Tenchi Muyo! War on Geminar, Part 2 (Blu-ray/DVD Combo) (2009)

Other than a few mentions and one flash of one the characters from the tenchi series, War on Geminar is a complete stand alone series. There is some character development but not much. However the story is solid, the characters are likable and memorable. This is a harem but the male lead is not some pathetic pushover that doesn't deserve a following. For only having thirteen episodes, though long, the series gets a lot done for story and plot progression. There really isn't a pointless episode. Every episode leads into the next smoothly and moves the story forward. There is fan-service but I would be hard pressed to find a harem anime without any. (One thing I am hoping for is Good English voice acting, and good packaging.)

Like with the other series Tenchi Muyo GXP while some of the characters will be familiar others are pretty much new to the Tenchi Universe namely the younger brother of Tenchi named Kenshi Masaki, though you'll of course have the usual hilarity and harem drama of the Tenchi plot the action and mecha fights are pretty exciting a little reminiscent of another series Escaflowne. While the info of the series shows only thirteen episodes remember that each episode is about forty five minutes so if you compare that with the usual length of anime episodes you get a twenty-six episode series. The animation and soundtrack fit nicely and the Japanese subbed cast did terrifically and as expected from Funimation the English dubbed cast did great in their character roles. While the series sets are somewhat pricey the overall enjoyment of the series for myself makes it worth it so if you're a fan of the Tenchi franchise or Ranma 1/2 or looking for a comedic/romantic/dramatic action anime with an endearing cast and good story here's one worth taking a peek at....

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You Did Wonderful Job!

I like This Anime!

You Did Execellent Job

Thanke You! Bye-Bye!

See-ya Later! Bye Angain! Adois!

Read Best Reviews of Tenchi Muyo! War on Geminar, Part 2 (Blu-ray/DVD Combo) (2009) Here

This is actually Isekai no Seikishi Monogatari Anime that consists of 13 Episodes in total. To split 13 episodes into two so called seasons is just wrong, BS and a WASTE of money!!!

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Anatomy of a Murder (The Criterion Collection) (1959)

Based on the famous Traver novel, ANATOMY OF A MURDER is an extremely complex film that defeats easy definition. In some respects it is a social document of the era in which it was made; primarily, however, it is a detailed portrait of the law at work and the machinizations and motivations of the individuals involved in a seemingly straight-forward case--and in the process it raises certain ethical issues re attorney behavior and the lengths to which an attorney might go to win a case.

Paul Biegler (James Stewart) is a small-town lawyer who has recently lost a re-election for the position of District Attorney and who is down on his luck--when a headline-making case involving assault, alleged rape, and murder drops into his lap. As the case evolves, there is no question about the identity of the killer. But a smart lawyer might be able to get him off just the same and redeem his own career in the process, and with the aid of an old friend (Arthur O'Connell) and his formidable secretary (Eve Arden), Biegler sets out to do precisely that. Opposing him in the courtroom is Claude Dancer (George C. Scott), a high powered prosecutor who is equally determined to get a conviction... and who is no more adverse to coaching a witness than Biegler himself. The two square off in a constantly shifting battle for the jury, a battle that often consists of underhanded tactics on both sides.

The performances are impressive, with James Stewart ideally cast as the attorney for the defense, Ben Gazzara as his unsavory client, and a truly brilliant Lee Remick as the sexy and disreputable wife who screams rape where just possibly none occurred; O'Connell, Arden, and Scott also offer superior performances. The script is sharp, cool, and meticulous, the direction and cinematography both effective and completely unobtrusive, and the famous jazz score adds quite a bit to the film as a whole. Although we can't help rooting for Stewart, as the film progresses it seems more and more likely that Remick is lying through her teeth and Gazzara is as guilty as sin--but the film balances its elements in such a way as to achieve a disturbing ambiguity that continues right through to the end. If you expect a courtroom thriller with sudden revelations and twists you'll likely be disappointed in ANATOMY OF A MURDER, but if you want a thought-provoking take on the law you'd be hard pressed to find one better. Recommended.

Otto Preminger, who produced and directed this fine courtroom drama starring James Stewart, Lee Remick, George C. Scott and Ben Gazzara, had a knack for translating best-selling mid-cult novels to the screen (The Man with the Golden Arm (1955); Exodus (1960); Advise and Consent (1962) and others) usually in a nervy manner, sometimes heavy-handed, sometimes pretentious, but always worth a look. Part of his secret was star power. Like Hitchcock, he liked to go with big names supported by fine character actors. And part of his secret was his long experience in both the theater and films going back to the silent film era. He knew how to put together a movie. But more than anything it was his near-dictatorial control over the production (something directors seldom have today, and never in big budget films--Preminger's were big budget for his day) that allowed him to successfully capture the movie-going audience at midcentury.

This and Laura (1944) are two of his films that go beyond the merely commercial and achieve something that can be called art. Seeing this for the first time forty-three years after it was released I was struck by the fine acting all around and the sturdy, well-constructed direction. James Stewart's performance as the Michigan north country lawyer Paul Biegler might shine even more luminously than it does except for a certain performance by Gregory Peck three years later as a southern country lawyer in the unforgettable To Kill a Mockingbird (1962). Lee Remick, in a frank, but imperfect imitation of Marilyn Monroe, co-stars as Laura Manion, the wife of army Lt. Frederick Manion (Gazzara) whom Bielger is defending on a murder charge. The defense is temporary insanity because the man he shot raped his wife. Bielger slyly gains sympathy for his client by deliberately allowing it to come out that Laura is sexy and flirtatious enough to drive any man crazy. Indeed, he tricks the prosecution into doing his work for him. George C. Scott plays Claude Dancer, a big city prosecutor, with snake-like precision while Gazzara manages to combine introspection and cockiness as the young lieutenant. Fine support comes from Eve Arden (best known as Our Miss Brooks on TV and in the movie of that name) as Biegler's loyal secretary and Arthur O'Connell as his alcoholic mentor. Kathryn Grant, who gave up a promising film career to marry Bing Crosby and have children, has a modest role as the murdered man's daughter.

I've seen many courtroom dramas, some real, some fictional, since this film first appeared, but I have to say it stands up well. The action (for the most part) feels realistic and the tension is nicely created and maintained. The resolution is satisfying and the ending is as sly and subtle as any country lawyer might want. Incidentally, if this movie had more total votes cast at IMDb, it would rank in the top one hundred of all time, which is where it belongs.

See this for James Stewart whose easy, adroit style under Preminger's direction found full range. Although he gave many fine performances, I don't think Stewart was ever better than he was here.

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This film hooks you in the first minute with Saul Bass' brilliant titles and Duke Ellington's music, and then has you caught for the duration in the next few scenes; the dialogue is sharp and intelligent, and at the age of 50, Jimmy Stewart gives one of the best performances of his illustrious career, as Paul Biegler, an attorney who would rather be fishing than getting fees for his work. Stewart is so natural, so real, and so immensely likable. He's the kind of guy you wish you could have in your family, but wily enough to argue a good defense in court.

Lee Remick has just the right amount of provocative sensuality as Laura Manion to make one wonder what exactly happened on the "fateful night" in question.

After playing Southern belles in both "A Face in the Crowd" (1957) and "The Long Hot Summer" (1958), Remick was offered the role of Laura because Lana Turner, who was supposed to play the part, refused to wear an "off-the-rack" wardrobe, and wanted dresses designed by Jean Louis (hardly what a Army wife would be wearing). It was a big break for Remick, and she makes the most of it.

