Disclosure / Fatal Attraction (2013)

Back in the late 1980's and early 1990's, Michael Douglas' name was synonymous with sexual catastrophe; no other American male actor has ever suffered the kinds of erotic trauma onscreen as he did during the period from 1987 to 1994. During those years, his entire existence was threatened by an obsessive one night stand ("Fatal Attraction"), he became involved with a narcissistic bisexual murder suspect ("Basic Instinct"), and he was sexually harassed by a former lover who became his boss ("Disclosure"). No wonder Douglas' name on a marquee made a lot of men squirm uncomfortably during that period!

Now two of those films have been packaged together in a two disc blu-ray double feature. The best of the pair is undoubtedly "Fatal Attraction", which struck a major nerve in American culture at the time of its release. In an Oscar-nominated performance, Glenn Close plays a sexually aggressive woman who actively pursues married man Douglas. She's in control of the seduction, dominating him completely; but when their casual fling is over, she becomes a rejected predator obsessed with possessing him at any cost. She manipulates his conscience, invades his home, damages his property, and threatens to destroy his family. Two very different endings were filmed, both of which are presented on this blue ray disc, along with a series of featurettes, a commentary by director Adrian Lyne, and the original theatrical trailer. In addition to the honor accorded Glenn Close, the film received five other Oscar nominations, including Best Picture, Director, Supporting Actress (Anne Archer), Original Screenplay, and Film Editing. The blu-ray presentation of this "must-see" movie is flawless. Very highly recommended.

The second feature, "Disclosure", hasn't aged very well. The core of the story, in which a man (Douglas, who else?) is sexually harassed on the job by a former lover (Demi Moore) who is now his boss, is still fairly intriguing. However, it's tied to a subplot involving a new computer technology that is dated and uninteresting. Imagine a movie that makes a big deal of receiving an email! The cast, which also includes such powerful actors as Donald Sutherland, Dennis Miller, Rosemary Forsyth, and Dylan Baker is generally outstanding. The exception is Ms. Moore, who occasionally overplays her scenes; director Barry Levinson should have reminded her that a little subtlety can add nuance and shading to a character, particularly when that character is already the center of the audience's attention. Despite these weaknesses, the film is still work a look-see, and it looks very good on blu-ray. The only extra is the film's original theatrical trailer. Recommended.

Overall, this is a great double feature offering, especially for fans of Michael Douglas and those who are curious about American sexual mores during the end of the 20th century. Worth the price for "Fatal Attraction" alone; consider "Disclosure" a nice little bonus feature.

I have liked Michael Douglas as an actor since The Streets of San Francisco, so if he is in a movie that has a

good plot I'll buy it. Romancing the Stone, Wall Street, The Star Chamber to name a few.

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Received item quickly and at a reasonable cost. These are both good movies and I was lucky enough to get them. I have them on singles also; but it's just as good to have a duplicate (sometimes).

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I haven't seen these movies in a while. Both of them kept you on the edge of your seat. I would recommend them to anyone.

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Trick 'r Treat (2009)

I had a chance to see Trick 'r Treat at the Midwest Premiere in Chicago on the big screen and I am mystified as to why this excellent film was never given a full theatrical release? It far exceeded my expectations and I believe it to have already become a classic film for horror aficionados and lovers of the greatest holiday ever, Halloween.

The film is set up as a sort of anthology of short stories, yet they all intertwine and complement each other in the end. There is some great artwork in the tradition of Creepshow and at times reminded me of that film, but the main difference is Creepshow's stories are all their own and Trick 'r Treat follows one night with several groups and characters that each have their own encounter with a very evil character indeed. The film has lots of suspense, violence, gore, and some sexy nudity in one story involving werewolves. We also have a serial killer principal, some rotten teens trying to scare a nerdy girl, and a story told that is destined to be some type of urban legend in the future involving mentally disabled kids and a disastrous fate. The greatest thing about Trick 'r Treat is its style and campy flavor that truly stuck to the evil side of the tracks. The film was so much fun to watch and destined to be a genre classic.

It's too bad that an original idea comes to Hollywood and and they respond by not giving it a release in theaters and snubbing it. I was very lucky to see it in a theater at all. It really is a shame Hollywood is only pumping out atrocious sequels, remakes, and reinterpretations left and right. I guess seeing indie flicks is the only satisfaction I will be getting anytime soon, for the major studios are filling the theaters with boring horror crapfests!

People all over the webbins have been talking about Trick r Treat for some time now exploring conspiratorial notions on why the film has sat shelved for so long while rhapsodizing about just how well X-Men 2/Superman Returns scribe Michael Dougherty's directorial debut works. Having recently seen the film, I can tell you that I know why the film sat for years: It's one of the more ruthless studio-funded horror films ever made. It's not very gory or explicit at all but it has a truly, deeply, bad attitude. If William Gaines penned morality plays this venomous to hell with the Comics Code. He'd have probably served time. Trick r Treat is overflowing with the kind of anarchic, mean-spirited hilarity that never sits well with the suits.

One of the reasons the film feels so vile is that the people who populate the tale feel so utterly real. It's really hard to explain without spoiling a lot of what makes it work so well, but to give you an idea director Michael Dougherty explained to us that one of the notes he received during the production process was that the children he cast were "too young". Couldn't he make the kids older? Couldn't he cast hotter? That's not to say that elements of the cast aren't flat-out "foxy" (witness the sexi-sexi of Lauren Lee Smith and Rochelle Aytes) but there are sequences in the film that work perfectly because they're not about plasticine twentysomethings. Again I can't explain exactly what I mean without doing you a disservice but when you finally see the film, you'll understand completely.

Trick r Treat has been described in certain quarters as an anthology film but that's not wholly accurate. In truth, the film possesses a non-linear narrative structure it's more a Pumpkin Pulp Fiction than a Creepshow copy (though the EC Comics connection this film shares with Romero's classic make them kindred spirits and a great double bill). The film moves back and forth between tales that, at first, seem to be related only by the presence of the mysterious, malevolent little creature seen in the film's promotional materials. Over the running time, we come to realize that the tiny creeper pops up for a reason and even that detail is something I don't want to spoil for you.

Despite the aforementioned EC Comics vibe (wherein the table-turning reveal that hands the petty thief or adulterous couple their just desserts is par for the course), the twisted twistiness of Trick r Treat still manages to surprise. At different points during the running time, the audience could be heard to speculate on how they felt some swerve might play out very early on, I had an idea of how I thought the tale featuring Dylan Baker should end but I was convinced that there was no way my resolution would fly. That Dougherty was able to do exactly what common sense told me would be excised by an executive before it was ever filmed completely negated my anticipation of the last shot. The sequence ended the only way an understanding of the horror genre dictates it should but instead of feeling "been there, done that" the payoff plays like the reward for sitting through all of the committee-created genre projects that lack the spine to do it right. Another reveal easily the film's most glorious made me feel like a complete idiot. Thinking about it now, I still don't understand why I didn't call it with a chuckle the very moment True Blood's Anna Paquin awkwardly stepped out of her fitting room to face the derision of her friends. At least I wasn't alone by the end of her character's arc, the audience I was part of sat in stunned silence...then burst into reverent applause a response based on elements converging in a perfect storm: a beautifully-shot and edited sequence featuring a fantastic revelation, a flawless mix of practical and computer generated imagery, an awesome character beat and one super-cool line of dialogue. You could sell the film with that single scene...if it didn't give so much away.

The most brilliant thing about Dougherty's film is how it uses Halloween holiday iconography to craft iconic visuals (if the film received the 3,000 screen release it so richly deserved, really cool parents would be dressing their kids up as "Sam" for years). It's Jack O' Lanterns and autumnal golds and vacuformed masks and flame retardant costumes that tie in the back and urban legends and classic monsters and tainted candy and everything else you know and love about October 31st. As so many before me (including Dougherty himself) have said, this is not a film that takes place during Halloween this is a film about Halloween. It's about the reason for the season. Dougherty says his hope was that his film could become a Halloween holiday perennial the one you watch every year. And trust me it is. I'll watch Trick r Treat every CHRISTMAS because the film is a gift.

Jason Pollock

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In October of 2007, a film was briefly marketed and then abruptly shelved by Warner Brothers. The film in question was Michael Dougherty's TRICK `R TREAT, and the theatrical trailer looked promising. Audiences were frustrated when Warner Brothers repeatedly pushed back the release date, and then, without warning, pulled the film completely out of the public eye.

There are a few reasons why this would have happened. For instance, Warner Brothers had just suffered from the box office dud that was SUPERMAN RETURNS, which was directed by Bryan Singer and was written by Michael Dougherty, who eventually helmed TRICK `R TREAT. Both individuals were probably seen as potential risk hazards for executives at Warner Brothers considering the failure of their previous film. Another reason could have been that they simply did not want to compete with the latest SAW-fest. Whatever the case, the people responsible for the marketing of this film should be ashamed very ashamed of themselves. TRICK `R TREAT premiered at several different film festivals, and won the audience award at Screamfest. Harry Knowles and other critics hailed it as one of the greatest Halloween films ever made. With all of the positive hype surrounding the film, no one could quite understand why the good people at WB had remained silent about it.

