For Greater Glory (2012)

This is an excellent film, but read no further if you are concerned about "spoilers"....

As explained by Steven Greydanus,"The 1917 Mexican Constitution included harsh anticlerical provisions that went unenforced until the regime of Plutarco Elías Calles....In 1926, Calles introduced legislation -the 'Calles Law' -specifying penalties for violating the constitutional prohibitions: Clergy could be imprisoned for criticizing the government, fined for wearing clerical garb in public, and so forth. Calles also moved to seize Church property, close Catholic schools, seminaries and monasteries, and deport foreign priests" (National Catholic Register, 5/29/2012).

I particularly enjoy historical films and have grown accustomed to learning that certain characters in these films can be composites or created for dramatic impact. I guessed incorrectly with this film: "At the center of director Dean Wright's sprawling epic stand two remarkable figures: retired but restless military hero Gen. Enrique Gorostieta (Andy Garcia), a religious skeptic who becomes the unlikely commander of those taking up arms in the name of faith, and Jose Luis Sanchez (impressive newcomer Mauricio Kuri), a saintly adolescent volunteer in Gorostieta's forces who, decades later, was beatified for his role in the struggle....Out to defy the government by peaceful means is another real-life character, also since beatified, Anacleto Gonzalez Flores (Eduardo Verastegui). A pacifist lawyer, Gonzalez is sometimes referred to as `the Mexican Gandhi'" (John Muldering, Catholic News Service)

Greydanus speaks to what will be this film's enduring relevance: "Visiting Mexico earlier this year, Pope Benedict XVI highlighted ongoing restrictions on religious freedom in Mexico's Constitution. In the United States, the U.S. bishops have made a top priority the defense of religious freedom against encroaching federal tyranny....The magnitude of the conflict around religious freedom today is something no one could have predicted when production began on For Greater Glory. Some might call the film's timing providential" (National Catholic Register, 5/29/2012).

It was largely because of that "providential" connection that my wife, myself, and two friends chose to respond to a call to see "For Greater Glory" on its opening night. Including ourselves, it was disappointing that there could not have been more than 20 people in the theater of our suburban multiplex (Interestingly, the six middle aged men sitting behind us later confirmed that they themselves were priests.). I will pray that the poor showing does not signal a poor interest in the topic of religious freedom.

I saw the movie in the theater on Saturday, June 2, just after the June 1 release. I have been waiting a long time for this movie to be released. The story of the Cristeros has finally come to the screen. This much forgotten and much ignored part of Mexican history is finally remembered.

I can look at the movie from two perspectives. First, the film has a huge religious, inspirational impact: fidelity to Jesus Christ and the Catholic Faith, acts of heroism and love, martyrdom under terrible persecution run throughout the entire film. Secondly, as a long time movie fan, the film is incredibly well done with superb actors.

The critics hate this film because it is not PC and it defends principles that myopic, closed minded ideologues will not even discuss.

Many films depict the horrors of the holocaust, and rightly so. The Catholic Church has had many holocausts throughout history. The brutal persecution of the Catholic Church by President Plutarco Calles is just one of them. It is a story that must be told and studied so that it does not happen here.

I found the movie especially moving, because I have lived in Mexico for six years. I have exercised my ministry in many places where the movie takes place. I was particularly moved by the film's superb depiction of the martyrdom of Jose Sanchez del Rio.

Viva Cristo Rey!

Father James Farfaglia

Our Lady of Guadalupe Catholic Church

Corpus Christi, TX

Buy For Greater Glory (2012) Now

A truly inspiring and deeply moving account of the events and characters struggling for Faith and Freedom in the little known persecution and Christero's War in 1920's Mexico. Superp cast and excellent production values. A must for people who believe that the real "Super Heroes" are not found in comic books but in the Grace, Faith and Courage of ordinary human beings who respond to the assault on their God Given Rights, and live and die for values that transend their mundane needs and desires.

Read Best Reviews of For Greater Glory (2012) Here

I went with my husband to see this movie twice at the theatre! It is based on truth, an action-packed spiritual, uplifting, inspiring, deeply moving historical drama that is A MUST-SEE!!

The acting is impeckable!! Not a flaw throughout. It keeps you interested at every minute, and it is 2 1/2 hours! The story line is very clear, and you know WHO is WHO, because the faces are very distinct from one another and nothing is confusing at any point.

I would recommend this movie of course for everyone (not for young children though).

Please surprise yourself wonderfully by seeing and supporting this most excellent movie!!

Want For Greater Glory (2012) Discount?

This film is excellent and the fact that it is true makes it even more so. It is interesting to note that all the major networks, NBC, ABC, and CBS, were silent in reviewing this film from the films coming out on June 1st. Perhaps they felt it would be wrong to show the people of Mexico in a good light. Perhaps the attack on the Catholic religion is, at this time, too close to home. The story of the fight to stop people of faith, by a government without faith, not only restores one's beliefs but shows to what extent people will go to to defend their beliefs. Several of my Mexican relatives had no idea of what had happened under the evil rule of Calles. They have been in United States too long and forgotten their Mexican roots. Many of them came across the border to escape the tyrany of a corrupt government. Hopefully they will not encounter such corruption here. This is a film worth seeing.

Richard Fandel

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Death Watch (1980)

Not only has Death Watch never previously been available on DVD, but this fascinating, moving, and disturbingly prescient SF film has never been distributed in North America at its proper length something that I'm assured by Shout! Factory will be remedied with this release. Distributors of the film apparently felt, when it was first released in 1980, that a twist that Tavernier introduces into the narrative wouldn't be accepted by the audience, and/or (according to the director) would be seen as too dark a commentary on the cynicism of television producers and their overriding lust for ratings. I won't spoil that twist by letting people know what it is, but for North American admirers of the film as it previously was released here (on VHS, Laserdisc, and on film, clocking in at 117 minutes, as opposed to the correct 128), be advised: you have never seen the film as the director intended it, unless you've bought the hard-to-find French Region 2 DVD (or caught up with it in another country I first chanced upon the full film on VHS in Japan, where it was released un-chopped). In fairness, not all the material that was omitted from the film previously is completely essential (discussions about the virtues of ostrich leather for footwear and a cameo by Bernard Wicki were both cut without doing too much damage), but the ending of the "director's cut," as this can properly be described, is far more forceful and "political" (in a broad sense) than any previous North American release, and will make the film seem quite new even to people who admired it previously. There are a dozen other reasons to admire this film the cast is fantastic, especially the leads, Keitel and Schneider; it's a very important film in Harvey Keitel's career; co-screenwriter David Rayfiel is at his best; Antoine (Pierrot Le Fou) Duhamel's soundtrack is terrific (and also the source of an amusing anecdote, which you can find on IMDB); and its arguably the greatest English-speaking role of Max von Sydow's. As for its prescience never mind its prediction of Reality TV or the idea that computers will replace live teachers read up on Toronto filmmaker Rob Spence, who, like Roddy, is having a camera surgically implanted in the place of an eye... Haven't actually seen this DVD yet, but I'm very very excited that it's happening. Good move, Shout! Factory!

When this movie was first distributed in 1981 it bombed. Presumably it was uncomfortably ahead of its time, for now 30-plus years later it's a topical and amazingly relevant. examination of current media intrusions and the prurient popular curiosity that drives them. The settings Glasgow and its surrounding countryside are unusual, and magnificently photographed, and the central performances are outstanding. What a talent the film medium lost when the beautiful Romy Schneider died only a short time after making it. Young Keitel is good and truthful too, and of course Dean Stanton and von Seidow do their usual high quality work. There's also an intriguing very early appearance for Robbie Coltrane. The situation is dramatic, the outcome moving and satisfactory. Altogether, this is people-oriented SF and a very fine adaptation of D G Compton's distinguished 1976 novel which incidentally has recently been reissued by Gollancz in their SF Masterworks series and is well worth a look.

Buy Death Watch (1980) Now

I wouldn't say this is for everyone. Great performances by all. Very interesting sci-fi premise that leads to a grim finale,

Read Best Reviews of Death Watch (1980) Here

Dr. No (50th Anniversary Repackage) (2012)

A landmark film in many respects, "Dr. No" (1962) introduced Ian Fleming's 007 to cinema audiences. Despite the author's initial objections, Sean Connery defined the character of James Bond with his remarkably self-assured performance. Ursula Andress' iconic beauty and Joseph Wiseman's restrained villainy were equally memorable. Thanks to the contributions of director Terence Young, set designer Ken Adam, editor Peter Hunt and composer John Barry, the 007 style was immediately established in this Jamaican adventure. Producers Harry Saltzman and Albert R. Broccoli should be applauded for getting the most out of their limited budget. "Dr. No" succeeds as an unpretentious spy thriller minus the gadgetry and gimmicks in later Bond outings. The film's impact on popular culture cannot be underestimated.

My comments apply only to the newly released Blu Ray version.

I will not review the film it's self since everyone has no doubt seen it at least once.

I have waited 2 years for the Bond films to be released in a HD format, and the waite was worth it.

The picture quality of this old film is simply awesome. The color saturation, the "depth" and contrast are very film-like.

I felt like I was discovering the film for the very first time.

Watching it on my 60'' display, it looked like I was seeing a brand new, fresh from the lab, film print in my own living room.

