Footnote (2012)

"Footnote" (107 min.) is a 2011 movie out of Israel. It brings the rather complicated but intruiging story of a father and son who both are scholars and researchers at the Talmud Department of the Hebrew University in Jerusalem. As it happens, the son is actually more successful and the movie starts out with the son's acceptance speech upon getting elected into the Israeli Academy of Science and Humanities. Remarkably, we don't actually see the son but instead the camera focuses the entire sequence (probably 3-4 min.) only on the father, who seemingly is shell-shocked and/or confused and/or resentful at the ever-growing successes of his son. Then, about 30 min. into the movie, the father gets the call from the Israeli Department of Education that he'd been waiting to get for 20 years: he's been chosen to receive the prestigious Israeli Prize. Happiness turns to potential disaster when the son gets called by the Israeli Prize Committee the very next day with the bombshell that due to a clerical error, it was he who had been chosen for the Israeli Prize, not his dad!

I don't want to spoil more from the plot, and the movie then really takes off and you'll just have to see for yourself how it all plays out. The movie offers an excellent character sturdy of both father and son, looking at it from both a generational perspective as well as a scholary difference in how each is doing research.

This movie was one of the 5 nominees for this year's Oscar for Best Foreign Movie (Iran's "A Separation" won the Oscar), and rightfully so. This is the complete antitode to Hollywood's mainstream fare such as "John Carter" or "Wrath of the Titans" in that it is an intellectually challenging movie. The lead performances of Shlomo Bar Aba as the father and Lior Ashkenazi as the son are nothing short of outstanding. I was pleasantly surprised to see how many people were in the theatre when I saw the movie this weekend here in Cincinnati, giving me hope thia may reach a wider audience. Meanwhile, "Footnote" is HIGHLY RECOMMENDED!

FOOTNOTE is an appropriately titled sparklingly intelligent and entertaining film written and directed by Joseph Cedar. With a small cast and a focused story this little film form Israel is not only a pleasure to watch as a story performed as shared by brilliant actors, but it is also one of the most visually artistic and creative venture of cinematography to be on the small screen in a long time: the genius cinematographer is Yaron Scharf. Add to this a musical score that enhances every moment of the story courtesy of composer Amit Poznansky and the film simply succeeds on every level.

In a most ingenious way we are introduced to the two main characters father and son, both professors in the Talmud department of the Hebrew University in Jerusalem. The film opens on the confused and somewhat unattached facial expression of the seated father Eliezer Shkolnik (Shlomo Bar Aba) as he listens to his ebullient son Uriel Shkolnik (Lior Ashkenazi) being inducted into the prestigious Israeli academic union. Uriel's acceptance speech reflects his childhood when his father informed him upon questioning that he was a `teacher' an occupation the young Uriel found embarrassing at the time, but now honors his father for this guidance. After the ceremony we slowly discover that there is a long-standing rivalry between father and son. Uriel has an addictive dependency on the embrace and accolades that the establishment provides, while Eliezer is a stubborn purist with a fear and profound revulsion for what the establishment stands for, yet beneath his contempt lies a desperate thirst for some kind of recognition: his only clam to fame after long years of intensive research is that the man who published his findings mentions Eliezer in a footnote. When it comes times for the Israel Prize, Israel's most prestigious national award, to be awarded, a clerical error results in a telephone call informing Eliezer that he has won, while in reality the award was meant for his son Uriel. How this error is resolved open all manner of windows for examining family relationships, fame, pure academia, and forgiveness.

The film is an unqualified success. Lior Ashkenazi (so well remembered from `Walk on Water' and `Late Marriage' among others) gives a bravura performance and that of Shlomo Ben Aba balances it in quality. The supporting cast is strong. Joseph Cedar has produced a fine film very much enhanced by the brilliance of the cinematography that tells the story as much as the dialogue. Grady Harp, August 12

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This bittersweet comedy from Israeli is set in the rarefied world of academia and is a fine, interesting movie about the bitter relationship between a father and a son who both happen to be Talmudic scholars working at the Hebrew University of Jerusalem and how their rivalry finally overcomes their filial obligations.

Eliezer Shkolnik (a terrific performance by Shlomo Bar Aba) is the father, and he seems a personification of male old age grumpiness. He looks at the at the rest of his colleagues with an insufferable air of intellectual superiority, and believes he hasn't been recognized to the extent that he deserves, yet the movie hints he is a bit of a fraud himself, his main claim to academic fame is having been thanked in a footnote in a book by a famous Talmudic authority. The more successful Uriel (Lior Ashkenazi, who usually plays young macho men, but here plays a middle aged academic against type), is the son. The film lampoons him for being a lightweight scholar and for being too attracted to the media spotlight, yet he seems to be the more psychologically rounded of the two. The tense relationship between father and son finally comes to a bitter confrontation when the elder Shkolnik is mistakenly awarded an important academic prize that was meant for the son (I'm not going to reveal anything else about the plot).

I'm also obviously not going to reveal the ending but it seems underwhelming and unrealized, as if the director Joseph Cedar didn't knew how to end the movie. Thus, what was a fine film until then ends in a curiously unsatisfying way. Nevertheless, this is a fine movie with many great scenes. I especially liked two scenes: one is set in a small but packed conference room and ends when one academic shoves another to the wall. In the second scene, a very pretty female journalist goes to the home of the elder Shkolnik to interview him and manages to get him to say very nasty things about his son.

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Footnote is an excellent film that portrays a bitter rivalry between a father and son in the world of competitive, backstabbing academia, a world in which winning prizes for research and being recognized and accepted by the academic community is everything. Some people have commented that the first twenty or so minutes of the minute move too slowly; but this is necessary for character development. The rest of the plot moves along at a very good pace; it's anything but boring. The casting was thoughtfully done and the acting is very convincing. The choreography and cinematography lack nothing; and the musical score enhances the film as well.

When the film starts, we are slowly but surely introduced to an Israeli father and son who are both passionate about Talmud research. Eliezer Shkolnik (Shlomo Bar-Aba) is a bitter, autistic older man who has been nominated for the prestigious Israel prize sixteen years in a row but has never received it; by contrast his son Uriel (Lior Ashkenazi) knows how to work the circuit, keep his subordinates in line with him or else and enjoys the attention that comes with giving six much admired speeches all over Jerusalem in just one night! While Eliezer shows disdain for the community that he thinks recognizes people who are not so "scientific" in their research, deep inside him Eliezer cannot help but feel the human need to be appreciated, accepted and receive awards like his son receives. Eliezer's only real source of pride (and he is a remarkably proud man) is a footnote dedicated to him by his mentor in an opus on Talmudic Literature.

Eliezer has another reason to be sour, jealous and depressed. After nearly thirty years of daily research at The National Library, Eliezer was just about to publish a bold, groundbreaking thesis proving there was a different, European version of the Talmud in the Middle Ages--but just as he's about to publish his findings, the culmination of his life's work and the source of what would have been great pride, another researcher (Grossman, played by Micah Lewensohn) by pure chance just happens to stumble over the actual old European Talmud in Italy! Grossman, knowing he would steal Eliezer's thunder and crush him emotionally, publishes his own findings anyway and Eliezer is badly scarred.

Things only go from bad to worse when Eliezer gets a phone call that he has won The Israel Prize he wanted all his life. When Uriel is secretly told that the prize was actually meant for him and not his father, Uriel is stunned. Uriel fights with the prize committee, including Grossman who chairs the committee, so that his father can have the prize; but Grossman's hatred of Uriel's father surfaces and the solution to the problem will not be easy or immediately obvious. There are plot twists after that but you will be able to follow along.

Look also for excellent supporting performances by Alma Zack as Dikla Shkolnik; Daniel Markovich as Josh and Yuval Scharf as Noa, a journalist.

Footnote is a first-rate film that will appeal to anyone interested in family dynamics; the competitive and backstabbing world of academia; dramas with a slight touch of comedy and fans of the actors in the film.

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FOOTNOTE (HEHARAT SHULAIM in Hebrew) is an appropriately titled sparklingly intelligent and entertaining film written and directed by Joseph Cedar. With a small cast and a focused story this little film form Israel is not only a pleasure to watch as a story performed as shared by brilliant actors, but it is also one of the most visually artistic and creative venture of cinematography to be on the small screen in a long time: the genius cinematographer is Yaron Scharf. Add to this a musical score that enhances every moment of the story courtesy of composer Amit Poznansky and the film simply succeeds on every level.

In a most ingenious way we are introduced to the two main characters father and son, both professors in the Talmud department of the Hebrew University in Jerusalem. The film opens on the confused and somewhat unattached facial expression of the seated father Eliezer Shkolnik (Shlomo Bar Aba) as he listens to his ebullient son Uriel Shkolnik (Lior Ashkenazi) being inducted into the prestigious Israeli academic union. Uriel's acceptance speech reflects his childhood when his father informed him upon questioning that he was a `teacher' an occupation the young Uriel found embarrassing at the time, but now honors his father for this guidance. After the ceremony we slowly discover that there is a long-standing rivalry between father and son. Uriel has an addictive dependency on the embrace and accolades that the establishment provides, while Eliezer is a stubborn purist with a fear and profound revulsion for what the establishment stands for, yet beneath his contempt lies a desperate thirst for some kind of recognition: his only clam to fame after long years of intensive research is that the man who published his findings mentions Eliezer in a footnote. When it comes times for the Israel Prize, Israel's most prestigious national award, to be awarded, a clerical error results in a telephone call informing Eliezer that he has won, while in reality the award was meant for his son Uriel. How this error is resolved open all manner of windows for examining family relationships, fame, pure academia, and forgiveness.