As of next Tuesday, TRICK `R TREAT will be released...on DVD. Now, there is a stigma attached to straight-to-DVD fare. This is for a reason. Getting a straight-to-DVD release is a bona-fide guarantee that the film sucks. It's never a good sign. However, TRICK `R TREAT is the exception to that rule. Technically, you could say that it doesn't qualify in the S.T.D.V.D. hall of shame simply because it actually screened in theatres, and won awards and critical acclaim, and you'd be right. The film is excellent. It is everything that you would expect it to be and more. It is the little Hallow's Eve indie that could, and has already gained a strong cult following.

What we have here is an homage to eighties horror films, such as CREEPSHOW, TALES FROM THE DARKSIDE: THE MOVIE, and CAT'S EYE. Each film is basically split up into three or four segments, each one telling a different story. TRICK `R TREAT follows this formula, but the narrative structure has more in common with PULP FICTION than anything else. The film is fun. It's not going to keep you up at night, but if you are on its wavelength, you are going to have one hell of a good time! With all of that being said, the film does have it's disturbing moments, but the humor contained within the film tends to balance it all out. We have stories of demons, zombies, werewolves, vampires...we even have a story that centers around an elementary school principal played by Dylan Baker, with just the right amount of creepiness that made his deranged character in HAPPINESS so memorable and disturbing who just so happens to be a serial killer. He knocks off children one by one by poisoning their candy. Afterwards, he proceeds to bury them in his backyard, while his son watches admiringly from the window. Yeah, this segment of the film was pretty controversial, and was probably another factor that caused mainstream film executives to shelve the film.

In short, it's the most fun that I have had with this particular genre in a long time! Both creepy and hilarious at the same time, this film delivers what it promises, and for those of you who have followed the film up until now, I can tell you this: believe the hype, it's all true one of the best Halloween films that I have ever seen. If you love Halloween as much as I do, you'll understand why I loved it so much! Michael Dougherty has given us an instant classic.

Also stars Anna Paquin (THE PIANO, True Blood) and Brian Cox (BRAVEHEART, ADAPTATION).

Read Best Reviews of Trick 'r Treat (2009) Here

I caught Trick `r Treat at the Midwest premiere and was simply blown away. Like most horror fans out there, I have been following this movie since it was first announced and was anxious to see if it could live up to my expectations. And boy did it ever.

Trick `r Treat is a phenomenal movie that captures the spirit of the great `80s horror flicks. It gives us one night of interwoven stories that scare you, make you laugh, make you cry and make you cheer. All the right people get their comeuppance and the viewer is presented with a chewy moral center. The greatest offering Trick 'r Treat has is its heart and honesty. Director Michael Dougherty's passion for the genre bleeds out of the screen and into your heart. This doesn't feel like a photocopied version of what was once great, but instead an original masterpiece that ought to be studied and revered.

I walked out of this movie rejuvenated and filled with wonder. It reminded me of the first time I saw Return of the Living Dead, April Fool's Day, Dolls and so many other classics of the `80s. You see, this isn't gore porn, this isn't a remake, this wasn't originally in a foreign language and this doesn't star the WB actor of the month: THIS IS HORROR! This is a movie that speaks to fans, not one that speaks to our wallets. It speaks to you, not at you.

Now, I don't want to go into a commentary on Hollywood and the way they choose which movies we see, because ultimately, it isn't entirely their fault. We are the ones who spend the money that justifies what they make. If we keep putting money into seeing PG-13 remakes of our favorite horror films from the `80s (and in some cases `90s), it is our fault that they continue making them and watering down the horror gene pool. With the internet, fans have more power than ever to make their voices heard. If we don't fight for the types of movies we want to see, who will? Don't be bullied by Hollywood; fight back. I had never felt the need to really post reviews or opinions before; instead I would commiserate with friends about the inferior products I was being offered. Well, no longer will I passively sit by and watch the genre I love be destroyed. It is up to all of us to make a difference. I can only hope that Trick `r Treat is but the first shot fired in a horror movie revolution.

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To have just seen this last night and know it has been sitting at Warner Brothers doing nothing for two years is a sad sad thing.I've known about this movie in the vaguest of ways for about two years now.Watching this last night was damn amazing.This really should be seen by people,it is a great anthology of Halloween stories.The group of kids pulling a prank was the highlight.You can understand the way WB was thinking by how the writer/director afterwards said the studio wanted hot 20 somethings instead of real kids.Sometimes thinking about the projects that don't get funded or sit in a vault like this,and then think about the garbage that does come out makes me mad.I can't wait to see this again.

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The Queen (2006)

Monarchs have always faced threats to their thrones. So much so that royal history, burgeoning with fiendish conspiracies, violent plots, and gruesome assassinations, sometimes reads like a slasher novel. A few recent films have fully exploited this theme. 1998's "Elizabeth", starring the should-have-won-an-Oscar-for-this-role Cate Blanchett as Elizabeth I, revolved around an assassination attempt that included the queen's lover. On a less violent theme, Judy Dench, in "Mrs. Brown", depicted Queen Victoria's "trist" with a Highlander that had all of England alight with scandal. Has a new "threatened queen" genre emerged? Apparently so. Enter a rare film about a living monarch who finds her crown imperiled in an astonishingly novel way. For once Her Majesty can watch the drama she lived reemerge in celluloid not that she probably wants to. Though the film sports a prosaic title, "The Queen", it boldly explores uncharted territory. Here the Queen, reigning in the late twentieth century hinterland between monarchy and non-monarchy, finds herself attacked by her own people. And she, much like the great-great-grandmother she shares with her husband, was not amused.

The film opens as Queen Elizabeth II sits for a regal portrait. Her world unfolds as the royal portraiteer dotes on his imperial subject. Then, in a "we're not in Kansas anymore" flash, the newly elected Tony Blair explodes onto the screen. The now ex-Prime Minister receives voluminous coverage for a movie entited "The Queen." One memorable early scene shows Blair bowing on one knee as the Queen inquires as to his desire to serve the nation. He answers "yes." That probably didn't give too much away. Both figures, Sovereign and Prime Minister, share the spotlight and their disparate worlds collide after catastrophe strikes.

News of Princess Diana's death soars over England. Actual news footage, now almost ten years old, gets woven with dramatization. The late Princess appears often. Tony Blair issues a eulogy almost immediately. But the royal family remains eerily silent, holed up in Balmoral, their Scottish getaway. The Duke of Edinburgh, depicted here as rather heartless and crass, shows more concern for hunting stags than the furor around the dead Princess. He even takes Diana's sons hunting as a diversion. Prince Charles, divorced for a year from Diana, remains the only one moved. He flies to France to bring the body of his ex-wife back to England. As the tension rises the film depicts him as nervous, fidgety, and fearing assassination. Regardless, he cannot alter his mother's public stoicism towards the tragedy. The Queen Mother provides some comic relief. When someone shows concern over photographers intruding on their son's hunt, she says nonchalantly, "if there's a photographer he could be the first kill of the day."

Soon bundles of flowers and messages of grief crowd the gate of Buckingham Palace. But no one's home. The flag, supporting royal traditon, remains lowered in the Queen's absence. Icy silence from the palace sours the public. They begin speaking out against the monarchy. This causes a drastic change in Tony Blair. He suddenly sees the interdependence of the Queen with his own station. In phone call after phone call he pleads with her to do something. She resists even after he gives her a vital statistic: one in four people now favor abolishing the monarchy. Que the Threatened Queen leitmotif. Princess Diana now seems to upstage the royal family even in death. Elizabeth II convinces herself that "this mood" will pass.

It doesn't. Slowly the idea that her people hate her sinks in. Bowing to pressure, the family inspects the bundles of grief displayed outside of Balmoral. They soon return to London and face the dense Buckingham crowds. Here the Queen sees what her public indifference has wrought. She reads "They don't deserve you" and "They have your blood on their hands" on some of the flowers. Here begins the Queen's transformation, criss-crossing with the Prime Minister's. Diana's death irreversably changes them both. Finally, probably more in deference to her public than to the dead Princess, the Queen finally issues a public statement. Blair's staff has the original text rewritten "to make it appear like a human being wrote it." But at this point Blair, who earlier said "someone save these people from themselves", now lashes out in defense as his aide mocks the Queen's sincerity. The fuse begins to fizzle.

The film explodes a haunting paradox. Royal tradition, often seen as the bulwark of the monarchy, here threatens to undermine the institution itself. Insisting on not raising Buckingham's flag to honor Diana and treating the tragedy as "a private matter" enfuriates the public. Stuff tradition. They demand a change of protocol. Subsequently, Britain turned upside down.

Of course a film depicting living breathing people fumbling through a crisis will inevitably draw controversy. Blair gets depicted as savior here, the steam in the engine. But the real Elizabeth II issued a statement that she decided to speak out all by herself. In her own words no one persuaded her actions. Not only that, Blair and the Queen have supposedly never divulged what passed between them during that tense week. Given that, this film presents an educated guess as to the workings of the English government during that time. One wonders what Tony Blair and the Queen really think of the film. One also wonders if the royal family and the Prime Minister really watch that much television.

The performances throughout remain stunning. Helen Mirren and Micheal Sheen shine as the protagonists/antagonists. Mirren's performance dazzles so much that viewers will forget that they're watching Helen Mirren. She presents an example of undetectable acting at its finest. And though no intense action takes place the film still provides a roller coaster ride. The actors and the direction by Stephen Frears, just off of "Mrs. Henderson Presents", obviously deserve credit here.

