Chaos (2008)

According to one reference source, 'The name "chaos theory" comes from the fact that the systems that the theory describes are apparently disordered, but chaos theory is really about finding the underlying order in apparently random data.', and to enjoy the ride in this action film, understanding the chaos theory is helpful if not essential. In writing and directing CHAOS, Tony Giglio (as he explains in one of the featurettes on the DVD) worked to make an action movie that was more than just pyrotechnics and killing (though those are in abundance in this film!), and instead return to the atmosphere of older 'French Connection' type crime dramas. To accomplish this he uses the chaos theory to create just enough twists to keep the audience surprised. If the film doesn't open new doors for the genre, it certainly supplies enough entertainment to make it worth watching.

The film opens on a bridge in Seattle where an incident involving detective Quentin Connors (Jason Statham) and another unidentified detective results in Connors being dismissed from the police force. A sophisticated bank heist ensues and the head of the heist is one Lorenz (Wesley Snipes) who, when surrounded by the police after an explosion jolts the neighborhood, demands to negotiate the hostages situation with Connors: Captain Jenkins (Henry Czerny) and a new police recruit Detective Shane Dekker (Ryan Phillippe) recruit the reluctant, fired Connors to return to Seattle to take charge with Dekker as his partner. From this point on the story is a mélange of mind-bending assaults on the back using the chaos theory to trace the elements of discovery. Just when the audience is comfortable with knowing the good guys from the bad guys, the chessboard turns and surprises occur that leave the story with a sense of incomplete thought on the part of the script, but also an appreciation for the degree of suspense the story has presented.

The strong character in the film is Ryan Phillippe who is able to hold his own with the practiced action hero antics of Statham and Snipes. There are some standout cameos, such as Keegan Connor Tracy who has one of the more sensually seductive roles on film, Henry Czerny as the forceful super chief, and Justine Waddell and Nicholas Lea as the detectives who shoulder the only truth in the tale. Not a great action movie but one with a modicum of intelligence that makes is rise above the many others in this category. Grady Harp, February 08

I enjoyed this movie as it had more than it's share of twists & turns. The action is great, I like the actors & it's less than $10 for the Blu-ray right now, that's even less than the DVD! The video quality looked great on my 106" screen through my 1080p Mits HC5000 projector. Grab some popcorn, your favorite drink, sit back and enjoy the ride....with a little chaos along the way! :-)

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Ok, wesley snipes has done some pretty bad movies lately including this one, but what on earth was Jason Statham doing in this terrible film? even he couldn't save this disaster. This movie is very slow paced and lacks action, It is more of a crime drama than an action movie but even the drama lacked suspense and mystery and i literaly had to force myself to keep watching the movie because i felt bored and uninterested.

This movie has an average star rating of almost 4 starts, don't fall for the hype!, if you want to see a good recent crime drama movie go watch jean-claude van-damme's "until death", Its a much better movie.

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There was much not right with this film. I kept thinking while watching it that it wasn't smooth that the actors were uncomfortable with the screenplay. The dialog came across as clipped too, almost like hearing a joke, and waiting for someone to laugh. And the editing was 2nd rate as well as I noticed a couple flubs. Anyway, I wouldn't recommend spending money to purchase. And it truly doesn't deserve 3 stars (2 1/2 at most). Just run of the mill.

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This crime drama / action movie is surprisingly good. The main and supporting characters do a very good job, Wesley over acts a little but other than that first rate. I liked the ending although some people didnt, I thought it was good.

There are twists, some that arent super surprising, but it does keep you guessing throughout the movie was to who the evil mastermind is. The car chase in the middle of the movie with Ryan Phillipe was garbage though, it detracts from an otherwise smart movie with a very 1980's CHIPs style impossible fake car chase.

Overall well acted , well written with a couple small exceptions, and well done. Sort of like Inside Man meets The Transporter. I would recommend it.

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Last Exit to Brooklyn (1989)

It's the 1950s. Under President Eisenhower's administration, everyone has a house in the suburbs, a decent job, a gas-guzzling car, and a basic "Leave It to Beaver" lifestyle.

Not so, said Hubert Selby, in his novel, LAST EXIT TO BROOKLYN. For a good deal of the working class, times were still tough. Preyed upon by crime, toyed with by factory owners and unions, and, ultimately, shackled by their own ignorance, the working class had their promise of a white picket fence and primrose garden vacated. In Brooklyn, particularly, things were acutely tough. Manufacturing jobs were on a rapid decline, as companies moved out of town or out of state (which was why those companies remaining in Brooklyn were able to mess with their employees: take it or leave it, was their attitude). At the same time, an influx of immigrants seeking jobs made the hunt for work even more competitive--another bonus for the remaining factory owners. Slums rapidly worsened, so much so that Dodger owner Walter Alston decided his team's future was in jeopardy. L.A. looked like a much safer place for a stadium.

But neither Selby nor director Uli Edel portrayed this working class as merely innocent victims. Neither the book nor the film is a didactic rant about class warfare. The poor had their own vices of greed, brutality, and dissipation. Just about every other scene has someone going through someone else's wallets, union funds or pockets. If they aren't doing that, they're drinking, fighting, or whoring. It's a pretty dismal world. The natural response to this film might be: "Wait a minute. Not everyone working class Johnny-Punchclock guy was a criminal. Most people worked hard and honestly." Of course, this is true but it's not the film's concern. This is a study of those who were trapped in that world, and this study is compelling and horrifying.

Uli Edel has perfectly captured this bleak world, either bathing everything in a garish light or obscuring it in heavy shadows. The performances are brilliant. There's no understating Jennifer Jason Leigh's gritty and powerful performance. Also keep an eye out for a cameo by Hubert Selby as the driver who hits Georgette. Not for the weak-stomached and definitely not for kids, LAST EXIT TO BROOKLYN is as cinematographically close to the innermost circle of urban hell as you can get.

This is a frank filming of the Hubert Selby novel about the brutality of street life in Brooklyn 1952. If you like "happy" films, this isn't for you. But if you appreciate a good dose of realism, the film is remarkable.

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Here is a visually stunning adaptation of Herbert Selby's unvarnished novel about street-wise losers in 1952 Brooklyn. This film includes graphic violence and sexual situations not for the "Romantic Comedy" crowd. Jennifer Jason Leigh as the hyper-sexual prostitute Tra-La-La steals almost every scene she's in.

Although the screenwriters had to re-do the ending as the true nature of the book's finale would have drawn an "X" rating, this is a must-see for those of us who can appreciate the realities of the street for those living the most marginal of an existance.

One other treat is an obese Ricky Lake as a dim-witted knocked-up teen whose family forces a wedding to the poor sap who sired her child as a way tho save their reputation (as if they ever had a good one to begin with).

The beating and "cruxafiction" of Stephen Lang as the latant homosexual is also an unforgetable cinematic moment.

Read Best Reviews of Last Exit to Brooklyn (1989) Here

Over the summer I purchased and read Hubert Selby Jr.'s "Last Exit to Brooklyn". It was the first book I had read for pleasure since high school. I also only bought it because the film Requiem for a Dream was astonishing, and because it wasnt at that particular bookstore. Anywho, I read LETB in about a week, which is super fast for me, and was intrigued enough to go out and watch the film.

I had never heard of Uli Edel but was curious to see how well the book was illustrated through film. From the opening shot of the three military men walking through the dark streets to the Greeks to the factory to the strike office, things seemed to have been pulled straight from the book. If you have read the book you know how it can be sometimes quite difficult to read Selby's writing style, considering there are pages upon pages of text in all caps and run-on sentences up the wazoo, so a visual illustration really did a good job of bringing some confusing parts of the book to life.

Jennifer Jason Leigh gave a good performance as the infamous Tralala, Jerry Orbach was always refreshing to watch, but I think I liked the portrayal of Harry Black the best (I think it was Stephen Lang). As in the book, his "chapter", along with Tralala's, were the longest, and the two characters were also the most intertwined in the other stories, so they also got a majority of the screen time in the film. Oh, and Burt Young was well cast, too. He seems to thrive on the grumpy-caring-jerk-semi womanizer type character quite well.

I know others who have read the book or seen the movie have been put off by its unflattering portrait of the Brooklyn working class 60 years ago. Im only 22, and not the biggest history buff, so because of my little knowledge of the time I really cant form an opinion of how well it interprets the people and the places, or if much of it was dramatized, or if the stories told just represented a handful of the population in Brooklyn. But regradless, I enjoyed the less than perfect lifestyle and the struggles and sacrifices our characters endured to achieve their goals. I live near an upper middle class area, so lots of people take things for granted, and I think thats why Im drawn to these types of books and films.

But anyway, I liked this film; and I liked the book, too. Its not one of those films (or books) that you can watch or read everyday because the content strikes like a hammer and stays with you long after, kind of like Requiem, but I feel I am a better person for experiencing "Last Exit to Brooklyn".

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STEVEN LANG and JENNIFER JASON LEIGH dominate this virtually picture-perfect view of Brooklyn circa 1950. A sad and moving mix of Union Dispute [Teamster strike}, confused sexual identity [identeties], anger and misplaced love.

Lang is excellent [more than that] as the love-torn Strike Captain totally oblivious of 'the nature of things' Jaosn-Leigh more than award worthy for her "Tral" perhaps the whore with the platinum heart? Totally oblivious of long-term goals living from sailer to sailer ...

Art/Set direction and design, wardrobe, etc spot on.

Highly worth the visit if you can "Father Knows Best" it ain't!

Could be fun to pair Jason-Leigh and Lang as "George & Martha" and watch the conflagration ........

{DVD is great]

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Charlotte's Web (2006)

I've seen several movie versions of CHARLOTTE'S WEB. The story of the friendship between a runt pig and a spider in the barn has been around entertaining children for dozens of years. But I have never seen a production that came even close to the new movie in theaters everywhere.

The recent release of CHARLOTTE'S WEB is simply amazing. I can't wait for the DVD to come out, and I'll really be disappointed if there isn't some in-depth special features regarding the making the of the film, particularly the computer animation aspects. Watching the animals talking and interacting onscreen was nothing short of magical.

There is an incredible shift from the human point of view in the film to the animal one that is almost seamless unless you're looking for it. I was, and it was still so effortless that the transition doesn't jar viewers at all. The handoff is smooth and remains highly believable.

