Planet of the Apes (1968)

I recently watched this original version of "The Planet of the Apes" for the first time since seeing it at a drive-in theater back in 1968. First I was amazed at how much of the film I had forgotten. Actually, most of what I remembered was the (then) shocking ending. What I was impressed with this time around was what an intelligent and well-scripted film this was (and still is). Like any good science fiction, this film provides an interesting commentary on the human condition. One the one hand you have the Minister of Science and Defender of the Faith debunking and destroying an archeological dig, because it is contrary to the faith of the Apes, but on the other hand in his reading from the sacred scrolls you hear the accurate description of the destructive (dare I say "sinful?") nature of humans. I've been pondering this segment of the film quite a bit over the past few days. Like others, I think Charlton Heston is in fine form here. It's easy to picture him as president of the National Rifle Association after seeing this film. I still prefer Heston in "Ben Hur" and "the Ten Commandments," but that probably reflects my personal interest in the stories that are told there. As one Academy Award film-maker recently said upon receiving his lifetime achievement Oscar (I think it was Norman Jewison), "Find a story that needs to be told and tell it." This version of "The Planet of the Apes" certainly tells a good story, and tells it well.

20th Century Fox released the film previously on DVD by itself and in a box set with the rest of the Apes films plus a bonus DVD of extras. Now, for those who just want the first (and best) film of the series and all of the extras, Fox has released an excellent two-DVD special edition of Planet of the Apes to celebrate its 35th anniversary.

The DVD's extras get off to a shaky start with the two lackluster audio commentaries. The first is by legendary composer, Jerry Goldsmith, and the second by actors Roddy McDowall, Natalie Trundy, Kim Hunter and make-up artist John Chambers. Both commentaries could benefit from some extensive editing. There is way too much dead air that one has to sit through to get to the few interesting tidbits of information. The DVD producers should have edited down these commentaries to only the scenes in the movie that are actually commented on, like with the audio tracks on the Glengarry Glen Ross and The Right Stuff DVDs.

The text commentary by Eric Greene, author of Planet of the Apes as American Myth, redeems things by cramming a ton of interesting factoids on the screen in the form of subtitles. It's scary when the text commentary is better than both audio commentaries combined.

The second DVD contains the bulk of the extra material. The first section, "Exploring the Apes," contains a comprehensive, two-hour documentary entitled, "Behind the Planet of the Apes." Hosted by Roddy McDowall, it takes a look at the entire Apes saga from the films to the cartoon and TV series with an emphasis on the first (and best) film. Fans of the Apes films will be delighted to see all the major players from the films back for new interviews done exclusively for this documentary.

Also included in this section is the make-up test reel with Edward G. Robinson that convinced the 20th Century Fox brass to pony up the money for the film. There is "Roddy McDowall Home Movies" taken while making the first Apes movie that shows the step-by-step application of his ape make-up. There are 19 minutes of dailies and outtakes from the film.

There are also two vintage featurettes from 1968 and 1972 respectively. They are nothing more than superficial promos but are now fascinating time capsules of their times. Finally, there are two brief featurettes that showcase footage of directors Don Taylor and J. Lee Thompson shooting a scene from the Apes films that they worked on. These last two extras feel like unnecessary padding.

The "Publicity" section contains theatrical trailers for all of the Apes films, two glowing reviews for The Planet of the Apes and a collection of movie posters from all around the world.

The "Galleries" section features sketches by costume designer Morton Haack and a small stills gallery.

Finally, the "Ape Phenomenon" offers a brief glimpse into the vast Apes merchandising empire with a gallery of action figures. Also included is a collection of costumes and make-up from the films.

This new two-DVD set does justice to this landmark science fiction film. The transfer is amazing clear and free of any artifacting. The movie also hasn't sounded better with a crystal clear 5.1 surround soundtrack. While the audio commentaries are a let down, the two-hour documentary more than makes up for it. This is well worth picking up if you are a fan of the first film and want all the supplemental materials included in the box set without having to pay the extra money for the inferior sequels.

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This is a review of the quality of the Planet of the Apes [Blu-ray. The video looks good for a film as aged as this, but is not even close to stunning. The high def transfer in some cases actually serves to accentuate problems you might not have noticed otherwise. I saw more than a few soft scenes where they looked unfocused. Grain was never too obtrusive, but the colors were uneven through a good portion of the film. Some scenes were rich and vivid, and others washed out. My biggest problem is the sound. They present the sound here as a DTS 5.1 mix, and a mono mix. I chose DTS and was sorely dissapointed. My subwoofer never kicked on. That means that there was never an instance when there was a frequency lower than about 85hz. This made for a very shallow sounding mix. Adding to that, the surround speakers never seemed to register anything, and you've got what sounded to me like a mono mix anyway. All of the sound seemed to come from my center channel. To me, digitally remastering a film soundtrack at this level means accentuating the lower registries by adding lower frequencies, and placing atmospheric and musical elements in the surround channels. If you don't plan on doing that, what's the use of calling it a DTS 5.1 mix? Anyway, this is by far the best transfer I've ever seen of the film, but don't be looking for anything more than a slightly better than average transfer, and a glorified mono track.

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There weren't many memorable science fiction films in the 1960s, but the few that met with success found it unusually enduring. "Planet of the Apes" didn't achieve the canonical status of "2001: A Space Odyssey", released the same year. But it spawned a 5-film franchise, inspired a reconceived version in 2001, and it still makes an impression. Rod Serling, of "Twilight Zone" fame, and Michael Wilson wrote the screenplay based on Pierre Boulle's 1963 French novel at producer Arthur P. Jacobs' behest. Beyond its surprise ending, cult appeal, and socio-political undertones, the film's makeup and score are notable. This was the second of seven films on which the late composer Jerry Goldsmith worked with director Franklin Schaffner. And John Chambers ground-breaking prosthetic makeup won an Honorary Oscar for Outstanding Makeup Achievement.

George Taylor (Charlton Heston) is the leader of a 6-month deep space mission that left Earth in 1972. The four-person crew expects to return to Earth some 700 years after they left, owing to the speed at which their craft was traveling. They place themselves into a state of stasis for the journey home not knowing what they will find when they awake. The ship unexpectedly lands in water. The crew has to bail out, and they find themselves in a landscape devoid of vegetation. The ship's clock said 3978, implying that 2000 years have passed, and they suspect they've missed Earth by 300,000 light years. But a primitive human-like species inhabits this planet, along with a society of ape-like creatures who possess something akin to 19th-century technology. But the Apes are not friendly towards humans, and Taylor is taken captive.

Viewed more than 40 years after it was made, "Planet of the Apes" didn't seem nearly as campy or dated as I expected. Even the ape makeup is not too bad. I wonder if Taylor's disposition might partly account for it. His misanthropy and arrogance age better than earnestness or patience would have. The film's stance against animal experimentation, its criticism of the assumption that a species is unintelligent and unworthy if it can't speak, its Darwinism, its ruminations on the human capacity for self-destruction, particularly through nuclear war, address hot-button issues of the 1960s. It's not subtle. More subtle, though, is the reflection on the role of religion and of community leaders in shaping our views of the past: History as a socio-political tool. The horrific consequences of lying with good intentions. It's a neglected and provocative topic, even now.

The DVD (20th Century Fox 2006): There are two "audio commentaries" that seem to be interviews recorded at different times, pieced together, and played over the film. The first is a commentary by composer Jerry Goldsmith. The second is by actors Roddy McDowall, Natalie Trundy, Kim Hunter, and makeup artist John Chambers. These "commentaries" are sparse and would have been better simply as interviews or run over short excerpts of the film, so the viewer could locate them easily. There is also a "Text Commentary" by Eric Greene, author of "Planet of the Apes as American Myth". This runs in the lower frame, like subtitles. This also would have been better if we could just read the essay, instead of reading a few words at a time. Subtitles for the film are available in English SDH and Spanish. Dubbing available in Spanish and French.

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Oh, man...I love this movie. I can watch it over and over and over again and still find it absolutely fascinating. I love the Charleston Heston character; Taylor. He's so anti-human himself and then winds up on a planet where "the only good human is a dead human..." I am well aware of the fact this particular line is from the second movie, but even before that line was even uttered you got the feeling that this was the overall attitude of the inhabitants.

The part that still gets me is the ending. I remember watching it with my dad for the first time on network television; that scene played out and my dad let out an audible gasp. It was just totally ironic. Taylor has discovered the destiny of the human race. It still sends chills up my spine just thinking about it.

The Tim Burton remake was absolutely horrid. My friend and went to go see that piece of monkey **** only to drive home and rewatch the original. Maybe Tim Burton needs to enroll in some kind of class where they can teach him some of the basics on how to make movies.

Stick with the classic original. Even if you're not into science fiction you will find this movie to be absolutely incredible. Everything from the writing, to the shot locations, to the screenwriting is total and complete perfection.

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The Girl with the Dragon Tattoo (2010)

The Girl With The Dragon Tattoo is the first in the trilogy of crime novels written by Swedish journalist Stieg Larsson. Larsson wrote them during his spare time, as a form of amusement. However, the novels were not published until after Larsson's untimely death in Nov 2004. The author never had the opportunity to enjoy the critical and the commercial success his books eventually earned. In 2008 Larssen became the second best selling author on the planet.

Now, on to the story:

Mikael Blomkvist is a journalist, convicted, unjustly he believes, of libel against a powerful industrialist. As Blomkvist awaits the commencement of his sentence, he is hired by a scion of a wealthy family to investigate the disappearance of the man's bellowed niece 40 years earlier. Everyone, initially including Blomkvist, believes the case is hopeless. Unexpectedly though, help comes in form of "the girl with the dragon tattoo", Lisbeth Salander. The mysterious woman clearly has a severe past: despite being 24 years old, her person and finances are being managed by a court appointed guardian. She does however, have a brilliant mind and, as we are about to learn, a powerful will... She quickly becomes the driving force of the investigation. We watch transfixed, as the past reaches into the presence, and touches the lives of Blomkvist, Salander, her guardian, the industrialist and the wealthy scion.