Best of all, "The Queen" allows viewers to come to their own conclusions surrounding that controversial week in 1997. Was the public right in lashing out at the monarchy? Was the Queen sincere in her famous "grandmother" speech? Was the monarchy really threatened? The film depicts the events without mashing opinions and answers in viewers' faces. Audiences can leave with vastly differing viewpoints. And what's better than great film? Having great conversations about great film. "The Queen" will doubtless keep tongues happily waggling for some time to come.

Helen Mirren is getting the requisite kudos for her portrayal of Queen Elizabeth. But there's another portrayal in Stephen Frears' excellent film of an equally public figure that is going relatively overlooked: Michael Sheen's spot-on take on Tony Blair. I was totally mesmerized at just how perfectly Sheen had both the look and feel of the unbridled optimism of TB at the outset of his first term. That's key because it's Blair's intuition on the matters at hand here that are instrumental in shaking the Royal Family out of their tone-deaf dismissal of the unfolding events across the country.

It's interesting to see the portrayals here and see how harsh or sympathetic they are (Mirren's Elizabeth is complex and beyond analysis here):

Prince Philip A devastating take on him

Price Charles Painted very sympathetically by Alex Jennings, but obviously cowed by his mother

Alastair Campbell A very positive take on New Labour's wordsmith by Mark Bazeley (I'm a big Campbell fan, so it was good to see the script honor his contributions to Blair's early successes).

Queen Mom Yikes! Not a very pretty picture

Frears' delicate and respectful approach keeps William and Harry just off the picture.

What will really take you about the movie is this: as many reviewers here note, they found themselves strangely moved and shocked by Diana's death, like she was a member of the family. When those scenes play out here, wow, you'll be quite surprised at the emotions that well up in you. It will happen. Trust me.

Frears as pitch-perfect movie helmsman includes the stirring end portion of the eulogy penned and intoned by Charles, Earl of Spencer (Diana's brother). Spencer's speech is generally regarded as one of the finest eulogies ever rendered. It has become a part of British textbooks. Here's the part you hear in the movie:

"I would like to end by thanking God for the small mercies he has shown us at this dreadful time. For taking Diana at her most beautiful and radiant and when she had joy in her private life. Above all we give thanks for the life of a woman I am so proud to be able to call my sister, the unique, the complex, the extraordinary and irreplaceable Diana whose beauty, both internal and external, will never be extinguished from our minds."

That will send a chill up your spine when you see it in the theater.

Buy The Queen (2006) Now

There are several themes to this excellent and most original and interesting film; but what it is about more than anything else is how political regimes and whole dynasties can be undone on account of a single error of judgment. It is only near the end that Her Majesty warns her prime minister that this will happen to him, and happen suddenly and without warning. It had nearly happened to her, he had been the saving of her on this occasion, and her dire prediction for him probably holds an uneasy message for herself too.

At the start the Queen is full of regal self-assurance, neatly putting her boyish and slightly nervous novice of a prime minister in his place by telling him he is sitting where Churchill once sat. In next to no time the positions are reversed, as Blair's acute political antennae tell him that HM is in imminent danger of losing her subjects' allegiance, something that would have been unimaginable only days previously, through trusting her own judgment and listening to the advice of her husband and her mother in respect of how to react to the death of Princess Diana. Throughout the crisis Blair is adroit and sure-footed, the monarch is made to realise bitterly from the newspapers how he has it right and she has been hopelessly at sea, but unlike her family counsellors she has the wit to swallow her pride and retrieve the situation before it slides beyond retrieval. This one incident could have undone a lifetime of unswerving dedication, universally acknowledged, to her country, and put the skids under the House of Windsor itself. Her warning to Blair is really made from a new sense of respect and a shocked realisation of how quickly and brutally the tables can turn. And how right she has been. This film does not make the matter explicit, but any viewer can sense the irony of Blair's own political fate. For years he seemed unable to put a foot wrong as far as the public were concerned, his luck was near-incredible (and his political nous was enormously greater than Churchill's); and then he blew it all with one foolish and ill-considered assertion in the Commons about weapons of mass destruction in Iraq. Just one mistake, when one is not sensing danger, is enough.

The depiction of the main players is brilliant, and I found it fascinating to guess just how accurate it may be. Leaks, rumours, gossip and memoirs certainly descend on the public these days like leaves in Vallombrosa, giving us some shaky basis for forming a judgment. In the nature of the case a prime minister has to make himself (or herself) familiar to a rightly suspicious electorate, but a monarch should always retain some mystique, and the other dramatis personae, even the heir to the throne, are only intermittently in the limelight. Inevitably and rightly the film's characterisation is creative, but it is coherent and convincing provided one does not mistake it for portraiture from life. The acting has been widely praised and I concur entirely. The atmosphere is beautifully touched in too, from the family life of the Blairs (and the Windsors) to the blokeish informality of the New Labour apparatchiks in Downing Street and above all the hushed flunkeyish reverence accorded to the Queen, cocooning her in the chrysalis that nearly devoured her.

I hope there is no possibility of a sequel, as a masterpiece like this should be left unique. Within days now Her Britannic Majesty will be welcoming a new prime minister whom she probably suspects of being a closet republican, as I suspect he is too. I shall be watching out all the same for one thing that this film says clearly through the lips of Cherie Blair, something to the effect that all Labour prime ministers finish up devoted to the Queen. Maybe it will be the same story with Brown, but I wonder how matters will stand once the monarch is no longer Elizabeth II. When that becomes the case the story of Princess Diana is likely to open a new chapter.

Read Best Reviews of The Queen (2006) Here

The British royal family has weathered abdications, wars, and scandal. But one of the nastiest hits to them in the twentieth century came when Princess Di was killed.

And so "The Queen" tries to get inside the perfectly-permed head of the British Queen Elizabeth II, nearly ten years ago. Helen Mirren gives an Oscar-worthy performance as the title character, as she attempts to weather public and personal difficulties. Uneasy lies the head that wears a crown.

The movie opens with the election of Tony Blair (Michael Sheen), who comes to visit the queen (Mirren), despite being rather nervous about his new job. The country has been off balance ever since Di died in a car crash a few weeks ago, and her passing leaves the royals with mixed feelings. The queen decrees that since Diana divorced Prince Charles, she was no longer a royal, and her arrangements are to be left to her family.

What she doesn't realize is that the people ADORED Diana, and continue to adore her in the weeks that follow. Then the press joins in, berating the royal family for coldly ignoring the ex-princess, and heralding the Labour Party Blair. Her husband and mother think that she should continue doing nothing -but the Queen has learned that sometimes the people need to be appeased.

"The Queen" unfolds slowly like an old book, and Stephen Frears gives it the dignified gloss that usually belongs to older movies. Scenes that could have been maudlin or cliche are underplayed, which makes them more powerful. One example is of the queen peering in as Charles tells his young sons that their mother has died.

Fortunately, as in real life, there's also comedy as well as confusion and tragedy; Peter Morgan injects some humor when a nervy Blair meets the Queen for the first time. Morgan also spins u[ the kind of dialogue we can imagine the droll Elizabeth or prickly Prince Philip saying ("Sleeping in the streets and pulling out their hair for someone they never knew. And they think WE'RE mad!").

Mirren doesn't normally look much like Elizabeth II. She's younger, taller, and prettier. But with some padding and makeup, she manages to BECOME Elizabeth II. She's dignified, haughty, yet Mirren manages to bring across that she's bewildered and vulnerable as well. In short, she makes her version of Elizabeth II a person.

She's also backed by magnificent performances by Sheen and James Cromwell. Cromwell is excellent as the crotchety, stubborn Prince Philip, who thinks the best way to deal with grief is to go hunting. And Sheen is very good as the Prime Minister who is just starting his work, and who gains a new perspective on the royals.

"The Queen" is a unique, quietly compelling film, as it explores what might have happened within the royal family -and the person that Queen Elizabeth might be, underneath the royal mask.

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It's hard to imagine a better drama. Although one of my fellow reviewers decided to spend the time sharing with us what asinine things he thought of while watching the film, I will simply say that this crew has brought us a wonderful, well-acted performance of a witty script. Watch this and just savor the chemistry between the queen and prime minister and it's so interesting being an American and watching how the monarchy functions.

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The Conformist

What kind of man gets himself in such a pickle that --on his honeymoon --he's given a gun and asked to kill a professor he's always admired?

That is the question presented to us at the beginning of "The Conformist," as Marcello Clerici (Jean-Louis Trintignant) sits in a Paris hotel room, waiting for the call that will tell him it's time to kill the professor. If you love movies, the answer --told in a series of flashbacks, and, on occasion, flashbacks within flashbacks --will make for one of the most rewarding cinematic experiences of your life.

Let's get the praise out of the way right off. Bernardo Bertolucci --known to most moviegoers for his Oscar-winning "The Last Emperor" and his down-and-dirty "Last Tango in Paris" --made "The Conformist" at 29. It is a young man's film, drenched in ambition. It is also Bertolucci's greatest film. Indeed, it is one of the ten greatest films I've ever seen.

My reasons?

First, "The Conformist" is beautiful in the extreme. The cinematographer was the great Vittorio Storaro, and his color palette is so exquisite that Francis Ford Coppola watched this film over and over before making "The Godfather" --and then hired Storaro to shoot "Apocalypse Now." The production designer was Ferdinando Scarfiotti, whose credits include "Death in Venice" and "Scarface." And Georges Delerue, who did the scores for "Jules and Jim" and "Platoon", composed the music.