The entire supporting cast is superb: Ben Gazzara as the intense Lt. Manion, Arthur O'Connell as Biegler's assistant and friend, Eve Arden as Biegler's loyal secretary. George C. Scott is Dancer, the Assistant State Attorney, and Joseph N. Welch, who gained fame for being the Special Counsel for the Army in the Army-McCarthy Congressional hearings, is a delight as Judge Weaver. Duke Ellington makes a cameo appearance as Pie Eye, and even Muffy the beer drinking dog does a great job. Otto Preminger's direction flows at a lovely pace, with a balance between the dramatic tension and thoughtful scenes tinged with humor.

There were Oscar nominations for Best Actor, Supporting Actor (both O'Connell and Scott), Picture, and Editing (all losing to "Ben Hur"), as well as Sam Leavitt's beautiful b&w cinematography (lost to "The Diary of Anne Frank") and Wendell Mayes marvelous screenplay adaptation of the Robert Traver best-seller (lost to "Room at the Top"), proving that 1959 was a great year at the movies.

I love courtroom dramas, and this is one of the best ever made; it's unpredictable, with a very authentic feel to it, perhaps because the author, using the pen name of "Robert Traver", was actually Michigan Supreme Court Justice John D. Voelker.

Total running time is 160 minutes.

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The original aspect ratio of this film is 1:85:1 (see IMDB).

The US DVD box from Columbia Tristar Home Entertainment contradicts this, saying:

"This film is presented in a FULL SCREEN VERSION which preserves the original theatrical aspect ratio, approximately 1:33:1."

In civil society, this may be called false advertising. The box does not contain what the box says it contains.

The DVD itself warns as it begins playing that the film "has been modified to fit your TV". In other words, it was re-edited in the 80s or 90s by another (anonymous) director/editor using the notorious 'pan and scan' technique, which cuts off the right and left edges of widescreen films, and adds new camera movements and re-scales some images to make certain that the action remains on screen in the new, square-ish ratio.

Amazon's Internet Movie Database correctly identifies the aspect ratio. Columbia distributes THAT version in Europe (which is why when you search for this film on Amazon, the European release comes up too). If you buy that version in the US, you'll pay a little more, and you'll have to use a region-free dvd player to view it. Here's the link for that version:

Anatomy of a Murder European DVD

Your second option is to buy this movie from Amazon Unbox, which presents it in its correct aspect ratio:

Anatomy Of A Murder from Amazon Unbox

Your third option is to wait on buying this until they release the original.

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In addition to an incredibly great transfer of my favorite picture, Criterion Collection shows what a class act they are. No unskippable ads; but a disc filled with truly interesting, relevant extras. This is what the medium is supposed to be like.

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Kingdom of War Part 1 and Part 2 (2006)

This was an excellent movie. Very good story line, actors, costumes and scenery were superb. This is one of the best Thai movies I have seen and I've had seen a good number of them. The fighting scenes were very intense and the weapons were authentic.

Seven years ago I saw THE LEGEND OF SURIYOTHAI, directed and/or produced by a cousin of the Thai Royal Family. I thought it was truly awful. Yet hope sprung eternal and when KINGDOM OF WAR came out I got it to see if/how far Thai film making had progressed.

Oops, the first disk of this two-disk Blu-ray was awkward, talky; a mush of cute kids and glum,

sour generals discussing their problems (maybe a set-up history lesson?) Radically boring. But thankfully mercifully short.

BUT THE SECOND DISK CAME ALIVE! Great in every respect. Writing, design, production,

characterizations, acting, battle action; it's long too; over two and a half hours.

I was amazed and delighted.

Disk Two's action historic drama doesn't have boring discussions as in that first

disk. Suddenly it seems nepotism is out and 21st-Century Thai film-making is in.

For Amazon's great two-disk Blu-ray price of $17.99, in Disk one you'll see Thailand's lush scenery, stunning temples, historically-accurate costumes and weaponry. (I spent seven years in Thailand, learning about this incredible country) Disk One is a true-to-life history drama of Thai wars with Burma (now renamed 'Miramar')

The real cinema treat is in the second DVD, which is much longer. And SUPERB in every aspect.

I collect Asian films (mostly Japanese and Chinese). They're having a real renaissance,

blowing Hollywood and Bollywood away). If this surprise film is typical of new Thai films,

then there goes my movie budget.

In the last decade Chinese and Japanese films have made giant leaps. For more welcome-to-a-new-age entertaining Thai films, see Chocolate. It's no period piece; taking place in modern-day Bangkok. There's also Bangkok Dangerous [Blu-ray] a Western-Thai collaboration shot in Bangkok, starring Hollywood's hardest-working actor of late, Nicholas Cage.

Both well-done action flicks offering keen looks at Thailand, unique and memorable.

A long-time fan of Thailand, I hope their films continue improving. In the meantime, to see how far Asian film has come, here are six surprising titles: HERO, LEGEND OF THE BLACK SCORPION, BATTLE OF THE WARRIORS, THE BALLAD OF NARAYAMA, HOUSE OF FLYING DAGGERS and DEATH NOTE. All, wonderful!

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A very touching film of Siam empire history in blu-ray 1 & 2. I am longing for the 3rd part of this soon ...

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A very well-done production of this time of Thai history. Of course, it is drama not history, but it is nonetheless well-written, well-directed and exceptionally well-executed. I look forward to watching parts 3 and 4, as soon as they are completed and sub-titled in English. While I'm fluent in Thai, my grandsons need the sub-titles. For those who wonder who King Naresuan is, he is called "Naresuan The Great" because the original Thai kingdom was formed by him from the minor warring ethnic Thai states which had been conquered or forcibly allied to Burma. That kingdom is the direct predecessor to the present kingdom.

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This was a good educational film on Siam before it became Thailand and Burma before it became Miramar. I had the good fortune to visit Thailand and enjoyed the people and culture. For some of older folks I enjoyed going to the movies to see the musical masterpiece The King and I. However, like a similar foreign film called the Red Cliff I struggled with the first part of this 2 disk set trying to get a handle on which of the various Lords was on which side. The main characters were not a problem but, who was aligned with each was a big problem with me I just could not keep track. So with the subtitles and the foreign names it was tough. Still I would recommend this film for those who enjoy watching a fairly good foreign film.

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Following (Criterion Collection) (1999)

If you're looking at this DVD, odds are it's because you saw "Memento" and wondered about the director, Christopher Nolan. Let's cut to the chase: Yes, "Following" is similar to "Memento" -its narrative jumps around in a similar way, to start with -and yes, it's basically just as good a movie. If you're wanting to stumble across a great young film noir director, Christopher Nolan is your guy, and this movie is well worth a look. Make that two or three looks.

I have to say, when I read the DVD case and saw that this plot wasn't told chronologically, the first word that came to mind was "gimmick." For "Memento" it made sense to tell things backward, because of the whole memory-impairment center of the story, but here Nolan was doing it again in an earlier movie? I was set to see a sort of warmup run, especially because this one was made with almost no budget at all.

Okay, so I was wrong. "Following" tells a few different lines of the story at once, but it doesn't tell them in reverse; here the idea is that the story's framework is a conversation between our main character and another man who's interviewing him in the opening moments. In the (dryly funny) director commentary, Nolan says he's trying to provide the viewer with details and themes in a "conversational" way. Maybe that's a conceit, but dang it, the mixed up storyline worked on this one too.

