Das Boot (Director's Cut) (1997)

This review will attempt to assist those who already own the Director's Cut (or Superbit version), but who are thinking about also buying the newer "Original Uncut Version" (293 minutes on 2 DVDs).

The first thing you should know is that the English dub has been largely redone; if you are familiar with the Director's Cut dialogue, you will immediately notice that the English dub's script has been changed in many places within the Uncut Version. In particular, the saltier comments throughout the movie have been deleted and replaced with much more 'polite' translations. Moreover several of the characters (Werner the war correspondent, Kriechbaum the Navigator, the boat's second-in-command [whom is referred to as "Number One"], as well as the comical red-haired Second Officer, etc.) have received new voices in the English dub (if only in select places), and their scripts have been changed in numerous instances as well. I raise this as a concern because I realize diehard fans may find these (sometimes unnecessary) dialogue changes irritating. This is the main flaw of this edition, in my opinion.

While the Uncut Version soundtrack includes new sound effects, and adds frequent narration in old footages areas (largely excerpts from Werner's diary), short pieces of the new footage have not been remastered and look very grainy. Most of the new footage is however seamless and not of unacceptable quality (contra another reviewer). The sections that have been neglected are mainly external shots of the uboat -in one such instance an obvious blue line spans the vertical width of the screen for about 20-30 seconds.

The new footage that appears in the Uncut Version is not simply superfluous addition either, but in a few instances actually clarifies or adds completely new elements to the Director's Cut storyline (I won't ruin that for you, suffice to say that some very interesting plot elements are introduced in this newer edition). This cut is also much more pointed in depicting the stress, paranoia, poor morale, and sheer boredom of the crew, who are shown praying, making mistakes, complaining, and doing many stupid things just to pass the time and ease the strain of being a submariner. Of interest is the enthusiasm that the crew eventually displays at the prospect of going into battle: not because that is what they have trained to do, but because anything is preferable to the endless waiting and resulting apathy between enemy contacts. Numerous conversations between various characters have been added, and minor characters that didn't make it into the Director's Edition appear in the Uncut Version. A few treats exist as well, such as a shot where the Second Officer can be more clearly seen using a Kreigsmarine four-rotor ENIGMA machine to decode a transmission. Most importantly of all, the new footage emphasizes the sense of watching the story unfold through the eyes of the war correspondent, which is what Director Wolfgang Peterson originally intended. The new footage adds considerably to the picture's atmosphere, and contributes important characterization -particularly for Johann the Chief Engineer, the second-in-command, and Grade, the Chief of the Boat.

German with English subtitles is the default option, but an English dub with French subtitles is also available. The English track has been upgraded to Dolby 5.1.

This 2-DVD Uncut Version is highly recommended, but isn't for everyone -note that it is deliberately aimed at the fan base. This special-interest group is likely the only one this version of the film will please. If you've never seen Das Boot, borrow a friend's copy of the shorter Director's Cut first; when you've cultivated an appreciation for this benchmark in WWII filmmaking, come back and get this edition. I would not recommend buying this version if you've never seen the movie -it might turn you off due to its sheer length and relatively slower pace. Neither should the fan looking solely for special features purchase this Uncut Version the featurette entitled: "The Making of Das Boot: Behind the Scenes" is a little over seven (7) minutes long, and is mainly a justification for the re-release of the full length cut.

A member of the Das Boot `cult' would be very pleased to see the extra footage in this Uncut Version. If you're a diehard fan, don't think twice; I bought mine even after having read the more negative reviews here. Four stars given for the substantive quality and importance of the new footage to the overall picture; the image quality and sound in places is not perfect, and there are no new special features worthy of the name, so this cut cannot receive five stars. Since you are willing to sit through close to 5 hours of Das Boot anyway, the instances of grainy new footage shouldn't overwhelm you. In all, the extra tidbits (in my estimation) are worth the money.

Finally we can see the full cut of Das Boot on DVD. Not only does this new edition have a remastered anamorphic transfer, it finally has the full, original 4 hour 50 minute cut (290 minute)that was cropped into the US theatrical edition (2 1/2 hours) and the Director's Cut (3 1/2 hours), but in a movie where the quiet moments where we learn about the characters are the best, the original cut (it was originally made for TV as a 6 part mini-sieres)has my strongest recommendation. The movie itself is the BEST submarine movie ever made without question, and also a realistic portrayal of life in a crowded, dirty German U-boat in WWII, filled with people who just want to go home and live normal lives, but due to the war are denied the chance. You see throughout the movie that the characters are not sympathetic to the German cause and that they aren't really fighting for their country, but their lives. This is one of my favorite war movies for showing the war through a different viewpoint than the one normally seen and an example of great filmmaking (p.s. aviod the dub at all costs go for subtitles).

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Any movie that is subtitled has to overcome a lot to get me totally involved in its plot. In the case of Germany's celebrated Submarine classic "Das Boot", I don't remember there being subtitles past the first five minutes. What originally drew me to the film was Jürgen Prochnow. He's such a great actor and he really impressed me in "Dune" and "The Seventh Sign". As usual, his portrayal of the German Navy Captain is understated and yet impressively powerful.

If you know your modern history, you'll be familiar with the German Submarine Command's service history, during the Second World War. In the early years these subs caused havoc in the Atlantic Ocean and beyond, virtually bringing merchant shipping to a standstill. Over time however, the Allies' newly commissioned sub-hunter ships challenged the German's stealthy supremacy. Disappointingly, those great "sub verses sub" duels rarely happened during WWII.

Das Boot's story takes place in 1941, and gone were the days when "wolf-packs" of U-Boats ruled the seas. German subs were hounded everywhere they went, resulting in a survival rate that drew sympathy even from the Luftwaffe. Despite these desperate straits, the German high command continued to find missions for the remaining sub crews. Naturally, the men making up these crews were a special breed, and as such, they drew a lot of attention from the civilian press around the world.

In this case a newspaper correspondent called Lieutenant Werner, has joined the boat for the duration of its mission. Events unfold from his point of view and so we can lose our misconceptions and innocence along with Werner. He has no responsibilities on board and is therefore under less stress that most, but at the same time he has nothing to distract him from the pressure of each enemy attack and the many fathoms of sea water over the sub.

Holding it all together, under terrifying conditions, is a single man. The captain is a scruffy, mildly cynical, bastion of strength. He deals calmly with almost any situation, drawing on a seemingly unlimited store of courage. He also uses this courage in the face his 1st Lieutenant, a goose-stepping Nazi loyalist, who disapproves of his captain's lack of respect for Hitler, the high command and much else about Germany's military efforts.

The film takes an even darker turn when, during the middle of their tour, the captain receives orders to commence a new mission; a mission which amounts to suicide. They are asked to enter the Mediterranean Sea via the Gibraltar Strait and make an attack on enemy shipping. The strait is very narrow and heavily monitored but the captain accepts his orders, devising a strategy that gives them at least some hope.

Not surprisingly, things go bad from the start. I'm not going into a blow by blow description. Suffice to say that every moment is chock full of dramatic tension and the relationships within the crew become more obvious with every crisis. In the end, the audience feels almost as exhausted as these brave men, which makes the final scenes even more powerful.

One warning for those that want to see this absorbing movie. Do not watch the dubbed version. In some versions, the voice acting is a joke and distracts form the story. Instead, stick to the subtitles. Trust me, you're not going to notice them.

Read Best Reviews of Das Boot (Director's Cut) (1997) Here

I am updating this review to encourage fans of the movie to get the newly released "Original Uncut" version. This version is the one originally aired as a mini-series on German TV and is approximately 5 hours in length. It goes into much greater detail about the crewmembers and shows some critical dialogue and battle scenes that were left out of the theater version and the directtor's cut.

Get this DVD!! It is far superior to the VHS version. Watch the movie in German with subtitles to really get the flavor of the dialogue. The English dubbed version is, to me, sanitized.

Das Boot recreates a combat patrol of a German submarine operating out of France in 1941. The prologue explains that the war in the North Atlantic is turning against the Germans as the British have developed superior Anti submarine tactics. Nevertheless the Captain (brilliantly portrayed by Jurgen Prochnow) takes his baby-faced crew into harm's way in an effort to do his duty as a German Naval officer, even though his distaste for the High command is evident.

The movie was extremely well made. You really feel like you are inside this cramped 200' long piece of sewer pipe that was home to 50 sailors. The claustrophobia, boredom, lack of hygene, and loneliness all are effectively portrayed. Someone once wrote that being a soldier in wartime was 97% boredom punctuated by 3% of absolute terror. That axiom is evident throughout the film.

The DVD version has enhanced Dolby sound, which makes the depth charge attacks all the more realistic. In one sequence the depth charge attacks are so intense that it seems that the sound alone will destroy the U boat.

Some consider Das Boot an "anti-war" film. I am not sure that it really falls into that category. It certainly doesn't glorify war, nor does it really offer much commentary on the merits, or lack thereof, of the German war effort. The Officers onboard never really discuss politics, or what the war is about. Their attitude is, rather, that they are there to do a job and that's what they're going to do. Only one officer, a clean shaven die-hard Nazi expresses any real commitment, and he's made fun of by the others.

No, Das Boot is a film about war, and those who are called upon to fight it. It is intense, gripping and moving. You'll never spend $23 for a better DVD.

Walter

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I don't think there are enough superlatives in the English language to adequately describe this film. It succeeds in every possible way. This is not only one of the best war movies ever, but among the very best films period. The story is based on a true story of a German Submarine and its crew during WWII. The plot is simple. A bunch of ordinary young guys are crammed into a little tin can and go out and do their duty while trying to avoid getting killed. This slice of life film gives a chillingly detailed look at the rigors of war in a U-boat.

We are treated to the stark reality of submarine warfare; the hours of boredom; the camaraderie and simultaneous aggravation that comes with living in such close quarters, the exultation of victory when a torpedo hits, the stark terror of the sound of a destroyer's propeller just above or the insane fear of the boat being crushed by the water pressure as you go too deep.

This film is unique in that it is done from the German perspective. Most films about WWII are from the Allied perspective since they were produced in Hollywood or England. What is striking about this film is how it depicts war as a human event rather than a nationalistic conflict. It makes us realize that for the foot soldier and sailor on the battle lines, no matter what side, war is the same. It is more a matter of survival than glory.

Director Wolfgang Peterson did a brilliant job on this film. The set and props were authentic in minute detail and the work in tight quarters was truly remarkable. You get a real sense of the cramped quarters and how nimble the men had to be scrambling from compartment to compartment. Peterson spares us none of the unpleasantness of submarine life. The stark reality of it is startling.

