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.

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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]!"

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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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That Cold Day in the Park (1969)

Desperate for companionship, a lonely spinster invites a young homeless boy up to her apartment and then goes to drastic measures to make him stay. Following her Oscar-winning turn in Mike Nichols' ground-breaking drama "Who's Afraid Of Virginia Woolf?", this is the gifted Sandy Dennis' finest hour on screen. As the demented heroine, Dennis makes you feel your way into her character's dark and ultimately disturbing world. It's a blissful, strikingly effective performance, and watching it one might wonder why Dennis didn't win a second Oscar. The film is also well-directed by a supremely talented fellow by the name of Robert Altman whom you may know as the creator of such hit films as "MASH" and "NASHVILLE". Unfortunately, "THAT COLD DAY IN THE PARK" bit the dust at the box-office. Like so many of Altman's films(3 Women, in particular), the movie requires a great deal of patience to fully understand its meanings, but those who sit it out will find it to be a rich, rewarding film.

In this old film by Robert Altman, we discover how solitude for a young woman is a plague on her way to happiness and satisfaction. She comes to the point where she cannot even ask anyone for the contact she desires. She lives in a completely artificial and closed world. One day she brings into her world a stranger she finds in a park and she desires him but she treats him like a canaribird in a cage : she feeds him, she bathes him, she dresses him, she provides him with all comfort, she even provides him with a woman, but he cannot escape, he is a prisoner. It is only within that frame and after a long evolution that she finally finds the courage to ask for what she wants, and yet with no promise that the cage will be reopened. In other words, after a long life with her mother after the death of her father and among people who are from her mother's world, she is totally handicapped in society and unable to navigate properly among desires and obstacles. She can only take and possess. The other is no longer a human being but a toy, a doll in a way. A very sad picture of the loneliness of the solitary young lady in the upper middle-class....

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Sandy Dennis is at her best in this film set in Vancouver in 1969. She plays a lonely woman and takes in a guy who pretends to be a mute. The most powerful aspect is what's going on in her mind..her break with reality when she realizes her vision of their relationship is an illusion. This mute guy is one evil dude. It's easy to empathize with Sandy's character. Another unique experiment in '60s revolutionary film: smashing many societal barriers.

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This early Robert Altman film is a small (if deeply unsettling) little jewel, distinguished by a superb performance by Sandy Dennis. As a sheltered, naïve, but creepily neurotic woman without a clue as to how the world of human relationships actually functions, she quietly dominates the screen. And she's well-matched by the young Michael Burns, far more cunning & manipulative than his initially mute charade suggests -but he's in over his head, horribly so, as he discovers much too late in the game.

And what is the game?

Sandy Dennis' Frances is a spinster, emotionally swaddled & smothered, yearning for human love & human contact, but utterly lost in the real world outside her apartment. When she encounters Michael Burns (simply The Boy) in the park, she takes him home, which is fine with him. It's only as the story continues that he & we begin to understand just how troubled & dangerous Frances really is ...

In some ways like "The Collector," only with the roles reversed, this film differs in that its leads aren't really that sympathetic. Altman tends to shoot them through windows & panes of glass, distancing them, creating a detached & voyeuristic atmosphere. Add to that the washed-out lighting that exposes every bit of grime & decay, and the result is both clinically & uncomfortably intimate.

The fact that it was made when movies were pushing against the last vestiges of censorship gives it a peculiar intensity. Nowadays everything can be said & shown; back then, it was genuinely daring to even try. So even though what we see is comparatively tame beside the explicitness of modern films, it possesses a genuine & powerful perversity that most modern films can't approach.

It's not for casual viewing, and not something you'd want to watch too often. But it'll stay with you, whether you want it to or not. I'm delighted to see it's finally available on DVD, as it's the first of Robert Altman's many films to fully bear his imprint, and deserves greater exposure. Darkly recommended!

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This film still runs through my mind two days after seeing it. The whole film made me so uncomfortable that I couldn't breathe normally while watching it. And I loved every minute of it.

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Notting Hill

Let me just say that I'm not particularly a Julia Roberts fan. So when my wife asked to go see Notting Hill in the theater, I politely declined... but I figured that I'd give her a suprise and buy the DVD for her. Well, I sat and watched it with her, and was pleasantly suprised, myself!

Set in the real-life Notting Hill section of London, this VERY fairy-tale story is filled with moments of true belly-aching laughter, painful heartbreak, and one delightful "car chase."

Julia Roberts portrays Anna Scott, a fifteen-million-dollar per picture movie actress who gets tangled in the trappings of love with William Thacker, a bumbling, but likeable book-shop owner convincingly played by Hugh Grant. Notting Hill wastes no time in setting up this premise and rockets off from there. The film moves along at a good pace and only has one noticible slow spot. The music chosen to accompany the film is beyond perfect. Watch the screen closely when you hear "Ain't No Sunshine" by Bill Withers.

I would be remiss if I did not mention "Spike". Rhys Ifans plays Spike, William's very odd, very Welsh flat mate. You can't help but laugh every time he's on the screen. Luckily, the director and editor didn't over-do Spike's antics, so we can truly enjoy the moments when he's on.

The Collector's Edition goodies make the DVD a true gem and a great bargain. The musical highlights let you quickly jump into the middle of the movie to enjoy a song while watching the movie roll. (After you've watched the movie, go find "Ain't No Sunshine"!) The deleted scenes give a glimpse of what could have happened in the film. After watching, I'd say that I agree with the director's choice of endings.

This movie proves that romantic comedies can still be done well... and you don't have to have Tom Hanks and Meg Ryan to do it.

Hugh Grant's role as Travel Book Shop employee William Thacker reprises the same shy, humble, lovable, but lonely character with a small group of friends that made him a star in Four Weddings And A Funeral. That may be because Notting Hill, like FW&AF, was written by Richard Curtis. "And so it was another hopeless Wednesday when I walked a thousand yards to work, not suspecting that this was going to be the day my life would be changed forever." In two words, that catalyst is Anna Scott, currently one of Hollywood's biggest stars, who is promoting her latest film Helix, a sci-fi film whose costume design and one interior setting owes a nod to Kubrick's 2001. She happens in his bookshop, but that first meeting sets off a series of meetings where they spend time with each other.

Eccentric barely describes Spike, his Welsh roommate with a shock of wild blond hair. Never have I seen a more comical opposites since Felix and Oscar of the Odd Couple. Spike is clearly the Oscar of the pair, but then again, I doubt if Oscar would have worn a T-shirt saying, "Get It Here", with an arrow pointing downwards, or unwittingly mistake mayonnaise for yogurt.

In the course of meeting Anna, he in turn introduces her to his small group, including a married couple, Max and Belle, the latter in a wheelchair, a stockbroker named Bernie, and William's wild-looking sister Honey, whose bulging eyes and feathery hair makes her nevertheless lovable in a different sort of way.

However, they live in two different worlds. As William puts it, "I live in Notting Hill, you live in Beverly Hills." Both have different schedules, lifestyles, and perspectives on things. Yet his inner smile lights up whenever she pops in and spends some time with him. And applying a metaphor used, Anna is a goddess. "You know what happens to mortals who get involved with the gods?" That's terrible for William, who confides in Spike that it's like "taking love heroin and I couldn't have it again. I've opened Pandora's Box and there's trouble inside."

Anna is a typical box-office draw who has to put up with the tail side of the fame coin. The many boyfriends, the laying out of her private life in the tabloids, but also how she's unable to live an ordinary life and how she has to put up with unkind words, as when she overhears a group of businessmen saying how actresses are equal to prostitutes and that she is the definitive actress. Ouch! But despite the fame, in the end, she's "just a girl asking a boy to love her."

The one pullback aerial shot that has the couple approaching the bench dedicated to a loved one, while Ronan Keating sings Keith Whitley's "When You Say Nothing At All" was a perfect combination of great camera work enhanced by a haunting love song.

Hugh Grant has another winning role and seems to have the knack of starring opposite great female leads and being compatible. Be it Andie McDowell (Four Weddings) or Emma Thompson (Sense And Sensibility), he does himself and Julia Roberts great credit. After seeing this at the theatre when it first came out, I sighed with relief that I finally found the most charming movie with Julia Roberts since Pretty Woman. All the actors portraying Williams' small circle also lend great support, but Rhys Ifan steals the show as the outlandish Spike. Those who liked Four Weddings will definitely go for Notting Hill, which has a tad more sweetness, like apricot and honey.