Two other common points of the two movies: they're built on incredibly spare, lean writing, and they really, really reward watching at least twice.

Following, if anything, is even more minimalistic than Memento; it's literally true that you come out of the movie not knowing any of the characters' real names. Given the premise -that the main character develops an inappropriate, fascinated interest in the intimate lives of anonymous people he sees in a crowd -the doubt you feel even about the characters' names makes perfect sense. A bunch of other little touches on that theme really hit home with me -boxes full of memorabilia that are (or maybe aren't) giving our protagonist a look at people's internal lives, and so on. Gradually you realize the story's so sparely told because we're like the main character, trying to figure people out by looking at the pieces of their story from a distance in a crowd.

And man, does Following reward a second watching. You'll get through it once and you'll kick it around for a while, work out the stuff you missed, tell your friends what you noticed... and then you all want to hit Play again. Every scene plays a little differently the second, or third, time through. That's exactly the sort of movie you want to collect, right?

If you are a collector sort, you'll like the few extras this one provides. For a "no budget" indie film, it really "gets" the DVD thing. There's an alternate camera angle with the modified script, so you can play through and watch where Nolan and company made changes along the way. Some of the changes are pretty funny; the sound guy's name got substituted for one of the character names. Nolan's commentary soundtrack is really worth hearing, too, especially because he made this with no money at all. He talks about how he established continuity for the viewer with little visual cues, throws off very funny little asides about how he cut corners, and stuff like that. Finally, you also get a "chronological" option, so you can see everything in order. It's all set in a nicely elegant set of menus that match the sleak tone of the movie.

So, yeah, it's worth it. Following is extremely memorable. It's not a perfect movie, or anything -I'd still say either The Third Man or The Big Sleep is my favorite film noir -but give it four stars and change, for doing so much on a shoestring.

You gotta wonder what Christopher Nolan can do to back this up. He's going to have more money in hand, and the fractured story thing might not last another movie. Hearing the director commentary on this disc, I don't think he's going to necessarily be limited to the cynical point of view these two movies have seemed to push. The guy has a real eye for character, for the way people head in unlikely directions... This could be an amazing career we're seeing start up, or then again maybe these are just a little too cynical to start with.

Christopher Nolan is a very talented director who proves how talented he is with his first "no-budget" movie, "Following." This a dark film noir that will keep you thinking and guessing until the shocking last scene.

Bill is a struggling writer who has been on his own for quite sometime. During that time he has become very bored and needs to find ways to kill time. He starts to follow people... anybody who seemed interesting to him. At first it was supposed to be a way for him to gather material for characters in his stories, but soon he becomes obsessed and cannot stop following people. Once a thief, Cobb, catches Bill in the act, he decides to allow him to enter his world of robbing houses, showing Bill how to really violate the lives of strangers. Soon everything starts to spin out of control and things for Bill will never be the same as he starts to learn that somebody just might be trying to use him as a decoy.... but a decoy for what? This dark film noir will keep you watching and thinking, even when it's all said and done. Then, you're going to want to watch it again.

Very much like "Memento," Nolan screws around with time, forcing us to remember exactly what has happened and the order they occurred in. However, the movie is not backwards, it is very much out of order in parts, so pay attention to every little detail that you come across. Is this film confusing? Yes, it is, or at least the first time you see it. This is a movie that will require you to watch it at least two times. Although I thought this was a good movie, I was a little disappointed with the length of the movie. It is only 70 minutes long, which isn't very long at all. It's also not widescreen, but I'm sure that' s because it wasn't filmed that way. It is black and white, very much like "Clerks," but it actually makes the film seem more darker and eerier. The movie does have great acting, from people you've never even heard of most likely, and it does have a great story line. It tends to be confusing at times, even frustrating. So see it with an open mind. I loved the music in it and you will be glad to know that it is the same person Nolan used for "Memento." There are a few extras on the DVD; one of the best features is the ability for you to see the movie in chronological order. There are also trailers for "Following" and "Memento." ("Memento" is probably one of the best theatrical trailers I have ever seen. "Following" is also a fine trailer.)

"Following" is a fine first from Nolan, who has proven that he is a brilliant writer and director who loves to make us do a lot of work when watching his films. If you liked "Memento," chances are you will enjoy this film as well. A brilliant movie, and one that shows you that you do not need a big budget to make a great movie. See this one as soon as you can.

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Christopher Nolan puts Hollywood to shame with this no-budget film. Proving that good scripts, good directors and good actors are the key ingredients that constitute good movies, not swollen budgets, big "stars" or special effects Nolan has created a very compelling film indeed. Although it's a no budget affair, it sure doesn't feel like it. The B&W treatment feels like a natural complement to the gritty story and turns a potential limitation into an assetit actually has a real artistic visual style. The performances are first rate as well, but what really floats this movie is the terrific script that will draw you in and keep you in suspense right up until the last frame. Then you'll want to see it again immediately. How many movies do you have that reaction to? The non-chronological narrative is dealt with masterfully and gives an already intriguing story a further dimension. An added bonus is Nolan's astute commentary and the alternate angle view of the shooting script, both wonderful resources for the aspiring filmmaker but fascinating for the rest of us too.

I saw this film accidentally because I grabbed the box too hastily from the video store, but boy am I glad I did!

Highly recommended.

Read Best Reviews of Following (Criterion Collection) (1999) Here

You can really see how this was the precursor to MEMENTO in that he uses the same device of telling the movie out of sequence and gives you the surprise ending. Otherwise it has a very low budget look shot in B&W with English actors that are sometimes hard to understand, but its quick 70 minute length means that it never gets boring.

The movie is about an unemployed writer that starts following people because he's bored. After tailing a thief for a while, the thief realizes that he's not a cop and decides to take the follower along on some break-ins. Told so out of sequence that you piece it together little by little, the follower follows and starts dating the girl whose house they broke into.

The DVD had a decent commentary, and a feature that lets you see the whole thing in sequence. This is like watching a touted ballplayer in his rookie season, a lot of promise and rewards to come.

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I have to say that Memento is the best movie I've ever seen. I decided to watch this because it's by the same director and I was wondering what else he could come up with. And I wasn't dissapointed. The movie is in black and white and jumps around the timeline in an interesting way, which keeps you focused and trying to figure out what's going on. I thought the general idea of the movie, about a guy who follows and watches random people, trying to figure out who they are and what they do, is quite original but at the same time common to everybody -who hasn't wondered about the random person on the street (I sure have).

The way the movie is presented is involving and at times humorous. The way the camera is positioned you really get a feel for being right there, next to the characters and involved in the storyline.

The movie is just as good on the second or third viewing (like Memento), and that's definitely evidence to the fact it's good.

I would definitely recommend this movie to people who liked Memento; you won't be dissapointed with it.