The film is an unqualified success. Lior Ashkenazi (so well remembered from `Walk on Water' and `Late Marriage' among others) gives a bravura performance and that of Shlomo Ben Aba balances it in quality. The supporting cast is strong. Joseph Cedar has produced a fine film very much enhanced by the brilliance of the cinematography that tells the story as much as the dialogue. In Hebrew with English subtitles. Grady Harp, August 12

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America Lost and Found: The BBS Story (Head / Easy Rider / Five Easy Pieces / Drive, He Said / The

The film opens with Nicholson in a tight shot talking to someone. We aren't sure at first to whom he's talking or why. From that opening scene I was hooked. Nicholson is a radio personality (David) who one day gets a phone call from his brother Jason (Bruce Dern) who is in jail. Jason is basically a big-time loser who has been trying all his life to make something big happen. His latest scheme is to encourage his brother to join him and his female companions (played by Ellyn Burstyn and Julia Anne Robinson) in Atlantic City while contemplating the purchase of an island near Hawaii. Many strange events happen along the way, not the least of which finds the two women competing for Jason's affection. A very strange scene occurs involving a fire on the beach. Without giving too much away, I will say that this is a turning point that has tremendous impact later in the story. So few films today have even slightly interesting characters. These characters are so vivid and interesting that you can't help but be intrigued, wondering what's going to happen next. Each scene seems to have no rhyme or reason, until finally the pieces fall into place. When the pieces do come together, you realize that you've witnessed something very unique, original, and haunting.

The four leading actors are all at the top of their form. I have never seen Nicholson timid, unsure, or at a loss for words before. Dern is hopelessly reckless. Robinson is an innocent in an evil environment. Burstyn is perfect as the key to the whole story, which is one that I'll never forget. You'll think about this quiet little film long after the credits are over.

Since I am mostly commenting on the "HEAD" portion of this set, I should include that already having "Five Easy Pieces" in a restored version on DVD and "Easy Rider" has been reissued numerous times with not much bonus material here, this print of "HEAD" is from the original 35mm negative! Where-as the awful DVD release from Rhino, who lies in a leader frame that the Full Frame format is how the film was meant to be seen! I beg to differ and bow to Criterion for releasing this incredible movie in glorious widescreen and in a true 5.1! Don't worry, those purist that still listen through a Stereo Reciever (because MOST humans only have 2 ears),like myself..the stereo seperation will blow you away, especially if you have the inferior RHINO release, you need not do a side by side comparison! Not only are the songs in true stereo but the entire soundtrack through-out the entire movie. Including the closing credits (Known on the Colgems soundtrack as "PLus Strings") by Ken Thorne. Which also gives RHINO another bad mark. In October, RHINO released a "HEAD Deluxe CD boxset" and list the "Plus Strings as "stereo" and they are most certainly not, yet Criterion goes the extra mile and finds true masters to all the Stereo songs plus Ken thorne's excellent incidental music! "Porpoise Song" has the nice deep low ends and crystal clear highs. Special credit with the live "Circle Sky" and "As We Go Along" where the vocals were burried on the RHINO release. Not so on this print. You feel as if the movie were filmed yesterday! Not bad for a 42 year old film! The colors are vibrant and the print is so sharp you may want to keep your hands away from the screen! Criterion deserves an award for thier excellence!

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With so many surprising and great releases, I've come to take Criterion for granted. But then comes the announcement of "America Lost and Found: The BBS Story" and I'm like an excited kid on Christmas morning. Amazon has done a comprehensive job listing the contents of this impressive set, so I'm going to direct my comments at the eclectic mix of films provided. The BBS story is no less than a film revolution that occurred in the late sixties to try to foster younger artists to the industry and cultivate younger, more adventurous film goers. All films within "America Lost and Found" were produced between 1968 and 1972 and represent a challenge to the conventional film narrative of that period. In retrospect, some of the films have been proclaimed classics while others have become somewhat obsolete. But all are fascinating examples of an artistic rebellion that influenced the film industry for years to come (all the more astounding as much of the company's financing came from the funds generated by the Monkees).

My personal favorite within "America Lost and Found" is Peter Bogdanovich's "The Last Picture Show" which has been begging for a better DVD release. An evocative look at a dying small town, this gorgeous black and white film is supremely entertaining and boasts a spectacular cast. Desolate and spare, the film tells the story of Sonny and Duane who as they approach manhood must face the harsh realities of life, love, and friendship. Nominated for eight Oscars including Best Picture, the film won supporting statuettes for Ben Johnson (a career high) and Cloris Leachman. Jeff Bridges and Ellen Burstyn also received nods as did Bogdanovich for Directing and Screenplay (which he co-wrote with the incredible Larry McMurtry).

Two other undeniable classics in counterculture are Dennis Hopper's "Easy Rider" and Bob Rafelson's "Five Easy Pieces." "Easy Rider" picked up two Oscar nods (including Jack Nicholson's first) and tells the simple story of two motorcyclists' journey across America. Capturing a specific time so perfectly, the film seems to embrace the anti-establishment freedom of its leads (Hopper and Peter Fonda) while making the compelling argument that ultimate freedom is an illusion and that choosing to challenge societal norms thus becomes the norm. And "Five Easy Pieces," another of my all time favorites, was nominated for 4 Oscars (including Jack Nicholson and Karen Black). Another journey picture (both in physical travels as well as in the spiritual/psychological realm), Rafelson's landmark has one of Nicholson's most iconic performances in a film that is immensely angry and riotously funny by turn. The chicken salad sandwich scene is an undisputed classic in American cinema!

Bob Rafelson's well regarded "The King of Marvin Gardens" is also included. An underrated gem set in Atlantic City, this tale of brotherhood and dreaming big casts a realistic light on a get-rich-quick scam gone wrong. Nicholson and Burstyn are on hand, as is Bruce Dern--and this compelling quasi-masterpiece shows the three on disparate (and times desperate) paths toward redemption. Rafelson also supplies this collection with the bizarre "Head," a meandering and psychedelic excursion into the minds of The Monkees. With a documentary feel, the film follows The Monkees on numerous and random musical encounters and celebrates their celebrity while at the same time seeming to indict the culture who embraces such excesses. Jack Nicholson makes his directorial debut on the uneven "Drive, He Said"--noteworthy mostly for the Nicholson credit. Depicting the college experience in the sixties, "Drive" tells the story of a disaffected basketball player. Introducing many plot threads, the film fails to follow an effective through line and is a fairly disjointed (though interesting) effort. And lastly there is Henry Jaglom's "A Safe Place," another oddity of interior monologue with Tuesday Weld descending into a world of fantasy.

Many of the films in "America Lost and Found" share a thematic connection. The films eschew conventional plot driven narratives in favor of character study. These directors wanted to present a realistic portrait of the era in which they lived and not an idealized film world. And many of the central characters in all the works are seeking to identify their place in the modern world or, indeed, determine if they have a place at all. The BBC story, through film, is an intriguing and progressive one in that it functioned in the studio system. Independent cinema of today still reflects many of the same ideals. A must have collection for film lovers. KGHarris, 10/10.

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I hadn't heard about this collection until i ran a search for Head on Blu Ray here at Amazon. At first I was ecstatic that it was on Blu Ray but dismayed that it was only available as part of a collection. When I saw the other films included coupled with the price being right i decided to buy it. I have now watched all the films and wasn't disappointed. Criterion does an excellent job with the HD transfers and the extras on each film.

Head was a lost gem I first saw on the CBS Late Movie in the early 1970s. To understand it, it helps to have some background about the Monkees and the myths surrounding them, as well as their desire to be taken seriously as a 1960s rock group. I already owned the Rhino DVD version, which professed that the 1:33 to 1 aspect ratio was original intended version. Nothing could be further from the truth; here it is presented in its original 1:78 to 1 aspect ratio (16:9 in the parlance of our times). The extras are very informative as is the commentary by Michael Nesmith, Peter Tork, Davy Jones and Micky Dolenz. Finally, an honorable version of this wonderful cult film!

I have seen Easy Rider several times over the years; the last time I saw it was a DVD presentation and I found it to be somewhat dated. However, due to the excellent HD transfer I was less focused on the lingo of the day and more on Laszlo Kovac's excellent cinematography. It's amazing how great the film looks with a proper transfer and it gave me a greatly renewed interest. Again, the extras are top-notch and very informative. It's equally impressive how much "bang for the buck" BBS got from all their films.

Five Easy Pieces was another film I already owned on DVD but again, this version looks wonderful.

The Last Picture Show is one of my favorite 1970s films and I never owned it before now. Again, the extras are excellent and the transfer is impeccable.

I had never seen the remaining films. A Safe Place and Drive, He Said were my least favorites though they are certainly interesting curious from the era. Sometimes films like these require repeated viewings to be fully appreciated though the acting in each were superb and both were original and imaginative. The King of Marvin Gardens was excellent and I'm surprised it didn't do well in its theatrical release years ago. Still, Criterion gave all the Class A treatment with high quality HD transfers and informative, interesting extras.

Criterion must be commended for their great efforts on this set. It's well worth purchasing and will provide several hours of viewing pleasure.

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This film really is spectacular. From the very opening(which is slightly disorienting-but becomes clear quickly), it weaves a tale filled with some very odd and fascinating characters. Nicholson plays a radio deejay of sorts that spouts some fictionalized, but engrossingly told tales. The story itself deals with his visit to his brother-played by Bruce Dern, who he must attempt to talk out of some financial scheming. Dern turns in a fine performance-comparable to his performance in SMILE(very different characters, both great performances). Ellen Burstyn is also terrific. Photography by Laszlo Kovacs ranks up with his best. A welcome follow-up to Rafelson's FIVE EASY PIECES(a follow-up that doesn't get the press it deserves). Looks beautiful on dvd!

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Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996)

There are a few conditions required for "getting" this movie. You have to understand a few things before getting the jokes. Probably the most important thing is that you've seen Boys 'N The Hood and/or Menace II Society. These two movies contain the majority of the spoofs seen in Don't Be A Menace... There are also references to Poetic Justice, Juice, and Higher Learning. Without having seen the first two, most people will probably not get the jokes. Secondly, if you're into the hip hop culture, this movie will be a lot funnier. There's a lot of play on words from the rap lingo that you won't get if you haven't listened to it.

I really enjoyed this movie. It's a hilarious spoof of gangsta movies and gangsta rap. Keenan Ivory Wayans' cameos were hilarious. Shawn and Marlon make a great comedy team. It's just too bad they don't get more exposure (they're TV show on WB is hilarious, too). It's all tongue in cheek fun pointed at the harsher looks at inner city life that we get from movies and music.