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I was hesitant to see this film at the theater.I enjoy Hugh Grant but never cared much for Julia Roberts.Well,being a DVD and home theater nut,I decided to check this out..PLEASENTLY SURPRISED! ..First Hugh Grant is just fantastic.In a way,his character can be discribed as the thinking mans Mathew Perry.Actually,their humor derives from similar delivery of lines..This is a delightful tale of the ever so polite,but aloof, British male,winning over the, seen to many shallow male actor movie star..Julia pretty much plays herself,with both touching honesty and charm..Tired of the world that incorporates her hollywood life,on a trip to England she finds herself drawn to Grants simple yet honest and gentle sincerity...Along the way,the typical trials and tribulations that would surely plague such a relationship appear..Yet,this movie demonstrates that regardless of our superficial world around us,something as age-old as love can lead to true inner happiness...A great British supporting cast make up this movie,and the scence stealing Spike is hilarious...Guys,this is not just a chick flick! Give it a shot with that special someone and you both will be the better off for it..!

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This is the best romanic comedy in 1999, in my opinion. It's a story about an actress (Anna Scott played by Julia Roberts) at the height of her career finding the ordinary man (William Thacker played by Hugh Grant) in Notting Hill (an actual place in the UK) and falling in love with him. The unlikely story of travel bookstore owner getting involved with a mega-star actress is a fantasy but then it's a movie... and their story is fun to watch. Their quirky romance struggles a bit while they try to find a common ground for the couple from opposite ends of the spectrumand the movie tries to convey that even famous actresses have normal needs, too. Like love and the need to belong in the world. The secondary characters like Spike, Will's flatmate, Will's friends and sister just about steal the scenes. This movie is sweet, fun, poignant and a great happy ending. In the press conference scene at the end, when William and Anna stare at each other across the room, you can feel the love and hapiness. And the bench scene in the park is just about the sweetest ending. I've seen this movie several times and will see it many times more. ( Hey, even my guy friends liked it. )

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This is truly a lovely movie, and it has been a long time since a romantic comedy has been this enjoyable. This movie may remind you of "When Harry Met Sally" or "Sleepless in Seattle", where the couples are clearly meant for each other, yet have obstacles they must overcome. The acting and dialogue are superb! Hugh Grant, a world-famous actor, is completely convincing as an average bloke, while Julia Roberts goes by Anna Scott and plays herself, a "heavenly" movie star.

One review of this movie called it "pure fairy tale." As long as you can believe that it is possible for an actress to truly be a "good person," that she may actually want to live a relatively "normal" life outside of her acting career and may want to start a family of her own, then this statement is false. One specific scene mentioned as difficult to believe was the initial kiss that takes place quite soon after they meet. However, there are two reasons why this scene is believable. First, it is quite obvious that she is impressed from the start with his wit, sensitivity, and honesty, especially compared to the other men who are falling over themselves when they meet her. Secondly, this kiss may be a sort of test. In a city filled with reporters trying to get a story and her pictures plastered everywhere, her life has to be secretive as much as possible. Perhaps she wanted to see if she would be reading about the incident in the next day's paper before she allowed herself to get too close. She gave him quite the opportunity to brag to his friends or family, but he does not.

This movie is quite entertaining to watch the first, second and even fifth time.

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The Taking of Pelham One Two Three (1974)

Of all the gritty, realistic police dramas of the 1970's, "The Taking of Pelham 1-2-3" stands out as the best of a very good lot. Released during the low-point year of NYC history in 1974, "Pelham" is argueably the most real-life look at New York and New Yorkers one can get without actually visiting the big town. The plot concerns the hijacking of an IRT subway train by a gang of four men, led by the coolheaded Robert Shaw (Jaws, Black Sunday). The late Walter Matthau shines as Lt. Zach Garber of the NY Transit Police who, over a two-way radio, has to deal with the terrorists unbelievable demands. The writing in this movie crackles with smart-mouthed NY urgency. The acting, photography, editing, and music MUST have all been created by native NYers. Even the 18 passengers who are taken hostage in the lead car of the #6 train look like they stepped off the street and into the IRT without missing a beat. You wanna hijack me just before rush hour? Go ahead, but I'm not ganna make it easy for you, punk! Many other NY movies (Serpico, Dog Day Afternoon, French Connection) have overshadowed this gem, but do yourself a favor and buy it, especially in the DVD version, which gives the viewer a panorama of a NYC that has faded into history.

The subway...lifeblood of New York. The largest mass transit system in the world, currently operating over 8,000 rail and subway cars, traveling on over two thousand miles of track, serving nearly eight million passengers daily. Seems like a logistical nightmare, keeping tabs on it all, but MTA (Metro Transit Authority) does, anticipating many problems before they arise. One thing they couldn't anticipate, what no one could have, is someone hijacking one of the trains. But it did happen, once (in movie world, at least).

The Taking of Pelham One Two Three (1974), directed by Joseph Sargent (Colossus: The Forbin Project, Jaws: The Revenge), presents a wonderfully talented cast including Walter Matthau, Robert Shaw, Martin Balsam, and Hector Elizondo. Also making appearances are Jerry Stiller (Seinfeld), Dick O'Neill (Gamera), Kenneth McMillian (Dune), and Doris Roberts (Everybody Loves Raymond). The film involves the hijacking of a New York subway train by a group of men armed with semi-automatic weapons for the purpose of extorting one million dollars from the city, otherwise they begin executing passengers, one by one. `What the hell they expect for their lousy 35 cents? To live forever?!"

This is really an entertaining, tense and witty film that kept me interested up until the very end. Matthau really owns this film, appearing as harried yet cool-headed Lt. Zachary Garber, an officer working for the Metro Authority, and main negotiator with the hijackers, lead by the ruthless Mr. Blue, played by Robert Shaw (it's said Quentin Tarantino got the idea of using colors for the names of his characters in Reservoir Dogs (1992) from this film). Garber really has to play a juggling act, trying to keep the hostages alive, placating the hijackers, and keeping the trigger-happy cops from starting World War III down in the subway tunnels. Robert Shaw does an excellent job playing tactical minded Mr. Blue, basically Garber's counterpart, leader of the hijackers, meticulously planning the entire operation as if it were a military action (we later find out he's a British mercenary `between wars'). He must keep not only the hostages calm and in line, but also his men, especially the psychotic Mr. Gray, played by Hector Elizondo, who seems to suffer from an extremely itchy trigger finger. He's also kinda sleazy...(doesn't it seem like there's always one psychotic in the group? I guess criminals are a highly unstable bunch). As I said, Matthau owns this film, but it certainly doesn't hurt that he had so many talented and highly professional actors supporting him throughout the movie. If The Taking of Pelham One Two Three has the feel of a superior made-for-TV movie about it, that's because one look at Joseph Sargent's credits will show a vast amount of TV work, including shows like Bonanza, Gunsmoke, The Man from U.N.C.L.E., and a ton of made-for-TV movies. He did venture into films a few times, most notably the 70's sci-fi film Colossus: The Forbin Project (1970) and White Lighting (1973), to name a few, but always seemed to return to TV. He's also responsible for one of the worst movies ever made (in my opinion) in Jaws: The Revenge (1987), which probably put a serious hurting on any future film directing offers. As I said, Pelham does play like a TV movie (except for the brief but realistic use of profanity), but a really, really good one. Even the musical score for the film has a TV theme quality about it, but that of a top-notch theme, one that serves to enhance the overall product. The plot is tight, and moves along pretty quickly. The movie also has a real authentic flavor, especially all the smart alecky comments made throughout, the kind one would expect from New Yorkers. I loved the initial reactions to the news of the subway train being hijack, the incredulity accompanied by complete annoyance that someone would have the nerve to screw around with the New York Subway system, much less hijack it (the scene where the one of the men in charge with keeping the trains moving decides he's going to walk down the tracks and see what's going on for himself is priceless, at least until he finds out it's for real). The plot covers a lot of ground, focusing on not only the passengers and hijackers, but also the transit authority cop, the regular cops, right up to the politicians, forced to weigh the decision and consequences of paying the ransom money or not (they do, and the scenes involving the authorities racing to meet the hijacker's deadline is gripping, with slight dashes of humor...the police racing in their car, sirens blaring, Officer O'Keefe: "I always wanted to do this. Look, we're scaring the sh#t out of everybody.", Officer Miskowsky: "Yeah, including me.") The big question posed, and one that's focused on throughout is, even if the hijackers get the money, how are they going to get away with it? They're in a train, underground, surrounded by police, with no visible escape routes. Seems like a tricky proposition, but given Mr. Blue's talent for meticulously covering all the details, I'm sure he's got a plan (don't ask me, just watch the film).