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Smokey and the Bandit (Blu-ray + DVD + Digital Copy) (1977)

What can I say about this super cool movie that none of the other reviewers have not already said? It is one of the funniest flicks ever, it is a celebration of cool things from the 70's (and there were not too many) like CB radios, weird/wild looking cars, tight jeans and Coors beer. The story involves a pair of Truckers (Burt Renolds and Jerry Reed)and their dog Fred, who take a bet from an obnoxious Father/Son Texas oil millionaire team that they can deliver an 18 wheeler full of beer about halfway across the USA in 24hrs. They hook-up with the original runaway bride Sally Field along the way, she does the impossible before your eyes and changes out of a wedding dress into the tightest jeans ever to grace the silver screen inside a Trans Am! The jeans are so tight she might as well be naked!! It's great! They are chased by jilted groom Junior and his Daddy Texas Sheriff Buford T. Justice played by the great Jackie Gleason. The Great One plays the best southern sheriff ever as he and his son drive from one madcap scen to the next in the "evidence" as they chase the Bandit in his Trans Am from one state to the next. The cast of charcters encountered is hilarious, mobile cathouse, samurai trucker, friendly undertaker, biker gang and many keystone cops. A big 10-4 to all those who firewalled this film, a big steamy 10-200 to those who did not. Let's have a reunion Burt, Sally and Jerry could take on a new sheriff. Burts need to be in a jet black WS-6 Ram Air TA with a "screaming chicken" sticker on the hood. Pontiac should beg for it, they need an image boost. I'm outta here good buddies, look out for those "Kojacks with Kodaks"!

When originally released in 1977, SMOKEY AND THE BANDIT was second only to STAR WARS as the year's internationally top grossing film. With a simple plot and film locations around Atlanta, Georgia doubling as other states, this film fast moving fun. This film stands out among the other Burt Reynolds films (Like WW AND THE DIXIE DANCE KINGS) which were traditionally filled with car chases, country music and just plain showing-off. Though this was not his first major motion picture, Jerry (Hubbard) Reed plays his part perfectly as Burt's Bandit-Blocker bootlegging partner. SMOKEY AND THE BANDIT jump-started Sally Field's career and finally broke the typecast that she could be nothing more than television's Flying Nun. Jackie Gleason is ideal as Texas Sheriff Buford T. Justice, whose character, a man with old-fashioned southern values, chases Reynolds, Field, and Reed from Texas to Georgia. Jerry Reed wrote and sang most of the vocals in the sound track. If the theme song, East Bound and Down, doesn't have you toe-tapping by the end of the film, then you need to watch it a second time. This film was followed by two sequels which paled in comparison to the original. This is probably the only 1970's trucker-chase and laugh movie worth owning.

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Smokey and the Bandit is a dramatic comedy based on various folk legends surrounding the questionable "real-life" exploits of bandit Bo Darville and southern sheriff Buford T. Justice. Smokey (Jackie Gleason) gives a powerful performance as Justice who relentlessly pursues a new Trans Am driven by the Bandit (Burt Reynolds) and a runaway bride (Sally Field), as well as his singing buddy Cledus (Jerry Reed) who drives a semi truck full of Coors.

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Transfer looks fine, has some cool extras, but they changed the sound of the car. I've seen this movie 3,294 times or more, and I know it inside/out. A major sell for me as a kid was the car in the movie.

Though the original sound of the car in the movie was totally dubbed to make the car sound better (and sound like s stick-shift, while the car in the movie is clearly shown to be an automatic). The Special edition version tones it down and makes it sound.. ... I dunno. Bleh. Not loud, not cool. Not the Bandits Trans Am.

I'd stick with the regular DVD if you are as about the film as I am.

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I caught the tail end of this movie on cable a couple of weeks ago and it took me back almost 30 years ago when first I saw it in the theater. I was 15 and was with my whole family at the movie theater and I remember cringing at every swear word because my mom was with us. It seemed like a lot of profanity back then, but these days you'd hardly notice it.

I also remember how great of a movie it was and just had to go out and get it for my DVD collection. Well I got it yesterday and watched it last night, and even 30 years later it's still a great movie. One thing to remember is that it seems like the late 70's and early 80's were filled with movies and TV shows like this (Dukes of Hazzard ring any bells?), but Smokey and the Bandit was the first, the original, and Hal Needham deserves alot of credit for single-handedly creating a whole genre, or at least a sub-genre.

Smokey and the Bandit was a fresh movie when it came out and immensely sucessful. It came out at the height of the CB Radio craze when virtually every one was putting a CB in their cars and trucks. My Dad had one in our van and another friend of mine's Dad had one in his truck and we used to hang out in one of our driveways for hours talking away with whoever was on the CB. Of course we had to memorize the list of "10" codes, and every CB radio came with a laminated list, so you learned that 10-4 meant affirmative, 10-20 meant location, 10-10 meant taking a break, and so on.

And so the CB was a big part of Smokey and the Bandit, and so were the Jerry Reed songs like "Eastbound and Down" that made up the soundtrack. And speaking of Jerry Reed, how great was he as Cledus carrying Fred the Basset Hound around eveywhere in the truck?

Sally Field as the runaway bride picked up by the Bandit (Burt Reynolds) was a perfect role for her. And Burt Reynolds was probably the most popular movie star of the 70's. The repartee between the Bandit and Frog (Sally Fields) character was funny and perfect. "You have a really nice profile." "Yeah, I do, don't I... especially from the side." Watching Smokey and the Bandit reminds me of why Burt Reynolds was so popular during the 70's.

And then the coup of the casting was getting Jackie Gleason to play Sheriff Buford T. Justice who chases the Bandit from Terxarkana all the way back to Atlanta Georgia. Gleason is phenomenal in the role and ad-libbed a good part of his lines. Telling his inept son Junior in a perfect southern drawl, "There is no way, just no way you came from my loins. When we get home, I'm going to punch yo mama right in the mouth."

And the car, I can't mention the other actors without mentioning the other star of the show, that fantastic black Pontiac Trans Am with the 6.6 liter V-8, the T-tops and the giant golden Eagle on the hood. That car was made for the movie and sales of Pontiac Trans Ams increased 700% solely because of the movie. Everyone wanted a car like the Bandit's.

Sure parts of the movie are a little cheesy, but it has a whole lot of redeeming qualities as well. It's not a film for intellectuals, but it's a great movie for watching with friends on a Saturday night with pizza and beer. Watching it in widescreen again was wonderful too, it's really shows off the cars and the stunts a lot better.

If you're looking to build a good solid movie collection, you need some good ones from the 70's and Smokey and the Bandit is one of the best comedies of its era. I highly recommend it.

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Baarìa (2009)

BAARIA is another masterwork form the consummate film artist Giuseppe Tornatore. Tornatore is so highly regarded in Italy and Sicily that famous actors fight for the opportunity to work in one of his luminous films, agreeing to take minute walk on roles just to be near the director: Monica Belluci, Ángela Molina, Beppe Fiorello, Raoul Bova etc. This film deserves close attention form the viewer and in some ways it may be better to view the DVD's Interview with Giuseppe Tornatore BEFORE watching this film so that the writer/director's concept and technique is understood before the story unfolds.

Baarìa is Sicilian slang for Bagheria where Tornatore was born and this is an autobiographic epic of three generations in the Sicilian village where he was born. It begins in the 1920's where Giuseppe "Peppino" Torrenuova lives with his brother Nino and his parents in a hovel. They are so poor that Peppino's father advises him to become a shepherd in order to help support the family. Peppino progresses to taking a cow around the town to fill the milk buckets of the townspeople, struggles through school, progresses to young adulthood when he falls in love with Mannina and going against Mannina's family's dream of having their daughter marry money, the two elope in the home of Mannina! and it is here that the characters become the adults who carry the film. Of note, Tornatore elected to cast the main characters with little known Sicilian actors: Peppino is Francesco Scianna and Mannina is Margareth Madè both brilliant in their roles. From this point the time passes through historical references to Il Duce, the mafia, WW II and the coming of the Americans, but more important is Peppino's idealistic concept that his future lies in politics. He becomes a Communist, rises in the ranks, eventually even visiting Moscow to meet with Stalin, and returns to Baaria to help the people struggle for land reform and socialism, all the while he continues to have children with Mannina and follow his dreams of being a successful politician, a dream that is as fragile as it is unattainable.