If you're one of those people that hates movies like Naked Gun, Airplane, and Spaceballs, this movie is definitely not for you. Otherwise, pick it up and try not to fall off the couch :)

So many people just hate this film but I found it absolutely hilarious. Like the Scary Movie flicks it helps if you know the source films (Boyz N The Hood etc) fairly well. A lot of the funniest moments come from the deadpan way ludicrous lines are said, eg, of a pretty girl: 'What's her name?' 'Oh, that's Dashiki.' And the way characters refer to 'the hood' in inverted commas all the time, as in, 'I'm leaving 'the hood',' (cue gunshot). Who wouldn't laugh at the love-making scene where Trey ups the erotic ante by libating Dashiki with kool-aid then melting government-surplus cheese & dripping it like molten wax over her body? Well, a lot of people, apparently. But I laughed out loud a good many times watching this movie. The 'guilty' aspect is that it makes it almost impossible to re-watch Boyz N The Hood, Menace II Society etc in a serious manner because so many key scenes and moments are burlesqued in DBAMTSCWDYJITH.

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MY GOD! You have absolutely no sense of humor whatsoever if you didn't find at LEAST one part of this movie hysterical! I was rollin from the opening part! Who is anyone to say that I have a shallow sense of humor just because I liked it? You have to know how to laugh at certain things and everyone these days are so "politically correct" and "edgy" that they forget the funny things and don't keep it real! Obviously they've never been in the hood or known anyone like the characters in Don't Be A Menace, because there really are people like that! I think it's most likely a movie that only blacks will understand. If you're white and you loved, more power to ya. This movie is just wayy too funny!

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`Don't Be A Menace To South Central While Drinking Your Juice In The Hood' is an hilarious take on all the hood type movies and surprising it does come off really funny. Just as funny as `Friday' and such movies. Brothers, Marlon and Shawn Wayans, don't have any problem making fun of the typical ghetto life that a lot of Afro-Americans might have to experience. The thought of this might not be too appealing at first but give it a try and you should end up laughing without a doubt. Some viewers have said that you need to be a black person to find this movie funny, or you need to have lived in the hood, which, in my opinion, is not true, I'm white, I live in England and my face was so sore after laughing at this. The only thing that helps is if you've seen the movies that this is parodying, and then you should certainly have no problem finding this film hilarious. Just like I did.

To say, `Don't Be A Menace...' is a comedy classic is quiet the understatement. All the characters in this movie provide laugh after laugh. It's the practice run for Wayans movies to be made years later on. `Scary Movie 1 & 2' clearly have borrowed the mold from `Don't Be A Menace...' More films should be as funny as this one. Marlon's character `Loc Dog' certainly squares up to `Smokey' from the `Friday' anyday. Marlon's dialogue/appearance is cleverly written to poke fun at the stereotypical male you've seen in any John Singleton film. The cast is strong, good comedic performances come from the Wayans brothers (although, Marlon is the much better of the two), Suli McCullough, and Lahmard J. Tate, playing Ashtray's father, the second funniest character in this movie. The script is almost faultless in its field, and the jokes come quick and they don't let up until the end. This all helps to make this an addictive comedy classic. This truly is TOTALLY GHETTO FABULOUS!

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This is a great parody of all the hood movies that came out in the early 90's. "Don't Be a Menace" throws laughs at Hood Flicks such as "Juice", "Menace To Society", & "Boyz In Da Hood". So if u haven't seen those movies, you might not understand a lot of the comedy in this....but if u have seen em, check this out!

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An Innocent Man (1989)

I always like Tom Selleck movies. Some are actually very entertaining. This is by far his best dramatic role. I was very impressed how well he played the part of a framed Airline crew chief Jimmie Rainwood. F. Murray Abraham gives a great performance as one of the prison inmates, Virgil Cane, that befriends him. It has all the elements for some good drama, bad cops, drugs, decent and really bad convicts, attractive loving wife, and motive for revenge.



David Rasche and Richard Young do a fine job as the crooked detectives that frame him. I have recommended this to many people since many Selleck fans are not even aware of it. Whether you like Selleck or not you will enjoy this film if you like movies like "The Fugitive","US Marshals", and "Shawshank Redemption". It is being released on DVD soon and you can bet I pre-ordered a copy.

An Innocent Man Blu-ray Review

Distributor: Mill Creek Entertainment (US)

Tom Selleck will always be known as Magnum P.I. to anyone who grew up watching classic TV shows throughout the 1980's, however this little known film actually showcased a real talent for playing a very different kind of leading role.

The film takes a basic prison drama as the stories middle and adds a character driven beginning and an ending which at times almost borders on an action movie. Tom Selleck plays Jimmie Rainwood, an average ordinary every day guy, wrongly sent to prison by two cops that you will just love to hate and the film follows his characters story as he progresses through his time spent in a harsh prison trying to adjust to a very less than average life style. Usually, the release of the main character from his incarceration would mark the films natural conclusion, however being released from prison is only the start of Rainwood's troubles and the film continues at steady pace until the final climatic showdown which will leave you totally rooting for main character.

A very welcome, although somewhat surprising release for Blu-ray treatment, the film is presented in a 1080i 1.78:1 wide-screen transfer which actually looks pretty good. Ultimately, there is nothing here of stand out quality, however the picture looks quite sharp with some nice detail on display as well as showing reasonable colour representation and black levels also appearing natural. With minimal print damage on display apart from the odd slight flicker or speck, this new HD release really marks a vast improvement over previous DVD releases. Thankfully, Mill Creek Entertainment have produced this Blu-ray as a region free disc, so people who need to consider region coding issues need not be concerned.

Audio is presented as a DTS 2.0 master and although entirely unremarkable, dialogue is clear without any distortion and the now memorable score obviously sounding better than ever. Admittedly certain action scenes do come across as a little flat, however this is only in comparison to more modern day releases and the soundtrack overall provides a reasonably good listening experience.

Sadly there are no extras present on this release, however the main selling point here is the film itself and this being a budget release, you actually get an awful lot of film for your money.

If you are looking for an emotion filled yet realistic character driven story, complete with excellent acting from the lead role and supporting cast, then this film is a great way to be thoroughly entertained while also probably left wondering how you would ultimately cope should the same situation occur.

Almost a mini classic, for certain it is nice to see these less remembered titles finding their way to Blu-ray and hopefully other lesser known movies will now follow suit.

"Two cops on the take just made the biggest mistake of their lives, they framed an innocent man."

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Even though you know what's going to happen to Tom Selleck's character, and you know that the ending will be happy, watching the process is enjoyably discomfiting. This is a plot film -stuff keeps happening to the main character, things he appears utterly incapable of controlling, and everything spirals right into disaster. Great Friday night fare. Make a lot of popcorn and savor it.

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Jimmie Rainwood (Selleck) is a hard-working crew chief for a major airline. Two crooked cops are ready to line their pockets from a drug bust. It goes badly and Jimmie's new home awaits: a maximum security prison.

Life ain't easy on the inside. Luckily, he becomes friends with Virgil (F. Murray Abraham) who shows him the ropes and takes a liking to him. So does Jingles (Young). For all the wrong reasons.

The tension behind the prison walls is equal to what's happening to Rainwood's wife (Robins)outside them, courtesy of our vigilant 'protect and serve' friends. If you like your revenge sweet, and the bad guys getting theirs, then "An Innocent Man" will be your cup of poison.

I was never a huge fan of Selleck's but this film changed my mind. You'll want this movie in your personal collection.

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Innocent? Yes, aren't we all? But in AN INNOCENT MAN, Jimmie Rainwood (Tom Selleck) really is, albeit a presumably highly paid one as a senior mechanic on the aircraft maintenance line of American Airlines in Southern California. Married to Kate (Laila Robins) and living in a hillside house with a view of Los Angeles-San Pedro Harbor, Jimmie has the good life. That is, until he runs afoul of two corrupt drug squad detectives from the local constabulary, Parnell (David Rasche) and Scalise (Richard Young), who supplement their income partnering with a major narcotics supplier, stealing from competing dealers, and selling the goods to their patron. Mistakenly led to believe that a deal is going down at Rainwood's home, they bust in while Jimmie is home alone finishing up a shower. Parnell and Scalise shoot Rainwood thinking the hair dryer he's holding is a weapon. Realizing their mistake, they cover their tracks by planting drugs in the home and a gun in Jimmie's hand, with which he ostensibly took a shot at the officers. Ultimately, Rainwood angrily refuses to plead guilty to lesser charges to get a reduced sentence, and a jury trial results in six years in the state pen.

While incarcerated, Jimmie must thrust aside inhibitions and learn how to literally kill to survive. He does this under the tutelage of fellow con and self-admitted criminal, Virgil Cane (F. Murray Abraham), also put away by Parnell and Scalise, though they beat up Cane's girlfriend during the process of the arrest. Eventually, Rainwood is let out on parole after three years. Returning home, he and Kate continue to be oppressed by the two crooked cops, and Jimmie falls back on his hard-won survival skills to break himself and his wife free.

My Mom recommended AN INNOCENT MAN since, in her former capacity as a staff psychiatrist for the Nevada Department of Corrections, she worked out of the men's prison in Carson City, where the exterior shots of Jimmie's lock-up were shot. If you've ever been to Nevada's state capitol, you'll recognize the adjacent Sierra Nevada range in the film. (The interior shots were apparently filmed at a disused prison in Cincinnati, OH no mountains there.)

Now, the corrupt cop Alonzo Harris (Denzel Washington) in the 2001 film Training Day was one bad dude. Here, the Parnell and Scalise characters, while dangerous, are played as obnoxious wise guys almost to the point of caricature; Rasche and Young rendered them positively annoying by overacting, which is probably why Washington is an "A List" performer while the latter two aren't and never will be. At the other end of the spectrum is Detective Fitzgerald (Badja Djola) of Internal Affairs, who sympathizes with Kate's and Jimmie's dilemma and knows Parnell and Scalise are dirty, but can't prove it. Djola's performance is about as animated as a wooden hitching post.