The quality of the wide screen non-anamorphic print on this DVD is pretty good, but not as good as I would have liked to have seen. There's a lack of sharpness in the picture, and the colors a kind of dull. The audio is also pretty good, and the dialog is clear. MGM stints on the special features, as usual, providing a theatrical trailer and an informative 4-page booklet insert. Basically what you have here is an exceptional crime film set in New York, one that rises above most others and doesn't disappoint. Oh, and that warning you always hear about not touching the third rail, as it's full of juice (electricity), and will fry you like a side of bacon? You would do well to heed it, as it's not an urban legend, my friend...

Cookieman108

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If you're feeling nostalgic for gritty, rude, 1970's New York, then you should watch this movie. Every detail seems absolutely spot-on, from the location shots and flourescent-lit interiors, to the dialog and characters (check out the sniffley, vote-counting mayor and pragmatic deputy mayor.) Walter Matthau and Robert Shaw give terrific performances in the main roles (not to mention the redoubtable Martin Balsam) but it's the gallery of character actors and walk-on roles that give this film it's hyper-watchable texture and charm. Jerry Stiller and Tony Roberts are great, but there's a trainload (if you'll pardon the expression) that I can't even name, all of whom seem like they stepped right off the Manhattan sidewalk, circa 1974. The guy who monitors the subway display board and keeps asking "What the Hell's going on here?"----he was also in The Hot Rock, as the bank employee who get hypnotized. The time-limit of one hour that the train-jackers give before thay start shooting hostages provides much of the suspense---think of a mid-70's Speed with brains and nuance. The absurdly pulse-pounding score will leave you feeling manipulated and loving it. There's narry a wasted moment in this very economical yet densely detailed film, right down to the perfect, meaningful look Matthau gives at the end. The many humorous touches don't ever threaten to turn it into an outright comedy, since many of them center on how the city works. Call it a light-hearted suspense-thriller; it must have seemed like a shameless piece of urban exploitation when it came out, but now it looks like a masterful, pleasurable time capsule.

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THE TAKING OF PELHAM ONE TWO THREE is a gritty heist and hijack caper. Set in year it was made (1974), TAKING is also a `perfect crime' movie. How do you hijack a subway train, demand a $1 million ransom, and get away safely with the loot? Robert Shaw, as the cool and efficient `Mr. Blue', seems capable enough. He certainly seems to have planned it out well. Opposing him, and sharing a number of radio-to-radio scenes, is subway security officer Lt. Zachary Garber (Walter Matthau).

Mr. Blue's demands are complicated and Garber is given an hour to meet them. The Mayor's approval is needed, and the viewer is dragged into a couple of unfunny comic relief scenes with a sick Mayor (Lee Wallace) agonizing whiningly over whether or not to meet the hijackers' demands.

British actor Robert Shaw is great as the ultra-smooth and unflappable hijacker. Matthau, more often in comedies, is a good match as the cop in the middle. Matthau's comedy talents are put to better use, as well, in an opening scene where he grudgingly leads a group of Tokyo transit officials on a tour of the facilities. Director Joseph Sargent, when not forcing the comedy, shows a sure editing hand when he contrasts the calm of the hijackers with the chaos surrounding the would-be hostage rescuers.

PELHAM is an enjoyable little crime thriller that goes relatively light on the gore and gunplay and relatively heavy on character and the tension imposed by a deadly deadline. Strongly recommended.

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P>It's the oldest videotape I have in my collection. .

The film has been released on DVD, and I am absolutely overjoyed, as it is one of my all-time favorites.

Theatrically released in 1974, The Taking Of Pelham 123 is about a group of four armed men (three of them played by the great actors-the late Robert Shaw, the late Martin Balsman and Hector Elizondo) whom hijack a New York City subway train on an otherwise uneventful afternoon, and hold 18 of its passengers hostage. The ransom: One Meeeeeeeellion dollars.

Ooops...that's another movie.

The ransom IS indeed one million dollars (Hey, it was shot in 1974) to be paid by the City Of New York. There are two catches.

Catch #1: The city has only one hour to pay up. For very minute that the city is late, the hijackers will execute one hostage. It is up to Lieutenant Zachary Garber (the late, legendary Walter Matthau) to stop, or at least outsmart them before they kill one. High drama, considering it takes the city FOREVER to do ANYTHING. I know...I live in New York.

Catch #2: The hijackers are underground. IF they get their money...how do they plan on getting away?

Great performances all around from a great mix of big name actors, and fine character actors. People such as Jerry Stiller, Kenneth McMillan, Dick O'Neill, Julius Harris and Tony Roberts, who plays the Deputy Mayor. But the film belongs to Walter Matthau and Robert Shaw. Matthau, in a departure from his usual comedic roles, displays a tough, yet somewhat humorous demeanor as he "matches wits" with Robert Shaw (whom one year later would play his most celebrated role as Quint in "Jaws"). Shaw's performance is properly understated...which serves his character well, as he is supposed to be cold and calculating.

It's a simple story, and simple to follow...yet The Taking Of Pelham 123 is a totally engrossing thriller. And unlike "Money Train" (Woody Harrelson and Wesley Snipes), Pelham is fairly accurate with details about the subway and how it works (including the dead man's feature-absolutely accurate). Money Train had me scratching my head in amazement with all the inaccuracies presented in the technical details about a subway train and how it works. Don't even get me started with that movie-but I digress. Pelham crackles with excitement and humor. And the ending is %$*&@ great! The musical score by David Shire will only enhance the drama on the screen. The main title theme alone is an overlooked crime drama classic. Urgent, yet kind of funky. Yes, this film is outdated...but don't let that stop you. This would definetly be one of my "desert island" movies. In a review here on Amazon.com, I read where someone said that this film "plays like an old friend".

I concur wholeheartedly.

By the way. There was an updated TV version of this movie starring Edward James Olmos and Lorraine Bracco. STAY AWAY FROM AT ALL COSTS!!!

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Mysteries of Lisbon (2011)

Thanks to my Spaniard friends, this epic masterpiece of a film didn't go unnoticed by me. It's truly tragic that films this glorious will most likely slip through the fingers of many Americans, simply because it has subtitles and because the distribution here in the States is merely a whisper. Honestly, if I happened to see this without the foreknowledge that it was worth watching, I may have passed it over for something more widespread. Instead, thanks to a few friends overseas, who happened to have indulged in this film months ago and have been chatting it up ever since, I scooped this up the second it was available on DVD.

Thank you GOD!

At four and half hours in length, `Mysteries of Lisbon' may be the longest film I've ever watched; but in all realities it is most likely the most rewarding. Without much background information (my friends were wise enough to keep details to a minimum) I sat back to soak in this film almost blind, only knowing that I was told I'd really, really enjoy this.

Lush, detailed, absorbing and atmospheric to perfection; `Mysteries of Lisbon' has no comparison.

A film that is on a grand scale like classic films such as `Gone With the Wind' and `The Leopard', `Mysteries of Lisbon' makes the most of its atmosphere by fleshing out its visuals with non-debatable perfection. The depth in the cinematography is outstanding. Many this year have been pimping the gorgeous frames in `The Tree of Life', but while watching `Mysteries of Lisbon' I couldn't help but be left breathless at the way each frame was perfectly staged to create such deep moods. The breadth of each space, the creation of near three dimensional shots thanks to smart focal points and the way lighting is used to illuminate emotional shifts; it all culminates into a fantastic technical achievement. The rapturous score (equal parts mood, sensual and theatrical; and astutely placed to effect the mood) is a total highlight, and the period designs (both in clothing and in set pieces) are not only authentic but inspired (the color pallet is widespread and eye catching, and those paneled walls are jaw dropping). The acting all around is great, with Adriano Luz and Maria Joao Bastos delivering haunting portrayals of their central characters.

And that script is just amazing...