My 9-year-old went with my wife and I, and even though he'd seen the story a number of times on DVD, he fell in love with it all over again. I loved hearing him laugh, and I couldn't help but remember the first time I'd heard CHARLOTTE'S WEB read to me by a schoolteacher.

The story is timeless and will always be around. But it's been waiting all this time for movie-making magic to truly unlock a way for audiences to watch it presented so much in the flesh.

No only is the video aspect so good, but the voice talent gathered for the film is outstanding. Julia Roberts, Steve Buscemi, Oprah Winfrey, Cedric The Entertainer, Reba McEntire, and many other recognizeable voices (including Sam Shepard as the narrator) all contributed to this amazing experience.

If you want to have a great time and be a child again, go see CHARLOTTE'S WEB. If you want to bring delight to a child, take one with you. You'll be glad you did.

First I must confess that I have never read the original book `Charlotte's Web' by E. B. White or seen the 1973 animated film version (with Debbie Reynolds' voice). So please read my review of this new live-action version as such, though probably this kind of confession is really unnecessary.

Wilbur is a `spring pig' who is destined never to see the winter. Charlotte, a spider living in Wilbur's pen, hatches a plan with Wilbur to change his fate. The story is deceptively simple, but there are messages behind it, which is not hard even for the kids to find as the story unfolds. Even for the adults the film's last 20 minutes is quite moving.

Dakota Fanning plays a girl Fern, who saves the life of Wilbur in the earlier part of the film. One thing I like about the film's script (by Susannah Grant and Karey Kirkpatrick) is that there is another coming-of-age story about this girl, who is about to grow up and leave her childhood behind. At first Fern and Wilbur look like inseparable friends. Fern tries to bring the pig to the school, hiding him in the desk. However, by the end of the film you will be seeing another Fern, more grown-up, less childlike. No one can remain a child forever, and Fern, or perhaps Dakota Fanning herself, embodies this poignant fact.

Charlotte's voice is provided by Julia Roberts. It may be slightly weird to imagine a spider speaking with Julia's voice, but it works with her voice expressing the motherly wisdom and concerns convincingly. Impressive cast is gathered for the voices of the animals in the barnyard, and Steve Buscemi as Templeton the Rat and John Cleese as Samuel the Sheep are standout.

These animals are all perfectly created with impeccable special effects, but you may feel some part of the film detract from their effects on us. I am not sure the film really needs two meddling crows or fart jokes, and if the film company thinks that their film needs them to keep the kids interested, they are utterly mistaken. They have a charming story of Wilbur and Charlotte, and they should be much more confident, especially when they have this cast and Danny Elfman's wonderful score.

If I may borrow Charlotte's word, `Charlotte's Web' is truly `some' film, and its radiant charms are more than this single word can convey.

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As with Walden's first adaptation--The Lion, the Witch, and the Wardrobe--this is an okay movie that could have been vastly better. It is a superior adaptation to Wardrobe, in that it follows the source material more faithfully both in story and characterization, but it still fails most in those key areas, and in important ways that the animated version didn't.

The most off-putting and probably most egregious error on director Winick's part is to make Fern such an impertinent, downright snotty little girl. In the book Fern is determined, but not rude. Neither is her father the milquetoast that he's made to be in the film. Ditto Templeton the rat, who is turned from an irascible malcontent into an outright bully. Such characterizations are completely unnecessary and in fact detract from the story. (Which again was the core failure with The Lion, the Witch, and the Wardrobe. Seems to be a Walden thing.)

This ties into a problem with the casting in general. Julia Roberts was simply the wrong voice for Charlotte. The '73 version had the good grace and foresight to cast Debbie Reynolds as Charlotte. Reynolds' soothing, melodic voice was perfect for a creature meant to be soothing and enchanting. There is life and wonder and hope in it. Roberts' voice is simply too flat and nasally, and becomes actually grating. The casting on the rest of the animals was fine (though the body humor got old after the second "joke"; I long for the days when body "humor" wasn't considered simply part of kids' movie genre), but of the humans only Beau Bridges stands out. I like the actors who played the various parts, but they too come off as lifeless. The whole affair is simply flat, which is ironic considering the wondrousness of the tale attempting to be told.

And then there's the decision to go with hyperrealistic special effects. I found myself wishing they'd stayed with the neat animation that introduced the movie. Instead we're treated to super-macro shots of a spider worthy of an electron microscope. Director Winick should have had the sense to realize that there's no way to make a spider cuddly in close-up. The animated '73 film was wise enough not to try; it showed Charlotte in just enough detail to give her form and features, and left it that. This one, again like The Lion, the Witch, and the Wardrobe, wants to show off at the expense of the story.

Some of the non-book material is witty, but for the most part it's not and obviously tacked on to tickle kiddies' funny bones. It does, so in that sense I suppose it works, but it's laziness on the part of the filmmakers to feel it's necessary.

In sum, what should be a magical, uplifting movie comes off as flat and, in fact, a little boring. Maybe one of these days the film industry will discover that special effects and high-caliber casts aren't enough to save a lackluster script. It always comes down to the writing, and it simply isn't very good in this version of Charlotte's Web. It has its heart in the right place, and doesn't stray far from the original book in actual plot, for which I have to commend it at least three stars, but it's more interested in being a comedy made for kids than a drama made for smart people, young and old. This is why the '73 version continues to hold my kids in thrall after at least a score of viewings, but they were so bored on a second watching of this new film that they wanted to leave early.

Read Best Reviews of Charlotte's Web (2006) Here

Very faithful adaption of the book with an all star voice cast. This is really a terrific tale of friendship and loyalty that is a must view for the family. The story is funny and sweet and is done right from start to finish. The fun part for adults is trying to guess the voices of all the animals. A few are obvious, but some take some time to figure out. This is certainly one to pick up.

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This movie is a wonderful and entertaining adaptation of the children's book by E B. White, which was published all the way back in 1952. Lending their voices are celebs like Julia Roberts, Oprah Winfrey, Steve Buscemi, Kathy Bates, John Cleese, Thomas Haden Church, Robert Redford, Cedric the Entertainer, Reba McIntyre, Andre Benjamin and Sam Shepard, plus live performances by Dakota Fanning and Beau Bridges, among others. With this kind of star power, who can resist taking a peek at this version of the classic tale?

Here's the gist of the movie, best sung to the tune of "My Favorite Things":

Pig slops for Wilbur, the runt of the litter

Saved from the slaughter, he's one lucky critter

Fern kept the pig from her father's sharp knife

Begging and pleading for her piglet's life

Down in the barnyard are sheep for the shearing

Horses and geese, plus the cows that they're rearing

A very wise spider who cares for a friend

Promising he won't be ham in the end

Charlotte the spider worked all the night spinning

Working her webbing right from the beginning

The first ones to see it, their eyes grew so big

The words she had woven, they spelled out "SOME PIG"

Soon the time comes when they're ready for smoking

In comes the rat just a pryin' and poking

Charlotte persuades him to help with her plan

To keep little Wilbur from the frying pan

If their plan fails

At the fair ground

It'll all be in vain

But simply remember once words can be found

That things will be fine again

Notes:

The music for "My Favorite Things" was composed by Richard Rodgers, and the lyrics were written by Oscar Hammerstein II. My apologies to both gentlemen.

This is dedicated to my friend Len, who suggested the theme, even though I'm quite sure he was joking.

Amanda Richards, April 10, 2007

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Batman: Under the Red Hood (2010)

I've liked most of the DC's recent forays into animation on varying levels, but none of them really hit the mark for me. The scripts in those other titles just weren't good enough and brought the entire production down. Many of them had excellent voice actors and animation, but that couldn't save a poor script.

Batman: Under the Red Hood is different.

Managing to cram five different arcs from the comics into a movie just under 90 minutes is impressive. Managing to do that and keep the entire thing remarkably faithful and have it turn out well is on another level.

The movie starts off with the final moments of the comic arc 'Death in the Family' featured in Batman #426-429, where the Joker sadistically kills Jason Todd aka the second Robin. This scene isn't extremely graphic and most of the violence is kept off screen, but as other reviewers have warned please take the PG-13 rating seriously. From there the story jumps forward five years and compresses Batman #635-650, taking bits and pieces from all four story arcs, to form the rest of the movie. Yes, there are changes. Some are large, including writing out Superboy Prime's role (which is a very very good thing). Others are smaller, from leaving out certain characters and subplots to changing how the Red Hood gets a hold of the Joker. None of these truly matter, as the heart of the story has been distilled and streamlined in a very faithful way.

So faithful are they that some of the dialogue is taken straight out of the comics, including the finale. This is how comic adaptations should be done.

For the most part the cast is excellent, though there will be fans that are disgruntled over fan favorites Kevin Conroy and Mark Hamill not contributing. They've defined their respective characters for so long that many, including myself, have a hard time accepting new voice actors in their stead. Bruce Greenwood proved a lot of people wrong though, and I could see him voicing Batman from here on out.

John DiMaggio had the biggest shoes to fill though, and didn't quite do it for me. His Joker was a cross between Ledger's movie portrayal and Hamill's animation counterpart, and while not bad by any means, just didn't sound right to me. It didn't help that I kept hearing Bender from Futurama, either. The laugh was almost perfect, but his speaking voice was just...too husky. This is absolutely going to be up to individual preference though. His line delivery is excellent and there's nothing wrong with his performance. I'm just too used to Hamill, I guess.

The rest of the cast is spot on and practically a dream cast. Neil Patrick Harris is great as the light hearted, cracking wise Nightwing. Jensen Ackles is given the difficult task of voicing a character that covers the entire emotional spectrum during the course of the movie, and does it well. Jason Isaacs is by far the best Ra's al Ghul we've had. But my personal favorite has to be Wade Williams as Black Mask. He IS that character for me now.

Batman: Under the Red Hood is easily on par with Batman: Mask of the Phantasm, that other excellent animated film. It very well may end up being better after additional viewings if I can put Hamill as the Joker behind me. I really hope this is a sign of things to come from DC's animation division.

I was prepared to dislike the new DC direct-to-dvd animated film, Batman: Under the Red Hood. I've been annoyed with these animated films for a number of reasons, some admittedly nitpicky and petty, but annoyances just the same. However, after watching a review copy I was quite pleased with the way it worked out! Having read the original story arc in the comics, I wondered how they were going to take such a complex tale, one that draws on various Batman stories going as far back as 1951, and roll it all up into a neat little self-contained package lasting under an hour and 20 minutes (short running time--another gripe of mine). The answer is, quite deftly!

