Animation - Space Battleship Yamato 2199 (Uchu Senkan Yamato 2199) 2 BCXA-486 (2012)

I was in the 3rd grade when the original "Space Battleship Yamato", dubbed and Americanized as "Star Blazers" aired on my local independent TV station. I was hooked. At that time, it was by far the best TV animation I'd ever seen. A real story, with both long term plot and character development, was unheard of in 1970s children's shows. Now, 35 years later, I see "Yamato 2199," a re-imagining of the story, in Hi-def Blu-Ray, with English sub-titles right out of the gate. Truly awesome. If anything, the plot and characterizations are more gripping, more developed than the original. The animation is a nice mix of 2D and 3D styles. The original full orchestral score, another great feature of the original, is maintained and expanded here. My only complaint is now, having seen the first 6 25-minute episodes on the first 2 discs, I have to wait for who knows how long for the next to be released. I got the first disc as a birthday present and had to immediately use my gift cards to buy the second. Best present in a long time. I can't say enough good things about it. Buy it; you won't be disappointed.

Space Battleship Yamato 2199 is a remake of the almost 40 year old Japanese Anime, Space Battleship Yamato. For those in the know, this original series, which was actually 3 series total, was what was made into the US and Australian release called Star Blazers. That "little known" series, Star Blazers...

Story goes that the Earth is in its death throes, as the planet is being attacked by Gamilians, an advanced race of beings similar to humans with the exception of their skin color. The Earthlings have been instructed by Starsha, who has sent her 2 sisters to Earth, to use the Wave Motion Engine to journey to her home planet, Iscandar. There they will supposedly find the means to restore the decimated planet Earth to its former glory.

The episodes on this disc we get the first use of the Wave Motion Engine, first use of the Wave Motion Cannon (called Wave Motion Gun in subtitles), the Yamato answering a distress call where Kodai finds a fallen hero, Yuki and Kodai get a little closer and a fight against the Planet Bomb system. And we are introduced further to Lord Dessler, the leader of the Gamilians.

There are 4 episodes on this disc.

I've reused some of the text from my previous review of 2199 disc 1, since the video/audio/pakaging stay pretty much at the same quality.

To help those that aren't Japanese readers/speakers, to turn on subtitles you can do it 2 ways.

1) Wait for the main program to start

2) Press the subtitle button on your remote and switch on English

The other way:

1) wait for the main program to start

2) Press your Pop Up Menu option

3) Press DOWN on your remote (ON, which appears on the pop up menu, should turn GREEN)

4) Press ENTER on the remote

5) Press Pop Up Menu again and you should have subtitles

BLU RAY REGION ENCODING: from all my testing, all of the Yamato 2199 discs released so far are Region Free and should play in any player.

Video:

One thing you can hand to just about any Japanese release is that it will have the highest quality possible, even if it might be something you wouldn't notice in practice. Yamato 2199 is no exception.

The video is encoded in AVC. The bit rate sits strong at 35 39 mbps. Given the audio is in LPCM at 2.3 mbps constant bit rate, this is about as high as I've ever seen in video bit rates.

This translates into rock solid video quality, with no compression problems to be seen. Anywhere. Ever. Simply looks amazing.

Audio:

LPCM audio running at a constant 2.3 mbps. This is a Japanese audio track only. Music is clear. Dialog is clear. Stereo separation is very good as well and they use the sound stage well.

If you are looking for English audio, similar to what Gundam Unicorn has, you will be disappointed. This disc is Japanese spoken language only. There are English subtitles, which I discuss below.

I have to make a comment on the music. The music captures the 1970s sound perfectly. Well, just about as perfectly as you can capture it in 2012.

Subtitles:

I don't usually rate subtitles, but since this is a Japanese release, I felt it a good idea to add to my normal BD review format.

The subtitles are well done. White subtitles. The translations, for the most part, are spot on. They do a good job trying to capture English idioms with the translations, much the way localization generally happens when an Anime is licensed for US release. I believe the subtitle company is actually NYAV Post, which is also the company doing subs on Gundam Unicorn, which are also very good as well.

If you don't mind reading subtitles, you should have no problem understanding what's going on.

Extras:

The extras are, unfortunately, Japanese dialog only with no English subtitles. This is kind of disappointing since you pay so much for the discs, but they ARE targeted at the Japanese audience first and foremost.

On this disc, you have an audio commentary for episode 3. There is a 47 minute look at the launch of the series, with a look at the Japanese premier of the series. They show off what is, honestly, an amazing remastering of the original series for Japanese Blu Ray. Wish I had the cash for that... Sasaki Isao sings the theme live and more. Definitely worth checking out for that at least (he also sang the opening for the original TV series... for a 70 year old he looks and sounds good!). Also included is a 22 minute talk with character designer, director, and composer and some of the voice actors. Also worth watching.

You cannot turn on the audio commentary through the audio button on the remote, it has to be done in the extras menu. If someone needs help figuring that out, leave me a comment in my review and I'll do what I can to explain how to get there.

In terms of other extras, there is a nice printed booklet included. Inside are character and mechanical designs and a synopsis. If you can't read Japanese, you can just appreciate the nice design artwork.

Packaging:

If you were lucky enough to purchase this disc during the First Run, you would have gotten a nice cardboard slip cover. Otherwise, you get the cover artwork you see in the Amazon listing above. On the back is a synopsis, disc stats and a hand full of screen captures from the included 2 episodes.

Over all:

The show is... amazing. Absolutely one of the best Anime series I've seen in a long, long time. They did a fantastic job of following the old series but injecting newness into it. For me, the price was worth it (I actually ordered from Amazon Japan and got a few of the 2199 releases to save on shipping).

It is painfully expensive, but worth it if you can afford the luxury.

If you have the means, this is HIGHLY recommended. If it is ever licensed for domestic US release, buying it should become a no brainer for everyone.

Buy Animation - Space Battleship Yamato 2199 (Uchu Senkan Yamato 2199) 2 BCXA-486 (2012) Now

While I absolutely hate the character designs for everyone but Sanada and Okita, the acting, writing and direction is really top-notch with plenty of nods to the relative camp of the 70s version. The sound is well-mixed with voices being perfectly audible even if you're just using the two speakers in your TV instead of some fancy surround setup, and a lot of the old timey sound effects from back in the day are recycled for that true Yamato feel. I have a feeling this will confuse and annoy younger viewers who might not have been alive when the original series hit the airwaves, but such is life.

Beyond the content is the disc in the box, and Bandai did themselves many favors by rolling their own English translation right out of the gate. The fact that the US is now in the same "region" as Japan as far as Blu-Ray DRM is concerned is another serious win for everybody. There are some extras on each disc, but none of the ones I've seen have been all that engaging.

The price tags on the imports are definitely quite daunting, though that can be mitigated somewhat by ordering in batches through amazon.co.jp. All I can say is, if you are even *thinking* about committing the funds to these discs, you will not be disappointed by what you get for your money (unless you're one of those people who likes terrible dubs of course). There are no English menus, though, so be prepared to look some stuff up in your dictionary if you're not especially fluent.

Read Best Reviews of Animation - Space Battleship Yamato 2199 (Uchu Senkan Yamato 2199) 2 BCXA-486 (2012) Here

What always disappoints the fans of any show is that when there is a remake of the show they always take creative design and add something to the new version.

I liked the Movie that was made in Japan. Don't get me wrong. But sense I was just a kid when the original T.V. show was released here in the United States, I kind of expected more for the film. Not the least was to follow the original show. You kind of Expect more of the big things from the Series (Wave Motion Gun got one scene. Come on people, not what the fans looked for.)

The re-due was great. They followed the original show almost to a `T'. It did not disappoint as far as I am concerned. Even the things that were changed were great. The new ships hangar was made in a way that might even give you the idea that it could fit in the ship. I was not disappointed.

Truth be told, I actually ordered this disk by mistake. Now that I have it and have watched it with the sub titles, I don't regret clicking the wrong buttons.

My hats off to the creators of the story. I would like and hope that they intend to remake the entire Yamato line of shows from the original days.

If you liked the old show, or are a fan of Anime, I recommend these disks.

Want Animation - Space Battleship Yamato 2199 (Uchu Senkan Yamato 2199) 2 BCXA-486 (2012) Discount?

The Magnificent Seven (1960)

Yul Brynner, back in the late 1950's, wanted to direct an American version of the SEVEN SAMURAI, as an western. So he bought up the movie rights. He wanted to cast Anthony Quinn in the lead, as Chris. Brynner had been directed by Quinn in the remake of THE BUCCANEER. Quinn would have been great as Chris, the leader of the Seven; and what a different film it would have been. But, alas, Brynner himself took the part, and put his own stamp of individuality on it. He walked like a cross between a panther and a ballet dancer; light on the balls of his feet. Ironically, as an actor, he was slow on the draw, and not used to Westerns. But artistically, this was never apparent in the finished film.

Many of the Seven's actors had seen the Kurosawa film, and they were very excited about transferring it to the American West. Eli Wallach, as Calvera, in just a few short scenes, found both the humor and the cruelty in the bandit chieftan. His accent and speech pattern were fairly authentic; more so certainly than the young German actor, Horst Buchholz, endeavoring to find a southwestern/Texan/Mexican drawl. Director, John Sturges, had great hopes for Horst; the camera loved him. But it was the trio of studs, Steve McQueen as Vin, Charles Bronson as O'Reilly, and James Coburn as Britt, that dominated the frame.