By far Peterson's greatest accomplishment is the spine tingling suspense. The effect is so terrifying you feel like you are part of the crew. His use of angles, lighting, actor's reactions and most especially sound makes this film far more frightening and suspenseful than anything the horror genre has ever produced. I viewed this on DVD (Director's Cut) and the sound was probably the best I've ever experienced. You hear water dripping behind you, bolts explode and go screaming diagonally across the room to clank on the other side, the sound of the destroyer's propeller escalates from a fly buzz to a roar as the ping from the sonar gets ever louder. You find every muscle in your body tensing as you hear them drop the depth charges.

The ending is superb. It is triumphant, poignant and ironic; unexpected and yet not surprising. It is neither what the viewer is apt to want nor expect, and yet it is not disappointing.

I can't think of any negative criticism I would give this film. It was nominated for six Academy Awards and won none. That speaks volumes about the dubious nature of the Academy. Even if you don't normally enjoy war movies, you should see this film. It is ultra excellent drama, entertainment and filmmaking. A perfect 10.

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Die Hard 2: Die Harder (Blu-ray / DVD Combo) (2013)

Die Hard 2 DVD

Once again John McClane deals with terrorists at Christmas time; once again McClane is forced to crawl through ventilation shafts muttering to himself; once again McClane climbs up and out of elevators; once again no one's going to take the threat seriously but McClane. And once again, McClane gets to drop everyone's favorite line: "Yippi ki-yay, motherf----r."

To make things worse, the film itself, adapted from the novel "58 Minutes" by Walter Wager, is unrealistic nearly to the point of ridiculousness. McClane dodges bullets and chases villains on snowmobiles like Roger Moore's James Bond. What made McClane so appealing in the original film was the fact that he was an everyman, not the unbeatable hero he would seem in "Die Hard 2," were he not saved by a down-to-earth performance from Willis. There are points at which scoffing is inevitable. That's not helped by William Sadler's villain, who pales in comparison with Alan Rickman's Hans Gruber. There's plenty of:

-cussing

-shooting

-Explosions, and

-action

In other words a typical Die Hard movie

"Die Hard 2" isn't bad, though. Viewed as a standalone film, it's actually quite good, and considering the stature of its predecessor, it's a decent sequel, too. It recalls "Die Hard" enough to get by, but what really keeps the film afloat is Harlin's cold, sharp style, which adds just the visual flair the film needs to entertain. On the topic of visuals, there are two truly stellar shots in this film. The first is a frightening plane crash, the one time John McClane doesn't succeed (though of course what doesn't kill you only makes you stronger). The second is a shot of McClane, strapped to an ejector seat, shooting up into the sky toward the camera as a jet blows up below him, cursing and then falling to the ground.

Though it's not the action spectacle that was McTiernan's classic, "Die Hard 2" is a decent film, guaranteed to liven up a dull night. It has enough of the original to satisfy, enough brainless action to entertain, and the kind of clever directing that makes that brainless action seem worth something.

Recommended for fans of Bruce Willis and Die Hard fans

Gunner January, 2008

The makers of Die Hard 2, hoped to surpass the success of the original Die Hard. While the second film may feature action on a larger scale, the plot does not draw the audience into the story in the same way the first Die Hard did. Director and action movie specialist, Renny Harlin, is only partially successful at creating and sustaining a high level of suspense and excitement, working with a script that could have been stood a bit more polish.

Once again police officer John McClane (Bruce Willis) gets into some heavy-duty action on Christmas Eve. This time it's at Dulles Airport, in Washington, where terrorists have taken control and seek the release of a foreign general. McClane is suddenly in the middle of the action, seeking to foil the plot and also save his wife Holly (Bonnie Bedelia), who is a passenger on a circling plane, in danger of running out of fuel.

Die Hard 2, is a very different film from Die Hard. Some of the elements most critical to the success of the first film, are not present. The first time around, action was confined to a limited area, a few floors in the Nakatomi Plaza. The danger to McClane's wife was more immediate and real, reinforced by the menacing presence of supercrook Hans Gruber, played with style by Alan Rickman. There was real antagonism between McClane and Gruber, which propelled the movie. In Die Hard 2, the action is spread over a much wider stage, with many more players. McClane, though still a one-man army, never establishes a relationship with one principal "baddie". Colonel Stuart (William Sadler), the wild-eyed leader of the mercenaries is rather robotic, and lacks any special charisma. McClane and wife Holly, are pretty much out of touch throughout the critical phases of the movie. And if not for the "coincidental" presence of news reporter Dick Thornburg (William Atherton) from the first film, Holly would have almost nothing to do. A logical plot, is secondary to the action. If not, then the "same thing" wouldn't happen to the "same guy".

Die Hard 2 Die Harder, is a good action film, that takes a different approach from its predecessor. There is no shortage of action, but the "intimacy" that characterized the first film is absent. Bigger? Yes. Better? Perhaps not.

The Special Edition DVD features director Renny Harlin's detailed and revealing commentary. As usual, he is very informative, insightful, and frank, in discussing the production of the film. Harlin's commentaries are among the best, for their honesty. You also get a second disc with a couple of documentaries, deleted scenes, interview with Harlin, and other special features.

Buy Die Hard 2: Die Harder (Blu-ray / DVD Combo) (2013) Now

Die Hard began a subgenre in action films (as well as Bruce Willis' career as an action star)--that of the lone hero, a sort of cowboy for the modern era. Films like Under Siege ("Die Hard on a boat") and Passenger 57 ("Die Hard on a plane") are example of substandard entries that soon followed. What they missed is that Die Hard is a good film on its own.

John McClane (Bruce Willis) is a New York cop transplanted to Los Angeles when his wife gets a job with the Nakatomi Corporation. When terrorists take over the building during a Christmas party, it's up to John to save the day. Alan Rickman gives an excellent performance as lead terrorist Hans Gruber but it's Willis that carries the film with his wisecracks, catchphrases, and charisma.

Inevitably, there would be a sequel and we should consider ourselves lucky that it was Die Hard 2. Subtitled "Die Harder," it was actually based on an unrelated novel (58 Minutes by Walter Wager) that was then geared to fit the McClane character.

Again, it's Christmas, and again Mrs. McClane is in danger. Her plane is flying over Washington, D.C., and is quickly running out of fuel. But more terrorists are attempting to fly in a drug lord and will have no planes landing until he arrives safely.

Die Hard 2, although a lesser film than its predecessor, more than makes up for it in the fun factor. Self-referential remarks ("How can [this] happen to the same guy twice?") and a total lack of any coherent logic along with terrific effects (and a stunning high perspective shot) come together to make one of the best action sequels.

A double feature is probably not in order, but either of these films make for fine escapist viewing. "Yippy-ki-yay, [melonfarmer]!"

Read Best Reviews of Die Hard 2: Die Harder (Blu-ray / DVD Combo) (2013) Here

It's a snowy Christmas night in the nation's capitol, one year after the terrorist attack of Nakitomi Plaza in L.A. New York detective John McClane (Bruce Willis), the terrorist attack's underdog police hero, is there at an airport to wait for his wife Holly (Bonnie Bedelia) to arrive from her flight. But when military terrorists, led by the unmerciful Colonel Stuart (William Sadler), seize the terminal and start to take over, McClane faces the nightmare of his past in this new emergency as he slips into top gear in a daring attempt to save the terminal and his air-born wife trapped in a doomed airplane. Provides the same suspenseful action-packed adventure from the original, and a worthy sequel to that awesome thriller. Also stars Reginald VelJohnson (original "Die Hard", "Family Matters" T.V. series) as McClane's old friend from L.A. This specific film, unlike the original and the third episode directed by John McTiernan, was directed by Renny Harlin, who also directed "The Long Kiss Goodnight" (starred his now ex-wife Geena Davis), "Captiva Island" (starred his now ex-wive Geena Davis), "Cliffhanger" (starred super-action star Sylvester Stallone), and the genetically engineered shark horror tale "Deep Blue Sea", just recently released in 1999.

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I am only going to review the Blu Ray Disc. The picutre quality has a lot to be desired. I know part of the blame is on Renny Harlin heavy colour filters he used, like the orange or reds are to imposing at times .I couldnt help but notice the low quality tranfer which obviosuly came from a poor print. Much better than Die Hard Blu ray but this is not worth buying now. Audio is good and quite loud for all the right reasons.

Please 20th Century Fox do not let your customers down with inferior quality products.

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Hello Dolly! (1969)

The debates over this film have been raging for years, and now that HELLO, DOLLY! has been released on DVD, they're likely to continue for years to come. Opinions are certain to vary, but let's clear up a few misconceptions right from the start -

After 20th Century-Fox purchased the screen rights to HELLO, DOLLY!, producer/screenwriter Ernest Lehman was fairly certain he'd be asking Carol Channing to recreate her stage performance for the film that is, until he saw her in the 1967 movie THOROUGHLY MODERN MILLIE; to put it as delicately as possible, her features didn't translate well to the big screen. Fox executives were equally doubtful about Channing, so the search began for a new Dolly. After flirting with (and subsequently dropping) the idea of Elizabeth Taylor, the leading candidate became Barbra Streisand. The powers-that-be suspected (correctly) she was headed for major film stardom, and they hoped a fresh, younger Dolly would give the multi-million dollar project greater appeal. Lehman immediately revised his script, eliminating all references to Dolly losing her husband fourteen years earlier, and after concluding that audiences wouldn't accept Streisand as an Irishwoman changing the character's name from Dolly Gallagher Levi to simply Dolly Levi. The studio made the offer, Streisand signed on the dotted line, and Lehman surrounded her with the creme de la creme of the MGM/Arthur Freed movie musical unit Gene Kelly (director), Roger Edens (associate producer), Michael Kidd (choreographer), Lennie Hayton (musical scoring), and Irene Sharaff (costumes).

Skeptics, however, dug in their heels, and a period of bad press followed; there was outrage a film novice like Streisand had taken a role they considered her ill-suited for. A wave of sympathy engulfed Channing, who received a consolation Best Supporting Actress Oscar nomination for THOROUGHLY MODERN MILLIE (even though Beatrice Lillie received the film's best reviews when it was released).

The bad press began to wane when Streisand's first film, FUNNY GIRL, was released to critical acclaim, box office success, and a Best Actress Oscar; suddenly there was great anticipation for HELLO, DOLLY! And when the film finally opened in December of 1969, it played to packed (and enthusiastic) houses from New York City to Hollywood. Even critics who questioned Streisand's appropriateness for the role agreed she put on a hell of a show.