And it gets better, I am told (but havent viewed my copy yet) that Thunderball looks even better.

If you are a Connery James Bond fan, and own Blu Ray, this is a no-brainer.

Highest possible recommendation, and Amazon has it for a good price.

Buy Dr. No (50th Anniversary Repackage) (2012) Now

Outside of Bond fandom very few people know that Sean Connery was actually the second actor to play the character of James Bond. In the 1950s there had been a television production based around Ian Fleming's first spy novel "Casino Royale" in which American actor Barry Nelson had played 007 as a US spy with Clarence Leiter as his British counterpart. Fast forward to the early 1960s and work is once again getting underway to bring the fictional spy to the screen. Cast in the lead role is what one UA executive referred to as a "lorry driver" and with a small budget (a measly $1 million) there seems to be little hope for the fledgling franchise. Yet when Doctor No (the final choice for the first of the series) hits screens it changes the film industry, sending reverberations the likes of which are still being felt today. Staying largely faithful to the Fleming book of the same name (something that was not to last) the rather modest movie set screens afire, helped enormously by the performances of Sean Connery and Swiss beauty Ursula Andress. In fact for many, Andress is the quintessential Bond girl, establishing one of cinema's most iconic images as she emerges from the sea in a white bikini). Right away the trademark violence is evident as three assassins murder a British operative and his pretty secretary in Jamaica. The break in communication has the British nervous and they send for their top agent. Switch to a smoky casino in London. And we see the back of a man, his hands moving his cards about the table and then taking a cigarette out of its case. Lighting it he is fully revealed and the trademark line "Bond, James Bond" is heard on cinema screens for the very first time. Arriving in Jamaica Bond learns that the missing operative was investigating the mysterious character of Doctor No who operates from a private island named Crab Key. Determined to learn the truth he arranges to sneak onto the island with his colleague Quarrel to discover the truth behind the disappearance. Taken on its own Doctor No is a nice, taut, suspenseful movie with some wonderful performances from its leads. New York actor Joseph Wiseman is particularly chilling as the title character with his metal hands (some disfigurement or quirk has since become a necessity for Bond villains). Taken as the initial outing in a franchise the movie is a low-key effort that ably sets the stage for the films that were to follow. Today this movie rarely tops people's lists as a favorite in the series, but that is largely because in the ensuing years the Bond series came to mean spectacle and special effects, often at the expense of good storytelling. Initially released on DVD in the cardboard snapper cases with only Bond trivia to complement it, in 2000 MGM did the movie justice by reissuing it as a special edition with improved video and audio and a nice collection of extra's. For the time the Bond special editions were considered the "cream of the crop" as far as DVD releases were concerned. Here we have an audio commentary which is comprised of spliced together interviews from earlier many behind the camera had since passed on including director Terence Young. An easy movie and DVD to recommend.

Read Best Reviews of Dr. No (50th Anniversary Repackage) (2012) Here

This review refers to the MGM Special Edition DVD od "Dr. No"....

How dissapointed was I, when I saw this transfer of this great classic by MGM to Dvd?..REALLY dissapointed. If you already own the VHS..hold on to it for a while longer, even if you see it come on TV you will probably get a better picture and sound quality then you do with this package. I'm not saying it is not a viewable film, just that when you get a DVD, especially one from a production studio like MGM, you expect better. The film itself seems to be in pretty good shape. Even the colors are good. But the picture seemed grainy and the sound was the worst.

With all the great action and music in this film it should have been at least in stereo, 5.1 would be even better. The dialouge was less than good. I had to keep back tracking to hear what I missed and had to keep turning the volume up and down. I've seen alot better on transfers of films much older than even this one is. And there's more...now this may be just my copy, but there was alot of pausing and skipping thoughout the film. I have recently purchased a new DVD player that is pretty state of the art, and any DVD that ever skipped on my old player does not skip now..except this one....Please MGM...try again with this one.

Okay, okay, so now that I got that off my chest... I Love "Dr. No!" The first(of 20) in the 007 series(based on the novels by Ian Fleming), made in 1962 is exciting , full of action and lots of fun. Sean Connery in his first of 7 Bond movies sets the bar for all the ones to follow. And I must also mention that Ursula Andress likewise sets the bar for the "Bondgirl".

We meet James for the first time, where else..at a gambling table, looking dapper as ever in his tux, where he immediatly catches the eye of a beautiful woman who cannot resist him. Although he must leave immediatly on his first assignment, he does have a few minutes to spare for the lady. Then off to beautiful Jamaica, where the movie is filmed and the action begins.

James begins investigating, the murder of the agents stationed there and all roads lead to the manical Dr No(Joseph Wiseman), who has secluded himself on a small island and is killing anyone who gets too close. Dr. No is messing with the U.S. Space Program and must be stopped before he can strike.

Once James does get himself onto the Island, he first meets 'Honey Ryder"(Andress), who is a vision as she makes her entrance emerging from the water like some beautiful mermaid. Together they fight off the army of Dr. No's guards,and thwart the impending disater.

You'll meet "M"(Beranrd Lee) and "Miss MoneyPenny"(Lois Maxwell) for the first time in this one. "Q" and all his gadgetry have not made into the story yet. There are the great cars and car chase scenes. You'll get that "Bond" feeling immediatly as the theme begins. And don't forget to look for Jack "Book-em Danno" Lord.

A great start to a great series.The DVD does come with some great extras. I especially enjoyed the featurette about Sean Connery fitting into the mold of the first 007, which was made at the time of the filming of Dr. No.(see tech info for complete list of bonus material.) If your a huge fan and cannot wait for a better DVD to come along then go ahead and have that first vodka martini with James and here's hoping for a new restoration. Enjoy....Laurie

Want Dr. No (50th Anniversary Repackage) (2012) Discount?

Outside of Bond fandom very few people know that Sean Connery was actually the second actor to play the character of James Bond. In the 1950s there had been a television production based around Ian Fleming's first spy novel "Casino Royale" in which American actor Barry Nelson had played 007 as a US spy with Clarence Leiter as his British counterpart.

Fast forward to the early 1960s and work is once again getting underway to bring the fictional spy to the screen. Cast in the lead role is what one UA executive referred to as a "lorry driver" and with a small budget (a measly $1 million) there seems to be little hope for the fledgling franchise. Yet when Doctor No (the final choice for the first of the series) hits screens it changes the film industry, sending reverberations the likes of which are still being felt today.

Staying largely faithful to the Fleming book of the same name (something that was not to last) the rather modest movie set screens afire, helped enormously by the performances of Sean Connery and Swiss beauty Ursula Andress. In fact for many, Andress is the quintessential Bond girl, establishing one of cinema's most iconic images as she emerges from the sea in a white bikini).

Right away the trademark violence is evident as three assassins murder a British operative and his pretty secretary in Jamaica. The break in communication has the British nervous and they send for their top agent.

Switch to a smoky casino in London. And we see the back of a man, his hands moving his cards about the table and then taking a cigarette out of its case. Lighting it he is fully revealed and the trademark line "Bond, James Bond" is heard on cinema screens for the very first time.

Arriving in Jamaica Bond learns that the missing operative was investigating the mysterious character of Doctor No who operates from a private island named Crab Key. Determined to learn the truth he arranges to sneak onto the island with his colleague Quarrel to discover the truth behind the disappearance.

Taken on its own Doctor No is a nice, taut, suspenseful movie with some wonderful performances from its leads. New York actor Joseph Wiseman is particularly chilling as the title character with his metal hands (some disfigurement or quirk has since become a necessity for Bond villains). Taken as the initial outing in a franchise the movie is a low-key effort that ably sets the stage for the films that were to follow. Today this movie rarely tops people's lists as a favorite in the series, but that is largely because in the ensuing years the Bond series came to mean spectacle and special effects, often at the expense of good storytelling.

Initially released on DVD in the cardboard snapper cases with only Bond trivia to complement it, in 2000 MGM did the movie justice by reissuing it as a special edition with improved video and audio and a nice collection of extra's. For the time the Bond special editions were considered the "cream of the crop" as far as DVD releases were concerned.

Here we have an audio commentary which is comprised of spliced together interviews from earlier many behind the camera had since passed on including director Terence Young. Added to that is a documentary on the making of the movie including on-camera interviews, some archival and some new and a documentary on the aforementioned director. Rounding out the set us the usual collection of promotional material.

An easy movie and DVD to recommend.

On a sidenote work is currently underway by Lowry Digital to restore this movie, if audio and video is of primary importance to you then you might want to wait until that is released in 2006.

Final Fantasy: the Spirits Within Region (2007)

'Final Fantasy' is a computer game that has gone through countless versions and editions. Taken as a whole, this mythos is probably one of the best know games in its genre. It is clear from the beginning of this film that Sony and Hironbu Sakaguchi (producer, director, and writer) were intent on topping an already brilliant history of graphic accomplishments. In a sense, 'The Spirits Within' represents a piece of history in the making. It is the first film that presents a startling approximation of life using only automation.

The plot is simple. An asteroid falling to earth carries within it a host of phantom creatures that seem hell bent on destroying earthly life. Civilization has been reduced to living in shielded enclaves, and it is only a matter of time before the planet becomes a haunted wasteland. Aki Ross and her mentor, Dr. Sid, are working on the creation of a neutralizing 'wave' based on the eight basic phantom life forms. General Hein does not trust Dr. Sid's theories about a Gaia, or planetary spirit, and wants to use a huge orbital laser cannon to destroy the original meteor, possible destroying the earth in the process. The conflict between these points of view and their shattering effects on the planet are the meat of the film.