Then there is the acting. Trintignant is one of the most familiar faces in French cinema; this is the performance of his life. But mostly, I want to praise Dominique Sanda, then just 22 years old and making only her third movie. She plays the professor's wife, and she unfailingly strikes a remarkable balance --on one hand, she's the loyal spouse, on another, she's a bi-sexual flirt, and on yet a third, she's the only character in the story who senses the tragedy that lies ahead.

And, finally, there is the story, adapted from the novel by Alberto Moravia, one of Italy's most seductive novelists. Sex is almost a character for Moravia, and it certainly is here --as the title suggests, Clerici's greatest desire is to be normal, to be one of the faceless masses, to conform.

That's not so easily done in Italy in 1936. Mussolini has brought down the Fascist boot; progressives have fled the country. So Clerici takes a rich, vapid wife. He makes his accommodation with the government. And with that --he thinks --he's safe.

But there are no hiding places in life --and certainly not in a dictatorship of madmen. And then there is the question of the past: How do you acquire a "normal" life if you never had one before? As we flash back, we see that Clerici's privileged childhood was anything but normal. His mother awoke at noon, looking for her first shot of the day. He was raised by nannies. And then there was the encounter with the chauffeur...

What Bertolucci is exploring here is the equation of politics with sex. In a film financed by an American studio, that equation would be explicit and vulgar. Here, every connection is made through imagery and suggestion. Your jaw will drop at scene after scene, but you'll be on the edge of your seat during one in particular --an evening at a Parisian dance hall when Sanda dances with Clerici's wife. It's a breathtaking seduction, hotter in some ways than sex itself.

Why does Clerici freeze when he's given a gun? Can he kill the professor? What happens to Sanda? And, jumping ahead, what does the Fascist's defeat mean for Clerici? Bertolucci's screenplay is brilliant on these key questions; you are always leaning in, thinking it through, putting the puzzle together. And, of course, you are invited to imagine --as we always do in great films --how would I handle this? What would I do if I were Clerici?

And now I must share some tragic news: "The Conformist" is not available on DVD. There's only a VHS. The consolation: Storaro oversaw the transfer. Still, the difficulty of seeing this remarkable film is an injustice that somebody really ought to fix.

For those too frustrated to rent or acquire a VHS tape of "The Conversation," let me recommend "The Garden of the Finzi-Continis", also starring Dominique Sanda, made a year later and exploring some of the same themes. Or you could read Alberto Moravia's novel. But be warned: This is that rare case --a movie so much better than the book that reading it is a disappointment.

I just want to add my voice to those asking pleading for The Conformist to be released in a subtitled version on DVD. I first saw The Conformist when it was released about 35 years ago, and have had the good fortune to see it a few times since. (At the risk of rubbing salt in the wound of reviewer James Luckard, I did get to see it when it was at the Nuart in L.A. two years ago.) This film is just absolutely stunning in every way Jean-Louis Trintignant is of course a great actor, but the thing I find so overwhelming with this film is the way the story, the acting, the cinematography, the lighting, the music, everything just comes together so well.

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Break out the brass section, the DVD has arrived. This landmark film like fine wine, now that it has been remastered by cinematographer Vittorio Storaro, and presented with color intact in widescreen in Italian and French, emerges as a true classic. The dispicable VHS dubbed panned & scanned version that we have been watching for over 20 years can be "retired". Bernardo Bertolucci's truth is once again on display. This release sparkles with clarity, and we can thrill to the carefully presented imagery and the powerful symbolism.

Bertolucci, under 30 when he directed CONFORMIST, has become a wonderfully gifted and powerful force in cinema; and never more so than in this fledging effort. He must have storyboarded every moment. The film is tighter than a Rolex; no wasted seconds or icons. In this film he began to explore the vistas of sensuality and sexuality that only two short years later would blossom into THE LAST TANGO IN PARIS (1972); and then would spill out all over the lens and screen in his latest effort, THE DREAMERS (2003).

Alberto Moravia wrote the original novel at over 300 pages. Bertolucci did a marvelous job of extracting the essence of the protagonist, Marcello Clerici, and constructing a fabulous film, complex, lyrical yet brutal, beautiful yet shocking, shallow one moment and lethal the next, full of madness, repressed homosexuality, religious hypocracy, petty politicos, blind people, assassins, victims, and a never ending line of characters being cajoled or abused or eliminated or shamed or extolled. This is the Italy of the late 30's and early 40's, when the bald bulldog, Mussolini, strutted in the shadow of Hitler, dreaming of a new Roman Empire --about ordinary citizens who either resisted the Fascists or joined them. The ones who "resisted" had to be hunted down and eliminated by the ones who "accepted" Fascista "normalcy".

This is a film that needs to be seen more than once. The film opens mid-thrid act, and speeds its entirity in flashback, bringing us up to speed. Just one viewing leaves even the hardiest film buff limp and confused. Somewhere during the 2nd or 3rd viewing, Bertolucci's motives make themselves accessible and evident.

Jean-Louis Trintignant is the perfect Clerici, a successful professor, a loner, who wants to bet married and become a member of the Brown Shirts in order to "fit in"; and along the way we discover the dark side of his nature, confirming his cowardice and true nature. Stefania Sandrelli was very lovely as Guila, the young wife. But the film was stolen by the smoldering sexuality of Dominque Sanda, striking a Marlene Dietrich pose in tight pants, with her hands in her pockets, and a cigarette dangling out of one corner of her mouth. She is a woman of huge appetites and dark secrets.

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I agree that The Conformist should be released on DVD. I also agree with the reviewer who said that The Conformist is undoubtedly Bertolucci's finest film and perhaps his only true masterwork. However, the dubbing is atrocious--and a similar problem exists with Truffaut's Day for Night--another film that is unavailable on DVD and which has previously been available only in a dubbed version. Since I have seen The Conformist in the theater in the original language, I am confident that they could--with a little effort--release The Conformist in Italian. The Conformist is a truly great film--with stunning cinematography. Bertolucci explores the question of why an intelligent thinker would care to become a fascist. The answer is complex, startling and not ever comforting. It's truly a shame that it has not yet been released on DVD; but it would be a travesty to release it on DVD as a dubbed version (as if voice is not part of acting.)

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When I found THE CONFORMIST in dvd I couldn't believe my eyes. The movie in fact is not available on dvd format in Europe. The quality of the dvd is pretty good and surprised me since we are talking of a reletively old movie. Even the italian soundtrack is good, in spite of the mono. I met some minor problems with the subtitles, but let me also add that their choice is wide. The 16/9 ratio respects the original and it looks great even on a big plasma screen. The interviews of Bertolucci and Storaro (in English!) in the extra make the whole thing a must. This version of THE CONFORMIST includes a 5 minutes scene (interesting enough for its symbolism) that was deleted at the time of the opening. I fully agreed with those who consider THE CONFORMIST Bertolucci's best flm. If you like this sort of films, I may suggest LACOMBE LUCIEN by Louis Malle, MR. KLEIN by Joseph Losey, NOVECENTO by Bertolucci himself, IL GIARDINO DEI FINZI CONTINI by Vittorio De Sica (Oscar in 1971 as Best foreign picture). They are all unique in their own way, but they deal with the same historical period, and they are all great examples of Cinema.

Shorts International Presents: Oscar Winning Short Films (2012)

I've always loved short film, although I admit I haven't seen enough of them. Even the Oscar nominated ones are hard to find. I decided to buy this BD on a whim because it was different and I wanted to support short works of cinema. I'm SO glad I did! Without a doubt, this is now one of my most cherished blu rays.

My expectations were low. I wasn't expecting the transfers to be good, to be honest I was expecting DVD-quality at best, but oh no! The transfers are GLORIOUSLY pristine. High definition at its best. The animation is as bright and glossy as anything Pixar could produce and the live action is just as good. The only transfer that was disappointing, as far as HD is concerned, was "West Bank Story" which looks about DVD-quality to me.

But enough talk about the picture quality the films themselves are just as awesome! Witty, genius stories that provide sharp cultural commentary, full or emotion, humor--sometimes both--thought-provoking, smart, I could go on and on. It's hard to smash brilliance in 20 minutes or less, but all these films do it perfectly. Not a bad one in the bunch.

OVERALL: Shockingly professional Blu Ray and some of the best short films you're ever going to see. HIGHLY RECOMMENDED!

Not worth spending the money on. A DvD compiling the finalists for 2011 would have been great. Writing more words to comply with the required review minimum is a waste of time.

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I'm not very familiar with Warner Bros woek. I hope the films clairfy my confusion about the Warner Bros woek!

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I'm sure that the disc will be great.!!!!!

I'm very familiar with Warner Bros woek.

And I have total confidence in them.!!!!!!!!!!!

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Ran (StudioCanal Collection) (1985)

Kurosawa's last undisputed masterpiece, "Ran" adapts "King Lear" (Shakespeare was one of Kurosawa's favorite writer) placing it during the 16th century in Japan. Like "Throne of Blood" (another Kurosawa classic that also adapts "Macbeth") "Ran" melds action with drama in a unique way that only Kurosawa was able to do. Sure there have been other directors that have made films about Japanese culture, Feudalism and the Samurai but none with the keen insight and profound glimpse into what makes a culture tick as well as Kurosawa.