The story, as written by Larsson, is extremely brutal (consider that the original, and the very apt, Swedish title is "Men Who Hate Women"). However, I am inclined to believe the violence serves as another character in the story and as such is necessary. I am therefore glad that the filmmakers did not seek to tamper it, thus neutering the punch the story delivers. Though this Swedish adaptation is scripted and directed to the highest standard, the focus must be on the performance of the actress Noomi Rapace. Her portrayal of Lisbeth is shockingly faithful to the text and the actress manages to take over the film with her very appearance.

The Girl With The Dragon Tattoo is one of the best adaptations I have seen, ever. I encourage you not to miss it; though do see it with friends, as you will afterwards feel strongly compelled to discuss the various explosive plot twists. I hope Hollywood never touches this gem. I am anxiously waiting for the next two installments to hit US screens.

PS: Keep in mind, this film is NOT for the underaged.

I'm a fervent and early fan of Stieg Larsson's Millennium Trilogy. I would have flown to another city to watch this film if I had to. Luckily, I live in one of the country's best cities for art house cinema: Dallas. Yes, contrary to the expected stereotypes I always have to bat down when I tell out-of-town friends this fact: Dallas has a tremendous art house cinema culture. And, as testament to that, we got "The Girl With the Dragon Tattoo" very early. What a thrill for us.

I am not going to claim that the movie is better than the book. What makes the books so compelling are the monster-deep dives Larsson takes into varied areas like investigative journalism, corruption, hacking, mafia, governmental affairs, mafia-government connections, intelligence agencies, detectives..and a host of others. What makes the first book spin is its dual axes of investigative journalism and hacking, personified respectively by Larsson's two protagonists, Mikael Blomkvist and Lisbeth Salander. In the movie, something's gotta give: there's just no earthly way director Niels Arden Oplev is going to be able to fit all of Larsson's work into a film of slightly less than three hours.

So what Oplev does is strip the story down to its core: the hunt for Harriet Vanger. It's this case that serendipitously brings Blomkvist and Salander together. In the process of the focus, we lose some of the flavor that is the hallmark of the book, most notably much of the investigative journalism as practiced inside the walls of Millennium magazine. Millennium's editor, Erika Berger, is but a footnote in the movie but a big part of the book. Likewise, little attention is given to the so-called "Wennerström Affair," the personal and professional downfall that befalls Mikael at the book's outset. Indeed, the first third of the book focuses mainly on these two elements of the tale.

Similarly, we lose out on some other aspects of Mikael's character. Mainly, his babe-magnetism. In the movie, he and Salander develop a sexual relationship. [Indeed, it's undertones of the memories of this relationship that drives much of books two and three.] But the movie has removed the sexual aspects from two of the other relationships Mikael has with female characters.

Despite all that, this movie lives and dies on one turn: it's ability to 'get it right' with its casting of Lisbeth. Over and over I would to my wife "Lisbeth better be good." And she'd tell me the same thing repeatedly. And others I know have the same mantra: don't mess with my ideal vision of Lisbeth. In that light, Noomi Rapace represents deliverance. She scored the essence of the character: we want Lisbeth to have that mix of smarts, hardened exterior, quirky beauty, ferocity and manic energy that drives the book. Ms. Rapace delivers all that in spades. She's maybe a little less elfin than the character described by Larsson, but other than that, she's the Lisbeth from my head.

I urge all fans of the book to see this enjoyable adaptation. [Oplev made all three movies at once, so the other two are headed this way.] Embrace the subtitles. This is a Swedish story through and through. It deserves to be seen in Swedish. It's distressing to see US box office totals stalling at less than $10M. All that is going to do is fuel the drive to complete an insipid US version with some disheartening casting like Brad Pitt as Mikael and god knows who as Lisbeth. Whoever steps into that role, Noomi Rapace has already left her well behind at the starting line.

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Over 2.5 million people in Scandinavia have seen this film, making it the first film in Scandinavian history ever to break the $100 million mark for European ticket sales, and US fans of Stieg Larsson's bestseller of the same name may propel the film to similar records here. The R-rated film tells the story of Mikael Blomqvist, a disgraced journalist for Sweden's Millenium magazine who accepts an invitation from an elderly businessman to investigate the disappearance of his niece Harriet, thirty-seven years ago. No trace of her has ever turned up, and the old man fears that a member of his family may have murdered her. While Blomquist is gathering information and storing it on his computer, he realizes that someone is hacking into his files. That person is Lizbeth Salander, a disturbed young woman living under the guardianship of the state, having spent time in a mental institution. Working together, they discover information about the Vanger family's Nazi connections and their association with extreme religious groups.

Danish director Niels Arden Oplev's dark and atmospheric cinematography establishes an ice-cold mood from the outset, with the action taking place in winter on an isolated island where the sun never seems to shine. Outdoor scenes are mostly black, white, and gray; interior scenes are full of clutter and of dark wood of almost claustrophobic heaviness. Michael Nyqvist (as Mikael Blomqvist) conveys the sense of loss, even betrayal, that his character feels after losing a libel case in a miscarriage of justice, and his vulnerability makes him the perfect foil for Noomi Rapace (as Lizbeth Salander). Rapace conveys not only the toughness and emotional dissociation resulting from abuse Lizbeth has faced, but also, in two memorable scenes, the feeling that behind the seemingly ironclad façade, there beats a real heart. Her role in the film is bigger than it is in the novel, and when she is on screen, it is impossible to look at anyone else. Nyqvist seems to recognize this, conveying Blomqvist's support for her through body language, gesture, and facial expressions, and remaining more in the background. The supporting actors, though their parts are far less developed, are equally committed to the film as a whole.

Brilliant pacing keeps the action and its shocks continuing throughout the film, and not a single "dead spot" appears, an extraordinary feat for a film that is more than two-and-a-half hours long and depends upon subtitles for dialogue. Even people familiar with the book will be jolted by the sudden visual shocks as they hit. Horrifying scenes of physical and sexual violence often make the film very difficult to watch, the sounds of the violence making the visual effects even stronger. There are some scenes of nudity.

Every aspect of this film is integrated into the whole, however, and it is difficult to imagine any adult fan of the book being disappointed in this production. The Girl Who Played with Fire and The Girl who Kicked the Hornet's Nest, the remaining two books in the trilogy, have already been filmed and released to huge audiences in Europe, and both of these films are projected for release in the US (with subtitles) in the fall of 2010. Mary Whipple

The Girl with the Dragon Tattoo (Vintage)

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This movie has brutally graphic scenes of forcible rape and solomy that are not in the trailer or discription that can cause severe reactions in survivors of such who are not prepared for it and should not be unknown to those who do not want to be subjected to them. NOT going to be "enjoyable" for those who are sensitive to such, during or after.

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To the point, DO NOT MISS THIS "EXTENDED EDITION" if you are interested in the Swedish film/TV production of Steig Larson's novel of the same name (or either of the other two productions in the series). WHETHER OR NOT you have already seen the seriously truncated (shortened, mangled) version which was earlier released on DVD, BD, and streaming, THIS IS NOT TO BE MISSED. Unlike the previously released version, this "extended edition" provides a coherent presentation. Being one of the inexplicably over the top fans of anything connected with the three Larsen novels (or associated biographies, etc), I read all three novels early this year and then waited with bated breath for the "movie" versions. I was seriously disappointed with all three earlier, shortened movie releases, and particularly the last two of the three in the series. This was because new characters suddenly showed up on the screen without either sufficient introduction, or even identification. Or there were very significant holes in the story line (in addition to those already extant in the novels!).

As many of you will know, the three novels were filmed for Swedish television, with one film for each of the three novels. This disc presents one of the three films as originally formed and appearing on Swedish television each film, including this one, was broken into two segments of approximately 90 minutes in length, for a movie lasting a total of 180 minutes. When the Swedish TV version was presented in American theaters (and DVDs and BDs, the latter which I own), it was re-edited, and seriously shortened. As far as I am concerned, this ruined all three original "movie" presentations.

Despite the fact that the productions were evidently produced for first showing on Swedish TV, the production values (both sight and sound) are certainly comparable to those of first rate American movies. This reviewer does not know but strongly suspects that the producers had ultimate theater showing in mind when the films were made.

And finally, the Amazon's streamed version of the Extended Edition is free of notable artifacts on this reviewer's 109 inch Stewart Screen in the streamed version the color balance and brightness are good the black levels, interfered with by encoding and transmission noise, do not equal that of the BluRay disc, but are certainly acceptable. Needless to say, I was grateful and quite thrilled that the original version finally made it to market in Amazon's streamed version with Amazon's typical quality!

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Patriot Games (1992)

This is one of my all-time favorite political thrillers. This film successfully, and even brilliantly brings Tom Clancy's novel "Patriot Games" to the screen in an effective manner that is a delight to watch. The direction and acting are excellent. The musical score is superb, and this is one of those movies in which the soundtrack almost comes to dominate one's impression of the movie. This is not to take away from a bravo performance by Harrison Ford, who effectively pulls off his Jack Ryan character. I originally had my doubts about Ford as Jack Ryan, but Ford succeeds excellently.

The direction of this film is particularly good. The artistic direction, effectively combined with the haunting, wistful, musical score make this film unforgettable, and several cuts above the usual political thriller. This is a thoughtful, intelligent film but nevertheless contains plenty of fast-paced action. The plot moves smartly, but never features action just for the sake of action.

This is a film that most viewers will enjoy many times.

For sheer excitement on the edge of your not-so-easy chair, there's nothing like a good Jack Ryan story, and I think this is the best of them. The plot involves one of the most obsessed bad guys you'll ever see, a fanatically militant member of an IRA splinter group whose attack on the British royal family is thwarted almost unconsciously by Ryan, who is visiting England as a tourist/lecturer. Now ex-CIA, Ryan's family is nearby, and family is central in this tale of the cold-blooded world of international espionage and terrorism. The family angle is one that keeps the story so chilling throughout, as the terrorist's brother is shot to death by Ryan as he ruins their try on the royals, and our star villain then sets out to stalk Ryan and his wife and daughter.