Captain Gray Edwards, once Aki's lover, crystallizes this struggle between the material world of violent reaction and the spiritual world of growth and synthesis. The film plays a bit like an evolved 'Starship Troopers.' In many ways, it presents the same visual image, and deals with the same issues. The problem for the director and the viewer is to get past the magnificent graphic work to experience the abiding spiritual faith that is its meaning. Ironically, the film itself is a metaphor for the issues it expresses.

It is almost futile to discuss the film's animation and design. They are so far above what we are used to that the required superlatives sound trite. In essence, the animation staff set out to create something that is even more real than life, and to a great extent, they have succeeded. This hyperrealism, combined with an almost ballet like feeling of choreography create a sense of moment that makes this seem far more than an action film. The overall animation is carefully balanced so as to keep the focus on the characters. Even so, this film has such a sensory effect that the viewer is tempted to forget the plot and simply observe the screen.

The primary DVD provides the film and a whole set of commentaries (directing crew, animation and staging, composer, and production staff), plus the usual trailers, etc. In the special edition, a second disk adds an extensive 'Making of...' segment, the entire screenplay and some analysis of character, vehicle, and prop design. Technically, this is an important film, despite its simplistic plot and characters. For the first time, the definition of what is acting and what is animation is being challenged in a thought provoking fashion.

There have been many reviews about this movie that have ranged from excellent to shoddy, but mine will fall in the middle for a couple of reasons I will get to. I'll tell you what I found cool and what I found to be lacking. First off, I saw this movie in a digital projection theater. The colors were mind-blowing to say the least. I was constantly losing track of the story because I couldn't take my focus off the spectacular animation. The animation is so rich and textured...let's just say that you have never seen anything like it-real or fabricated. It truly is amazing. The voice casting is perfect. No slackers anywhere. The idea for the story is very innovative, not just some traditional sci-fi retread. But (and there always is a but), the actual dialogue and character development are lacking. Baldwin sometimes seems like a romantic distraction for Ming Na. Is Woods' character supposed to be a sympathetic bad guy because he talks about his family before he commits his bad deeds? Come on, I know 13-year-olds who don't fall for that. The question I was left with was: "Why invest all this money in voice talent, if you give them nothing to work with?" It's a testament to the actors that they were able to pull so much out of the dialogue considering what they had to work with. I don't want to give too much of the plot away, so I won't say anything else about it. ...I enjoyed all the characters for the most part, but I wish there was more to enjoy. I know sometimes that character development is lost because the studios want to get to the next big action event, but when people don't have anything invested in the characters, it just becomes a lot noise. It's too bad because, like I said, there was plenty of sources to draw upon.

Bottom line: The best animation to date, but sorely lacking character and plot development.

Buy Final Fantasy: the Spirits Within Region (2007) Now

One of the best computer generated films I have ever seen. Final Fantasy the Spirits Within was a joy to watch.

It was exciting, funny, poignant, exciting, romantic, joyful, future hopeful and totally mesmerising from start to finish.

With great actors voicing the animated heroes, we are treated to a state of the art adventure in which earth has been decimated by alien phantoms and the only hope for the survival of the human race are eight earth bound energy-spirits that can stop what only be described as Armageddon.

The exquisite Dr Aki Ross along with cynical but mostly good hearted Captain Edwards and his band of disparate marines set out to find these spirits before the megalomaniac General Hein can ruin any chance Earth has for survival.

The graphics are absolutely stunning, the animated characters look so life like you find yourself doing a double take all the time. Aki Ross is especially life like and Captain Edwards positively smoulders on screen but then his character is voiced over by the sexy Alec Baldwin who can still make any red blood female go weak at the knees!

The ending is superb as well as being heart breaking; no one can forget the scene when Captain Edwards lays down his life for the woman he loves and not just to save the world. Romance at its best in my opinion, animated or not!

I also just love the combining of philosophy, nature, science and technology together and the musical score gets a ten out of ten too.

I wish I could have seen this film on the big screen but I only got to see it when it came out on DVD.

A much underrated, under appreciated film that is yet again far too intelligent for your average moronic movie goer.

Read Best Reviews of Final Fantasy: the Spirits Within Region (2007) Here

This was one of the best films I have seen in along time. The computer animation is breathtaking, and shows you that it can only get better. The story is a wonderful combination of eastern and western philosophies. This movie never dragged and had a great soundtrack.

Want Final Fantasy: the Spirits Within Region (2007) Discount?

I'll keep this short. Have you ever cried because a movie you loved was hated or ignored by everyone else? And that movie was obviously a work of art that took teams of artists years to create?

Well, that's how I felt when "Final Fantasy TSW" came out and died within a couple of weeks. I went to the premiere of this fine film. The theater was half-empty. I went again two weeks later, just before the movie disappeared from cineplexes. Would you believe I was THE ONLY person in the room?! When the eagle at the end soared away over the mountain range, I had to choke back angry tears. (The beautiful ending itself had caused the first upswell of tears.) Why was nobody else enjoying the show with me? And what a show it was! Great "acting" by the digitally created cast, especially the leads, restrained but believable dialogue, breath-taking visuals, and tight editing of a logical storyline that is so perfectly steamlined and simple it should never cause confusion. So why this tragedy of an empty theater after just two weeks?

First, many critics panned it, complained of wooden acting and a convoluted plot. They claimed the story was unoriginal; well, what other movie does it plagiarize? Apart from the stereotyped way the marines sometimes talk, what is unoriginal here? Second, the trailer was misleading; this is a moving love story, set against the spooky, solemn backdrop of a last-ditch attempt to repel an alien invasion and restore the Earth to humanity. The love is between Aki and Gray, who ultimately must love their planet enough to sacrifice their lives to save it. There is also credible caring between Dr. Sid and Aki, and Gray and his Deep-Eyes. But the trailer presented "Final Fantasy TSW" as a kind of juiced-up videogame. A rollercoaster thrill ride, which it is at times, but the human quality of the story is paramount. It's the only reason I would have seen this movie so many times, bought TWO copies on DVD, and now proudly own TWO copies of the Blu-ray release. It's definitely worth it.

Unfortunately, that will not bring back Square Pictures (closed up shop after the movie flopped) or reunite the gifted animators who brought the characters to life so memorably. I'm just doing my part to support one of my favourite movies, while thumbing my nose at certain small-minded critics and at the moviegoers who left me all alone in the theater (not that I really minded having the whole place to myself).

Lovers of this movie, UNITE! (And if you haven't seen it yet, by all means DO!)

Hans Christian Andersen (2012)

Hans Christian Andersen (1805-75) was an Ugly Duckling. He lived in the third largest town Odense, in Denmark. The son of a cobbler he was poverty ridden and a failure as an actor and it wasn't until he moved to Copenhagen and won the patronage of Frederick VI, through his poetry, that he wrote his fairy tales and developed into a swan. Like many artists he wasn't particularly happy, and never did marry, although he was very fond of Jenny Lind (1820-87) the Swedish Nightingale a soprano given the name by P.T. Barnum during her tour of the United States between 1850-52.) Charles Vidor's film does state at the beginning, This is not the story of Hans Christian Andersen but a fairy tale about the great spinner of fairy tales. The Danes objected to the way Hans Christian Andersen was portrayed even though Goldwyn had rejected 21 previous manuscripts, so the film company inserted this statement in the credits.

Danny Kaye with his chiselled features does resemble H.C.Andersen when looking at his profile, but apart from this facial feature that's where it stops. Kaye had dark hair but Hollywood soon changed that and he became a blonde, Andersen also had dark hair but he kept it that way.

Unlike some earlier musicals, this film does have a strong story line with loads of songs written by "Baby, It's Cold Outside", Frank Loessen, such as Thumbelina, Ugly Duckling, No Two People, and of course Wonderful Copenhagen. The scenery is very clever, the backgrounds look like illustrations from fairy tale books, but as the camera zooms in to the foreground the buildings and props become three dimensional similar to a pop-up-book.

There are four ballet scenes that I probably found boring back in `52, but revisiting them now, they are visually very interesting, technically I wouldn't know if they are good or mediocre but for a Hollywood musical film, four ballets must of taken an enormous amount of consideration seeing as the film is really for kids. Once again the backdrops for the ballets also resemble fairy tale illustrations and pop-up-books.

Instead of a soprano, Andersen falls in love with a ballet dancer and here's a musical that doesn't have a very happy ending because poor Hans gets mixed up with a married woman. The ballet dancer Doro, is played by Zizi Jeanmaire, and is married to Niels played by Farley Granger. During the last part of the film, the audience is taken behind the scenes of the ballet company playing at the Royal Theater in Copenhagen, but this isn't a film of a show included in a show, similar to earlier musicals, but an uplifting musical film with lots of music with catchy tunes helped by a ton of children.

The last ballet scene takes 17 minutes, quite long for a popular movie. In the film Hans writes a story especially for his love Doro, unfortunately Niels locks him in a cupboard so Andersen never sees her perform but has to use his imagination.