After a solid start, however, the film's success was mixed; HELLO, DOLLY! received seven Oscar nominations (including one for Best Picture), but Streisand was overlooked. And though it ranked as one of the top ten box office attractions of the year, it hadn't recouped its production costs by the end of 1970; it was neither the runaway success the studio was hoping for, nor the disastrous flop its critics made it out to be. But to the dismay of naysayers who wanted the film to die an ignoble death, DOLLY kept attracting new fans first on television, then on video, and later on laser disc. Obviously, somebody had done something right.

Watching the movie now on DVD, it's hard to believe such a good-natured, visually spectacular film could have provoked the feelings of animosity it did (and apparently still does). As for Streisand, I think Lehman was absolutely right to cast her; there may be times when she seems too hip for this wholesome slice of Americana, but her funky irreverence is what makes HELLO, DOLLY! so much fun. Not only is she in excellent voice throughout if anything, she sounds better here than she did in FUNNY GIRL but it's hard to imagine anyone else bringing the poignance she does to Dolly's monologue in the park ("Ephraim, let me go"), or being as raucously funny in the dinner sequence at Harmonia Gardens ("You salt your beets, and I'll salt mine"). In fact, her energy and charisma are so dynamic that the film's pace falters whenever she's not around no disrespect to either Michael Crawford or Marianne McAndrew, but the subplots involving Cornelius Hackl and Irene Molloy, while pleasant enough, are hardly enthralling. Walter Matthau, however, makes a surprisingly effective Horace Vandergelder, and his scenes with Streisand have some genuine comic vitality. If there were offscreen tensions between the two, they weren't apparent when the cameras were rolling.

But more than anything else, DOLLY on DVD offers great opportunities for those of us who just want to concentrate on musical numbers (we know who we are). There are moments worth savoring again and again in "Just Leave Everything To Me," "Put On Your Sunday Clothes," "Dancing" (Danny Lockin and E.J. Peaker are particularly impressive here), "Before The Parade Passes By," "The Waiter's Gallop," and, of course, the title number with Louis Armstrong, but Streisand's best number is probably her simplest "So Long, Dearie." It isn't hard to understand why her character gets a marriage proposal after that one.

As for the age issue yeah, it's a little strange to see a woman in her late twenties being referred to as an "old girl." So why didn't Ernest Lehman ask Jerry Herman to alter the lyrics? Hard to say maybe he didn't think anyone interested in realism would be watching HELLO, DOLLY! in the first place. And ultimately, that's what this movie is all about pure escapism on a grand scale. The quality is apparent in every frame, so just kick back and enjoy the show.

HELLO DOLLY has received a bum rap over the years. Its oversized budget and colossal New York-circa-1890 back lot set is said to have sunk 20th Century Fox. This is far from the truth.

Now, almost 35 years later, DOLLY can be seen in proper perspective: it's a well-done, old-fashioned movie musical. Its only sin is that is dresses up a flimsy Broadway musical in the form of a big-time movie musical. Let's face it, HELLO DOLLY's book features situation-comedy type scenes of hiding in closets and mistaken identities. It doesn't have the weight of the Nazis (i.e. SOUND OF MUSIC) or the Americana of OKLAHOMA. It is, nevertheless, frothy fun -with a great, hummable score!

Barbra Streisand is also blamed for accepting the role of Dolly Levi, too. Dolly should be middle-aged; Streisand was 27. Also, Carol Channing was famous for the part (she won a Tony for it) and Streisand is considered to have "stolen" the movie from Channing. (I personally could not fathom watching Carol Channing for 2-1/2 hours.) Streisand was too young. But does it really matter? She's absolutely hilarious in DOLLY, and sings the score wonderfully. It was Streisand's second film, and one of her too few musical films.

The DVD features a wonderful featurette from 1969. The featurette contains great behind-the-scenes footage of filming the "Before the Parade Passes By" scene, as well as the "Sunday Clothes" scene. Gene Kelly, Michael Kidd, and Irene Sharaff are all included.

Fox has restored HELLO DOLLY and this DVD features the restored print. DOLLY has never looked better! From the multi-colored feathers on the back of her hat in the opening scene, to the canary-yellow "Hello Dolly" dress in the Harmonia Gardens, Streisand looks fabulous and colorful and bold. Throughout the film you will notice various shades of purples pop out. The paint-speckled trees in the "Parade"park scene are an interesting detail! The only scene that misses is the dimly lit "Love is Only Love" song. The colors look faded and the picture quality drops a notch or two.

I must also sing the praises of this WIDESCREEN release! I've watched DOLLY for years on a pan-and-scan VHS tape. The movie looks excellent in widescreen the way it was originally filmed and it's great to see some of the action in the extremes of the frame. For instance, this is probably the first time I've ever seen what Streisand was doing in the right part of the frame while dueting with Louis Armstrong!

So enjoy HELLO DOLLY. Dolly'll never go away again.

Buy Hello Dolly! (1969) Now

I got my advance review copy for the region 1 release of Hello Dolly and had to write a review here. This is one of my favorite films, and I will concentrate on the tech specs for the disc. It is enhanced for widescreen 16:9 and says Dolby Surround on the packaging but is actually Dolby Digital 4.0. This is one of the best sound transfers I have yet seen for a classic film. There's no doubt that original master tapes were used for the sound transfer. The seperation is so good, the voices of the singers move from left to right with extreme clarity, and when the entire cast is singing, it reminds me of the best of the RCA VICTOR recordings, the ensemble comes at you from all around including the surround. I give the sound a 5 out of 5.

The video quality is another story and a good one. This is flawless, it is like watching a new movie. It is so clear it almost seems like 3d on my Sony front projector. The colors have been restored and I believe the transfer was from 70mm negatives because this is one of the clearest conversions of a classic Fox has done. Extras are several trailers, a featurette, which isn't alot (I was hoping to see the 20 minutes that were cut and maybe a commentary and extras like the SOUND OF MUSIC disc had).

For the price,... this is a steal, to be enjoyed over and over as it is like going to the cinema again.

Read Best Reviews of Hello Dolly! (1969) Here

"Hello Dolly!" is the elphantine musical film based on the long running stage play that in 1969 failed miserably to find its audience at the the box office. Directed by legendary song and dance man, Gene Kelly and featuring the meticulous choreography of Gower Champion, this is a big, brassy, spectacular production, the likes of which we aren't likely to ever see again. Barbra Streisand plays Dolly Levi, a matchmaker whose heart is set on landing stuffy hay and feed owner, Horace Vandergelder (Walter Matthau). The off camera bickering between the two co-stars may have been legendary, but none of it shows up on the screen. Streisand and Matthau are ably assisted by Marianne McAndrews, Michael Crawford, Tommy Tune and the incomparable, Louis Armstrong. Removed from all the angst, hype and negative publicity that branded musicals box office poison from about 1959 onward, "Hello Dolly!" emerges as one of the best of the genre, an outstanding, tune filled epic production that never fails to entertain!

FOX VIDEO has given us a handsome looking DVD. Colors are rich, bold, vibrant and extremely well balanced. Black and contrast levels are only slightly on the weak side but adjusting one's television contrast and brightness fixes this right up. There is NO EDGE ENHANCEMENT, ALIASING or PIXELIZATION or FILM GRAIN or AGE RELATED ARTIFACTS for a visual presentation that is as smooth as the plot. The soundtrack has been remixed to 5.1 surround but suffers slightly from a muffled characteristic, perhaps because of noise reduction equipment used in the remastering effort. Still, most of the film has a crisp, clean and not overly bright sound to it that, while dated, nevertheless is easy on the ears.

EXTRAS: A Theatrical Trailer. That's it.

BOTTOM LINE: I should fault Fox for given us no extras but with the film looking as though it were shot last week I have to stop myself and just proclaim, "Well done!" An absolute must for your DVD library!

Want Hello Dolly! (1969) Discount?

Hello Dolly is truly one of the last great musicals from the golden age of Hollywood. It seems like no expense was spared--it took one month just to film the "Hello, Dolly!" sequence in which Dolly returns to the Harmonia Gardens. This scene lasts about ten minutes in the film--but still, one month to get ten minutes footage is a lot of time to get so little footage! Barbra Streisand works well, actually, as Dolly Levi--her husband could have died early in life and that's all it would take to explain a younger woman in the role of Dolly Levi. Moreover, the other cast members turn in fine performances, too.

When the action begins, Dolly Levi from Manhattan takes a trip to Yonkers ostensibly to arrange a marriage for Horace Vandergelder's (Walter Matthau) niece Ermengarde Vandergelder (Joyce Ames). However, Ermengarde doesn't want any part of it--she's in love with a young artist named Ambrose Kemper (Tommy Tune); and Ambrose feels the same way about Ermengarde. What's more, Dolly eventually has plans for helping Horace's two clerks, Cornelius Hackl (Michael Crawford) and Barnaby Tucker (Danny Lockin).

A few days later, they all wind up in Manhattan and fate--with Dolly's help--begins to weave its magic spell. Cornelius and Barnaby become smitten with Irene Molloy (Marianne McAndrew) and her hat shop assistant Minnie Fay (E. J. Peaker). They all spend time together having fun; but Dolly has her hands full trying to manipulate Horace into marrying her instead of Irene Molloy--or the not terribly appealing Ernestina Simple (Judy Knaiz).

Of course, from here the plot can go in so many different directions. You may know the plot but there are no plot spoilers in my reviews! Will Dolly manage to get these two young couple together--along with Ambrose and Ermengarde--so that they can find a happy life romantically? What about Dolly's feelings for her late husband--to what extent will they get in the way of Dolly pursuing Horace? Will Horace, who is a very cranky and somewhat negative man, ever come around to marrying Dolly? Watch the movie and find out!

The song and dance numbers are fantastic. The "Hello Dolly" number alone was fantastic. Look for a wonderful cameo by the great Louis Armstrong who just happens to work in the Harmonia Gardens restaurant! It's great to see Armstrong on film with Streisand. The cinematography and choreography impressed me greatly during the scenes from the parade down 14th Street in Manhattan as well as in the Harmonia Gardens restaurant.

The DVD has an optional commentary and there's a 1969 featurette that shows how they organized and coordinated the parade down 14th Street in Manhattan. It's excellent! You can also choose languages but there's not much more. Oh, well. The film is very good and it still can stand mostly on its own.

Overall, Hello Dolly is a fine classic musical from the very tail end of the golden era of Hollywood musicals. The actors give extremely good performances; their acting is very convincing. I recommend this film for fans of Hollywood musicals as well as fans of Barbra Streisand.

