. I am not going to be buying on Blu-Ray, however, until the chowder-heads over at Fox start including all of the ALREADY PRODUCED extras on their Blu-Ray discs. Case in point: Predator.

Predator on Blu-Ray features a higher definition transfer (though on a single layer disc), but carries over none of the special features from the 2-disc DVD. How hard would this have been? Make it a dual layer Blu-Ray, and just throw them all on there in standard definition. That would have guaranteed and instant buy for me. But this habit of dumping the film bare-bones onto Blu-Ray is reminiscent of the early days of DVD, and I thought we were past that. Other studios are doing a fine job of including all the special features, so why is Fox being dumb? And why are they slapping a $40 MSRP on a bare-bones release?

You would have had me with a good release, Fox. I would gladly plonk down the cash for a true upgrade from my DVD version. But you blew it, and you're not getting my money.

Read Best Reviews of Predator (1987) Here

I recently tried to watch my Predator DVD, circa 1997 (or thereabouts) and it looked horrible. It was a fullscreen, widescreen disc with black bars on top, bottom, left, and right (which insluts my HD TV). The film was also not cleaned before transfer so it included wonderful hairs and scratches too. That's not to mention the films always horrible fuzzyness.

Don't believe all the whiners, Predator: The Ultimate Hunter Edition is the best this film has ever looked, and probably ever will look. Some people complained about too much Digital Noise Reduction. They said that it doesn't look like its supposed to anymore...don't listen to them. I almost didn't buy this disc because of all the complaining people were doing, but I'm glad I did.

Yes, there are maybe 3 shots where Carl Weathers' face looks a little too smooth in the beginning of the film, but that comprises about 10 seconds of the film. The rest of it looks great. The film still has film grain, it just isn't as offensive as it was in the original release. Filmmakers on a budget and with location constraints chose a film stock that didn't need a lot of light, that meant super grainy film. They fixed that imperfection (which wasn't a design choice).

Bottom line, if you are a fan of this film BUY The Ultimate Hunter Edition, not the 2008 Blu Ray release.

P.S. Amazon, do you think you can stop cross contaminating your reviews. This movie's reviews are confusing because it includes reviews for every version of the film. Star Wars is even worse. Please fix this.

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So, you have recently upgraded your home theater for blu-ray and want to replace your old Predator DVD. Should you buy the 2008 release or the 2010 (UHE) release? Perhaps I can help you decide.

When the 2008 edition was released, blu-ray disks were purchased primarily by film purists who believed nothing in the original film should be altered. Today, blu-ray is mainstream and the film purists represent only 4% of the market . Fox, in 2010 was intent on providing a release, Ultimate Hunter Edition, that catered to the tastes of the majority of consumers. The film purist minority is unhappy with that release as well.

I saw the movie in the theater when it was released in 1987. The graininess of the image was disturbing. After some research, I found that the film was shot with a film stock that, in low light conditions created an excessively grainy image and that it was not the filmmaker's intent to do that for artistic reasons.

I own both the 2008 and the UHE blu-rays and have compared them exhaustively. In my opinion, The UHE is the superior disk in terms of color accuracy and detail.

The last word from Fox on the Predator UHE blu-ray comes from Vincent Marcais, Sr. V.P. for International Sales in a taped interview. "The film stock (source for the transfer) was poor. The criticism is unfair. The filmmaker's were consulted, which we always do while they are alive. The UHE is how the filmmaker's wanted it to look"

Lets put aside the fact that the UHE has 5 hours of supplemental information and the 2008 version has none; and the fact that the UHE uses a modern video codec (AVC MPEG 4 vs VC-1 for 2008) and has a higher bit rate, resulting in more potential detail.

Your choice if you consider yourself a film purist is the 2008 release. If you want to enjoy the movie as the director and cinematographer intended, your choice is the Ultimate Hunter Edition. If you are still conflicted, buy both.

In conclusion. I own both, but I only watch the Ultimate Hunter Editon.

I would caution you about visiting other forums to help you make a purchasing decision. The people on those forums represent only 4% of those that purchase blu-ray disks today and most are biased in favor of the film purists view.

Edit. 5/19/2012. I thought it might be interesting to some of you to read some technical details about the difficulty with the source used for the BD and the issue of director's intent:

Perhaps this will put to rest any uncertainty about the director's intent regarding grain/grittiness.

"As I think much has been said online seemingly `authoritatively' about the Director's intent and the use of the film "stock" to make Predator intentionally look gritty or grainy. Well, that's pretty much inaccurate speculation according to someone I recently spoke with intimately involved in the production.

The DP chose the Eastman Kodak stocks he did for the simple fact of capturing "usable" images on film under relatively low lighting conditions in the jungle...'grit' or `intentional' graininess was never intended in any artistic sense for `atmosphere'. If anything, it was an undesirable side effect of the acquisition because it caused "murkiness" esp. in the greys and blacks of dark jungle sequences and didn't allow the filmmakers the opportunity to cut the different stocks together in the same scene, which would have been nice to have had that flexibility. To give you an idea of the challenge, they were apparently restricted to shooting at a max. of only T2 in anything but high noon and the middle of the day.

Don McAlpine shot the film with 35mm Kodak 5247 and 5294, depending on the lighting conditions available, with or without the aid of artificial light illumination. The '94 (400T) was used for really low lit conditions (like those night sequences in the ravine at the end which apparently were only getting 7 or 8 footcandles down there, with only 4 or 5 footcandles after the smoke starting flowing during the action) and the '47 (125T) stock was used for the set-ups involving wide clearances which had more natural light and as well, could be more easily illuminated with artificial light, when justified. You see, once you add artificial light in the deep jungle, all it accomplishes is lighting the foreground to such an excessive degree that it looks obvious and fake to audiences. Lighting considerations were where the real photographic `artistry", if you will, of the captured imagery took place, not in any consideration of grain being used for a `gritty' look."

Vincent Marcais Senior V.P. International Marketing, was asked about the policy when remastering catalog titles and specifically about Predator. The Fox executive acknowledges that they got a lot of criticism, "but I don't think it was deserved," he countered, because the movie was shot on a film stock that wasn't good enough, and the Blu-ray version "represents what the filmmaker wanted it to look like." He said that Fox discusses the issue of "removing grain or not" with the filmmakers, "as long as they are alive".

Corporate Execs at this level are very careful about the statements they make for publication. There will be no remaster or new transfer of Predator in the foreseeable future based on his comment.

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La Jetée / Sans Soleil (The Criterion Collection) (1983)

I am very happy that Chris Marker's La Jette (and Sans Soleil) are on DVD. La Jetee is a wonderful, incredibly haunting film. It can easily be classified as one of the greatest science fiction films ever made in my opinion. It only runs 28 minutes, and is composed of nothing but still images and narration (except for one shot), yet the universe is contained within it. It's that rare cerebral science fiction that hardly gets made these days, along the lines of 2001, Blade Runner, and Solaris (Tarkovsky's version). It was the inspiration for Twelve Monkeys, and while Monkeys is a great film in itself, La Jetee is much more haunting and moving. It's wonderful to be able to see La Jetee in a proper transfer.

La Jetee (1962) is one of the seminal works of the French New Wave as well as one of the all-time great science fiction films. It deserves all the respect it receives but what is really so amazing is how much is achieved with so little. Made entirely of still black and white images--of WWII cities in ruin, of an airport observation deck in the fifties, of generic shots of a woman one could find in any magazine, of a group of men in one of the many tunnels beneath Paris--and a mundane but strangely compelling voice-over, Le Jetee is not so much a film as a series of random images linked only by the narrative spell of a single voice.

We view only one still photo at a time and we assign meaning only because the narrator tells us the significance of each. It doesn't sound like much to describe it so and yet because the technology is so primtive we are somehow less distracted than we would be were this a full-fledged cinematic production with action sequences and a pulsing soundtrack. This is basically a slide-show and that is the key to this films appeal. This film essay works because it asks for a different kind of attention than we are used to giving films. La Jetee asks for a much more personal kind of attention, the kind of attention we give to our own photo albums, slide shows and dreams. But, also, since many of the images look like they could have come from LIFE or National Geographic there is also a kind of generic quality to the slide show and we are lulled into a kind of attentive trance as we get the feeling that Marker is making a connection between our own personal memories/dreams/markers and the generic memories/dreams/markers of the culture at large. Watching this film is like looking at a pile of old magazines and contemplating our own deepest dreams/desires at the same time--perhaps viewing both as vehicles leading to the same place.