The ballet takes place on land and under the ocean. The surface waves are pop-up so that the dancers can be seen dancing in between the swells, it's really very clever visually, and there's no trickery here. Under the sea filled with monsters and witches, the heroine is probably attached to a pulley so that she can be seen swimming for the surface. There are no blue screens in this film, all effects are up-front and work perfectly similar to a staged ballet. Once again the technicolor process is used and this enhances the fairy tale effect with vivid colors.

Hans Christian Andersen fairy stories are not violent when compared to the Grimm brothers, but the themes usually have a lesson, and in the story written for Doro's ballet, "The Little Mermaid," it is saying that aiming for the stars does not always bring happiness, but then of course Walt Disney hadn't yet arrived on the scene and he soon changed that philosophy.

HANS CHRISTIAN ANDERSEN presents a fanciful, fictionalised re-telling of the famed storyteller's life, highlighted by Frank Loesser's beautiful score and the perfect casting of Danny Kaye in the central role.

As the film opens, cobbler Hans is entertaining the children of Odense, Denmark, with yet another fantastic tale, much to the consternation of the schoolmaster who feels the children are having their time wasted when they should be studying. This seems to be the opinion of most of the townspeople, so Hans is politely told to leave town...for a while anyway. Hans and his young assistant travel to the bright lights and bustle of Copenhagen for a fresh start, but old habits die hard and soon Hans is entertaining a new group of children with his amazing storytelling talents. When Hans is engaged to make slippers and toe-shoes for the city's ballet troupe, he becomes entranced by the prima ballerina Doro (Zizi Jeanmaire in her film debut) not knowing that she's married to the troupe's tough choreographer Niels (Farley Granger). His story of "The Little Mermaid", inspired by Doro, becomes the ballet's new work, but discovering the truth, Hans returns to Odense a hero, his storytelling now famous all over Europe.

Danny Kaye is just was is called for in the role of Hans. His natural warmth, fatherly air and ability to combine pathos and heart serves him well in his performance. Zizi Jeanmaire as the glamorous Doro likewise is perfect casting (although Moira Shearer from "The Red Shoes" was first choice, pregnancy prevented her from doing the film). Having shot to fame in husband Roland Petit's ballet version of "Carmen", Jeanmaire adds a European beauty and elegance to her role, and Petit staged all the ballet numbers in this film too. Farley Granger's Niels is the perfect foil to Danny Kaye's innocent and childlike Hans, and the love triangle is thrillingly brought to life in the Dream Ballet.

Frank Loesser's score is what most people remember the film for, and it's one of the best written by the legendary composer-lyricist. He had just come from his phenomenal success on Broadway with the score of "Guys and Dolls" and Hollywood was eager for him to ply his trade for the movie musicals of the 1950's. Songs like "Thumbelina", "The Ugly Duckling", "Wonderful Wonderful Copenhagen" and "I'm Hans Christian Andersen" have become well-known standards. "Inchworm", bookended by children chanting their times tables, is so lovely and gentle in it's beauty, and "No Two People" is a jaunty little duet for Hans and Doro in the Dream Ballet.

This film was beautifully-photographed by Oscar-nominee Harry Stradling. The film also received Oscar nominations for Costume Design (Mary Wills, Madame Karinska), Art Direction/Set Decoration, Best Music Scoring (Walter Scharf), Best Song and Best Sound Recording. The Technicolor photography is absolutely stunning and the bold colours pop off the screen with their brightness and clarity.

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I fell hopelessly in love with Danny Kaye when I was 8 years old, and I'm still crazy about him many years later. . . no other performer of whom I'm aware has ever shown his unique combination of comic virtuousity, tenderness, silliness, physical bravado and dramatic depth.

He could also really sing, not just comically but straightforwardly, in his naturally rich, sweet lyric-tenor voice. If you really listen to the "Inchworm" song, you will hear just how fine his voice really was.

The ballet sequences in the movie transfixed me as an eight-year-old ballerina wannabe. Maybe they look hokey to present-day grownups, but I bet most kids would immediately understand.

One of the best movies ever!!!!

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This is a truly charming film for people of all ages.

Danny Kaye is perfectly cast as the famous and wonderful

story-teller, Hans Christian Anderson. I highly recommend this

very enchanting film, and would give it ten stars if I could!

Buy it, and your in for a real treat.

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When I was 11 years old, I wanted to marry Danny Kaye when I grew up; my parents kindly explained to me that he was dead. I still don't really believe it, though -Danny Kaye will always live on in the imaginations of his fans.

No comedian was ever so tender; no romantic actor was ever so silly. Danny Kaye is still my hero, and he always will be!

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Cemetery Junction (2010)

This is a rather charming coming of age movie charting the escapades of three loveable rogues, The Nerd, Bad-boy and the Buffoon. The 1970's are wonderfully recreated here, and reminds me somewhat of my youth, its well acted and keeps an slight emotional pull and a constant flow of smiles and chuckles rather than huge laughs. Its.. well, its just very well acted, made and written, without pulling up any trees, its just .. nice. I have no idea how this will translate to American audiences, but erm, did I mention its nice-ness

I saw this movie in a theatre in London in April. By British standards, this is one of the greatest films to come out of that country. As for any America who is weary of British movie quality, like myself, this is honestly one of the greatest movies I have ever seen. If you are at all familiar with the works of Ricky Gervais, then you can only expect some of the best entertainment. This movie is deep, it's moving. Ricky Gervais tends to do comedies, but this movie really shows his talent as a director and actor. I don't want to sound like a cliche, but this movie really did make me laugh and cry. My friends and I talked about this movie for days.

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I am not a huge Ricky Gervais fan but I do hail from the town this is theoretically set in and so decided to rent it. I have to say that I found it hugely enjoyable. The prevailing attitude that you worked at a factory or for town's the large insurance company was absolutely spot on even 10 years later when I was the age of these characters. I thought that the acting was fantastic and I loved the characters of Julie's mother (a frumped up Emily Watson) and especially Sgt Wyn Davies (Steve Speirs) who plays the sort of police officer who can really change lives. My only gripe was in the choice of locations. The real Cemetery Junction is way, way too busy to be a practical choice of film location, I can see that, but the choice of such a rural setting made it look far too "choclate boxy" to fit the story line of three boys desperate to escape. Even then, Reading was a large, busy town with little similarity to the town centre the boys are seen striding through and Cemetery Junction itself is and was a run down area of narrow streets and tiny brick terraces. Other than that, the period detail was fantastic the inside of my house was scarily just like Freddie's. And why oh why don't we have "Crazy Horses" by the Osmonds on more sound tracks? The world could be a better place...

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This was an engaging story on the class conflict, on self hatred, on hating one's parents, on being a teen ager, on blaming one's background versus doing something for oneself, on taking responsibility versus excusing onself...

All done with a light touch.

I only wish Gervais and Merchant had more than a small role as characters.

Gervais and Merchant are not at their acid, stinging best. Rather, their humor is muted.

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This is a very good film. But if you're buying it because you are a Ricky Gervais fan be aware that his presence on screen is rather limited. Set in 1970's England, in a small working class town, the dialog is sometimes difficult to understand but not overly so. I found the acting to be agreeable and at times admirable, especially from the veteran actors Emily Watson and Ralph Fiennes. The younger actors were very good as well. For me though, what made this movie stay with me was the soundtrack by Tim Atack. As the Dude would say, 'it really tied the room together.'

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Control

Ever since Ian Curtis, lead singer of the British band Joy Division, died in 1980, he has achieved the iconic status of an emerging artist showing signs of brilliance before meeting an early, tragic end. In Curtis' case, he committed suicide on the eve of his band's first American tour. His brief life has already been depicted on film in Michael Winterbottom's fast `n' loose look at the Manchester music scene of the 1970s and 1980s, 24 Hour Party People, but it was only for the first half of that film. Control draws most of its content from Touching from a Distance: Ian Curtis and Joy Division, the memoirs of Ian's wife, Deborah, and is directed by music video maker Anton Corbijn. He not only directed the video for their song, "Atmosphere," but also shot some of the most memorable photographs of the band, making him the ideal choice to helm this film.

There is an audio commentary by director Anton Corbijn. With his thick accent, he's a little hard to follow at times but manages to cover the usual topics: casting choices, shooting on location, and so on. He praises the performances of Sam Riley and Samantha Morton while also pointing out technical details, like how the concert scenes where shot with hand-held cameras and everything else was done with steadicams. This track is a little on the dull side but Corbijn does impart interesting factoids and it was clearly a labour of love for him.

"The Making of Control" takes a look at how the film came together. Corbijn moved to England because of Joy Division and took iconic photos of the band. So, he had an emotional connection to the material. His black and white photos influenced his decision to shoot the film in a similar style. The actors who played the members of Joy Division talk about the challenge of playing people who are still alive, learning to play musical instruments, and the songs. This is an excellent featurette filled with loads of interesting information.

"In Control: A Conversation with Anton Corbijn" tends to repeat some of the information from the commentary track and the making of featurette. The director talks about how he discovered Joy Division's music and how he eventually met them. He touches upon how they shot in Ian's hometown for authenticity.

"Extended Live Concert Performances from the Film" allows you to see "Transmission", "Leaders of Men", and "Candidate" in their entirety.