Which brings me to the main reason you're reading this; what is this story about? Well, like I mentioned before, I walked into this seemingly blind, and I feel that the least amount of details you possess before watching is better because it truly is a beautiful work of art best experienced in full. Like my title suggests, this is not my story to tell (a beautifully poignant line uttered by Padre Dinis in the film) but I do feel compelled to tell you something. `Mysteries of Lisbon', adapted from a 19th century Portuguese novel, spans decades in unearthing the origins of a young orphan. Sparking a priest to tell him the truth, this young boy uncovers the truth behind his upbringing, his secret conception, his tragic birth and his parent's torrid love affair, spiced with jealousy, divisions, violence and passion. But, in finding his own truth, this young boy is subjected to the secrets hidden deep within others around him. It appears that everyone in Lisbon is harboring some dark secret that crowds their lives with mystery.

Using excellent pacing and developmental skills (at four+ hours, `Mysteries of Lisbon' is surprisingly brisk and `to the point' thanks to smart editing and thorough development of each plot point...every frame seems necessary), the late Raul Ruiz (this was his final film) goes out with a bang, delivering a crowning achievement on every level.

Standing ovation, two thumbs up, A+...just SEE THIS MOVIE!!!

I saw this movie based on the two disc blu-ray format. It was a pleasure to watch and was not "long" as many reviewers complain.

It must be said, however, that this is not a movie for everyone. It is a successful adaptation of a classic novel. Complex novels typically get a short shrift in film format. I would say that the best way to treat a great novel is to see it in installments. Charles Dickens wrote most of his novels as a series of installments. The same can be said of Camilo Castelo Branco, the author of the novel this movie is based on.

This movie will appeal to lovers of world literature. If you are comfortable curling up with the "Brothers Karamazov" you will appreciate (if not like) this movie. Even the staunchest critics admit it is gorgeous to look at. But the strength of this movie is the literary work itself. Yes, it is difficult to follow which requires effort on the viewers part. And the languages are difficult to follow as well. Whereas the main narrative is in Portuguese, there is a substantial portion in French, and there is a smattering of other languages including English and Italian.

I was impressed by the facility of some of the main Portuguese actors to switch back and forth in impeccable French. It helps a lot to be able to understand all the languages in this film, a feat that most European sophisticated audiences are capable of, but with some due diligence, patience, and effort it is possible to appreciate this film following the subtitles. Dubbing this film in English would be a disaster because much of the film depends on contrasting Portuguese values with French values.

But I wouldn't recommend this film to everyone. Especially those who think of movies as fast paced action oriented entertainment. This is way beyond entertainment. It is a thought poem. It poses deep questions about life, war and peace, forbidden love and so much more.

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Raul Ruiz's extraordinary MYSTERIES OF LISBON is almost certainly one of the greatest cinematic achievements of recent years, a sumptuous epic that marries old-fashioned story with decidedly contemporary storytelling. In bringing these melodramatic tales to life with such insightful visual direction (which pays homage to its forebears, films like CITIZEN KANE, THE LEOPARD and BARRY LYNDON), Ruiz unearths great depth of emotion and insight, exploring questions of sin, grace, and identity.

Read Best Reviews of Mysteries of Lisbon (2011) Here

This is a Portuguese film from director, Raul Ruiz that is basically a series of short stories that are all held together by a web of connections that some could see as contrived, but actually works, that is if you can stay with it. The reason I say that is this is in two parts and actually lasts 266 minutes long that is 4 and a half hours in old money and is on two discs, so does require commitment.

Spread over Portugal, France, Italy and Brazil we have an orphaned boy finding his way in the world, a benign and caring priest who has more than one past, a street thug turned entrepreneur with a penchant for the ladies. A lady scorned, and a lot of running off to join monasteries and nunneries, which seems like a bit of a cop out, but was quite popular in the day so I am told. We also have an evil count, a reformed roustabout and some rubbish duels. There is so much here and it is told at a leisurely pace, which will infuriate some viewers, as we can have a whole scene where very little happens but moves the plot on at a somewhat glacial pace. However, it actually works as the pacing makes you consider what is taking place on the screen and affords you the time to fully weigh up the importance to the players of what can be seen by a modern eye as a pretty minor issue, to say more would be a bit of a spoiler.

With a cast list of to many to mention, the one actor I thought was outstanding was Father Dinis played by Adriano Luz, but there is not one bad performance. Lovers of costume or period drama will appreciate the sumptuous sets and the slavish addiction to detail, which all adds to the authenticity of the film. I actually quite enjoyed it, but watched in one sitting which was a bit much, and there are a tad too many coincidences, a bit like a Dickens plot at times, but for all that this is still a compelling and quite impressive piece of cinema.

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Watching this masterpiece made me consider fresh possibilities for cinema.

The sprawling web of a story taken from the urban mysteries novel offers a compelling approach to plot that contrasts to the neat conventions of detective mysteries which seem tired in comparison.

The beautiful artificiality of the scenes, the arty angles, their odd foregrounds and slow pans created an enchanting storybook feel... I felt like a kid listening to a story in bed beginning to dream.

I like movies that are this long. They feel much more than an ad.

I do wonder if the hour and a half that must have been edited out of the 6 hour version contains some interesting pieces of the plot's puzzles.

RIP Raul Ruiz who passed away in August 2011

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Fate/Stay Night: Collection 1

Shirou lives alone after his adopted father passed away and left him with a huge house. Shirou has the ability to reconstruct objects with his magic. He stumbles across a classmate and a couple warriors in a battle after school. He soon becomes part of "The Holy Grail War". A battle fought every so often to obtain the Holy Grail. The winner gets to make a wish. He becomes the master of a legendary warrior spirit. Her name is Saber. Togther with their ally Rin and her servant, Archer, they will fight against ruthless enemies for their 1 most precious wish.

This anime is simply amazing. It has action and drama mixed together with mythology and magic. The modern day setting with legendary mythical heroes is really cool. I normally prefer anime dramas (Kanon, Clannad, Air, etc.) over action series, but this anime combines the 2 genres very well. The voice cast, animation, story, and soundtrack are all top notch. It's a very addicting series. There are many great, and memorable characters that keep you interested in the story and wanting to know more about them. There is also a dash of comedy thrown in there to lighten the mood. It's a very well rounded series with a lot to offer. I honestly think that no matter what genre of anime you're into, Fate Stay/Night will make you a happy camper.

I own this on DVD and Blu-ray. I have to say that the Blu-ray upgrade is excellent. It may seem kinda steep for a 13 episode box set, but it's worth it. If you buy the DVD's, you'll end up spending at least the same amount of money. Fate/Stay night is worthy of being called a legend. You don't want to pass this series up. I highly recommend it and I hope you enjoy it!

I have been a fate fan for a few years. This is series is very well thought out, action packed, and intelligent enough to keep almost anyone entertained and interested for years to come. This series has some problems, I will admit that. I.e. some of the continuity is lost because they try throwing in parts of the other story lines (there are 3) into the Stay Night story to make this series longer (not done as well as it could have been), another problem is the change of wardrobe for not apparent reason (You will know what I mean when you see it.), etc. I would still recommend this series to everyone.

Now to explain my review title. This series is AMAZING, BUT not worth 50$ for only half of it. The DVD version though is the COMPLETE series for about 35-40$ depending on where you are looking for it. This anime came out back in 2006. The quality difference is almost unnoticeable and it's cheaper.

My closing statement. This series is one everyone should watch. You won't regret it. But be realistic when buying it. Just because it says Blue-ray, doesn't mean that it is better then DVD. Thank you for reading and I hope this helped your decision.

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I guess this is becoming a habit with these Blu-Ray re-issues of Anime Classics. No production Gallery Stills, no Non-Credit Openings. The new fans of this series will never know what they've missed unless they happen to come across the old Geneon DVDs. My opinion is this: If you're going to do a re-issue, do it right. Include ALL of the original material (old anime trailers not withstanding of course, unless Blu-Rays are planned), but at least include all the other interesting extras that hard core fans would want. Here you just get the bare bones episodes at a very premium price upgrade. Sentai Filmworks isn't the only one guilty of this. Funimation also did the very same thing with their re-issue of the Tenchi Muyo Film Collection, which left a TON of extras not included. If you are lucky enough to own the original discs, you KNOW what I'm talking about.

Still, this is a series that really must be seen, and when seen, you'll want to own it. That said, the DVD set is a great value. If you can afford the extra cash for the Blu-Ray set, go for it, but my original Geneon DVDs look pretty good on my LG Blu-Ray player, and the (assumingly) remastered Sentai DVDs should be a great buy.