The story has to do with the Batman's greatest failure, the sadistic, violent death of the second Robin, Jason Todd, at the hands of the Joker, who began his career as a masked criminal known as the Red Hood, which is established in short, succinct flashbacks. The story begins five years after the death of Jason Todd and involves a criminal turf war between the Black Mask, an aggressive and entrepreneurial mob boss who wears a black skull mask, and a new masked criminal--a new Red Hood. This new Red Hood is trying to clean up Gotham by controlling the gangs, and his methods are violent, ruthless, and murderous, and thus he comes to the attention of the Batman. A showdown is inevitable, but who's manipulating who, how will the Black Mask react, and what role does the volatile Joker play in the plan?

The story is action-packed, very dark, and should make casual viewers and fans quite happy. Some gripes; Bruce Greenwood and John DiMaggio turn in terrific jobs as the Batman and the Joker, respectively, but I really wish they would have gotten Kevin Conroy and Mark Hamill to play the parts. Those two actors are so well associated with the roles and it would have been quite interesting to see how they would have handled such a dark and violent story. Sometimes the violence is kept to a nil when it should be amped up. For example, the death of Jason Todd is fairly unbelievable; the Joker spends a good deal of time beating him with a crowbar, yet afterwards he looks only as though he fell down and scraped himself up a little. The comic book story, A Death In the Family, regulated by the Comics Code Authority no less, showed blood, bruising, swelling, a shredded costume, and made him look more than half dead. The movie fails to convey this, and when they're dealing with a PG-13 rating they could certainly have done better.

Another big problem I have with this film, and the DC direct-to-dvd movies in general, is the short running time. Again, with a PG-13 rating and such dark and complex stories, it's more than obvious that the intended audience is NOT young children and pre-teens, but rather an older, more mature audience. So why the short running times geared towards the short attention spans of young children?! This film runs one hour and 15 minutes. The last film, Justice League: Crisis on Two Earths, ran only one hour and 13 minutes. Please, DC, PLEASE--know your audience and realize that the vast majority of people purchasing these films are adults who can keep track of sophisticated plots, complex character development, and running times that are closer to those of adult movies--an hour and a half to two hours! If you did that, you could do so much more with these animated films.

Depsite my gripes, I have to give this movie four out of five stars. It was very entertaining, with lots of action and some seriously twisted moments from both the Joker and the Black Mask. Parents, please take note from a fellow parent: just because this is an animated film, that does not mean it is suitable for young children. Please take the PG-13 rating seriously.

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Just watched it today, I had to comment about it. People always complain about the voice actors...the cast did great..Batman, Nightwing, RED HOOD..they all sounded great.I'm not going to comment on Joker's voice, instead I will praise his animation...Joker looked GREAT. The movie is much adult oriented this time, ..good. I can't recommend it enough..great moments, shocking and touching at the same time. the final battle, the final scene..the intro music, which is the same played at the end could be used for a live action movie. I want to see more of the guy behind the red hood...

SPOILER ALERT; Remember what Joker does with a pencil in THE DARK KNIGHT?...watch this movie and see what he does..with a glass..and be surprised like I was.....ENJOY IT for what it is, a dark, violent, good BATMAN story.

I would love to see the Killing joke....

Read Best Reviews of Batman: Under the Red Hood (2010) Here

The raw emotions that you will feel after watching this film make it worth the price tag. Even if you are not a fan of the series this dark and complex story will leave you wanting more. I am not going to spoil the story like some of these reviewers did. Just buy it.

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This movie was great. It was jam packed with action, drama and suspense.This movie brings me back to the days where I would watch Batman Beyond or the first animated Batman series that used to air on Cartoon Network.

To put it short, this movie is amazing because it has a(n):

1)Amazing plot, with an ending that will keep glued to your seat

2)a mature feel, although it's a cartoon the movie is made more enjoyable by making it a little more realistic with scenes of Batman getting whooped and occasional blood.

3)great dialogue, the characters stay true to Batman tradition

4)art style, the art style isn't too flashy with effects and gives the movie a dark/noire feeling.

Get this movie. There is no way you can be dissappointed. A great movie topped with great Amazon service. You can't beat that.

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Summer Interlude (The Criterion Collection) (1951)

"Summer Interlude" is an often overlooked pearl from Bergman's film catalog. It's not as famous or as experimental as his other releases from this period, such as "Sawdust and Tinsel." Nevertheless it's quite good and I hold it in high regard. It fits in among the romantic-themed films he made from time to time--a close twin to "Summer with Monika," which he made a couple years later. Both share the theme of young adults navigating the pleasures and dangers of falling in love over the course of a single summer. Monika is a classic, in part because of Harriet Anderson's notoriety, but "Summer Interlude" is a sweeter film and the characters more likable. The protagonist played by Maj-Britt Nilsson, is both beautiful and admirable without the seedier bohemian carnality of Harriet Anderson's Monika. I know a lot of Bergman fans like "Summer with Monika" and both films are worth seeing, but to me "Summer Interlude" is the stronger film.

Regarding this DVD version: Tartan has released several Bergman films on DVD that aren't otherwise available in the US. They're in PAL format, which may discourage American fans since they probably aren't playable on the typical television DVD player. But I've had success playing them on my computer's DVD player. For some reason computers are more flexible about formats. If you don't mind watching a film on your laptop, you may be able to view this and the other Bergman films Tartan has released.

Touching, simple story of how a young girl's summer romance with a

sweet, modest young man, changes a her adult life as a ballet dancer

forever.

Told in flashback, beautifully shot, and mostly well (if not quite

brilliantly) acted, this lovely film could have been even stronger if

the two leads both didn't look and feel much too old for their roles,

making their naiveté and innocence feel a bit forced.

But there's much that's moving and insightful here about youthful

idealism versus life's hard realities.

Buy Summer Interlude (The Criterion Collection) (1951) Now

Swedish filmmaker Ingmar Bergman is one of the world's most accomplished and influential directors of all time.

Known for a plethora of films in his oeuvre such as "The Seventh Seal", "Wild Strawberries", "Fanny and Alexander", to name a few. Bergman is best known for films that dealt with existential questions of mortality, loneliness and religious faith. Many of the films, especially the characters are an expression of how Bergman felt at the time.

And many of his stylistic and conceptual themes were formed in his earlier work, especially stories that were set in summer. "Smiles of a Summer Night", "Summer with Monika", "Wild Strawberries", etc.

But one film that resonated strongly with Bergman was an earlier film from 1951 titled "Summer Interlude". Bergman wrote in his book "Bergman on Bergman", "For me Summer Interlude is one of my most important films. Even though to an outsider it may seem terribly passé, for me it isn't. This was my first film in which I felt I was functioning independently, with a style of my own, making a film all my own, with a particular appearance of its own, which no one could ape. It was like no other film. It was all my own work. Suddenly I knew I was putting the camera on the right spot, getting the right results; that everything added up. For sentimental reasons, too, it was also fun making it."

And for the many cineaste who have followed Bergman's work, many credit "Summer Interlude" as his "breathrough" film and featuring a style that would later be fully expanded in later films.

VIDEO:

"Summer Interlude" is presented in 1080p High Definition black and white (1:37:1 aspect ratio). The video quality looks amazing considering that the film is 60-years-old. The detail is amazing as the film shows quite a good number of closeups. You can see the skin pores and the details on Marie's face, her clothing... for the most part, the clarity of "Summer Interlude" looks amazing, black levels are nice and deep, white and grays are well-contrast and this film has not suffered any major damage.

With that being said, there are some white specks and a few lines and scratches that do show up from time-to-time, but the majority of the film looks absolutely great. In fact, there is a good reason for the scratches which the Criterion Collection mention in the booklet.

According to the Criterion Collection, the original negative of "Summer Interlude" has been lost; this new digital transfer was constructed from two 35 mm duplicate negative sources. The Criterion Collection accessed the first, the only existing 35 mm duplicate negative in Sweden, at the Swedish Film Institute and was transferred in 2K resolution on an ARRISCAN film scanner at Chimney Pot in Stockholm. Much of the duplicate negative, however, was scratched, as well as riddled with mold so persistent that in some sections, it was impossible to remove completely, even after more than 400 hours of restoration.

The Criterion Collection then discovered another 35 mm duplicate negative, in Janus Films vaults, made in 1966 and stored under the alternate title "Illicit Interlude". Though there was no mold problem with this duplicate negative, much of it suffered from severe shrinkage, which can cause the right side of the frame to buckle and be out of focus.

The Criterion Collection was able to replace the sections of the Swedish Film Institute transfer that suffered from the worst mold and scratches. The final master, which still contains scratches that could not be repaired, incorporates nine minutes of Janus Films' negative with the original transfer.

Additionally thousands of instances of dirt, debris, scratches, splices and warps were manually removed using MTI's DRS, while Image Systems' Phoenix and PixelFarms' PFClean were used for small dirt, grain, jitter and flicker.

AUDIO & SUBTITLES:

"Summer Interlude" is presented in monaural Swedish with English subtitles. Dialogue and music are clear from the monaural track and detected no hiss or crackle during my viewing.

According to the Criterion Collection, the original monaural soundtrack was mastered at 24-bit from a 35mm optical soundtrack print. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuate using AudioCube's integrated workstation.

SPECIAL FEATURES:

"Summer Interlude The Criterion Collection #613″ on Blu-ray comes with no special features.

EXTRAS:

"Summer Interlude The Criterion Collection #613″ comes with a 20-page booklet featuring the essay "Love and Death in the Swedish Summer" by Peter Cowie.

JUDGMENT CALL:

As many new fans of Ingmar Bergman are starting to discover a lot of his films through Blu-ray (many released by the Criterion Collection) and on DVD via Criterion's "Eclipse Series", many have been introduced to his most earlier work and also his most revered work in his oeuvre.

"Summer Interlude" is a film that is important because it is a beginning for Ingmar Bergman as a filmmaker. It's a film that was the first to give Bergman independence and the freedom to create a film his way, his style and was literally the precursor to many of the films that people who have collected his films from the Criterion Collection. It all begins with this film!

And it's a film that exemplifies Swedish filmmaking but it's also a personal film for Ingmar Bergman.