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Legend of Zorro & Mask of Zorro

This set contains both Zorro films! Each movie is wonderful with Antonio Banderas perfect as Zorro! I am giving this set 4 stars for the price, and for the transfers. A quick breakdown of each film is as follows:

The Mask of Zorro: 4 Stars! Zorro (Banderas) returns to action against Montero and his band of evil doers! After Spain is run out of California, the original Zorro (Hopkins) is locked away by his mortal enemy, Montero! To add insult to injury he takes his infant daughter Elena (Zeta-Jones) as his own. Now Montero has returned with a sinister plot to buy California for his own! It is up to the old and new Zorro to stop his sinister plot and teach Elena the truth about her past!

The Legend of Zorro: 3.5 Stars! Zorro (Banderas) is called by the people of California again to stop the sinister plot by Armand (Sewell) that will destroy the union. Zorro must also save his wife (Zeta-Jones) and son from his evil clutches as well!

NOW FOR MY BLU-RAY THOUGHTS: The Mask of Zorro looks good, but it could have been better. It certainly suffers a little from age, but it's the best it's ever looked. The Legend of Zorro looks fantastic! A beautiful picture with sharp contrasts and amazing color! Each film has very good audio mixes. SPECIAL FEATURES: All special features are carried over from each special edition DVD. FINAL THOUGHTS: As a box set, this is an absolute winner! Especially if you can get it for under $30. ABSOLUTELY UPGRADE!

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Nothing in Common (1986)

This is one of my most treasured films of all time and I can't understand why it receives so little attention. This is the story of an immature but successful bachelor whose world is disrupted when he gets an unexpected call from his estranged father, telling him his mother left him. Tom Hanks gives one of his BEST performances (comedically AND dramatically) as the carefree fellow who is forced to get to know his parents all over again while supporting them emotionally.

While many label this a comedy--and it IS pretty funny-I find it one of the most heartfelt and touching films ever thanks to a brilliant director, soppy but appropriate music, and an extraordinary cast. There've been so many films made concerning father-son relationships but if you're looking for the most genuinely realistic one, this is it. The final line of dialogue spoken by father to son ("You're the last person on earth I would've ever expected to come through for me") never fails to choke me up.

This is one of Tom Hanks' (and director Garry Marshall's) best films, yet it has received little publicity.

Among Hanks' fans I know who have seen this film, all hold it in very high regard. It's classic Tom Hanks funny and serious at the same time. As it's promoters said, "It's a comedy and a drama, just like life." You will surely love it.

Jackie Gleason, Eva Marie Saint, Hector Elizondo, and the rest of the cast do wonderful jobs.

I only wish it was on DVD, but hopefully in time it will be.

Buy Nothing in Common (1986) Now

I've watched this movie dozens of times, and was overjoyed to find it on DVD at last. This was (I believe) The Great One Jackie Gleason's final screen performance, and it showed the way of the future for Tom Hanks. Sela Ward also appears as a love interest, along with Hector Elizondo as his boss, and Eva Marie Saint as Hanks' mom.

The only thing that gets on my nerves just a little is the soundtrack. I think it's Christopher Cross, surely one of the most annoying alleged musicians ever to hit the big time.

The transfer to disk is good. The cast is excellent. The plot makes sense, and the script is near perfect. The story is about the relationship between Tom Hanks' character, David Basner, and his father, Max Basner. Its a wonder that anyone comes out right as an adult, and Hanks had no idea how screwed up his childhood had been until the night his father told him his mother had split. And soon thereafter his secretary gave him a message that his mother had called, and added "I had no idea you had parents."

Wonderful. Buy it, enjoy it.

Read Best Reviews of Nothing in Common (1986) Here

This is the first movie where Tom Hanks really began to show his depth. It was a film that required him to open with the comedic chops he's honed so well but then, because of the deepening of the film's story from comedy to drama, requested so much more of him. He ultimately delivers in spades.

This is really a story about a son moving very fast in the fast lane of advertising. He's a pro and he loves what he does. He's also a personality that lives on charm and in the moment. But when his parents separate after years of marriage, his life changes rapidly from no personal responsibilities to a multitude of them. It's also begs a question that rarely gets told wellhow do sons and daughters deal with parents as life turns the tables and we suddenly start having to deal with listening to and taking care of them? The changing of roles and responsibilities. As the film unfolds, it presents those concerns with proper weight, depth, sadness, growth and understanding.

Gary Marshall directed the film prior to his mega hit with Pretty Woman but I really think this is the better film of the two. He draws the best from Jackie Gleason, Eva Marie Saint and Beth Armstrong and Hector Alonzoeach lending a real ensemble cast feeling to the piece and although Tom Hanks shinesso do they.

Jackie Gleason deserves special mention because he really plays a rather hard, sad man at the end of the road as a clothing salesman, and he digs deep, never lending anything false to how this man thinks, feels and operates. The exchanges between him and Hanks about how he was raised lend a real truth to the role.

If you're looking for a film that has some humor and some depth of feeling in the same breath, this is an interesting evening's viewing.

An underrated film that deserves a second look and a larger audience.

Want Nothing in Common (1986) Discount?

I found Nothing in Common to have all the attributes of a wonderful film. From its soundtrack to its cast. The subject, a selfish advertising executive, thinks only of himself, but finally learns that family is important, and old friends are the best.

It is my most favourite Tom Hanks movie.

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Sweeney Todd: The Demon Barber of Fleet Street (2007)

Although critics have been almost unanimous in their praise of this film, many fans of the show are quite harsh in their appraisal, chiefly for two reasons one, that the principals are not great singers, and two, the deletion of roughly 50% of the score. I surprised myself in that, having purchased the soundtrack and seen the movie, I am in neither camp, as either of these factors might heretofore have caused me to pronounce most film adaptations of almost any Broadway musical a failure. Instead, I am thrilled far beyond my expectations with this production.

It might not have been so, had I not had so much respect for Stephen Sondheim. As part of the pre-release publicity, he has granted an unusual (for him) number of interviews, and says that he is unequivocally satisfied with Tim Burton's vision. As anyone who appreciates his high level of artistic integrity will agree, Mr. Sondheim would not give praise to this project if he were not satisfied with it. At 77, Stephen Sondheim is considered by many to be the greatest composer in the history of the American theatre, and I have followed him long enough to know that no amount of financial consideration could cause him to declare his endorsement if he were not truly happy with the finished film.

I have listened carefully to what Mr. Sondheim has had to say in those recent interviews, and now understand why so many stage musicals previously transferred to celluloid haven't worked. To begin with, time passes very differently in a theatre than it does on film. That which takes several minutes in a Broadway theatre (i.e. a full-blown production number) is apt to seem like a small eternity on screen. Therefore, the very thing that keeps most audiences clamoring for more in live theatre is apt to make many movie audiences run screaming from the auditorium. Then there is the problem of what Alfred Hitchcock once termed "suspension of disbelief"; that is, in real life, no one ever bursts into song during one of life's dramatic moments, no less accompanied by a full orchestra, and many moviegoers who are accustomed to a certain amount of reality therefore find musical films particularly hard to take. Thanks to some of the theories on musical film voiced by Mr. Sondheim in the past week or so, I finally understand why so many previous attempts to film Broadway musicals fall flat in short, the theatre and film are two entirely different mediums, with two entirely different audiences. Although many theatre lovers, myself included, would be happy to sit through an entire musical transferred to screen exactly as produced on stage, most movie audiences demand something different. And something different is what they surely get with Sweeney Todd.

Then there is the score. Tim Burton has said that he has been a fan of Sweeney Todd since its original run. I believe that, as disappointing as it is for many fans to accept how much of the score has been cut, it was probably even more agonizing for Mr. Burton to decide what pieces to remove. The original ran over three hours, and at least 75% of the story was sung, making Sweeney Todd one of the few genuine operas to ever come out of Broadway. The film runs only 117 minutes and, judging by the length of the soundtrack CD (a mere 72 minutes) easily 40% of the score has been removed, chiefly the ensemble pieces. Mr. Burton apparently judged (probably correctly) that the choral numbers which worked so well on stage, although containing some of the wittiest lyrics, would be clunky and ponderous on film, and he made the prudent (if, I'm sure, difficult) decision to let them go. This is likely to be the sorest point for many fans of the show. And had I not been paying careful attention to Mr. Sondheim's recent interviews, I may not have been able to get past that point myself.

But what has been excised is more than compensated for in Mr. Burton's sumptuous visuals and careful attention to detail. Although Mr. Sondheim has made changes to the lyrics, resolving previously problematic portions of the score and actually improving it, it's amazing how much of what is left of the score is faithful to the original. Though it's a tragic story, Sweeney Todd remains in essence a dark comedy, and many of Mr. Burton's finer touches, especially the staging of the musical numbers, have enhanced the story to the point where I have hardly missed the deletions, and I speak as someone who has loved this piece in almost all of its previous renderings.

And I admit that, although he has never been a particular favorite of mine, Johnny Depp is a revelation. Without detracting from previous interpreters of the role (especially Len Cariou and George Hearn), Mr. Depp's evocation of the character is so fully fleshed out, and so filled with genuine pathos and sympathy, that I was able to immediately excuse the fact that he is not a seasoned vocalist. Besides, to reiterate a point made earlier, this is not Broadway, and there is no need for his voice to reach the back of the house. If anything, the fact that the principal characters are not great singers actually enhances the realistic feel of the film. It is also a pleasure to have both Toby and Anthony (not to mention Joanna) played by actors of the appropriate age, and hear accents that actually invoke pre-Victorian London.

In the end however, the real star (to me, anyway) is the superlative score by Stephen Sondheim. I am not amazed that some feel that there are no "memorable songs" in the score. Good music should be subtle; the absence of "catchy tunes" that one will whistle on the way out of the theatre is only indicative to me of the high quality of the score. Anyone who is previously unfamiliar with Sweeney Todd who doesn't "get it" is urged to purchase the soundtrack (the full version, with the complete libretto included) and follow along with the words and music as the songs are sung. The first thing you will realize is (as with any of Mr. Sondheim's works, whether they be in a film, the theatre, or any other medium) how incredibly witty and sophisticated his lyrics are; on first listen you are apt to miss most of his delicious wit. His use of the English language, his clever rhymes, and above all, his intelligent, deft semantics will amaze anyone who cares to take the time to listen. There are reasons why so many consider Sondheim the foremost composer of the theatre, and so many intelligent theatergoers hang on his every word. But just as important as his words (and I have always admired Sondheim's ability to use words above all else that I treasure in the world of musical theatre), you will find, especially if you listen long and hard enough, that his delicate, subtle music will, in time, work its way into your heart and conscience as some of the most beautiful music ever composed. This is NOT top-forty pop music, the type that is so often mistaken for excellence in theatre these days. In his ballads especially, Sondheim writes genuine, heartfelt gorgeous melodies; that is, real music. Once you open your heart and mind to Sondheim's glorious words and sumptuous airs, you may just become a fan for life.