Steve McQueen, wearing skin-tight leather stovepipe chaps, spent a lot of time finding ways to upstage Yul Brynner. There was a rumor that he would have preferred playing Chico, the Buchholz character. McQueen's manic physical performance, lightning fast with a pistol and a quip, seemed to work well for him, and it gave him more than his share of focus. His Vin emerged as lethal, lean, and hungry; yet weary of the gunfighter's plight, and envious of the simplicity and the honor of the peasants fighting for their families and their homes.

James Coburn, as Britt, was laconic and dangerous, and living on the edge of his blade; competing mostly with himself for the next big thrill. Coburn got the part he wanted, and though he was given minimal dialogue, his deliveries were classic. This set the mold for his future career.

Charles Bronson as Bernardo O'Reilly, half-Irish, half Mexican, was solid as a rock; an experienced stone killer, and yet still a soft touch for the children of the village. His death scene touched us. He found the pulse of his character, and he was both dangerous and decent.

Robert Vaughn, as Lee, seemed uncomfortable and lost. His part had been rewritten, and expanded for him. Yet he seemed ill-suited for the part, and the genre. Even his costume seemed ill-fitting. Part of the problem was that his characters' inability to participate in the first couple of firefights left us with little sympathy for him. Later then, in his scene with the peasants, in which he admitted his fear, the emotions seemed forced and poorly conceived. His last moment heroics and death did little to balance the scales.

Brad Dexter was nearly invisible. He is the one actor in trivia games no one can remember. His character, Harry Luck, with twice the dialogue as Coburn, paled in comparison. Part of it was Dexter himself. He was a bland, middle-of-the-road, B-Movie heavy, and it was odd to cast him, and thrust him in amongst all of those young turks. He did a credible job, but he was completely outshined by the future super stars.

Vladimir Sokoloff, as the village's "old man", gave such a wonderful and touching performance, one did not realize the actor was not Latino. Like Eli Wallach, his talent as an actor transcended ethnic boundaries.

John Sturges, a veteran director of westerns, found just the right balance of action and character. Mexican farmers substituted fine for the original Japanese farmers. And brigands, or bandits, are cut from the same nasty mold no matter what the era, or geography. Kurosawa's classic runs like 3 hours in length, and it gave us much more in-depth character development; so that when these samurai began to die, we cared about them. In 1959, when SEVEN was filmed, three hour westerns were a non-existant species. Elmer Bernstein's musical score was revolutionary, and its pounding stacatto beat has become one of the most recognized pieces of music ever created for film.

This western, always listed in the top 50 best westerns, is a must-see. And the DVD version, in widescreen, is crisp and clear and colorful, and it helps us to recapture that magical feeling we had the first time we saw this film in a movie theatre.

MGM has just released the DVD of "The Magnificent Seven", perhaps the very last of an epoch of classic westerns. Poignant and sad, yet thrilling and action-filled, this cinema classic became a model for 100 action flicks to come. It's an early peek at the emerging movie anti-hero of the 60's and the 70's. An embattled farming village in Northern Mexico hires an unemployed gunslinger from Dodge City. Chris, played by Yul Brynner, recruits six more guns and takes a bloody stand against forty invading banditos. The film opened in 1960 to mild reviews. It was sent off to Europe, where it exploded with positive response. "The Seven" returned to the U.S. to wide acclaim, and as co-star James Coburn says in the documentary, "It's been playing ever since..." John Sturges filmed "Bad Day at Black Rock", "Gunfight at the OK Corral", and "The Great Escape", but history confirms that the meticulous out-door director achieved his artistic peak with this star-studded spectacle, featuring Elmer Bernstein's now classic theme. The film was followed by 3 sequels and a TV show that ran for 2 years. The DVD sound dialogue is a bit muted. The anamorphic 16:9 picture is perhaps the clearest ever, though you'll see some grain fallout during the lap dissolves. An audio commentary track with producer Walter Mirisch and several actors comes with 2 trailers and photos from the actual shoot and cast party. The real jewel of this new DVD is a brand new 46-minute documentary featuring interviews with all the major surviving stars, except Charles Bronson, who just turned 80. Charles Coburn, Eli Wallach, and Robert Vaughn re-live the adventures of filming this epic on location in Cuernavaca, Mexico. Amusing tales of future super-star Steve McQueen are revealed by his ex-wife. McQueen intentionally crashed his sports car to leave his TV series, "Wanted Dead or Alive", and join the cast of "Seven". Yul Brynner so enjoyed his all-black gunfighter attire that he repeated the same exact outfit in at least 4 more movies. Yul Brynner died of lung cancer in 1985. Steve McQueen died of cancer in 1980. Thanks to this timeless and valuable DVD, "The Magnificent Seven" may never die. After the raging battle ends, Brynner's character looks down on newly dug graves for the brave villagers. "We didn't do it.."he says. "Only the farmers win. We never win..."

Buy The Magnificent Seven (1960) Now

This review refers to the MGM Special Edition of this film....

In this time when we are looking for heroes to fight off terrorists, this is the perfect movie to watch.

Based on the Japaneese classic "The Seven Samurai", this story is set in a small farming village south of the border. A band of outlaws, lead by the ruthless Calvera(Eli Wallach), are terrorizing the town, taking the food and supplies of the hard working but meek farmers. They go the the elder of the town seeking advice. He tells them to buy guns and fight back. But guns are expensive and hard to come by. They gather up the little money they have and hire seven gunmen to help stave off the mauraders.The men accept, for little pay,mostly because they are broke,but we come to see they are moralistic and believe in the cause.

The gunmen are tough but each with his own special charisma.

These are not heartless anti-heroes(although at times some may seem that way), they bond with the townspeople, share food with them, teach them how to defend themselves. There are some touching scenes of them working together (one even forms a fatherly relationship with some of the children), and there's even a touch of romantic comedy.

The standoffs with the outlaws ensue, the gunmen and the farmers fight shoulder to shoulder.Although some of our heroes are lost, good does triumph over evil. This is a the definitive film for western lovers.

Not just a great western story, the cast is also magnificent.All these legends in one film, Yul Brenner, Steve McQueen,Charles Bronson,James Colburn, Robert Vaughn, and with Brad Dexter and Horst Buchholz. The musical score by Elmer Bernstein is a huge part of the film, just try to get it out of your head afterwards, you know the one, used to be the theme song for the "Marlboro Man". Director John Sturges gives a real western feeling and the cinematography to go with it.

Already know you love this film and wondering about the DVD?

The DVD lives up to the name of "The Magnificent Seven" The transfer is one of the better ones of a film from this era(1960), I think I saw one glitch(But I was looking for them)that was so fast, hardly worth mentioning, The colors are glorious, The widescreen is in the original theatrical format, and it's perfect,The Sound is in 5.1 Surround and also in the original mono, take your choice,the score is Magnificent,and dialouge crisp and clear,The Picture is bright, even the night time scenes are easily distinguishable,Nice Packaging (A nice case with booklet inside), and the "Extras" will keep you busy all day, there's a documentary making of, still photos(Lots),Trailers, and Audio Commentary which runs through the whole movie if you want to watch it that way, and more.

"The meek shall inherit....." with the help of "The Magnificent Seven" Enjoy....Laurie

also recommended:

Great Hollywood Westerns: Man Without A Star

The Wild Bunch (Special Widescreen Original Director's Cut)

The Greatest Western Themes

Read Best Reviews of The Magnificent Seven (1960) Here

Enough has been said in the past about this fantastically entertaining movie, so I won't bore you with anything more. My comments concern the DVD, it's nicely presented, with an interesting documentary and feature commentary, certainly a bargain given the incredibly low price tag.

The 5.1 sound remix is excellent, but I have to say that the very obvious grain and print damage on the movie itself knocked my assessment of the DVD down from a 5 star rating to 4 stars. I realise that the movie is over 40 years old but some of the print damage in very noticeable, and given modern cleaning techniques I think it is difficult to believe that at least some effort could have been made to clean things up a bit. Having said that this DVD is still greatly superior to any VHS copy I've seen and well worth the money despite its flaws.

Want The Magnificent Seven (1960) Discount?

I am a huge fan of Steve McQueen and as such purchasing The Magnificent Seven on Blu Ray was a no brainer for me, a true must purchase item.

This movie is a classic and set a very high standard for all Westerns to come. With that said, this review is going to deal with the actual Blu Ray transfer , both video and audio , and not the plot or performances contained in it.

This being another 'quickie' catalog release from MGM, a studio in bankruptcy, I was not expecting too much here and afraid the technicians would just slather the image with tons of DNR, Edge Enhancement and call it a day. Luckily for me and all fans of this film I was wrong! Phew!

Here is the good news: This film has not been DNR'd to death at all. I can't see any actually, and as for edge enhancement, I just don't see that either. GREAT! A pretty natural looking image, nothing spectacular, but solid color and an almost fully stable image. There are a few very short instances of 'image/telecine wobble' but nothing too severe and only a few times. Chances are most folks won't even notice it.

Generally the image is pleasing,. Although there are SOME soft shots, a few horrible looking grainy shots, a bit of mosquito noise on certain blue sky shots and a grainy blurriness every single time the picture dissolves/fades into another scene, rather than a clean cut. I watched this carefully and noticed that most of the video problems occur in the first 50 minutes of the film, with the remaining hour and 18 minutes being just about issue free and VERY nice to look at for a 1960 film. Seriously, unless you are picking it apart, you will just notice a few soft grainy shots and everything else should look pretty good to you, bordering on very good.

Note that this transfer is not anywhere near a reference catalog title and stands no chance of winning Blu Ray release of the year or anything like that. I absolutely think most video reviews on name brand reviewer sites have inflated the video quality of this transfer. It was no where near as good as I was expecting, but then again no where near as bad either! Did I enjoy watching it? YOU BET! I can honestly say this is the very best this film has looked in home release format. EVER! Period!