The film moves at an almost perfect pace, and unveils to us some modern aspects of this shadowy world. For instance, even Ryan, played with understated perfection by Harrison Ford, is creeped out by his participation in a nighttime strike on a desert camp believed to be IRA training ground. In this scene he and several other jacket-and-tie types watch soldiers take out this nest of vipers a half-world away, thanks to infrared and satellite technology, all while detached voices calmly note "Target neutralized" and spies dressed like businessmen smile and nod while whispering to one another in thorough detachment from the blood and guts of the operation. All this technology and we are not removed from the days of the rich people perching on hills near the battles of Civil War days, sipping tea while viewing the entertainment.

I cannot give less than five stars to a film that draws me in so completely as this one, making me feel the tension with such clarity and indeed making it so easy to actually hate the villain. Yet the film strikes sour notes with the drunken Richard Harris's half-hearted performance as an IRA bigwig, and with the cliched ending moment of an otherwise superb boat chase at the film's climax. Two distracting moments would mean a score of 9 on a scale of 1 to 10, or, in Amazon terms, 4-1/2 stars. These being minor, a full five stars is quite reasonable. Nearly a perfect action film; even the understated music score is just so right that it can't be imagined being done any other way.

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I agree that this Blu-ray could have been done a lot better but it is a definite improvement from the SD version. If you are a fan of this movie and HD this is the best you are going to get for at least a while so you have to take it or leave it. I don't regret buying it. I don't know what some of these other reviews are talking about with flashes of light, etc. I have two different players and a 60" and 40" screen and I didn't see any of that on either of them.

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In typical studio fashion, Paramount has transfered this exact same master that was temporarily released on HD DVD early this year which was a mixed bag and not what these films, the fans of the films, or high def owners deserve.

I really enjoy the first 3 Jack Ryan films, the 4th not so much because of Ben Affleck and because it's just too out of sync with the previous trilogy. The first 3 are classic political thrillers that do a great job of bringing Tom Clancy's books to the big screen. His vision and Jack Ryan character are for the most part, executed very well on these films. Many have their preferences as the stronger and better of the bunch but I like Hunt for Red October, Patriot Games and Clear and Present Danger individually for their own qualities and suspenseful action.

I've seen all of the Jack Ryan's on HD DVD, and sure enough, the Blu Ray's are exactly the same. Which is too bad because Paramount didn't do a very good job remastering them and they just don't look nearly as good as they should in hi def. I suspect that many Blu Ray owners will be pretty disappointed with the lack of visual pop that they're hoping for. Each of the Jack Ryan's looks better than the one before it which is typical as newer films upgrade easier to high def. And at least they all look better than their standard def counterparts. The problem is, is that most hi def owners have seen older films than these look better than these. Which brings us to wonder, what went wrong here? Granted, these films are a difficult upgrade as most of the scenes take place inside a submarine, house, office, or outside on overcast days, making it more difficult to provide that 3D pop we're looking for. But there are specks and dirt in the transfers and while I didn't find them in abundance or distracting, I do feel it's inexcusable at this point in the Hi Def's life cycle, especially for these movies. There's no reason for them not to be squeaky clean by now, even if they're going to look a little flat. But they are the best transfers available and the best we'll see until they provide us a proper remastering. But one is due.

The audio, well this is finally where these discs pop. And I mean POP!!! We're given some truly thunderous transfers here in Dolby TrueHD. These films sounded good to begin with on standard dvd (especially October) but these new transfers are just incredible. They easily trounce the old ones. The scores, sound effects, gun shots and explosions are absolutely thrilling. This is all moot if you don't have a proper surround system to decode and dish out the TrueHD tracks though. If thats the case, then you may want to consider keeping your standard discs if you have them because the audio is the clear selling point for the upgrade.

Despite my dissatisfaction with the flimsy visual upgrades, I'm still satisfied with these discs. I'd recommend them for any Blu Ray (and home theater) owner looking for a worthy upgrade for their favorite Tom Clancy films. Again, I stress you'll be much more impressed by the HD audio here rather than the passable but not demo worthy HD video. I give this set a 4 out of five because even though difficult, I believe if they really wanted to, Paramount could've and should've given these films a better makeover than they got. The powerful audio will help ease the disappointment with the video. Overall, I still recommend them.

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Though I really like the movie, this might be the worst looking blu-ray movie I've seen, and I own about 50. There is all kinds of light colored pixelization in the darker parts of the film that pulsates and distracts. I tried to find a feedback system on Paramount's web page, but no such thing seems to exist.

Very disappointing.

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Cars Director's Edition (Cars / Cars 2 / Mater's Tall Tales) (Blu-ray/DVD Combo + Digital Copy) (2

I picked up this set yesterday. I felt I paid a decent price for it when I compared it to buying the movies separately. I haven't actually watched any of the discs yet but I'm sure they'll be fine. I liked the first Cars and love Michael Caine so I'm looking forward to the sequel. Mater's Tall Tales should be cute as well, it was really just a bonus anyway, it was the other two that I wanted. What I was not happy with was the packaging. It looked nice enough in the store but upon getting home with it and opening it, its a super cheap way to package this 11 disc set. I assumed the cardboard would house some sort of container inside that would hold the discs. Nope. Once you open the box, there's a flimsy piece of packaging plastic that sits on top, it is in no way anchored or attached, of a piece of foam that has slits in it to hold the discs so that they don't rub against each other. That's it. No blu-ray cases or anything else. Wow, Disney, you would think with an $100 list price (I got it for $75, Best Buy had it for $80 plus I had a $5 off coupon) they could come up with something a little sturdier. Plus if you have kids and they want the car that's included, your going to have to tear open what packaging you do have to get it out and then how will your discs be kept? Really pretty disappointed here. I would have taken it back and bought the individual discs if not for the digital copies, I wanted them and you only get them for all three in this set. Bad form, Disney. Bad Form!

We're Disney fans, and already had Cars (1), but not the other two, so we opted for this set. It's a bit of overkill, but we have extras for all the different devices. Plus a couple of "oops, the kids scratched the heck out of this disc somehow" copies.

The kids enjoyed the movies. Since they're the intended audience, I'm not going to review the scripts/movies. I'm going to specifically talk about the packaging.

I'm all about reducing my plastic consumption. But I do NOT like the storage box these are in. I wish they had sleeves or something. The foam block inside the box holds all the discs (the silver box with the checkerboard "top" to it. The checkerboard thing is actuall a flap of fabric). Anyway, this foam cheapens it. And this was not a cheap set. The foam has slits cut in in to store the disc. I suppose they're supposed to be kept pristinely apart from each other, but when I opened the box, they were all rubbing against each other. Also, the notches are all deformed, so it's not as if I can somehow "fix" it. I can get every disc but one in the box without touching its neighboring discs.

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I really enjoy the Cars movies and loved the idea of having them on blu-ray, DVD and a digital copy. You get a lot for your money in the end but if I were to do it over I would have bought them separately just to have them in better cases. Once you get into the box you find out that they are stored in a little box with soft foam that is shaped to slide the discs in and out of. It is not very user friendly, especially if you have little ones. The so called lid doesn't stay secure or really even fit for that matter. It is bulky and really a pain to try and fit it in with the other movies on the shelf. I say buy them separately and avoid the hassle of having to buy cases later.

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Bought this as a gift for my grandson, and he loves having the whole set. The little car is fun for him to play with, and is packaged so that I can put it back in place when he's finished, thus saving the 'collector' aspect.

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My son got this as a gift for his birthday and he loves that it's every Cars movie especially the Cars Toons! However, just as stated with most other reviews, the packaging is really lousy. I can't even put the dvd's in correctly in that little soft foam holder.

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Space Cowboys (2006)

A Russian satellite is having problems with its' guidance system. The technology is dated, and the only one that has a solution to the problem is the person that designed it. That person is Clint Eastwood, and he has a hard time comprehending how they got a hold of classified information, but agrees to do what he can to help as long as they include his other buddies that were never given the chance to be in space. Tommy Lee Jones, James Garner, and Donald Sutherland are his partners in crime, and the situations and antics they get into are hilarious. What a stellar cast, and the supporting cast is just as impressive with James Cromwell, Marcia Gay Harden, and William Devane. This film is very entertaining, well acted, and has many memorable moments. It is one you will enjoy time after time.

This is a well acted film with a stellar cast. How can you go wrong with a movie that stars Clint Eastwood, Tommy Lee Jones, Donald Sutherland, and James Garner? Deftly directed by Clint Eastwood, it is a well made, entertaining film.

The plot revolves around a crisis in space that is triggered when a Russian satellite malfunctions and is due to collide with Earth in densely populated areas, unless someone can repair it in space. The problem is that the technology on the satellite is obsolete and no one knows how to tackle it except the inventor of that technology, retired Air Force pilot Frank Corvin, played by Clint Eastwood.

Corvin agrees to do so, but only on condition that he and his top gun crew of forty odd years ago go into space to do it themselves. Having been kicked out of the space program in 1958, he wants an opportunity for them to do what they had come so close to doing in the past. NASA agrees, but only if this now geriatric quartet can pass the physical. Their preparation for their big moment provides some laughs, as they ultimately prove themselves the physical equal of their younger counterparts and exceed them in experience and wisdom.

Permission for them to go into space is reluctantly granted, but much to their consternation, they ultimately realize they have been sold a bill of goods. Not only has NASA not been dealing in good faith with them, but they eventually discover that a much more serious problem than a satellite malfunction exists. Unfortunately, they do not discover it until they are out in space.

What happen in space will keep the viewer glued to his or her seat. There is action, pathos, tension, and heroics. It is a film that says that one is never too old for adventure.

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I must say that at a price of nearly 3.50 per movie you couldn't get a better deal on this. You get 4 good movies on 2 double sided discs. Of course I am only giving it 4 stars because of the fact that they are double sided discs. For about 4.00 more I would've been glad to pay for a 4 disc set of these movies. Other than that great movies and great deal.