Kate Rainwood, played competently by Robins, is believable and sympathetic as Jimmie's loyal wife, but her character is essentially tangential. The best supporting performance is undoubtedly by Abraham as the wily, prison-savvy Cane, whose motive for helping Rainwood is mostly inscrutable until the film's end when the payback Virgil is now enabled to deliver is delicious in the audience's contemplation.

Tom Selleck reminds me of John Wayne. The Duke never really acted; any role he played was essentially John Wayne dressed in a different costume. Wayne was, in my opinion a superlative entertainer, but not a great actor. Selleck, I think, falls into this same category. The majority of his movies are class B flicks more suitable for television, but his on-screen characters are so consistently engaging and attractive perhaps accurately reflecting Tom himself that I'd rather watch any one of his efforts than a substandard outing by a Brad Pitt or Tom Cruise. For Selleck's presence alone, I'm awarding AN INNOCENT MAN four stars.

There's one aspect of the film that continues to niggle at my mind. At the conclusion, Jimmie packs a pistol that evolves in the plot as the one placed in his unconscious hand by Parnell and Scalise during the original frame-up three years previous. How did Rainwood come into its possession? Wouldn't it have been confiscated as evidence, and then destroyed by the police after his conviction?

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Blood Diamond (2007)

MOVIE: Edward Zwick's films always strike a good chord with me because of their incredible emotional impact. The Last Samurai left such a grand impact on me that I was in tears at its incredible and emotional climax. The Blood Diamond does the same thing by establishing strong central characters with a clear objective that makes the film gripping and tense. The story revolves around Solomon Vandy (Djimon Hounsou) a local fisherman whose village is raided by local militia who are at civil war over the control over the diamond fields. These events took place in the late 90's and it serves as the backdrop of the film. Danny Archer (Leonardo DiCaprio) is a Rhodesian smuggler who works for a corporate diamond company in London he also works as a mercenary. He smuggles diamonds to the corporations so that they can remove them off of the market thus keeping supply low and demand high, that way they spike the prices. After Vendi is removed from his village and his family separated, he is put to work in the diamond fields where he comes across a pink diamond so rare that it could change the fate of not only his life but a nation's. Vandy is able to escape his imprisonment by the rebels but is put in prison by the police, and in prison he meets Danny Archer who now wants to set his sights on the hidden diamond. When Archer meets Maddy Bowen (Jennifer Connelly), an American journalist, she believes that his story holds the key to revealing the truth behind the diamond corporations. When Vandy's son is recruited by the rebels he sets out on a quest to find his son while Archer wants the diamond so that he can leave Africa and start his troubled life over. Arnold Vosloo plays a general who is also after the diamond. So we have four people after one small stone for four different reasons.

The film has many sides to it. At times it's a dark look into the social and economical conflicts of Africa, sometimes it becomes a burning commentary on the nature of man, but overall this film is an intimate story of three characters placed within the setting. The main objective of the film is to tell the story of the characters where as in films like Tears Of The Sun or Black Hawk Down it's more about sending a central message. I'm not saying the latter films are bad, I enjoyed Tears Of The Suns and Black Hawk Down immensely. I'm also not saying that Blood Diamond is not trying to send a central message either. It's just that Blood Diamond really tries to tell a story, just like Zwick did with The Last Samurai. While the film portrayed a civil struggle in Japan it was more focused on Tom Cruise's and Ken Watanabe's characters so that when tragedy struck it had a strong emotional impact on the audience. Blood Diamond is not only emotional but it's incredibly tense and thrilling. There is lots of action in the film and the final air raid was executed perfectly. The story is solid and the film is an immense accomplishment. The reason why I knocked off half a star from my final rating was that I had two minor problems with the movie. There were places where a few tweaks could have heightened the emotional impact of the film and have kept the pace of the film more consistent. However, it is whithout a doubt that the film was superbly edited. The pace and structure were very consistant and strong. I was pleased by the script, Charles Leavitt did a fine job with the screenplay even though he has taken a long break from writing since his last effort with K-Pax. The second thing that bothered me was that once the movie ends and the credits start to roll we are hit with this hardcore rap song. I was absolutely shocked and disapointed with the decision to use rap in the end credits, it ruined the lasting effect of the film within a split second.

The film also displays some incredible artistic efforts. The cinematography is absolutely stunning. There is a very good chance that Eduardo Serra should be one of the directors of photography nominated this year at the Oscars. Some of the shots were truly breathtaking and of course you have to give credit to beautiful landscapes of Africa. The film's score was composed by James Newton Howard who relied heavily on African vocals for the amazing score. I have to mention here that Hans Zimmer is the pioneer of incorporating native sounds into a film's score based on location. Zimmer made African vocals his speciality with films like A World Apart, The Power Of One, The Lion King, and Tears Of The Sun. You have to acknowledge the Zimmer style in the score, but James Newton Howard makes it completely his own and delivers an amazing score. There were scenes where I wished the score was more prominent, but overall I was very happy with the musical efforts. All of the artistic efforts put together with the story make Blood Diamond what it is.

ACTING: Does Leonardo DiCaprio give his best performance yet? In my opinion I really think so. He was amazing in the film and created a perfectly accessible character that we cared for. Many people are criticizing his accent when in fact he is using an extremely authentic Rhodesian accent. People assume that since he is white and an African he must be South African. That's not the case here, people. DiCaprio does an amazing job with the role. Djimon Hounsou is also equally amazing in the film. There are a few intimate scenes with his son that will bring you to tears. He plays an uneducated fisherman with his only interests in his family, but it is his character that shows the good of mankind in the middle of this mess. Jennifer Connelly is a great actress and she portrays a journalist just as a journalist would act. She uses her wits and looks to get the story, but her priorities are not to make headlines but rather to help change the world for the better. Arnold Vosloo has a small role in the film, but I like him and think he's an underrated actor. People will recognize him from The Mummy films and his guest role on the show 24. The acting in this film is superb, the characters all carry the film and make it something to remember.

BOTTOM LINE: Blood Diamond is gripping, thrilling and emotional. I shed some tears when I saw The Last Samurai and I indeed shed some tears when I saw Blood Diamond. It's an action film with so much substance, it really pulls you in as an audience member. The few structural problems and the rap song at the end credits are not enough for me not to highly recomend this film.

I am going to keep this review relevant to the movie and the reasons why you should buy this on DVD:

1. Leonardo DiCaprio's Performance: This film in my opinion features the best ever performance extracted from Leonardo DiCaprio on film. He is flawless here as a South Africa white who needs to discover whether material wealth means more to him than human emotion and sentiment. I have never been a huge fan of Leo (though yes, he was wonderful in "What's Eating Gilbert Grape" and "The Beach") but this film alongwith "The Departed" really opened my eyes. Granted he is a physically splendid creation, but his use of language, intonation and emotion were at the forefront of this movie, and the only downside to his performance is that it totally overshadowed the other actors.

2. Djimon Hounsou's performance : This was an actor I first noticed in "Amistad" and he just keeps getting better and better. He is one actor who looks about 25 even though hes well past 40, and has an incredible range. His role as a traumatized father looking for his son in the middle of riot torn Africa will be remembered years to come, however, he is not as radiant as Leonardo here, and for that reason alone I think he is thought of as a "supporting actor" here. If you pay attention, you will actually see that he gets MORE screen time than Leo.

3. Jennifer Connelly : I think she is one of the most ill-utilized actresses we have today, and the director doesn't do much with her here either, which is a pity. However, her role is quite effective for what it is the downside being that she has zero chemistry with Leo in every regard.

4. Cinematography : The effect here was to present Africa as a beautiful nation though ridden with political problems and woes. To see these violent images portrayed against a backdrop of the most gorgeous sunsets and tropical rainforests was a bit bizarre which I suppose was the effect. The visuals are lush and evocative, and captures the mood of the era and environment perfectly.

5. Direction & Story : The director knew a good thing when he saw it. This is a very character driven story and you have to FEEL for the characters' emotions if you want to get anywhere. On the surface, its a simple tale thats been told a million different ways, but the political statements this movie makes is way ahead of its' time, I thought (much like the Angelina Jolie starrer "Beyond Borders" which was a masterpiece in its' own right).

It goes without saying that Leonardo DiCaprio carries this film on his capable shoulders and takes you through almost three gripping hours of it without making you look at your watch. This is what real acting and filmmaking is all about. If you do decide to buy this, let Leo be your number one reason.

To wrap it up, this is a must have 2-DVD Edition of the film and I can state that this is one movie you will be watching over and over. I saw this just after "The Departed", which is the only other movie this year I could possibly watch again. These two films finally signal the true emergence of America's greatest living actor Leonardo DiCaprio.

Buy Blood Diamond (2007) Now

As we reach the end of any calendar year, the major studios roll out their big guns--the films they think have the best chance of grabbing Oscar gold. These tend to be big budget affairs, with big stars, and often with serious or important themes. Well, "Blood Diamond" arrives with just such expectations. A well meaning and "important" film about exploitation and atrocities in Sierra Leone's diamond trade, "Blood Diamond" casts Leonardo DiCaprio, Jennifer Connelly, and Djimon Hounsou as the central characters in an exciting, and sometimes heartbreaking, look at the cost of commercialism in international trading.

Edward Zwick (who has courted Oscar before with "Glory" and "The Last Samurai") sets a very serious tone from the beginning--it seems clear that this film wants to parlay a message, to expose the injustices done in the name of Western greed. The setup covers extremely familiar territory and the message is blunt and obvious. No one, at this point, will deny that what is depicted here is harrowing--the problem is that it isn't particularly surprising or edifying. He's preaching to the choir. A lot of films have broken this ground before to astonishing affect, "Blood Diamond" as a message movie lacks a certain amount of originality and subtlety. That doesn't make it a bad movie, by any stretch, but I wasn't enlightened by the subject matter.

But the curious thing about "Blood Diamond," though, is just as I was tempted to dismiss it as a heavy-handed drama--I got wrapped up in it. Why? Well, it's a heck of an action picture and it boasts terrific performances. DiCaprio plays a rogue, ethically challenged, illegal diamond trader who is looking to make a big score. Hounsou, who has lost his son to the rebels, has hidden an invaluable diamond which he hopes to leverage to bring his family back together. And Connelly is an American journalist who wants to expose the corruption inherent in the trafficking of diamonds. All three are at the top of their game. Hounsou is absolutely riveting in an emotional powerhouse of a performance. DiCaprio acquits himself well with a Rhodesian accent and displays many layers to the morally questionable anti-hero.