In a nice touch, there are the videos for "Transmission," a powerful rendition done for live TV with a riveting performance by Ian, Corbijn's video for "Atmosphere" that is haunting as it was done after Ian's death, and The Killers' cover of "Shadowplay" which is surprisingly effective.

Also included is a "Still Gallery" with photographs from the film.

Finally, there are "Promotional Materials," trailers for the film, a blurb for Deborah's book about Ian, the soundtrack, and so on.

A lot of great films came out last year, 2007--No Country for Old Men, There Will Be Blood, The Lives of Others, and so on--but I honestly can't think of a better one than this: "Control."

This is a gorgeous and skillfully done film--all awash in silvery starkness, in luminous black and white--and all feeling so genuine and so far from anything fake or phony. I am not the suicidal singer of a New Wave band, I am not in love with a French journalist, and I do not think I married too early, but watching this, the movie really put me inside the man's skin.

"Control" tells the story of Ian Curtis, Joy Division's ill-fated lead singer--as well as his unfortunate wife, his band, his manager, his label, and his lover--and it does so without resorting to making it a slick biopic or a phony depiction of celebrity. It is one of the realest feeling films I have ever seen, and yet it doesn't sacrifice anything compelling or filmic to be so. The story plows ahead with amazing music and a formidable drive, with scenes that are artfully shot and gorgeous to behold.

The film's final scenes are indelible, cut forever into my mind, and the feeling the film invokes is powerful. I have never felt more genuinely punk than after seeing this--leaving the theater, I wanted to rip benches out of the ground and attack speeding cars head-on. More than that, I wanted to walk back into the theater, get another ticket, and watch it again. (I'm not really that into Joy Division either--at least I wasn't before seeing this.)

"Control": Best Movie of 2007. And Best Music Movie in Decades. So well-made and flawlessly executed that it couldn't ultimately depress me--it could only excite me. It's amazing.

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This film is based on Deborah Curtis' biography and so this "Ian Curtis" is the Ian Curtis that she knew and Control in most respects adheres to her interpretation of his life. But it should be noted that Deborah Curtis knew but one side of Ian Curtis' story, her side. And like any other point of view that might have been chosen to tell this story, this one is limited & distorted. The writer of the screenplay is fully aware of the fact that Deborah's perspective is a limited one (as all of our perspectives are) and the screenplay makes some attempt (though not enough) to find the Ian that Deborah did not know, and that maybe no one knew. To achieve this screenwriter Matt Greenhalgh balances Deborah's own remembrance with the remembrance of other key figures in Ian's life (parents, band mates, Belgian girlfriend Annik) to give us a more rounded look at what it might have been like to be Ian Curtis. Unfortunately, these additional perspectives do not amount to as much as one would have liked them to as Ian was apparently not particularly close or open with parents or band mates. (The film rarely shows Ian interacting with either.) And the girlfriend just seems like a very pretty, very fresh, very young smiling face. Most likely the band has their own story to tell, as does the girlfriend Annik. To Deborah, Ian Curtis was a husband and so her story is one largely dominated by domestic squables. After the fourth or fifth round of domestic argument the film begins to feel like a film about marriage and not about music. The over-reliance on Deborah's perspective/biography begins to feel like a liability before the second hour of this two hour biopic begins, and the second hour is almost entirely devoted to the last moments of marital woe that, according to Deborah, sparked the final act. But there is so much more to this story than the one that Deborah has to tell. In addition to Ian the husband, there is Ian the singer and performer. And, most importantly to fans, there is the Ian Curtis that wrote some of the most austere and hypnotic and compelling rock music ever recorded. This is what is really missing form the film: a sense of where the music was coming from. Certainly some lyrics can be explained as autobiographical confessions of self-loathing and regret but some are comments and critiques on modern life.

To listeners of Joy Division's postpunk sound what was immediately alluring was that it sounded nothing like punk. Punk was manic and Joy Division was subdued. The sound was hollow but hypnotic and the voice was full of romantic longings and yearnings for some kind of transcendence but the romantic longing was always accompanied by the feeling that there was nothing to be done with these feelings. If punk was about irreverence and having a rebellious larf in the face of authority, Joy Division was about looking for something to revere and finding that modern life gave man very little to revere. In the face of utter hopelessness, the only grace to be found was in the music itself because the music offered trance-like beauties unavailable in real life (Unknown Pleasures). To fans, Ian & the band were the rarest of things, the expression of a genuinely original sensibility/musical vision. Unfortunately, this is the part of Ian's story that Deborah has the least access to--the writer Ian and the stage Ian is someone she barely knew--, and so it is simply not dealt with. We get no sense of what music meant to Ian nor what he was looking for in it, and without some kind of understanding of the music it is very difficult to understand Ian. Instead we get a story about a relationship and a cliched one at that. Sympathetic as we are with Deborah, rock wives rarely lead happy lives, and in biopics they almost always look like obstacles to their more talented husbands artistic urges & drives. Thats true here as well. And sad as the relationship between Ian and Deborah was it is simply one part of a larger story.

The other perspective on display here is the directors. As one might suspect from that very romantic film poster, director Anton Corbijn knows Ian as a photographic object. And, as a visual object itself, the film is primarily a chance for Corbijn to display his own considerable gifts for grim yet starkly beautiful composition. From both the still photographs that he took of the actual band circa 1980 (which should have been included in the DVD extra gallery) and from the film itself, one can understand that Corbijn felt a deep connection to Ian & Ian's unique romantic/existential sensibility and vision. As compelling and convincing as the film sometimes is, it is a work of art made by an artist that has his own ideas about what made Ian what he was and what made the music what it was. But, like all great artists, Ian was more than just the sum of his many influences (William Wordsworth, Lou Reed, Brain Eno, David Bowie, Roxy Music, Sex Pistols, Iggy Pop, Apocalypse Now, Werner Herzog...) and so no mere visual record of these influences and sources from which he drew will ever fully explain the artists own vision. Artists recognize greatness in others but the good ones always transcend their sources. Ian Curtis' true sources of inspiration are & will remain mysterious, no film can really know or show what Ian was or knew or what he felt when listening to a favorite song or reading a favorite book; no one can know what Ian was to Ian. Biopics are intriguing and frustrating because they are, at best, speculative. Though the film faithfully represents Deborah's version of things, the key moments in this life are ones that no one had any access to but Ian (how does anyone really know what he watched, or listened to, or thought in those last moments?). Faced with unknowability, it is our nature to be curious and to speculate but one should not mistake speculation for truth. As a result, the most valuable part of this DVD to those fans of Ian the artist and his formidable band mates (given short shrift in this film) will be the actual footage (not included in the actual film but included as a DVD extra along with Corbijn's 1988 video for Atmosphere and the Killers video for Shadowplay) of the real Joy Division playing Transmission.

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I've now seen this story played out 3 times, twice at the movies in the last 2 days and once as a 15 year old from the North of England where the film is set. In the true spirit of the "Kitchen Sink" genre, it begins like a modern day "A kind of loving" and has a touch of " Room at the top" (the wedding car scene). Sam Riley plays Ian Curtis Lead singer of Joy Division, a band who influenced so many groups in the UK and internationally. Riley is outstanding, portraying Curtis in a way that does not show him as the icon he became posthumously but as a somewhat immature 20+ year old man. This of course is countered by a soundtrack that reminds us of his musical genius played by the actors in a very authentic "Garagey way". A portrait of a man torn between his old and new life complicated by the onset of an illness he was struggling to come to terms with.

If that wasn't enough the photography is glorious, every other shot could be hung on the wall, it never looked so good when I was a young! I understand that Corbijn was trying to shoot the film like a sequence of music videos and with his massive experience as a still photographer it all works beautifully. He sank a large amount of his own money into this project, and you can tell that making it was important to him as a fan and aquaintance of the band You can see his passion and committment to the film throughout. The sequence in the kitchen towards the end of the film was electric, an incredibly haunting dramatic shot. This movie demands the biggest screen that you can find.

I read a review that said you don't watch this movie you live it, the first time I saw Control I was angry at the futility of it all, the second I wept tears for lost youth, his and mine. My advice ? Go to a really big Movie screen and take a box of tissues and enjoy what must be considered the best music movie of all time. There's no getting away from the end, like Ian Curtis's all too short life it comes too soon in this movie, but enjoy the majesty of the photgraphy, the stunning performances, revel in the darkness and enjoy the music. Surely a candidate for Oscar(s)?

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A biopic of Joy Division's lead singer, Ian Curtis? Who besides a handful of people like me, (in 1980 we had their posters on our bedroom wall and sketched what Joy Divison's third album cover might have looked like), and the only other patron at the matinee theatrical showing that I viewed could possibly care? Indeed, why should I want to see actors performing a suicidal swan dive when all the sadness of Curtis' death lies imbedded in the gloomy, psyche-rich and beautiful music Joy Division left behind?

Because now Ian Curtis is really dead. Anton Corbijn's film, "Control" brings closure to the first time I heard Joy Division, raced to a record store, and was no sooner through a second listen when I heard the lead singer had committed suicide. I've been in denial ever since, and the sketchy details of Curtis' death, the same sketchy details offered in the film, suddenly ring true to me.