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My wife and I picked up a number of Clint Eastwood DVDs and enjoyed them very much. Good entertainment, albeit somewhat violent in many cases! More recently, we bought a packet of four Clint Eastwood Comedies ("Space Cowboys," "Honkytonk Man," "Every Which Way But Loose," and "Any Which Way You Can"). The four-pack is an easy and inexpensive way to purchase four good Eastwood films, or you can buy them as individual DVDs. In any case, I reviewed each individual movie for Amazon. You can look them up if you're interested in my opinions.

I rated all four individual DVDs highly. They were very good! Perhaps "Any Which Way You Can" was my favorite (4 stars) and the somewhat dated "Space Cowboys" was my least favorite (3 stars), but only by a slight margin. Anyway, this 4 pack is a bargain over purchasing them as individual DVDs and they're all very entertaining movies. If you like Clint Eastwood movies, it's an economical choice. Oh, by the way, two movies are on each disc, one on either side. Some people don't like this arrangement so be aware.

Gary Peterson

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Clint Eastwood. Tommy Lee Jones. Donald Sutherland. James Garner. That's the way to start a movie. The movie starts out showing the guys as young men in 1958. They main goal is to become the first men in space, but after crashing their 3rd test plane in 10 months, they find out that another agency, NASA, has been givin' that job. The movie then fastforwards to the present. A Soviet satelite is getting ready to come down, but the Soviets are pushing to make sure that it stays in orbit because it is their only communication satelite. The engineers can't figure out how to get that technology to work as it is outdated. So they go to get help from the creator who happens to be Clint Eastwood. After initially turning them down because of his hatred for their superior (you'll find out why when you watch this movie), he finally agrees to help. His idea is to send him and his 3 buddies up. The catch is they have to pass the physicals and all other test that all other astronauts would to qualify. This is filled with Clint & Tommy Lee's characters constantly competing against one another which is hilarious throughout. Pretty soon, they are on talk shows and in newspapers everywhere and are making NASA popular again. But before they get to go up, one the crew is diagnosed with cancer. After some arguing, in which Clint believes his "enemy" is trying to keep him from going to space again, he finds out that the Vice President is insistent that they are sent into space to fix the satelite. And this is where it gets really exciting. With excellent acting, some great comedy in the beginning, and super special effects, this movie is a keeper.They constantly are making fun of their age and continually beat the odds. They also have an extended version from the movie of the guys on Jay Leno's show. It's pretty funny. Clint Produced, Directed, Starred, and also composed the beginning music for the movie. And what a terrific job he did. Get this movie and you won't dissapointed.

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Just Friends

At a high school graduation party, overweight Chris Brander (Ryan Reynolds) attempts to reveal his true feelings for his best friend Jamie Palomino (Amy Smart), but ends up making an utter fool of himself. What's worse, his humiliation takes place in front of his jeering teenage peers. A decade later, Chris has become a success story. He is now thin, prosperous, is a hit with girls, and works as an executive in the music industry. His latest assignment is escorting wacky starlet/pop princess and ex-flame Samantha James (Anna Faris) to Paris, France. But their plane has to make an unscheduled landing in Jersey, Chris's high school home. Rationally, Chris and Samantha decide to stay at his old house. Chris has a reunion with his former buddies, including the winsome Jamie, who immediately rekindles that old spark within Chris. The remainder of the film concerns Chris's efforts to make Jamie see him as more than a friend, while simultaneously fending off the warped Samantha. Competition comes in the form of a former fellow nerd turned sensitive guy Dusty Dinkleman (Chris Klein).

Just Friends is a very funny, feel-good movie. Ryan Reynolds is a hoot as a brash L.A. stud who disastrously channels his inner dweeb whenever he's around unrequited love Jamie. Ryan is really excellent with physical comedy. There are scenes with him that are just uproarious (case in point, the aftermath of his politically incorrect hockey game with the kids). I even enjoyed his frequent Three Stooges encounters with his kid brother (Chris Marquette). And when he has to, Ryan steps outside the slapstick and layers in a deeper nuanced, more introspective performance. I ended up rooting for Chris, even though he was overly cocky and big-timed his home town folks. And then there's Amy Smart, who seemingly can do no wrong. There's just something so lovable and natural about her. She embodies the type of girl every guy would want to be with. Anna Faris's turn as the unstable Samantha adds to the already boisterous feel of the film. Samantha actually scares me. Chris Klein's Dusty, Chris's guitar-playing, song-writing rival, is disgustingly touchy-feely. One would wish that a different sort of arc for Dusty's character had been laid out; the script writer, in my eyes, sold out and made things too convenient for Chris, with regards to Dusty. Julie Hagerty (Airplane!) has a goofy supporting role as Chris's mom.

The special features are tasty:

a filmmakers' film commentary

"Tales from the Friend Zone" featurette (the cast & crew talk about real life "just friends" experiences)

"Developing Just Friends" featurette (wherein we learn of the script's 7 year odyssey and how, originally, Chris didn't get the girl at the end)

"A Director's Guide to Comedy" featurette

"The Transformation" featurette (about Ryan's fat face make-up)

"The Body Shake" featurette (the awkwardness of when you're dropping off a date; do you hug or kiss?)

"It's Friggin' Cold" featurette (the cast & crew basically complaining about how cold the shooting was)

"A Writer's Journey" featurette (focus on script writer Adam "Tex" Davis)

"A Disaster in the Making" featurette (about the making of the Palomino house X-mas decor and its eventual fate)

"The Reshoots" featurette (the making of the eventual ending of the film, which wasn't the original ending)

a so-so blooper reel

deleted scenes

an alternate ending (this was the initially intended ending; you could see why they changed it)

an amusing "Jamie Smiles" video

theatrical trailer

So, try out this movie. It'll make you smile and laugh and even feel nostalgic because, let's face it: just like me, you've been in Chris's position before, too.

This is not hi-def quality. It's lo-def recorded onto a blu-ray disc. All the cost, none of the detail. Doesn't even have the extras that are on the dvd. For the record, I loved this movie and was very anxious to get it in hi-def, but this was a complete rip-off. Don't waste your money. Just get the dvd.

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This movie definitely turned out to be better than expected. I'd just seen "Waiting", which was decent, so I was interested to see what this Ryan Reynolds film would have to offer.

This movie had a much better storyline than did "Waiting..." It was very refreshing to see Ryan Reynolds play a character that wasn't Van Wilder-esque. He gives a very funny performance as the fat-kid turned Hollywood man-about-town who returns home and reconnects with the girl who broke his heart in his youth.

The movie is funny right off the starting line and remains funny throughout.

Recommended.

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I didn't really like Waiting, another Ryan Reynolds film. So I was leery about this one, but my sister assured me that it was totally different, and boy, was she right. This one's in the romantic comedy category, but with an American Pie attitude, which makes for a very funny movie. And I've never liked Ryan Reynolds more.

Reynolds plays Chris, a guy who was fat and unpopular in high school, but had a really great friend (played by Amy Smart) who hung out with him and had sleepovers w/him. Unfortunately, he saw her as more than just a friend, but she didn't feel the same way at all. After an embarrassing moment at a grad party, he gets on his bike and rides away, saying, "This town if full of losers, and I'm pulling out to win!" Flash forward ten years-Chris is now a total hottie with a body and has a flashy job in L.A. working for a record label. He has to escort the pop princess Samantha James (the hilarious Anna Faris) to Paris. But when their flight is grounded in Jersey because of an onboard fire (thanks to Samantha!), Chris heads back to his home to catch up with his mother and little brother, and maybe regain what he lost when he left-the girl of his dreams. Throw in a wacky little brother (played by Chris Marquette, whom you will LOVE in this role!!!) and another cute guy (Chris Klein) and you've got some serious obstacles!

Such a funny movie, really good physical comedy on Reynolds' part, he really reminded me of Jim Carrey in this movie, especially in that car scene when he's lamenting over his crappy first "date" with Jamie. Reynolds and Marquette are hilarious together; man, brothers sure know how to push each others buttons. HIGHLY RECOMMENDED!!

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I laughed so hard sometimes I couldn't stop. This is absolutely the best comedy of the last couple of years. Chris (Ryan Reynolds) was the quintessential nice guy, great friend all through high school with Jamie (the lovely Amy Smart). He was a bit overweight and the kids were kind of mean to him about it. Years pass and he comes back, lost the weight, in excellent shape, and has a career as a well known music exec. He's intent on winning Jamie this time. Enter Anna Faris (as a Britney Spears type, and really ditzy but in a hilarious way), and Chris Klein as a musician trying to win Jamie also. The sound and picture are great, this DVD has GREAT extras, and please let movie play all the way through so you can hear Anna singing "Forgiveness". I promise you'll be laughing.

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Manilow Live

Can't say that I was a big Manilow fan. Bought this DVD because I enjoy all kinds of music, and the other reviews sounded good. The surprise for me, was how many of the songs I knew, but had forgotten. The quality of the DVD, both sound and video is very good, and Barry Manilow does put on a great show! Almost felt like I was at in Vegas. I recommend this one highly. If you're over 50 you can't go wrong. If you're younger take a listen, and enjoy someone who really does know how to "write the songs that make the whole world sing."

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Bleak House (BBC)[Region Free]

For once, I am happy to find a remake of a fine old Masterpiece Theatre offering that is as good as the original. "Bleak House" is currently available on an DVD with Diana Rigg as the most familiar name; and except for some incomprehensible line readings by a young character named Joe, it is a very good account of the Dickens novel. Having already appeared on Public Television, the remake has Gillian Anderson (yes, the one from "X-Files") as Lady Dedlock, and a cast of 80 speaking roles, many of which are played by actors that will send you searching the cast listings that go by too quickly at the end of each episode.

The eight parts will be shown so that the first and last will run two hours and the four in between an hour each. I found the complex plot actually easier to follow in this version than I did in the earlier one. And while I prefer Rigg to Anderson, I think I can easily recommend this new adaptation over the other.

The story--lawyers will hate it--involves the infamous Court of Chancery in which disputes over estates can be buried for years until the lawyers' fees make further legalizing unnecessary. Against this background, the case of Jarndyce vs. Jarndyce being a major part of it, we have the story of John Jarndyce (Denis Lawson), his ward Ada (Carey Mulligan), her companion Esther (Anna Maxwell Martin), and Ada's beloved Richard (Patrick Kennedy).