The film is technically impressive--the cinematography and score earn high marks. But it's the brutal and compelling action sequences that will stick with you. There is much violence to be had in "Blood Diamond," much death and bloodshed. Our trio constantly find themselves on the wrong side of a gun fight or even worse--trapped between rebels warring with soldiers. Theses scenes are done with such precision, such excitement, and such realism--you almost forget that the film wants to teach you a lesson too. I almost wish that Zwick would have just trusted a simpler story and let us draw our own moral conclusions.

Ultimately, I really admired "Blood Diamond"--it has the power to excite you and move you. Far from a perfect film, it is eminently watchable. The tidy ending was a bit over-the-top for my taste, as well, but by then I'd really enjoyed the journey. A solid 3 1/2 star rating, I'm rounding up for the action set pieces. KGHarris, 12/06.

Read Best Reviews of Blood Diamond (2007) Here

Greed is the dark heart of "Blood Diamond," director Edward Zwick's ("The Last Samurai") uncompromising look into the underground trafficking of illegally-traded gems in sub-Saharan Africa. Greed of corrupt men for power, greed of an amoral mercenary willing to sacrifice anything for a chance to escape Africa, greed of Western businessmen who seek to artificially control the diamond market, and the greed of a simple man for his family's return. This movie powerfully demonstrates the valuelessness of a human life to those persons obsessed with blood diamond collection in war-ravaged Sierra Leone.

Djimon Hounsou plays Solomon Vandy, a simple fisherman and father of two who witnesses his idyllic existence crumble before his eyes. Rebels seeking new recruits, slaves, and random carnage swarm into his village. They select his adolescent son and other young men as future cadets in their guerilla army--following suitable brainwashing and manipulation techniques--before then getting down to the real business of slave collection. Seemingly devoid of any mental workings besides casual sadism, these bandits top-off their kidnapping and slave-taking exercise with the mutilation and execution of men deemed too troublesome for them to bother with. Vandy is rescued from dismemberment at the last minute when the rebels recognize his strength, seeing it as an asset they can utilize in their constant search for capital: the blood diamond pits. Condemned to toiling underneath the blazing sun with nary a chance of reaping any benefit (besides possible continued survival) for his efforts, Vandy happens to discover an egg-sized blood diamond hidden in the streambed. Hiding it underneath his foot, he buries it when the rebel encampment is attacked by government troops. The only witness to his "theft" is the wounded slave captain--now captured, along with Vandy, by government forces--who swears that the former fisherman will soon be begging to reveal the diamond's whereabouts.

Parallel to Djimon's character's storyline is the tale of Danny Archer (Leonardo DiCaprio), an opportunistic solider of fortune caught within a dichotomy of conflicting motivation. He desires escape from Africa at any cost, yet secretly knows that his blood will someday mix with the earth of his homeland. Perhaps it is this realization that he is doomed which propels Archer forward: in every action and every word, he seems to be daring destiny to obliterate him. Taken in and trained from a young age by Colonel Coetzee (Arnold Vosloo), Archer is easily the most dangerous entity alive on the continent: ruthless, misanthropic, callous, manipulative, and incredibly lethal with bullet and blade. After a close-call haggling with rebel leaders over fair prices for blood diamonds, Archer is arrested for smuggling while crossing the Sierra Leone border. It is here that he intercepts the distraught Vandy and begins weaving a plan to save himself from the war-torn country: by dangling the freedom of the fisherman's family as bait to cajole Vandy into revealing the gigantic diamond's location. Solomon, though a simple man, is not so easily fooled. He eventually agrees to help Archer--but only if the mercenary agrees to help locate his family and also permit Solomon to be his travel companion.

There is barely time for indrawn breath during the watching of this movie. Action sequences are furious, brutal, and frequent. The pace of the movie is frenetic. The score is perfect throughout. The "education" of Vandy's son by the rebels is heart-wrenching. Solomon's overarching belief that fatherhood trumps all initially feels naïve, but is eventually revealed to be the singularly most powerful force in the entire movie. Danny's character--the realist mercenary who seems most capable of surviving, when compared to Vandy--shows the most evolution, shedding layers of the personality onion until an actual human appears. He is moved to reveal an element of his past to the beautiful American reporter (Jennifer Connelly), whose persistence and mutual survivorship cements a bond they both were too proud to admit from their first meeting. Archer and Vandy relationship morphs into something beautiful when a sacrifice is needed, prompting Solomon to reverse that remarkably chauvinistic statement made by Rudyard Kipling over one hundred years ago: the "white man's burden."

This is hands-down Djimon's most impressive performance: I have never seen him better represent a character. In fact, he blurs the line between character and actor, totally suspending my disbelief to the point where I "knew" him only as Vandy. I have been told by an acquaintance--currently living in Zimbabwe (formerly Rhodesia)--that DiCaprio's accent is spot-on. In addition, he was utterly believable as heartless mercenary, and his later transformation was also quite convincing. The action sequences were, as mentioned, jaw-dropping in their intensity, but never felt gratuitous or over-the-top.

Easily one of my five favorite movies of 2006--miss it, and you risk missing some of the finest cinematographic wizardry and directorial finesse of cinema from the last year, period.

Want Blood Diamond (2007) Discount?

To be perfectly honest, I had steered clear of this film in theaters because Oscar-nomination notwithstanding I dreaded the notion of potentially spending 143 minutes with Leonardo DiCaprio doing a bad South African accent in Dolby Mondo Super StereoSurround. I mean, I have already in my lifetime endured Kevin Costner's Robin Hood and Brad Pitt's Troy on the big screen (who could forget Brad screaming "Take it it's YAWWWWS!" in his British-by-way-of-Brooklyn accent? And don't even ask me to describe Costner's...). So, even though others assured me that Leo nailed the accent, I hope you can understand why I wouldn't want to risk another American Movie Star Mangling of an overseas accent in a heightened sensory environment.

But now that I've viewed this film in the safety of my own home with my crappy TV speakers (and my pause button at the ready), I must say that not only did DiCaprio nail the accent, but he concurrently crafted his best character and performance to date in Daniel Archer, the jaded, seen-it-all diamond smuggler who just as the main character Solomon (Djimon Hounsou) hides and buries a valuable diamond has hidden and buried his humanity deep within himself. And though he sets off to find Solomon's diamond, we also see whether he can unearth his humanity along the way. Leo adds an amazing muscular menace and aged world-weariness that I honestly didn't think he was capable of (and this is from someone who already appreciated him as an actor) (if not a dialectician).

The performance by Djimon Hounsou as stoic fisherman Solomon Vandy is almost equally stellar. We invest in the quest completely as the wise and quiet Solomon (whose wife calls him "Solo") sets off alone and separated from his family, trying to find his son, who is (to him) infinitely more valuable than the diamond he has buried. Jennifer Connelly (who, unbeknownst to the director, had already done a lot of work with UNICEF when she was cast) also adds depth in what could have been a throwaway and/or cliched role as the brash American photojournalist Maddy Bowen.

Finally, enough cannot be said about director Ed Zwick, who has already spent a good deal of his career perfecting the balance of the action movie and the more contemplative, message-driven drama (Glory, Courage Under Fire, The Last Samurai to name a few). With "Blood Diamond," he most successfully negotiates the territory between conventional action movie entertainment and more political, emotional, and darker material.

For the action scenes, the constant camera movement creates not only a documentary feel to the incessant and chaotic scenes of combat, but a sense of urgency to the events (eventually) found in the frame. The violence is almost too real, and the acts perpetrated (in many cases by children) are almost too disturbing such a gorgeous land frames such unspeakably evil acts, which ultimately adds greater weight to the messages of the film.

As to the message, I've heard complaints that this movie tries to bludgeon you with its politics, but I found it to actually be quite subtle, the speechifying kept to a minimum and, when employed, use to enhance and advance the arc/understanding of the character as much as the overarching ideology.

And, for me, the "would you put a diamond on your finger if you knew it cost someone their hand" motif while tremendously important is just one theme among many in this nuanced and layered work. The film also manages to effortlessly examine other issues, such as: what is truly more valuable, material possessions or human empathy? Where is the line between journalism and exploitation, and when is it appropriate (if ever) to cross that line? Finally, can speaking up help change the world, and furthermore can a nation's problems be helped through the advocacy of foreign visitors, who may actually know little about the culture they are trying to change?

While Zwick and his cast may or may not be changing the world with this (mostly) American movie about an African problem, at the very least he has made an exceptionally moving film whether you're in the mood to be educated or entertained.

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The 400 Blows (The Criterion Collection) (1959)

The most heart-felt movie I've ever seen is a powerful mix of sharp-eye, hardhitting autobiographical remembrance of a nearly bruised childhood and a celebration of the wide-open, spontaneous and lyrical qualities of cinema to capture pointed truths of family, school and street lives as seen through the curiously haunted eyes of one Antoine Doinel, a modern-day Dickensian hero in a decidedly unglamours Paris, searching, often wrongheadly, for love and acceptance while, almost against himself, challenging the authorial rules imposed on children growing up in conformist post-WWII France. The film's tone is one of anguished bittersweetness and quiet defiance, counterpointed by bursts of joyful freedom and naughty prank playings as shared by many in their pre-adolescenthood. Doniel's friendship with the well-off but neglected Rene is also among the most moving portraits of childhood friendship ever. An unforgettable portrait, a cutting social study, a New Wave classic and Truffaut's best, but most importantly a timeless and univsersal "true" story. And yes, the last freeze, when it comes, is a stunner. Gosh, I just love it! (P.S., this relatively small and quiet masterpiece also happens to be the all-time favorite film of John Woo, imagine!)

I've spent decades avoiding THE 400 BLOWS, afraid it was either dark and brooding, or a documentation of child abuse (physical and/or emotional), or an angry and vindictive assault on the authors' of Francois Truffaut's traumatic childhood.