Filmed in the British working class black and white, like the Beatles' "A Hard Day's Night", with tones of muted and spacious greys, like The Who's "Quadrophenia", the film brings vitality to the bleak Manchester neighborhoods that were the haunts of the band. It has that wide screen black and white ordinariness that film geeks love. Very common images of modest Brit apartments, cheap recording studios and seedy clubs, are given an immaculate shine by the variable b&w cinematography which conjure not only the do-it-yourself Manchester music scene, but Joy Division's own bleak and surviving psyche. And the head bobbing teens digging the band in the clubs look like the honest to god post punks of yesterday.

You'd thing that was genuine Joy Division during the musical performances, but it is the actors uncannily recreating the music with Sam Riley as Curtis, not only looking the part while delivering a 'let's-let's not' demeanor, but sounding like a dead-on Ian Curtis, with all the brooding deep voiced restraint Curtis possessed. In a subtle performance in which the camera finds him, as opposed to a mugging for the camera, Riley as Curtis, (just another English bloke holding a day job), gives reason to believe in the seemingly petty causes of Curtis' self-destruction. He simply didn't want to live anymore, ("I give them everything 'on stage' and they want more"), and the overload of prescription drugs to combat epilepsy surely complicated matters. Samantha Morton as wife Deborah Curtis, (whose autobiography the film is based), is extraordinary as the plain and sexy love struck young woman who stands like a pillar against Curtis' doomed horizon. The big scene is taken like an arrow through the heart, even as you know it is the only destination the film aims.

My one and only gripe is the movie's insistance to incorporate Joy Division music at times of marital strife, which seemed a lessening of the music's depth.

But now Ian Curtis is really, really dead. He had sung his last song. Finito. Out of here. Love tore him apart.

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Mona Lisa (1986)

"Mona Lisa" remains one of Neil Jordan's best movies. Bob Hoskins plays George a small time thug who took went to prison to protect his boss Mortwell (Michael Caine). To reward George for his sacrifice he gives him a job chaffeuring around Simone (Cathy Tyson)a high priced call girl that Mortwell wants to keep track of. Despite her initial chilly reception, George falls in love with her. Ultimately she asks him to make a major sacrifice so she can be free of Mortwell and his world. It's a price that leads to tragedy and violence.

A brilliant film noir, Hoskins earned an Oscar nomination for his performance and really he deserved it. His portrayal of George is complex. While he's a criminal, he's also surprisingly naive and innocent in his own way and the code of conduct he follows in his life reflects much more solid values than that of a petty crook. Michael Caine shines in a pivotal but small role as Mortwell. Caine has never given a performance as nasty and chillingly evil as he does here. Cathy Tyson ("The Serpent and the Rainbow", "Priest") also deserves kudos for her performance as Simone. Although the surface of her character is chilly she hints at the depths of emotion raging beneath the surface of this sophisticated and sad woman.

The Criterion edition of this looks exceptionally good with nice color reproduction and a crisp, sharp picture. It appears that the same master that was used for the 1996 laserdisc was used here, though, and it probably should have been remastered from a new digital transfer. While presented in its original format this isn't an anamorphic transfer that I can tell which is, again, another reason to update this and create a high definition DVD.

Neil Jordan and Bob Hoskins commentary track provide a surprising amount of interesting detail about the making of the movie. Usually commentary tracks with an actor and director devolves into a lovefest with little actually uncovered but that's not the case here. We learn about the difficulty that Jordan had initially interesting backers in the project and how pivotal the casting of Michael Caine was to making this project viable.

I still would have liked to have more in the way of extras for this classic film. Like the recent re-release of "The Crying Game", there has to be some alternate scenes that survived or outtakes that might have been of interest to fans. Additionally, why not do a retrospective documentary or a glimpse back at Jordan's career as a featurette? Hopefully Criterion (or whomever picks up the license on this film for DVD release in the US) will remaster this and add the extras that this classic film calls for.

Fresh out of jail and trying to reconnect with his daughter, Hoskins is a working stiff/street thug who gets a job from crime boss Michael Caine chauffering a "high-class black tart" played by Cathy Tyson. The Hoskins character is remarkably naive, falls in love with the prostitute and tries to protect her, and disaster ensues.

There's an unforgettable moment, when they're both in tears, hiding behind silly plastic eyeglasses in a garish carnival setting, and, trying to explain her odd situation that he's just beginning to understand, she says, "Haven't you ever needed someone?" and he squeezes out the reply: "All the time."

It's a remarkably tender story in a chokingly ugly environment. Caine is gruesomely sleazy.

I remember seeing this when it first came out, about the time of "Blue Velvet" and "Brazil"; what an amazing era that was! All three movies even had ironically sweet or upbeat theme songs from a few decades before.

Director Neil Jordan later moved on to the weirder pastures of "The Crying Game," and then the glossy jobs "Interview with the Vampire" and now "The End of the Affair," but I still consider this his best -not to mention Bob Hoskins's most incredible acting work.

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I believe Neil Jordan put together a work of perfection here. I deeply cared for the two main characters (played brilliantly by Hoskins and Tyson). The portrayal of the pain of isolation and the hopelessness of not being able to connect with their desires touched me at a level only great works can do. All the details of a film are done with perfection.(Don't forget the fine little performance of Robbie Coltrane who later became the main charater in "Cracker".) But given the individual stengths of the fascinating plot, the extraordinary performances and the effective filming and music, it is the whole, the gestalt of this work, that reaches the highest level of art.

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Firstly I would say that if you have in your library John Mackenzie's THE LONG GOOD FRIDAY, also available in the Criterion collection, and Neil Jordan's MONA LISA, you already have a good specimen of what the British cinema was able to offer in the eighties. A fabulous actor, Bob Hoskins, is present in both movies; he won the best actor prize at the 1986 Cannes Festival for MONA LISA.

Neil Jordan began his career as a writer and is, in my opinion, one of the most interesting film directors nowadays. It's always challenging for the common viewer to watch a movie directed by a former writer. One often wonders why the director has left his books for the cinema. Some of these ex-writers use the camera as if they were handling a pen and the result is dreadful. Or too intellectual. Fortunately, with MONA LISA, Neil Jordan has created a stunning visual world and George and Simone's night wanderings through the London underworld an unforgettable cinematographic journey.

MONA LISA develops a lot of themes that will touch you in a way or in another. The different levels of the movie are so well mingled in the story that you will be able to watch MONA LISA several times and still discover little pearls hidden by the brilliant director. At the end of the movie, I just wanted to check the sound quality of the commentary track recorded in 1996 by Neil Jordan and Bob Hoskins and I found myself trapped into MONA LISA for an immediate second screening.

Apart from the commentary, this Criterion DVD offers the theatrical trailer and a one page written Neil Jordan commentary.

A DVD for your library.

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Upon its 1986 release, "Mona Lisa" was proclaimed a masterpiece of the British crime film drama; it brought the Irish-born Neil Jordan, who'd both written and directed it, to the forefront of working British film directors. Reminded everyone of Nat King Cole's great song. Won its star Bob Hoskins an Academy Award nomination, as well as the Cannes Film Festival and British Academy Awards. It's since been recognized as one of the big three of British noir crime dramas: Michael Caine made "Get Carter," Hoskins made "The Long Good Friday;" together, they made "Mona Lisa."

The movie has frequently been compared to Martin Scorsese's "Taxi Driver," for many reasons. Hoskins stars as George, typical, low-wattage East End thug, just getting out of jail after doing seven years for crime boss Mortwell (Caine). George thinks he's owed; Caine gives him a job chauffeuring high priced hooker Simone (Cathy Tyson). Hoskins is expert, as ever, in conveying the controlled violence in George's soul; he also conveys as well as possible the character's surprising naivete. Caine is the cool, even-tempered, joking, fierce villain we saw in "Get Carter;" there's a ten-second bit where he allows Mortwell's mask to slip; we see him with bared teeth, closing in for the kill. Tyson, on her way to a television career, does a good job as Simone, with her own problems. The young Sammi Davis, best known for "Hope and Glory,' stands out as an exploited young drug-addicted prostitute. And the economy-sized Scots comic Robbie Coltrane, before his television success as "Cracker," seems wasted in a pointless subplot, as George's best friend.

Still, to me, the most apt comparison to this movie is actually the movie of John Steinbeck's "Of Mice and Men." We have Coltrane, as Hoskin's friend, often asking him to "Tell me a story, George." That's a direct quote from Lenny (Lon Chaney Jr.)'s frequent request to his George, Burgess Meredith. And we have cockney George buying a rabbit for Mortwell, we're never told why, but Lenny had a pet rabbit in "Of Mice and Men." However, on a first viewing after several years, what was most striking to me about this film was how mannered the script is, how careful to alternate dramatic highs and lows. And how unlikely it is that Hoskins' character could be quite so naive, after an adult life spent the shady side of the law, and a seven-year jail stint.

The seamy London underworld of homelessness, drugs, and kinky sex is well-captured in this movie; the powerful photography gives us the feel of some of the city's meanest inhabitants and streets.