Read Best Reviews of Fate/Stay Night: Collection 1 Here

Always loved the series; now I have it forever on Blu Ray

Just waiting on Fate Zero !!

Saber is the Best :)

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When it comes to video games and its characters, I don't think I've seen a title derived from a video game, within the last decade, achieve so much attention than the "Fate" series from TYPE-MOON. This series has captivated people from all over the world, merchandise continues to sell very well (considering its price for importing) and it's quite impressive to see how the fanbase continues to grow and are dedicated to "Fate"!

My first introduction to the "Fate/stay night" was just hearing about the original anime TV series. But it was the first PSP video game release ("Fate/unlimited codes" on the PlayStation Network that actually got me hyped for this series and made me learn more about the characters.

The more I researched, the more I started to noticed that a lot of people online were excited about this video game and discussing the anime series and while I never really understood the commotion of the series, I figured there were so many fighting games in Japan with characters that people go crazy for.

But then the Sony PSP game came out on the PlayStation Network and the huge number of posts on Danny Choo's official website in regards to dolls or figures, may they be the release of Nendoroids from Good Smile! or FIGMA figures from Max Factory, suffice to say, I've seen the popularity for this "Fate/stay night" achieve critical mass not just in Japan but all over the world.

At Anime Expo 2011, I attended a press conference which featured the release of a "Fate Extra" and once again, I've seen fans going crazy. In 2012, the Blu-ray and DVD of "Fate/Stay Night: Unlimited Blade Works" was released by Sentai Filmworks and now in 2013, the first volume of the original 2006 anime series will be released in January 2013.

The TV series is directed by Yuji Yamaguchi ("Yami to Boshi to Hon no Tabibito", "Angel Links", "Fate/stay night"), screenplay by Takuya Sato ("Armored Troopers Votoms Case; Irvine", "Mission-E", "Ichigo Mashimaro"), music by Kenji Kawai ("Devilman", "Eyeshield 21″, "Eden of the East", "Dai-Guard", "Blue Seed"), character designs by Megumi Ishihara ("Moonlight Lady", "Kakyusei") and art direction by Toshihisa Koyama (".hack//Liminality", "Halo Legends", "Kiddy Grade", "Outlaw Star"). Anime Production is by Studio DEEN.

What is "Fate/stay night"?

"Fate/stay night" is a Japanese visual novel developed by Type-Moon and was originally an adult game for the PC and then later released for the PlayStation 2. The popularity of the video games led to a manga series which was serialized in Shonen Ace magazine and in 2007, a 24-episode anime series was released and a total of four video games. In April 2012, the latest in the "Fate" anime series titled "Fate/Zero" (which is set 10 years before the events of "Fate/stay night") began airing in Japan and the second season is still airing on television.

In 2010, Studio Deen released the film "Fate/stay night" and in 2012, Sentai Filmworks released the animated film, "Fate/stay night: Unlimited Blade Works" on Blu-ray and DVD. The film was comprised of important scenes from the original TV series that is 24-episodes long (12 hours) but unfortunately, with an abridged film at 105-minutes long, you miss out on a lot of story.

So, "Fate/stay night" will now be released on Blu-ray and DVD courtesy of Sentai Filmworks.

VIDEO:

It's important for people to know that "Fate/stay night" is an older anime series. Not old-school but I usually feel that with series that were released 2009 and later, they tend to be HD native and look better. But for older series, they either are remastered at a higher bitrate and in the case of "Fate/Stay night", it's a 1080i High Definition (16×9) release.

Fortunately, the series does look good for its age. Colors are robust and while TV series are expected to have softness, fortunately the series is not too soft but you will see some banding and artifacts (not a lot but they are there).

But for those who have wanted "Fate/stay night" to be released on Blu-ray, for this 2006 anime series, you should be pleased by its overall picture quality as it does look better than many series that were upconverted to Blu-ray.

AUDIO & SUBTITLES:

"Fate/stay night" is presented in English and Japanese DTS-HD Master Audio 2.0. Typically, English soundtracks tend to have a more dynamic range as they are often fixed up for its US release. In the case of this series, the Japanese audio actually has better dynamic range. But both are well-acted and dialogue, music and sound effects are clear through the front channel.

Subtitles are in English.

SPECIAL FEATURES:

"Fate/stay night" does not come with any special features.

JUDGMENT CALL:

Finally! I can understand what the "Fate/stay night" storyline is all about!

Having played the video games and having seen the large dedicated fanbase for the "Fate/stay night" series in Japan, America and all over the world...I don't think I have seen a video game receive so much recognition by fans worldwide. You just don't see people going crazy for "Street Fighter" or "King of Fighters" action figures but look online and there are fans that just go crazy for the video games and action figures. And while I do feel that the character designs of the characters of "Fate/stay night" are quite cool to look at, I was drawn to it because of the character designs and for the fact that I am a fan of Japanese fighting video games.

And I am very happy that Sentai Filmworks have released this animated series in the US. Primarily to satisfy those who are big fans or are newer fans thanks to the video gae and the previous movie release.

While I do know that Japanese companies that sell the merchandise have done a fantastic job in making "alter" version and just continuing to give fans these wonderful looking versions of the characters and detailed outfits with the dolls and figures in Japan, here in America, more and more people are jumping on the "Fate/stay night" bandwagon.

As mentioned earlier, last summer I attended the "Fate Extra" reveal for the video game and the crowd went nuts when they saw the announcement of the game. And similar to the video games, there is also innovation by trying to release the video games encompassing various genres instead of fighting video games. From the adult PC game to the recent strategy tactic PSP game, fans are really enjoying the "Fate/stay night" series. May it be the action figures, the dolls or the games, this is one series that fans all over the world are passionate about.

And therefore, I wouldn't be surprised if fans go after the Blu-ray or DVD release of "Fate/stay night".

I'm quite biased towards the characters already and to finally now the context of what the story is about and the war between the seven magi's, it's a rather enjoyable concept, not necessarily unique, but it's the characters that make this worthwhile. There is non-stop action and while the animated series tends to focus more on Shiro and Rin, Saber and Archer fans will also enjoy this series.

A lot of action is featured throughout each episode and as mentioned earlier, unlike the movie which is 105 minutes of footage taken from the series, fans who saw the movie first, should be happy that they can see the series in its entirety on Blu-ray.

As for the Blu-ray release, it's a 2006 anime TV series, so it is an upconvert, but compared to other anime series upconverts, it does look good. Colors are vibrant at times but there are hints of softness, artifacts and banding as well. But it's expected for a series that is slightly older. My only disappointment is the lack of any special features.

Exciting and action-packed, the first half of the series pretty much focuses on Shiro Emiya and Saber developing a relationship and taking on various challenges. But things are definitely going to become much more difficult for the second half of the series.

Overall, "Fate/stay night" is an enjoyable action-packed anime series and one of the better series based off a video game. If you love the video games or just craving for an action anime series, "Fate/stay night Collection 1″ is recommended.

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Black Mask / Forbidden Kingdom (Two-Disc Edition) (2010)

great movies great price. I'm a Jet Li fan and i don't own many of his movies and they are not on netflix right now so 2 blue-rays for a great price was a no brainer

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Fallen Angels (1995)

Wong Kar-Wai has become my favorite director. He's as talented as Kurasawa, Fellini, Wells, Antonioni, Bergman or Altman. My favorite of his films, maybe because it is the last one I (re)viewed is "Fallen Angels". Wong Kar-Wai has a way of expressing longing that is neither cloying nor sentimental. His films are touching in a deeply profound manner. "Fallen Angels" is the double story of a hitman and his partner and a mute man with a unique business sense. Hilarious and over the top violent at the same time, Wong Kar-Wai pulls this off without a single misstep.

Visually stunning, this film looks like no other, save perhaps "Chungking Express" (which I plan to re-watch this afternoon). It's "Chungking Express" at night. Planned originally as a third episode of "Chungking Express" this film stands alone as a masterpiece of Kar-Wai's art. There are minor illusions to "Chungking Express" which allow the viewer to feel a continuity of spirit and theme. For instance, the mute midnight shop clerk played by Takeshi Kaneshiro mentions in voice-over that he lost his ability to speak after eating a tin of expired pineapple. This will resonate with viewers who have seen "Chungking Express" and bring to mind the character he played in that film. These are blood brothers. Variations of the same love-sick, lonely man.