Kurosawa had lost most of his collaborators prior to the shooting of "Ran". All of that informs the darkness and his identification for the main character. While Kurosawa freely borrowed from "King Lear", he also informed the film with many issues facing himself; he felt isolated from the Japanese filmmaking community and he was unappreciated in this late phase of his career having to scramble to get financing (frequently going overseas to get it). Kurosawa felt isolated and alone without his collaborators. The loss of his wife just prior to shooting meant that Kurosawa threw his raging emotions into "Ran" using the story of "Lear" as a means to examine his own personal situation.

A beautiful, rich transfer from Criterion. There's few digital artifacts and there's virtually none of the issues that dogged the "Masterworks" edition of this film. The image isn't cropped (the "Masterworks" edition had the edge of the frame cut off) and the high definition transfer looks marvelous with rich colors, remarkable clarity and depth to the image. There is noticeable grain but that's part of the original theatrical presentation of the film and not a surprise given that the film is 20 years old. The Dolby Digital 2.0 soundtrack has no noticeable distortion with nice depth and clarity for both the dialogue and the music.

Chris Marker's marvelous documentary "AK" is included as part of the package on the second disc. That by itself would also make this worth repurchasing if you're in doubt about it. However, coupled with the terrific restoration and transfer done by Criterion here it makes this an essential purchase for fans of Kurosawa's films. We also get an appreciation by director Sidney Lumet, an episode of Toho Masterworks on Kurosawa that's also quite good (although I prefer Marker's 74 minute documentary). "It is Wonderful to Create" focuses exclusively on "Ran" while Marker's documentary is a better overview of the director. Criterion has also used Kurosawa's original sketches and paintings to create sections of "Ran" as Kurosawa original saw it prior to actual production. Finally there's a new interview with lead actor Tasuya Kakadai. As usual Criterion has included an excellent booklet that includes a very good essay by film critic Michael Wilmington, a 1985 interview with Kurosawa about the making of the movie and a new interview with "Ran" composer Toru Takemitsu. This deluxe 2 disc edition makes the nonanamorphic previous edition look almost like a videotape by comparison in terms of the overall quality.

Stephen Prince provides interesting background about Japanese culture and Kurosawa's film style. Prince's commentary is a bit dry coming across as a lecture that one might sit through at UCLA or USC and isn't all that entertaining but it is quite informative. Personally, I would have preferred an interactive commentary with Prince discussing the film with, say, Lumet, Francis Ford Coppola or another well known film director.

This is an essential purchase for fans of Kurosawa. Kurosawa's last epic is, perhaps, his darkest and one of his most accomplished. The extras would make this worth purchasing by themselves but the beautiful, rich high definition transfer makes this the best version of "Ran" that has ever appeared on home video. I highly recommend this film.

The "Ran: Masterworks Edition" DVD could have been much better, but was badly botched by the producer (Wellspring Media).

By far the biggest problem is the so-called "digital restoration," which consists of two things: running the whole movie through a miscalibrated digital denoising filter, and increasing the contrast and color saturation to cartoonish levels. The latter change can at least be undone at the playback end, but the former does irreparable damage to the image. Most of the image problems mentioned here by other reviewers are due to this "restoration," not to defects in the new transfer.

The damage from the digital denoising is severe and present throughout the film. It's easily recognized with experience, or when the denoised image is shown next to the pristine original. But since I don't have that luxury here, I'll just mention some of the more easily seen symptoms. Clouds seem slightly unnatural, as if hand-painted, because their delicate wispiness is interpreted as noise and removed (see for example 0:11:45 and 2:18:00). Thin bright lines against dark backgrounds "sparkle" or "twinkle" like stars; this is caused by cross-frame denoising, which misinterprets movement of sharp edges due to frame jitter or camera movement as transient noise (see for example the sunray pattern in the Ichimonji crest beginning at around 0:04:30). Fast-moving objects shrink or disappear completely for brief intervals, again due to cross-frame denoising (see for example Kyoami's legs as he runs, at around 0:09:15).

The new _Metropolis (1927)_ DVD includes a restoration featurette which explains why computerized denoising was not used in the restoration of that film, and shows examples of some of the problems described above. And denoising was only considered for that film because the available prints were badly in need of restoration. _Ran_ does not need restoration, which makes this unnecessary damage all the more tragic.

Many DVDs released by Central Park Media have also been defaced in this way, notably the new two-disc edition of Takahata's _Grave of the Fireflies_. I think the same company is responsible for all of these botched "restorations," since the modus operandi is always the same: moderate to severe denoising artifacts, grossly oversaturated colors, and a "restoration demo" comparing the restored version to a previous video release in a distinctive splitscreen format.

There are many other problems with this DVD, though they are minor in comparison to the above:

The new transfer was apparently made from a theatrical print rather than a higher-fidelity interpositive, since it contains reel change marks (flashing black circles at the upper right corner of the frame). Surely such a beautiful film deserves better than this.

There are several embarrassing mistakes in the subtitles which would have been caught by a human being, but not by a software spelling checker. Apparently the producers of this DVD labor under the delusion that proofreading, like restoration, can be done by computer.

The MPEG-2 encoding was done improperly, with the result that the image switches randomly between progressive (film) and interlaced (video) encodings, instead of remaining film throughout. This causes annoying random blurring and sharpening during playback on many DVD players, noticeable mainly in still scenes. (See for example the long shots of Hidetora starting around 0:50:00; please note that this problem is not visible on all players.) Some players can be reconfigured to mask this problem (on software players choose "bob" rather than "weave" or "automatic"), but this will reduce the playback quality of properly-encoded DVDs.

Technical incompetence aside, this is not a bad disc. The subtitle translation is problematic, but I've seen much worse; I can't complain too much here. What's lost in the translation is probably insignificant compared to cultural details which no translation could hope to explain. A short "production notes" extra fills in a few of those details but neglects others. Two uninteresting trailers for the film are included. The "restoration demo" is good for seething at in impotent anger, and also for seeing how Kurosawa probably intended the film to appear, colorwise, before it was "enhanced" for this DVD.

There are two commentary tracks. One, by Stephen Prince, focuses on narrative technique and is clearly intended for students. It's quite good. The other is by Peter Grilli, who was present on the set during part of the shooting of _Ran_; he talks about his experiences there and his opinions of Kurosawa and his work. Though sometimes interesting, Grilli's comments make no sense as a commentary track since they're wholly unconnected to the action on screen. They should have been printed in a companion booklet.

The film itself is a masterpiece, of course; even the shoddiest technical treatment can't mask its emotional impact. I would have given it five stars but for the problems with the DVD.

This is the first non-Central Park Media DVD that I've seen to use this "digital restoration" process. I'm frightened that it will spread further. I urge anyone concerned by this to write to Wellspring Media and tell them that they could have produced a much better DVD, with less effort, by simply omitting the "restoration" step. If you decide not to buy the disc for this reason, tell them that too.

Buy Ran (StudioCanal Collection) (1985) Now

That Ran is a masterpiece is not really up for debate. It's arguably the greatest film by arguably the greatest Japanese filmmaker of all-time (and thus one of the greatest filmmakers of all-time from any nation, period).

However, this gem's transition to DVD has been cringe-worthy on Region 1. The Fox Lorber edition is noted as being one of the worst transfers in existence, and while many were satisfied with the Masterworks edition, most who were familiar with the film (and many who weren't) recognized that there was an obscene amount of digital manipulation. The result is the film's colors looked utterly artificial and the film has nowhere near the serene look it normally does. The transfer is just deplorable.

But, true to their reputation, Criterion is coming to save the day. They've announced they're working on a release for late this year. Expect a deluxe edition that you WILL want to wait for, guaranteed. Let the current editions rot.

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My star rating has nothing to do with the mertis of the film. It has only to do with the total hatchet job Fox Lorber did in their infamous DVD transfer. By no means buy this version of the film, even though you think you're saving a couple bucks. I agree entirely with the reviewer who said the only thing to do with the DVD and it's case is to use it for a coaster.

The images are muddy and dark. The sound is old 78s quality. It really is a shameful, shoddy piece of work. By all means, order the movie. It's Kurosawa's magnum opus, great in every detail. Just make sure you shell out a few bucks more for the Masterworks edition, or splurge and go for the Kurosawa multi DVD collection.

This review is meant solely for the Fox Lorber 1985 DVD release.

BEK

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RAN is a masterpiece of a film and this review is not about the quality of the movie but about the quality of this DVD. If you play this DVD on a 32" non-widescreen TV the picture will look passable as a "letterboxed" film, but be sure to rent and try this edition out on your 50" or 55" or 65" wide-screen TV before buying! The first problem is that the anamorphic picture cuts off the edges of the credits (a clue that you're not getting all of the frame). Even more disturbing is that the image has an electronic "video" cast to it. Unlike good DVD transfers, there is twitching to still objects on-screen like lattice or anything with parallel lines. The colors are bright but lacking definition (they give off an aura) and again have an electronic cast that looks more like video than film. Overall this transfer is deplorable, and the fact that Wellspring is proud of this "hi-def" transfer is shocking.

As someone who owns over 300 movies on DVD and has seen the full range of quality from early full-screen knock-offs like National Lampoon's VACATION to fantastic DVD's like the LOTR editions and X-MEN, I know what the standard is for a special version of a DVD in November 2003, and this disc does not cut it. Wellspring . . . get your act together.