Otherwise, this movie builds upon another of Jordan's signature themes: the love of a man for an inappropriate woman. George is evidently greatly mistaken in believing that a character as damaged as Simone can be talked into a future of love, marriage, and a baby carriage. The same theme pops immediately to mind in at least the eight other feature films, that Jordan wrote, and/or directed, that I've seen. Many viewers will be familiar with the recent "Breakfast on Pluto." Liam Neeson, an Irish parish priest, fathers a child upon his housekeeper, whom he actually loves. In "The End of the Affair," Ralph Fiennes tries to continue seeing Julianne Moore, but she's sworn off him, in a prayer to God to save his life during the London blitz. In "Interview with the Vampire," the seven-year old vampire played by Kirsten Dunst, will never, in all eternity, be mature enough for Tom Cruise's undead character. In "The Crying Game,"well, the transvestite Dil will never be the woman Fergus thought she was. Then there's "The Good Thief:" Nick Nolte's old enough to be a grandfather to that movie's teenage prostitute. In "We're No Angels," Robert De Niro, masquerading as a priest, is flummoxed by Demi Moore's Molly. And "The Miracle," an adopted Irish teenager unknowingly falls in love with his biological, and fully-aware, mother. And then there's "High Spirits," Peter O'Toole at his least disciplined, a silly little haunted castle movie. Poor Steve Guttenberg finds himself in love with a ghost in that one. So what's a feller to do?

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Howards End (The Criterion Collection) (1992)

This movie is a must-watch for everyone who loves meaningful dramas. The cast is first-rate, the acting brilliant all round. Emma Thompson gave a definitely Oscar-worthy portrayal of a gentlewoman, Margaret Schlegel who is generous, honest, kind but torn between love for her sister, Helen (played by Helena Bonham Carter) and her pompous-and-brute-of-a-husband, Henry Wilcox (played by Anthony Hopkins). At the centre of the story is Howard's End, the beautiful country house/cottage which is a Wilcox's family jewel.

The story reminds me of an Asian belief that if something is meant to be yours (eg. Howard's End rightfully belongs to Margaret as it was actually "willed" to her by the first Mrs Wilcox before she died), then you will get it in the end, no matter what. Everything comes a full circle in the end, that's what it means.

This is one of the best period dramas I've ever watched it's definitely worth your 2-1/2 hours.

BRILLIANT!

I have loved this movie since I was a teenager. As far as Edwardian-set period films go, this is definitely one of the all time best. That's why it breaks my heart that after months of anticipating owning this film in high definition, the final product that I received is of extremely poor quality to say the least.

Unfortunately, it appears that there is a major issue with either the way this disc is being pressed over at Criterion or the way the HD master is being transferred onto the Blu-ray. The picture on my copy is FILLED with digital noise and snow. It's not just a mild amount that might have proved mildly distracting, but a thick layer of white grain that looks as if I'm peering through a blizzard.

I logged on to amazon earlier today to see if anyone else was having this same issue and sure enough, others are reporting the same problem on varying levels. The issue is definitely not with my player. I have a magnificent Oppo BDP-83 which always delivers the finest High Definition picture possible on my new Samsung LCD. Should I return my defective disc in hopes of receiving a corrected copy or just inquire about receiving a full refund? I'm really not sure, but I am certainly sad that I am being deprived of enjoying one of my favorite films due to a production error from the otherwise phenomenal Criterion collection.

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The filmmaking duo of Merchant-Ivory score yet again with this wonderful rendition of the E. M. Forster novel. There are many ideas that flow smoothly throughout the film: how fate has a way of catching up; how what is meant to be will be; how one can pay for the consequences of one's acts in totally unimagined ways. But beyond being a thought provoking film, this film also succeeds at every level as just a film. The absolute top acting talent is used for every role, with Emma Thompson deservedly winning the Oscar for hers. Anthony Hopkins renders the British capitalist of this time period flawlessly. His best line is, "The poor are poor because they are and there you have it." This is said in dismissing the plight of a young man to whom he gave the wrong advice. The opening scenes with Vanessa Redgrave and Emma Thompson showcase two different generations of English acting powerhouses on stage and screen. They are a delight to watch together. The costumes are out of this world and were obviously well researched and made to conform to every detail of the period. The same is done with the settings both in London and the country so that you feel as if you are back in that era yourself.

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As a motion picture industry professional, I am appalled at this transfer. Given the overall flatness of the base image, it was obvious that the transfer was from the original negative, or internegative (IP/IN). There is extreme noise in the shadows, manifested by a breathing oscillation in those areas, as if the Criterion/DI colorist was working with bad calibration parameters and either deliberately or unwittingly jacking up the shadows to an extreme and artificial level.

It is unwatchable.

I would have given it a rating of zero stars, but that was not an option in the dropdown textbook.

What is wrong with Criterion, anyway? Their black-and-white transfers (SEVENTH SEAL and 8 1/2) are utterly sublime. On my Pioneer Elite Kuro plasma I feel as if these films have that wonderful motion picture film-theater look-and-feel. Color materials, however, seem to be problematic for them; THE LAST EMPEROR was abominable: blown out highlights and very murky shadows.

Scott Brock

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This movie is pitch perfect in almost all respects. It is beautiful to look at,the parts are all well cast and the acting is brilliant. The happy redeeming ending made me feel good about myself and life though it comes after several tragic events. Some important themes are well examined in the plot and though melodramatic the story is well told and holds the viewer's interest throughout. I had to read the book after seeing the movie and was surprised how very faithful the movie was to it. The book and movie really enhance each other!

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Pirates of the Caribbean On Stranger Tides 5 Disc LIMITED EDITION (Blu-ray 3D, Blu-ray 2 Disc, DVD,

...and after the sound thrashing the critics gave it, I was not expecting to.

No spoilers, I promise.

Is it worth seeing in the theater?

Did you enjoy the first three?

Then the answer is a resounding yes.

I think the critics were expecting more of a rebirth for the franchise and that's not what this movie is.

It's called part 4 for a reason lol.

It's a definite continuation.

It was a little weird not having Orlando and Keira there but the new actors brought a wonderful new dimension to the film that after a few minutes I didn't miss Orlando or Kiera...not that I wouldn't mind seeing them in a future installment.

Ian McShane and Penelope Cruz were wonderful and perfect for this film.

So what was good?

Pretty much everything.

It's a Pirates of the Caribbean movie folks.

It's got action, action, and more action.

I've heard other complaints that it was paced too slowly.

???

Are you kidding, for a two hour plus movie this flew right by me.

The acting was excellent.

The score, pacing, cinematography was perfect.

A lot of people were turned off by the story line in part 3 and yes, it had it's moments of who's on first, who's on second, who is double crossing who in what scene from the next.

"Stranger Tides" does not suffer from this.

The story was interesting and enjoyable but not difficult to follow.

What didn't I like?

The first half of the movie is VERY heavy on action with little bits of dialog in between the chaos...not enough dialog actually.

The second half of the movie cuts back on the action and gives us way more character development and story.

The second half was actually much more enjoyable for me as the first half felt a tad unbalanced.

That minor gripe aside..if you loved 1,2 and 3 of the Pirates franchise, you'll enjoy this.

Not a rebirth but a darn good continuation of a series I love.

The magic has NOT been lost...

Funny.

A great story.

Incredible acting from everyone.

Entertaining.

Action...lots of it.

Can't wait for part 5.

Highly recommended.

In recent years, we've had franchises return for a fourth installment. Indiana Jones. Die Hard. Rambo. Scream. All of varying worth. Many critics say that these long running franchises returning for a 4th film never live up to the hype or to the series they are a part of. Well, 'Pirates 4' comes along to change all that. It is a sequel, coming 4 years after the last one(which is like 10 years in this generation where last week is old), it is a part 4, and it's wonderful. Critics say otherwise, but this is one movie where the audience has spoken, and they are loving it.

I could go into the story, but why bother? By now, everyone should know that Capt. Jack Sparrow(Johnny Depp)is back, and he is journeying to the famed fountain of youth, along with old foe Barbarossa(the great Geoffrey Rush), evil Pirate Blackbeard(the even better Ian McShane), and old flame Angelica(Penelope Cruz) who may or may not be Blackbeard's daughter. Along the way, our characters run across exciting adventures and scary mermaids.

First of all, people and critics were quite vocal on how the two sequels were too complicated, over-stuffed, and confusing. Thankfully, this latest adventure simplifies the material in a way that harkens back to the wonderful, and now classic, original 2003 film. There is now B and C storylines to dampen down the festivities. Everything is pretty simple and crystal clear and easy to follow along. In fact, the whole movie has such a refreshing air to it, that it really does go back to the original. The immense charm of the original film with Depp's Sparrow and humor is here in full force. The magic is there. The fun time, popcorn blockbuster is there. Part 3 was disappointing and was missing most of this, but it's here in spades with part 4. Also in abundance is the action. Part 3 was so long that the action felt few and far between. Here, there is plenty of action. The movie never slows down and is never boring. Ever. New director Rob Marshall keeps things moving at a fun and brisk pace. It's continuously watchable and gorgeous, like all the others, to look at. It is, without a doubt, the most fun and entertaining movie in the franchise since the first one.

The cast is great. Johnny Depp is these movies. People come to see him in this role and he doesn't disappoint in this one. He seems more alive, lively, refrshed, and as amusing as ever. Elsewhere, you will be wondering "Orlando and Keira who?" You won't miss them. Penelope Cruz holds her own as Angelica. Rush is as great as he always is in the other films. And then there is Ian McShane. He is just cool. Blackbeard is a character to be reckoned with, and McShane is so evil and icy cool, that he owns every scene he is in. There are new characters littered throughout the film, but none of them really bring much. I will say though, that the actrss who plays Serena the mermaid, and I don't remember her name, may be one of the loveliest beauties I have seen on the silver screen in some time.