The latter becomes obsessed with the case, while Esther becomes involved in the mysterious past of Lady Dedlock, who happens to recognize the handwriting on some legal documents delivered by the utterly immoral family solicitor Tulkinghorn (Charles Dance). I will not reveal any more of the plot, lest it spoil your enjoyment. You will wind up guessing much of it, but it is a lot of fun--unless you are a lawyer.

Peripheral to the plot are the usual cast of Dickens "characters": Krook the junkman (Johnny Vegas) who finds some incriminating letters (and dies the strangest death in all fiction), Smallweed the moneylender (Phil Davis) who cannot walk by himself and must be "shaken up" by his weird niece every few minutes and who gets the letters, and Miss Flite ( Pauline Collins) who looks forward to "judgment day" when her case will finally be settled and she can set her birds free.

Most interesting of all is the policeman Bucket (Alun Armstong), the first real detective in English fiction. Although he looks like a toady for the rich, he does his job and does it well, solving a murder case and being considerate to a certain lady who would suffer if her connection with the case should come out.

Of course, the arm of coincidence in Dickens is a long one; and while a good deal of the plot does strain credulity, the acting and period ambience are of the highest level. The only thing that annoyed me was the director segmenting his "establishing shots" (exterior views of buildings to let us know where we are) into two or three rapid cuts with some electronic "whoosh" for each one. Pretentious and irritating after the first dozen or so.

I caught the first two hours of this adaptation of Dickens Bleak House on Masterpiece Theatre on Sunday night and I was immediately hooked. If you love dark Victorian mysteries this is a must see. I remember hearing promos for the show stating its starring Gillian Anderson but I thought it was some English actress with the same name as Scully from the X-files. What a shock when I realized I watched Scully for I did not realize it at the time it was her. Ms. Anderson becomes Lady Dedlock replacing her FBI professional pant suits outfits for a Victorian frock. Although common elements to both characters are repressed emotions and icy personalities. I have not read the novel but the show is emphasizing the mystery aspects of the story with Lady Dedlock trying to hide a secret from her past, how everybody's fate is somehow bound into the Jarndyce case over disputed wills and what role if any Esther plays in all of this. Also, the series focuses a sharp eye on the byzantine legal world of Victorian England that makes the US legal system seem the epitome of efficiency. Charles Dance is great as the ruthless barrister Tulkinghorn who sets his sights on uncovering Lady Dedlock's secret. Anne Maxwell Martin is great as the innocent and virtuous Esther Summerson. Besides Ms. Anderson some might recognize Mr. Dance who has seen roles in various movies and TV series including the villain in the Eddie Murphy Buddhist action-adventure movie The Golden Child, and Denis Lawson, who plays the benevolent John Jarndyce, was Wedge Antilles in the original Star Wars movies. Like any Dickens novel this TV series is filled with interesting often eccentric secondary characters from the young law clerk Mr. Guppy to Miss Flite.

The atmosphere is dark with lots of mist, fog and rain as one would expect in a Victorian novel. You have the contrast of the romantic elegant world of Lady Dedlock's estate and the cozy feeling of Bleak House estate with the grim, mud and muck that the lower classes lived in. The period costumes and sets are top notch. The series for me captures the essence of the Victorian period. Can't wait for the series to play itself out.

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A simply magnificent production of Dickens. Read the Amazon editorial review above, I agree with all of it.

Dickens can be difficult to translate to film. His cartoonish drawings of his characters, both literal and literary, are the stuff of political lampoon. And he IS interested in politics; the politics of class, culture, the legal system, and how his characters are trapped in them, by situation, and by their own human choices. His characters and story lines are so intricate that they must have been manna for the readers of his (no tv, no film) time period, but they can sometimes be dry and dull for a modern audience.

Enter the skillfull writing of THE MASTER ADAPTOR Andrew Davies, and a production that careens and slams prison doors from one story to another, and we are briskly carried along... in this story of secrets, blackmail, and the endless wait for the legal system to do... something... anything.

As with most BBC casting, it is excellent... every single character not only LOOKS as they should, but can really act. Nice to see Gillian Anderson break through and prove that yes, american actresses really CAN run with the best of them, if they get the chance to. Anna Maxwell Martin as our lead protagonist is simply wonderful. She has the kind of looks that we do not get to see in the hollywood casting system. Her character does not rely on her appearance, because she knows she can not, but she becomes so dear to us, we care deeply about her, and her complexity and calm in the midst of chaos reveal her true inner beauty. Through her we see the souls of others as they respond to her.

Dickens is VERY interested in the devastation of the Brittish class system, and the costumes and sets bring this all darkly to life, from the filth and disease of the street urchins, the tattered foppishness of a dance instructor, the soldiers barracks and stark sleeping compartments, to the cluttered new money oppulence of Bleak House and the old dusty money feel of the house of the local aristocracy.

The beginning is slow... neccessary to introduce the whole population of characters, and just when you think the train will never take off, it speeds into overdrive, and you scream with dizzy joy like a roller coaster ride. We get all the benefits of todays cinematic language and style in telling, while losing none of the story and atmosphere. A really masterful, very modern production of an old Dicken's tale.

10 stars!

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The time is the 1840's in Victorian England. The film opens with a court case being heard in what was then known as Chancery. A row of justices are hearing the case of Jarndyce vs. Jarndyce, where an inheritance from several generations ago has the trouble of having several claimants, all of whom may be the correct ones. The case has dragged on for so long that people have committed suicide over the outcome, and others have grown withered and old waiting for a decision. As for the lawyers, they're estastic -each one will be getting paid off first, and the longer they drag it all out, the more they'll get.

The story centers around two young people, Richard Carstone (Partrick Kennedy) and Ada Clare (Carey Mulligan), who are cousins and fellow claimnants to the Jarndyce inheritance. The courts have deemed that they are too young to be on their own, so another relation, John Jarndyce (Denis Lawson) has offered them his guardianship and a home at his estate, Bleak House. As it would not be seemly for Ada to be alone, he has invited another young woman, Esther Somerson (Anna Maxwell Martin) to be her companion, and as we discover, to help him run his house. Bleak House, we discover, is actually quite pleasant, and Mr. Jarndyce is one of those people we like to meet in the real world -he warns both Richard and Ada that to pin their hopes on the endless case is foolishness, and instead do as he did and make their own way in the world. But young Richard, as we see, is feckless and more than a little stupid -he can't turn away his hopes of the money, and so plays at picking a profession whether it is law, or medicine, or anything else that would turn a living. We are also introduced to a friend of Jarndyce's -Mr. Skimpole (Nathaniel Parker) who claims to be 'innocent as a child in all things' and who happily battens off of others, in the most odious fashion.

On a neighboring estate, that of Sir Lester Dedlock (Timothy West) and his wife, Lady Dedlock (Gillian Anderson), there is also interest in the case. They are visited by their lawyer, Mr. Tulkinghorn (Charles Dance), who begins his own hunt when Lady Dedlock faints at the signt of the handwrighting on one of the legal briefs. Immediately, we're curious as to the why and who.

The who is Mr. Nemo (John Lynch), a law writer who makes a scanty living by copying out documents for the lawyers. He's also a sad, beaten man who finds solace only in opium. His neighbor, Miss Flite (Pauline Collins), a distressed gentlewoman, has her caged birds for company as her own claim goes on forever in the chancery courts, with little hope for the future as well. And Mr. Nemo's only friend it seems, is Joe, a young streetsweeper who has a very fateful encounter with Lady Dedlock herself at the end of the first two hour segment.

As we discover, not everyone in this tale will end happily or rich. Money, in some form or another, is the constant worry of this tale, along with a general condemnation of the law profession -one result of Dickens' novel was that it created such an outpouring of anger at the Chancery Courts that the system was finally reformed.

This one is a cold, chilling portrayal of the two extremes of early Victorian England. At one end you have the ease of the Dedlocks, John Jarndyce and Mr. Tulkinghorn. At the other is the grinding poverty of Mr. Nemo, Miss Flyte, and Joe. In between there are the uncertain futures of Ada, Richard and Esther, and indeed most of the characters in the novel. Money, and the lack of it, is one of the major themes of the story, along with family secrets, greed and outright lies.

Some critics state that this was probably Dickens' finest novel. I'm inclined to agree, all of the characters are complex, with their own stories and desires giving them voice and depth. Too, Dickens' own wit and scathing humor is pretty evident in the dialog, and the names of the various characters throughout.

This version comes in at 510 minutes, in a DVD transfer that is quite nearly perfect. The lighting at times is haunting with the use of polarized filters, the sound is crisp, and the acting top notch. Whoever did the casting in this was dead-on in their approach -the most intriguing of the characters, Lady Dedlock and Esther, are perfect. Costuming and set design are perfect for the period. Too, the art directors were careful in not wallowing in the poverty-stricken parts of the story, nor in moralizing, they just show things as they were, and let the audience make up their own mind in what can be right or just.

Another version of this was adapted for PBS/Masterpiece Theatre back in 1985, with Diana Rigg as the cold Lady Dedlock.

DVD extras include: subtitles in English,

This miniseries is one of the reasons why PBS?s Masterpiece Theatre and the BBC remain the gold standard as far as I am concerned. If you are curious about more about this novel or the miniseries, be certain to check out their links on . Highly recommended.

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The one Dickens novel I never read turns up in a brilliant realization from Andrew Davies, with mesmerizing characters and first-rate actors in another BBC success. Gillian Anderson refocuses her considerable acting chops to bring the luckless Lady Dedlock to perfect fruition. The relative scarceness of her scenes, and their critical importance to the story, makes her appearances even more tantalizing. The entire cast once again proves the English theatre tradition thriving, and is directed with consummate skill, and pride of detail. I love the redoubtable Pauline Collins as the quintessential Miss Flite, and Charles Dance is incendiary as the heartless Tulkinghorn. Anna Maxwell Martin (Esther Summerson) is a marvel to watch; she corners a self-assurance most actors only dream of, with ownership of every nuance of face and inflection it's a huge performance of requisite Dickensian depth, perfectly tuned and delivered with the most gifted ease imaginable. It's worth every minute just to watch her copiously in her many scenes. Dickens' many minor characters never fail to justify their presence in his novels, however extravagant, and Bleak House has its profuse share. It's amazing how beguilingly the BBC has forged its remarkable history of mini-series of English literature; I can think of few, if any, failures. Bleak House is, bar none, one of its masterpieces. Nothing prevents an unqualified recommendation for an exquisite film experience more than worthy of the great Dickens.