The presumption that there is a link between the personal and the universal is not a new idea, it is a presumption that various artists and essayists (Montaigne is the most obvious example) have held throughout history. The idea has developed in two ways. Some (Noam Chomsky is the most famous in our day) argue that the deep structures of the mind are the same in all men regardless of cultural/racial/gender differences. Others argue that man is no particular way but that he is shaped by the culture in which he lives. The former group celebrate universalism (or globalism, a word which began to be used after WWII) and the fact that we are all generic creatures capable of understanding each other. The latter group (and many science fiction writers fall into this group) fear that the more homogenous and pervasive the mass/universal/global culture becomes, the more homogenous man/existence becomes. Marker is in the latter group, so it is no surprise that he has a strange love/hate relationship with technology--for technology is seen to be the thing that facilitates the spreading of sameness as well as the thing that allows us to meditate upon it. In his films there are no special effects nor any of the usual visual or audio markers that we usually equate with science fiction, and the matter-of-fact monotone of the voiceover gives his films the feel of a documentary but a documentary that we somehow feel compelled to watch because as the speaker drones on we are reminded of our own archive of memories and our own personal views on the matters raised. La Jetee alerts us to the importance we place on memory and the recall process in establishing and maintaining an identity in an image saturated world but it also asks us to question the reliability and authenticity of memory and to what extent personal memory has been invaded/colonized by collective memory. In the later Sans Soleil (which makes use of moving images and color and in many ways resembles a contemporary travelogue or catalogue of all the various cultures that co-exist today), Marker alerts us to how conditioned our responses have become. Even in the presence of one exotic culture after another all the narrator can muster is a kind of bored resignation that there is no escape (except perhaps in death, a device/conceit that Godard also makes use of as early as Pierrot le Fou and as recently as Notre Musique) from the universalizing cultural processing machine that we have each internalized and that reduces all to a monotonous sameness.

That said, the films are at once both generic and intensely personal. The latter film is perhaps the more intimate as it is delivered as a personal letter. What is personal about existence and what merely generic is the question that informs every still and every moving image in a Marker film. This strangely unsolvable riddle is what gives the films their timeless power.

This is film essay/art of the highest order.

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Sans Soleil has long been one of my favourite films. Superlatives barely begin to scratch the surface, but it is surreal, haunting, poignant, ethereal and unlike any other 'documentary' you have seen or are ever likely too. The film is ultimately about the heartbreaking beauty of the time and place in which we (do or do not) exist. Featuring Marker's central preoccupations of time, space and memory, Sans Soleil needs to be seen to be believed.

Read Best Reviews of La Jetée / Sans Soleil (The Criterion Collection) (1983) Here

Simply stated, this disc features two of the greatest films of the 20th Century. La Jetee is often called a "science fiction" film while Sans Soleil is labeled as a "documentary", however both films defy these simple descriptions. While very different in form, both La Jetee and Sans Soleil will challenge your ideas of memory and time and spacial relationships. These films are absolutely critical viewing for discerning film fans. Kudos to Criterion for finally bringing these films to the U.S. I only wish that other films such as "La Mystere Koumiko" by Marker will follow.

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This review is for the Criterion Collection DVD edition of the films

La Jetee is about a post World War III Paris where the survivors live underground. One survivor, haunted by dreams about an event in his childhood of a man being gunned down is asked to volunteer to go back in time to bring supplies back to them.

The film is a series of still photographs with narration by an unseen reader.

This film later became the main inspiration for the film Twelve Monkeys.

Sans Soleil is a documentary about life in Japan. The film is in an avant garde style and has elements of the Qatsi trilogy and other films.

Both films are excellent and very nice in this version.

Both films have an optional English dubbed track and two versions of subtitles.

One flaw is they can be out of sync when switched they also have different content. Use the regular subtitles for the French dub and the SDH (Subtitles for the deaf and hard of hearing) for the English dub. The SDH subtitles follow the English dub verbatim but are not as precise as the other subtitles.

The special features are an interview with Jean-Pierre Gorin, and excerpts from the French TV program Court-circuit, and exerpts from David Bowie's music video "Jump They Say" which contains a scene inspired by La Jetee.

This is a must buy!

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Twenty Thousand Streets Under the Sky

Although this plays continuously as a single film, it was adapted from a trilogy of novels by Patrick Hamilton. Its subject is unrequited love, as played out amongst three characters. Each section is identified first by the title of the novel, then by the character whose perspective we are seeing. Be that as it may, this is not RASHOMON, or anything like it.

I have not read Hamilton's books. However, the sections play out like novels written by authors with entirely different perspectives on the human condition. Their progression is Hegelian: thesis, antithesis, synthesis.

"The Midnight Bell" is from the point-of-view of Bob, a romantic young barman. He is infatuated with Jenny, a fresh-faced prostitute who at times seems to love him, and at other times seems only to want to drain his bank account. In Bob's view of her, she is a victim of society, a woman without options. The episode is like a novel by Zola or Dreiser, in which humans start out free of iniquity, but then have it imposed upon them by their social circumstances. This is, after all, the Britain of the 1930's, and women don't have a lot of options.

In "The Siege of Pleasure" we see Jenny's progression into prostitution. As a matter of fact, she started out as a bold young woman with a good job and a lot of promise. She made some bad decisions. The moral perspective of this episode is like that of a Graham Greene novel: you make a wrong turn into sin, and everything follows causally from there. It is indeed the opposite of "The Midnight Bell's" point-of view.

Finally, "The Plains of Cement" shows us Ella (the indelible Sally Hawkins), a timid creature who inconspicuously tends bar and lives in the same boarding house as Bob. She is tormented by an unspoken love for Bob, made worse by the fact that she is witness to his slow ruination over Jenny. In a trilogy where human will is the theme, she exists as its weakest possible vessel. Buffeted into an engagement with a possessive older man, she seems, at times, to have no idea of how to act on her own. Yet, even with the smallest allotment of willpower, she manages to extract herself from those much stronger than her, making a melancholy peace with what is gone and what remains.

This is a BBC production. It is literature competently transformed into moving pictures. That may sound like faint praise, but to have imposed a more "cinematic" style on it would only have made it unnecessarily fussy. It is perfect as it is.

If you have experienced love and rejection you might feel this movie is about you. I could identify with the main characters and at the end, I felt just like them.

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THIS IS NOT YOUR TYPICAL LOVE STORY. THIS IS A TRILOGY COMBINED INTO ONE ABSOLUTELY WONDERFUL DRAMA FEATURING GREAT ACTING AND WRITING. THERE'S NO "FAST FORWARDING" THIS GEM.

Read Best Reviews of Twenty Thousand Streets Under the Sky Here

Superb performances by the leads, Haygarth, Tapper and Hawkins. Evocative and gloomy, but can't-take-your-eyes-off-it great. Please make this available for U.S. DVD.

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Absolutely terrific depiction of love and longing among the lower class in early 20th century London. This film is the antithesis of the typical Hollywood love story, and left me amazed at the genuine sense of feeling I felt for these characters.

Top notch.

The Big Lebowski (1998)

The Big Lebowski is on my top ten list of all time best films. I've seen A LOT of films by the way. I don't need to explain to anyone why this movie is so brilliant, and why it continues to be a cultural phenomenon. I mention these things first because I don't want people to feel like I'm giving the film one star. If I could I would give the movie 100 stars. What I'm giving such a poor review for is my distaste for movie studios pumping out special editon dvd's every few years because they know a film has a huge following. This new "bowling ball" edition of Lebowski is further proof that Universal has nothing but contempt for the fans of Big Lebowski. They wrap it up in a nice big package and make it look slick, but that's as far as the creativity goes into supplying anything new in terms of extras. Does anyone remember the terrible repackage they gave it a few years ago with a towel and coasters? No actual extras existed, but they still put it out as a revamped "deluxe edition". Well, don't expect much more here.

The only new extras to this edition are four very brief featurettes. They feature new interviews with all of the major players (with the exception of the Coen brothers, of course), but they mostly just sit around and say stuff like, "It's a great film! It's hilarious! Coen Brothers are geniuses!". Err, yeah, we know all of that. It also has a featurette that centers around the Lebowski Fest which is vaguely interesting for a few minutes until it turns into the same old "Lebowski is great!" territory. The featurettes are a snooze fest to say the least.

What really annoyed me with this DVD, though, is that they included the SAME "Making of Big Lebowski" documentary that has been on every release of this film! Not only that, it looks as if it was recorded from an old VHS tape and plastered onto a full screen format. It looks horrible, and what's more, we've all seen it before! How many times is Universal going to pump out the same damn extras to the same audience?? It's an insult to be charged more and more money for the same mediocre extras that were never that good to begin with. Luckily I was able to rent this and didn't actually buy it! "The Big Lebowski" will NEVER have proper extras until the people who created it (the Coen Brothers) are involved. We want a commentary, a full length documentary with in-depth interviews, and deleted scenes (and plenty of them!).

DON'T BUY THIS EDITION. It's junk! Simply keep the edition you already have (the very first edition) safely knowing that you are not missing anything with any other edition!

"The Big Lebowski" is just perfect. Everything about this movie is a laugh riot, even the bits of dialogue that aren't punchlines. The cast is perfect, the writing is perfect... this movie has both Julianne Moore and Flea in it, what other movies can you say that about? Well, there was the Gus Van Sant "Psycho" remake, but that doesn't count. I found this movie by accident and I haven't let go of it since. I may not be a stoner but I will say I've found more happiness since I embraced my inner Dude.

Every time I go back to "Lebowski" I come away with something new that wasn't there before. Like the realization, this time around, that Jeff Bridges is not seen to throw a single bowling ball in the entire movie. And that Steve Buscemi's character rolls a strike every time we see him... except for the very final scene, for reasons that become clear a few moments later.

The rest of the cast is just superb. Remember Philip Seymour Hoffman as an unctuous PR man? I'd forgotten about that. Jon Polito (late of "Homicide") shows up as a P.I. in a familiar-looking purple VW bug. Even Aimee Mann is in one scene, speaking German. Oh, and Tara Reid, before her career completely and utterly collapsed. Top supporting honors go to Sam Elliott, who according to the DVD documentary wasn't even sure what he was doing in the movie, but his opening narration gets funnier every time out ("And in English, too!").