The sound fares better than the picture I think. A decent DTS HD Master Audio 5.1 track is your only option. Basically this film is front heavy and center heavy. Every now and then you might get a gunshot or ricochet in a surround speaker, but most all the action and sound takes place up front and in the center channel. On the other hand, there is more LFE for your Sub than you would expect. Only a few lines of dialogue here and there were hard for me to hear, even with my surround system cranked up a bit. Most of it is clear as a bell with both music and sound effects sounding fine. I ran into a small segment towards the end where the audio/video sync was off. It was not my system and I could duplicate it multiple times with the problem always occurring in the same spot. When Charles Bronson paddles the kids behind, you see it, then hear the whack whack whack! Since the mouths are moving BEFORE the sound, the delay adjustment on your receiver will be useless. Fortunately, this disappears in a few minutes as if it had never happened and mouths and words match up once again. I have only ran into an actual disc/audio problem once before and that was on the last Dirty Harry movie, The Dead Pool. I am convinced that both discs have some sort of authoring problem that causes this.

**If you see the same sequence and the sound IS in synch please write a comment on my review so I know it is my gear and not the disc. Thanks.

There is a pretty nice selection of extras on this disc. Most come directly ported over from the 2 DVD collectors set. The audio commentary is particularly good, with stars James Coburn and Eli Wallach, plus the producer and assistant director. Not bad and at times quite entertaining and informative. When I really love a movie I tend to eat this stuff up and this was no exception. Also included is a very nice 46 minute 'making of' type documentary that offers lots of good stories and trivia. Another 15 minute documentary on composer Elmer Bernstein's score, and yet another shorter 'making of' piece called 'The linen Book'. Add to all of that two trailers and you can see this is a pretty hefty offering for bonus features.

The Magnificent Seven was a big hit, first in Europe and then in America. It is still revered today by both classic film buffs and Western genre fans. I love it because it launched Steve McQueen into stardom. It has a lot of appeal that works on many different levels. The score in particular is as rousing and inspirational as has ever been heard in a Western and all by itself it is an American Icon. You immediately conjure visions of the Old West and wide open spaces when you hear this music. Add an all star cast and great direction from John Sturges and you get one heck of a Western and one heck of a movie, period! Highly recommended!

Save 41% Off

Last Year at Marienbad (The Criterion Collection) (1962)

Last Year at Marienbad is a "love story," although not a "story" in the conventional narrative sense, since the fragmented images cannot be scanned chronologically. The "story" is not told rather it is described using a juxtaposition of physical images, through memories and associations, projected through a space-time continuum, which destroys both linear chronology and fixity. Resnais built a captivating puzzle-like film, a labyrinth, which at time resembles the optical illusions of Escher or the surreal world of Magritte. Any attempt to provide a satisfying chronology for the film would contradict the assumptions upon which it was built, as well as the manner in which it is presented.

Marienbad is a cine-roman, a cinematic novel, that is, a particular way to tell a story, which by definition involves space and time. It is not simultaneously a novel and a film, but it uses certain techniques of the novel and of the cinema. Resnais uses a variety of cinematographic techniques: the use of "atmosphere," or mise-en-scene, to provoke an emotional response on the audience's part; the use of "dream" sequences, flashbacks and flash forwards as they relate to imagistic or observational characterizations of a character's imagination; the use of visual and audio montages to disrupt the chronological time and replace the temporal and linear narration by his mise-en-scene's spaces. As a result, it is necessary to view each Resnais film completely in order to understand its structure and discourse. This is especially true for Marienbad, where a second and even a third viewing are necessary to fully appreciate the structure and the details.

Marienbad is lyrical, but by its framings, has the precision of a documentary, undermining the cinematographic writing and heralding the future films of Duras, Robbe-Grillet, or Jean-Luc Godard. Resnais uses extremely short scenes, with purposely too dark or over-exposed shots, obscure image flashes, shot with reframing that allow for the intrusion of characters. Certain scenes are repeated several times, with variants. At times, the actors' clothing changes in the same scene, resulting in blurring the distinctions between past, present, and future, reality and fantasy The fluid camera moves everywhere with unrestricted freedom, a character unto itself. The dialogues are in the form of leitmotifs. The secondary characters utter disjointed, repetitive bits of conversations, and have a strange tendency to freeze in mid-sentence, or even to speak without making a sound. All of these effects are mesmerizing, and contribute to destabilizing the viewer. The mystery is further sustained by the names of the characters, which are only initials.

Everything contributes to destroying chronology and setting an ambiguous mood. The music at the film's "beginning" is typically "end of film" music. Using staggered sound tracks of the narrator's (X's) voice after the music further enhances this impression. Through most of the film, the sound of a single organ, playing an excruciating music score mostly in a minor key which seems to have come from a horror film, accompanies the action. Minor keys conjure melancholy and insecurity. X and A, dancing a slow waltz whose music, instead of being joyful and exuberant, recalls Sibelius' Valse Triste, does not contribute in any way to lighten the mood.

Games are pervasive in this film, symbolizing destiny (dominoes), and also the domination of M (who plays poker with determination and coldness, successfully bluffing his adversaries). But the most notable game shown in the film is a variation of the game of Nim, which from the release of the film on became known as "the game of Marienbad." M haughtily announces "I could lose, but I always win." In this particular version of Nim, which is based on binary representation of the number of items in the game at any give time, the one who first starts the game cannot win against an experienced player, such as M. And M, who proposes the contests, always manages, under the cover of courtesy, to make his adversary begin the game.

The first theme of Marienbad is love, which does not require much explanation. X is or was in love with A (or was it with A? If not, then A will do), and A, as befits any beautiful woman, plays hard-to-get (or maybe she is not attracted by a bore such as X).

The second theme is Resnais' favorite: the elusiveness and subjectivity of memory, but also, its persistence and inescapability. As in Hiroshima Mon Amour, Resnais explores the effects of time and memory on the emotions of a pair of would-be lovers. In his hands, the time elements of memory, whether retrospective or prospective, find realization as cinematic images, which the author manipulates through editing, effusing a non-chronological structure to his work. In Marienbad, Resnais shows us the hotel, its corridors, its salons, and its garden, together taken as an explicit metaphor for the "mind," traveled by the roving camera, the "self" exploring its memory.

There are so many things to discover in Marienbad that, like the "story," the possibilities are endless. There are two possible ways of viewing this film. In the first, a Cartesian approach, the viewer will try to somehow impose a linear, rational structure and invariably will find the film difficult, if not totally incomprehensible. In the second way, the viewer will just let him or herself be carried away by the extraordinary images and the mise-en-scene, and he or she will find the film completely obvious. And the "bonus" resides in the fact that upon subsequent viewings, one can reassemble this puzzle-like film in as many different ways as one's imagination allows, making it each time a new viewing experience. Viewers in the first category will probably give the film a negative rating; those in the second category will give it a five-star rating. I give it a five star.

LAST YEAR AT MARIENBAD is virtually without peer in the cinema. It has caused a great deal of controversy over the years, with some claiming it as one of the greatest films ever made, others claiming that it must be some sort French joke on the audience. For those of you familiar with French films in general, you know that bad French movies tend to consist of a few characters discoursing about love in a stilted, soap-opera-like manner. Set against this context, LYAM is indeed a joke, a brilliant satire. The banality of the love triangle also pokes very Gallic fun at the annoying cliches of Hollywood melodrama. Part of the confusion caused by this film comes from the standard nature of the plot our expectations about how this type of film should work are constantly set up, then thouroughly compromised from the opening sequence of the movie. Viewers are rarely cognizant of just how much we have internalized standard Hollywood techniques as the ONLY way of using cinematic forms to tell a story, which should have a beginning, middle and end, but MARIENBAD cannot be understood this way, although there is indeed a progression to this bizarre narrative, which takes the form of Man Y's increasingly elaborate explanations of what might have happened between him and the Woman in her room, which might have been either rape or seduction. It is a profoundly VISUAL film that can only be understood if you use your eyes carefully. The action is split completely from the dialogue, which goes over the same issues again and again in settings that indicate different times of day and of the year. Some of these scenes are flashbacks, some may only be the narrator's fantasy. In MARIENBAD, past, present and future coexist simultaneously. What MARIENBAD dramatizes is the relative quality of human memory. We tend to organize our perceptions of the world in linear fashion, but memory is non-linear, collapsing past and present into a single entity. Subjectivity is crucial to understanding MARIENBAD, which examines the way in which each participant in a given event experiences the same event differently. Lawyers know that if you have six different eywitnesses to an event, you will get six different stories about what happened, and this relativity of memory is basically what MARIENBAD is about. Once you know this, MARIENBAD is actually quite easy to understand and to follow, at least in terms of the "plot." Now just sit back and admire the unbelievably rich technique the film uses to explore this idea. The moving camera tracks by frozen humans, assimilating them within the overall decor, are combined with astonishing editing techniques which alternately slow down or extend time itself through fragmentation or repetition. The performances (and the actors REALLY ARE BRILLIANT I can hardly imagine how difficult this film must have been to act) accomplish the same thing through similar means. This film should be watched at least 3 times, once just to accustom yourself to its unique rhythms, a second to appreciate the complex structure, and a third for the humour of it. MARIENBAD is a truly mind-boggling experience.

Buy Last Year at Marienbad (The Criterion Collection) (1962) Now

Be warned up front that this movie will not suit everyone. This is film as art and it is in black and white; there are those who hate it and those who love it. It is subtitled in English but you will enjoy it even more if you understand French because the off voice is often hauntingly poetic. It was filmed on location in Bavaria, Germany, near Munich at the palaces of Nymphenburg and Schleissheim. The script is relatively easy to find both in French, L'Annee derniere a Marienbad, and in English under a title slightly different from the one of the movie: Last Year in Marienbad.