Toy Story (Two-Disc Special Edition Blu-ray/DVD Combo w/ DVD Packaging) (1995)

Cowboy doll Woody is Andy's favorite toy, and as part of that comes the privilege of being the leader of all the other toys. His world is suddenly turned upside down when Andy gets a Buzz Lightyear action figure for his birthday. Suddenly, Woody finds himself in danger of being replaced as Andy and all the toys flock to Buzz. Worse yet, Buzz doesn't know he's a toy. He thinks he's the real Buzz Lightyear. But when the two toys get lost a couple days before Andy moves, they'll have to work together to get home. Can Woody work with Buzz when they don't have the same goal?

I can't believe it's been ten years since this movie came out. It's had an immeasurable impact on the animation field and movies in general. At the same time, its flaws are evident. The humans look as plastic as the toys, and the fur on the dog is laughable. Computers have come a long way in ten years.

Whether this movie was any good or not, it would have been an important milestone. Fortunately, it succeeds on an entertainment level as well. The story is masterfully told revealing plot points and character equally. The movie is extremely funny as well; with lots of jokes for the adults in the audience and some classic lines I quote all the time. Plus it introduces us to a Pixar staple, the climax that will not quit.

Pixar has released great DVD's from the start, and this two-disc set is no different. The movie is transferred directly from the digital files, so the picture is perfect. Sound is wonderful in two separate 5.1 surround tracks. Many of these extras are from the Ultimate Toy Box release of a few years ago, and they are well worth having. The commentary is very informative. The deleted scenes are interesting, but it's obvious why they were deleted. The new features looking back at the movie from ten years later are wonderful as well.

This is a ground breaking movie that is just as much fun to watch as it is historic. I hadn't watched it in quite some time and was reminded just how fun it is. I've got to watch it more often.

This is the first of the Pixar films, and it remains the best. The movie is full of lovable characters, and full of wonderful lessons about friendship and trust that will delight all ages. Of all the computer-animated movies that have come out since this classic, this is with out a doubt the best.

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"Toy Story", the landmark movie that ushered animation into the computer age, is still a bona fide family classicand funny as all get-out to boot. This superb package brings it all back, both the movie itself and an Al's Toy Barn full of bonuses.

First things firstthe movie looks and sounds fantastic!

I don't have one of those flashy home-theater outfits, but this digital print shows off some great color, with the various toy characters in pristine, bright glory. Sound master Gary Rydstrom upgraded the soundtrack to the point where you can hear the click of the tiny toy soldiers. Best of all, you don't need a 50-inch screen or ultra-Dolby amp to enjoy this newer-than-new view.

The movie, of course, introduced a new, innovative animation outfit called Pixar to the worldand what a job they did on this first feature effort! Woody and Buzz Lightyear, of course, are icons to kids of all ages, but all the other members of the "Andy's Room" community were greatand funny. Mr. Potato Head (voiced by Don Rickles), Rex the dinosaur (Wallace Shawn) and even the little green Army sergeant (war-movie vet R. Lee Ermey) are just a few of these classic inanimate objects turned flesh-and-bloodwell, almostcharacters.

The storylinea combination of buddy comedy, toy fair, sci-fi flick and domestic sitcom (to name a few elements) is, in its own way, as multi-layered and satisfying as the most mature adult dramas. From the moment all the toys come to life when Andy's away to a great exit line when the toys learn about his latest surprise gift, you're drawn in to this unusual world that's as striking now as it must have been a decade ago.

Disc 1 has both the movie and a new feature with both the Pixar team and a few others (Chris "Robots" Wedge, George Lucas, Roy Disney) offering their views on what "Toy Story" did to transform the entire animation genre. It's Disc 2, however, that has the goodsa couple of dozen features, clips and art galleries that literally break down the walls and give both the kid/family core crowd and the animation scholar a remarkable look at how much effort goes into this sort of film. The fact that Pixar and the CGI form themselves were in their infancy at the time only enhances just what great craftsmen these people are.

After an entertaining coffee-talk session involving Pixar's "four horsemen"the core writer/artist/director/geeks who helmed every future project up to "The Incredibles"we can check out everything from sequence development, sketch to full-on; galleries on characters like Woody and Buzz set to music; a multi-language sequence (from Finnish to Chinese to Turkish!); even Randy Newman's original piano-and-voice (and he's a fantastic piano player!) demo score. NothingI say, nothingis out of place.

"Toy Story" is simple enough to be an ideal choice for a "child's first movie" yet sophisticated enough to give the serious cineaste plenty to study. It's as witty as the best literate comedies and as warm as an old-style family saga. It proved that top-drawer stars could also be great voice actors, and it entered a child's world with a fresh, not-so-"kiddie" angle. It balanced off sweet little Andy with mad-scientist Sid (his mutant monster-movie toy creations are a show in themselves)

in a great show of kids with personality. And it established Pixar as the flagship of animated featuresagain, it's incredible that this was their first!

"Toy Story", the super-deluxe edition, is a must for any animation buff, family with kids, or just about anyone who loves movies. I'm already on line for the upcoming (New Year's) "Toy Story 2" set, which will give its equally-great sequel (dare I say the "Godfather" and "Godfather II" of animation?) the format it deserves. With any luck, "Toy Story" will be one of the best-loved movies ever, to infinity...and beyond!

Read Best Reviews of Toy Story (Two-Disc Special Edition Blu-ray/DVD Combo w/ DVD Packaging) (1995) Here

Blu-ray purchasers should be aware that the Blu-ray/DVD combo is available in 2 different packages: Blu-ray Packaging and DVD Packaging. The discs and contents are the same, but if you prefer a certain case, make sure you order the correct one.

I have nothing else to add to the 250+ reviews already here, except to note that the Blu-ray transfer is GORGEOUS: crisp, clean, and perfect. An expert reviewer at the website DVD Beaver has said that out of the 900+ Blu-ray discs he owns, this is the best-looking one.

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A timeless tale. Computer animation has advanced much in ten years, but "Toy Story" is still a true masterpiece for the entire family. A true visual treat to watch and featuring a strongly absorbing plot.

For anyone that might not know yet, just a quick rundown --Woody, a cowboy, is a toy that has been a boy, Andy's favorite for many years. Sharing Andy's room with a whole collection of other toys, he's become a sort of unofficial leader. Everything changes, though, when a birthday party for Andy brings a new toy. Buzz Lightyear has wings, glows in the dark, has an electronic voicebox and even karate chop action. To top off, he doesn't even know he's a toy! Pretty soon, it seems like Buzz has become Andy's favorite and Woody is getting left behind. Then, circumstances come together so that Woody and Buzz have to work together to save their own lives and be reunited with Andy. The film features several great songs --"You've Got a Friend in Me" (and closing credits version), "Strange Things" and "I Will Go Sailing No More." (All composed and performed by Randy Newman, with Lyle Lovett joining on the closing credits version of "Friend in Me.")

For those enjoying the movie anew, or for the first time, the DVD experience is great. It features enhanced picture quality and new 5.1 Surround Sound. The movie is fully digitally mastered and also featured French and Spanish audiotracks, as well as subtitles and close-captioning. And, to top it all off, there's also a commentary track with several of the movie staff, as well as many others popping in briefly throughout. I'm very glad they went with this and resisted the temptation of going with something goofy, like commentary by the toys or something.

The "Toy Story" 10th Anniversary Edition DVD brims with special features just waiting to be checked out. There are deleted/extended scenes featuring stuff that either was slowing the movie down, or ultimately wasn't working for the movie anymore, such as an alternate opening featuring the Buzz Lightyear Show. There are retrospective lookbacks at the film from VIPs such as film critics, movie/Pixar staff and even Buzz Aldrin.

There's an exclusive look at the upcoming Disney/Pixar film "Cars," with the promise of more to come on the "Toy Story 2" DVD release. There are also trailers that I hadn't seen before for the upcoming "Lady and the Tramp" and "Little Mermaid" Disney Platinum Edition releases.

Another great special feature is Randy Newman Demos for all of the songs in the film. It doesn't stop there, though --there are also a few Randy Newman demos of songs that didn't make into the movie, including two versions of "Plastic Spaceman," a pretty good song that was eventually replaced by the even-better "I Will Go Sailing No More."

There are more special features as well, but I'll let these be a surprise.

One little bit that's pretty cute are a series of a short skits accessible by hitting the star buttons scattered throughout the second disc. These play entirely new animations featuring the Toy Story characters and while it sounds like a couple of the voices may have been changed, it sounded to me that for the most part they were able to get the original cast. These are also accessible from an index, in case you find it hard to find and follow all the stars.

On top of all these great special features, it's nice to know that the people who put together the DVD didn't forget the little things. Every menu option has a time indicator next to it, so you know exactly what you're getting into ahead of time. On top of all of that, here's a great feature that's really rare --all special features are fully close-captioned!

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Broadway Damage (Blu-ray) (1998)

I couldn't help but to think of Barbra Streisand as I watched this film. In her best performances, Barbra played the role of the ugly duckling who falls in love with the handsome leading man (Omar Shariff, Robert Redford, Jeff Bridges). This movie follows a similar formula, where Robert is the ugly duckling and Marc is the handsome leading man.

Robert has two dreams: becoming a songwriter and landing Marc. Likewise, Marc also has two dreams: landing a role on Broadway, and finding a handsome boyfriend. In addition to their friendship, Robert and Marc have one thing in common: "girlfriend" Cynthia, who is trying to find a job (one job in particular, that is). Marc and Cynthia decide to share an apartment. One day, while staring out the window of their new apartment, Marc discovers the man of his dreams (a musician with stunning good looks, of course).