Another great thing is the dialogue. You'd think the whole movie was done by improv, the way the dialogue is so natural. Every character has their own particular jargon, and just like in real life, people keep repeating phrases they've heard elsewhere. Jeff Bridges can't seem to finish a sentence, and neither can Steve Buscemi, although that's because John Goodman won't let him. George Bush gets quoted a lot ("This aggression will not stand, man").

Finally, I love the totally unglamorous portrayal of L.A. and Hollywood, limited to tiny theaters, a seedy bowling alley, a weapons store in the barrio, and the In 'n Out Burger (on Camrose). The actor and artist type characters who show up are all obnoxious or pathetic, particularly David Thewlis's "video artist", and the chubby dancer/landlord who forgoes collecting rent from the Dude so long as the Dude shows up for his performances. Not to mention Karl Hungus and the great Ben Gazarra cameo.

But in the end, Jeff Bridges is the glue holding this movie together... and John Goodman... and John Turturro... and... and... aah! Lost my train of thought here. But... ah, , I've done introduced 'em enough.

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Picture and sound quality is a bit improved, but other than that you are spending money on the exact same DVD. Usually, when a "Collector's Edition" is released, especially after a movie gains such a huge cult following like Lebowski has, people actually go through the effort of including cast commentaries, more bonus features, and...well, more than just repackaging the old DVD with a new name, a new cover, and a higher retail price.

Shame on Universal and Focus Features.

Read Best Reviews of The Big Lebowski (1998) Here

In what has to be the most brilliantly disjointed and anarchic look at the alienation, apathetic stupor, and pedestrian self-absorption of the pathetic Southern California lifestyle ever filmed, the two Coen brothers (`Fargo') produced and directed this near `cult' film to explore the plethora of cultural cop-outs parading as lifestyles in this zany yet affectionate look at a totally burned out and yet eminently likeable basket case by the name of Jeff Lebowski, who is played masterfully by Jeff Bridges, in yet another of his consistently underestimated character portrayals. Lebowski prefers to go by his street name of "Dude", and seems to be the ultimate California case of a one-time fairly intelligent `n'er-do-well' now perpetually down on his luck and reduced to only occasional flashes of clarity and full functioning after way too many years of sex, drugs, and rock and roll, and then some more drugs tossed in on the side.

The Coens' penchant for offbeat characters is having a field day here, with everyone in the cast allowed to vent in a kind of wacko 'Disneyland on the strip' approach to making the endless days of gorgeous LA sunshine pass, as our protagonist finds trouble in the promised land. Particularly memorable here is John Goodman weighing in as the paranoid and unpredictably violent Walter Sobchak, the `Dude's' best friend and perpetual bowling partner. The holy ceremony of bowling and the seriousness that it plays in the lives of the several losers like the Dude, Sobchak, and the preening eccentric Jesus Quintana (a wonderfully over-the-top John Turturro) and the rest of the motley crew on the Dude's team provides a kind of key that unlocks the mystery of their uniformly alienated, pointless, and directionless lives, as each tumbles from crisis to crisis, and with each attempt that Dude makes to cope with the circumstances that mysteriously start to swirl around his drug addled self-absorption and wake him into a groggy yet sober recognition that something very serious and potentially deadly is going on around him, he is repeatedly sabotaged and blind-sided by the myopic and near-psychotic antics of his friends.

Dude seems to approach crisis management as an exercise in spin control, and tries, sometimes quite ingeniously, to talk his way out of the staccato violence that punctuates his days with increasingly urgent frequency. But as the mystery deepens and Lebowski is sucked farther into the quicksand of coincidences, mistaken identities, and sheer madness that lurks just beneath the cover of these friendly skies, we are introduced to the powers and the principalities that are driving the madcap antics and the increasing shrill intensities of everyone but the Dude. The plot often seems disjointed, yet in a macabre way that seems to shout that not only is truth sometimes stranger than fiction, it is sometimes absolutely insane. Yet it eventually resolves itself into a semi-rational resemblance to plausible reality, or at least almost. And one walks way from the outstanding ensemble cast's performance thinking that something magic and allegorical has happened here, and it is perhaps exactly the insanity of the proceeding activity that is the point. They are indeed, every last one of them, just California crazy! This is a wild roller coaster of a film experience, but one absolutely worth the taking. Buckle up, kids, you're in for a bumpy ride! Enjoy!

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The Big Lebowski doesn't need a review, so if you're here to read about the film, this won't be helpful. This is a review of the Blu-ray Limited Edition with book.

That being said, this is a very nice edition. The photographs in the book are great and are fun to see behind the scenes action, especially Jeff Bridges' photos. He's a talented photographer utilizing his unique pano camera.

The Blu-ray conversion is clean, crisp and well done. The picture and sound are excellent. The digital copy is a nice plus, but consider that the coupon expires on 12/31/12. Its more than a year away, but its worth noting in case it's something you forget to take advantage of.

However, my biggest complaint is this. The size of the book (which holds the physical disc) is actually just a little larger than standard Blu-ray cases. While this may not be a big deal to most people, if you're like me and have bookshelves fit to the height of a Blu-Ray, this movie can't stand on end. It has to be laid flat, or sideways on the shelf. It's a little thing, but for those with extensive collections on shelves, it can be annoying.

Overall, the Blu-ray edition is a nice step-up for those looking to upgrade their DVD or add it to their collection.

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Silver Linings Playbook (Two-Disc Combo Pack: Blu-ray + DVD + Digital Copy + UltraViolet) (2012)

This is why we go to movies. Silver Linings Playbook is that rare breed of movie where all the moving parts got put together in exactly the right way. The dialogue is sharp, witty, insightful, funny, and often brutally honest. It respects and holds true affection for its characters and the wonderful ensemble cast makes it look easy. The direction, editing and soundtrack are spot on. It is a future classic and the best movie of the year.

Pat is an underachieving substitute high school history teacher who has just been released from the Karel Psychiatric Facility after spending an eight month court-ordered stint for nearly beating the history teacher to death when he finds him in the shower with his wife. His doting, eternally optimistic mother brings him home hoping that the worst of his previously undiagnosed bipolar symptoms are under control. But his refusal to take his meds and an unfortunate incident concerning Earnest Hemingway and a window quickly dispels that optimism. Pat is in fact clueless, living inside a self-delusion bubble in which he reunites with the truly unattainable object of his obsession, his wife Nikki. Two more mismatched souls the world has never seen but he is the only one who doesn't realize it. He plods doggedly on in pursuit, oblivious to everything and everyone else around him. His illness has removed the normal barriers that prevent him from expressing the unfiltered truth as he sees it, making for some awkward, cringe-worthy, often humorous exchanges. Pat is hardly ready for the real world.

And he certainly is not ready for Tiffany. Pat's best friend invites him over for a homecoming dinner which turns out to be a blind date with his wife's recently widowed sister, Tiffany. Tiffany suffers from severe depression and her mood swings run the gamut volatile, bitter, vulnerable, stubborn, sexy, and sweet all thrown randomly into a mixer and blended at high speed. Everyone is a little afraid of her. Her depression results from her guilt over her husband's death which she attributes to her loss of sexual interest in him. She sleeps with everyone in her office in an attempt to anesthetize herself from her emotional pain. She is dead inside, just breathing air. And into this web steps the unsuspecting Pat.

From the moment they meet sparks and barbs fly indiscriminately between them, much to the horror of their hosts who believe they are witnessing a train wreck in the making. But these two lost and damaged souls immediately connect, kindred spirits seeking respite from the storm. Pat is overwhelmed, unable to come to grips with guilt over the intensity of his attraction to Tiffany and the incident sends him into an uncontrolled manic episode. Tiffany feels the same connection and it jolts her far enough out of her stupor for her to see the possibilities. When Pat turns down her offer to sleep with her the flame sparks higher, her curiosity is piqued, and her pursuit begins in earnest. As she starts to nurture and guide Pat, she develops such a flaming torch for him that it would blister the skin off any ordinary guy. But he is oblivious, content just to follow her around like the lost puppy he is. She grabs the opportunity full throttle, dragging the perplexed, not-quite-ready-for-reality Pat along for the ride.

The cast is simply brilliant. Bradley Cooper is a revelation as the bipolar misfit whose philosophy consists of working hard and staying positive to find the silver lining in everything. He and Jennifer Lawrence have such electrifying chemistry together that you find yourself rooting for them to find a way to be together from the moment they meet. Robert DeNiro comes alive in his Oscar-nominated role as Pat's Eagles-obsessed, superstitious, OCD bookie father. Chris Tucker deserves special mention as Pat's equally optimistic fellow psychiatric inmate and friend Danny ("Black it up Pat!").

But make no doubt about it this is Jennifer Lawrence's movie. At twenty two she is the real thing. Her performance here is transcendental. Even with the marvelous supporting cast holding the bar so high the movie would not work without her. She is visceral caustic and vulnerable in the same breath. Her facial expressions hide nothing she is fearless, willing to expose Tiffany's raw emotional core to everyone around her, warts and all as she juggles staying one step ahead of both Pats obsession as well as her own. The transformational changes that occur are put into motion and propelled forward by her. She bets everything with no guarantee that he is capable of giving her what she so desperately needs, willing to run the risk of diving off the emotional cliff for a chance at the real thing. Her character is the lynchpin of the story. And Jennifer Lawrence is nowhere to be found here. The success of the movie rides on her shoulders and she is brilliantly up to the task. Her talent is embarrassing.