The film flashes back and forth in time and has no linear story line: Tornatore is more interested in taking snippets of his memories of his past life growing up in Baaria than he is in keeping the audience clear about the characters who flash in and out of the story. His use of children is magical they seem more wise in their innocence that the adults. But take the movie for what it is a mélange of remembered moments in the writer/director's life and witness some of the most beautiful moments ever created for the screen, such as the eventual death of Peppino's father who passes his wisdom to his son, and Peppino's advice to this oldest son as the son takes the train to Rome: the son asks 'Why do people call us hotheaded?' to which Peppino answers 'Because we think we can embrace the Universe, but our arms are too short.' Peppino's wisdom he passes to his son is to follow his heart at all costs and there will he find satisfaction. This film is overflowing in such moments and watching it is like opening a treasure trunk full of dazzlingly memories. The musical score by the evergreen Ennio Morricone is absolutely one of his finest a score the composer created in conjunction with Tornatore.

There is a problem with the DVD that hopefully someone will solve: the English subtitles (the film is in Italian and Sicilian) are very difficult to read so bleached out are they over backgrounds of bright Sicilian light. It is a post-production flaw that needs to be corrected for non Italian speaking audiences, but even with that minor problem, this is one of the most touching and tender and emotionally satisfying films this viewer has ever seen. 10 stars! Grady Harp, October 11

I have spent quite a lot of time trying to find the Sicilian version of this movie in the U.S. and when I finally watched the America release in "Italian" I found that the movie had a lot of Sicilian. Sicilian being my first language it was music to my ears. Sicilians are a unique and passionate people. Our language is so expressive and truly musical. I only wish there were more movies that were made in our native language. I'm guessing that this was released and marked as Italian because Americans will not notice the different languages...One scene in particular, when Peppino is running to school in the very beginning the teacher is yelling for him to hurry he shouts, "Sperugiate" (please excuse the spelling), but that is Sicilian. It happens many times in the film and appropriately (Sicilian being the conversational/familiar language used with friends and family, while Italian is spoken formal settings). Growing up in a Sicilian family we speak Sicilian at home and with our relations and neighbors, but with other Italians or when conducting serious business we speak in proper Italian. Anyway, I hope the people who watch this film experience the same satisfaction and feel the same nostalgia that I did when watching this film. Some of the nostalgia comes from my own experiences as my parents sent me Sicily as a child several times to spend summers there and some of the nostalgia stems from the verbal history my grandparents imparted on us.

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With both a literal and a figurative nod to Federico Fellini, Italian auteur Giuseppe Tornatore has created "Baaria." A personal epic spanning five decades in the life of a typical Italian family, there is undeniable beauty and lyricism in Tornatore's vision. His beloved "Cinema Paradiso" was a striking blend of nostalgia, whimsy, fantasy and heartfelt drama that struck a chord with both viewers and critics. It won an Oscar, as well as a slew of other awards, and is widely considered a modern masterpiece. With "Baaria," he adheres closely to a similar formula but with decidedly mixed results. I had heard one of two things about "Baaria" prior to catching it on this presentation. Some said it was a masterpiece, some said it was an utter disaster. And in truth, I do believe the film to be divisive. I expected to fall in love with the movie, but I ended up admiring individual elements as opposed to embracing it in its entirety. Part of the film's unusual quality is that it seems both completely intimate to the filmmaker but more noticeably aloof to the viewer. In the film's construction, Tornatore advances through the years and presents some compelling moments without ever slowing down enough to let us actually become invested. This choice might be embraced by some, but the lack of emotional connection is what will create the film's strongest detractors.

As always, Tornatore's film is a beautiful physical specimen. The technical aspects of art direction and cinematography enhance the movie's appeal, and it really looks crisp and clean. Taking place in a small Sicilian hamlet called Bagheria (of which the title Baaria is a nickname), the bulk of the film deals with a small boy who advances through his life to old age within the narrative. Not only do we see his world and family, but we see the political structure of the country change around him. I enjoyed much of this perspective as there were subtle lessons in history sprinkled throughout the piece. Certain moments have a pleasant sweetness, some are more tough. It's as if we are catching random glimpses of the characters as time progresses. And in truth, I really liked the idea of the film. However, if I'm being completely honest--the device, while interesting, is also what caused me to disconnect from the story. Just when something of interest happens, you move on. Nothing has time to resonate. How can you watch someone's life story and still not particularly know them or care about them? That is ultimately how I felt with "Baaria."

And yet, I still can't completely discount Tornatore's conception. It's big, bold and adventurous. Sure, it veers to the fantastical once too often--but here is a filmmaker with a specific point of view. It wasn't wholly successful for me, but it didn't lack in ambition (which so many films do). The movie itself ranks at about 3 1/2 stars for my taste. But the DVD features are enough to make me round up and should be appreciated by Tornatore fans. He is front and center in a commentary track, in behind the scenes footage, in an interview, and at the film's premiere. In addition, some deleted scenes are also present. Clearly, this was a personal and important project for the director. I just wish that I had felt the same passion as he has for the work. KGHarris, 10/11.

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As a legitimate proud of a the most faithful tradition of the Neo Realism tradtion, Tornatore returns to Sicily to undertake the task of telling us the life and times of a fervent believer of the new hopes of a better tomorrow.

The man and his circumstances, disavenences through thirty years from his early youth until his early fifties. The film captivates and engages, and if it's true it lacks of the enraptured magic of Cinema Paradise, the movie will reward you, due its unforgettable and laughable vignettes all the way through, without loosing ends about the inner contradictions between the reformer politician and the old fashioned head of family.

The marvelous introduction reminds us so much to De Sica's Miracle in Milan, where the fantasy and surrealistic images allows us to be part of his narrative scheme.

Terrific cast, splendid script and amazing photography make of this movie a must-see. Don't miss it.

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Saw this film on a return flight from Italy. Though I speak no italian, this film captured my attention. So expressive is the writing, I found it easy to follow the story even without subtitles. I await the North American release of this DVD with real anticipation.

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Night Riders (1939)

As a kid, I would sit for hours and watch old westerns on TV on Saturday morning. My favorite was "The Duke". The 3 Mesquiteers films, he made 8 of them, were the best. I loved the music. It was just fun, silly fun, but fun.

Olive Films has been releasing a number of early John Wayne Republic B westerns, ifrom fine quality prints on DVD. This one packs all the action that old cowpokes enjoy. Good quality print. Recommended.

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1. Nothing derogatory about the movie in itself. Just be aware that it is in Italian ONLY. No English language or sub-titles.

2. The advertisement lists 2 movies titles, "The Night Riders" and "Lone Star Bullets". This is untrue. There is ONLY one movie, "The Night Riders".

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I like John Wayne movies and collect all the movies he made. This was one of his early movies, which all are about the same stores as many silent movies done before sound. They changed the people appearing in the movies and sometimes the name of the movie. But if you are a John Wayne fan it does not matter you just like watching his movies.

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I'm most delighted to see John Wayne's old classic movies being preserved onto DVD and even happerier that there are merchants who sell such product.