The critics have not been kind. Some have been downright savage, and I cannot understand why. The audienc I saw it with clapped at the end. "On Stranger Tides" may not be so strange, but it delivers what everyone wants and hopes for in a Pirate's movie. Easily the best of the sequels, the movie is great fun. It has a new zest of life and has a sharp script filled with rousing action, some great dialogue, and some great humor. What more can you ask for? I am a huge fan of the franchise. Part 3 was not what everyone wanted, but "On Stranger Tides" does a great job of steering this mighty franchise back on course. Part 5 cannot come fast enough!

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My ratings are based mainly on the QUALITY OF THE 3D, not the video content.

Not counting the shallower effects, there are about 64 out of screen effects that extend about 10% of the way, from the screen to the viewer but approximately half of them are very quick. 2 effects made it to 20%, 11 around 25% and 5 more at 30%. The majority of the effects are after the first half hour of the film.

Honorable mention effects included swords being thrust through a door (20%) or being pointed towards you (30% 3 times), a boney hand (30%), flakes falling from an explosion (25%), and the grumpy monkey (25%). There is also a real nice 10% sequence involving a water drop.

The 3D in itself is very good but Disney did struggle with scene framing, focusing and lighting, to best benefit a 3D film. I should clarify that the focusing issue is just the blurring of foreground objects to draw the viewers' attention to where the director wants it. This tactic has been used a lot in recent years for normal movies but it is just not conducive to a good 3D viewing experience.

Don't get me wrong, this is a worthy addition to any 3D collection. 3D cartoons are easy to produce but for real life 3D, there is a definite learning curve.

*** Jack and the gang are great in 3D ***

MY 3D RATING = VERY GOOD (poor, fair, good, very good, excellent)

Note: As far as the percentages go, everyone's eyes are different. What I see at 25% you may see at 15% or 35%. To fully realize how far something is out of the screen for you, pause on an effect and direct a partner with an extended finger to the tip of what you are seeing. You may be surprised.

Click on `' for the lowdown on other 3Ds

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If there is one thing that is consistent with "Pirates of the Caribbean", you know that this film will make a ton of money in the box office.

And while many thought that the "Pirates of the Caribbean: At World's End" was finished with the third film in the trilogy, "At World's End" would be the last we would see of Jack Sparrow. But the truth is, that no matter how film critics have shown their declining interest in the film, the audience have not.

And with the release of the fourth film "Pirates of the Caribbean: On Stranger Tides", once again, the audience have shown their love for this film as it became the 8th highest grossing film of all time (worldwide), the third highest grossing film of 2011 and following "Dead Man's Chest" and "Toy Story 3', the third highest grossing film for Disney. The film which cost anywhere between $150-$250 million to make, earned over $1 billion in the box office.

VIDEO:

"Pirates of the Caribbean: On Stranger Tides" is presented in 1080p High Definition (2:40:1). And as one can expect from Disney, the picture quality is fantastic. The majority of the film is shot outdoors, at sea or during day or night and for the most part, detail is high, skin tones are natural and blacks are deep and inky.

And once again, cinematographer Dariusz Wolski should receive credit for his spectacular cinematography, from the "Pirates of the Caribbean" films to "Alice in Wonderland", Wolski is an expert in shooting in the darkest of scenes, underwater, in smoke and chaotic sequences and there is no artifacts, banding or any problematic situations in the picture quality at all.

Overall, "On Stranger Tides" is a fantastic looking film and looks absolutely wonderful on Blu-ray!

AUDIO & SUBTITLES:

What best than to present this film with a lossless English, French and Spanish 7.1 DTS-HD HR presentation. The surround channels are heavily used in Hans Zimmer's wonderful score to the swordfights, the sound of boots walking on the deck, the sound of blasts, the growl of the mermaids and scenery ambiance, and throughout all this immersive sound, dialogue is crystal clear and understandable.

The LFE for the film is wonderful and like the wonderful picture quality of the film, the lossless audio soundtrack is also fantastic!

Subtitles are presented in English SDH, French and Spanish.

SPECIAL FEATURES

"Pirates of the Caribbean: On Stranger Tides" comes with the following special features:

Disney Second Screen Viewers can watch the film simultaneously through their iPad or computer.

Disney Second Screen Bloopers of the Caribbean (3:25) Outtakes rom the making of "Pirates of the Caribbean: On Stranger Tides".

Audio Commentary Featuring audio commentary by director Rob Marshall and executive producer John DeLuca discuss the cast members, the making of the film and its challenges during production and more.

LEGO Animated Shorts: Captain Jack's Brick Tales (5:19) Featuring five Lego animated shorts for "Captain Jack's Brick Tales".

EXTRAS:

"Pirates of the Caribbean: On Stranger Tides" comes with a slip cover case. The Blu-ray release comes with the DVD presented in widescreen 2:40:1 Enhanced for 16×9 televisions, English, French and Spanish 5.1 Dolby Digital, English DVS 2.0 Dolby Digital and subtitles in English SDH, French and Spanish.

JUDGMENT CALL:

When it comes to popcorn action films "Pirates of the Caribbean: On Stranger Tides" manages to incorporate the fun, swashbuckling action of Jack Sparrow and Johnny Depp does a wonderful job of playing Jack Sparrow. But one's enjoyment is subjective, especially whether or not you have felt that your passion for the film series is starting to wane a bit.

After the third "Pirates of the Caribbean" film, I have to say that "At World's End" left me feeling bitter because it was not a great film to end the trilogy. But because these films make a tremendous amount of money, there is no way that we are going to see an end to this film series. In fact, a fifth film is being planned and Johnny Depp is returning, so as long as the audience continues to come out to see the films, I don't see why Disney should stop. People still love "Pirates of the Caribbean".

Personally, I enjoyed the film but unlike previous "Pirates of the Caribbean" films, it felt a bit light when it came to Jack Sparrow because there is so much emphasis on other characters. In fact, I found myself enjoying scenes with the Christian Philip (played by Sam Claflin)and the mermaid Syrena (played by Astrid Berges-Frisbey), which for me was the replacement characters for Will Turner and Elizabeth Swann (Orlando Bloom and Keira Knightley's characters for the previous films). But unfortunately, where Turner and Swann had staying power for three films, not sure if we are going to see Philip or Syrena ever again.

While "On Stranger Tides" continues to be a fun, adventurous popcorn action film, I did enjoy seeing Penelope Cruz playing the character of Angelica Teach, a compassionate/cutthroat ex-lover of Jack Sparrow and Ian McShane as the legendary dark pirate Blackbeard was quite fun to watch as well. And seeing Barbosa, it was no surprise to see his return to the film as well.

But "On Stranger Tides" tries to showcase many other characters as well and truth be told, aside from Gibbs who has a place in the PotC films, everyone else didn't. For example, in the first film, there was a sympathetic feeling towards Sparrow and his crew, but this time around, you really had no sympathy for anyone's crew. If anything, you just wondered when will Jack Sparrow be back on his ship instead of being Indiana Jones/Blackbeard's grunt. This is one side of Jack Sparrow that we have not seen in previous films and I'm not sure if I like him in such a non-commanding role.

But however one feels about "On Stranger Tides", similar to films like "Transformers", these are popcorn action films that people come to see and have a good time, not for anything deep or mind-blowing. You get action and a ton of special effects and in that sense, "On Stranger Tides" does not disappoint.

But when it comes to this Blu-ray release, one thing that does disappoint is the fact that we are getting far less than the five disc version when it comes to special features. Picture and lossless audio is fantastic but I was surprised to see only three special features including the audio commentary included with this release. But it appears that Disney really is pushing for the 3D 5-disc version which has nine special features over its 2-disc counterpart which has only three minus the second screen.

Overall, "Pirates of the Caribbean: On Stranger Tides" is a fun film and from the crew fight on the Queen Anne's Revenge, Jack Sparrow's escape from British custody to the encounter with the mermaids, there are many fun action scenes in this film. But in terms of story, I still prefer the first original film, but there is no doubt that the visuals and overall production design is much improved in this latest film.

If you are a fan of the series and own the trilogy on Blu-ray, or you are just a big fan of the film or its talent, you're definitely going to want this film in your collection. But if you are wanting the best version of this film released on Blu-ray, you may want to look into the 5-disc version over this 2-disc combo pack as Disney chose to include most of the bonus features on the 5-disc release.

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I am a big fan of the Pirates movies and Johnny Depp. The third one was my least fav but have watched it over and over. This movie was fantastic contrary to what the critics said. What is wrong with them??? Maybe they didn't see the same movie?? All the actors were fantastic, the storyline was great and fresh and the humor was at times rib splitting for me. The bed scene with Barbossa, Jack and the skeleton of Ponce de Leon is hysterical. Penelope Cruz did a great job as a pirate both going up against and laying down with our Jack Sparrow!! Lucky girl!! The story was new and different------but still had the same magic of the pirates and some of the old familiar faces and fall backs to the other movies and of course Jack's humor and tricks but added new faces and different locations. I loved it and highly recommend it! Can't wait till #5 comes out!