The film is unapologetically romantic but dismissing it as a simple romance is missing the point. It deals with family, friendship, truth, sacrifice, and love as imperfect ideals worth fighting for regardless of your place in the world. It is a brave film. Do yourself a favor, go see it. It is ultimately a joyous affirmation of life's possibilities. And who doesn't need a little of that?

David O. Russell's "Silver Linings Playbook" is a big hearted and nearly irresistible concoction that presents one of the year's most unlikely romances. I've been a huge Russell fan since his debut with "Spanking the Monkey" and "Flirting With Disaster" is one of my favorite flights of outrageousness. Russell can have an edgy cynicism about his eccentric characters, but he knows how to make an audience identify with even their most offbeat characteristics. Make no mistake, "Silver Linings Playbook" is loaded with an expected array of troubled souls. But the most remarkable thing about this film (and its screenplay) is the amount of compassion it shows to just about everyone. With a stellar cast including Bradley Cooper, Jennifer Lawrence, Robert DeNiro, Jacki Weaver, Chris Tucker and John Ortiz, the movie boasts easily one of the best ensembles of the year. Each of these actors is given a fully written character and each makes a huge impression in the screen time allotted. That's what impressed me most about the film. It embraces its large cast and allows every member to shine!

Cooper plays a man being released from institutionalized care after a violent episode got him into trouble. Having lost his job and his wife, he is taken in by his parents (Weaver and DeNiro) who must contend with his bipolar condition. Cooper is single-minded in his pursuit to get back together with his wife, to the point of obsession. When he meets an odd young widow (Lawrence) dealing with plenty of personal demons, the two seem like they've got a lot in common. Of course, they seem perfect for each other but Cooper remains oblivious for most of the movie. Cooper and Lawrence have a great chemistry, even in confrontation (which is most of the time), but their verbal exchanges and smart dialogue are really what distinguish this piece. On paper, "Silver Linings Playbook" sounds like it might be a bit of a disaster. It might be filled with cliches about mental illness and stock romantic subplots. But Russell travels off the beaten path. The movie speaks volumes about family and commitment with unexpected plot detours that include gambling, football, and even competitive dancing.

Every character in the movie is a mess! Really! But you still root for them to come together. Cooper shows new acting chops, while Lawrence is smart and appealing. DeNiro has one of his best supporting roles in years, he's playing an actual character and not just a caricature of himself. His estrangement with Cooper fuels much of the movie. The saintly Weaver is so good, worlds away from her Oscar nominated turn in "Animal Kingdom" as the evil matriarch. And Ortiz and Tucker really score in smaller roles. The movie might follow standard romantic comedy conventions in its primary plot, but you've never seen them orchestrated in quite this way. The big finale, in fact, has one of the most uncomfortable (and biggest) laughs of the year as our leads strut their stuff on the dance floor. This is not all comedy, nor all drama, but an appealing blend that feels both fanciful and real. Russell obviously loves these characters and I think you will too. About 4 1/2 stars. KGHarris, 12/12.

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I didn't expect to like this film since I've disliked Bradley Cooper's past roles and because the script sounded shallow and formulaic. Initially, I thought they'd included De Niro as a come-on. In fact, the only reason I saw the film was because of Jennifer Lawrence, whose sophisticated performance in WINTER'S BONE convinced me I'd seen the breakthrough of a gifted actress.

Well, I was wrong about Cooper, wrong about De Niro's inclusion, wrong about a formulaic script, and dead-on about Jennifer Lawrence. Simply stated, this quirky, brilliant story of the evolution of love between two world-worn, emotionally troubled people -against the chaotic background of family madness -was one of the most satisfying, funny and affecting movies I've seen in recent years. In terms of clarity, continuity and heart, it surpasses the book on which it was based.

Since others have described the plot on this page, I will say that millions of viewers who have not seen the film will find parts of their emotional lives in the trials of the lead characters. They will marvel at Bradley Cooper's jaw-dropping portrayal of of a man shackled by the manic phase of bipolar disorder. They will wince at those moments in which the love between the principals starts to emerge, and falters. They will discover a performance by Lawrence that is comfortably sensual, and an actress who is equally powerful whether she is mute or screaming.

The script is complex and masterfully written, with surprising outburst of pathos and hilarity. The climax of the film -and I won't enter a spoiler here -caught me by surprise. I wept at the beauty of it, the director's mastery of realism, and the restoration of originality and complexity to American comedy.

It may be that we're all fundamentally "crazy" and that these two lovers legitimize the chaos we feel inside. It may also be that the art direction, score, supporting performances (De Niro is simply wonderful) and choreography are jaw-dropping. In the end, it's the confluence of so many virtues that make this film as fine as it is. For Bradley Cooper, it's a career-defining moment For Jennifer Lawrence, it's confirmation of what the wise always believed, and hopefully she'll be spared casting in horror films in perpetuity. She is one of our very best, and her beauty, grace and innate power to inhabit the souls of her characters -are most unusual.

While I've enjoyed it once, I plan to view it again tomorrow evening, will continue to discuss it with friends, and add it to my list of favorites.

That's not bad at all.

SILVER LININGS PLAYBOOK is a gift. Prepare to receive it because it delivers.

Read Best Reviews of Silver Linings Playbook (Two-Disc Combo Pack: Blu-ray + DVD + Digital Copy + UltraViolet) (2012) Here

I have to be honest and say that i didn't hear very good reviews on this movie. But, because I am a movie fanatic i must always see for myself. First off, I am a huge fan of Jennifer Lawrence and that was exciting in itself. The movie was hilarious, witty, charming, crazy, confusing and in all good ways. Robert Dinero oddly made me cry of course. The overall story was amazing. Love does not always come like in fairy tales and this movie proves that. Sometimes the pain can bring two people together, and sometimes the people we need the most are right in front of us, even if we cannot see it right away. All i can say its suprizing-ly entertaining and you will not regret watching it. I suggest you watch this when you arent distracted by noise because everything that they say ,,,trust me you want to hear! I bought it the next day. GREAT movie!

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An absolutely great movie. Bradley Cooper and Jennifer Lawrence have two outstanding performances for which Lawrence won the Best Actress Oscar, not too mention the supporting jobs done by Robert De Niro, Jackie Weaver, Chris Tucker and many others.

Set in Philadelphia, the movie shows Pat Solitano (Cooper) returning home from a stint in a mental institution after a domestic incident with his ex-wife highlighted his struggle with bipolar mood swings. Pat moves back in with his parents (De Niro and Weaver) as her tries to get his life back together, hoping to reunite with his ex-wife. Things get very interesting when Pat meets Tiffany (Lawrence), a young woman with issues of her own.

If nothing more, the movie shows that life is not always perfect. Things can get out of control and spiral. All the same, with family and friends in our lives, it's always worth moving forward.

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The Mask (2008)

Did you know that this excellent comedy was planed to be a horror?! Based on popular comic, THE MASK would be a storu about green killer who tells sarcastic remarks, while he's tearing a part his victims with an axe. But, when director Chuck Russell got Jim Carrey for this role he decided to do a comedy. And lucky for him and us he did a great job. I remember when I saw THE MASK for the first time. Fantastic story, interesting characters, and of course, Jim Carrey in role which made him famous. Story is about unsuccessful, shy banker who comes in possesion of an ancient wooden mask which turnes him into a wild, green, party creature who now has everything: powers, money and love. It influented on me so much that I find the same dog like Milo (that is one damn smart dog!). Carry gave the best of himself: he danced, sang and made jokes all the time. Cameron Diaz left me breathless, and two caps..., well, see it for yourself. This film guaranties fun whole 90 minutes it lasts and trust me, you will love it.

Ace Ventura: Pet Detective was really the movie that put Jim Carrey on the map. The Mask is the movie that solidified his position as the funniest guy in Hollywood.

In The Mask Carrey plays Stanley Ipkiss the nice guy who always finishes last. He gets a hold of a mask that once he wears it his innermost desires come to life. Will Stanley let the mask rule his life or will he realize he's great just the way he is. You'll just have to watch the movie to find out.

Jim Carrey gave an awesome performance in this movie. He was nominated for a Golden Globe for Best Actor in a musical or comedy. He didn't win it, but his performance was definetly good enough to have one it. Ipkiss is in no way Ace Ventura. He isn't the confident wild man that Ace is. He's the nice guy that finishes last that everyone likes. Carrey plays it to perfection. Once the Mask is put on Carrey becomes that wild man that we love so much and thats where the movie really excels. The animation they used for Ipkiss with the mask on is great and Carrey plays the wild man better than anyone ever. He sings, dances, and throws out some of the best one liners ever. Stanley Ipkiss is a great character and thanks to Jim Carrey for making him that.

Cameron Diaz is great in the film. This was the movie that introduced us to the formere model. She holds her own real well in the movie. Carrey was so hot when he did this movie riding the success of Pet Detective and she shines in this role. She is absolutely gorgeous throughout the whole film. She's not a bad actress and I really wish she'd do more roles like this.

The extras on the DVD are decent. There are some deleted scenes that are alright and the directors commentary is decent as well. The movie can be viewed in full or widescreen format and it features dolby digital sound. I wish they'd done some more with the special features though. They could have done something cool with the music or special effects, but they didn't.