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Pleasantville (2011)

Pleasantville may be one of the best, most underrated movies of all time. I admit, when it was first released, the premise seemed a bit goofy: two teenagers (played by then-unknown actors) are suddenly cast into a Leave It To Beaver-like classic TV town called Pleasantville by none other than Don Knotts (reminds you a little of the forgettable "Stay Tuned," doesn't it?). Upon their arrival, however, they discover that Pleasantville isn't everything it's cracked up to be and that being "pleasant" means missing out on some basic, vital parts of life (such as toilets, and of course, sex). What follows is an amazing transformation: of the main characters, the town, and even the movie itself, whose stunning cinematography slowly adds bursts of color to Pleasantville's black and white world while simultaneously providing a metaphor for the race conflicts of the 1950s and 60s. The two unknown actors turn out to be the now-famous Tobey Maguire and Reese Whitherspoon, both of whom shine like the stars they are in one of their first movies. Added to this are excellent supporting performances by some of the best in the business, including William H. Macy, Joan Allen, Jeff Daniels, and the late great character actor J.T. Walsh. An absolutely incredible, must-see film.

Pleasantville is a fantastic film experience, and don't let anyone tell you otherwise. A true, striking, and original masterpiece; Pleasantville is a must for any movie fan. What makes the film such a joy is how it exists on so many levels; almost anyone can find something to like here. It's at times a simple fantasy, others a biting satire, and even others an account of our history and change as people. Pleasantville is purely original and very well-structured. It deals with mature themes and if you're someone who likes to analyze films, then this is a great choice. The DVD warrants a purchase, even if you already own the VHS version (as I do), one of the few DVD's that does. Do yourself a favor and listen to writer-director Gary Ross's commentary-it's dynamite, even if you generally do not like commentaries. It's incredibly enlightening and adds much to the film's depth. Ross cleary illustates all of the overlapping themes and symbolism, and adds a personal touch to the movie's meaning. (The unintended rip-offs of The Shawshank Redemption and Citizen Kane are particularly interesting). The film has a bright, crisp transfer and excellent sound. The only way to enjoy Pleasantville (other than the theater) is on DVD. Newman's music is magical, also. There's a neat (oh, I'm talking like a 50's person now) behind the scenes documentary on the film's jaw-dropping special effects. The included Fiona Apple music video is pretty neat and directed by P.T. Anderson. (Anderson fans take note: watch for Anderson regular John C. Reilly at the video's end.) Overall, a DVD to buy: one of '98's best films with tons of extras to boot. Swell.

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Pleasantville is like a colorized movie version of Twilight Zone. A modern day boy (Toby McGuire) dreams of going back to the innocent days of the 1950s. When he gets his wish via a magical stranger played by Don Knotts, he and his sister Reese Witherspoon steps into a black and white world of Pleasantville, a town stucked in the 1950s. As the town's innocence is wiped away with the introduction of books and knowledge, color replaces the black and white starkness of the town and its people. Beautifully acted and filmed, this movie has heart and a brain.

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O.K. I'll to try to help people get the most out of this movie.

First, I recommend you wait to see this movie until you're atleast 18 years old. And, no, I'm not saying that this movie should be rated 'R'. I just think you have to have a certain amount of education under your belt, and be contemplating life in general, to fully embrace this film.

Now, regarding what the movie is about...

It's about two siblings who have different views of what the perfect world should be--neither of which is totally correct. Despite the title, I don't think the movie is about the town of Pleasantville. Sure, almost everything we see happens there, and there are plenty of scenes that don't show either David or Jennifer (the two kids); but, I think that the town is there more as a learning device for the kids, and as a reminder to us, the audience, of our real-world history. You have to keep in mind that this movie is partly a comedy. If you get bogged down trying to figure out what everything is a metaphor for, you may miss a laugh, because most of the time there are only partial metaphors. Pleasantville doesn't represent 1950's America. (They actually did have toilets and "real rain" back then.) It's a fake world that David thought would be a great place to live in. Unfortunately, a world where nothing bad ever happens just doesn't exist (when real people are involved). David, himself, helped mess up his perfect world just by being late for work once. Jennifer, on the other hand, is upset that she's been unwillingly thrown into this world that is far from her ideal one; so, she does her best to try to change Pleasantville into what she wants.

The following are my comments on what other reviewers have said:

--Unlike what some reviewers have said, it seems like both liberal and conservative views are expressed here; and in the end, neither one is found to be always better than the other. Sometimes, change is forced on us even when nobody wants it (e.g., natural disasters). Either you find a way to deal with the change, possibly learn from it, and move forward; or, you can spend the rest of your life wishing for the olden days, feeling miserable, because you know they will never return.

--Whoever brought up Nazis in relation to this movie must have been watching something quite different from what I was. Religious freedom and sexual orientation are two subjects that this movie never even tried to touch on. And, the most physical harm that I can remember seeing in this film, was one guy with a bloody lip. Or, if you're referring to the book burning, it's not like the Nazis are the only ones who have tried to remove certain literature from society.

--Anyone who said this movie promotes sexual promiscuity wasn't watching closely enough. In fact, they must have completely ignored everything that went on with Jennifer in the second half of the movie. David and Jennifer even talked about how becoming colored couldn't just be about sex. However, I do wish that sex hadn't been used as frequently as it was, and probably shouldn't have been, if they really wanted this to be a family-friendly film.

--This story was also NOT an allegory for the Garden of Eden. The garden was made reference to a couple of times, but it certainly is not what the movie is all about. Especially with the Don Knotts part, I can't understand why anyone would seriously think that the TV repairman was supposed to represent God in anything but the loosest sense. That character was there almost solely for humor. The citizens of Pleasantville never make any mention of any religion at all. So, how anyone can say that this movie is an attack on their religion is mind-boggling to me.

If Gary Ross is guilty of anything, it might be too much ambition. But this story worked for me on all levels. I enjoyed the serious parts and the silly parts. And I hope I can continue to live in color.

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House On Straw Hill (Blu-ray + DVD Combo) (1976)

Udo Kier kicks butt (literally) in the parking lot near the start of the film. For crying out loud, I believe this is the best film of Udo's career and there's still, not, a single DVD release of this film! His descent to madness is brilliant as he is exposed for what he is. I understand there might be ownership rights in dispute because of the number of name changes this film went through from House on Straw Hill to Trauma to Expose. One would think Code Red or Scorpion Releasing would be able to resolve these issues, just like with Human Experiments and give us a collector's DVD and slap on the missing scenes as extras to speed up a possible release.

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Mr. Magorium's Wonder Emporium (2007)

I would just like to say that it is rare in this day and age for a theater audience to stand and applaud at the end of a movie. That is exactly what happened when I saw Mr. Magorium.

It is also rare for a movie to captivate, not only myself and my wife, but my 13 year old, 10 year old and especially my 4 year old all at the same time.

It was a truly magical movie. Dustin Hoffman was brilliant and brought the charm of Mr. Magorium to life; a performance matched only perhaps by that of Gene Wilder as Willy Wonka.

To those who suggest this is a child's movie. They are correct. It is for children...of all ages.

This is a terrific family movie that is suitable for children of all ages. There are, to a degree, some parallels with Willy Wonka & the Chocolate Factory [HD DVD]. However, for the most part it is its own movie. It centers around a man (played by Dustin Hoffman) who wishes to leave the management / ownership of his magical toy store to his favorite employee (portrayed by Natalie Portman) as he can sense that his end is near. Unfortunately, Portman's character is apprehensive about taking over the toy store, mostly stemming from a lack of self-confidence.