Kar-Wai's films remind me of Altman in the 70's. You watch his films and wonder why all other directors are so unimaginative and pedestrian. Why does he seem to be the only director doing anything new and unique while even the most celebrated directors just recycle the same old [stuff] you've seen a hundred times before? He's an original. The look, the emotional feel and the grammar of his films belongs to no one else.

Any synopsis of his storyline can only diminish their scope and complexity, so I won't even try. It is enough to know his film resonate for days after viewing. They stick in your mind like something experienced first hand. They are fizzy, giddy, forlorn and hopeful. The final scene of "Fallen Angels" brings tears to my eyes everytime I see it, even though I know what is coming. It is a testament to the complexity and honesty of his vision that an emotional response is assured in the viewer. His characters are so honestly portrayed you wish you knew them in life. You want to call them on the phone and meet for a drink in a smokey, neon lit bar found only in a Wong Kar-Wai film. You end up feeling very protective of these characters, as you would with people you know and cannot quite reach. Cannot quite assure they are alright and worth loving. Cannot assure they deserve happiness.

"We all need a partner, when will I find mine ?" seems to be the theme running through all of Wong Kar-Wai's films, as well as his other usual ingredients: Mind-bending speed, innovative camera work (by Christopher Doyle), a great soundtrack, and a gorgeous cast. He also manages to show the murky side of society while never losing touch with its humanity. We see that even a cold-blooded hit man can have a side that's endearing.

Takeshi Kaneshiro as the mute is the shining star of this film. He's brilliant and lovable. The "May 30th 1995, I fell in love" scene is one I adore. In slow motion black and white, the background moves at different speeds, fades in and out...it's a piece of pure magical art, a painting come to life.

Like "Chungking Express", it slows down during the second half, and to me, this is when it gets even better. There is so much to see in this film, I know I'll be viewing it many more times, and appreciating its inventiveness...and through the darkness, its sweet soul.

Buy Fallen Angels (1995) Now

Three individuals whose lives intersect and parallel form the core of this stunningly photographed, moody and intense cinematic masterpiece. A hitman who is getting tired of the messiness of his job; his partner, who plans everything out for him in meticulous detail but would really like to cross the line with him between business and pleasure; a mute, who breaks into other people's businesses at night and forces unwitting passersby to purchase his wares. They rarely ever meet, but they share the same spaces, and sleep the same hours. The film alternates between: the intensely cool portrayal of a hitman with all the style of a Hollywood badboy, and all of the mellow of a Spaghetti Western antihero -the femme fatale lonely longing that simmers with an undercurrent of anger of his partner -and the slapstick comic silliness of the mute. The faded neon lights, the eclectic and moody music, the kinetic and flowing camera -this is unlike anything you've seen unless you've seen a Wong Kar-Wai film and if you have you know that he doesn't ever quite repeat himself. This film shares a good deal with the atmosphere of Chungking Express, but is darker and more moody, and in many ways more intense and exciting -I love both films but this one has an edginess that you don't find in the other -you might say that Chungking is the day film and this is the night. One connection between the films is that the mute in this film is played by the same actor as the pineapple-eating policeman in Chungking Express. Their characters share the same name, He Xiwu, and this one lost his voice as a result of eating bad pineapple from an expired can -but they are not exactly the same as this one never was a policeman and allegedly lost his voice at age 5. A beautiful and exciting film -definitely one to see for lovers of the art of film.

Read Best Reviews of Fallen Angels (1995) Here

Fallen Angels is a truly special film, but it's not for everyone. It's gritty in a stylish way, shot mostly handheld with available light. But it's not gritty in the way most American pictures are; shaky cameras with perfect lighting and snappy editing. The takes are long, and the film is often grainy.

Wong Kar-Wai explores the transitory nature of life here. It's a little confusing, and the characters are beyond weird, but they really do have heart. The frantic pace and confusion give way to brief, precious moments of poignancy. The bleakness and impermanence of the rest of the film makes these moments feel even more meaningful.

If this sounds like your style, the movie can be very rewarding. But it's definitely not everyone's style. I find Chungking Express is generally a more palatable Wong Kar-Wai picture for viewers with more mainstream tastes.

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I am not sure whether an average movie viewer would like this film. But, if you are into art, foreign, independent films, or if you are a film student, this is definitely something you cannot miss. Fallen Angel's strength lies in the character development. It follows four main characters, all unique in their personalities and manners. Like, other Wong Kar-Wai's (director) film, these characters' lives are intertwined eventhough they lead their own paths. Outstanding performances come not only from the main characters but from supporting characters as well--look for amazing performances from the father, and the man who was forced to eat ice-cream.

Cinematography, film direction as well as the music soundtrack also shine. Wong Kar-Wai pays attention to details, imagery and symbolism. It's shot in a very artistic way--a sort of Hong Kong, nouveau graphic art style combined with somewhat weird soundtrack. This is one of the best movies I've seen in terms of film making.

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Mrs Brown (1997)

It is very seldom that I get to watch the movie of this quality. It is absolutely brilliant.

This is a story of a unique friendship formed between two very unlike characters: Queen Victoria and her servant Mr. Brown. As the story developed I was completely absorbed by the lives of these two people, as if I was actually part of it rather then watching the film.

Story is incredibly well told (though I do wish filmmakers were not in such a rush to end it), cinematography is absolutely beautiful and as far as the historical part of the movie it was perfectly captured. And then there are actors involved in this movie.

I do not think that my knowledge of English language will allow me to fully describe superb talent of Judi Dench, which by all means is unmatched by anyone alive today. Her performance was absolutely flawless. Academy should be ashamed for not awarding her with an Oscar and choosing Helen Hunt's performance over hers. Not even a contest in my opinion.

As incredible as Judi Dench is I'm sure it is very hard to find costars that will not be completely overshadowed by her. But Billy Connelly filled the screen with his brilliant performance. Perfect chemistry between the two. And of course Geoffrey Palmer who happens to be Judi's long time costar from BBC's "As Time Goes By" (which I think is one of the best TV comedies of all time). When you get so caught up in a movie that you forget it's not a real life you know that actors are doing an incredible job.

This is an exceptionally well made film, a stunning piece of cinematography. And I think it should be a part of any movie-lovers collection. It certainly is part of mine.

That is the question. Of course, when one thinks of Victoria, the idea of prudishness, conservatism, and a very reserved manner in action and morality naturally come to mind. It was never unusual for monarchs, male or female, to have lovers outside of their marriages (indeed, it might be considered unusual for a monarch to have been thought to have remained faithful), but Victoria? The epitome of a repressive, almost oppresive morality? Surely not.

Don't be so sure.

Four years after the death of Prince Albert, to whom Victoria was completely devoted, and for whom she mourned in quite public and dramatic fashion, against the protests of her children and her ministers, John Brown, a favourite ghillie of the royal couple, was brought back into service of the Queen household.

Victoria's favouritism toward him, coupled with his own brash and blunt behaviour, caused him to be envied and disliked by members of her family, her household service, her ministers, and largely by the public. There were parodies of John Brown's activities, done up in the form of mock Court Circulars (the official listing of royal engagements), which appeared in the press on both sides of the Atlantic.

It is unknown if Brown actually kept a diary (the movie speculates such, but also states that no diary was ever found). There was a large black trunk of correspondence found after Victoria's death, between the Queen and her doctor at the time, Profeit, regarding John Brown. This came into the possession of her new doctor, Reid, who recorded 'most compromising' secrets into his green memorandum book. Alas, this book was burned by Reid's son, and the trunk was not found. Did it refer to a secret marriage between Victoria and John Brown, as was often speculated?

This is, in truth, unlikely -Victoria's devotion to Albert never waned in her life, and there was a certain innocence, lack of pretense and guile in Victoria that the more political and suspicious (particularly in the press) would not have known. Both Brown and Victoria were outraged at the rumours. Brown was a servant who put no stock in class divisions and the artificiality of social conventions -his familiarity with the Queen (in fact no different from his direct and familiar manner of relating to everyone) was simply his manner.

But then, everyone likes a good, juicy scandal, don't they? So much more interesting than decades of mourning, which makes for rather boring news leaders.