Marc explains to Robert the concept of the "Grand Gesture". Its when you swallow your pride, buy flowers or something, and let that special person know you're in love with them. Easy for Marc to say, since he is good looking and popular with the gents. Not so easy for Robert, who gets turned down by the card store cashier. Humiliated, Robert gives up on good-looking boyfriends.

Here is where the story varies from the typical Streisand plot. While ugly-duckling Streisand becomes the beautiful swan by using her voice, her talent or (in the most fictional of plots) a makeover, Robert stays plain old Robert. Can Marc see past Robert's dull exterior? Can Marc see past the musician's beautiful exterior? Will Robert get the courage to do the "Grand Gesture" to Marc?

Those are the questions to be answered in Broadway Damage. By the way, what's with the title? Alhough the movie explains what "broadway damage" is, I'm not sure it was the best choice for the title. Personally, I would have chosen "The Grand Gesture".

Back to Streisand... If you love "The Mirror has Two Faces", you'll love Broadway Damage. If you hated "Mirror", chances are you'll still like Broadway Damage, anyway.

Like a good Broadway show, this film has it all: a great-looking, talented cast; a clever story; memorable music; optimism; and a warm-hearted ending. Michael Shawn Lucas is perfect as Marc, a sweet hunk trying to make it as an actor on Broadway. He goes to audition after audition, suffering rejection after rejection. Hence, Broadway 'damage'. His nerdy but cute song-writing friend Robert (Aaron Williams) harbors a secret passion for him, but hides it because handsome Marc is a perfect 'ten' and, therefore, out of reach. Their companion Cynthia -overweight and over-the-top -is played by Mara Hobel, no stranger to campy films. She played opposite Faye Dunaway as Joan Crawford's daughter in 'Mommie Dearest', one of the great camp classics of all time. The three friends share career problems, relationships, and other personal traumas. They are loveable and a joy to watch. When Robert finally makes his 'grand gesture' to Marc, he does so in a wonderfully witty song (by Cindy Soltoff) which is sweet, bouyant, touching, and tuneful enough for any Broadway show. This is a real hit.

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If you love a good romantic fantasy, you'll probably LOVE this. This film is about reliving those risk-taking moments when first falling in love, and it's ultimately about friends, arguing in favor of love beginning with a strong friendship. There are so few films of this genre (sad we even call this a genre) that have a light-hearted feeling. The script isn't an oscar contender, but that didn't bother me. The characters & performances have their sweetness and humor, and are easy on the eye. All my friends and I loved it (even the cynical ones).

Read Best Reviews of Broadway Damage (Blu-ray) (1998) Here

"Broadway Damage" is the most adorably classic, campy, sassy romantic comedy I've seen in years!

Lead role, Robert (Aaron Williams), is absolutely cute as a button and his witty Broadway-style songwriting will make you blush and smile and get up and sing! Fellow lead, Michael Shawn Lucas, plays the role of Marc, an aspiring (not so successfully) Broadway star. The two are precious in a 'perfect ten' sort of way, and are accompanied by their quirky "fag hag," hilarious, gay-ball-busting best friend Cynthia. I have to admit I'm a softie for this actress, Mara Hobel, who was also a star in "Mommie Dearest" ("No more wire hangers!"). Brilliant. Just campy brilliance.

The production is brilliant, the characters and acting impeccable, and most of all, the climate is over-the-top, Broadway-inspired, campy bliss with the rooting of a classic romantic comedy. Ingenious, this one, and I guarentee it will leave you smiling and wanting more, especially if you're at all exhausted with the consistent formula of gay cinema. Pick this one up; it's charming and zany, and you won't be disappointed!

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"Boy meets boy" is one of the timeless plotlines -since the ancient Greeks at least -and this well-acted romantic comedy adds a number of twists and turns to what could have been standard fare. The showbiz wannabes of the title who lust after, long for, love, lose, and land one another are appealling, and the men are all goodlooking -even the presumably plain Robert, who in the real world would have no trouble attracting another man, even if he did wear a stupid porkpie hat as here. Perhaps that's why the director put the hat on him, to try to disguise how cute he is. The lead hunk, Mark, has a frequent bemused smile that suggests thoughtfulness. He is appalled to learn that casting agents think he "reads light," and it's one of the movie's accomplishments that Michael Shawn Lucas as Mark carries off the combination of masculine appearance, conversation almost devoid of camp, and an unaggressive sensitivity that makes you like him -he's the hunk with a heart of gold, even though he is also clearly a gym bunny for whom climbing a tree is an exotic experience. His elusive "must have item," David, is dark and pretty as a movie mystery man should be. As the Long Island princess, Mara Hobel is good, but her character's main shtick (trying to land a job interview with Tina Brown despite having zero qualifications) is dragged out too long. The resolution of one of the movie's main romantic dilemmas in the last reel feels very artificial and is the only wrong step in this otherwise charming and witty tale.

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Planes, Trains And Automobiles (2013)

When I think of "Planes, Trains & Automobiles" I smile. It is an absolutely wonderful movie. Yes, it is regarded as a comedy but when I think of it I think of it as more of a drama. The jokes don't get old. This is probably my favorite comedy of all time. Hughes takes the traveling nightmare genre to a whole new level. It's more a triumph in script writing than anything

For those who don't already know Planes, Trains and Automobiles is simple in its approach. Everything that can go wrong does. It's a comic routine that can be funny, but here it is a trip to hysterical. The plot is simple enough as well. Neal Page (Steve Martin) is on his way home for Thanksgiving. He's your typical businessman that works in New York and has a family he wants to see in Chicago. The only problem is everything from delayed flights to ripped up car tickets happen on the way. Only worsening matters, Del Griffith (John Candy), is along for the ride. An annoying shower curtain ring salesman, Neal can't get rid of him no matter how hard he tries.

John Candy gives the performance of his too short career as the traveling shower curtain ring salesman Del Griffith. What makes Candy's performance so impressive is that while Del is an obnoxious, annoying slob, Candy shows that this is a very lonely, sweet, kind, and caring man with a great heart. This is a man who is putting his needs behind the needs of another person, a complete stranger in Neil Page. Candy creates an incredibly complex man, who the audience really gets to know and genuinely care about. They say comedies are the hardest films to get nominated for Oscars, which is true. And while "PT & A" is no Best Picture winner, it certainly in my mind has a performance not just worthy of a nomination but of an Oscar as well. It would be interesting to see how Candy's performance would be regarded if the film came out today.

The ending, whew!, it's a rough one. And again, despite all the wonderful comedy in this film, whenever I think of "PT & A" I think of the wonderful character of Del Griffith and the powerful ending. If you haven't seen this movie, rent it. I strongly recommend it as a first rate comedy that doesn't come along often. Whether it's the music capturing the perfect mood in the hilarious bedroom scene or meeting Owen, it's an earnestly frantic and tender trip through the modern transportation system.

A stellar performance from Steve Martin and the late, great John Candy.

I don't know where that guys doing the Editorial Reviews are coming from, this movie is great!

Steve Martin is stuffy ad executive Neil "I can take anything" Page and John Candy is the bungling but warm-hearted shower-curtain-ring guy (I know what you mean), Del "Extra set of fingers" Griffith. We follow this mismatched pair half way across the States and back again as they encounter one crisis after another. As the title says, our heros travel whatever way they can to get to Chicagofrom planes to trains to cars.

One of the funniest scenes is when after Del gets his coat caught behind the driver's seat, panics and sends the car on a tailspin causing him to go the wrong way down the Interstate. We see their car get caught between two semis. During the squeeze, Neil looks and sees Del as the Devil, complete with pitchfork and horns.

In all, this movie is great! You will not be disappointed, that I can promise you because it's "filled with helium, which makes it 10% lighter."

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For those of you thinking about buying this new DVD version, here are the extras on it: 3 featurettes ("Getting There is Half the Fun: The Story of Planes Trains and Automobiles", "John Hughes for Adults", "John Candy"), and a deleted scene ("Airplane Food").

Not bad, but would have liked to see more deleted scenes since apparently Hughes had a 3 hour version of this movie. Maybe those will come out eventually.

Read Best Reviews of Planes, Trains And Automobiles (2013) Here

Planes, Trains, and Automobiles is THE funniest movie I have ever seen. It combines two comedy greats, Steve Martin and John Candy together, on a roadtrip to get home for christmas.

What happens is Steve martin, a buisness from Chicago, needs to get home for christmas. Not only is his flight cancelled, train wrecked, and car not in the rent-a-car parking spot, he meet John Candy. In this movie Candy plays an extremely nice guy that can't keep his mouth closed. On the other hand, Martin plays a quiet-type person that can get annoyed very easily.

As you can see, they could never travel together....

....or could they?

This movie brings out a real common bond or friendship that can form between two absolute strangers that have absolutely nothing in common.

Planes, Trains, and Autos has comedy written everywhere. Jokes, pranks, and all sorts of fun are performed well in the movie. I recommend this movie to anyone that wants to laugh!! Honestly folks, this movie is the best and should really be recognized. I guarantee you will love it!

Thanks for reading my review and have a nice day!

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First of all, the two stars I've given here are based solely on the dvd itself, NOT the movie. I LOVE the movie but this supposedly new dvd treatment is nothing to get excited about.

'Planes, Trains and Automobiles' is just one of many 80's movies from Paramount Studios that have supposedly been rereleased as 2-Disc special editions this month. (August 2008) These are basically just repackaged dvds with some new cover designs intended to tie-in with vH1's 'I love the 80's' merchandising and the second 'disc' is really just a bonus audio music cd of popular 80's singles with all of a whopping 4 tracks on the disc. The movie does have some newly enhanced audio and an alledged deleted scene somewhere within the movie according to the back cover but I never noticed anything strikingly different from the original version.

This 'I love the 80's' movie series from Paramount rereleases are fine if all you're after is just the movie itself. But just don't expect anything different or new and if you're hoping for a two-disc MOVIE special edition loaded with all kinds of extra features like I was, you might be a little ticked off. My advice is that it's probably best to just skip these and wait for some REAL special editions of these films if there ever are any in the works.

Paramount can do better and it's clear they didn't put any real thought or care into these releases.