When it comes to a work of the musical stage it is difficult to imagine a finer one than Stephen Sondheim's SWEENEY TODD: THE DEMON BARBER OF FLEET STREET. For those who saw the original 1979 Hal Prince extravagant production starring Angela Lansbury and Len Cariou/George Hearn, and then the 2005 revival as condensed so creatively by John Doyle and re-orchestrated by Sarah Travis who placed the orchestral instruments in the hands of the 10 actors who tell the story of the strange Todd, the Tim Burton (screenplay reduction by Josh Logan) film will only enhance the pleasures of seeing SWEENEY TODD resurrected in yet another form. Each of these incarnations has its riches and together they establish Sondheim's work as a masterpiece.

Johnny Depp makes a convincing Sweeney Todd, in looks and demeanor as well as in singing voice, and Helena Bonham Carter's Mrs. Lovett fits right into Tim Burton's vision of the dark, squalid and seedy London. Timothy Spall is perfect as the oily Beadle, Alan Rickman makes Judge Turpin an understandable villain, Jamie Campbell Bower and Jayne Wisener are suitably infatuated young lovers, and Sacha Baron Cohen and Ed Sanders give top flight cameos as Signor Pirelli and Toby. The one advantage of seeing this fine film on DVD is the option of turning on the subtitles so as not to miss a word of Sondheim's superb lyrics.

For this viewer, however, the most successful version of this 'opera' is the John Doyle production currently on the boards in Los Angeles with Judy Kaye as the most satisfying Mrs. Lovett on record. This uniquely economical and endlessly creative production goes to the core of the work better than any other version, and if this traveling company comes anywhere near your home, go see it! It is the essential SWEENEY TODD and a fine adjunct to seeing the film version again and again. Grady Harp, April 08

Buy Sweeney Todd: The Demon Barber of Fleet Street (2007) Now

An R rated musical about a vengeful barber who kills his victims only to serve them up as meat pies must've made the studio a little nervous to bankroll a big budget adaptation of Stephen Sondheim's award-winning Sweeney Todd: The Demon Barber of Fleet Street. Although, they must've been reassured that Tim Burton would be helming the project with his long-time collaborator Johnny Depp stepping in to play Todd. Burton, with his affinity for all things dark and gothic (see The Nightmare Before Christmas (Special Edition) and Tim Burton's Corpse Bride (Widescreen Edition)), seems like an obvious choice to take on such dark subject matter and Sondheim agreed, giving the filmmaker his blessing.

The first disc has a featurette entitled, "Burton + Depp + Carter = Todd." Tim Burton had always been a fan of Stephen Sondheim's musical and had contemplated a film version for years. Helena Bonham Carter was also a fan and had always wanted to play Mrs. Lovett. Burton liked the idea of her and Depp as this "weird" couple. The director and his leading man talk about their long-standing relationship in this excellent featurette.

The second disc starts off with the "Sweeney Todd Press Conference, November 2007" which features Burton, producer Richard Zanuck and his main cast answering questions from the press. Not surprisingly, Burton and Depp tend to dominate the bulk of the questions. Both men are very charming and joke good naturedly with each other.

"Musical Mayhem: Sondheim's Sweeney Todd" features Sondheim talking about the origins of his take on Sweeney Todd and what drew him to the story. He also talks about how he adapted it into a musical and speaks eloquently about the story and the predominant theme of revenge.

"Sweeney's London" provides historical background to 18th and 19th century London including the social and economical conditions with historians talking about how harsh life was back then. This is fascinating stuff and excellent insight the world that acts as a backdrop to the story.

"The Making of Sweeney Todd: The Demon Barber of Fleet Street" takes a look at how the film came together. This is a pretty standard promotional featurette that mixes cast and crew soundbites with clips from the film. It covers a lot of ground already depicted in other featurettes.

"Grand Guignol: A Theatrical Tradition" examines the tradition of Grand Guignol or horror theatre that came out of France. Academic types trace its origins, define its characteristics, and illustrate how Sweeney Todd fits into this tradition.

"Designs for a Demon Barber" takes a look at the costumes and set design. Burton wanted the film to look like Frankenstein (75th Anniversary Edition) (Universal Legacy Series) and resemble a kind of fable look. He explains that this is why he used sets on soundstages as opposed to actual locations.

"A Bloody Business" examines how they did the film's bloody deaths. We see Burton and his crew running tests on how to get the right bloody sprays and experiment with how to pull of the throat slashings.

"Moviefone Unscripted with Tim Burton and Johnny Depp" features the two men asking each other questions submitted by fans. They talk about how they met, how Depp prepared for the role, and so on.

"The Razor's Refrain" is a montage of stills and behind-the-scenes photographs from the film with excerpts of songs from the soundtrack.

Also included is a gallery of production sketches, promotional stills, and behind-the-scenes photos.

Finally, there is a theatrical trailer.

Read Best Reviews of Sweeney Todd: The Demon Barber of Fleet Street (2007) Here

(2008 HOLIDAY TEAM) "Sweeney Todd, The Demon Barbour of Fleet Street" will surprise a LOT of movie-goers. It's a musical about a London barbour who is wronged and returns home looking for revenge.

I'm usually skeptical of film remakes of musicals. Being a fan of Tim Burton was enough to get me through the door. I am really glad I saw it. This is a very good movie that will satisfy a very wide audience, including those unfamiliar with the original musical as well as it's loyal fans.

DISCLAIMER: Not for younger kids or squeemish adults. This is one R rating that is well deserved.

First and foremost, this movie is worth seeing in the theatres. I expected this version to be even less "musical" than it was. Surprisingly, it is VERY true to the original musical, with almost all the original Steven Sondheim score re-sung by the modern cast. Musically, the songs and score are all well done and add to the theatre experience.

Visually, Sweeney Todd is STUNNING. This version is MUCH BETTER than any other previous version. Tim Burton has created a dark and dingy London that deserves to be nominated for an Oscar for almost every technical category. The black and white backdrop make the bright colors stand out when they are used. Color is used artistically and powerfully, as you'll see. :)

The actors will also attract some die hard fan groups. Johnny Depp and Helena Bonham Carter have some very different fan bases, but I think both will be satisfied and surprised by the performances. In fact the whole cast does wonderfully, and the director no doubt had something to do with that.

This is also another movie where I will be looking forward to the HD DVD. Hoping for a wealth of deleted / extended scenes and "making of" featurettes. As for the soundtrack, I plan on buying it today.

Go see this movie. You will buy the DVD. And the soundtrack may be on your shopping list soon too. There's a full version, and a "Highlights" version without the background tracks.

Sweeney Todd The Demon Barber Of Fleet Street Deluxe Complete Edition

Sweeney Todd Soundtrack Highlights

Enjoy!!

Want Sweeney Todd: The Demon Barber of Fleet Street (2007) Discount?

Ever since Moulin Rouge re-energized the then malignant musical genre, we have just been assaulted by a slew of hit Broadway Musicals turned big screen show stoppers, from the highs (Chicago) to the lows (The Producers). And while Dreamgirls was very well done, it really just buckled under its own pressure and did not live up to my expectations. But for 2007, musicals hit an all time high when not one, not two, but three well done films were released. In the Summer, we were treated to the feel good Hairspray. In the Fall, we then experienced the fantasy that was Across the Universe. And finally, they toped of the year with an all time high with Sweeney ToddThe Demon Barber of Fleet Street, one of the best musical adaptations in recent years.

For those familiar with the Broadway play, we are shown the story of the vengeful Benjamin Parker, who for fifteen years has been paying for a crime he did not commit, wrongfully accused by the wicked Judge Tulpin. Now, he has returned to London, with a new name and a thirst for vengence. Aided by his former landlady Mrs. Lovett, he cuts a bloody path across 19th century London in his ulitmate quest for revenge against those who have wronged him.

First off, Tim Burton could not have been a better choice to bring this tale to the big screen. Already one of the biggest directors out right now and a sheer genious of quirky, dark films, there really was no other contender that could have done the job he did. Here, he brings his best work since Ed Wood. The atmosphere, the costumes, the settings, everything just not only screams Burton but also keeps the vision of Stephen Sondheim alive and well. And usually i'm not a person who squirms easily but some of the throat slashings really did just make me shiver slightly in my seat, something I do not experience a lot even with some of the goriest or scariest horror films, so bravo to Burton for letting the blood fly (and believe me, there is a lot).

Now, at first I was a bit apprehensive about Johnny Depp playing Sweeney Todd, cause until then I had no idea he could sing. But luckily, my fears were put to rest as soon as he stepped on screen. As Sweeney, he glowers, he sings, he kils, just once again submerging himself into yet another unique character. Helena Bonham Carter also proves her own as Todd's acomplice, delivering comic wit at just the right time and holding her own on the screen next to Depp and as for Alan Rickman, he just completly took me by surprise. To see the guy most people know as Professor Snape just being up there and singing is just a bit of a shock but he definently pulled it off. And for those who groan over the singing, I mean come on! These are not professional Broadway singers people! So its expected they wouldn't be on par with those who originally played the cast.

I was very dissapointed that this film did not get the realy recognition by the Academy as it should have, especially for Best Picture and Director. But then again, this was a pretty tough year, full of a lot of great films, so the fact it sort of got lost in the shuffle to the likes of heavy hitters like No Country For Old Men or There Will Be Blood. But at least Depp got his just reward with a Best Actor nod.

Definently one of the best films of 2007, Sweeney Todd is a must see for moviegoers but if you are not a fan for musicals, this will most likely not be your taste of film. However, if your a fan or loved the Broadway play, the film will surely not dissapoint.

Green Lantern: First Flight (2009)

Green Lantern: First Flight is an awesome film. It doesn't waste a lot of time on the origin (which takes place in the first few minutes) and heads straight to the action. Some people might see this as detrimental, but I like how the DC animated projects a lot of the time will just assume that you know the basics of what is going on. It saves a lot of time and allows the movie to start getting to the point.

First off, I was surprised at how brutal some of the violence was for this cartoon. I know that these releases are not necessarily tailor-made for children, but this is no JLU episode. People are impaled, shot, torn through walls into the vacuum of space, and there is pretty much non-stop fighting through most of the 120 minutes. I don't have any problem with that, but it might not be to everyone's liking.

Plot-wise, it's not Shakespeare, but we are talking about an action cartoon here. There is a hero, a villain and lots of cool use of the Green Lantern rings. Those were the only prerequisites I was looking for going in to this thing, and I was not disappointed.