The film takes up the story with Brown's arrival at the royal residence on the Isle of Wight (an inaccuracy, as he was presented at Windsor first). The story is romantic yet reserved, and the cinematography is stunning. From the cloud-cast home on the Isle of Wight to the stately and foreboding Windsor scenes, to the unspoiled Highlands around Balmoral, this film has had great care infused in the details of costume, setting, and atmosphere.

Judi Dench gives perhaps the greatest performance of her life as the Queen, showing real emotion through the Victorian reserve in an admirable fashion (for which she was nominated for the Academy Award, and won the Golden Globe, as best actress). In a really surprising casting, Billy Connolly, best known as a comic, turns in a first class performance as John Brown, the brash Scotsman who becomes completely devoted to his Queen. Geoffrey Palmer, a solid actor known in many BBC productions, plays the Queen's private secretary, Sir Henry Ponsonby, who is continually amazed at the liberties taken by Brown (Ponsonby, in reality, saw Brown as a first class servant, and remarked so frequently in correspondence with others). This film was first proposed as a BBC television production, but ended up being so well performed and executed that it was transferred to become a cinematic release.

Given the high profile scandals of the royal family today, this story seems almost timid. But, history does repeat itself, so one can never be entirely sure, until such time as the royal archives are opened to scholars, perhaps a few centuries from now, and the truth may be known to posterity.

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This movie leaves me in a quandary. I like costume dramas, and I have a particular fondness for depictions of the private lives of royals. This fondness, combined with the general paucity of such movies, causes me to cut them considerable slack regarding historical accuracy.

This movie was not too far off the mark in terms of hard fact. The death of Prince Albert really did send Queen Victoria into an excessively-prolonged grieving and withdrawal from public duties that began to unsettle the political equilibrium of Britain's constitutional monarchy. And there really was a John Brown, he was Scot, he was in service to Prince Albert at Balmoral, and he became a much-depended-upon personal attendant to Queen Victoria during her widowhood. All these things are accurately reflected in this movie.

So what's my quandary?

Well, the movie just feels wrong "tonally". Some movies about royalty take such liberties with the truth that they become purely dramatic constructs with no pretense to accuracy (and they can be fine entertainment). But when they seem to be conscientious about accuracy, as this movie appeared to be, the standard -at least for me -extends to include not just dramatic impact, but realistic portrayal of the complex, burdened, exposed, and heavily-examined lives reigning monarchs lived.

Judi Dench does her usual top-notch job of creating a sense of a character. But is it Victoria's character? Among her family, was she really an unrelentingly dour, domineering, censorious creature capable of opening her soul only to a servant? If her surviving correspondence and the recollections of her vast array of grandchildren peppered all over Europe are to be credited, the answer is no.

While Albert's death admittedly paralyzed Victoria emotionally for too long, she was never as cavalier about the effects of her withdrawal on politics as this movie implies. The monarchy was in a sorry state when she took it over in 1837, with the public and statesmen of the era having thoroughly tired of the spendthrift rake who preceeded her. She (and Albert, after their marriage in 1840) made it their mission to restore the monarchy to respectability and political impact, and Victoria never took that duty lightly.

Billy Connolly also gives us a vibrant character. But was it John Brown's? We know Brown was outspoken and that he stood his ground on occasion with the Prince of Wales and other family and staff members. But being outspoken and resolute is one thing. Being so in as rude and confrontational a manner as possible is something else . . . and something almost inconceivable when dealing with royalty in that era. We know the real John Brown gained the trust, respect, and perhaps emotional attachment of Victoria. But did he really do so by bellowing "woman" at her in front of her court? Highly unlikely. Victoria was a human with personal needs. But she understood full well that she was also the representative of an institution that could survive only if it commanded a certain regal reserve and respect from all.

Paradoxically, this movie is weakened by getting so close to accuracy and then missing on such subtle -but profound -points. There was something very complex going on between Victoria and John Brown. In treating their relationship as high melodrama, this movie misses that complexity.

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Yes, this is another shameless Gerard Butler fan. The excellence of the movie, however, has nothing to do with his very brief performance. Far from being "gloomy," as some have commented, the film is beautiful. The screenplay was well-written, and Mr. Connolly gave a very strong performance as John Brown. Beautiful cinematography and a wonderful soundtrack rounded out this film, but the best feature was Judi Dench's performance. She was simply brilliant. Her portrayal of the human behind the monarch was subtle and variegated, even more so than usual. Why are American films never this good?

One last note: the nudity that several people have commented on is definitely there, and believe me, Billy Connolly naked is not a pleasant sight!

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Queen Victoria has long been one of my favorite British monarchs, so it was with great interest I viewed this movie about her extraordinary friendship with John Brown, an outspoken, charming Scottish highlander who was her devoted manservant ... also highly admired by her late husband, Prince Albert.

The Queen goes into mourning after the death of Prince Albert, and the Scotsman is the one who, by sheer guts and determination, brings her back to active life. As their friendship grows, Brown becomes the Queen's closest friend and confidante, resulting in personal and political ramifications for both.

The way the movie develops the friendship between the two main characters is exquisite in its timing and it appears the Queen and the commoner are indeed in love. Although the film never directly addresses the issue, Brown obviously adores his Queen and she defies convention many, many times to stand by and support him. Being an incurable romantic myself, I wish it had addressed the issue in more depth, but it was rather titillating to allow my imagination to run amok, forming my own conclusions.

This romantic drama is humorous in places, and is exquisitely shot. Sparkling, brilliant performances were given by Judi Dench as Queen Victoria, the woman behind an empire, and Billy Connolly as the robust John Brown who helped her live again, then risked his life for her on many occasions. Another outstanding performance was given by Antony Sher who portrayed Prime Minister Disraeli with cunning malice.

My heart went out to this beloved Queen, whom wagging tongues called Mrs. Brown, and her indomitable friend, Mr. Brown ... a heart-warming true story of friendship and loyalty, politics and betrayal.

Don't miss this outstanding movie.

SIDENOTE: You may have noticed that Amazon has made some changes to its website. If it looks the same to you right now, look out for a new format that will be rolling out gradually in the weeks to come. If you can see the changes, especially the review format, I'd like to know what you think. Please leave me a comment with your opinion.

"Love the new look" or "Hate the new look" comments are perfectly acceptable.

My e-mail address is at top of this review. Thank you for your time."

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The People vs. Larry Flynt (1996)

It's sad to discover that *some* people (who have posted reviews here) have overlooked the merits of this film... and focused only on Larry Flynt as a man. Well, listen up... a movie is not WHAT it's about, but HOW it's about it!

Don't complain about the actions of Mr. Flynt in the movie... after all, he (Flynt) overlooked the production... he really did those things. Perhaps Milos Forman should've CHANGED the events somehow? No!

This film is essentially a sad love story. Nevermind the politics and Ammendement speeches... what we have here is a destructive relationship in the vein of Sid Viscious and Nancy Spungen. It is masterfully directed, beautiful to look at, and deeply engrossing.

Whatever your feelings about Flynt, remember that he did play an important role in our era. Think he's a horrible person? You probably won't get an argument from him, as this film demonstrates.

"The People vs. Larry Flynt" has long languished in a no-frill, barebone widescreen edition. Now Columbia has finally released a Special Edition that includes bonus material that fans of the film can appreciate: two full-length commentary tracks (both free of the excessive "back-patting" that other commentary tracks devolve into), a pair of interesting deleted scenes (though they are very brief, they include commentary), and some other bells and whistles.

The featurettes deserve a special kudos as they're actually quite good, not the normal fluff studios usually put in DVDs. Both were produced in 2003 for the Special Edition and allow the interviewees to reflect on the entire production and theatrical life of the movie and the backlash it recieved from the Left. The interviewees include Foreman, Flynt, Harrelson, the producers, screenwriters, and as a commendable surprise, Rev. Jerry Falwell himself. The featurette on Larry Flynt's life (narrated by Dennis Hopper) gives a brief synopsis of Flynt's entire life -filling in areas that the movie did not cover (like his service in the Army and Navy) and putting the events of the movie in actual chronological order -making it interesting to compare to how the movie interprets the truth.

As for the movie itself, I would recommend that you rent a movie before buying a more expensive "special edition." I personally enjoyed it a lot when it was theaters. Milos Forman's style is very visual, and he's able to keep his subject at enough distance to allow the audience to make up their own minds about him. Harrelson's performance is top notch (he recieved an Oscar nomination) and the rest of the cast definitely fits the bill. It stands alongside Forman's Amadeus and One Flew Over the Cuckoo's Nest. Just be forewarned, it is quite graphic -so if sexual situations bother you, it may not be something you'll enjoy.