The music is great in this film. I have the soundtrack as well and the music helps make this film great. Jim Carrey is great when he dances and sings in "Cuban Pete." There are some great swing songs like Royal Crown Revues "Hey Pachuco played in the movie. This really could be considered a musical in many ways.

This is a fantastic film. It's fun the whole familiy can relate to and is a must own. The DVD is pretty easy to find cheap, so don't miss out on this fun film.

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Reviewing the movie: I'm not a Jim Carrey fan, i'm really far from them (i think his acting in other movies is... well, dumb), besides, this movie is one of my favorites, and nobody could portray a better Mask character than Carrey.

This movie is not only a feast of special effects (by the ILM guys, inspired in the cartoon antics of Tex Avery), musical numbers, and laughs; this movie also has a message in it -"From Zero to Hero".

Yeah! i know that this is part of the main title of the DVD (in theatres, it hasn't this title), somebody could think that Zero is refering to Stanley Ipkiss, and Hero is the Mask, but this title is NOT refering to the Stanley Ipkiss' Mask character, it's refering to Stanley Ipkiss himself! The Mask character is far from being a Hero, it's really a headache to Ipkiss and the society in general, but when Ipkiss realizes that he doesn't need the mask and began to confront his inner fears (and "the bad guys") without the mask help, that's when Ipkiss become a Hero... in the real life, somehow that's something that we can achieve when we stop "wearing our masks" and begin to act like ourselves, showing to the other who really are we.

Reviewing the DVD: The audio and video quality are good (the sound is Dolby Surround 5.1 and the video is remastered); this is a double sided disc, in one side you get the Full Screen version of the film, in the other the Widescreen version (something common in "old" dvd's), in the extras side, you can see 2 deleted scenes (but without commentary..), an audio commentary by Chuck Russell (here you can learn why those 2 scenes where eliminated... unfortunatelly the audio comentary doesn't have any subtitles, so, if you're not an English speaker, probably you'll have a problem); audio in english and french, subtitles in spanish, french and english; the theatrical trailer.... the box says that the dvd has Production notes, but i can't find none.

This is a good movie, and it doesn't matter if you're not a Carrey fan (like myself)

Read Best Reviews of The Mask (2008) Here

For fun and visual humor, this film just can't be beat.

Jim Carry is superbly cast as Stanley Ipkiss -"Mr. Nice Guy" and one of life's loosers. That is, until he happens upon an old carved Norse mask (supposedly having belonged to the god of mischief, Loki). Once having donned the mask, Stanley is transformed from a meek introvert into a hip "man about the town" who turns every situation to his advantage -and this occurs in the most comical fashion imaginable.

Heavily based on cartoon-like animation (which the character, Stanley, has a passion for), the mask performs astonishing feats that will have you grinning from ear to ear. It's a cartoon show come to real life.

The special effects in the movie are very well done. The Mask's first experience on the town (as he leaves the rooming house) with an animated clock and his unsuspecting land-lady, Mrs Peenman; his encounter with a rude motorist ("I think he wants to communicate"); and the scene with a couple of overcharging mechanics ("Hold onto your lugnuts, it's time for an overhaul!") are very well done -and only the prelude to even better sequences later. One of the most priceless parts is where the Mask is cornered by every police officer (including SWAT) in the neighborhood, then turns the situation into a song and dance fest with a Cuban flavor. It's hilarious. (great music too!)

Jim Carry is a natural straight comic rivaling Robin Williams. His talents come across full-force in this film. And don't forget, sexy star Cameron Diaz also plays a prominate part opposite Mr. Carry.

This one's a treat for everyone. If you haven't seen it yet, rent a copy today. Only the most dour will fail to find something to like about the film.

As the tagline says, it's fantastic fun.

~P~

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Watching this movie with the director's comments you learn that the operating budget for the film was 18 million dollars. Also the studio almost cut the 'Cuban Pete' scene until early screenings revealed it to be the most popular scene in the movie. Jim Carrey is actually singing however Cameron Diaz, who performs earlier is not. Charlie Russel does not say Cameron Diaz isn't singing but his silence during her performance spoke volumes to me. 18 million is an incredible figure because that amount of money would currently be required to get Carrey or Diaz in any movie that wasn't pure voice over work. The Mask is entirely Charles Russel's vision minus 2 deleted scenes. The scene where Peggy is brutally slain was rightfully deleted. The scene where Leif Erickson discovers America by accident as a byproduct of the cursed masks' disposal could have stayed in but would have begged a revisitation of sorts so was cut for brevity and cohesion. Carrey is sympathetic as Ipcus and hilarious as the Mask. The talented supporting cast misses no notes. Cameron Diaz has never been more alluring on camera. Many successful movies have employed surreal period themes. The Mask uses a circa 1940's theme to good effect. This movie was under rated in it's day but has stood the test of time and still represents Carrey's most cohesive and compelling comedy performance. The movie is also a lesson to studios that over meddle in decisions that are creative. As a result 'The Mask' is a much better movie than 'Bruce Almighty' even tho the budgets for the two films were 40 million dollars apart.

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A Time to Kill (2009)

John Grisham novels are difficult to rate as movies. On one hand Grisham's work translates to well to pop culture that his books are almost cinematic. On the other, the "book-is-never-as-good-as-the-movie"-ism applies. Some of Grisham's books have been quite good"The Firm" was a terrifically exciting movie (Tom Cruise was letter-perfect for the role of Mitch McDeere), and "The Rainmaker" (which gave Matt Damon his start) certainly surprised me with a touching story of an underdog who upsets the system. Some have been mediocre to bad"The Pelican Brief" and "The Chamber" fit the latter category, "The Client" the former. "A Time to Kill", in my opinion, is the best of them all because the author gives his audience a tough choice to make about what justice is. Pack in some sterling acting performances and this is one pretty darn good movie.

The plot? After his young daughter is viciously raped and assaulted by rednecks (no, John Rocker doesn't have a cameo), Samuel L. Jackson guns down the two assailents on their way to court. He is subsequently put on trial by the local DA, and defended by an idealistic white attorney. Jackson's trial becomes a swirling tempest for local hatreds to be aired.

Director Joel Schumacher certainly surprised me with good work, despite being the man who made "Batman & Robin". It helps to assemble some serious acting talentSamuel L. Jackson and Kevin Spacey (the DA) are both recognized actors (Spacey having won an Oscar for "The Usual Suspects", and Jackson is *long* overdue for getting one himself), so the big surprise was Matthew McConaughey's sterling performance as the idealistic, passionate attorney who defends Jackson. McConaughey is a terrific actorlaid back, easy-going but with just enough passion and intensity. This movie put him on the map and it is easy to see why he is a talent in demand. Sandra Bullock and Ashley Judd have roles here but don't make much of an impression. Donald Sutherland and Keifer both have parts toothe former as Matthew McConaughey's mentor (a role he's quite good in, incidentally) and the latter as a local redneck.

Finally, a word about the plot: the best movies give us a sticky problem that can't be resolved easily. The tricky choice in "Crimson Tide" is a beautiful example of a decision that could go either way and gives the audience something to debate about afterwards. Here we're given a tricky choice vengeance or justice? Do we acquit Samuel L. Jackson because in our hearts he did what we all would do in his place? Or do we punish him for taking the law into his own hands? It's a rough choice to make, and the movie refuses to give us an easy answer.

Well done.

John Grisham's tale of justifiable revenge was one of the best films of 1996. When a black man kills the two white rednecks who brutally raped and beat his daughter it seems his conviction of the murders will be cut and dry. So when the small town's lawyer is asked by the man (played with masterful skill by Samuel L. Jackson) to defend him it seems a hopeless cause. But when the klan gets involved the case becomes personal.

This film is entirely unsettling because it makes us realize that events like this still happen in small towns throughout America, especially in the South. The themes of racism, of overcoming racism, of justifiable homicide, of justice outside the law are so superbly represented in this film that it seems impossible to me that this movie wasn't nominated for many Academy Awards. But alas, the past is the past. Chock full of great performances (especially Matthew McConaughey, Samuel L. Jackson, and Kevin Spacey) and masterful direction by Joel Schumacher, A Time to Kill is one heck of a movie. A true classic.

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Okay, here's the deal: I love this movie. "A Time to Kill" is one of those flicks that I can watch over and over, so when I found it marked down on DVD at a local store, I bought it. I've long since spent more than the purchase price on renting it in VHS.

Matthew McConaughey is incredibly hot, and almost a decent actor. Samuel L. Jackson is fabulous, as usual (ohmigod). Sandra Bullock, I love Sandra Bullock (got a girl-crush on her a mile wide), and I love, love, love Oliver Platt in this movie. There's a moment when Sandra Bullock's character is frustrated at not being able to find the information she needs, and she says to Platt's character (a cheerfully shameless divorce lawyer named Harry Rex), "I've asked myself, 'What would Lucien do?' and 'What would Jake do?' and "What would my *father* do?' but I just can't figure it out."

And Platt's character says, "Well, there's your problem right there. You need to ask yourself, 'What would Harry Rex do?'"

"Okay, what would Harry Rex do?"

"Cheat. Cheat like crazy."

God, I love him.

And it's great having the movie on DVD. It makes it easy to fast-forward through the horrific scenes of the little girl being attacked at the beginnng of the film. There's no reason for anybody to have to sit through that more than once. ::shudder::

But there's a problem with this DVD. A big problem, that I think people should know about before they buy it. I wish I had known. I probably would have bought it anyway, but I'm still frustrated.