I greatly admire and love this movie; I believe it to be a masterpiece of French cinema. This is a work that you'll watch over and over and of which you will not tire. A labyrinthian intrigue unfolds in an icily beautiful sprawling baroque palace --a dream-like deluxe palace hotel where tuxedos and evening dresses are de rigueur . Along with the protagonists you will enjoy losing yourself over and over in this enchanted yet disquieting movie.

He ("X " in the official script --he remains nameless in the movie) and She ("A" in the official script --also nameless in the movie) had met last year at Marienbad (thus the title). That's what he says. A romantic encounter, apparently. A short-lived affair, a summer long liaison? The true nature of their relationship is never disclosed. If they did not have an affair might they not have exchanged only a promise to elope, or merely agreed to meet again a year later? Did He grant her one year's reflection time to decide whether to follow him and leave her husband? Ah, yes, her husband is there also, a witness and party to this mystifying situation; quite a dispassionate and remote witness though. Yet he genuinely loves her, well at least he seems to care about her, in his cold, aloof way that is. Would the husband know more about the matter than he lets out? In some European legends it is Death who sometimes grants a one year reprieve to her victims, could it be... too farfetched an interpretation since death is at no time mentioned in the movie. Your guess will be as good as mine.

But, again, did they actually meet last year at Marienbad? X/He argues they did, obsessively. A/She pretends having no recollection whatsoever of the event and denies everything. Of this encounter He is absolutely, passionately convinced; but her denials and her rejections of his advances appear no less sincere and convincing.

One of them must be in error if not lying, fatally, but who? Did He actually have an affair with her or is he deluded and raving mad? He keeps trying to wake up her memories, relentlessly, but has she such memories? His off voice resounds along the empty hallways like an incantation; would he be attempting to captivate, hypnotize, or bewitch her? Is She amnesic or deluded, truthful or lying? What motives would move him, or her, to keep pretending so maddeningly? Who will convince whom? And how is it that her husband cannot ever be defeated at that mind game of his that became the rage after he initiated the male guests?

Welcome to Marienbad! Wait, no, this is not Marienbad! Marienbad was last year of course, supposedly at least; this is another place, nameless. A sumptuous palace of endless corridors lined with gilded baroque stuccoes and ornate mirrors, icy cold in the midst of a brightly sunlit summer; viewer beware! You have entered a universe of pure fiction, your old points of reference, your habitual rationality and expectations are worthless. Already X, once again, weaves a vortex of deja vu, lies, delusions, obsessions, dreams or are they genuine memories? How will you tell? His voice charms you, draws you into his world beyond the hotel, and when the night will have fallen on the grounds you will realize, only too late that you cannot escape him, you cannot leave; you will be, as I am, one of the guests --forever.

Read Best Reviews of Last Year at Marienbad (The Criterion Collection) (1962) Here

Alain Resnais makes Terrence Malick look like Guy Ritchie. You will often read the word "dreamlike" in connection with this film but that's misleading in a way because it implies the soft, CGI limpness of today's film fantasy fare. What makes this movie's other-wordly quality so unsettling is how deeply rooted it is in the real world in the concrete and the solid. It's full of walls and heavy furniture and large rooms and weighty doors and formal gardens and attire. In fact, it's so loaded down with its own visual weight, it shouldn't budge. But it floats and soars and weaves memory and desire together so deftly that you constantly feel as though you're flying through the interiors, a kind of all seeing though never quite fully comprehending spirit. This is a marvelous film. One of the best ever made because it works on you for days, weeks and even years after.

Want Last Year at Marienbad (The Criterion Collection) (1962) Discount?

People tend to either love or hate this film. Whilst some adore it's labyrinthine, non-linear structure; the playfulness of the imagery; and the innate contradictions between the voice-over narrative and the visual imagery, others consider this irrelevant and tedious.

The subtlety of the film in both the auditory and visual modes encourages examination. Why do the figures in the garden cast shadows, when the garden itself doesn't? The film has the texture of a dream, reminiscent of the eerie paintings of Paul Delvaux and Giorgio de Chirico.

This is a film that all students of the subject should see. It is not an easy film to watch, but an endlessly rewarding one to consider and reconsider. It is a film for those who believe art should challenge.

Kiss of the Damned (Alternate Artwork)

Kiss of the Damned pays homage to Italian horror cinema and Hammer Horror films of the 1970's, minus a lot of the cheesy qualities that plagued some of those films, most of which were due to budget restraints. This film doesn't boast a huge budget either, but clearly director Alexandra "Xan" Cassavetes knows how to effectively spend that small budget. No doubt her famous families background in cinema has given her the necessary tools to be a talented director in her own right. Her brother Nick Cassavetes directed Alpha Dog and the Notebook, her father was Guy Woodhouse in Rosemary's Baby, and she has previously made a documentary, but her Silver Screen directorial debut is impressive.

Albeit a vampire movie, it is a quintessential vampire movie, sticking to the traditional mythos that horror fans have come to expect. None of this Twilight nonsense of sparkling in daylight and playing baseball. Kiss of the Damned vampires are brooding, sad and sexy. This films oozes sexuality, as it should. In sticking to the source material of Bram Stoker's Dracula, vampire stories should be a love story at the core, sensual, provocative, intense, sad and dark. This movie is all of those things, so in regards to being a traditional vampire story , it is one. Some may be displeased that this story doesn't push the envelope or tell a story we haven't really seen before, I personally don't mind. Vampires aren't real, you can really only do so much with vampire stories and they have kind of all been done already.

Milo Ventimiglia (Heroes, Rocky Balboa) as Paolo gives a strong performance as he usually does, and has great chemistry with the female lead Josephine de La Baume as Djuna (Johnny English Reborn, Boogie Woogie). She is incredibly sexy, and plays a very provocative and enticing mistress of the dark. The relationship between the two is magnetic and enjoyable to watch. Roxane Mesquida (Rubber, The Last Mistress) as Mimi is an excellent complication for these two and their new found love for one another. The movie as a whole is enjoyable to watch (if you like hot female nudity and bloody gore, this is the best I've seen in a vampire movie in awhile, rivaling maybe only the HBO series True Blood) especially because of the superb Cinematography. Tobias Datum (with a long list of credits, this being his biggest feature to date) does an immaculate job setting up shot compositions and executing technical skill that most American movies lack. This movie looks foreign and old, only in the sense of camera movement. There are forced zooms and push ins that haven't really been utilized in cinema since the `70's that work brilliantly in this film. If I believed in the Oscars bulls***, Tobias should be nominated for best Cinematographer. The soundtrack for this movie is great as well. I was very pleased that the songs used in the trailer for this movie are actually in the film as well, which is rarely done. "Wucan" by Black Mountain is the most prominent song in the trailer and is displayed in a cool way in the film. Most aspects of this film work really well and are a welcome refreshment from a genre that has been plagued with too many failures in the last decade.

If you like Hammer Horror films, traditional vampire films, True Blood, hot female nudity, and intense love stories with a bumpy road ahead of them, this is something you'll most likely enjoy. I have to note that I think some people may have a problem with the frenetic editing and somewhat slow pacing. Like I said, this feels like a foreign film, no fast paced action or quick moving story that beats one over the head. Perhaps that for me, is part of the charm of this movie. And I don't doubt that some will have a problem with the denouement, but I liked it, and you may too. HIGHLY RECOMMENDED.

I saw a trailer for this in a theater and turned to my friend and said, "This looks awful, but I would totally watch it." Then I found out it was written and directed by a daughter of John Cassavetes and it was available on demand, so I was intrigued and took a chance. Definitely the best vampire movie I've seen in a long time, stylish and less goofy than the trailer suggests. Retro and smart, glamorous and gritty, very satisfying.

Buy Kiss of the Damned (Alternate Artwork) Now

Gorgeous, talented cast: the hot guy from Heroes, beautiful French model from Agent Provocateur and the other French actress from The Last Mistress. This is a vampire version of a sexy movie like 9 1/2 Weeks or Red Shoe Diaries, only a hundred times better. Though a low budget movie, it moves quickly. Entertaining and tastefully done.

Read Best Reviews of Kiss of the Damned (Alternate Artwork) Here

Totally entertaining, full of sex, violence, blood and humor (believe it or not), and super-beautifully crafted. The cinematography and soundtrack are amazing. Once it started don't take your eyes off the screen. i really liked the Twilight series (as did our kids), but this is Twilight for adults, and much more sophisticated and erotic! It's a totally fun ride and the film has some great surprises. Amazing to just sit back and be taken away into. Highly recommend it!

Want Kiss of the Damned (Alternate Artwork) Discount?

Lascivious, Titalating, A Blow Your Mind Experience!

Nothing comes close to "Kiss of the Damned" for a trip

with Vampires. and Hot, Hot Babes!

You Can't Miss This.

Save 10% Off

Last Action Hero (1993)

I think I know why this film was so poorly received and tanked at the box office. It was TOO "inside". Much of this film is a series of jokes about the standard, conventional, formulaic, bombastic action film genre. But the humor was so tongue-in-cheek so often that it probably didn't bode well with the average action-junkie film fan. "Last Action Hero" made fun of itself as it unfolded, and one would need a certain sense of humor to fully appreciate it on its intended level. I dare say that most folks who went to this film just didn't "get it". Too bad for them.