I shouldn't have worried. THE 400 BLOWS is a gentle and compassionate movie. It isn't overwhelmed by its anger, although a few characters, particularly the coming-of-age hero's mother and his school teacher, aren't terribly sympathetic. Being new to THE 400 BLOWS, I found the commentary by Premiere magazine film critic Glen Kenny especially helpful in understanding French New Wave cinema in general and Truffaut in particular. By the way, according to Kenny "400 blows" refers to a French colloquialism similar to the American "paint the town red." It means to give oneself over to every type of excess, and raise a little heck in the process.

Buy The 400 Blows (The Criterion Collection) (1959) Now

However, if you are a fan of this entire film series by Truffaut, then you should spring for the Adventures of Antoine Doinel boxed set. It comes with all the extras found on this disc, plus a bonus disc which features excerpts from a 1961 documentary on Truffaut, which touches on this film, and a promotional art gallery for this film. Neither of these bonus features are found on this disc, nor is the bonus short film, Antoine and Colette, which is on the 400 Blows' disc in the boxed set. Great if you only want this movie, but I'd pay the extra dough as it's well worth it to have the entire Criterion boxed set, which is loaded with extras covering all the other films.

Read Best Reviews of The 400 Blows (The Criterion Collection) (1959) Here

In Francois Truffaut's debut, award winning film, he paints visually the pain and joy of childhood, through a semi-autobiographical account of a 13 year old boy living in France. Antoine, lives with his mother and father in an apartment, on minimum finance. He gets into trouble at school, time after time, and at home his parents punish him, but at heart, he is a good kid. He decides to run away, but his parents find him, and they begin to treat him nicer. But when he gets suspended from school, he runs away for good. He begins stealing, and he gets caught. After he stays at a special home for juvenile delinquents, he escapes and his spirit prevails. This story is very moving, and entertaining. You get pulled into the young boy's life, and can relate with him. After you see how he keeps hope and prevails, it creates a warm feeling, and inspires you. The direction is perfect, and the director won the Best Director at Cannes Film Festival. I highly recommend those who wish to watch a fun, entertaining tale of hope and faith in the face of seemingly endless problems. 5 stars.

Want The 400 Blows (The Criterion Collection) (1959) Discount?

In 1959, Francois Truffaut released a semibiographical film about his life with "the 4oo blows" (Les quatre cents coups). A film highly regarded as a definitive film that showcases French New Wave (a term to describe a group of French filmmakers in the 1950's-1960's that were inspired by classic Hollywood cinema and Italian Neorealism).

The film won several awards which include "Best Director Award" at the 1959 Cannes Film Festival and "Best Original Screenplay" at the 32nd Annual Academy Awards. Needless to say, the film made Francois Truffaut and young actor Jean-Pierre Léaud Internationally known and definitely gave movie fans a taste of the French New Wave film.

"the 400 blows" is the first of five films spanning around 20 years based on the character of Antoine Doinel (played by Jean-Pierre Léaud). Each film showcases the character's life as a teenager through his 30's but for "the 400 blows", the film focuses on the life of a troubled teenager.

Although not based 100% on Director Francois Truffaut's real life, a large part of the film was based on his troubled family life and in order for him to capture that life he had, he picked the right person with Jean-Pierre Leaud, an unknown actor (who was just as an antisocial loner) who was 13 and a half years old but had that rebellious nature that Truffaut found. A boy who would not have to learn a script but to use his his own words. This added to the realism of the film and what made this film so fantastic and engrossing just to watch.

VIDEO & AUDIO:

"the 400 blows" is presented in 1080p High Definition with an aspect ratio of 2:35:1. Black bars and the top and bottom of the screen are normal for this format and the transfer is much different from the previous DVD release from Criterion years go as this was a high-definition digital transfer cared on a Spirit Datacine form a 35mm composite fine-gain master positive.

As with most Criterion Blu-ray releases, the company also had thousands of instances of dirt, debris and scratches removed using the MTI Digital Restoration System. The picture quality, although in black and white, looks incredible for a film released back in 1959. Black are nice and deep but you can see a lot more detail in the surroundings.

Suffice to say, THE CRITERION COLLECTION releases films with how the director intended the film to be. There is no DNR (digital noise reduction) and no softness and the film keeps the grain and retains its film-like quality. The film just looks beautiful on Blu-ray!

As for audio, the soundtrack was mastered at 24-bit from a 35mm optical soundtrack and audio restoration tools were used to reduce clicks, pops, hiss and crackle. The audio has an uncompressed monaural soundtrack. My Onkyo receiver received a multichannel signal (via bitstream) but overall, I did not select a monaural setting when watching the film but I found the dialog to be clear and understandable. Music by Jean Constantin was also also clear.

Subtitles are featured in English.

SPECIAL FEATURES:

"the 400 blows" comes with the following special features:

* Audio commentary by cinema professor Brian Stonehill Brian Stonehill's audio commentary is very informative. This commentary was featured on the original Criterion DVD release and goes into depth about the themes of the film and overall, a solid commentary in which Stonehill also has included interviews with people involved with the film.

* Audio commentary by Francois Truffaut's lifelong friend Robert Lachenay Robert Lachenay is Antoine's Rene. When they were younger, Truffaut's parents thought he was the bad influence and vice versa. But these two remained friends for a long time and with Lachenay working as an assistant to the film, we learn about the comparisons of Antoine Doinel and Truffaut. Similarities and differences of what really happened in the life of Director Francois Truffaut.

* Audition footage of Jean-Pierre Leaud, Patrick Auffay and Richard Kanayan (6:24) A short segment featuring rare 16mm screen tests the auditions for the main talents auditioning for the role of Antoine Doinel, Rene and one of the Les Enfants, Richard Kanayan (who appeared in Truffaut's "Shoot the Piano Player" in 1960).

* Cannes 1959 (5:51) A short newsreel frim Francois Chalais and JacquesPlanche's "Reflets de Cannes 1959' of Jean-Pierre Léaud as he goes to Cannes and is interviewed by press and the ovation the film received by the audience.

* Cineaste de notre temps (22:26) This featurette is an excerpt from "Francois Truffaut ou l'espirit critique" episode from "Cineaste de Notre temps" which was shown in France back in December 2, 1965. Truffaut discusses his childhood, learning about his passion of watching films, his writing of Cahiers du cinema and the character of Antoine Doinel. The segment also features interviews with Jean-Pierre Léaud (Antoine), Albert Remy (father) and Claude de Givray (a friend of Truffaut who knew him when he was younger).

* Cinepanorama (6:52)) An excerpt from the TV show "Cinepanorama" from February 20, 1960. The host France Roche interviews Director Francois Truffaut who was awarded for "Best Foreign Film" by the New York Film Critics Circle for "The 400 Blows". Director Truffaut talks about how the films reception Internationally and about the film.

* Theatrical Trailer (3:47) The original theatrical trailer for "the 400 blows"".

* An essay book from film scholar Annette Insdorf A quad-fold booklet titled "Close to Home" with production credits on one side and a two page essay by Columbia University, Professor and Director of Undergraduate Film Studies, Annette Insdorf discussing the similarities of Antoine Dionel and Francois Truffaut. But also differences and the importance of some shots.

JUDGMENT CALL

"the 400 blows" is one of those films that surprised me from beginning to end. It's not that I haven't seen classic films that seem realistic but I found the film quite enjoyable in the fact that the film really goes indepth in the life of a Parisian youth who does bad things but that the connection between bad/or lack of thereof, parenting can be to blame.

Jean-Pierre Léaud is simply fantastic as Antoine Doinel and that is because Director Francois Truffaut allows him to be himself. As Jean-Pierre Léaud has commented himself, he is very much like Antoine in some respects and he eventually puts his trust in Truffaut to capture his emotion and his focal point through the camera. If anything, to make this character come out alive and in that sense, Truffaut succeeds and Léaud is magnificent.

Claire Maurier (who plays Antoine's mother Gilberte Doinel) is surprising in her role as a cold mother. She's one of those mothers who has her life hampered with having a child but tries to live her free life as if she didn't have a child. There is a strong disconnection between mother and son but how quickly she tries to change when her son catches her with another man. Claire Maurier does a fine job with her role. As with Albert Remy as Julien Doinel. The busy at work father who has more leeway towards Antoine but is not quick to be cold to his son like his mother. It's just when the trust is broken between father and son, is when you see Julien having to do things that he doesn't want to do and in essence becomes more like his wife.

There is a significant reveal at the end of the film of why Antoine does the things that he does but what the film does quite well at is showing how derelict parents can affect a child's behavior. Letting a child to do what he wants and there are no responsibilities but taking out the garbage. There is no love in the family and thus, it has a cause and effect towards Antoine.

Truffaut is simply a legendary director for helping catapult the French New Wave. With its similarities to Western classic films and Italian Neorealism in terms of really depicting the life of the poor in France, Truffaut gives us a glimpse of what his life was like. How he watched films when he ditched from school and just his overall experiences and troubles he had endured. When he's lying, he is treated badly at home and at school. When he's telling the truth, there is no difference. And for any parent, this is a true injustice for a child who needs that motivation that they can prevail, that they are wanted and they can succeed. And unfortunately, that was not the case for Antoine at 14-years-old.

I give THE CRITERION COLLECTION another applause for their treatment of "the 400 blows". Similar to a film like "THE SEVEN SAMURAI", although once released, the company went back and gave it a new, restored High-Definition digital transfer with an uncompressed monaural soundtrack.

Another awesome release on Blu-ray from THE CRITERION COLLECTION and for those who have never had a taste of French New Wave films, "the 400 blows" is definitely a great film to start out with.

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Incendies (Two-Disc Blu-ray/DVD Combo) (2011)

INCENDIES began as a play of the same name by Wajdi Mouawad and was opened up as only cinema can do by the author with the assistance of Canadian director Denis Villeneuve and consultant Valérie Beaugrand-Champagne. The result is a staggeringly powerful film whose story is so well revealed by a cast of sterling actors that telling too much of the plot would be a disservice to those who come to this experience for the first time. In this viewer's opinion it is simply one of the finest films of the decade and it bound to become a permanent part of the cinematic library.