The voice cast did a great job as well. If there is one thing that DC always does right, it is casting their voices. Michael Madsen as Kilowog was my personal favorite. Too bad he didn't have more voice time.

This might possibly be my favorite DVD project of theirs, which is saying a lot considering the fantastic Wonder Woman, New Frontier, and Gotham Knight DVD films. I sincerely hope they continue putting out quality releases like this one.

In the Marvel universe Daredevil is the Man Without Fear. In DC Comics that label falls to Hal Jordan, who shows no fear and brandishes a will of friggin' iron. I'm not one to be on Hal Jordan's jock but I've been reading comic books long enough to know just how much this guy's been put thru the wringer. Not only did he have to put up with Oliver Queen in all those socially relevant stories, but years ago Hal Jordan went insane and turned to the dark side but having your city murdered under your nose might do that. Dude became a mega-supervillain called Parallax and wreaked incalculable devastation. Later, Jordan sacrificed himself and eventually took up the mantle of the Spectre, after which he came back from the dead (coming back from the dead being only marginally more challenging than chewing gum IF you're a comic book character). In DC's line of direct-to-video original animated movies, it's only natural that the spotlight first focused on the Big Three. But, after Superman, Batman, and Wonder Woman, I can see why Green Lantern would receive the next animated feature film treatment. Hal Jordan, whether home on Earth or patrolling the perilous spaceways, happens to be one of DC's all-time big guns.

GREEN LANTERN: FIRST FLIGHT spits on the slow burn set-up and instead plonks you straight into the thick of things. Within the first four minutes of the film the dying extra-terrestrial Abin Sur crash lands and bestows his power ring onto dashing test pilot Hal Jordan, and Hal then becomes the Green Lantern of Sector 2814. There's barely time to acknowledge Carol Ferris and her Ferris Air company before the new Lantern is whisked away to a hellacious deep space adventure. Cue the non-stop action. Just one of the reasons I dig this movie.

Hal Jordan is transported to the center of the universe, to the planet Oa, home to those immortal blue midgets known as the Guardians of the Universe. The Guardians, creators of the Green Lantern Corps, don't think much of humans. Sinestro, the intrepid Green Lantern of Sector 1417, has to talk fast to convince them to allow him to take Jordan under his wing. So off Sinestro and Jordan go, on a mission to learn the identity of Abin Sur's killer.

But there's an even bigger situation brewing. For a while now the Lanterns had been on the lookout for any sign of the yellow element, the only thing powerful enough to counter the green element, which is the source of the Green Lantern Corps' power rings. I don't think I'm spoilering things when I say that Sinestro isn't as noble as advertised, that dude actually leans closer to finkhood than to heroism. Near immeasurable power has corrupted Sinestro, to the point where he now believes that the end justifies the means and has no qualms at all about torturing prisoners for information. He doesn't think much of the Guardians and disparages them every chance he gets. In his new world order, there is no room for these immortal blue midgets. Sinestro very easily lives up to his rep as Hal Jordan's archnemesis. As a bonus, for those who've been reading up on recent Green Lantern stuff, Sinestro eventually dons his black and yellow outfit from the Sinestro Corps. He looks darkly resplendent in a fashionably despotic kind of way.

I'm so used to Hal Jordan being the experienced pro that it's sort of refreshing to see him being the newbie on the block and getting that rookie treatment. You know you're lowest on the totem pole when even the squirrel Green Lantern disses you. Still, soon enough, Hal Jordan is doing his thing, kicking space alien booty, piercing thru conspiracies, and generally proving his doubters wrong. I don't know that Hal's use of his ring is all that inventive or imaginative, but, man, there is such decisiveness and flourish to the way he puts his ring thru its paces. Surprisingly, my favorite ring manifestation was that giant golf club, although, since I'm old-school, I'm kinda glad there's a sequence in which the classic gigantic green fists come into play.

The pace is poppin', the thrills keep on comin', but not so much with the character development. Hal Jordan is Hal Jordan, brash and resourceful and brimming with bravado, even as a fresh-faced rookie and even when his ring is stripped away from him. But Hal just rolls with the punches. Sinestro is the most interesting person here, although not too many'll be startled with his good-to-evil arc. Several old GL favorites make the cut: Boodikka, Arisia, Ch'p, Tomar Re, and one of my all-time favorite Lanterns, Kilowog. Gratifyingly, Kilowog is given a big role and even gets to mutter "Poozer!" a couple of times.

The film takes advantage of its PG-13 rating. I liked the violence, but then again I'm a fairly sick mo-fo. Others might raise an eyebrow to scenes of impalements, necks being snapped, and even of a ring's energy beam lethally punching thru a body. The animation is mostly solid, but is at times shaky, and there's that one bothersome sequence in which Sinestro's normally magenta complexion mysteriously shifts to a more human color.

But, never mind, the animators do the job in conveying on film that epic cinemascope vibe that comes with Green Lantern's intergalactic exploits. GREEN LANTERN: FIRST FLIGHT doesn't quite achieve Justice League The New Frontier (Two-Disc Special Edition)'s level of excellence, but it still places third on my list of favorite DC direct-to-video animated films so far (right after Wonder Woman 2009 (Two-Disc Special Edition + Digital Copy)). The yellow element battery, created by the creepy Weaponers of Qward, looks impressive and menacing, and Sinestro's supervillain street creds are established when he almost dismissively takes out gangfuls (Corpsfuls?) of Green Lanterns. Again, this is a PG-13 picture, so characters actually die in this one, and sometimes quite horribly. Nothing says "Oh crippitycrap" like a shower of defunct power rings ominously klunking on the floor at the Guardians' feet. But, just when things look bleakest, check out who reclaims his power ring (no, it's not G'nort).

The special features are... okay. Disc One has: the widescreen feature presentation; the very promising exclusive sneak peek (7:49 minutes long) at the next DC Universe animated film SUPERMAN/BATMAN: PUBLIC ENEMIES (based on Jeph Loeb's first story arc from the SUPERMAN/BATMAN comic book and starring the voices of Kevin Conroy, Tim Daly, & Clancy Brown); in-depth featurettes on three original DC animated films JUSTICE LEAGUE: THE NEW FRONTIER (10:43 minutes), WONDER WOMAN (10:25 minutes), and BATMAN: GOTHAM KNIGHT (10:08 minutes); and a behind-the-scenes look (8:50 minutes) at Blackest Night, the DC Comics mega-event which resurrects the dead and has them wielding corrupted black power rings.

Disc Two has: Behind the Story with Geoff Johns as he discusses Green Lantern's mythology; the pretty friggin' great DUCK DODGERS episode: "Green Loontern"; Green Lantern Corps Character Profiles on Sinestro and the Guardians of the Universe; and 2 bonus cartoons from JUSTICE LEAGUE UNLIMITED: the very, very awesome two-parter "The Once and Future Thing," in which Batman, Wonder Woman, and the John Stewart Green Lantern pursue Lord Chronos and end up first in the Old West and then 50 years into the future. Hal Jordan shows up for a nano-moment in the second part, which I guess is enough of a tie-in to include the two-parter on this DVD. Not that I'm complaining. Watching GREEN LANTERN: FIRST FLIGHT has got me all kinds of excited to see the live action film. Bring it, Ryan Reynolds!!

Buy Green Lantern: First Flight (2009) Now

Green Lantern First Flight: Two-Disc Special Edition

(Released July 28, 2009 by Warner Home Video)

Another Looong DVD Review by Joe Torcivia

With 1992's BATMAN THE ANIMATED SERIES, producer Bruce Timm began a roll of excellence in adapting DC Comics' characters and concepts to animation that continues unbroken to this day!

In GREEN LANTERN FIRST FLIGHT, Timm hits all the right notes, concepts, and character bits to create as perfect a Green Lantern film as could be imagined.

Everything is as it SHOULD BE. Test Pilot Hal Jordan is summoned to the crash site of the dying alien Abin Sur, receives Abin's Power Ring, and is transformed into Green Lantern! Little of the precious running time is spent on this well-known origin, and the transformation takes place between 3:45 and 4:10 of the film. THAT'S EFFICIENCY!

The balance of director Lauren Montgomery's film (again, as it SHOULD BE) is spent introducing the Green Lantern Corps, their masters the Guardians of the Universe... and the untidy matter of Sinestro. BIG kudos to writer Alan Burnett for working it all into little more than 70 minutes.

As a reader and fan of DC Comics since the Silver Age and all phases since, both good and bad I can say this film (Pardon) "RINGS" TRUE!

As is our custom in these reviews, we'll break it into CONS and PROS.

The CONS:

The Special Features: (For the "Two-Disc Special Edition")

There is NO COMMENTARY TRACK for Green Lantern First Flight.

There are "Promotional / Making Of" documentaries for OTHER DC Comics Animated Features Justice League: The New Frontier, Wonder Woman: The Amazon Princess, Batman: Gotham Knight, and a very welcome "first look" at the upcoming "Superman / Batman: Public Enemies".

...But there is NO "Making Of" or "Behind the Scenes" feature on Green Lantern First Flight! Couple this with the lack of a producers' commentary track, and there is little or no information on the film you've just purchased though plenty of it on Warner catalogue titles. In all, there are NINE separate Special Features, and not one of them is actually about Green Lantern First Flight!

Credit Where Credit is Due: Much of the documentary material focuses on the current writers of the Green Lantern comics, Geoff Johns and Peter Tomasi. And, so it should, as they have restored the Green Lantern mythos from a long run of mediocrity to renewed greatness.

BUT, there is virtually no mention of those who created said mythos in the first place!

Artist Neal Adams makes a cameo along the way, but there is not one word about editor Julius Schwartz, writer John Broome, and artist Gil Kane who conceived the whole shebang early in the Silver Age of Comics! The Corps and its specific members, the Guardians, the Central Power Battery, the Yellow Impurity, the Planet Oa, Hal Jordan, and Sinestro and The Oath.

ALL of it sprang from the minds, words, and pencils of these talented individuals but you'd never know it by the focus presented here. Even writer Denny O'Neil, who (along with Adams) revolutionized the Green Lantern concept at the end of the Silver Age, is among the unmentioned. DC Superhero projects from WHV have usually been good or at least adequate on historical perspective of the source material. But, not here!

The PROS:

The Film Itself: No more spoilers than I've already given, but... YES! Simply, YES!

The Cast: Christopher Meloni as Hal Jordan and (especially) Victor Garber as Sinestro make a great pair of lead cosmic adversaries. Michael Madsen, Tricia Helfer, and John Larroquette are nicely cast as supporting GLs Kilowog, Boodikka, and Tomar-Re.