The movie is continued on the back of the disk. It's a two-sided DVD, and the first half of the movie is on the first side, and the second half is on the reverse.

Yes, you have to get up halfway through the movie, go over to the DVD player, and turn the disk over, just like this was 1975 and you were still playing records on vinyl LPs.

For the life of me, I cannot figure out what in the everloving HELL they were thinking about, doing this. The movie isn't that long. There's not that much in the way of extra features on the disk. I feel like sending them an email, letting them know what I think about it, but there have probably been plenty of people who have already done that. I'll spend the time warning other potential buyers, instead.

Caveat emptor.

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What would it take to duplicate the cast of this film? Made only eight years ago I'd think today you'd break the bank putting together:

Matthew McConaughey

Sandra Bullock

Samuel L. Jackson

Kevin Spacey

Oliver Platt

Charles Dutton

Donald Sutherland

Kiefer Sutherland

Patrick McGoohan

Ashley Judd

Chris Cooper

The story is in some ways rather straightforward. Samuel Jackson's 10 year old daughter is raped and tortured by two rednecks in the opening minutes. Mercifully, the girl lives through the event and the two rednecks are arrested. Thinking that in Mississippi they're going to be acquitted "like them boys raped that girl last year" Samuel's Carl Lee Haley asks Matthew's Southern Lawyer Jake Brigance if he'd "help him out if he got into some trouble", then takes an M-16 and shoots the rednecks on the way to a court hearing, destroying Deputy Chris Cooper's leg in the process.

The rest of the movie seems pretty straight-forward, almost predictably so. Jake is tasked with defending a black man in Mississippi of murders which were committed in full sight of many people, including Jake himself and several law officers. Kiefer Sutherland, as the brother of one of the rednecks, enlists the assistance of the Klan to make sure that Carl "gets it" and to make sure that anyone attempting to help Carl is also intimidated (killed.... houses burned.... etc....) In this movie the Klan is a living, breathing entity with apparently much leeway to conduct its nefarious business.

Donald Sutherland is the alcoholic lawyer mentor of Jake disbarred for some police violence during some political activism. Kevin Spacey is the ambitious District Attorney with a nomination for Governor in his back pocket. Charles Dutton is the black sheriff who doesn't hesitate to stand toe to toe with the Klan the scenes where Klan members are in any way subdued are due to this strong character. Ashley Judd is Jake's pretty Mississippi Sorority-Belle wife who initially thinks that Jake accepts Carl Lee's case to "prove what a big-time lawyer" he is. When the Klan tries bombing Jake's house Ashley packs up their daughter and heads to the grandparent's house. On the first day of the case a hotshot law student comes wheeling into town, played by Sandra Bullock, wanting to make her name stamping out the death penalty.

The story is told in a linear fashion, but the performances make this compelling stuff. The NAACP come to town to provide for Carl's defense, and the scene where Carl tells them "thanks but no thanks" brings a new closeness to Carl and Jake. The movie provides for some riveting moments from Jackson as Carl and McConaughey as Jake. I've read that Mr. McConaughey delivered the summation scene in a single take. It is an astonishing piece of acting. There are several shots of extras crying, and I can't help but wonder if this wasn't an honest response to his performance.

There is a scene before the last trial scene where Carl tells Jake that he has hung onto him as his lawyer because "you one of the bad guys, Jake. I needs the jury to see me like you see me". If there is a weakness in the way that the story is told, it's that the whole movie is told the way the all-white jury would see it. The other black characters are brief and one-dimensional. Carl Lee's wife is in several scenes looking concerned but with almost no dialogue. Since her daughter is raped and tortured and her husband is on trial, shouldn't we care as much about what SHE thinks as Jake's wife? We spend a fair amount of time watching what the Klan is doing. Shouldn't we be at least as interested in what the black community is doing?

Jake sets out to "prove a black man can get a fair trial in Mississippi". But can he prove that vigilante justice is ok even if everyone in the community knows that in race-hate-crimes in the world of this film black people can't expect fair treatment?

The movie reverberates with echoes of "To Kill a Mockingbird". Or at least it wants to. For a film of this type I can't think of a more admirable goal.

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Modern-day Mississippi, where segregation has ended, the Klan is dead, and blacks and whites are looked upon as equals . . . or are they? Under the brilliant direction of Joel Schumacher and based on the best-selling novel by John Grisham, A TIME TO KILL digs hard and deep into some of the most sensitive and controversial issues of our time.

After his 10-year-old daughter is raped and beaten by two local rednecks, Carl Lee Hailey (Samuel L. Jackson) guns down the guilty men on their way to court. Matthew McConaughey comes to the rescue as the white, Southern attorney who defends him. With the help of a young, ambitious, brilliant law student (played by Sandra Bullock, who surprisingly received top billing for her small, but memorable role), a close friend and colleague (the always comical and entertaining Oliver Platt), and his disbarred mentor and teacher (the classic Donald Sutherland), McConaughey stirs up a lot of hatred and puts everything on the line to defend a black man. The film addresses racism, the Klan, vigilante justice and all the issues we commonly associate with "the south."

Another perfect role for McConaughey. He charms and captivates the audience as well as the jury. He's not too tough to look at for 3+ hours, too! Samuel L. Jackson . . . what can I say . . . one of the greatest actors in our time, he seems to effortlessly convert himself to any role he takes on. Sandra Bullock shines on screen, as always, with her lovable and down-to-earth personality. I don't see Oliver Platt enough, but when I do, I'm always pleased with his "fun" performance.

In this 1996 film, other supporting actors are also perfectly cast. In an earlier role, Ashley Judd plays McConaughey's wife. Keifer Sutherland plays a local redneck, brother to one of the rapists and Kevin Spacey is the local DA who prosecutes Carl Lee. You may also recognize two stars of TV's BOSTON PUBLIC, Nicky Katt and Anthony Heald. Excellent southern accents by all (Platt, Spacey, both Sutherlands). However, McConaughey's own Texan accent needed no alteration here.

Not having read the book, I'm not making a movie/book comparison here. Just a truly great movie with superb actors by the fist-full. A must-see film that easily earns 5-stars.

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Do the Right Thing (Blu-ray + DVD) (1989)

In only his third film, Spike Lee created a classic that is both socially relevant and artistically accomplished. By focusing the actions at one location in one day, this film reminds us that race relation cannot be improved if we don't improve the way each one of us interacts with everyone else. The film's finale is notable for its echos of real events that occurred not long before the film was made, and its prescience of events to follow. It is an unforgettable movie scene that shows how intolerance can victimize everyone. Nevertheless, the apocalyptic vision of the final scene did not sit well with some critics. Is it a call to end violence or to start violence, they asked. In the film Lee seems to say there are no easy answers.

Somewhat overlooked is the fact that the film also makes keen observations of lives of American black underclass, especially in the portrayals of the "cornermen". Their exchanges are as amusing as they are trenchant in commenting the state of affairs of lower-class blacks. And through them, Lee takes the uncompromising position that sometimes the underprivileged can also be victims of their own mentalities.

Also, Lee subtlely shows the many faces of racial intolerance. While Sal's son Pino overtly hates blacks, and Buggin' Out is overtly intolerant of whites, but is the attitude of Sal himself really conducive towards racial harmony? Does he have a desire to get to know his neighbors, or does he simply want to "have no trouble with these people", as he puts it? By leaving this aspect ambiguous, Lee makes us think just what IS the right thing to do...

Despite all the criticisms against him, I believe Lee tackled the difficult subject as intelligently as any director could have done.

The Criterion DVD contains most of the supplements in the Criterion laserdisc released in 1995 -audio commentaries, cast meetings and screen tests, 'Making Of' documentary. New supplements include Lee's press conference at the '89 Cannes festival, video interview with editor Barry Brown, "Fight the Power" music video, and a video segment showing the filmmakers re-visiting the Bed-Stuy neighborhood.

The DVD's video quality is characterized by deep, rich, saturated colors which cinamatographer Ernst Dickerson so brilliantly captured in order to create a feeling of overwhelming heat (literally and figuratively). There is a Dolby Digital 2.0 audio track (Prologic-decodable to surround), and a PCM stereo track that actually sounds brighter and crisper than the DD track.