In Sweden, June and July offer people from the city, to enjoy summer vacation in the countryside before the cold, harsh winter. And it's a season that Bergman would follow in later films in capturing the summertime, as one of the most memorable experiences in his life took place when Bergman was a teenager. It is where Bergman would have a magnificent love affair with a young woman who unfortunately contracted polio.

In 1949, Bergman wrote a short story about this young woman and he would eventually go on to use the story for the film "Summer Interlude".

"Summer Interlude" is a film that is beautiful to watch. Capturing the beauty of the island region in film, capturing the silhouettes of the characters, but most importantly, how the moods of the characters reflect what is shown onscreen. Visually rich, the film would attract cineaste and was lauded by film critics including Cahiers du Cinema critic (and filmmaker) Jean Luc Godard who also praised the film's beauty. American film critic Pauline Kael would praise "Summer Interlude" for its "elegiac grace and sweetness."

Actress Maj-Britt Nelson (who worked on Bergman's "To Joy" and "Secrets of Women") was remarkable in playing 28-year old ballerina named Maria who looks tired of life. Doing something she loves, but yet looks rather effete, a loss of enthusiasm. But often a person has a hard time letting emotions go of something that has happened in the past.

It's an elegy that perhaps Ingmar Bergman has kept with him when he wrote the original story back in the late '40s. Marie more or less represents Bergman, who saw the young woman that he loved contracting polio. A woman full of energy and life can change within a second.

We see the same with Marie, when the story takes the viewer through a flashback when Marie is 15-years-old. Unlike herself in the future, she is full of energy, constantly giggling, vibrant and full of life. She feeds off the beauty of the island and she feeds of her love for Henrik.

Birg Malmsten did a wonderful job of playing the shy and timid college student and both Marie and Hendrik are perhaps the juxtaposition of Bergman and the young woman he had a love affair with. For many people, to love at a young age and to see that love taken away is a painful experience.

While Bergman films would expand to characters that have lost their identities and at times, the storyline are darker than what is featured in "Summer Interlude", this film has a sense of pureness, hope and one person trying to find her way through tragedy. The elegy of Marie shows us the corruption of youth in a different kind of way that most traditional films tend to explore of such things.

And as "Summer Interlude" has no doubt showcased an elegiac grace and beauty. There is a visual style for the film that captures the balance of happiness, vibrancy, sadness and regret, but most importantly, a style that also brings to the viewer...hope. Magnificent!

On Blu-ray, I was thrilled with the overall quality of the film. The Criterion Collection have really gone to great lengths into having a proper restoration of "Summer Interlude" and reading in the booklet of how far they had to go in finding the best prints, it's no surprise that this Bergman film had taken so long to be released (considering The Criterion Collection have released so many films from Bergman's ouevre on video). And as people wonder how come some films take longer than others to be released in the US, it appears that the Criterion Collection really went through hoops and bounds to take two existing film elements and present "Summer Interlude" in the best quality as possible. And I'm grateful for the company for doing that.

While I wish there were special features included on this Blu-ray release, especially an audio commentary, to make up for it, the Blu-ray is much cheaper than other Blu-rays.

"Summer Interlude" is an Ingmar Bergman film that is a must see, must own film to own, if you are a fan of his work or really want a film that shows a major breakthrough within Bergman's fillmmaking and would be among Bergman's earlier films to jumpstart the period of fantastic Swedish cinema.

It's also important to note that with the release of "Summer Interlude", Bergman's other summer film "Summer with Monika" (1953), which shows us an alternate storyline of "what if?", as a couple who met on summer vacation, must take responsibility when the young woman gets pregnant. So, with the release of both films in May 2012, you'll definitely want to pick up both of these Ingmar Bergmans film on Blu-ray!

Overall, "Summer Interlude" is a highly recommended film despite its lack of special features.

Read Best Reviews of Summer Interlude (The Criterion Collection) (1951) Here

these are terrific Criterion releases timed to our seasonal climatic. spot on. Bergman was building a film machine that would ultimately place him in the top 5 all time worldwide best directors (or ten if you are stateside fanatics). these are great examples that capture the uncluttered beauty of that country in the early 1950's just before mass production became a disease taking root and hold everywhere. while also revealing the youthful, rebelliousness, restless angst that subtly connected the first generation to come of age after WW II, manifesting subliminally and unspoken. I always preferred his black and white films over his color stock productions.

Bergman was a serious womanizer which is hinted at in a Summer With Monika featurette that would never be satiated in his lifetime regardless the chase and conquer. these films hint at the greatness bubbling under his surface and go beyond art house as far as substance and sustenance quantify. if I love them, you'll probably like them. be more, try them. go way beyond today's digital so "30 seconds ago" when timeless moments could happen, leaving you in awe and breathless. unconcerned with whom knew what, when, or if ever.

Want Summer Interlude (The Criterion Collection) (1951) Discount?

(Review based on the Criterion release on DVD checked out from local library with included booklet and original case)

I have been a Bergman fan for years. The man could create some of the most strikingly beautiful black and white films ever. Even watching this film, one of the earlier in his career (his 10th directing), the cinematography is haunting. I could turn off the sound and subtitles and just watch the film for the beauty and the expressions of the amazingly talented cast.

In this film we see a series of flashbacks by the main character and ballet dancer Maria. Her flashbacks are triggered after receiving a diary in the post. The flashbacks take place 13 years earlier at her uncle's country house and estate. The setting is idyllic and filled with the energy of youth. Maj-Britt Nilsson plays a very convincing teenager (I figure she is supposed to be between 17 and 20) as well as a believable aging ballerina in the present time. In typical Bergman fashion, we are given little snippets of foreshadowing. One character even remarks on the "presence of death" around the lake.

I won't give away anything in the film, but I will say that it's not as happy go lucky as Smiles of a Summer Night, nor as dark as his later films. Instead it has an interesting dichotomy between the present, where Marie is obviously suffering emotionally, and the past where things were free spirited. There is an occurrence which ties the time and the emotional state of Marie together. The use of shadow is of particular note in the past after this event.

I particularly enjoyed the supporting cast. Marie's 'uncle' is very odd. There is also some insinuation that he may have been with Marie at some point, and in fact later in the film we see that in the period between the past and present it may have occurred again (or for the first time). But Bergman doesn't spell it out, and it is left to the viewer to interpret. When we first see her uncle it is when he places a bracelet on Marie's wrist (in her youth) and fondly (and far to familiarly) kisses her wrist. Henrik's aunt is also entertaining in her one scene, as is the rabbi in the same scene. Other notable supporting characters are the ballet company dancers and maestro.

There are a few well shot scenes with Tchaikovsky's Swan Lake. It is of note that the film almost follows a Swan Lake arc to the story, albeit slightly different in the end. But Swan Lake is a tale about youthful innocence and love only to become much darker in the second half and end tragically.

This is not up to the level of Seventh Seal, Wild Strawberries, Persona, or Smiles of a Summer Night; but this film does take the first step from Bergman's more obvious and narrower earlier films into the greatest era of his directing. The depth in this film is impressive, especially since it was unexpected for me. Criterion did well to restore and release this film under their regular line and not in the Eclipse series.

Of note: There aren't any special features on the DVD. You get the film on one disc, though it is amazingly restored despite its age (1951). Instead of special features, Criterion has included a 20 odd page booklet with some additional reading. This is an amazing addition and I highly recommend reading it after viewing. The booklet helps the viewer to dissect much of the film, including the reasons Bergman chose the particular setting and the irony of the title 'Sommarlek'.

If you are a Bergman fan, you will like the foreshadowing to later films; in one scene the rabbi plays chess with the aunt while discussing Death, in another scene the characters comment on how they "love wild strawberries". Both put a smile on my face.

So is this film worth a purchase? For true Bergman fans, yes. Otherwise, if you can get a copy from the library I might recommend picking it up. Especially for the booklet. If you can rent it or watch it streaming, then perhaps check it out that way first. It's a great film, but I doubt I will be re-watching it over and over like Seventh Seal and Wild Strawberries. But $14.99 is more than a fair price for the DVD version.

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Tucker & Dale vs. Evil (2011)

Ever seen a horror movie with hillbillies in it? They're usually psychotic chainsaw-swinging inbred cannibal psychos who like to murder anyone who happens to drive by.

But don't expect any of THAT to actually appear in "Tucker & Dale Vs Evil," a clever black comedy that asks, "What if the HILLBILLIES were the innocent victims of the doomed college kids?" Tropes are inverted (or lampshaded), there's gore aplenty, and Alan Tudyk and Tyler Labine make endearingly rough-hewn heroes.

West Virginia hillbillies Dale (Labine) and Tucker (Tudyk) have just bought a dilapidated little house out by a remote lake, and plan to spend some time fishing and drinking beer. They also end up rescuing Allison (Katrina Bowden), a college student who hit her head while swimming, and she soon finds that these seemingly terrifying hillbillies are actually kind, gentle and sometimes quite smart.

Unfortunately, Allison's friends get the wrong idea, and think that she's being held captive by a pair of chainsaw-swinging psychos. As they try to attack Dale and Tucker, they end up accidentally dying in bizarre and gory ways. As Dale, Tucker and Allison try to defuse the situation, they also have to deal with the increasingly bloodthirsty Chad (Jesse Moss).

I have no idea why it's taken so long for "Tucker & Dale Vs. Evil" to make it onto DVD, because this movie is absolutely hilarious -a gory, satirical little comedy that acknowledges every hillbilly-slasher cliche right before turning it on its ear. And yes, writer/director Eli Craig homages many a horror movie, from "Evil Dead" to "Friday the 13th."

And even though it's obviously a spoof, "Tucker & Dale Vs. Evil" is actually very well-written -clever foreshadowing, a shocking climactic twist, and all sorts of hilarious situations that make Dale and Tucker look... well, like psycho hillbillies. For instance: Tucker accidentally destroys a beehive, and ends up racing through the woods, screaming and waving his chainsaw spastically.

And yes, there are lots of OTHER hilarious moments, such as lampshading hillbilly stereotypes ("Oh, I love Earl Grey") and the college kids' gory deaths (impaling themselves on sticks or jumping into woodchippers).

And the acting is absolutely brilliant. Labine and Tudyk are amazing as the protagonists, respectively playing a sweet timid teddy bear and an outgoing good ol' boy. Yeah, don't judge these guys from their appearances, because you will be ALL WRONG. And the rest of the small cast also does an excellent job, especially given that most of them are shrieking horror movie cliches.