And a very special treat for fans of sixties television! Among the actors voicing The Guardians are old stalwarts William Schallert and Malachi Throne!

The Characters: Hal Jordan, Carol Ferris, Abin Sur, Kilowog, Boodikka, Tomar-Re, Sinestro, and The Guardians of the Universe.

Green Lanterns in lesser roles: Ch'p, Arisia, Saalak, Arkis Chummuck, and the "Big Head GL". There are surely many more that escaped my enraptured notice.

Other villains include Kanjar-Ro (from 1961's JUSTICE LEAGUE OF AMERICA # 3) and the Weaponers of Qward.

No John Stewart, Guy Gardner, or Kyle Rayner, as this is the tale of Hal Jordan becoming Earth's first Green Lantern. They would all come later.

The Special Features: (For the "Two-Disc Special Edition") Two features on the current Green Lantern comics one overall and one specifically about the upcoming arc "Blackest Night". Though lacking in historical perspective (see the "Cons" section) they ARE very informative for those interested in being brought up to speed.

There are two "mini-features" one on Sinestro and one on the Guardians of the Universe. Neal Adams gets the "line-of-the-day" in the Sinestro piece: "We had TRIPLETS. Here's BOUNTIFUL, BEAUTIFUL, and SINESTRO... Who's gonna be the BAD GUY? Sinestro's gonna be the BAD GUY I don't know why..."

Bruce Timm picks a favorite JUSTICE LEAGUE UNLIMITED episode that is tangentially related to Green Lantern: "The Once and Future Thing" Parts One and Two. Bruce T. KNOWS how to pick `em! This tale of Batman, Wonder Woman, and John Stewart Green Lantern vs. a wonderfully browbeaten, disrespected, and resentfully angry version of time-mastering villain KRONOS takes them from the Old West (with Bat Lash, El Diablo, and Pow-Wow Smith) to the future of Batman Beyond! (Yes, Bruce Wayne gets to meets Old Bruce Wayne! Wouldn't you feel cheated if he didn't?)

And the Crowning Glory of the Special Features: "The Green Loontern" a 2003 episode of the DUCK DODGERS TV show, where Daffy / Dodgers' DRY CLEANING is accidentally mixed up with Hal Jordan's (Ring included!) and Daffy is summoned to assist the Green Lantern Corps with a Sinestro-spawned galactic crisis!

It took FOUR WRITERS to pull off this crossover masterpiece Spike Brandt, Tony Cervone, and old WB hands Tom Minton and the great Paul Dini and they wring every ounce of Daffy-esque humor and admiration for the Green Lantern concept from this script, as perfectly as could be!

If you thought the character list of Green Lantern First Flight was something, check out who they squeezed into this 22-minute marvel: Duck Dodgers, Eager Young Space Cadet, Dr. I.Q. Hi, Hal Jordan, Sinestro, Katma-Tui, Kilowog, Tomar-Re, John Stewart, Guy Gardner, G'nort, Arisia, "the Diamond Green Lantern", Saalak, Ch'p, Boodikka... and (in keeping with casting sixties icons to voice Guardians) John Stephenson at his most regal and officious as Ganthet!

Great Line:

DAFFY/DODGERS: Hey, you know... In person, you REALLY DO look like THE DEVIL!

SINESTRO: (resigned) Yes, I get that a lot!

DUCK DODGERS has yet to be released on DVD, making this a TRUE bonus! If ever a single Special Feature was worth the price of admission, this is it!

OVERALL: Green Lantern First Flight Two-Disc Special Edition is a rousing success in both the feature itself, and the extras. If you are a fan of DC Comics (Now or Silver Age), the Warner Bros. DC Comics Animated Series or are just looking for a great introduction to the Green Lantern concept -Green Lantern First Flight is highly recommended!

Read Best Reviews of Green Lantern: First Flight (2009) Here

From Warner Brothers animation who gave us "Wonder Woman", "Justice League Frontier" and `Gotham Knights", comes DC's next direct to DVD installment "Green Lantern: First Flight". Directed by Lauren Montgomery with script written by Alan Burnett, the movie is a 75 minute ride in the beginnings of Hal Jordan as a member of the Green Lantern corps and incorporates several references in the story arc from "Sinestro Corps"collected in Green Lantern and Green Lantern Corps comic monthly comic titles.

While testing out a flight simulator in Ferris aircraft, Hal Jordan (Christopher Meloni) suddenly disappears in a flash of emerald light. Taken to a remote area where an alien spacecraft had crash landed, Hal becomes the recipient of a ring of power, since its previous wielder, Abin Sur was mortally wounded. Hal was chosen by the ring because of certain qualities but before he becomes the ring's true user, he must prove his mettle to the Guardians. Sinestro (Victor Garber) takes Hal under his wing in the hunt for Appa Ali Apsa (William Schallert) who was responsible for Abin Sur's death and who has found the yellow source of power. While in the quest, Hal and the other Lanterns (made up of Kilowog (Michael Madsen) and Boodikka (Tricia Helfer) finally uncover Sinestro's secrets; he intends to destroy the central power battery that provides power to the rings of the corps members.

Think "Emerald Dawn" and "Sinestro Corps", then you may get a general idea as to what the movie is all about. The direction and screenplay keeps the story moving, with a lot of ring slinging scuffles while touching on the certain character attributes of Hal and Sinestro. I liked the part where Burnett displays the differences as to how Hal uses his ring as opposed to the other members' methods. Hal uses bats, guns, springs to get the job done; one may say that Hal is more creative with the ring's uses as opposed to other members merely generating force blasts and force fields. It was a good attempt at human qualities being brought into exposition when compared to the other alien members. Sadly I find this development very hard to buy into, as we don't see Hal being the recipient of the ring's workings--no definitions of will power and imagination are explored, I found it hard to believe that a rookie green lantern would be more adept with the ring. I guess the filmmakers are relying on fans of the comic series to fill in the gaps.

The movie also has several plot missteps. The Guardians are supposed to be one of the eldest and wisest races in this universe; also they are powerful telepaths--yet they didn't think of using their abilities to probe the dead mind of Appa. (I am thinking that the telepathy of the Guardians is more potent than Xavier's). It was just too convenient for Sinestro to know what to do to find the Weaponers of Qward. Also, I find it unbelievable that the Guardians only had one attack up their sleeve and then they yield to Sinestro. Sinestro, alone with one yellow ring could undo the entire corps? Sure his power battery was sentient, and the rings were vulnerable to yellow but really, these are the corps members who supposed protected the universe? They all felt a little too inexperienced to me and the rules of the green central power battery felt a little too underdeveloped.

Now for the ultimate question: Does "Green Lantern First Flight" display good ring-slinging action? Yes, it does. The encounters between Appa's gang of bug-aliens and Hal were very entertaining. The final fight between sinister Sinestro and Hal is reminiscent of their encounters in the comic series, with Hal utilizing the power of the green central power battery (ala "Emerald Dawn") to use against him. The fight was well-choreographed with a good exclamation point. It was a great touch to have Hal move two moons against the yellow central battery. The animation is fluid and nicely executed, the style of the art is similar to other Warner bros. animated features; the layouts are also very spiffy and cool.

"Green Lantern First Flight" is good, it has that child-friendly quality but mature enough (there is some blood and death) to entertain the adults. However, this "first flight" doesn't serve up enough character depth, Hal's psychological profile is a key element in its mythos. The movie is a little hollow, and most characters just disappear from the screenplay a little too quickly. I supposed it was Lauren Montgomery's intention to keep the pace moving to avoid too much dialogue, but in the end, the movie felt a little too short and felt a little rushed; it relied to heavily for fans to fill in the gaps. I sure wished that the other familiar faces of the GL universe played a more active part in the movie. Kilowog was underused; Ch'p the squirrel GL provided some humor, and familiar faces Arisa and Tomar also make appearances.

Despite its flaws, I found "Green Lantern First Flight" a decent entertaining entry in the DC universe. It does portray "green rookie" Hal Jordan as a hero right off the bat and the movie has loads of action to dish out. I like John Stewart, Alan Scott and Kyle Rayner...but Hal is still the best ring-slinger in my book.

Batman once said: "The most powerful weapon in the universe and all Hal could dream of is a boxing glove and a flashlight?" Let's hope for a sequel...

Recommended! [3 ½ Stars]

Want Green Lantern: First Flight (2009) Discount?

As a kid in the early '80s, I knew all the major DC characters, but I was only submerged in the worlds of Batman and Superman because of their wild popularity. Since then, the world of comic books and heroes have finally infiltrated the mainstream and it's become much easier to delve deeper into the mythos of your favorite character.

Being able to watch an entire animated film about The Green Lantern is unbelieveable, not to mention the fact that it's on BLU-RAY! The success of the DC animated films is directly attributed to their quality production. Every aspect of the film is nearly perfect including the voice acting, the lush animation, and the packaging.

As with all the DC animated films thus far, the acting talent is carefully chosen. Christopher Meloni IS the Green Lantern. Even though he's one of my favorites, it's going to be difficult to to adjust to Ryan Reynolds after hearing Meloni do such a fantastic job at capturing Hal Jordan's occasionally rebellious and saracastic tones. It was great to hear BSG's Tricia Helfer and That '70s Show Kurtwood Smith, among plenty of other stars. GL: First Flight also includes the voice talent of Michael Madsen (Kilowog), Olivia D'abo, and John Larroquette.

The film combines comic book action and mixes in a little sci-fi, which satisfied the Star Wars geek in me. If you enjoyed the animated films Superman Doomsday, and Wonder Woman, I guarantee you will love this just as much. And as I mentioned, I was only a casual fan of Green Lantern before watching this film, but all it takes is one viewing and you'll consider yourself a fan. This is the best way to indoctrinate yourself into the Green Lantern universe. You'll witness the origin of Sinestro and how the Lantern and power rings function, which I was always a bit fuzzy about.

It's easy to wonder why some of the other DC characters haven't been exploited like this, but I'm sure it's only a matter of time. Green Lantern First Flight will get you primed for the upcoming live action film, so I highly recommend making it part of your collection.

Allow me to use my ring to create a big green thumbs up to DCU and WB!