The opening of the film reveals many clues as to the direction the story will take. In a stark room young boys are having their hair shorn: one of the boys as a tattoo on his heal three aligned dots on the Achilles tendon. After this unsettling beginning the camera moves to Canada in the office of notary Jean Lebel (Rémy Girard) who has the responsibility of executing the will of his secretary Nawal Marwan (Lubna Azabal in an illuminating performance that plays through the entire film) and presenting the will to Nawal's Lebanese-Canadian twin children Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette) Marwan. The will divides Nawal's worldly goods equally between the children, but describes in detail how the deceased mother is to be buried (naked, face down, with no coffin in an unmarked grave) and provides two letters charging Jeanne and Simon to find the father and brother they did not even know existed. The remainder of the film moves back and forth between the past and the present as the twins attempt to find their living relatives and the story of how Nawal's life was an unbelievable nightmare. Nawal was a Christian Lebanese, had a lover who was a Palestinian, and when her lover is killed she realizes she is pregnant, shaming her family and thus forced to give up her boy child to an orphanage but not before her grandmother sensitively tattooed the three dots on his heel for future recognition. From that point Nawal becomes a mathematician, a hired killer, is imprisoned and tortured and once again becomes a mother. The twins trace clues as detectives to follow the rocky road of Nawal's life and make discoveries that are astonishing.

Though Lubna Azabal is clearly the central star of this film, the entire cast particularly Mélissa Désormeaux-Poulin and Maxim Gaudette as the twins is exemplary. Very little of the tragedy of Nawal's life is spared but the power that comes from the moments of discovery of the truths of that life lies in the quiet shock in the eyes of the twins. This is an amazingly powerful film that keeps the audience tension level high making the surprising ending just that much more powerful. The cinematography by André Turpin manages to capture both the vast power of the Middle Eastern desert and villages as well as the moments of intimacy. The musical score by Grégoire Hetzel enhances the atmosphere and the story line very subtlely. But in the end it is the sensitive direction of Denis Villeneuve that brings with human tragedy of a story alive. Highly recommended. Grady Harp, September 11

To begin with, this is a foreign language film with English subtitles. It will appeal, above all, to viewers who might be drawn to original, story-driven cinematography complimented by rich cultural details. It also provides exceptional panoramic and intimate shots of a bustling Middle Eastern country generally shrouded in mystery. In fact, I've seen a lot of films, but I don't think I've ever come across a plot/story that even comes close to the one depicted in "Incendies".

The title of my review will give you the nexus. Although the film's religious conflict deals with the historic competition and horrific violence bewteen Christian and Muslim Arabs, it also includes a "special feature" in which current day residents of the region are interviewed--some of whom vow death and eternal vengeance on "The Jews". So--everybody's covered in this one.

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Powerful, intriguing. For mature audiences who can handle traumatic and violent subject matter and scenes.

Not a gratuitous film, and there is no propaganda here (If so, it was not obvious to me).

I watched this film twice and believe I might purchase it and watch it some more.

Highly recommended for film watchers who need something to "up the ante" and break out of the boring routine mold.

Read Best Reviews of Incendies (Two-Disc Blu-ray/DVD Combo) (2011) Here

I rented "Incendies" because it was a nominee for the Best Foreign Language Oscar. I've seen a lot of good films from that category and "Incendies" is one of the best. This film is not for the weak of heart. It deals with the basest of human failures and it leaves the viewer emotionally exhausted. However, the film is well worth watching for many reasons. The acting, although not outstanding, is very good. The various characters are victims of different abuses yet most of them carry an innocence that is well-displayed. There is a variety of locations and a variety of cultural settings and issues that are very engrossing, sometimes almost too engrossing. The back and forth from present to past is very well done and greatly enhances the the suspense of the movie.

The ultimate message that I took from "Incendies" was the depth to which hatred can destroy otherwise decent people. The innocence I previously mentioned about some of the characters is a key to the success of "Incendies". In a war-torn Lebanon there are good and bad but it is the innocents that make us take a personal involvement in the events that take place. What do we do with that involvement? Do we fight or flee or do we just ignore? There's not much you can ignore in "Incendies".

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First, don't pay attention to the reviews dating from 2004. They are NOT discussing "Incendies". Next, be sure to see it in the theater for maximum impact. There are some very emotional scenes, but very little violence, which is amazing, considering what was happening in Lebanon in the '70's.

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Dr. Dolittle (1998)

Just a note to those who were uncomfortable watching this film with their children; movies have ratings for a reason. This movie is rated PG-13, which tells you up front that it has content that is considered inappropriate for young children. In this case, it is crude humor.

What I don't understand is why they made a movie with a story line aimed at a young audience, and then inclduded content that earned it a rating that recommends that a young audience shouldn't see it.

This is a movie I bought first, primarily for the kids because of the reviews. No one ever asked to watch it a second time. I say this because one of my kids was watching the Lion King last night, for the umpteenth time. So yes, I agree that eddie murphy impressed me again with his talent... but it just didn't grab my kids, 3 boys and 2 girls. I had to give it a good rating of 3 rather than a 2 to encourage the making of good movies.

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Based on the children's story and brought to life in a new way, Eddie Murphy in DR DOOLITTLE is a cute kids comedy and a pretty good comedy in general. And there's a lot of funny parts with the animals in this movie and it's very touching as well.

As a kid, John Doolittle (Murphy) didn't have too many friends but the friends he did have were special to hum because he was the only who could understand him. Why? Because they were animals. He could talk to and understand animals. But after he got in trouble for talking with the family dog, he was forced to stop talking to animals. Now as an adult, after an accident where he hit a dog, he realizes that he heard the dog talk to him. Now he realizes that he still has his gift and now it's a question if he can keep his sanity and if he can do the right thing and help everyone that needs him, including the animals.

This one is really cute and kids will love this one. Plus it's pretty funny as well. And of course there are plenty of other celebrities pitching their voices for this movie like Pee Wee Herman, Chris Rock, Norm McDonald, Jenna Elfman, John Leguizamo and Albert Brooks to name a few. The soundtrack to this movie is also very good as well with Aaliyah, All Saints, Wu-Tang's Raekwon and more.

The kids will love this one and this a good comedy for the entire family. It's very clean and there isn't any swearing or any adult themes at all. It's a very fun movie. Check out DR DOOLITTLE and don't forget to check out DR DOOLITTLE 2. Enjoy this family comedy!

Read Best Reviews of Dr. Dolittle (1998) Here

I'm a huge fan of watching a lot of Eddie Murphy films. I've watched them ever since I was old enough to watch television. Dr. Dolittle is the FUNNIEST movie of his I believe I have ever seen! If you like to laugh you'll love this movie!

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The Original Christmas Classics Gift Set (Rudolph the Red-Nosed Reindeer / Santa Claus is Comin' to

Rudolph the Red Nosed Reindeer is my favorite Christmas classic, as it likely it is for many people. Getting it in HD without having to watching it with commercials, is a treat for sure!

In the latest set (2011 release, this review is for the Blu Ray set, NOT DVD set), you only get 2 discs instead of 3. You get Santa Claus is Coming to Town on one discs and Rudolph and Frosty on another disc.

Santa Claus is Coming to Town looks OK, but for a film in HD, I guess I expected something better. My understanding is this is due to the original masters and not a lack of trying. I would say this looks better than it likely ever did when it aired.

For the audio portion, you get English 5.1/2.0 and Spanish 2.0. For those of you thinking that you'd like to hear the film in 5.1, I can say... don't even bother. To me it sounds like all they've done is done some matrixing of the audio, with the majority of it coming from the center channel, and ALL of the same audio kind of sounds like an echo in the other speakers. A complete and utter waste. Watch it in the original stereo audio for a more genuine aural experience.

Frosty the Snowman This one looks pretty good. They did a really good job on the restoration of this one (might have been easier being a cartoon, I don't know). Of the three (4 if you count the Frosty Returns extra), this probably was served the best during remastering.

Audio is presented in stereo 2.0 and sounds good. No pops, hiss or crackle.

Rudolph Every year I see this coming out on home video (DVD, BD... VHS) format, I get excited that this might be the year Rudolph gets the royal treatment. Every year I am disappointed.

Video quality on Rudolph is really good. If you've seen the HD broadcast of Rudolph, you know what this looks like on Blu Ray. They did a decent enough job when they remastered it.

In terms of audio, it's presented in stereo 2.0. No pops, crackle, hisses or any other blemishes.

So if it's so good in terms of audio and video, why am I disappointed? Well, when I grew up I watch Rudolph (during the 80s) with Fame and Fortune as the song Hermey and Rudolph sing. In 1998 they returned to the original film elements for cleaning the show up and at this time they restored the original Christmas classic to it's original presentation, without Fame and Fortune and this is how it has been broadcast since.

However, this alone doesn't get me to drop the star ranking. I actually really enjoy the original as it was first aired in the early 60s.

What bothers me is that year after year, after the 2004 release, they've dropped Fame and Fortune as an extra. At least on the 2004 DVD I could watch and hear the song, even if it wasn't embedded in the video.

As I know how DVD/BD creation works, to some small extent, while it would be some work, it wouldn't be terribly difficult to create a DVD/BD that would allow you to watch with either Fame and Fortune OR We're a Couple of Misfits embedded in playback. This is a gripe, and if Fame and Fortune was at least included as a bonus, I'd have been much happier.

The other thing I hope for is a complete release. As above, give me Fame and Fortune in some fashion, but how about also restoring the Rankin intro from the 2004 DVD? How about giving us the GE commercials, the commercials that aired in the early 60s with the show, that used the Rudolph puppets to advertise for different GE products? I actually have these on DVD in a raw, non-restored format, and even if they included them without cleaning them up, I'd be so happy! How about an interview with the official Rankin/Bass historian, Rick Goldschmidt on the show?

And as a bonus, we get "Frosty Returns." I have no idea what Classic Media was thinking, but they put this on the Blu Ray in SD format. It plays back in 480p. This wouldn't be so bad, but the video is wretchedly horrible. Audio is OK, but the video issues are glaring.