"Tucker & Dale Vs. Evil" is pretty clearly destined to be a cult classic, right alongside other fun spoofs like "Shaun of the Dead." Hilarious, bloody and clever.

The set up is a lot like the recent installments of the Texas Chainsaw and Hills Have Eyes franchises or Wrong Turn. A group of college kids go camping in the woods. They're unnerved by the backwoods, hillbilly-chic locals. And, naturally, they suspect the worst of them. Perhaps for the first time in horror movie history, these kids assumptions were wrong.

Tucker (Alan Tudyk; A Knight's Tale, 28 Days) and Dale (Tyler Labine; Rise of the Planet of the Apes, TV's Mad Love) are two loveable, kind-intentioned idiots on a bro-mantic fishing trip. Their interactions with the campers are misconstrued such that they appear to have performed malevolent deeds. After nearly drowning, Tucker and Dale save Ally (Katrina Bowden; Piranha 3D, 30 Rock) of the girls. But when they pull her into their boat and yell "we have your friend" to the others, it is perceived that they "took" her and then cruelly goaded them. Naturally, when Ally regains consciousness, she thinks she's been abducted.

Just from the trailer I think everyone knew that this would just "work" on film. This was Eli Craig's first job as director (he wrote this, too) and I'm itching to see what he does next. He took a smart comic premise and peppered in some solid doses of Sam Raimi-esque gore. As the kids try to "rescue" Ally from her "captors" they get accidently killed under silly circumstances delivered with perfect timing. A true horror hound, I tend to laugh at many of the kills in serious horror flicks. But this movie invites all to join in the laughter as mulched entrails shower over the face of a mortified friend.

American Psycho and the Scream franchise may have mastered the slasher movie satire. But this stands out as more of a paramount slasher movie farce, much as Shaun of the Dead was for zombie fare.

Buy Tucker & Dale vs. Evil (2011) Now

Very infrequently do you see a movie that blends its satired source with comedy as well as Tucker & Dale vs. Evil has. When you find yourself laughing out loud as teenagers hurl themselves into wood chippers, impale themselves on tree branches or set one another ablaze you realize that the horror element is vastly outweighed by the ironic humor that the entire piece is littered with.

If you're comfortable with a little blood and a little cursing then this movie will be a surefire winner.

Read Best Reviews of Tucker & Dale vs. Evil (2011) Here

I don't write reviews but felt the need on this one. I also don't watch gory movies what's the point? We got this on a whim and it is actually REALLY funny and the gore is minimal which is awesome. So if you are a gore wimp like me you will like it. I was completely surpised by this one and enjoyed it. If you are looking for something insanely funny and off the wall this is the movie!

Want Tucker & Dale vs. Evil (2011) Discount?

Just writing a review to get the word out that this is worth a lot of watches so it is worth owning! This movie is a hoot from beginning to end! Although they should of called the film Tucker & Dale vs. College Kids...that is my only complaint! My wife and I sat and watched this with our 18 year old college student and we laughed our butts off because we know how teenagers act and we could relate! Although this is a low budget movie it is pretty well done for the special gore effects. The one-liners from the two hillbillies is what makes this movie though! For a horror movie...this one is quite original! Think Evil Dead movies...if you enjoyed that series....you'll enjoy this one!

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The Goonies (1985)

Director Richard Donner has gone into his wine cellar, retrieved this vintage flick, and poured it out for today's kids who might enjoy it along with a serving of Spy Kids and Harry Potter.Now, what is a goony, they might ask? Well, in this case, it's one of seven kids who find themselves searching for buried pirate loot, and running from the villainous Fratelli family. It's Saturday-matinee serial redux; SEE the Goonies escape from Steven Spielberg death-traps and Rube Goldberg booby traps! LAUGH at the unforgettable 'Truffle Shuffle!' APPLAUD as our heroes save the day, and WISH they'd made a sequel.Donner's wine has improved with age. The rapid pacing, the unraveling mystery, the over-lapping dialogue...and the incomparable Anne Ramsey as Mama Fratelli. Ahhhh, what a great actress. She scared the lice off of me as a kid, and can still do it, sixteen years later. And Sloth, cousin to the Incredible Hulk. How much can one love a misunderstood movie mutant? And Jeff Cohen as Chunk, possibly the greatest juvenile scene-stealer in motion picture history, (although, unlike most kid actors, you WANT him to do it).OVER 21 ALERT: It's not just a kids' movie! Oh, no! There's plenty for the big kids, really! This DVD has for example, several deleted scenes, including the infamous and mysterious 'octopus' scene, subject of much discussion and speculation. Well, now you can see for yourself why it was cut...We have here also the complete two-part Cyndi Lauper "Goonies R Good Enough" music video, guest-starring the Goonies cast, the Bangles as lady pirates, the hibachi chefs, the professional wrestlers, the plastic cow, Dave and Wendy and...(drum roll)...Andre the Giant! Yes, it's all here...the 12-minute video that was almost long enough (and funny enough) to be Goonies II.But never mind all this. What the grown-ups REALLY want to see is the Director's Commentary. That's right, SEE. This special edition DVD occasionally allows you to see the stars and director chat and reminisce about the picture, and...WOW. ALL SEVEN Goonies are here! Chatting, bickering, laughing, remembering. And I KNOW you all want to see how well the Goonies aged over 16 years. Very well, actually. And it's funny to note that Corey Feldman's character was called "Mouth," as he blabs away, hogging most of the commentary himself, (with Martha Plimpton in second place for the Chatterbox award). Interestingly, Sean Astin simply gets up and walks out halfway through the movie. Why? No one could say. Perhaps that will someday be as big a mystery as the 'octopus' scene...

Like many before me, I grew up with The Goonies. I ran around my house as a young one, trying to act like Mouth, or doing the Truffle Shuffle to entertain friends (I lacked on the truffle, but I could do the shuffle).

The Goonies holds something that every kid should find magical, even though the only magic in the movie is the magic of friendship. Steven Spielberg wrote the story about a group of friends who are about to lose their houses so a country club can be built where they leave. They come upon a treasure map that supposedly has a legend behind it, and leads to a great treasure. Mikey and his colorful bunch of friends set up to go in search of the treasure not knowing the villianist trio, the Fratellis, are also out for the treasure. Along the way, chaos ensues, friendships go stronger, and they meet a creature who has nothing but love to share and Baby Ruths to eat.

The characters are all likable . . . are all lovable, and the actors who portray them made them all that they were. The Fratellis are even, in some ways, likable throughout the movie, but in the end, they get what they were asking for. The directing, of course, is awesome. None like it actually. And the sets are amazing. Especially the pirate ship set. That was too awesome, and enough to satisfy any adventure lover.

The DVD should satisfy any Goonies fan with the word of all the extras to be on it. And I'm ready to see the infamous deleted octopus scene. I hope it's on there. I believe I read somewhere that some of the cast had gotten together to do a commentary. Now there's wishful hoping that that did happen!

"SLOTH LOVE CHUNK!" And Josh loves this movie.

Buy The Goonies (1985) Now

The first thing I was thinking when "Goonies" really kicked into gear was: This is the daydream of an adventure-loving preadolescent boy, full of pirates, bloodthirsty villains, and exotic twists and turns in an underground maze full of booby traps. It's sort of "Indiana Jones" for the kids as well as the adults.

The Goonies (a band of young boys) are spending their last weekend hanging around their hometown, before it's razed for yuppie developers. Then Mikey Walsh (Sean Astin) uncovers a treasure map hidden in an old painting, and becomes obsessed with finding the lost treasure of the pirate One-Eyed Willie. With that treasure, they could save their town.

But the hunt for treasure sends the Goonies, Mikey's long-suffering teenage brother (Josh Brolin), and a pair of teenage girls (Kerri Green and Martha Plimpton) into dangerous proximity to the murderous fugitives, the Fratellis. With the Fratellis on their tail, the Goonies are determinedly navigating the underground, booby-trap-infested tunnels that lead to the treasure -or to a very nasty demise.

The stolidly mature among you may scoff at the improbability of the story, but who cares? This is obviously a fantasy story, harkening back to pirate treasure and childhood adventures, thwarting the evil guys. The classic formulae are what makes it so fun. "Goonies" is like "Indiana Jones" in the sense that it's action-filled, with nasty villains, elaborate booby-traps, and a plotline that is wonderfully improbable. This is just fun. The sets are amazingly complex, full of stone tunnels and enormous waterfalls full of money, thin little bridges and a bone piano that causes the floor to collapse.

Sean Astin (yes, this is THAT Sean Astin, the guy currently starring as Samwise Gamgee in "Lord of the Rings") is endearing and very convincing as Mikey, the gutsy boy that could. Josh Brolin is also good as his overbearing but nice brother; the other Goonies include the incredibly funny Corey Feldman as "Mouth" (the scene where he weirds out the cleaning lady is priceless), comic relief Jeff Cohen as "Chunk" who bumbles from one misadventure to another, and Jonathan Ke Quan (who was also in "Indiana Jones and the Temple of Doom") as gadget-obsessed "Data," a kid riddled all over with homemade inventions that occasionally save the heroes' behinds.

Though this film was made in the 1980s, it's aged extremely well -now there is affection on top of the original liking for it. It's a funny, entertaining thrillride with pirates, villains, treasure and a band of quirky heroes. Great fun.

Read Best Reviews of The Goonies (1985) Here

Before I had a DVD player, I heard about the release of this excellent film on DVD. I had to have it when I discovered it included a commentary featuring all of the Goonies with the director. I begged and pleaded with my parents to get a DVD player so I could see it, and finally, my wish was granted.

How could I be disappointed? The movie is fabulous. It is an adventure story and a teen movie mixed into one; it covers the coming of age theme and finding buried treasure at the same time. I know what you're thinking: "Rubies, and emeralds... and diamonds?" Yes! A group of kids who call themselve "The Goonies" are facing their last days in Astoria, Oregon. Their homes are being taken from them by a rich family who wants to extend their country club over the properties. Mikey (Sean Astin) and Brandon Walsh (Josh Brolin) are brooding in their home when Mouth (Corey Feldman), Chunk (Jeff Cohen), and Data (Ke Huy Quan) drop by. In their boredom, they decide to explore Mikey's dad's attic where he keeps all of the rejected museum items. There, they find a map showing where the kids can find pirate One Eyed Willie's buried treasure on the coast. Fueled by boredom and a need for money, the kids set out to find it. Brand tries to stop the boys, but consents to go along on the adventure when they meet up with Andie (Kerri Green) and Steph (Martha Plimpton). However, they run into trouble when they find that the place where the treasure is buried is also the hideout of the Fratellis, a group of murderous criminals. Filled with great scenes and great lines, ("I smell ice cream," "That's my mom's most favorite piece," "I'm setting booty traps!") you'll find yourself quoting this film and talking about it with everyone. It appeals to young and old alike.