To be sure, many will say that this film is predictable, and so it is. However, the people who criticize it on such grounds are, I believe, missing the point. Granted, there are no real "hooks" in the plot or plot-twists that will keep you guessing. So what? In a movie like this, it really doesn't matter. At base, to me the film is not so much about the story itself as it is about how we all used to look upon the world with such a sense of wonder when we were children. People who are only looking for surprises are not prone to "getting it" insofar as this DVD is concerned.

The casting is terrific with Hoffmann and Portman leading the way. Hoffmann gets his chance to play a sort of pseudo-Santa Clause, and it's evident that he enjoyed himself immensely. I've always like Portman, and it's nice to see a young woman who is both a fine actress as well as a great person. She is kind of the antipode to "bad girls" like Lindsay Lohan.

If you are the parent of small children, I'd highly recommend this film. If you're not a parent of small children but enjoy feeling like a kid again, this one is recommended to an equal degree.

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A breath of fresh air of a family movie. Mr. Magorium's Wonder Emporium is simple in its storytelling about believing in your self, finding the magic in your life. It is an enchanting movie; entertaining without the typical hper-action, potty/burping humor or street-smart smack talk so overdone in every other "family" movie these days.

Charming. Brilliantly understated acting; not over the top in any way, no sterotypical characterizations. Dustin Hoffman, Natalie Portman, Jason Bateman and child actor Zach Mills played true to their characters, filled with wonder, believable. I can only imagine that the movie's negative reviews are based on reviewers having preconcieved ideas of what they "thought" the movie would be like. This is a simple Willy Wonka-esque story, 90 minutes of enchanting entertainment without hype or preachiness. Slow down and enjoy it!

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[Mild spoilers in this review:]

This is a unique movie. The plot is relatively simple Toy Store Owner prepares his assistant to take over the business. There is no villain in the form of a character. I suppose the "villain," or conflict in the plot, is "lack of imagination." This is initially personified in the form of a dry, by-the-books accountant, however this character is by no means the villain in this story. "Lack of imagination" is the force opposing Mr. Magorium and his whimsical store.

I suspect that mainstream America and the critics didn't respond favorably to this movie for two reasons: marketing this movie was difficult; and much of mainstream America and the critics are guilty of exhibiting the same element that served as the conflict in the movie: "lack of imagination."

For example, in one scene, the witless accountant finally gives in to others' use of imagination and tries being imaginative himself by wearing silly hats and pretending to be someone else. He and a young boy act out fairy tale stories and let their imagination run wild. The boy's mother discovers them and is immediately suspicious of the accountant's intentions. It's as if the movie is commenting on some people that perhaps don't "get it." Additionally, as if life were imitating art, there were some people that didn't "get" this movie.

My family (with two kids aged 6 and 3) thoroughly enjoyed this movie, and we could comfortably watch it without fear of "toilet gags" and without anxiety of seeing crude/vulgar moments. And this movie also effectively addressed the potentially disturbing subject of "death." I liked the approach here.

Like the characters in the movie, give Mr. Magorium a chance. And let your imagination flow with the movie.

Favorite line: "Light bulbs die. I am departing."

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Mr. Magorium's Wonder Emporium champions classic toys and the stores that used to carry them before the proliferation of chain stores like Toys R Us and Wal-Mart made them virtually extinct. In this age of crass commercialism, this film celebrates idealism and imagination things that our world so desperately needs.

Dustin Hoffman portrays Magorium as an optimistic Willy Wonka-type who is a genius toy maker and has a pet zebra in his home. He runs a magical toy store complete with an enormous book that lists the store's entire inventory and going to the appropriate page magically produces said toy. Each character has their own dilemma to resolve: Eric has to make a friend; Henry has to learn how to have fun, and Molly's desire to create music instead of running the Emporium. The cast is uniformly excellent, from Natalie Portman's engaging turn as Molly to Jason Bateman as the button-down accountant.

There is an absolutely charming scene where Henry and Eric communicate on opposite sides of a pane of glass via handwritten messages to the Cat Stevens' song, "Don't Be Shy" that demonstrates director Zach Helm's skill a visual storyteller. It was at this moment that I wondered if he is a fan of Hal Ashby's films as this song was used prominently in Harold and Maude. This hunch was confirmed with Ashby's surname popping up in a scene as a store name. It is these little touches, like the nervous slinky or the gigantic dodge ball that fills an entire room or Magorium's hospital room at night decorated with many glow-in-the-dark stars, that make this film such a joy to watch.

He adopts a vibrant colour scheme with the larger shocks of colour being primary in nature and then the smaller details (toys and clothes) comprised of secondary and tertiary colours. For example, the hospital that Magorium stays in is dominated by golden yellows while warm, brown wood dominates the Emporium. The entire film is like a giant box of Crayola crayons exploded all over it.

Mr. Magorium's Wonder Emporium is not at all what I expected it to be (to be honest, I had little to no expectations) and was pleasantly surprised by how charming and imaginative this film turned out to be. It makes a convincing argument for keeping magic and wonderment alive. So often we grow up and either lose or ignore these feelings. There's more to life than dollars and sense. Mr. Magorium is a wonderful film that appeals to your heart without being so obviously manipulative and celebrates imagination over conformity. It also appeals to children with condescending to them and to adults who haven't forgotten what it's like to be a kid.

"Strangely Weird and Weirdly Strange: The Magical World of a Wonder Emporium" is comprised of four featurettes that take brief looks at various aspects of the film. The first one features cast and crew praising director Zach Helm. Another takes a look at how the Sock Monkey puppet works. We also see how the production dealt with an actual zebra on the set. Finally, we see how the life-sized sculpture of President Abraham Lincoln was made entirely out of Lincoln Logs.

"An Eccentric Boss and An Awkward Apprentice" takes a look at the characters of Mr. Magorium and Molly Mahoney. Not surprisingly, the actors were drawn to the project because of the well-written script. Cast and crew speak highly of Hoffman and Portman. The two actors describe their characters.

"To Meet Eric Applebaum, Start by Saying Hi" takes a look at Eric and the actor who plays him, Zach Mills. Like the previous featurette, the character is described and the actor is praised. He was picked out of 1,200 other kids.

"The Magical Toy Store" examines the fantastic set that was the toy store. Helm and the production designer worked together to create a big playground for kids. They wanted to create the impression that the store really existed. There's also footage of this set being constructed.

Finally, there is "Fun on the Set," a montage of the cast and crew goofing around on and off the set.

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Lore

Most of us have seen many films about WW2. Most of what I've seen has been well-made and correctly shows the insanity of Hitler, the cruelty of the Nazis, the complacency or fear shown by German adults about challenging "the system" and the horror of the Holocaust. This one is different. Although it passes through all of the above, it asks a question for all of us: If you loved and trusted your parents (or any role model) and they embedded a certain point of view in your heart and head, how long would it take for you to even be open to another reality when you began to see contrary evidence in the outside world especially when your parents told you that you would encounter nothing but propaganda and lies? How long would it take? Especially if you grew up in a time when there was not much outside media and you were only 14 years old living in a society where everyone around you believed the same thing as your parents or were too afraid to even hint at anything different. As an American, this made me think about all the things we've done in the world during my lifetime that I accepted because, in my heart, I still believe after all is said and done, that we are the good guys. If we do something on the world stage that seems questionable, there must be a good and ethical reason for having done it.

The feel of the film is totally authentic, the acting as real as you can imagine, the photography and direction brings you very close to the characters and their feelings and it left me with lots on my mind: What should I believe? How would a Jewish person react to this film? What has been the mindset of an entire generation of Germans who grew up during this period? What should the rest of us learn about our deepest beliefs regarding other people?