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Compliance (2012)

Craig Zobel's powerful true story "Compliance" is one of those movies that almost dares you to look away. As a tense situation grows increasingly uncomfortable, the viewer becomes complicit as a voyeur and participant in a waking nightmare. Just as everyone on screen should know better and should display more sound judgement, you can't tear your eyes from the unbelievable and quite disturbing tale unfolding. It may be the most squirm inducing film of the year. Having caught "Compliance" at a tiny arthouse theater, I heard a lot of discussion outside in the lobby. A fair number of people simply didn't believe that the events depicted in the film could happen. But here's the thing, Zobel's script adheres very closely to the facts of an actual event! There isn't a lot of extraneous fictional material added in for dramatic affect, this sticks to the truth in a straightforward and matter-of-fact way. Based on a real life occurrence in 2004 at a Kentucky McDonalds, the movie's screenplay recreates (although in a fictional setting) what occurred in that store almost exactly according to the restaurant's security video, police reports, and court transcripts.

On an average day at your local Ohio Chickwich, the harried manager (Ann Dowd) receives an officious phone call from someone claiming to be a police officer. He identifies a young employee (Dreama Walker) as a thief saying that a woman customer has reported her taking money from her purse earlier in the day. Claiming he has already spoken to Dowd's District Manager, he asks for her cooperation in expediting the investigation while his team is detained. What follows, playing out in basically 90 minutes of real time, is a psychological manipulation that will have long reaching repercussions. Everyone wants to cooperate with authority (Dowd has already displeased her boss with one blunder today), and no one seems willing to challenge the caller even as things start spiraling out of control. The movie establishes fairly early on that this is all a sadistic prank, and once the caller has the store on the hook--he wants to see how far he can push things. Humiliating, debasing, and assaulting Walker, "Compliance" really starts to examine human nature and our willingness to please.

I won't be any more specific. I will, however, say that "Compliance" has one random scene near the end that is absolutely brilliant in its understatement. Once the police are involved, we spend a wordless journey in the cruiser as an officer drives from the station to the restaurant. At first, I wondered why we were along for this ride. But it makes perfect sense. Zobel, in a minimalist approach, is showing just how close actual help and police were during the entire ordeal. "Compliance" succeeds on two very strong performances. Dowd, a great character actress relishing a leading role, is perfect as the woman caught in this moral dilemma. And Walker, whose defiance slips away to resignation, proves she's one to contend with. It's a demanding role and she is definitely up to the task. I can't say that "Compliance" is fun or entertaining, though, because it purposefully seeks to provoke. It's not a movie you will feel ambivalent about--love it or hate it, you will remember it and talk about it. In that, it is an unqualified success. KGHarris, 10/12.

This is both a dramatically provocative and important film for anyone above the age of early adolesence.

In the early 60's, Psychologist Milgram did a series of studies in which he persuaded both students and non-students to

administer painful shock to subjects. This experiment was done under the guise of testing learning theory. In many, many instances the subjects (confederates) screamed in pain and begged the subjects to stop. Yet because the subjects were instructed to do so by an experimenter in authority, the subjects (playing the role of teachers) continued shocking the subjects. These findings illustrate the power of authority in inducing ordinary people to do horrid things to others. Naturally the ugly, unforgettable real-world manifestation of this is the holocaust. "I was only following orders" goes the feeble reply when the Nazi and SS were forced to answer for their crimes.

The film "Compliance" is a modern day, dramatic, creative, and compelling reenactment of the Milgram studies. As such, it is a "must see" for academics from all fields, but particularly from those focusing interpersonal communication, leadership, persuasion, social psychology, sociology, journalism, law enforcement, and public administration.

In addition to its suitable as an instructional aid and stimulus to classroom discussions, it is an extremely well acted and

fascinating film. Artistically, it is well photographed, and the dialogue and actors are superb. This story is, in fact, a dramatic rendering of real-life instances of similar crimes committed throughout the U.S.

I cannot recommend enough this intelligent, provocative film.

--Wm. R. Todd-Mancillas

Buy Compliance (2012) Now

"Compliance" is a dramatization of several different incidents where a caller to a fast food restaurant, claiming to be a policeman, talked employees into abusing other employees. The caller uses the technique of gradually asking the employees to go further in their actions; as they start to accept one thing, he pushes them to the next level.

The action starts on an extremely busy day, as it happens, right after an employee forgot to close a freezer, resulting in a loss of about $1500 in spoiled food. The caller claims to have a customer with him who saw a young female employee steal money from her purse. He also knows the district supervisor's name, and claims to have him on another line. He starts by asking the manager to search the employee, and progresses to making her undress. The caller says that the girl and her brother have been selling drugs, and claims to be searching her home at that very moment while the brother is under arrest. When the manager shows reluctance to undress the girl, the caller says that the only alternative would be for him to come to the restaurant, arrest the girl, and take her to jail. But if they search her in the restaurant, all that can be avoided.

At this point, I wondered why she didn't ask to speak to the district supervisor, if only to make sure that she was adhering to company policy. But the store manager doesn't think of this. In order to be able to get back to work, she calls her fiance, who has been drinking with some friends, to come in and watch the girl until the officer arrives. The caller manages to convince this man to spank the girl, followed by the girl performing oral sex on him. Why didn't the discussion that led to this set off any alarm bells? Even if he thought the caller was a policeman, wouldn't he have said that since he was engaged to be married, he felt uncomfortable with this series of events? Apparently, in at least one real-life case, this objection wasn't raised.

An interesting change takes place in the manager's mind as events unfold. At the beginning, she tells the other employees that the girl is "suspected" of stealing something from a customer. Later, this is modified into the unequivocal "she stole something." It's as if the manager has to justify what is going on by presuming that the girl is guilty.

The sequence finally ends when another employee comes in and is asked to watch the girl. The caller oversteps here by asking him to undress the girl again. Not having been present for the preceding events, this employee reacts more normally to what sounds to him like an anonymous voice on the phone. He leaves the room, complaining that the caller's request wasn't "policemanly." Another employee confirms that the girl's brother, far from being under arrest as the caller claimed, is actually out of town. The manager confirms that the district supervisor has been out sick all day. The real police station, we discover, was less than five minutes away.

The film is disturbing because we cannot help but wonder how we would have reacted in the same situation. We would like to think that we wouldn't have been fooled, but through the entire process, we know we have access to information that the participants lacked. As social animals, we know we're not supposed to undress and search each other for no reason, and that innocent girls should not be spanked and forced to perform oral sex. But at the same time, as social animals, we are conditioned to respond to authority and follow instructions. The film depicts, on a small scale, what happens in situations of long-term abuse, exploitation, torture, slavery, and genocide. A dictator starts small and works his way up, until one group is shoving another group into concentration camps and gas chambers, and it all seems justifiable to the participants given the shared explanation. Meanwhile, people watching from the outside are horrified.

Yet even in the most depraved situations, some people remain centered, and do not succumb to the temptation to follow orders, to go along with the status quo. What stops them is a high degree of compassion, the ability to put themselves in the victim's place and imagine what they are feeling. It may come down to having a higher than average number of mirror neurons, or it may arise from an independent streak, a mischievous desire to rebel whenever an authority figure tells them to do something. Human society could not survive if we were all independent rebels stability requires most people to do their jobs and follow instructions. But for a society to be healthy and not just a collection of ants, it needs a few people whose response to the instructions is "it's not policemanly." They recognize when the policeman has violated his contract and has become a tyrant. Control, in other words, cannot be perfect. And sometimes those who deviate are criminals, and at other times, heroes.

Read Best Reviews of Compliance (2012) Here

The era of crank phone calls has sure taken a twist. When fast food restaurant manager (Ann Dowd) gets a phone call from someone identifying himself as policeman, she springs into action. Young Becky is accused of stealing from a customer. The assistance of the manager and others in this matter grows until it becomes inane. The film brings light to the problem of serial strip search crank calls...something I didn't know existed. This film is based on the Mount Washington, Kentucky incident which BTW was a McDonald's.

The film acting was okay. There is a high perv factor whenever you force a young girl to be stripped searched. Unfortunately this is pretty much the entire film as there is no real subplot to entertain us. This is one of those pervert films masquerading as something that makes a statement such as "Shame." Watch it. Enjoy it. Disturbing? Thought provoking? Oh Please. It's soft core porn.

Parental Guidance: F-bombs, nudity (Dreama Walker).

Want Compliance (2012) Discount?

Craig Zobel's powerful true story "Compliance" is one of those movies that almost dares you to look away. As a tense situation grows increasingly uncomfortable, the viewer becomes complicit as a voyeur and participant in a waking nightmare. Just as everyone on screen should know better and should display more sound judgement, you can't tear your eyes from the unbelievable and quite disturbing tale unfolding. It may be the most squirm inducing film of the year. Having caught "Compliance" at a tiny arthouse theater, I heard a lot of discussion outside in the lobby. A fair number of people simply didn't believe that the events depicted in the film could happen. But here's the thing, Zobel's script adheres very closely to the facts of an actual event! There isn't a lot of extraneous fictional material added in for dramatic affect, this sticks to the truth in a straightforward and matter-of-fact way. Based on a real life occurrence in 2004 at a Kentucky McDonalds, the movie's screenplay recreates (although in a fictional setting) what occurred in that store almost exactly according to the restaurant's security video, police reports, and court transcripts.

On an average day at your local Ohio Chickwich, the harried manager (Ann Dowd) receives an officious phone call from someone claiming to be a police officer. He identifies a young employee (Dreama Walker) as a thief saying that a woman customer has reported her taking money from her purse earlier in the day. Claiming he has already spoken to Dowd's District Manager, he asks for her cooperation in expediting the investigation while his team is detained. What follows, playing out in basically 90 minutes of real time, is a psychological manipulation that will have long reaching repercussions. Everyone wants to cooperate with authority (Dowd has already displeased her boss with one blunder today), and no one seems willing to challenge the caller even as things start spiraling out of control. The movie establishes fairly early on that this is all a sadistic prank, and once the caller has the store on the hook--he wants to see how far he can push things. Humiliating, debasing, and assaulting Walker, "Compliance" really starts to examine human nature and our willingness to please.

I won't be any more specific. I will, however, say that "Compliance" has one random scene near the end that is absolutely brilliant in its understatement. Once the police are involved, we spend a wordless journey in the cruiser as an officer drives from the station to the restaurant. At first, I wondered why we were along for this ride. But it makes perfect sense. Zobel, in a minimalist approach, is showing just how close actual help and police were during the entire ordeal. "Compliance" succeeds on two very strong performances. Dowd, a great character actress relishing a leading role, is perfect as the woman caught in this moral dilemma. And Walker, whose defiance slips away to resignation, proves she's one to contend with. It's a demanding role and she is definitely up to the task. I can't say that "Compliance" is fun or entertaining, though, because it purposefully seeks to provoke. It's not a movie you will feel ambivalent about--love it or hate it, you will remember it and talk about it. In that, it is an unqualified success. KGHarris, 10/12.

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