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Kevin Hart: I'm a Grown Little Man

I first saw Kevin Hart on Comedy Central and I was laughing so hard that I was crying. It is absolutely funny from beginning to end. But since Comedy Central left out a lot of his jokes I just had to find his stand up on DVD. Kevin Hart's stand up is funny I got two copies, one for me and one for my best friend and her husband. I think his stand up is funnier than Kat Williams Pimpin' Pimpin'!

This stand up was hilarious from beginning to end. My abs were killing me by the end of the show. This is a definite must have.

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I've never seen his stand up, well except a 30 min stand up he did, which was funny as hell. So I was going through my T.V. Guide and seen that this was coming on Comedy Central, I Tivo'd it and finally got around to watching it. Damn, Kevin Hart is hella funny. This is one of the best stand-ups I've seen, I really hope he does some more like this because it had me laughing the whole damn time. And to think I almost didn't check him out, what a mistake that would have been. Between him and Bill Burr they got the best stand up's I've seen from 08-09 so far with Katt Williams coming in 3rd. Definetly check this one out, you won't be sorry!!!!!!

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He's so funny and stupid! I mean that in a good way! No matter how many times I look at it, it cracks me up! I highly recommend his dvd!

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Super funny, If you're a Kevin Hart fan you will like it! I've already watched it a few times & it's funny everytime!

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Undisputed III: Redemption (2010)

Isaac Florentine's Undisputed 3: Redemption is, in my opinion, the best of the Undisputed series may be meaningful to those who know the earlier films. Scott Adkins reprises his role as Russian inmate Boyka, now severely hobbled by the knee injury suffered at the end of Undisputed 2. No longer the feared prison fighter he was, he has declined so far that he is now good only for cleaning toilets. But when a new prison fight tournament begins an international affair, matching the best fighters from prisons around the globe, enticing them with the promise of freedom for the winner Boyka must reclaim his dignity and fight for his position in the tournament.

He succeeds, of course, and is packed off to Georgia where he meets his opponents. The brash American. The Brazilian capoeira expert. The North Korean tae kwon do expert. A Greek. A Croat. And, most to be feared, the Colombian(Mark Zaror).

The fix is in, of course. While all of the other fighters are forced to do hard labor, the Colombian the fighter backed by the host prison is left to live in relative luxury. While the others are denied basic food, the Colombian has drugs hand delivered by the warden.

ScottAdkins plays Boyka the villain of the last installment here as a gruff antihero looking for personal redemption. All the story stuff works as it should.

It's rare that a DTV movie can impress as completely as Undisputed II Last Man Standing did: aside from being the best film Isaac Florentine had directed, it was arguably the single best martial arts flick released that year. The fact that it was filmed for under $10 million and still managed to attain cult status without a theatrical release makes it simply more impressive. Florentine followed this masterpiece up with the questionable The Shepherd: Border Patrol and Ninja, both of which were a decisive step down from the quality he had pioneered for the low-budget market. Thus, it was with some apprehension that I awaited the release of "Redemption", fearing it wouldn't do the original justice...but I am happy to report that Florentine is back on par and delivers what is once again possibly the best straight karate flick of the year. Is it as good as its predecessor? Let's see...

The story: after his defeat by George Chambers, former prison fighting champion Yuri Boyka (Scott Adkins) is left unable to fight with a crippling knee injury, but his warrior's spirit doesn't die. Rehabilitating himself, he earns both the renewed esteem of the warden (Mark Ivanir, Schindler's List) and entry to an international prison tournament where the prize is freedom. However, when the conditions are manipulated to favor an unstoppable Colombian powerhouse (Marko Zaror, Kiltro), he must accept an alliance from an American boxer (Mykel Jenkins, "The Bold and the Beautiful") if he hopes to taste freedom again.

Boyka is back to fighting within 10 minutes of the movie; at first, I was disappointed that it seemed the entire rehabilitation angle was fudged, but it turns out that his injured knee remains a focus throughout the film. It never really heals, and you know that at any moment it could give way or an opponent could catch on and take advantage. It's a good plot point in the story of Boyka's redemption redemption I don't believe he truly attains, considering his acts in the last movie, but it's interesting to see him become more of a human being than he was the first time around. He has little choice, since Marko Zaror does such a good job of playing his darker half: like Boyka, Dolor the Colombian is religious and even spends time reading the works of Federico Garcia Lorca, but has attained his physical greatness through drugs and his sadism knows lesser limit than even the old Boyka's. He makes a great villain, but the real devils are always the ones working behind the scenes, headed by veteran actor Vernon Dotcheff (The Name of the Rose) who has dark plans for everybody but Dolor; it's an old ploy to arouse sympathy for unsympathetic characters (the fighters), but a successful one for that you really end up loathing the conspirators.

Speaking of fighters, "Redemption" showcases plenty of excellent up-and-coming talent. In this field, it surpasses its prequel since that one only featured two real standout fighters Adkins and Michael Jai White while "Redemption" has four or five, depending on your standards. Adkins and Zaror are rightfully making names for themselves as solo stars but I was just as pleased by the casting of lesser-known athletes like Ilram Choi and Lateef Crowder. Mykel Jenkins isn't a martial artist but has a great build and convinces you of his proficiency in boxing. Fresh from a lackluster outing in Hellbinders, Esteban Cueto is a decent brawler but only has a couple matches in the beginning of the film. There are plenty of better fights to see than his fights so good that picking the best one is a real challenge since most of the nine brawls seem to set a new standard for how fast I could jump out of my chair in amazement. Eventually, I give the nod to the much-anticipated showdown between Adkins and Crowder, the capoeira fighter who tore down the house with Tony Jaa in The Protector: their unprecedented agility and flexibility is complimented by extremely satisfying back-and-forth choreography and long, uninterrupted camera shots; no quick cuts or excess editing, here. Florentine is to be commended for putting so much effort into his craft. The only thing I can find fault with regarding the fights is the choice of soundtrack that occasionally plays in the background; the hip-hop is very unfitting.

Production values are strong enough to have qualified for a theatrical release, with the exception of a few zoom-in close-ups that are a trademark of Florentine's lesser work. The acting content always a gamble in the director's work comes off as surprisingly strong. I was a bit disappointed that not a lot of authentic Russian is spoken, but the returning roles of Scott Adkins and Mark Ivanir still feel legitimate. Mykel Jenkins' career should receive a boost following this film, for he proves himself a competent leading man in the role of the arrogant boxer after ten years of supporting parts. In terms of realism, "Redemption" shies even further away from the realities of Russian prison life than "Last Man Standing" did, but it's easier to forgive this time around.

Is "Redemption" a great martial arts movie? absolutely. Is it as great as "Last Man Standing"? Well, the production quality is certainly matched and the fight scenes prove that Florentine can always outdo himself, but some of the oomph from the prequel is lost on this one. Having Boyka as an antagonist helped make the first film so strong, and I don't think his shoes were 100% filled by Dolor and the wardens. Michael Jai White's presence is missed, but Mykel Jenkins provides an interesting alternate angle on the role of an American boxer in a European prison, if not the same level of hand-to-hand action, but Zaror, Crowder, and Choi fulfill that duty marvelously. Regardless of any perceived flaws, this movie will be hard to beat in the DTV market; you really don't need to bother with Van Damme, Seagal, or Lundgren if this movie is within reach. Buy it!

Buy Undisputed III: Redemption (2010) Now

If a casual fan of B-rate fight flicks were to come across this in the video store having not heard of the franchise, one could easily justify its dismissal. Typically direct-to-video sequels to direct-to-video movies give fans just enough to barely keep them interested. The fact that each new film in the series has switched the directions and motives of the main characters, in addition to making the previous antagonist the current protagonist is extremely refreshing. Add to that some of the best fight choreography, filming, and editing this side of the Pacific ocean and you have a series of films that have increased in quality with each new release! Director Isaac Florentine has taken his sweet time to give fans what they want to see. And God bless him for it. So much art is lost in the pursuit of cash. I hope other directors are taking notes on his work.

Scott Adkins ("Ninja", "X-Men Origins: Wolverine") returns as Uri Boyka, former prison fighting champion, who now has a bum knee after his crushing defeat at the end of "Undisputed 2". He wants Russian mob boss Gaga (Mark Ivanir, who makes a very welcome return) to enter him in the first international prison tournament where the grand prize is total freedom. Gaga refuses, knowing of his bad leg and absense from competition, until Boyka absolutely wastes the current Russian champ. Boyka then packs for the Republic of Georgia and the 8-man elimination contest. There are fighters from France, Croatia, Brazil, Greece, Korea, America, and the favorite, Columbian born Dolor (Marko Zaror, "Kiltro"), resident of the host prison. If the odds were not already stacked against Boyka, prison officials and mob bookies may have a few tricks up their collective sleeve to favor Dolor.

The fights? Awww, yeah! Adkins has already proven he belongs at the top of the list of current martial arts actors. I was particularly excited to see Lateef Crowder again after his awesome fight with Tony Jaa in "The Protector". He has two fights here, neither of which disappoints! The casting of Chilean actor Marko Zaror as the lead bad guy is really where the brilliance comes in to play. I had heard much about his skill from word-of-mouth and youtube clips but I really didn't know what to expect. He is fantastic, not only in physical skill, but in his character portrayal as well. He speaks excellent English, even to the point where his sly wit comes shining through. I want to see a lot more of this dude! He is 6-and-a-half-feet of spin kicking mayhem!