Spike Lee's 1989 film Do The Right Thing is among a handful of films that rise above the level of actual entertainment. It is thought-provoking, educational study of race relations. The film takes place during one extremely hot day in the Bedford-Stuyvesant section of Brooklyn. The neighborhood is predominately black, but the film centers around a pizzeria owned by Sal (Danny Aiello) who is white. All of Sal's customers are the black, but on his wall he has pictures of white film and music stars. This is a source of irritation to some customers, especially the radically minded Buggin' Out (Giancarlo Esposito). But Sal refuses to change and he goes about his business. Sal's two sons, Pino (John Turturro) and Vito (Richard Edson) also work at the pizzeria as does Mookie (Mr. Lee) who is Sal's delivery boy. Pino is highly bigoted and isn't afraid to let his opinions be know, while Vito is more sensitive and adverse to confrontation. Real life husband and wife Ossie Davis & Ruby Dee appear as the neighborhood elders, Da Mayor & Mother Sister who are constantly trading humorous barbs at one another while dispensing advice to the locals. Other interesting characters such as Radio Raheem, Sweet Dick Willie & DJ Mister Senor Love Daddy are featured throughout the film. Mr. Lee does a brilliant job of conveying the extreme heat that has overtaken the neighborhood. You can almost feel the heat while watching the film. Tensions also slowly rise through the film until the climatic riot scene where Sal's pizzeria is burned down, started by Mookie throwing a garbage can through the window. This is particularly devastating to Sal as he genuinely cared for Mookie and can't believe Mookie would do this to him. Mr. Lee's message in the film is that one doesn't know exactly what the right thing is. He illustrates this by the messages of Martin Luther King, Jr. and Malcolm X. Dr. King was for a peaceful solution to racism while Malcolm X said to fight for equality by any means necessary. Is passively sitting back right or is violence right? Mr. Lee never answers the question, which is exactly his point. Do The Right Thing was shunned at the 1989 Academy Awards garnering only a nomination for Mr. Aiello (which was richly deserved) in the Best Supporting Actor category. Ironically the film that won Best Picture was Driving Miss Daisy which was the stereotypical Hollywood portrayal of blacks as subservient workers and the type of film that Mr. Lee's pictures were the antithesis of. All in all, Do The Right Thing is a brilliant movie and one that deserves all the accolades that it received.

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I remember a female friend of mine telling me she watched this film, and at the end stood up crying and yelling, "stop fighting! " This movie provokes you in that way. That Spike Lee managed to get these severe reactions from his actors even the ones opposed to him onscreen is brilliant. I doubt anybody in the cast completely agreed with his final product, but that is what makes this movie so moving. I wish other directors/producers would have the guts to tackle any subject as faithfully as Lee has here. I have followed John Turturro's career since "Do the Right Thing", and I'm barely able after all this time to forgive him for some of the things he says in this movie. Yes, it's only a movie. And Spike Lee is only a genius. To my friend who shouted in the theater, I can only say I wish this movie didn't have to be made.

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In all likelihood Spike Lee's most important achievement as director, writer and actor (though to my taste Mo' Better Blues is just as good a picture) and one of the strongest films you'll see about race relations, `Do The Right Thing' looks dated at times, but it lost none of its impact and relevance. The movie takes place in a particularly hot day in a primarily African-American neighborhood in Brooklyn, and follows the various personalities who live there throughout the day; the center of the story is Sal's Famous Pizzeria its owners, some of the few white people living in the neighborhood: Sal (Oscar nominated performance for Danny Aiello) and his two sons (John Torturro and Richard Edson), and Mookie (Spike Lee himself), the black delivery boy. What starts out as a light, entertaining movie with some amusing characters and light humor, gradually builds up tension to the point of being unbearable, up to the dramatic and tragic climax. Spike doesn't put as much emphasis on the characters themselves as he does on the relationships and the tension between them; and in this image of a very specific and small frame in time and place, makes a strong and important message about racism and race relations in general.

The film is populated with many different characters, all of them very memorable and each one a representative of a certain belief, mode of behavior or state of mind on both sides of the conflict. From the uninhibited anger of Buggin Out (Giancarlo Esposito) and Radio Raheem (Bill Nunn) on one side and Pino (John Torturro) on the other side, to Jade (Joie Lee, Spike's sister in the film and in real life) and Vito (Richard Edson), who are trying to connect and live at peace with the other side, to Da Mayor (Ossie Davis), in his isolated but peaceful state of mind, living in complete peace with the world around him, and Smiley (Roger Smith), living in his own isolated existence. Then there's Mookie, who is stuck in the middle, torn between his commitment and responsibilities to both sides. Finally we have Mister Senor Love Daddy played gorgeously by the one and only Samuel L. Jackson, in one of his finest performances half active character and half all-knowing narrator who represents the voice of reason in the conflict, the reason which is bound, ultimately, to collapse. Each and every character plays an important part in the climatic and dramatic conflict to which the movie builds up, and though it's the radical ones Buggin Out and Radio Raheem who trigger the events that cause the tragedy, they are not necessarily the ones who finish it. It is Mookie and Sal, in fact, who ultimately play the main part.

Do The Right Thing is not an easy watch; it's a mesmerizing, tense, difficult film that breaks many taboos and slaughters many holy cows. But in the end of it hopefully you'll be wiser than you were in the beginning, and that's what Lee have always tried to achieve in all his films. Watch it to get a real view on racism that doesn't duck the difficult issues and isn't afraid to tackle the real problem, and to see a master director at work. It's one of the best films of its time.

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The first time I've seen Spike Lee's "Do the Right Thing" was at the theater and the movie refused to leave my mind for about several weeks. It just kept replaying itself constantly in my mind of the events and the turn a bouts of the story. The writing is so sharp and the movie is hilarious as well as the only movie to make Roger Ebert cry.

Deceptively open and simple in its presentation, this is one of the most complex and layered movies about human relationships that I have ever seen during that time. This movie is every bit as compound as its subject matter. I disagree with those who characterize the film as "preachy." Quite to the contrary, I think the genius of the film is precisely in the fact that Spike does not tell the viewer what to think he just compels you to think.

Spike spends most of the movie setting up his characters and their situations, some are comedic, some are dramatic, and some are both. The acting is naturally great, with John Turturro, Danny Aiello, and Spike himself standing out as the best played and most interesting characters. The movie looks very much "of the 80's" as far as fashion and things like that go but that doesn't take any power away from the movie. But the biggest question people seem to have after they have watched this movie is about doing the right thing and whether or not Mookie did it. Spike always only says that he's never been asked that question by a person of color. However my feeling on the matter is this: Did Mookie do the right thing? No. Did Sal do the right thing? No. From the time that Radio Raheem comes into Sal's at the end, not one person does the right thing. Not Mookie, Sal, Radio, Buggin Out, the cops, or whoever. Everything horrible that happens could have been avoided if one person had done the right thing, and yet nobody does.

I think that's why the movie stuck with me. Most movies would show everyone (or just the "hero") doing the right thing and everything turning out happily, but that's not what usually happens in reality. Too often people give in to their worst instincts. In here we have New York explodes over a seemingly little incident because racial tensions are always just below the surface. This film is truly a work of art and out all Of the Spike Lee movies I've seen this is one of his finest. "Do the Right Thing" is one of the signatures of an American classic.

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The Room Blu-ray

Finally! I thought everybody betray me when it didn't come out years ago when it was supposed to. We are expecting!

The Room is a timeless classic, and easily one of the most fascinating movies of all time. Visionary director/writer/producer/actor Tommy Wiseau stars as tragic hero, Johnny, in this unique tale of a man's world falling apart within "a special place, a private place, a place where you can be safe". It's not just a room, but THE ROOM!! . It begs the questions: "Can you really trust anyone?" and of course, "How is your sex life?"

Having met, acted, and even tossed a football around with Tommy, I can attest that he is a truly wonderful man, worthy of your support. The Room was meant to be seen in high definition, as it was one of the earliest films to be shot with an HD camera. The difference is clear on blu-ray, and considering that certain segments were shot with a 35mm camera the comparison is now noticeable. The sound quality is also improved, and certain lines are given more clarity, some can be heard for the first time. The soundtrack, with its unforgettable theme and original R&B love songs ("You Are My Rose"), sounds better than ever!! As the ultimate (and long-awaited) edition of the film, this is a must buy for diehard Wiseau Film fans as well as newcomers to The Room.

The most controversial aspect of this release is its cover art. I'll admit that the new case is a slight disappointment (the simple black and white photo was iconic). However, the new art highlights an important part of the film's legacy. The setting of San Francisco is a critical element of The Room, as it is the beloved home the characters we all know and love. The Room is mostly praised for its characters, making fans forget that the cinematography was also handled beautifully. To me, the new cover art reflects the classic scene transitions.

As an American, I recommend that all Americans (and people around the world) see The Room. This film may not please everyone, but those who enter the room, will leave forever changed. To enthusiasts, the question of purchasing this blu-ray should be non-existent. To newcomers, I urge you to give this movie at least two chances, because the first time may be too much to handle. The Room boasts some of the most wacky characters, over-the-top acting, and insanely quotable lines to ever grace American cinema. Most people fail to see the brilliance of Wiseau's direction until their second or third viewing. You'll laugh, you may even cry, but no matter what you will gain a new perspective on filmmaking. Tommy poured his heart into this masterpiece, and his devout fans love him for it. "If a lot of people love each other, the world would be a better place to live"

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Haha! It really is a good blu-ray. Will you marry me? Hahaha! I thought I would take her up on it! Hahaha!

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I immediately started laughing at the first sight of the menu screen, this is a must buy for every human on the planet. New interviews, new extras. Oh, and yes, you really can tell a difference between this and the normal DVD version. The video really does look quite a bit better. If a lot of people buy this Blu-ray the world would be a better place.

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This movie will change your life, pure and simple.

The story, the direction, the pacing, the acting, the sound track, the special effects, the lovemaking, betrayal, and human drama playing out on the big or small screen truly has not been seen like this ever before. Nor will it ever again.

Though in some ways Birdemic rivals The Room in the special effects and story elements, it cannot approach the level of character-driven nuance exemplified by Wiseau's creations. Some will claim that Manos has performances that eclipse The Room's, but Manos had considerably more pedestrian dialogue, not achieving the lofty, nearly poetic writing of Tommy Wissaue. Others will claim that Santa Claus and the Ice Cream Bunny is even more astounding than The Room, but that is a snuff film and if you're caught watching it you should go to prison.