The major flaw of the DVD is that the film is presented in the god-awful Pan and Scan format. Pan and Scan presentations of frenetically-shot widescreen films should be outlawed, it's just that simple. You almost get a headache watching this P&S version. The digital pan is so obtrusive and distracting that it can drive one to anger! It pulls you out of the film, to say the least. I like (but don't really love) this film, and the low price of the DVD makes the purchase a no-brainer. But it is too optically uncomfortable to watch in P&S.

Release it in widescreen and all will be okay.

It's sad to think that 18 years after its release Last Action Hero is still trying to find its target audience. Audiences don't like smart movies. Or perhaps I should say audiences don't like to be OUTSMARTED by movies. In the summer of 1993 the world was going crazy for a certain dinosaur movie, almost everything else didn't stand a chance. LAH came out a week after Jurassic Park. The only people who really went to see it were those who were too late for sold-out screenings of Spielberg's movie. Bad word of mouth spread for many reasons.

Those lucky enough to actually see it on the big screen walked away confused and disorientated. They thought they were in for a straight-up action movie, not an existential, meta-fictional parody of the genre they cherish. It was just too much and they weren't ready for it. Arnold had been riding the wave of Total Recall and Terminator 2 before the release of Last Action Hero, no one expected such a radical deviation from the norm.

Danny Madigan is a lonely kid living in a tiny New York apartment with his single MILF. His only friend is Nick, an old-time projectionist at a run down theater (a REAL theater, no multiplex nonsense). Danny likes to escape into the world of action movies, his biggest hero, obviously, being Arnie himself. The latest Arnie blockbuster, the simply-titled Jack Slater IV, is a day away from its premiere, and old Nick has been tasked with checking the print. Before Danny sits down for his own personal pre-premiere midnight screening Nick gives him a magical ticket he's been saving since childhood. Five minutes after Jack Slater IV begins Danny is warped into the cinema screen and becomes part of the movie.

In the movie world Danny quickly learns that the laws of physics and simple logic don't apply (how often has THAT proven to be true?). He's partnered with Slater, a renegade L.A. cop and the absolute zenith of action hero stereotypes, to find who killed his favorite second-cousin Frank (BIG MISTAKE!). Danny and Slater smash their way into a hokey, James Bond-ish plot, though it's not long before suave English henchman Mr. Benedict discovers Danny's secret and plans to escape to the real world. Danny and Slater follow, but Slater's movie-world abilities are rendered useless in reality. Doubt begins seep in for the first time as he ends up questioning his powers as a good cop.

Last Action Hero scores huge points all round. It's technically wonderful, with gorgeous anamorphic Panavision photography full of wide angles and lens flares. The writing is sharp is funny. Arnie is great as an infallible hero in crisis as well as making fun of his screen persona. And the action, both fictional and meta-fictional, is wild, overblown, and exciting. I just love Slater's huge fall from the elevator.

It's interesting to note that it has a lot in common with Loaded Weapon, which came out earlier that year. Both are send-ups of the 'L.A. cop movie' genre, both star F. Murray Abraham in supporting roles. Both feature Frank McRae as a screaming Lieutenant. Both have obvious Die Hard references (also directed by the infamous John McTiernan).

The bad reputation is unjustified. The financial loss was a mistake entirely on Sony's part and their lack of foresight into the 1993 summer season. Last Action Hero and Jurassic Park went head-to-head with their advertising but the dinosaur movie's marketing campaign was just too groundbreaking. They also competed with each other on a technical level. JP was the first film to feature DTS sound, while Last Action Hero was the first to feature SDDS (Sony Dynamic Digital Sound), an eight-channel system that delivers every decibel of Slater's big gun and the multiple explosions of his daily life.

It may be a satire, but Last Action Hero just may be one of the last true action films. Real stunts, real explosions, real destruction, reality gone twisted. It's Arnold's most subversive movie, and it's many things, but bad ain't one of them.

The Blu Ray features a great 2.35:1 1080p picture with a loud DTS HD-MA soundtrack. Zero extras are included. Sony seems to still be ashamed of the film. The hate is not deserved.

Buy Last Action Hero (1993) Now

This is one of those movies that a lot of people that haven't seen it say, "That movie wasn't really that good, was it?" but those that have seen it, say, "Why wasn't this movie more popular?" Maybe it was bad timing, or as some others suggested, just not correctly billed to the public.

Last Action Hero is hard to describe. It's funny, it's witty, with lots of those one-liners that Arnold became so popular with, and I loved the way he constantly poked fun at his fictional character as well as his "real" self. Some of my favorite dialogue in the movie is when the kid is trying to convince "character Arnold (aka: Jack Slater)" that he's actually just a character in a movie. The kid starts asking about phone numbers and how can they possibly all start with 555in a city with several million phone numbers, when Jack Slater exasperatedly says, "That's why we have Area Codes..." Priceless. The movie is full of fun stuff like that, and I highly recommend this movie to anyone who is even remotely a Schwarzenegger fan, or who just like campy, yet intelligent, movies. The parody within a parody, and movie within a movie actually worked well in this one.

I thought the movie had a lot of great character performances, and clever scripting, and I think this movie got a bum rap. It's really a great movie, I'm glad I bought the DVD. The transfer is a little sloppy in places on the one I bought, but since it's a "Special Anniversary Edition", I have a feeling that had something to do with it. There's only a fullscreen version on my DVD, no widescreen, and the camera pans are really noticeable in a few places.

Read Best Reviews of Last Action Hero (1993) Here

The following story will tell you why this movie bombed at the box office.

While visiting family in Miami one of my cousins went to see the movie. When he got home he was telling me how much the movie stunk. As he was talking it became obvious to me that he had taken the movie seriously. So I yelled at him "It's a parody!! He's making fun of action movies in general and himself in particular!!" I could see the lightbulb go on over his head and he went right out and saw it again.

Needless to say, he loved the film. As do I. It's not often that a big star has the guts to make fun of himself just to make his fans laugh. So if you have this film languishing in your collection somewhere you need to see it with this in mind. It's parody. Satire. Comedy! Watch it and have fun.

Want Last Action Hero (1993) Discount?

This is a resoundingly misunderstood film. Probably the finest parody ever made of the action genre as a whole; this film mocks the absurd excesses that most summertime action blockbusters indulge in. The script is clever enough to divide itself between the dark brutality of the real world and the campy superficiality of Hollywood. It revels in poking fun of the very films that have made Arnold Schwarzenegger (in?)famous.

The world outside the silver screen is filled with stark reminders of how un-Hollywood life is. There is crime, bullets hurt good people, and extras that are killed have families they've left behind. Young Danny (Austin O'Brien) loves film more than anything else. He attempts to put aside the problems of his life in live in the world that Hollywood has created for him. His favorite indulgence is the Jack Slater series of films. They star Arnold Schwarzenegger as the title-hero, a cop modeled after the cloned result of Dirty Harry and Rambo. Slater is a smooth operator who never makes a wrong step and never fails to land on his feet. He is essentially everything that Danny, and in reality most children, wish they could be. When he is given a magical movie ticket by Nick the friendly pathetic mildly wise projectionist at his favorite theater, Danny is transported beyond his world into that of his hero, Jack Slater. He is quickly engulfed in one of the most entertaining action sequences ever put to film. It is the crystallization of the genre where there is unexplained action and unnecessary and unequal reaction. A car explodes because another car goes near it. A would-be assassin is thrown from his perch atop a moving truck into a parked ice-cream truck that then explodes. A truck explodes in the air for no good reason, and meanwhile, all the women are attractive (by Hollywood standards). They move from action sequence to action sequence, all of which are completely superfluous and equally delightful. Anyone who has ever made fun of, or rightly criticized, the films of Jerry Bruckheimer would find this work profoundly amusing. On screen, Slater and Danny must confront the cycloptic henchman Benedict (Charles Dance) and his benefactor Vivaldi (Anthony Quinn) in order to stop a takeover the SoCal black market and to extract revenge for the killing of Slater's favorite second cousin. This plot of course, is secondary to the parody. It moves well and revels in its self-justifying fictional world where a cartoon cat can be a cop, because it's normal there.

The other side of the screen is filmed with dim lighting and always hinting at danger beneath the surface. Danny's mom (Mercedes Ruehl) is a widow who struggles to support her child both materially and emotionally. She works the unglamorous midnight shift. Nick is a washed-up never-was who had dreams of another career and justifies compromises he has made to his goals by referring to his job in the manner, "Hey, it's still show business." When Slater enters this world, and gets shot, not only do the bullets hit him, but they cause more than flesh wounds. In the "real world" the on-screen villains can take advantage of corrupt systems to come out on top.

This film parodies not only action heroes and the action genre, but also bad scripts. Danny knows not only what has already happened in the movie, he can accurately predict the next steps of the transparent plot of the action film he was watching and then participates in. The film makes groan-inducing puns and points them out. The film points out how action films sometimes modify classics to fit into modern pop culture. This movie could have been a bit shorter and could have done without some of the melodrama in the "real" world. But those are miniscule flaws next to the eminently enjoyable rest of the film.

Save 25% Off

The Protector

I've noticed a disturbing trend in a number of these reviews: People are saying they didn't like this movie because of the lame plot. Do these people have any idea how insane this is? Who cares? People are getting spoiled, I guess, by all these expensive, arty, dramatic and well-acted martial arts movies that have been being released as of late, so now they can't appreciate a fun, old school and ludicrously-plotted stunner like "The Protector". (Or, more likely, they couldn't appreciate this kinda thing in the first place.) I haven't got anything against these fancy martial arts movies, mind you, but "The Protector" is a lot more fun than almost all of them, and letting the tired, thin plot get in the way of the spectacular fighting is just insane.