The extra features are great. Besides the commentary which adds a lot of insight into the hijinx behind the scenes, there are both parts of the Cindi Lauper "Goonies R Good Enough" music video, a short featurette with behind the scenes information, and three deleted scenes including the famed octopus scene. Even the main menu is beautifully done.

I paid significantly more for this DVD than it is being listed for here, and it was worth what I paid for it and more. Why not take advantage of a great movie with great extras for a great price? You'd be dumb if you didn't!

Want The Goonies (1985) Discount?

Aside from being one of my personal favorite movies of all time, this blu ray box set adds to the awesomeness that is The Goonies! The classic movie comes boxed with some really cool stuff so I'll discuss each item.

The Goonies [Blu Ray] Picture quality is amazing. Looks just as good as newer movies shot with HD cameras. None of that weird grainy looking snow that sometimes shows up (all depends on the film stock used in production). The sound isn't too shabby either. I don't notice a huge improvement with the audio from the dvd version, however it seems a little cleaner.

The Goonies Board Game Haven't played it but I opened the pieces and studied the rules a bit. Seems like a fun to-do on a rainy day kind of game.

Empire Magazine 2oth Anniversary Article Nifty little reprint simply updating what the original cast has been up to since the film was made.

The Goonies Souvenir Magazine 150 pages telling the story of how the movie was made, cast profiles, and lots of other fun stuff.

Storyboards Original Story board mini copies. Pretty neat to compare the boards to what eventually would come to screen.

My only gripe is that the Blu Ray itself really has no new bonus features from that of the DVD. However, this set is a must have for any collection.

The Faculty (2012)

Most people would think that the above combination would fail, but not at the hand of Kevin Williamson, writer of this wonderful science-fiction film brought to life by talented actors and from the director of "From Dusk Till Dawn." Opening with an intense scene in which the school principal is attacked and overtaken by two alien staff, the film only gets better, introducing us to the seperate lives of each of the students who will come together to stop the faculty, as well as the student body, from taking over the entire town. As more people become converted, the small band of "refugees" begin to discover their own clues, ultimately deducing that the queen alien must be eliminated if they are to save the town. Some might think the plot and material to be juvenile, yet it has a certain intelligence and thinking factor behind its young and fresh cast. Also, the film blends with its story many of the elements used in movies of the same genre from the fifties and sixties, which makes it even better for some reason. Let's just be blunt: everything in this movie works.

This review is specifically about the technical aspects of the DVD, not the movie itself.

This DVD (ASIN B004P7CN7W, UPC 0-96009-75089-3) is the 2011 Echo Bridge Home Entertainment release of The Faculty, and it differs quite a bit from the 1999 Dimension release of the movie (ASIN 6305428220, UPC 7-17951-0022-8-0).

Video:

Echo Bridge = Anamorphic 16:9 widescreen, so it will take up the entire screen of your widescreen TV.

Dimension = Letterboxed widescreen in 4:3 format, so your widescreen TV will show a small picture with big black bars on all four sides.

Both releases are Region 1 NTSC (even though the Echo Bridge release does not specify this on the back sleeve).

Audio:

Echo Bridge = The movie is Dolby Digital 2.0 (192Kbps). The menu has music in Dolby Digital 5.1 (448Kbps).

Dimension = The movie is Dolby Digital 5.1 (384Kbps). The menu does not have sound.

Both releases have one audio track only (English).

Subtitles and closed captioning:

Echo Bridge = No subtitles. No closed captioning.

Dimension = English subtitles available and closed captioning available.

Bonus features:

Echo Bridge = No bonus features.

Dimension = "Bonus features" are the theatrical trailer and film recommendations.

Other thoughts:

The chapter stops are in different places.

No, I did not make a mistake listing the audio details. This Echo Bridge release really does have Dolby Digital 5.1 in the menu, but only Dolby Digital 2.0 in the movie.

The only reason I gave this Echo Bridge release two stars instead of one is because it's anamorphic widescreen, so it takes up the full TV screen without having to zoom.

I can't understand why Echo Bridge would decide to release this with only 2-channel audio, no subtitles, and no closed captioning. For those reasons, I would recommend that people get the original (Dimension) release instead of this Echo Bridge release. However, if you only care about the video, and don't care about the audio or lack of subtitles, then you'll probably be happy with this Echo Bridge release.

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During a time when the cinematic bowels of horror ruptured and teen movies seemed to flood the market and become a dime a dozen, I opted to skip this film because of some very bad experiences that still didn't set very well with me. Like many of the people I knew, there were lingering doubts plaguing me as to whether a mainstreamed cast of this nature could actually approach the terrible in a convincing way and if a theme that echoed "aliens kidnapped my baby while at high school" could actually find a way to be new and diverse. After a time, however, I opted to buy it on an impulse, liking something I had seen about the making of the beast that all the trouble stems from in this tale. After countless rewatches, I have to say that this isn't what I first stereotyped it to be and, although it isn't original, is very appealing.

We begin in the confines of our little Ohio-based school system, introduced to the living representations of all our modern stereotypes of what students can be. From there we see the basic interactions and the bullying the drug-use and subsequent salesmanship, and the athletics as our gaze is focused through one "geek" (Elijah Woods). Thinking his life is difficult enough already, he finds himself shocked when, looking around on the football field, he discovers the dehydrated remains of what appears to be a new species. Odder still, is its ability to come to life when introduced to water. This leads down even more bizarre pathways for him, and he finds himself and this band of miscreants we spent time watching early becoming stars when thrust into the gears of what seems to be an alien invasion.

While the script was nothing new, the actors more made up for this by providing seamless performances that were sometimes dry and sometimes surprisingly funny. On top of this, the effects on this were, in a word, delightful, giving the watcher something to keep an eye out for. From the beast with rows of teeth that would make any dentist smile and sing songs of happiness to the aquarium-based lifeforms, the DVD version of this had a quality that was simply superb. Add all of this together and you get one thing; a movie that is enjoyably delectable.

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I love this movie, it is smart, gripping, a little predicatable but a really good movie.This is one of my fav movies,I mean you got Elijah Wood, Josh Hartnett, Usher,Clea Duvall and all others, just get this movie,you will enjoy it.

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First of all, Robert Rodriguez has an innate gift of turning everything he touches into solid gold. The guy is incapable of making a lame film. Even El Mariachi was charming! And Spy Kids 3D? If you can name another director today who could have made a 3D movie that fun I dare you. So, needless to say, when he teams up with modern day horror's #1 writer on a movie about aliens and high school kids the movie is going to be sweet!

The entire cast here is tremendous. Long before he was a lamo heart-throb, Josh Hartnett shined as Zeke, the stoner drug-peddlar who didn't like high school but wasn't as much of a druggie as he seemed. Elijah Wood plays a hero of epicly smaller proportion than the one that made him most famous (Frodo) but he still shines. And in Trivial Pursuit 20 years from now, the game winning question should definitely ask, "What movie teamed upcoming R&B megastar Usher with the hottest latina actress of her generation, Salma Hayek?" I'll tell you, the Faculty did baby! This movie is so good it'll give you permanent chills.

Plus, it ends with the music of Oasis which is so damn sweeet it's inexplicable!

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HIGH TIME (1960)

Fantastic film despite the naysayers....you can't go wrong with the Bingster....he does look a little old in this film, but his voice is still right on the money.... Many have tried to compare this to Back to School but there is no comparison.... As it was made in 1960, you cannot really compare it to films made today....but it is a wonderful film to watch even if it is highly improbable.... Der Bingle goes to college at 51 years old and easily becomes one of the guys, falls in love and climbs to the top of a 75 ft. high pile of wood....sounds like when I went to college.... The video is very good given the available print, and the audio is excellent....very enjoyable film....get it....

I had seen a long time ago on tv and loved it. Was very happy to be able to get it. Bing goes back to college. It shows all four years and friends he meets.

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This is one that I have been waiting on for a long time so when I saw it I made sure I snatched it up as quick as I could.There was only 3000 copies made so I made sure I got this one since I have liked this movie ever since I saw it on cable a long time ago.Its also one of the early Blake Edwards movies and it really is a delightful movie,made later as Back To School with Rodney Dangerfield but I prefer it over the remake.

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This is a very entertaining movie. Bing Crosby's personality shines through and the story has lots of excitement. It lets you experience a simpler time for a couple of hours.

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One of my all-time top 10 Bing Crosby movies. What more could you ask for great comedy, Bing singing, and all around good fun set in a college in 1960.

Of course it would be a Bing Crosby movie with out Bing signing. He introduces the song "The Second Time Around."

A great all around movie that everyone is sure to enjoy. Hard to believe it has has been 52 years since it was introduced

Mary and Max (2009)

Mary and Max is an independent claymation flick from Australia, with a darkly comic theme about a lonely and misunderstood 8-year-old girl who strikes up an unlikely and disturbing correspondence and friendship with a 48-year-old overweight depressive male diagnosed with Asperger's syndrome. While that sounds unlikely enough as a topic for an animated film, what was truly unexpected was the moving power of its simple message, achieved without resorting to sentimentalism or cliche.

The film, apparently based on a true story, plays like Wallace and Gromit conceived by Oliver Sacks and imagined by David Lynch and Robert Crumb. The animated characters, who tend to be overweight with exaggerated melancholy expressions, are nevertheless enormously expressive and the film seamlessly shifts from the muted colors of the rundown Australian suburb where Mary lives to the expressive black and white of Max's New York City.

Mary (Toni Collette) is a curious and lonely girl, whose father is unavailable and whose mother is an alcoholic kleptomaniac and whose neighbors are each in their own way inscrutable. Confronted by questions the adults around her are unwilling to answer, she selects Max's name at random from an American phonebook and writes an inquisitive letter to a complete stranger. Initially thrown for a loop by this unexpected query, Max detects a kindred spirit and responds to her letter with complete sincerity. So begins a peculiar correspondence, fraught throughout with misunderstanding but culminating in a lifelong friendship that is able to carry them both through a great deal of personal misfortune and tragedy.