Over all, I'm not sure the set is worth $30. It's essentially the same release as last year, without the third disc, so if you already have last year's (2010) release, you don't need this one. The audio and video is good given the original source material, but there's so much more that could be done with these classics, yet Classic Media seems to be satisfied by putting out "good enough" releases instead of taking the year between each release to really pull together something magical and worth rebuying.

On a final note. Keep in mind that Mr Magoo and the others, are NOT on the Blu Ray. You ONLY get Rudolph, Santa Claus is Coming to Town, Frosty and Frosty Returns. The DVD does indeed have more shows. Not sure why Classic Media did this, but they did.

As there are number of collections called "The Original Christmas Classics", and another called "The Original Television Christmas Classics" there can be some confusion about that is included in each set. Particularly as they are all collections of features by Rankin/Bass (except as noted) primarily from the 1960's, and traditionally shown during the holiday season.

"The Original Christmas Classics" DVD set includes the seven features listed below, while the Bluray set with the same name, the subject of this review, only includes the first four titles.

1. Rudolph The Red Nosed Reindeer (1964 47 minutes)

2. Santa Claus Is Coming To Town (1970 51 minutes)

3. Frosty The Snowman (1969 25 minutes)

4. Frosty Returns (1992 23 minutes

5. Mr. Magoo's Christmas Carol (1962 53 minutes)

6. Little Drummer Boy (1968 25 minutes)

7. Cricket On The Hearth (1967 49 Minutes)

The Bluray set has two video discs. Disc One contains Santa Claus Is Coming to Town, while Disc Two features Rudolph The Red Nosed Reindeer, Frosty The Snowman, and Frosty Returns. Apparently all of the features have been remastered and restored to full length. Presentation is full screen, with no subtitles. Some Bluray sets apparently have an audio CD with songs taken from the specials, and some do not.

Santa Claus Is Coming to Town (1970): Rating 4.5 stars

While the legend of Santa Claus may be well-known, this delightful stop action feature delves into his early years, and also explains some of the common myths regarding Santa. The story is told partially through narration by a letter carrier (voiced by Fred Astaire) who delivers mail to Santa at the North Pole. An orphan baby boy is taken in and raised by the Kringle's, a family of toymaking elves. He is named Kris, and when he grows up, the red-haired young man (voiced by Mickey Rooney) leaves home with a big bag of toys. Through the gift of giving, Kris melts the ice cold heart of the Winter Warlock (voiced by Keenan Wynn), and makes a special friend in a schoolteacher named Jessica (voiced by Robie Lester). Kris faces numerous obstacles, but overcomes them with the help of his friends and family. He marries Jessica, and builds a home at the North Pole. As Santa Claus, he distributes toys to the children of the world.

The improvements made in the stop action technique, make for a smoother looking and more lifelike presentation, and the feature looks terrific on Bluray. With a creative uplifting story and some fun songs, this wonderful take on the origin of Santa Claus, is great family entertainment.

Rudolph The Red Nosed Reindeer (1964): Rating 3.5 stars

A true holiday classic, Rudolph The Red Nosed Reindeer features Burl Ives, a warm, teddy bear of a man, lending his unforgettable voice to Sam the Snowman, the narrator of this tale. Rudolph (voiced by Billie Richards) the son of Donner, runs away from home in shame, when his glowing red nose is discovered. In the woods, he meets Hermey (voiced by Paul Soles), an elf who dreams of becoming a dentist. The pair team up with prospector Yukon Cornelius (voiced by Larry D. Mann), and after escaping the clutches of the Abominable Snow Monster, they all make their way to the Island of Misfit Toys.

After growing into a young buck, Rudolph returns home, and tracks down his missing parents and friend Clarice, who are being held prisoner by the Snow Monster. With the help of Yukon Cornelius and Hermy, the Snow Monster is defeated, and the prisoners are set free. A raging storm threatens to ruin Christmas, but with Rudolph leading the sleigh team, Santa is able to deliver presents after all.

Memorable characters, an underlying message of acceptance, and quality songs, particularly those sung by Burl Ives, pretty much insures that this will continue to be a beloved holiday classic. The Bluray image is reasonably sharp and blemish free.

Frosty The Snowman (1969): Rating 3 stars

This animated feature narrated by Jimmy Durante, tells the story of Frosty, who comes to life when the magical hat of Professor Hinkle (voiced by Billy De Wolf) lands on his head. Together with his new friend Karen and Hinkle's rabbit Hocus Pocus, Frosty sneaks aboard a train headed north. The trio ends up in the woods, with Hinkle trailing trying to retrieve his hat. Fortunately Santa arrives to save the day, returning Karen home, and taking Frosty with him to the North Pole. Based on the traditional song, Frosty The Snowman is a light and fun tale, probably best suited for young ones. The Bluray looks fine, but probably won't blow you away.

Frosty Returns (1992): Rating 2.5 stars

This animated special was produced by CBS rather than Rankin/Bass, and features narration by Jonathan Winters. Frosty arrives in the town of Beansboro, and becomes friends with children Holly and Charles. A new invention called Summer Wheeze, a canned spray that instantly melts snow, threatens to ruin the town's traditional winter carnival. John Goodman provides the voice of Frosty. Image quality is just average.

Whether this Bluray collection with just four features is a better buy than Rankin/Bass' The Original Christmas Classics (Rudolph the Red-Nosed Reindeer / Santa Claus Is Comin' to Town / Frosty the Snowman / Frosty Returns / Mr. Magoo's Christmas Carol / Little Drummer Boy / Cricket on the Hearth), or The Original Television Christmas Classics (Rudolph the Red-Nosed Reindeer / Santa Claus Is Comin' to Town / Frosty the Snowman / Frosty Returns / The Little Drummer Boy), both which have more content, just depends. The remastered stop action features look very good in high definition, however the animated ones seems just average. Unless you are totally in love with Rudolph, and Santa Claus Is Coming To Town, one of the DVD collections might work out better.

If you do have a warm spot in your heart for holiday programming, you will want to at least take a look at all the options. With so many similar products, some with the same name, it is easy to get confused, and Rankin/Bass probably needs to do a better job of making it clear to consumers just what they are buying.

Buy The Original Christmas Classics Gift Set (Rudolph the Red-Nosed Reindeer / Santa Claus is Comin' to Now

Alright, so I got this collection in the mail today and popped all 3 movies in to see how the transfers look.

Overall, I'm fairly disappointed. I think Rudolph looks the least remastered. It might just be because the setting is so white but there's very little detail and often the lighting was inconsistant (though that's probably stuck in the original film). Santa Claus is Comin' to Town looks the best. There's lots of nice, vibrant colors in it. Frosty is somewhere in the middle. The audio is incredibly soft on all 3 and not really worth noting. I'd be very interested in a more professional review from someone who knows more about the original negatives and whatnot, but as for my eye-based review I'd give it an overall C-grade.

There are, of course, some improvements. I've yet to see a 1080p transfer that doesn't do any good, but, to be honest, I wish I had been able to resist and saved $30. At $15 I'd be satisfied, but not $30.

As for bonus features there aren't any except the not-so-classic "Frosty Returns" and a CD featuring a collection of favorite Christmas songs.

Here's the tracklist of the bonus audio CD:

01. Burl Ives Rudolph the Red-Nosed Reindeer

02. Brenda Lee Rockin' Around the Christmas Tree

03. Jackson 5 Santa Claus is Coming to Town

04. Smokey Robinson & The Miracles Jingle Bells

05. Jimmy Durante Frosty the Snowman

06. Burl Ives A Holly Jolly Christmas

07. Bobby Helms Jingle Bell Rock

Read Best Reviews of The Original Christmas Classics Gift Set (Rudolph the Red-Nosed Reindeer / Santa Claus is Comin' to Here

The product description & the reviews attached here are for a different product (the one that actually says on its cover that it is 7 Christmas specials). This product is only 4 Christmas specials. Hope someone gets this listing fixed!

Want The Original Christmas Classics Gift Set (Rudolph the Red-Nosed Reindeer / Santa Claus is Comin' to Discount?

Those considering purchase of the BD or DVD version of this set should realize that the contents of the BD version ARE NOT THE SAME as the DVD version.

The DVD set actually contains SEVEN holiday movies: Frosty The Snowman; Frosty Returns; Rudolph the Red-Nosed Reindeer; Santa Claus Is Comin' To Town; The Little Drummer Boy; Cricket On The Hearth; and Mr Magoo's Christmas Carol.

The BluRay contains ONLY FOUR of these movies. It is missing The Little Drummer Boy, Cricket on the Hearth and Mr Magoo's Xmas Carol. I have no idea why those three movies weren't included in the BD version, especially as the BD format allows one to fit much more information on a single disc than does a DVD. The fact is that all seven films could have easily been contained on TWO BDs. It's doubly confusing as Classic Media's cover art for both the DVD and BD versions is identical. Consumers can't be faulted for making the assumption that both sets contain the same material when the packaging is the same.

And, it appears that Classic Media has put these 4 films on TWO BDs for 2012, rather than the 3 BDs from 2011. What they haven't done is lower the price to a level that won't make the parents cry. A MSRP of $55 for two BDs? Really?

When it comes to the films themselves, my family tends to watch Rudolf, Frosty and Mr Magoo more than the others (Mr Magoo's Xmas Carol is graced by a terrific score by Jule Styne. It is also available separately on BD). Cricket on the Hearth and The Little Drummer Boy haven't made it to BD yet, but you can find the two films coupled on a two-DVD set for under $10.

There is a noticeable uptick in the picture and sound quality of the BD versions, but if push comes to shove and you really want all 7 films, then you won't be disappointed with the DVD version.

Both sets also include the same CD of "The Original Christmas Classics," a 7-track music-only CD that includes Rudolph The Red-Nosed Reindeer; Rockin' Around The Xmas Tree; Santa Claus Is Comin' To Town; Jingle Bells; Frosty the Snowman; A Holly Jolly Xmas; and Jingle Bell Rock. The CD is stuck between the DVD/BD cases in one of those paper CD-R sleeves. Not exactly gala packaging, but then, it is a "bonus," right?