This DVD has no special features and for that reason alone is disappointing. Just a few trailers. Not even a chapter selection! I would like to see a lot more stuff with a release like this. The blu-ray may have more, I'm not sure. Who cares? This is still the most enjoyable film that I've seen in a LONG time. I liked it more than "Undisputed 2" but I can't necessarily say that it's a better movie. The script is nothing fancy but is more than adequate for fans of this type of movie. Good character development, especially with Boyka and the American fighter, Turbo (Mykel Jenkins) and a few surprises. 4.5 of 5 and HIGHLY RECOMMENDED !!

2010

Read Best Reviews of Undisputed III: Redemption (2010) Here

Someone must have forgotten to tell the makers of "Undisputed 3"-that these types of movies aren't supposed to be this good. Going into the experience I expected an entertaining but mediocre fighting movie-instead I found myself frequently surprised by the sheer amount of depth to the film. The story is very solid with several nice touches. The directing is also top notch and the level of TLC given to the final product by everyone involved is evident. The acting is good too (Scott Adkins and Mykel Shannon Jenkins in particular) and the character development in the film is outstanding. And as for the fight scenes, more than a few of the moves on display will leave you scraping your jaw off the ground trust me. Boyka-the film's main protagonist is also an instantly likable character despite being the villain of the second film. Though he says few words-everything that comes out of Boyka's mouth counts. (Or makes you grin) Not only is "Undisputed 3 a good fighting movie, it's a good movie period. I'd love to see another sequel in the series featuring Boyka, especially after the way this one ended. Good stuff.

Want Undisputed III: Redemption (2010) Discount?

If you enjoy old school american karate films like Bloodsport, Kickboxer, or Best of the Best check this film and Undisputed 2 out. Liking the two sequals in a series is unheard of, with that said STAY AWAY from Undisputed 1. Just pick up part 2 and 3 and all the head-kicking-bone-breaking-blood-spewing action in these films should satisfy every mans man.

This film was especially enjoyable because they brought back a character that in part 2 was a VERY charismatic villian, so much in the 3rd movie they make him an anti-hero of sorts. It also brings back a few characters from the previous one that stood out and they have bigger parts. The action is amped up in this as well from the previous installment.

If you like martial arts movies this one is right up there.

BOYKA LIVES!!!!!

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The Pete Walker Collection (House of Whipcord, Die Screaming Marianne, The Comeback, Schizo) (1971)

A lot of horror and thriller films, with a dose of the erotic, were released in Europe during the seventies, and many of them have survived the test of time. Pete Walker (1939 ) was one of the English directors that represented the trend, and it has been said elsewhere that he "tested the limits of film censorship in the UK with a string of gruesome and erotic thrillers." For our pleasure, then, we have now available "The Pete Walker Collection," a remarkable and historically important set of films that represent a testament of those glorious years, with the best of quality possible.

The collection is comprised of four titles in four Blu-ray discs, each remastered in HD from original negatives. The first one, "House of Whipcord," is "dedicated to those who are disturbed by today's lax moral codes (we are taking 1974) and who eagerly await the return of corporal and capital punishment." Everything begins when a good-looking fellow goes to the city, makes ladies fall for him, and then he takes them to a mansion in the middle of nowhere, where ladies are punished for their sins. The first lady that we meet is kidnapped because her sin was being a model and "exposing herself." They go to trial in front of a judge, and he condemns them accordingly. After three strikes, they are hanged. It takes some time for the prisoners to revolt. And, of course, being a women-in-prison film, there is some nudity. The next one is "Die Screaming, Marianne," with Susan George playing the main character. Contrary to "House of Whipcord," this film's story is a bit more complex, and it has to do with a lady (George), who is key to an inheritance, and everybody wants a piece of her -hence the title. Here, the director generated a great thriller, with plenty twists and turns. On the other hand, "Schizo," one that I saw many years ago, is about a successful lady skater (Lynne Frederick Mrs. Peter Sellers, herself) who, during her wedding and afterwards, is stalked by a fellow from her past, with everyone associated with her getting whacked in the process. There is also plenty of suspense to the very end in this movie, and some welcomed nudity. Finally, "The Comeback" is kind of a thriller-horror film, starring famous singer Jack Jones as Nick Cooper, a famous singer trying to make a comeback after a long period of inactivity, and whose agent (David Doyle) rents him a huge mansion, so that he can rest and find inspiration for his long-awaited recording. However, somebody tries very hard to make Nick go insane by playing tricks on him. This is also a great thriller that will keep you guessing until the end.

"The Pete Walker Collection" is a keeper for anybody that has fond memories from all those horror and sexy films from the seventies. In a recent interview, Walker said that with his films all he "wanted to do was create a bit of mischief." That, rest assured, he did, indeed. Each film has extras that include interviews with the director, audio commentaries, and much more. (House of Whipcord, UK, 1974, color, 102 min plus additional material; Schizo, UK, 1976, color, 109 plus additional materials; Die Screaming, Marianne, UK, 1971, color, 99 min plus additional materials; The Comeback, UK, 1978, color, 100 min plus additional materials)

Reviewed on January 29, 2013 by Eric Gonzalez for Redemption Films / Kino Lorber Blu-ray

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Carlito's Way (Blu-ray + DVD + Digital Copy) (1993)

When I rented this DVD I hadn't realized that I had seen it in a theater when it was first released in 1993. I remember that I liked it then. And, guess what? I like it even more now.

Directed by Brian DePalma and adapted from two novels by Edwin Torres, who just happens to be a judge in the New York Supreme Court, the screenwriter, David Keopp, did a wonderful job of bringing this story to the screen. Yes, it's fictional. But it has all the gritty realism of authenticity. And it also has some wonderful actors.

Al Pacino stars as Carlito, a Puerto Rican gangster. When we first meet him, he's just been released from prison because of a technicality. He wants to go straight now. Keep out of trouble. But it seems impossible. He's immediately drawn into to some heavy gunfights when his nephew gets involved in some drug sales. It's bloodshed and murder and a very exciting scene.

Sean Penn is cast as his lawyer. He's a sleazy type. He's flashy, he's obnoxious and he's addicted to cocaine. And Carlito also owes him a favor, a big favor.

Carlito really tries to go straight, and even re-ignites a flame with his old girlfriend. He's working as a manager of a nightclub and saving his money. Supposedly, if he can get together $70,000, he'd be able to move to a Caribbean Island and run a car dealership. That's his dream. And I found myself wishing it would happen.

Naturally there are complications. The mob is involved. And so is the lawyer. And Carlito is drawn into another crime, this one with dire consequences. The ending is inevitable.

The film moved fast, the story was tight and well constructed, and I felt real emotion for Carlito and the hard choices he had to make. The story was set in the 1970s and I loved the soundtrack of all the old music too.

As an added bonus, there was a wonderful special on the DVD about the making of the film. There are interviews with the judge who wrote the novel and he talks about it being based on his own experiences growing up Puerto Rican in New York. We also hear from the screenwriter and the stars themselves. All this really added to my enjoyment of the film.

In one of his best performances ever, Al Pacino is the engine that keeps "Carlito's Way" moving from beginning to end. Recently-released from prison, Carlos Brigante (played marvelously by Pacino) is a former Puerto Rican drug lord who ruled New York City's drug world during the 1960's and 1970's. Assisted by his lawyer (Sean Penn) Pacino is determined to stay out of the trade that landed him in prison in the first place. However, as usual trouble always lurks in every corner.

Deciding to buy and operate a Latin nightclub from an owner who is seriously in debt (played by the famous Argentine comedian Jorge Porcel, who had a cult following throughout Latin America due to his sexually-charged comedy skit show "A La Cama Con Porcel; he is know as the Latin-version of "Benny Hill"). Yet as old faces reemerge onto the scene, newer faces have also started to take a foothold in Brigante's former empire, especially Benny Blanco (played by the ever-wonderful John Leguizamo).

Directed by Brian de Palma ("Carrie"), this is one of the most realistic, and historic accurate pictures of life in New York City's urban jungle during the late 1970's/early 1980's. Penelope Ann Miller ("Adventures in Babysitting" is great as Brigante's love interest, and Luis Guzman always is a scene-stealer playing Pacino's right-hand man.

The DVD version contains production notes, cast biographies, and the original theatrical trailer and the sound and picture quality are excellent. Pacino (a Bronx native) masters a perfect Puerto Rican accent in the same way he mastered his Cuban-emigre accent in "Scarface". "Carlito's Way" is guaranteed to keep you entertained due to thrilling performances by the entire cast, amazing cinematography, great directing, and most importantly, incredible realism. Destined to become a modern urban classic.

Buy Carlito's Way (Blu-ray + DVD + Digital Copy) (1993) Now

There was a lot of anticipation when Carlito's Way was released in 1993. Director Brian De Palma had just come off a lukewarm reception for yet another Hitchcock homage, Raising Cain and was in need of a hit to appease the studios. And so, a re-teaming with Al Pacino in an effort to recreate the magic of Scarface made commercial sense. Carlito's Way was much more sombre in tone than the cinematic shotgun blast that is Scarface. It is a tragedy about how a criminal tries to go straight but is ultimately doomed from the get-go. This is the third version of the DVD, timed to coincide with the direct-to-video release of the prequel, but is it worth purchasing if you already own one of the previous incarnations?