The voice of Phillip Seymour Hoffman invests the character of Max with a deeply sincere confusion about the peculiar games that people play. A card carrying communist and atheist, he nevertheless wears the skullcap he wore as a child, when his mother taught him babies came from egg-laying rabbis. He is honest to a fault, incapable of saying the kinds of things people like to hear; his imaginary friend, a psychiatrist by the name of Mr. Ravioli, stopped speaking to him after his real psychiatrist convinced him he was no longer necessary.

Mary and Max was dark and tender and strange and disconcerting and lovely. Its simple theme, conveyed lightly and through dark circumstance, is captured in a concluding quotation by Ethel Mumford: "God gave us relatives. Thank God we can choose our friends."

One thing animation does very well is give us great art. But what it rarely does is actually create realistic human characters with all their inconvenient imperfections. This movie does both...and I consider "Mary and Max" one of the most daring films of 2009.

Those familiar with the animator Adam Elliot may recall he won an Oscar for "Harvie Krumpet" in the category of

short animated films. This film is his major oevre, an expanded version of the shorter film, albeit with different characters.

Ostensibly, the story is about a friendship between two unlikely partners. Max is an overweight, depressed, New York Jew suffering from serious mental illness. Mary is 8 years old, chubby, and confused. Both are lonely and underappreciated...and through the chance occurrence of a letter from Mary to Max, they develop a deep and real

friendship as pen pals.

Now, in many respects, both characters are very flawed human beings. And that is what makes the film remarkable. So many animated films from Finding Nemo to Beauty and the Beast end with a successful quest of the hero and heroine. This storyline is far more subtle. Both Mary and Max battle the everyday troubles of modern life finding a way to fit in a world when they don't fit in at all. Searching for an influence on this movie in the history of cinema, I might select the Oscar best picture "Marty" which filmed a love affair between two ordinary people in the 1950's.

I cannot finish the review without saying something about the extraordinary recreation of New York City in ClayMation. I rather liked the fact the film uses claymation for the characters because it renders them far more "earthy" than the bright, digital CGI formula so popular today.

This is a film with dark moments and tender moments and annoying moments...in sum a film about life as it is really lived.

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From Academy Award-winning Australian director Adam Elliot, maker of the wonderfully weird and demented Harvie Krumpet (Best Animated Short, 2004 -you can see it on YouTube), comes another equally weird and demented new animation called "Mary and Max". His work is not very well known in the US, but it's fantastic and should be more widely seen by fans of animation and dark, morbid humor.

It is the story of an unlikely friendship that develops between a chubby, homely, and socially maladjusted 8 year old girl in Melbourne, Australia named Mary Daisy Dinkle and a severely overweight and neurotic middle-aged Russian-Jewish man in New York with Asperger syndrome, named Max Jerry Horowitz. Mary has no friends and is taken care of by her alcoholic and kleptomaniac mother. On a chance visit to the post office, she finds an American phonebook and decides to write to someone to ask where babies come from while her mother tries to steal boxes of envelopes. The name she randomly chose was Max's, whom she sends a letter and a candy bar. They share a love for chocolate, a Smurfs-like show called The Noblets, and a need for friendship. In each other, they find kindred spirits and what follows is two decades of humorous correspondence and weird gift exchanges.

Voiced by an almost unrecognizable Phillip Seymour Hoffman, he plays the part of Max perfectly. There are no words to convey the frequency and weirdness of the deadpan humor. You'll just have to watch it. Literally every minute or two is filled with some weird joke, dialog, or visual gag. Owing to Max's autism, there's a lot of random humor and non sequiturs. This is probably the only animation where you'll see a "feline rectal thermometer" or learn that "turtles can breathe through their anuses" (which is actually true).

The film is wonderfully stylish and richly detailed. The film takes place between the 1970's and 1990's and is full of nostalgic images from that time, with some very nice modeling of a grimy New York City. Visually, everything in Mary's world is monochromatic brown, and everything in Max's is black and white, punctuated by spots of color like in Sin City. It deals with loneliness, depression, atheism, and above all, friendship.

Lastly, I need to mention that this is DEFINITELY not one for the kids, if you are expecting wholesome family entertainment like Wallace & Gromit: The Complete Collection [Blu-ray]. The film is filled with abundant adult-themed humor, numerous sexual references, as well as instances of cartoony nudity. It is dialog driven and likely to bore them anyway. Well worth seeing if you like dark and quirky humor.

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Bored, nothing on TV, watched all of the Jericho episodes ever made, what to watch now? Thankfully NetFlicks had updated their movie selection, and I saw Mary & Max on the list. I had no preconceptions about the film, just a mild curiosity.

The smooth narration drew me into a story the likes of which I have never heard before. The plot is summarized already, though I'd like to point out that there are inconsistencies in the summary, but nothing too bad. I'd like to tell you how the movie made me feel.

First, it was hilarious. There was a gentle observational humor that was even more poignant because the observers are so different from the average person. The very serious topic of mental differences** was handled with delicacy, never overwhelming the viewer with pity for the subject, Max, while at the same time instilling an appreciation of how others can see life differently without being wrong. I loved how Max was often presented as being the sanest person in a city of "normal" people.

Despite what the summary says about Max's counterpart, Mary, was not a "goth". She was a lonely little girl whose physical differences, rather than mental ones, separated her from the rest of society. In Max she found a compatriot; they enjoyed the same cartoons, they had both endured teasing as children, and both were baffled by human emotions and what to do with them.

Though the story takes a dark turn, the ending brings redemption and bittersweet closure to a tale that I recommend to everyone.

** Mary & Max made me want to strike "mental illness/handicap/disability" from my vocabulary. So I am.

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It is beyond me why this title is so obscure. None of the stores in my town are carrying it, and here on Amazon it has only 8 reviews. But it is the best animated feature I have seen in years. In fact, I cannot think of a better one. It is elaborate and beautiful as a Tim Burton film, but has more subtlety and more heart. I think that the big media companies don't know what to do with a film like this. It isn't really appropriate for children. It is too intelligent for the average American who is more accustomed to the shallow and flashy garbage which tv and Hollywood have innundated us with. It is too bleak and dark for a culture which insists that its darkness be leavened with positive messages and happy endings. (It does, in fact, have such a message but rather overwhelmed by all the mental illness, alienation and death.) This film does, however, have an audience and when they stumble across it they will treasure it, and this film won't be forgotten. I wouldn't be surprised, in 10 years, to see a company like Kino or Criterion releasing it, to great acclaim, as an obscure classic.

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Kill Bill - Volume One (2008)

I want to make it VERY clear, the three stars are NOT for the movie. Kill Bill, in my view, is one of the best movies ever made but this evaluation is for THIS Kill Bill Blu-ray release.

I am totally sold on Blu and, when the Kill Bill bundle became available... well... I ordered it when Amazon offered it at a great discount. The bundle includes Kill Bill 1 and 2 and, IF you wish to upgrade your KBs I highly recommend the bundle because you could save a few dollars. There is no difference between the 2 KBs sold as individual titles and them sold together other than, possibly, the price.

I wish I had a lot to say about the Blu-ray version but I don't so, let me say what is worth saying:

The contents of the Blu-ray version are EXACTLY those of the DVD edition, nothing more, nothing less.

Even the artwork is borrowed from the original DVD edition.

The 'extras' are shot in low resolution, in fact they are the exact extras you will find on the DVD.

The resolution of the movie is, of course, higher than the DVD's and the audio is available as 'uncompressed' but nothing special was done for the Blu issue. I noticed quite a few artifacts and some graininess but, overall, the picture quality is good. It could have been a lot better. I expect a remastered edition in the near future.

Overall, I am not very happy with this edition which appears to have been put together on the cheap and in a hurry. I suspect that the digital master used to make the DVDs was quickly converted to Blu and thrown out on the market but I could be wrong.

I am looking forward to a complete and professionally done Tarantino filmography on Blu in the near future, meaning that I'd be buying the Kill Bills three times.

On deciding whether to buy this release or not it should be up to one's budget. Those who don't have the DVD edition but have a Blu player, definitely buy the Blu, preferably the bundle because one never knows when a superior version may be released. If you already have the DVD... like I said, I bought my KB 1&2 package when Amazon offered it at a very significant discount.

Quentin Tarantino's films have always been propelled by great writing. The dialogue between characters is always unique and is impossible to beat. Few movies have come close to duplicating the likes of the writing in Pulp Fiction or Reservoir Dogs. In Kill Bill, Tarantino's genius definitely shows. It's the story of The Bride, whose wedding was massacred by her former business partners. Now, after waking up from a 4-year coma, she is out to get bloody revenge. Of the two volumes, Volume 1 is mostly dedicated to paying homage to older asian martial arts films and the like. It's filled with blood, gore, over-the-top violence, frequent dismemberment, and some decapitations. The film's violence turned away many people to watching it, as some of it is very disturbing. The character study and plot are less explored in volume, because Quentin has saved that for Volume 2. Having seen Volume 2, I can say that it is a better film than the first, but Volume 1 stil appeals to many people, and is still very entertaining to watch if one isn't bothered by excessive violence. 5 stars, Very entertaining.

Sidenote: Before making your judgement on Kill Bill as a whole, make sure that you watch both volumes. Volume 2 really focuses more on the story and less on the violence.