The plot's like this: Some gangsters steal Tony Jaa's elephants, and he's gotta kill 'em all 'til he gets his damn elephants back. There's some subplots, yeah, but what'd I say about the plot not mattering. None of it matters in the least, or should matter, anyway. That said, I will admit that, in the international version, the story takes perhaps a bit too much screentime, particularly at the beginning. Occasionally it seems like the filmmakers forgot that the plot was to be ignored. Still, you never gotta wait around too long for it to get good, and damn does it get good.

I guess the best thing to say is that if you enjoyed "Ong-Bak" I can't imagine that you wouldn't like "The Protector" as well. Jaa plays pretty much the same character he did in "Ong-Bak", being a naive, good-natured rural guy who happens to be a superhuman killing machine. It's a bit less stunt-intensive, on Jaa's part, anyway, but he still does plenty of amazing stuff, and the fights are even better then before. The fight in the restaurant is particularly renowned, and not without good reason. It's a 4 1/2 minute unbroken take as Jaa works his way up the stairs and takes out a few dozen opponents, and it would have to qualify as one of the most stunning action scenes I've ever seen. This is hardly the only standout, and we get plenty of other scenes that would put anything in most martial arts movies to shame: We've got the ultra-bizarre face off between Jaa and a pack of roller-blade clad goons wielding fluorescent lights; We've got him taking on pretty much the whole of the Australo-Thai mafia and breaking at least one limb on each of them; We've got him fighting a colossal, apparently invulnerable Australian dude in a burning, flooded temple. And it just goes on. The fights very pretty substantially in quality, but that's mostly because of how amazing the best ones are.

Anyway, I've not got much else to say. Suffice to say, Tony Jaa is far beyond human and it'll be an absurd crime if he doesn't become far more popular in the States. Check it out.

Grade: A-

This movie blew me away. I won't try and say it should be up for best movie or anything, but if you are looking for a great way to kill an hour and a half, look no further. I'm a huge fan of movies in general, of all genres, but kung fu happens to be one of my favorites.

I've always preferred 70's kung fu movies over modern ones for there lack of Hollywood touch. This has that feel of a 70's kung fu movie, with the picture and sound quality of today's movies. No Keanu Reeves dodging bullets and floating through the air, no Chow Yun Fat fighting on tree limbs that should not carry his weight! Just straight realistic fighting. Sure some parts seem over the top, but it fits the movie perfect.

Almost all of this movie is action (I watched the American version, havn't watch the original Thai version (Tom Yum Goong)that I've heard is 30 minutes or so longer. I imagine the extra footage adds a lot to the plot of this flick. But this one feels like there is no more then 10 minutes of non-fighting scenes.

If you liked Ong Bak, or if you are a fan of the greats like Sonny Chiba or Bruce Lee, then you must see this. You will be impressed. I couldn't take my eyes off the screen. I saw an earlier review mentioning rewinding a bunch of scenes, and how true that comment is. I can't tell you how many times I had to watch certain kicks or moves over to try and grasp what I just saw.

Bottom line if you like action movies and can settle for average acting, plots and storie lines SEE THIS MOVIE

Buy The Protector Now

This movie is what it should be; an action movie first and foremost. Considering that, the movie is pretty sweet. The action is totally out of control just as you might expect. I do like the realistic style of Tony Jaa when compared to movies like Kung Fu Hustle that are a little too crazy at times but fantastic all around. This movie certainly stretches the imagination and that's why we have them. I can state categorically that if you had issues with "Ong-Bak" because of the storyline then you're going to have exactly the same problems here (and, it has to be said, with just about every modern action movie). But if you were thrilled in any way by Jaa's auspicious career-launcher, then the chances are you're going to find plenty to get excited about in "The Protector."

There were three times during "The Protector" when my jaw hit the floor. The most visually splendiferous is a fight in a burning church that plays almost like a demo mode on a high definition version of Tekken, as Jaa goes up against Eddie Gordo, an armour-free Yoshimitsu and a hulking Craig Marduk ("I'll break your face!"), but all of this is for real and, as ever, effects and wire-work free.

But the real show-stopper, the sequence that every fan of martial arts cinema should see the film for, has Jaa visit a large, three-storey, criminal-run club/restaurant and fight a total of 30 opponents (I counted 'em), smashing them into windows, throwing them through wooden screens, assaulting them with furniture, and even picking them up and hurling them off the balcony into a display two story's below, and it's all done in one, 3 minute 46 second stedicam shot. The planning, timing and stamina required to pull this off are just mind-bending, but pull it off they do it's a stunning marriage of fight choreography, stunt work and camera direction that actually has a dramatic pay-off when Kham discovers just what is located on the top floor, as darkly and inventively twisted an idea as you'll find in a film all year, and all the more disturbing because it very probably exists.

So yes, the story is flimsy, but "The Protector" delivers where it counts and is an absolute must-see for all genre fans. Jaa confirms his status as the most exciting screen fighter around today, and if he could just drop the MTV visuals and editing and get himself a decent script, then director Petchtai Wongkamlao could yet climb to the very top of the action tree.

Read Best Reviews of The Protector Here

Put simply: AAAAAAAAAAAA!!!!!!!!

The action and stunt choreography will have your head spinning, so much that you may forget to notice the top-notch soundtrack and gorgeous cinematography, and the fact that all of the cast members deliver strong performances (a rarity in action films).

The Protector is not only a riveting action film, it is also beautiful, with spirituality, humanity and respect for nature at its core. Even those who are not fans of action movies will be amazed at what they're seeing (no wires, no CGI, just pure human talent), and action fans will get such a charge that they may need to be put outside for a few hours afterward.

THE DVD EXTRAS ARE PLENTIFUL AND THEY ARE TOP-NOTCH!!! Don't miss them.

This is like no martial arts movie you've ever seen. Tony Jaa and Prachya Pinkaew have done the world a favor by bringing the unique, spectacular (and, as often noted, brutal) Mui Thai kickboxing style to the screen. It's not enough to say that the bar has been raised. It's been kicked through the ceiling. If you are a fan of fighting movies, your absolutely cannot miss this one. Your jaw will drop, your eyes will pop out and you will howl with disbelief.

Reviewers criticizing this movie for senseless violence need to go soak their heads and check what planet they're on. Of course it's violent!!! It's a marial arts film!!! Were you expecting Ralph Macchio? This is the real deal.

I love Bruce Lee, Jackie Chan and Jet Li, but I promise, you've never seen anything like this. Tony Jaa is the future of martial arts cinema.

Want The Protector Discount?

The difference between the Blu-Ray "ultimate edition" and the 2-disc DVD "ultimate edition" is that the DVD has the special feature that shows the 5 different takes they needed on the one-long-take fight scene. The Blu-Ray, for some reason, omits this feature, so you have to make a choice: either buy the DVD and be disappointed that it's not Blu-Ray, or buy the Blu-Ray and be disappointed it doesn't have the special feature, or buy none of them and be disappointed in the company (the Weinstein one) who released it.

Save 25% Off

Absolute Power (2010)

At the start of "Absolute Power" Luther Whitne (Clint Eastwood), cat burglar par excellence, finds himself in a very strange situation. While robbing a rich man's safe in a large bedroom closet, he is interrupted by the appearance of a man and woman who head straight for the bed. While hiding in the closet, where he sees what is going on through a two-way mirror, he watches while the sex play gets rough: the man hits her, she stabs him with a letter opener, and then two men come into the room and shoot her. Luther gets out of there, but while his presence was undetected it does not go undiscovered. The problem is that the man he was watching happens to be the President of the United States (Gene Hackman).

Now, I have to stop at this point and tell you that one of my cinematic pet peeves is the idea that the United States Secret Service will let the president do anything, no matter how stupid or reckless, without batting an eye. Indeed, in "Absolute Power" there are two such agents, who help to cover up the murder and then try to track down Luther and kill him. However, the actors playing those two agents happen to be Scott Glenn and Dennis Haysbert, which is an important fact because a lot of the faults in this film area absolved by the casting, the credit for which goes to the film's director: Clint Eastwood.

The hook for this thriller is the idea that the president, his Chief of Staff (Judy Davis), and the Secret Service are out to get Luther, whose stated intention is to get out of town and get lost as quick as possible. But the key to this film ends up being a rather odd romantic triangle that exists between Luther, his estranged daughter, Kate (Laura Linney), and the D.C. homicide cop, Seth Frank (Ed Harris), who is assigned to the murder. Frank interviews Luther, not because he thinks the old con is a murderer, but because he is one of the few that could have pulled off the heist. He then moves on to Kate, hoping to get her to persuade her father to turn himself in before the wrath of the rich man (E.G. Marshall) whose wife is dead comes crashing down on him. Frank clearly likes Kate and is rather impressed by Luther, which is good because I like smart cops. For his part, Luther clearly has some admiration for the detective and also likes his taste in women.

My favorite scene in this movie is when Frank takes Kate to her father's house, where she has never been, and (knowing where Luther hides the key), takes her inside. In one room she finds a gallery of photographs, of all of the key moments in her life after her father left. "She was at none of these," she insists to Frank, although clearly that was never the case and we can see in an instant that she is rethinking her entire relationship with her father. As much as it is fun to watch Luther outsmart the cops, the Secret Service, and the hitman sent by old man Sullivan, the heart of this film is between Luther and Kate. Even when she sets him up, believing it to be the only way of helping keep her father alive, he surprises her by showing up. His reasoning? He did not want her to believe he was a murderer. Besides, his daughter wanted to see him.