Carlito is a role tailor-made for Al Pacino, allowing him to essay another larger-than-life character. Carlito is a smart guy who cannot escape what he is no matter how hard he tries and Pacino conveys the melancholy that lurks behind the bravado of his character. The real scene stealer, however, is Sean Penn's sleazy, coked-up lawyer. The actor reportedly did the film to help finance his directorial debut, The Crossing Guard. For a paycheck role, Penn does a great job as he disappears into the character, complete with a frizzy afro and cheap suits. It's almost as if Pacino's presence inspired Penn to step up his game. And this makes Penn's memorable turn so much fun to watch.

"Brian De Palma on Carlito's Way" features the director criticizing the current crop of movies that merely copy or quote from other movies or TV shows (Tarantino anyone?) and don't draw from real life. De Palma puts a lot of thought into the visuals of his movies in an attempt to surprise the audience. He goes on to slam film critics who don't like visual filmmakers and then, in an act of typical hubris, compares himself to Alfred Hitchcock.

There are nine deleted scenes totaling eight minutes. There are a lot of extensions of existing scenes that feature some nice moments between characters (like one between Pacino and Penn).

Included from the previously released "Collector's Edition" is "The Making of Carlito's Way," a 34 minute retrospective featurette. Sadly, Pacino and Penn are not present for this featurette that is nonetheless informative and well-made.

Also included from the "Collector's Edition" is a "Photo and Poster Gallery" that features some really cool poster designs, stills from the movie and some of De Palma.

"Original Promotional Featurette" was done back in the day and is more like a five minute trailer than anything of real substance.

Finally, there is an original theatrical trailer.

Read Best Reviews of Carlito's Way (Blu-ray + DVD + Digital Copy) (1993) Here

Who doesn't know this story about a gangster trying to find his way back into the straight life? Sadly, he doesn't make it. Too many old connections.

Although the first scene already gives away the end, Pacino's tight and heartfelt acting carries you through the story making you forget what you already know. When the shock returns, you wish it to be just another nightmare.

Pacino is more than perfect in depicting this terrific story about honor, revenge and the power of trying to live your dreams. Nobody but Al could have painted us this Carlito with more depth, sadness and humor. Everything is perfect here, camera, music, design, the pace, acting, the script. If ever you'll find the time, you've got to read the books the film is based upon by Edwin Torres.

Also starring in this Brian de Palma masterpiece are Sean Penn as his attorney, Penelope Ann Miller as his on and off girlfriend and Luis Guzman (the great) and a nice cameo by Viggo Mortensen.

The HD DVD transfer is wonderful. Pacino is almost entering the living room. Sound, picture: WOOW!

Extras include deleted scenes, an interview with the director and a making of.

Want Carlito's Way (Blu-ray + DVD + Digital Copy) (1993) Discount?

Carlito's Way ranks up there with Goodfellas as one of the best gangster movies of the 90s. Pacino is superb as Carlito Brigante, a legendary Puerto Rican gangster determined to leave his past behind after his release from prison, while Sean Penn is a revelation as the attorney who manages to get Carlito released after serving five years of a life sentence. The director, Brian de Palma, uses the unusual device of revealing what ultimately happens at the beginning of the film, but this does not diminish its impact, rather creating an air of incredible tension as we witness Carlito desperately struggling to escape the fate we know is in store for him. In particular, the chase scene through Grand Central Station, and the shoot out on the escalator, is superbly staged and every time I watch it I am left exhausted!

Like all tragic heroes Carlito has a fundamental flaw in his character that is ultimately his undoing. He is still bound by the code of honour of his youth, a code that the New York underworld is rapidly leaving behind, and he finds himself an anachronism in increasingly violent and ruthless times. Carlito's lawyer is on a downward spiral of self-destruction as his delusions of grandeur see him sucked into this world of crime, and due to the loyalty he feels he owes him, Carlito is sucked in as well. When he is implicated in the murder of a "made" Italian mafioso, Carlito's card is marked, and he realises too late that loyalty means nothing when you are the only one in thrall to it. A new breed of gangster, personified by Benny Blanco, is taking over, for whom honour means nothing and power means everything. The crux of the movie comes when Carlito has the chance to kill Benny, and although recognising that "the street is watching" he declines the chance, determined not to be drawn back into a world of violence. By letting Benny live, Carlito has shown "weakness" and in the final reckoning this weakness is ruthlessly exploited.

If I have a gripe with this brilliant film it is the ending. If De Palma could have resisted inserting Carlito's sentimental monologue into the last few frames, when he realises he won't live to see the future he dreams of with his girlfriend (played by Penelope Ann Miller) Carlito's Way would have been almost perfect. However, this is a small point and shouldn't detract from what is otherwise a magnificent piece of film making.

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Delta Force (2012)

Delta Force came out in 1986, not long after the Bombing of the marine barracks in Lebanon and the release of the hostages in Iran. These two events fuel the Delta Force about a passenger aircraft on its way to New York that is hi-jacked by Arab terrorists and diverted to Beirut. The cast looks like one of those big-budget, 1970's era disater films with Joey Bishop, Shelly Winters, Martin Balsam, Lanie Kazan, and George Kennedy all playing passengers on the flight. The terrorists are led by Robert Forster as Abdul.

With the hi-jacking, the Army puts the Delta Force to work to plan a rescue operation. Overseeing the command is Lee Marvin as Col. Alexander playing the grizzled veteran office not so different than the part he played in The Dirty Dozen. Chuck Norris Major Scott McCoy who is the leader of the team, called back into active action for the mission. The planned rescue mission is aborted when they soon learn that more terrorists boarded the plane when it stopped to re-fuel in Algeria. The terrorists are demanding Isreal release dozens of terrorists from prison or they will kill the hostages. They demonstrate their intentions by viciously beating and killing a young American naval diver as well as holding all the Jewish passengers separate from the rest. The women are eventually released but the men are taken to a prison once they land in Beirut and it's up to the Delta Force to rescue the hostages.

The stereotypes run hot and heavy in Delta Force on both the Arab and Jewish side. And not only that, but there's a German flight attendant who just CAN'T be the one to pick out the Jewish passengers due to her (evidently) instinctive guilt over the concentration camps and holocaust of WWII, and she courageously tries to help the American divers by telling them to hide their Naval ID cards. There's a lot of posturing speeches by both the terrorists and the hostages including George Kennedy who plays a Catholic priest and insists on being put with the Jewish men since Jesus was "King of the Jews". it's all pretty hokey but also great fun. Politcally correct? Maybe not but who gives a damn! It's really not unlike many WWII era war movies. The Delta Force is black and white and you know who the good guys are and who the bad guys are. Politics is not even worth mentioning.

Chuck Norris will never be considered a great actor but he also never tried to do too much. He played the strong, fairly silent type of hero perfectly, and with a strong sense of patriotism. The action scenes were very well done and you couldn't help but cheer when the hostages were rescued and the bad guys got theirs in the end. Cannon films churned out the action flicks in the 1980's and this was one of the best.

The only thing I do not like about this movie being on DVD, is that the english subtitles (I.E. the translation of the language used by the hijackers and other foreigners) and the timelines for the movie were left out, whereas they were on the VHS version. If you make another version of this film (I.E. Special Edition, Director's Cut, etc.) please include those items. Other than that, the movie was excellent. I wish all forms of airline hijacking was handled this way.

Buy Delta Force (2012) Now

Delta Force is one of the better of the handfull of anti-terrorist films that came out in the 1980's. Chuck Norris and Lee Marvin are a great combo. My only complaint is with MGM's production of the DVD. First, it's in standard full frame format. No widescreen version. Second, and more annoying is that MGM left out the English subtitles when the Arabs are speaking. My laser disc version of the film had them, so I know it's a mistake on the DVD. The only subtitles available are French and Spanish.

Read Best Reviews of Delta Force (2012) Here

Chuck Norris does so much damage in this movie that it makes up for every negative aspect of the movie. Chuck Norris is so incredibly awesome, and all action sequences involving Chuck Norris had me raising my fists and shouting "YES!" This movie is a classic, not because of the acting or the costuming or the props (I found it amusing that the entire Delta Force was armed with Israelian mini-Uzis)or the story even, but because Chuck Norris kicks so much ass. Chuck Norris unarmed is deadly enough, but give him a sub-machine gun, bazooka, or motorcycle tricked out with machine guns, rocket launchers, and mortars, and he is the most deadly creature to ever walk the Earth, and the terrorists in this movie learn that fact the hard way. I recommend this movie to anyone who understands how truly awesome a Chuck Norris movie can be. Also, check out Octagon. The first half of the movie is boring, but it picks up after Chuck Norris bangs a hot brunette and then sneaks into a secret ninja training facility to slaughter countless ninjas and avenge his brother who died at the hands of the ninja-master. Chuck Norris is just so awesome.

Want Delta Force (2012) Discount?

This was an exciting movie from beginning to end. An airliner is hijacked by Arab terrorists. Chuck Norris was outstanding in this movie. His character was well complimented by the Lee Marvin role. This movie had nonstop action as the Delta Force commandoes pursue the terrorists and their hostages. When the Delta Force people finally catch up with the terrorists it is well worth watching. This movie closely resembles the actual rescue of the hostages in Entebbe by Isreali commandoes. It turns into an exciting rescue sequence. You should watch this movie. It is good.

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