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Kill Bill vol. 1, the 4th feature from Quentin Tarantino, delivers in most every way that we would expect from Tarantino. It is sylish as hell; the cinematography especially struck me as being more impressive than in his previous films. The final scene particularly illustrates this, with the frenetic action being conveyed through silhoutte lighting, b&w vs. color and creative shifts between them, impressive camera shots such as the rising shot right before the battle royale, and the pure cinematic epicity of the setting of the final battle between Uma Thurman and Lucy Liu. Tarantino's brilliantly dark humor is littered throughout the film as well; Buck describing how to have sex with Uma Thurman's supposedly comatose form may be offensive and appaling to some, but as it is delivered (and to all Tarantino fans), it is utterly hilarious (little details such as bucks "P---Wagon, the "Kaboom!" cereal box, and the water fountain that serves as the only noise through much of the climatic battle also stand out). I was also very impressed with(though initially apprehensive of) the anime segment that served as a segue into the Japanese setting, it added a surprising amount of emotion, and set the feel perfectly for the rest of the film. Nearly everything is done right, beyond right. The soundtrack is amazing, as is to be expected for a Tarantino film. He has impeccable taste in music, and seems to innately know what will enhance the film; in some places it is even cheesy (the 1,2,3,4s in the Japanese club) but we know that this is all intended, as is the "Feature Presentation" card at the beginning; Tarantino is someone who is obviosuly in love with film, and this film is almost an expression of love for all the "cool" films he watched growing up. I have heard Uma Thurman quoted as saying that this film is "pure, epic, Tarantino fantasy" and this is a perfect description of it. There is little to no depth, it is not a film that will stun you with its character development, or method acting, but it doesnt pretend to, or even want to. It simply revels in being the epitomy of "cool", it is an action film that is done in almost all ways, perfectly. Tarantino's gift is found in knowing what will look utterly amazing on film (again, I found myself stunned simply by the appearance of the final, snow-covered courtyard), in being able to write with a great amount of wit and intelligence, and being able to put the two together with a large amount of what must be called genius. Kill Bill isn't Tarantino's best film (an honor reserved for the utterly brilliant Pulp Fiction, [or is it Reservoir Dogs, it seems to depend on which film ive watched most recently] ), nor will it win the Best Picture Academy Award (which it doesnt deserve anyway), but it is a damn good time. Uma Thurman makes a triumphant return to film, and shocks most everyone in being able to pull off her role as the Bride perfectly; after seeing the film I cannot imagine anyone who could be more convincing. The question remains, can a film be given 5 stars based on style alone? The answer, surprisingly, is yes. I give out 5 stars very, very infequently, to only the very best of films, and while this is by no means the BEST action film ever made, it is certainly a damn good one. repeat viewing may lessen the spectale somewhat, but this reviewer was very impressed (and still is, after 3 viewings) with what he just saw. Very Highly Recommended.

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Oh, the joy of being a movie geek. This year has been a tremendous blessing for all of the human race, or just us film fanatics, as the movie gods have listened to all our prayers to deliver cinematic goodness. One of these that came as a major grace is called "Kill Bill: Volume One", the latest offering from the dark, perverted but brilliant mind of Quentin Tarantino. Last seen under the spotlight in 1997 with "Jackie Brown", we have been painfully awaiting his next move throughout a six-year-span. Well, time finally came upon us and the wait is definitely worth it.

Appropriately entitled "Kill Bill", Tarantino tells a simple revenge story, albeit through his usual non-linear storytelling structure, about a lanky blonde woman (played by the invigorating Uma Thurman) only known as "The Bride" a.k.a. "Black Mamba" who wakes up from a coma to exact revenge on her former assassin group called "The Deadly Viper Assassination Squad" lead by Bill (David Carradine), who aren't really happy of her decision to quit and marry someone in El Paso, Texas. Hence, bloody carnage ensues as Bill and the gang made of eclectic members-Budd, Vernita Green, Elle Driver and Oren-Ishii-massacres The Bride's family and guests on her wedding day, including her unborn baby. Bill saves her for last and shoots her head (on what could be one of the most startling introductions in a movie). Thinking that she's dead, they leave her cold in her blood-splattered wedding dress, which is a terrible mistake on their part, as The Bride gets up from her hospital bed after four years with furious determination and will to destroy every single one of the perpetrators, saving the best for last, which is, of course, Bill, proving that as far as justice goes, it can easily get very poetic.

However, this is only half of the story, as Miramix, the film distributor, and Tarantino himself decided to cut the three-hour long movie in half and released them four months apart. That being said, I am very sure that Volume Two will be as equally brutal and vigorously entertaining to what I've seen four times in the theaters (Yes, four times! It's that good!)

"Kill Bill: Volume One" is perhaps the most violent American movie ever (and I've seen a lot of movies). It can be easily be used as an example of how the morals of the Western world have dramatically fallen in the 21st century. But it's most important to know that this movie was made as an ode to those rare, odd, cheesy and absurd kung-fu, Western, exploitation, slasher and grindhouse movies we usually see gathering dust in the cult section of a video store or occasionally seen playing on television at 3 in the morning. Kill Bill: Volume One on the surface looks like a very empty fluff made to only shock the already seemingly desensitized viewers, but underneath, it is really a very intelligent piece of art. Intelligent in a sense that it knows the rules of the cinema: it knows it audiences are and doesn't give a damn thing or two to those who don't want to get involved. For instance, The Bride wears a yellow jumpsuit during the last hour of the movie. To the uninitiated, it's just a striking sexy vintage number. To those in the know, it's a replica of Bruce Lee's tracking jumpsuit from his 1979 movie Game of Death. And this is just only a fraction of Tarantino's endless references, in-jokes and homages to old and obscure cinema. From Brian DePalma to Godzilla, from giallo films to Japanese animations, God knows what else are there he injected. I say this movie is an entire pop culture of pop culture.

Even without this quality, it's still deliciously entertaining, boldly creative and visually arresting, it's safe to say that this is an instant classic. No, this is not an Oscar-winning movie, let alone be nominated. But not everything has to have a deep storyline with complex characters to be a great film. This movie has no substance and as empty as a dead shell. But it's an amazingly great film, nonetheless. The fact of the matter is that Tarantino made this with great respect, love and passion of the medium, that he practically utilizes everything to its full advantage from complicated camera shots (the long tracking shot of The Bride going to the washroom is incredible), beautiful cinematography (the claustrophobic and filthy Hospital environment, the beautifully exotic and bright Japanese backdrop), the amazing eclectic selections of music (from Nancy Sinatra's "Bang, Bang" to "The Green Hornet" theme song) and the excellently choreographed fight scenes as if we're watching an amazing, exhausting ballet dance with swords. Oh yeah, and the beautiful gushing of the blood and gore like water coming down from Niagara Falls.

"Kill Bill: Volume One" is an extravagant, highly-stylized, ultra-energized, uber-violent piece of celluloid. It's made up of a world were grativity is without law, violence is sheer poetry, pissed-off Caucasian women likes to play with samura swords, and even assassins have feelings. It's a world where obscure 1970's disco music goes perfectly seamless along with the motion of decapitation and maiming.

Oh what fun!

Aside from that movie that left me with tears featuring hobbits and wizards and that fetus-looking boy-fish who seems to say the word "Precciooooooussssss...." a lot, this year belongs to Kill Bill: Volume One (and I cannot wait for Volume 2!)

Thank you, Tarantino for your sick and twisted mind.

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"Revenge is a dish best served cold."

Quentin Tarantino's fourth film and the first one since 1997's Jackie Brown takes the theme of revenge like Hamlet on steroids. It has not been an easy road for this generation's "It" director. Tarantino once worked at a video rental store before writing the script for Reservoir Dogs that he later directed. It was his directorial effort in 1994's Pulp Fiction that catapulted Tarantino, as well as the independent film company Miramax, into the Hollywood mainstream. Unfortunately his next film, Jackie Brown, which, by the way, was not written by him, was not widely accepted and then Quentin Tarantino dropped off the scene for nearly six years. In that time period he took time off to act in some films but, for the most part, the idea for Kill Bill had been bouncing around in his skull. Now that idea has burst out of that skull in all its blood spewing, gut splattering glory reuniting Pulp Fiction star, Uma Thurman, with the acclaimed cult director in a film series that pays homage to the 70's karate films that many us grew up with.

The story centers on a former member of a group of assassins who seeks revenge for the actions done on to her by her former colleagues. A woman known only as The Bride has waken up from a four year comma after her former boss Bill left her for dead on the day of her wedding killing her fiancé, the wedding party and her unborn child. Unfortunately for the skilled assassin, he made one big mistake: he failed to kill her. Now that she has awakened from her living slumber, The Bride will travel the world picking off her attempted killers one by one including the mysterious Bill. First up on her list is O-Ren Ishi, aka Cottonmouth, and her group of Japanese underground assassins. They better watch out because here comes the bride! The story for Kill Bill (Volume I) is probably one of the best scripts of the year despite being only half of the true plot. In a wonderful bit of technique, Tarantino starts the film off in the middle of story then backtracks to the events that start the chain reaction of revenge. He then flashes backwards and forwards in several instances that offer the best insight into the characters the audience is about to encounter. This gives better meaning to most of the fight sequences that take place in the course of the two hour feature.

A relative bunch of low-profile actors and actresses make up one of the better casts of the year for this film. Uma Thurman, who starred in Quentin Tarantino's breakout film, Pulp Fiction, once again works her magic for the talented director in probably her best film performance. Thurman gives a witty and exhilarating go around with her role as The Bride seeking revenge against her former colleagues. She presents a style to the character that makes you clamor for her all the way to the shocking break point. Lucy Liu has another kick-ass character performance as O-Ren Ishi, the leader of a group of Japanese assassins. The only problem with this role is that it makes Liu feel type-casted into this sort of character. Not that she bad at it, she's extremely effective in her performance, but you get the feeling that eventually she may get bored with these roles but if it works for her then ignore this comment. Vivica A. Fox doesn't really get to show much acting ability as her character is killed off in the first fifteen minutes of the film but what she does show is her amazing fighting moves, which is the only evidence needed to prove her worth in the film. This is only a small portion of the full cast, the rest of which will appear in Kill Bill (Volume II) coming February 20th.

Overall, Kill Bill (Volume I) is a wonderful kick-off point for Quentin Tarantino's best work since Pulp Fiction, despite only being half of the entire feature. Though that being said, there are a couple of things to pick at including the well-choreographed action sequences. It wasn't exactly the sequences themselves but the rather large amount of blood and gut spilling that occurred during them that had more then one person squirming in their seats. Granted having your arm or leg cut off results in a large amount of blood loss but does that blood spew out like a fountain? The campy style of violence that occurs in Kill Bill (Volume I) may seem disturbing as the feature starts off but by the end, it doesn't seem so unnatural, which says something our culture's customization to violence and bloodshed in films. The pacing of the feature seemed well balanced but definitely dragged near the end as the film wrapped in a spin-chilling conclusion for the time being. But other then those small squabbles, Quentin Tarantino gives an eerie insight into what the concept of revenge does to the human psyche and what it could potential lead people to do if not controlled. It is said in the film, revenge is like a forest. Men (and women) can easily be lost in it and lose track of where they started or where they were going, so caution must be taken when start off on this path. The famous cult director starts off with accelerating beginning; let's hope he can deliver on what the chilling twist promises.

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