There are timeless characters in here, so clearly drawn as to become neo-archetypes for the 21st century. From the paragon of humanity (Johnny) to the ultimate betrayal of all his friends and family to whatever Denny is, The Room offers not just a glimpse into the cacophony of creativity that is Wisaeu's mind, but a full-on nearly full-frontal view.

The set design is incredible with ground-breaking techniques used to simulate San Francisco (a scale model of the Golden Gate Bridge was built for some of the establishing shots) and this was the first film to be shot on 48 DPS and in hi-def 3-D. So take advantage of this Blu-Ray offer and make sure you use a 3D capable TV.

The blocking is one thing that never ceases to amaze me. Every scene was obviously story-boarded several times in advance and Coppola, Spielberg and Tarantino could learn a thing or two from what Whyso chooses to do with his characters in a scene (take for example the tuxedo scene where the characters each march to a predetermined position as if they were in a bad middle school play and then stand there woodenly reciting their dialogue, this is Wisaeau's brilliant take on contemporary culture transforming even the affluent of our society into nothing more than caricatures of humanity, standing stock-still to deliver their address to their peers).

I could go on and on, but I really must recommend this movie to everyone except for children and pregnant women. Children should not see it because of the rather graphic nature of this movie's reality. It is just too raw and too real for an undeveloped mind to process. Pregnant women should stay away because the sheer sexual shockwave of Tommy Wisaeu's lovemaking on screen might cause a miscarriage.

Like I said, your life will be different after you see this movie. You will never look at film-making (or even lovemaking) the same way again. Although Transformers 2 is considered its big-budget Hollywood spiritual sequel, do yourself a favor and check out the movie that began it all.

Put your expectations in your pocket, put doggy in his kennel and bring some spoons. And enjoy.

Planet Dinosaur

For the record, this Blu-Ray will play on American BR players. I played it on a JVC player that is about 2 and 1/2 years old, and it played with no problems. I previously tried playing it in a Samsung player, and it would not play past the main menu. However, when I did a firmware update, it played. And my copy was ordered months before it was available on the American Amazon.com through Amazon.co.uk.

As far as the product itself, the quality is great, and it is an enjoyable program. One of the better dino-related "documentaries" out there since it focuses very heavily on more recent scientific discoveries.

The BBC's latest dinosaur documentary was all the talk among many of you when it was announced, even though we couldn't watch it here in America. (luckily we had "Dinosaur Revolution" to watch here in the US at the same time) Now you can watch it; well, sort of.

Planet Dinosaur is an almost three hour Blu-Ray disc showing all six episodes from the BBC series special. Narrated by John Hurt, the CG graphics are extremely well done. I know its an over-used word but I thought several scenes were truly awesome. In between the CG action scenes, we are shown various graphics and fossilized bones that tell us stories about the dinosaur's fights and their lives. The show provides some great, very up-to-date information; some of which, I dare say, you did not know. The first episode is set in prehistoric Africa, where we follow a Spinosaurus and meet Carcharodontosaurus, Ouranosaurus, Sarchosuchus, Rugops and more. The second episode is all about the feathered dinosaurs of China. Episode 3 covers the Late Cretaceous and the meat-eaters of that era. Part 4 is set in the Jurassic where we watch not only stegosaurs and allosaurs but marine reptiles too, including the huge Predator X. (It's a funny term, so I was surprised to hear John Hurt seriously use the word "Thagomizer" to describe Stegosaurus spikes.) The fifth episode is mostly about sauropods and other large dinosaurs and the final episode shows various dinosaur forms that evolved to help dinosaurs survive. I highly recommend the show; but, as mentioned at the beginning of this review there is a possible problem. The Blu-Ray would not play on my Blu-Ray player, even though it is supposedly for all areas of the world. I have a new laptop that plays Blu-Ray movies and fortunately it did fine on it. I also understand you can update your Blu-Ray player to where it will play foreign discs, but you have been forewarned. Check before you buy this DVD. However, I give it all five stars.

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The discs are for region B(blu-ray) and 2(DVD), none can be played by player for North America region. The descriptions should be clear about it.

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this item was purchased on 12/9/2011 as a christmas gift the day after christmas we went to watch it and it will not play it is telling us that the encryption code is not formatted for our blu ray player i have tried it in others with the same result. very disappointed spent a lot of money for dvd we can not use

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This is one of the best, if not the best dinosaur documentary I have ever seen! My favorite part about it is how it features species of dinosaurs that I don't usually see in other documentaries, like Spinosaurus, Carcharodontosaurus, and Microraptor. The series is very detailed and gives a lot of information. Another thing about it is that it isn't just a bunch of dinosaurs eating things and fighting each other. When they fight, eat things, or have certain features, it always explains why they are doing what they are doing or why they look how they look in the film, usually with fossil evidence. I also find that the series is very accurate except in a few cases. (Example: The Troodons do not have feathers, which many scientists think that they did.) Overall, I think this is an excellent documentary, and is worth the $10.99 that it costs.

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Our Family Wedding (2010)

OUR FAMILY WEDDING

STARRING: Forrest Whitaker, America Ferrera, Carlos Mencia, Lance Gross, Regina King, Diana-Maria Riva, Lupe Ontiveros, Anjelah N. Johnson, Charlie Murphy and Shannyn Sossamon

WRITTEN BY: Wayne Conley, Malcolm Spellman and Rick Famuyiwa

DIRECTED BY: Rick Famuyiwa

Rated: PG 13

Genre: Comedy

Release Date: 12 March 2010

Review Date: 25 March 2010

Our Family Wedding was good, but it was barely good. As has been the case countless times in comedies and romantic comedies lately, it's the film's actors that save the film. Is it the writing or is it the directing and producing that is continuously falling short? It's often tough to say, but regardless of the condition of the screenplay, it's the producers, editors and directors who are the last ones to touch the project; I'm just saying.

Forrest Whitaker, as is probably to be expected, out-acts everyone in the film. He is just brilliant, and can steal any scene from any actor bold enough to share it with him. Here, he plays Brad, the father of Marcus (Lance Gross).

Marcus is happily engaged to Lucia (America Ferrera) and the two are madly in love. There's just one little problem; neither of them have told their parents. To make matters worse, they are both worried that the fact that

Marcus is black and Lucia is Hispanic, may play a part in causing an issue between their folks. Oh, and they are leaving the country, and have been secretly living together as well, which is a big no-no in Lucia's family.

Carlos Mencia plays Lucia's somewhat obsessive father, Miguel. If you know anything about Mencia, you will be blown away by him in this film. He really is a talented actor. However, I could not help but feel this part should have gone to George Lopez. Lopez is a master at this kind of comedy, and I felt that Mencia was being held back in the film, comedic-ally. He's got a dirty mouth, and not to type-cast him, but I'd rather see him in a film where he could use it frivolously.

There is a pretty funny scene early on in which the two dads meet each other, not knowing that their children are dating one another. Miguel owns his own towing company and Brad is a successful DJ. Living in California, the filmmakers clearly wanted them to be very good at their jobs, because they both have a ton of money, based on their extravagant homes and accessories. It's a stretch, but okay, whatever. Miguel ends up towing Brad's nice car and the two get into a juvenile racial spat in the middle of the street.

Later that night, we meet the rest of the family and discover that Brad has a thing for younger women, as his date (Shannyn Sossamon), is about the same age as his son's fiancé. Of course everyone is already sitting at the table and has been introduced to one another, by the time the two unsuspecting fathers join them and realize their unwanted debacle. More racial tension and some pretty descent laughs ensue.

Perhaps my favorite element the film had to offer was a side relationship that brews between Brad and his longtime best friend and lawyer, Angela, played by the amazing Regina King. Regina King, is long overdue a starring role. Do you hear that Tyler Perry? Sign her up!

Marcus's mother has been out of the picture for years, and Brad and Anglea are a very flirtatious couple of friends. We know right off the bat that they are into each other and that inevitably they will end up together. What I loved, is that the film doesn't painfully drag it out through a series of mindless tid-bitts, only to have them end up together in the last five minutes, for the sole purpose of an, "ohhhhh" moment. They get intimate somewhere in the middle, and this was a nice refreshing turn. King and Whitaker's chemistry together was extraordinary.

There are several good laughs to be found in the film, but there are plenty of missed opportunities as well. The one thing I definitely would have changed was the goat showing up to ruin the ending. Well, that was okay, but did it really have to eat Brad's Viagra and dry-hump Forrest Whitaker? Where did this come from? It was funny, but belonged in a Ben Stiller movie.

My 19 year old daughter bought this movie around Thanksgiving 2011, I watched it with her and liked it. . .she's away at college, so I thought "hmm better buy myself a copy" -I like Forest Whitaker and Regina King so it works for me!

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EVERYTHING I EXPECTED AND MORE. VERY HILLARIOUS, FUNNY AND DOWN RIGHT EXCELLENT MOVIE, I GIVE IT A 9 RATING, GREAT MOVIE FOR YOUR COLLECTION

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Witty ,funny,smart and very sexy .Just the right actor for this part. Supporting cast very good also.The groom's father one of my favorite actors ,Forest whitaker, a fellow Texan, (Longview ,Texas) was great. this is a amazon purchase .WDO

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This movie was very funny. I truly enjoyed it. The differences between the two families really made the movie enjoyable. It's a great movie to watch for laughs with the family.

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