I understand the script by William Goldman is quite different from David Balducci's novel, but that simply has to do with Eastwood playing Luther (if you read the novel you will understand why this would matter in terms of the significant changes). Eastwood's direction is competent as always, and, as I mentioned above, he gets the credit for being able to bring together such a solid cast for one of his projects (who would turn down a Clint Eastwood movie?). Final Note: the White House Tour Guide is played by the director's daughter, Kimber Eastwood.

This review refers to the Warner Home Video(DVD edition) of "Absolute Power"

This is one of Clint's best. It really shows off his expertise in front of and behind the camera. His on screen magnetism matches his superb direction in this great thriller. Also included is some of the best talent in Hollywood, as Clint has a knack for surrounding himself with the finest actors.

"Absolute Power" from 1997 is a terrific thriller that will have you on the edge of your seat(even after repeated viewings) as Clint goes up against some mighty powerful enemies. He is an aging master thief, and while in the process off pulling of the ultimate job, witnesses a murder.And this murder involves the most powerful man in the world. When Clint is the chief suspect, he must prove that the blood trail leads all the way to the Whitehouse. Not an easy task for our guy, as he is being persued by all sides.The film is multi-faceted as it also let's us in on this thief's softer side as he tries to build a relationship with his estranged daughter. A huge cast includes, Ed Harris, Gene Hackman, Laura Linney, Scott Glenn,Judy Davis, Dennis Haysbert and the great E.G. Marshall.

This film looks and sound magnificent on this superior quality DVD. You have the choice of widescreen(highly recommended), or standard format. Colors are vibrant, and the picture is crystal clear.The Dolby Dig 5.1 will have you thinking all the action is going on right in your living room. There are some production notes included and there are subtitles in English, French and Spanish.

This film is also offered as part of a 3-pack here at Amazon...The Clint Eastwood "Hero" collection. It also includes "Heartbreak Ridge" and "A Perfect World", which also stars Kevin Costner. If you are like me and can't live without ALL of Clint's work..the 3-pack would be a more economical way to go!

Washington is no match for our guy!(Who is?)....Go for it..and enjoy...Laurie

more Clint stuff:

The Gauntlet/True Crime

Paint Your Wagon

Music for the Movies of Clint Eastwood

Breezy Clint Eastwood Kay Lenz All Regions NTSC UNRATED(director)

Buy Absolute Power (2010) Now

With MYSTIC RIVER being the most recent example, director Clint Eastwood shows why his movies are so powerful: the casting and the expert, effective direction. Eastwood the director is much better than Eastwood the actor, and there are times I wish he'd cast others in the roles he takes. But that aside, this political thriller soars because of the wonderful actors and the way Clint works with them to bring out the best, even in smaller, seemingly insignificant scenes. Let's look at some of these performances:

GENE HACKMAN an outstanding actor who always gives a hundred percent doesn't get a lot of screen time in this one, but of course his scenes are pivotal and his ability to create such a devious and self-centered liar are brilliant.

LAURA LINNEY one of our most consistently good actresses, Laura takes the cliche role of abandoned daughter, but fills it with the hurt that comes from that; the love that still wants to get out, and her devotion to the man she feels abandoned her. Her scene with Ed Harris in which she goes to her father's apartment and sees all the pictures is wonderful.

ED HARRIS he plays a smart cop and an attractive, lonely one at that. His falling for Linney is understandable, and Harris controls his performance brilliantly.

SCOTT GLENN & DENNIS HAYSBERT as the secret service men are very different and the contrast works well. Glenn is remorseful over his actions; Haysbert is obviously a man who likes to kill and feel power. Their supporting contribution is essential to the movie.

E.G. MARSHALL this late great actor has never been better. An 80 year old billionaire with a young wife who he really loves faces her tragic death and seeks revenge. And yet, he had a room built where he could watch this young wife screw around with younger and more virile men just to prove he loved her. Marshall's scene in the limo with Clint is also very moving.

JUDY DAVIS this talented actress at times reminded me of Cruella Deville with her flashy arm movements and histrionics, but as her character develops, one can see the motivation behind these gestures, and the deep passion she feels for Hackman.

A very well done and enthralling movie.

Read Best Reviews of Absolute Power (2010) Here

I enjoyed this movie very much. I didn't mind that there were plot holes here and there-I just didn't care. It was entertaining and gripping and I loved every minute of it. I especially loved that I didn't know *anything* about the plot of the movie as I watched it. There were a few extra surprises for me along the way, which enhanced my enjoyment of the movie.

I loved Clint Eastwood's character. He's such a wiley and resourceful fellow, definitely able and capable. But he's not above playing the "age card", and making mentions of his AARP membership, and trying to pass himself off as someone who is too old to do anything interesting anymore. The twinkle in his eye as he starts in with the age thing is very amusing indeed.

The rest of the cast in this film is also very good-special cudos for E.G. Marshall, in one of his last roles. His performance is articulate and strong and spot-on. Ed Harris has that friendly, open face, and he's very likeable in this movie. He's also able to show a sweet sense of humor. (The line, "I live alone" will have a special significance after you see this movie!) Gene Hackman is great as a wimpy yet simultaniously slimy character. Judy Davis is absolutely wonderful too-as an evil ice queen hiding behind the mask of an attractive woman. Dennis Haysbert (now playing Palmer in "24") and character actor Scott Glenn are good in their roles as well.

The best part in this film, in my opinion, are the scenes between Eastwood and his estranged daughter, played by Laura Linney. Their relationship is what makes this movie stand out. Eastwood's character has been seemingly so distant from his daughter for so many years; yet she's still his "little girl" and we see how deeply he loves her as the film progresses.

This is a worthwhile film, and very entertaining. Recommended.

Want Absolute Power (2010) Discount?

Absolute Power may not be an overly special film but it was the first movie I saw in the cinema after leaving high school. I was certainly not the target audience but it had my attention from the first scene and maintained the suspense for the during of the running time, even if it doesn't build to much.

Clint Eastwood plays Luther Whitney, an expert thief who targets billionaire industrialist Walter Sullivan (grouchy old EG Marshall, in his last theatrical movie) while he is off on vacation. While in the midst of cleaning out the vault the President of the United States (Gene Hackman) enters the room with Sullivan's wife. Whitney hides in the vault, which has a two-way mirror, and witnesses the President get a little too rough with the woman, which ends in her fighting him off and being murdered by the secret service. The Chief of Staff concocts a plan to cover up the murder not knowing that Whitney is watching the whole thing. As the group leave he escapes, taking a crucial piece of evidence with him.

Initially unsure what to do, Whitney decides to taunt the President, though it's not clear what his complete plan is or even if he's just free-forming. If one should fault Absolute Power for any reason it's that it establishes a lot of plot and potential but never really does anything with it and ends with an anti-climactic cop-out.

Where it succeeds is with the small cast of characters who really make the dialogue and relationships work. Ed Harris as the confused but dedicated cop investigating the case, Laura Linney as Whitney's resentful daughter, and the austere Scott Glenn as the self-doubting agent make every scene effortless even when there's not much happening.

Adapted from (and streamlined and improved in the process) the bloated novel by David Baldacci (I call them 'Airport novels' those 600-page bricks with generic covers featuring nothing but the title and author in giant gold letters in a tacky font) the screenplay makes many changes but they are all for the better. Eastwood's direction is slow and steady or 'mature'. The pace and framing is the antidote for anyone bored to tears with the nauseating aesthetic of today's comic-book movies and CGI nightmares.

A curious thing about the beginning of the movie is that Clint Eastwood only has 2 lines of dialogue for the entire 35 minutes. I don't understand why he didn't cut them out and remain silent, which would give the film a peculiar edge.

The Blu-ray features a fine 2.40 1080p transfer with an active, spatial DTS HD-MA soundtrack. There are zero features.

Save 50% Off

Master & Commander: Far Side of World (2003)

Those of us who have read the entire series of Patrick O'Brien's books on the adventures of Captain Jack Aubrey and his dear friend, Dr. Stephen Maturin during the Napoleonic wars and have soaked up the atmosphere and sense of history so unfailingly captured in those books, are going to be hard to satisfy with any film representation. So although I have great respect for Peter Weir, I did not have high hopes as I sat down to watch the movie.

The opening scenes, of a darkened sea and a silent three-masted 'Surprise', with only night watch on deck and most hands asleep below, gives as true a sense of period as any I could possibly imagine and captivated me immediately. The attention to detail is remarkable and the handling of the crew; surely one of the most difficult aspects of making such a film; utterly masterful. You can smell the lower deck with the hammocks tight-packed with sleeping, farting, snorting bodies and livestock penned into the same quarters. The battle scenes are stunningly effective and the impact of shot and ball makes you wince in a manner that you'd not think possible in an age where we constantly see violent action and are inured to the sight of exploding flesh. That you could not follow who was who in the melees or determine quite how the various battles between ships were unfolding didn't matter, because that is exactly how such actions are in reality. Who knows how many died by friendly fire in the confusion of those hand-to-hand encounters? The percentage must have been sizable, as it is even today.

Russel Crowe's performance as the utterly resolute and masterful sailor, 'Lucky' Jack Aubrey, is truly brilliant. His English accent falters little and he gives the role all the subtlety required of a character whose own subtlety is not immediately evident. Aubrey is a commander who is intensely sensitive to the mood of his crew knows all their names and treats them with a rare humanity for the early 19th century Royal Navy. We know he acquired this sense, in part, because as a young midshipman, he was once demoted to the rank of common sailor; and in this experience, came to understand them as few officers could.