As a final note, the DVD is actually contained within a jacket (the stripes you can see in the picture), when you pull the DVD case from the jacket you get to see the original "People vs. Larry Flynt" film poster that wasn't released due to it's parody of religion, sex, and patriotism -a good synopsis of the film indeed.

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I love this movie, and I recommend this movie to anyone that does not like Larry Flynt-it has the potential to change your opinion. This movie was tongue in cheek, and it was tragic. This wonderfully directed and acted movie will show people that Larry Flynt may not be the most moral person (in some people's minds), but it shows that he has fought for every American's rights.

Courtney Love blew me away as Larry Flynt's late wife. Every movie I've seen with her, she proves that she has a talent, and this movie let her shine with her acting ability.

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"The People Vs. Larry Flint" is one of the most controversial releases of 1996, starring Woody Harrelson, Edward Norton, and Courtney Love. It earned two Oscar nominations and two Golden Globe wins. This real-life film wonderfully desplicts Larry Flint's struggle to publish "Hustler", a sexually explicit magazine. He risks his freedom to prove that the bans violate the First Amendment on the US Bill of Rights, which is freedom of speech. Through every step, he causes tremendous controversy throughout the country. Some love him, some hate him. Either way, nobody can get enough of him. The plot is brilliant. The daring material expressed deserves tremendous respect for doing what few writers have dared. The climatic story keeps audiences interested in every scene, always wondering what Flint will say or do next. The unexpected events keep the energy intact. His eccentric behavior adds a more interesting flavor to the film.

Woody Harrelson and Courtney Love prove that they were made for their roles. Harrelson's Oscar nominated performance as Larry Flint is the best in his career. Nobody else could have played Flint better. Love makes a triumphant film debut in her Golden Globe nominated role as Athena, Flint's wife. Her erratic behavior is wonderfully displayed through every scene. Athena's life struggles are beautifully expressed. Edward Norton's role as Flint's lawyer is beautifully performed. All other performers also acted their roles wonderfully.

"The People Vs. Larry Flint" is a great film for those looking for something risque. This is sure to please audiences of all kinds.

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the people verses larry flynt was a moving and powerful movie based on a true sory in so many differnt ways. free speech the main storyline and the there is with enough money minipulation in the court happens and can even turn into a circus it shows if little poeple like us had all the money our courthouse would be a totaly different place today. larry flynt is a decent man who wasent given a fair shot we just called him a prevert insted. with all the pain he has indured realy who cares about nudie pictures.

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Fire in Babylon (2010)

This is a wonderful documentary portraying the world of West Indian Cricket,through the prism of colonialism. The great CLR James wrote a a masterpiece called Beyond A Boundary ,in which he attempted to do the very same thing. This movie begins with the era of Independence in the Carribean ,the great former players{ Garfield Sobers being the greatest] and the formation of the West Indian squads.After a humiliating test in 1975 and 1976 against Australia in which the Batters were intimidated and injured by the furious style of the Aussie bowlers[not to mention the horrific racist epithets and virulent disgusting racist taunting from the crowd] the West Indian team went in search of a new model.The found one. They began to play hard fast cricket, bowling at incredible speeds, using the same intimidating tactics that was used against them. The two huge highlights are the tests against England,where the former colonial masters are humiliated beyond description, and then revenge down under where the Aussies were whipped at their own game, and the Great Viv Richards dominated. Interspersed throughout are interviews withe the players, commentary from Bunny Wailer, gorgeous beats from Bob Marley and Burning Spear among others and great highlights. As sociology,as politics, as humanity unfolding, and a downtrodden people regaining their rightful place,as a genuine new west Indian culture erupting, as sport and as sheer fun, this is a great film. HUgely recommended for everyone.Wonderful!

Those with any sort of interest in cricket should be enthusiastic about the release of "Fire in Babylon." This intense and eye-opening documentary from Stevan Riley tracks the evolution of the West Indian cricket team from its inception to its inevitable place as International champions. Their struggles and successes happened in a worldwide arena of racism, political maneuvering, and apartheid. Far from being a traditional underdog story (and at heart, that's what it is), this is an illuminating look at how the sport developed and the historical context in which this small group of players challenged the status quo. The team's success is mirrored in how this small chain of islands asserted a newfound national pride and identity after years of colonial rule. By taking the English gentleman's sport and appropriating it as a field of battle, it changed cricket forever (for good and for bad).

Riley has assembled all of the prominent names that you might expect to look back on a certain era (most of the footage deals with the mid-seventies to the mid-eighties). It documents that the early team notoriety was as entertainers with no particular talent for the sport and notes that the turning point was when they were decimated by the fast bowl pitches of the Australians. Employing many of the same techniques, the West Indians created a better and more formidable team with four of these notorious fast bowlers. As their reputation grew (both for talent and brutality), they ascended to the heights of cricket. The film shows how the team fought the oppression of its own council to break free of its restrictions, divided over issues of apartheid when certain players were coerced into playing in South Africa, faced casual racism around the world, and challenged their former rulers to attain a grudging respect. You see plenty of cricket, for sure, but a healthy interest in world events will further enhance the experience of viewing "Fire in Babylon."

Riley's film is filtered through the perspective of the West Indian team. Some may see this as a criticism, but it is their viewpoint and interviews that make up the bulk of the film. For example, as the sport became progressively more dangerous, rules were formalized to protect batters from intentional injury. And many players were being seriously injured (some with career ending hits). While some might see this as a necessary response (myself included), the West Indians perceived it as a casual attack on them personally to destroy their team. It's easy to see their point of view as these rulings affected them greatly, but things have a broader context than are expressed in this film. Still, "Fire in Babylon" raises a lot of great issues and highlights a lot of great players. In many ways, as I mentioned, it is an underdog story with tremendous appeal. And not just a sports film, the story shows how our heroes can also stand as significant political and sociological role models in troubled times. Strong stuff. KGHarris, 10/11.

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The story of west indies cricket wonderfully brought to life. Must see for all west indian people. very informative and educational.Instills pride. West Indies cricket would never achieve those heights again so watch it, buy it. It's a valuable part of our history.

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James A. Stewart, DVD Verdict --Riley's Fire in Babylon profiles the West Indies Cricket Team, which controlled the sport from 1980 to 1995. The story starts with the "Calypso Cricketers," actually seen singing in some vintage footage from 1975; that team was dismissed by the world of cricket, as it rarely ended a match with anything to sing about. The turning point came with a drubbing--both on the field and with hostile fans--at an Australian test match that year. The team learned its lesson from their often-violent Australian rivals and got tough. A year later, their "head-on onslaught" put the team from India--and everyone else--on notice.

Fire in Babylon features lots of video from the team's rise to cricket power, often with the original sports announcing. It also provides quotes from the players and team captains who fueled the West Indies victories. However, this isn't a sports documentary--not exactly, at least. What Riley sets out to do isn't to show a team working hard to become champions. Instead, he wants to show what happens when they do.

The nations of the West Indies had only recently achieved independence, often with violent clashes. They were also islands, with little common ground. "Could we beat our former masters at the game they created?" one player asks; the answer was yes, demonstrated in a 1985 test match against England. The rise of the cricket team brought unity to the region and encouraged the islands' emerging culture, a message hit home by Bunny Wailer of Bob Marley and the Wailers, who offers frequent commentary. Eventually, the team was a symbol of black power in Africa as well.

The picture quality is highly variable; some of those old cricket videos are full of scratches and spots. Riley helps things along with stylish graphics, but it's still noticeable. The soundtrack features lots of reggae, including a band performing a cricket song.

A brief interview with Riley and producer John Battsek is added as an extra. It's not bad, but I'd have liked a text timeline, both for the team and for the West Indies, and some background on the team's stars and where they are now.

Sports documentaries often promise to show viewers that "it's more than a game." Fire in Babylon actually does just that.

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An inspiring story about how the West Indian cricket teams of the late 70's thru the early nineties redefined cricket with the use of controlled aggression. A well made documentary that carefully and logically reconstructs some of the events of the mid-70's that culminated in the infamous surrender of a match by an Indian team and the subsequent, now famous, grudge series between the West Indies and Australia.

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