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Frailty (2001)

Yes! Finally, it is here on DVD! I could not wait to purchase it!

"Frailty" is a dark and terrifying film that surprised me so many times. Just when I thought I knew what was going on, the next scene would prove me wrong. The complexity and creativeness that went into this film is so mind-blowing. It takes risks, and forces us to ask questions that are better left unanswered.

A series of murders has been contaminating a small town. The case is known as the "God's Hand". The movie starts with McConaughey entering the FBI station, claiming that he knows who the "God's Hand" killer is. With this, he tells his story and we witness shocking flashbacks to when he was a kid.

Paxton, who is also the director, stars as a very religious and loving father. His two sons, (remember, this is all McConaughey's story, so this entire part is the flashback) mean all the world to him. Everything seems perfect, until Paxton awakes his sons, telling him that an angel visited him at night, telling him that there were demons lurking around and they took the form of human-beings. He instructs his sons that they must "destroy" them. (Meaning, "killing.") The oldest son thinks his father has lost it, but he has no idea how far things are about to go. I cannot tell you anymore, otherwise it'll ruin the movie for you. Know this, however, you will be shocked, and you will feel disturbed when it is all said and done.

Bill Paxton does an outstanding job as a first time director. This is the type of movie that really requires talent from famous and acclaimed directors, but Paxton proves to us that not only can he act, but he can direct. Every shot in the movie is very well planned and laid out. He also proves exactly what kinds of emotions he wants his actors to show us. That task, I'm sure, is not a very easy one. The acting was really impressive, and must've been quite a chore to accomplish in this type of film. It is the direction and the acting that makes this movie so unique and chilling.

Yes, this film is very disturbing and very violent. Not in graphic detail; there's hardly any blood or gore. It's just the overall idea and the way the "destruction of the demons" are presented to us. Be warned; this is not for people with weak hearts or stomaches.

This movie still shocked and frightened me, even seeing it for the second time. Even though I knew exactly what was going to happen, I still felt very uneasy and disturbed, as if I were just experiencing it for the first time.

Now, on to the DVD. For it being an independent film, it has some pretty neat features, including commentary, a making of feature, theatrical trailer, and more. The picture and sound quality was also very good.

This movie isn't for everybody, especially if you are the really religous type who get offended easily. This movie IS NOT FOR YOU! Don't even attempt it! If you can handle dark and terrifying thrillers, than chances are you will enjoy this film. All in all, "Frailty" is gut-wrenching, dark and twisted thriller that will keep you guessing until the very end. And even after it's all over, this movie will still be on your mind.

Want to try something fun? Watch this movie really LATE. Right before bedtime. See if you can get a goodnight's sleep after that.

Those who happen to catch "Frailty" in theaters will no doubt be reminded of the defense case of convicted murderer Andrea Yates, who took the life of her five young children in what was described by her lawyers and supporters as her attempt to save them from the hellfire. The case was thought-provoking, and a cause for controversy that forced the public to ask themselves, "What defines insanity, and furthermore, sanity?"

The psychological elements of "Frailty" work in very much the same manner, posing us that question in a forthright manner that is shocking, brutal, and completely immersive. It possesses a brainy, intricate plot, well-drawn character relationships, and an ending that begs its audience to begin arguing.

The movie begins with a meeting, of sorts, between FBI agent Wesley Doyle (Powers Boothe), and Fenton Meiks (Matthew McConaughey), who claims to have information about the identity of the God's Hand killer, the case Doyle presides over. There are some initial revelations that are placed on the table upfront, one of which is Fenton's statement that his brother, Adam, is the killer; Doyle is disbelieving, but intrigued enough to listen to what Fenton has to say.

Fenton jumps back in time to his childhood, revealing the relationship between he, Adam, and their father, played by Bill Paxton who is known throughout the film as "Dad." We see them as a family, tightly knit as a result of their mother's death, made stronger by their dependence on one another. The film makes it clear that Paxton's character is a devoted father, loving of his children, and willing to do anything to protect them. His children, in turn, mirror these qualities.

One night, things change. The father wakes his children up in the middle of the night to tell them of a vision from an angel, who spoke to him about his role as God's servant in destroying demons who walk the earth in human form. He claims that when he places his hands upon the person, he can reveal them for who they really are. He further informs them that he will be receiving weapons and a list of those to be destroyed. In any other movie, the father would be an abusive wretch bent on exacting bloody justice; the fact that he is a loving and caring father makes this new development all the more unsettling.

The younger, impressionable son, Adam, willingly accepts his father's statement (in one moment, he asks his father, "Are we going to be superheroes?"). Fenton, on the other hand, believes it is all a bad dream, until his father brings home a young woman in the middle of the night, carries her into their shed, and takes an axe to her. Such scenes are handled exquisitely, choosing to keep the gore almost non-existent, thereby increasing the shock factor. The presence of the children in the midst of such violence is brutal, a testament to the film's honest approach.

The way in which Paxton carries out these events, both as an actor and as a director, is spellbinding. In front of the camera, he portrays the father with a believable conviction of his faith, matching the religious fanaticism and lunacy of Piper Laurie's Mrs. White in "Carrie." In the director's chair, he handles the material nicely, balancing the supreme chills with the ongoing argument of divine intervention that remains intact and fruitful. The two story lines, past and present, weave into one another fluidly without losing interest, and McConaughey provides his character with a tidal wave of mystery that keeps us waiting for the final resolution.

Without revealing the major twists, the film's ending is that rare gem that works with and against it. There are revelations aplenty, those that work, and those that do and don't simultaneously. The negation of the film's earlier neutrality in concern to the father's carryings-on is slightly disappointing; this choosing of sides and a murky role reversal don't altogether work in the material's favor, but they do, however, provide a nice surprise twist that casts predictability and convention into the wind.

And even now, thinking about the ending, I'm reminded of how the film challenged me to think, of how it worked me in ways many other films fail to. Bill Paxton's career as an actor shines here, and his start as a director is promising. "Frailty" is a special film, a thoughtful, quiet thriller with enough brains, realistic chills, and effective energy to make up for its few, easily forgiveable flaws.

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This film is a great respite from the usual characature of the insane axe-wielding human (in this case The God's Hand Serial Killer)and takes us through a more spiritual journey.

After being visited by an angel and given three special weapons by God, himself Bill Paxton and his two sons are drafted in God's Army. Bill has been given a list of "demons" by an angel and instructed to destroy them, with explicit details on how to accomplish the destroying and burying of the corpses. A waitress, a young man, and an elderly gentleman are just a couple of the demons on the list.

One by one, Bill lays his bare hands on the demons/people before chopping them up with an axe named Otis, and he can "SEE" what evil they have done. Or so he says...

This film has lots of surprises, twists and turns, a ton of biblical prophesying along with the psychological/brainwashing aspects of the story. PLUS Of course a GREAT ENDING!

Bill Paxton directed this sleeper and the two boys that play the younger, Fenton & Adam are great little actors. A nice bit part by Powers Boothe also... The DVD has lots of extras including some great deleted scenes. Highly recommended!

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Frailty is the first movie that I've seen since Seven that I've left the movie theatre with a deeply affected air. This movie is not a traditional screamer that freaks you out. It is more in the vein of a Poe short story or even one of King's darkest novels. It follows the story of Finton Meeks a man who apparently knows who the hand of god killer is and wants to tell a Sheriff at the F.B.I. headquarters in Dallas, Texas. As he unfolds his story it becomes more apparent that he is telling the truth but also that he is hiding something. The ending is absolutely brilliant. This movie is so good that it will actually blur the lines between good and evil and what is real and unreal. All the actors gave great performances especially the boy who played Finton Meeks as a young person. Also Bill Paxton did an excellent job with directing the film. This is a classic horror movie that is on the same level as "The Shining" and "Pet Semetary." This movie is not recommended to those who can not stand disturbing movies with Religious themes. But it's a great horror film that is reccommended to all other adults.

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When was the last time you went to see a movie that made you think, one that stayed with you after you left the theater? Well, Bill Paxton's FRAILTY is such a film and if you like thrillers that are weightier than your average Hollywood fare, there's a lot to recommend it besides its depth of thought.

FRAILTY is a movie about a serial killer (God's Hands) and a man (played by Matthew McConaughy) who claims to know the killer's true identity. Most of the film is told in flashbacks while McConaughy tells his story to FBI Agent Wesley Doyle (Powers Boothe), recalling how his father (Bill Paxton) indoctrinated his brother and himself into his bizarre beliefs.

One of the things that first time director Paxton does brilliantly in this film is that he is very careful about the way he depicts violence. There are more than enough opportunities to send even the sturdiest filmgoer screaming from the theater in disgust, but Paxton downplays the visual side of the violence in all but a couple of instances, focusing instead on the reactions of the characters to the murders. Paxton chooses not to go for the cheap "gross-out", opting instead to disturb us on a far more subtle level.

And, to talk about the subtleties of the film, you have to deal with the performances. Paxton, McConaughy and Boothe may be the "stars" of the film, but the film's best (and most disturbing) performances come from the kids. Paxton manages to coax performances from child actors Matthew O'Leary and Jeremy Sumpter that are not only heart-wrenching, but totally believable, a job that is worthy of praise from any director. The boys' characters never seem forced and their reactions to the horrors they are presented with are very different...and very telling.

Another of the "firsts" in this film, aside from Paxton's directorial debut, is a screenplay from Brent Hanley, who gives us a screenplay with as many twists and turns as a good Texas back-country road, which also happens to be where Hanley sets his story. Going into the film, this was an aspect of FRAILTY that I was very interested in. Since Paxton, McConaughy and Boothe are all three Texans, I was curious as to how the Lone Star state would be depicted. Later I was disappointed to find out that the entire movie was shot on location in California, but many of the scenes in the movie look a lot like what you might really find in Texas. If you were to squint really hard, that is.

But when all is said and done, what matters most is that FRAILTY leaves you thinking about some important questions and the fact that it doesn't give any easy answers. In fact, some of the questions are deliberately (or so I suppose) left hanging, making this a film that will stick with audiences a long time after the lights have come up.

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