The disappointment, for me, was in the lack of development of Dr. Maturin's character. In the books, Maturin (played here by Paul Bettany) is in a sense the main character and much of what happens is seen through his eyes. He is an immensely complex man, deeply learned, and with a quaint 18th century manner of speech which contains much Irish mannerism. "You are to consider" he will say, or "I am persuaded that ...". His turn-out for formal dining occasions is the subject of much affectionate amusement among the crew (for they take pride in him as 'their' learned physician, who cares deeply for his patients) and vexation for his Commander; for he may appear at dinner in a heavily blood-stained jacket, unwashed for several days, or with his wig awry. He is also evidently a man whose apparent age "might have been anything between twenty and sixty" and he is small and "ill-looking". He and Jack are total opposites and it is the interplay between the two characters; the great affection they hold for one another, that is the spirit of the books. So I say that I was disappointed that Stephen was not better cast and his character was not more defined. I can however also say that those scenes where the two of them make music together do succeed, by the nature of the music chosen, in coming close to the spirit of the book. I should also emphasize that we cannot blame Paul Bettany for this; the problem lies in the casting and in character development (Paul Bettany looks too young and well-kempt for the part and is given little chance to 'be' Stephen).

So on the visual level this is a brilliant film and Crowe is most convincing in his role. Weir has performed a labour of love and has soaked himself in the period and the genre.

People who read the books, and say that they cannot get past the vast amount of technical detail, will find no relief in the film. O'Brien was uncompromising in his use of nautical terminology and indeed of period language readers have to take the responsibility to inform themselves in order to appreciate the book and now, to some degree, viewers of this film have the same responsibility.

Master and Commander is not just for Patrick O'Brian fans. Anyone who enjoys action and drama will enjoy this film. It ranges from great battle scenes with the tang of salt spray to human drama. The primary plot involves a cat and mouse game, set in 1805 during the Napoleonic wars, between Captain Aubrey's (Russell Crowe's) ship Surprise and his enemy a French ship Acheron. The Acheron is by far the superior ship in speed, size, and firepower. Captain Aubrey has orders to take the Acheron, while the French seem all too aware of his orders. The chase passes around the tip of South America leaving the Atlantic and entering the Pacific Ocean where Acheron will raise money for Emperor Napoleon by raiding English whalers. The sailing is marvelously recreated.

Along for the ride we experience sailing, sea tactics, and life on board a ship of this era. The apprenticeship approach to schooling officers during the Napoleonic era placed children on board fighting vessels. We even see a brief glimpse of a lesson in navigation Captain Aubrey is giving the young midshipmen. Life in harm's way as the sea becomes a battlefield spares neither young nor old. The crowding, stale food, and mental toll that are a fact of life on vessels that are at sea for long periods of time are graphically portrayed. The mood is lightened by the exhilaration of the hunt and moments of courage, kindness, and Aubrey's penchant for terrible puns, which fans of O'Brian's books will recognize.

Dr. Stephen Maturin (Paul Bettany), the side kick of this famous duo, provides a counterpoint to Aubrey's sense of duty. Through him we see medicine of the period grope its way toward the future. As an amateur naturalist, Dr. Maturin visits the Galapagos Islands much as Darwin would have during his famous trip on HMS Beagle 30 years after the 1805 date of the movie. In fact, Dr. Maturin's desire to visit the Islands becomes a source of conflict between himself and the single minded Aubrey. The resolution to the conflict is a measure of the friendship between Dr. Maturin and "Lucky Jack" Aubrey.

Buy Master & Commander: Far Side of World (2003) Now

"Master and Commander: The Far Side of the World," directed by Peter Weir, tells the rousing story of HMS Surprise, an English warship sailing around South America during the Napoleonic era. The ship's captain (played by Russell Crowe) engages in a battle of wits, wills, and firepower with a rival captain during the perilous sea trek.

This is a vivid, exciting tale of naval warfare, but it's also a satisfying and moving portrayal of a unique community: the company of a warship. The film is full of stirring action scenes, but it is equally rich in the details of the men's everyday life: their food, shipboard entertainment, naval tradition, etc. It's a sweaty, muscular portrait that really puts you in the midst of this fascinating world.

Weir gets superb performances from the large ensemble cast. Crowe won my heart as the captain: he portrays a man who is tough and witty, but also humane and reasonable. Paul Bettany plays the ship's surgeon, both a loyal friend and verbal sparring partner for the captain; it's a marvelously realized relationship. The rest of the cast rises to the high mark set by these excellent performers; Max Pirkis in particular shines as a courageous young midshipman.

There are some intense scenes of violence and combat surgery. But this material is not gratuitous, and is handled with care by Weir, who never loses sight of his characters' humanity. And the film is also about much more than war; it's also about exploring a distant land and seeing wondrous sights. There are nice moments of humor to balance out the film's serious themes of military discipline, ethics and tactics. Overall, M&C is a rousing adventure story, told with heart. As a Navy veteran myself, I'd like to thank and commend all involved with this film.

Read Best Reviews of Master & Commander: Far Side of World (2003) Here

At the beginning of the nineteenth century, Britain and Franch were mortal enemies fighting for dominance of Europe by land and sea. England was threatened with invasion for the first time in three hundred years. The only thing protecting the isle was the Royal Navy. This is the backdrop of Master and Commander who fights for England with his brave crew and stout ship against France on the far side of the world.

Russell Crowe heads a first rate cast that replays a genre that hasn't been seen since Gregory Peck played the title role of "Horatio Hornblower." From a consistent script and story, one gets the impression of what life was like on the high seas during this time and how quickly, silently, and deadly mortal danger could arise. There was no sonar or radar save those in one's sight, hearing and judgment. And the fog could be one's enemy as much as it could be a friend.

Besides the acting, the music lent perfectly to the story, and one can recognize Bach's Cello Suite No. 1 played by Yo Yo Ma. My favorite was Boccherini's La Musica Notturna Della providing the background for captain's order to beat to "General Quarters."

As soon as you can, steer a course and set sail to your nearest store and purchase "Master and Commander..." It's one of those stories that seems to get better with each viewing.

Want Master & Commander: Far Side of World (2003) Discount?

A friend of mine and I have a tradition of seeing every film that has an Oscar® nomination before the Academy Awards® are aired, so we've been blitzkrieging the cinemas in our area, trying to see them all. I am so glad that "Master and Commander" was nominated, because I'm not sure if I would have otherwise bothered to see it. What a fantastic film!

As someone who has had 3-near drowning experiences and who makes it a priority to not only avoid the water, but films involving water where people might drown, I am not much into seafaring films. Nothing about living on a stinky boat for months on end without modern medical care appeals to my interest... but this film had me on the edge of my seat. I was so quickly drawn into this film; it was more than just a story, but truly an experience. I felt as though I was a member of the crew of the HMS Surprise in 1805.

The HMS Surprise, under the command of Captain Jack Aubrey (Russell Crowe), is on a mission to intercept the French warship, the "Archeron." The resourceful crew ranges from elderly sea salts probably in their late 60s, to the youngest crewmember who looks to be all of 12 or 13 years old.

Their first encounter with the Archeron in heavy fog is quick and deadly. Many crewmen on the Surprise are killed or injured, and the youngest of the crew, Midshipman Blakeney (Max Pirkis), receives a broken arm in the battle, which results in amputation without the luxury of modern medicine or anesthetic. Pirkis's performance is breathtaking. Expect to see this young man many more times in the future. The ship's surgeon, Dr. Stephen Maturin (Paul Bettany Crowe's co-star from "A Beautiful Mind"), is a loyal, but opinionated friend of Captain Aubrey. He serves as Aubrey's friend, motivator and muse, but he does put their friendship to the test on more than one occasion.

While there is blood and violence, the most memorable feeling is one of being overwhelmed and engaged by the experience. The "F-word" was used once, but other than that, there is no real foul language, nudity or suggestive scenes and I believe the PG-13 rating is appropriate.

During their first encounter, the Surprise must limp away in dense fog to escape with their lives, and although they hit the Archeron with cannon balls and musket fire, they hardly raise a splinter on the larger, faster, thicker hulled ship. Dr. Maturin claims it is pride, but Aubrey insists that it is duty and loyalty to England that is driving him to engage the Archeron again... a ship that appears to outgun them and outclass them in every way.

Aubrey proves that he is a brilliant battle commander and manages to outwit the Archeron captain, who appears to be his equal in brinksmanship and cunning.

Their Pacific journey forces them to the coast of South America to trade tools for livestock and foodstuffs... and many of the crew pick up a parrot or a squirrel monkey along the way. The ship is driven south in heavy snow and ice, then north again to a windless, rainless, utterly hot and humid region of the see that drives the men crazy. They turn on a less-than-capable crewmate who does not take the pressure well, as they believe he is the personification of the Biblical Jonah and must be toss overboard to save them from God's wrath. They go the Galapagos Islands to repair damage to their ship from another encounter with the Archeron. There are so many exquisite, incredible things along their journey, it is truly breath taking. Little things that would have been omitted in a lesser film, such as the attention to detail in repairing the ship, including chiseling and patching up the maiden gracing their stern, make this a film worth savoring.

It has been a long time since I have felt so "in" a film I could almost smell the salt air and feel the sea spray on my face. The friend I saw the film with reported feeling the same about this cinematic experience. While seafaring voyages do little to evoke my interest, I was totally engaged in every aspect and moment of this film less like a voyeur, but rather a crewmember in the shadows, observing and participating. This is how a film should be made.

Director Peter Weir is no stranger to filmmaking. He has directed such hits as "The Truman Show," "Dead Poets Society," and "Witness," but this is clearly his masterpiece. If you've been putting off this film for any reason, do not delay. Seeing it on the big screen is preferable being surrounded by the empty calm sea, or deluged in waves, helps to enhance the experience that much more.

Save 31% Off