This would be a great film for families or groups to watch, then discuss.

Bottom line for me, even if someone could find some flaw in the writing, acting, direction or filming, this film deserves the highest rating and is a "must see" for anyone who cares about people.

"Lore" (2012 co-production from Australia and Germany; 109 min.) brings the story of Lore, a teenage girl, and her 4 younger siblings. As the movie opens, seemingly far-away WWII is coming to a close (with the announcement that the Fuhrer is dead). We soon learn that Lore's parents are high up in the Nazi party and sure to be arrested by the Allies. Lore's mother implores Lore to take her siblings up north to Hamburg to where Omi is (Lore's grandmother). The problem is that Lore and her siblings are in the Black Forest (Southwest Germany) and that Hamburg is far, far away. With no money and no food, the siblings face a quasi-impossible task. Then at a certain point they make the acquaintance of Thomas, who appears to have escaped one of the concentration camps. Now a goup of six, they work their way further north. At this point we are not quite yet half-way into the movie but to tell you more would ruin your viewing experience, you'll just have to see for yourself how it all plays out.

Several comments: first and foremost, this is the bleakest movie that I have seen in a long, long time. Much of the movie confronts you with the fact that food was scarce and people will do just about anything to get some food. Just when you think that the situation of the siblings can't get worse, it does. Lore's youngest sibling is baby Peter, maybe 6 months old I'm guessing. You would expect baby Peter to be crying quite a bit under these circumstances, and that is exactly what we see on screen, no sugarcoating of any kind. Kudos to Saskia Rosendahl in the title role, she will simply blow you away with this performance. I must give a caveat about the way the movie is filmed and edited, with numerous extreme close-ups (of hands, faces, plants, anything really) and handheld camera shots.

Bottom line, though, is that this movie about an impossible journey makes for gripping and rewarding viewing. I had seen the previews of this several times and when this opened at my local art-house theatre here in Cincinnati, I went to see it right away as I figure this will no play very long, given the nature of the movie, but I could be wrong. In fact, the screening I saw this at today was reasonably well attended, although I did see an older couple walk out in the middle of the movie, I guess they couldn't take it anymore. If you are in the mood for a quality foreign movie that makes for at times difficult but ultimately rewarding viewing, do not miss this. "Lore" is HIGHLY RECOMMENDED!

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"Lore" is a captivating 2012 coming-of-age drama about a 15 year old girl who tries to shepherd her 4 younger siblings 500 kilometers across war-devastated Germany at the end of WW 2. The film was adapted from Rachel Seiffert's 2001 novel "The Dark Room".

The film is beautifully photographed by Australia born Adam Arkapaw who is best known in that country for films like "The Snowtown Murders" (2011), "Animal Kingdom" (2010), and "End of Town" (2006).

The child actors are marvelous, especially Saskia Rosendahl (as Lore) and Nele Trebs as her younger sister.

This is a German production with English subtitles.

Australia born writer/director Cate Shortland is best known for the award winning film "Somersault" (2004). She does a good job showing the trials and tribulations of the journey, especially the tension between the once proud elite and the realities of the new world, but her choice of shots keeps us at a distance from the participants.

"Lore" won awards at various smaller film festivals (Hamburg, Hamptons International, Hessian, Stockholm, Valladolid) and nominated for best film at others (London, Sydney). Hollywood News called it a "devastatingly stirring Germany-set drama" and said it was "unquestionably unforgettable". Variety said it "offers a fresh, intimate and most successful perspective on Germany's traumatic transition from conqueror nation to occupied state."

Bottom line – an unusual look at post WW2 Germany that is beautifully photographed and well-acted.

PS This film would get a 9 out of 10 if Amazon used a 10 point scale.

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Very well done film that centers around the sensitive topic of a child ("Lore", short for "Hannalore") coming of age in Germany at the end of the second world war who is bluntly confronted with the realization that she had been misled by much of what had been communicated to her regarding the war by parents and society during prior years. The performance by the actress who plays Lore, Saskia Rosendahl, is wonderful, especially toward the conclusion of the film when her character confronts her grandmother about this deceit, and is told that her parents did nothing wrong (her parents were National Socialists who were sent to camps by the Allies at the conclusion of the war). If you have a chance to watch the DVD, I strongly recommend that you take the time to watch the extras: "the making of Lore", "deleted scenes", "alternate ending", "memories of a German girl", and "panel discussion". Other reviewers here have indicated that they were confused throughout their viewing of this film, and I acknowledge that it is much easier understanding this film for individuals such as myself, a first generation American whose parents lived through the after effects of the war as children. The scene where the children encounter bombed-out buildings for the first time, and everyday scenes such as those involving mushroom hunting (there was no meat) are especially reminiscent of my mother, who grew up in an orphanage in what was to become East Germany. While I do admit that there were two scenes I did not understand, the deleted scenes extra on the DVD explains one of them. Perhaps others might find greater understanding by watching the extras as well. I agree with the director that using the "romantic" alternate ending for this film would have been a mistake, because the chosen ending brings some closure to the struggles that Lore experiences throughout the film. The question and answer panel discussion (which took place following a special screening of the film in February 2013, and includes the director of the Goethe-Institute Los Angeles and a contributing editor for the Jewish Journal of Greater Los Angeles) is interesting and provides fair treatment, but it is not recorded very well, so you may need to view it more than once. While I have read quite a few books of this genre, such as "German Boy: A Child in War" by Wolfgang W. E. Samuel (see my review), this is the first book or film I have experienced which directly addresses such a dramatic shift in attitude as a result of being bombarded head-on by the truth. Well recommended.

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Set in the dying moments of World War 2 in Europe, we get to meet 15 year old Lore (Saskia Rosendahl, actually 19). Her father is a big wig Nazi and her mother is one of those German mothers who appears to have produced children purely to become Third Reich fodder, as she shows minimal interest in their welfare. As the Russians close in from the east and the Americans (who kill all children according to Mutti) close from the west, the father does a runner and then the mother decides to hand herself over to the Americans.

She leaves Lore some money and jewellery and tells he to go to her grandmothers, this is a 5,000 kilometre trek across war torn Germany, with a little sister, twin younger brothers and a seven month old baby. The last thing her mother tells her is `you must remember who you are', which on reflection is pretty lousy advice as it soon transpires that no one wants the kids of known Nazi's anywhere near them. It is also apparent that the nazification of Lore has been complete as she and most of the people she meets along the way are still ardent Hitler supporters, all deny the evidence of the Holocaust and the camps, and still are rampant antiSemites.

This is a complex but in many ways very honest look at a national psyche at a time of great turmoil and the contradictions and bewilderment that enforced change can bring. The acting is all excellent, there are some upsetting scenes, but all completely within context. The cinematography is brilliant, with all the shots framed and studied to award maximum effect to the storyline. This is not a war film in the sense of battles etc, but it is a film about the collateral damage that war has, both physically and mentally.

With a run time of 105 minutes this does actually fly by, it is in German and English with good sub titles. It was a co production of Austria, Germany and even Screen Australia. This is an intelligent film, it is not pretty and neither should it be based on the subject it deals with, but I found it both very watchable, believable and even moving in places, so can easily recommend.

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Death Race (Unrated) (2008)

Death Race (Unrated Edition) (Unrated Edition DVD) was released in 2008-12-21 and contains some scenes which are wasn't in the Theathrical release.

The back cover of DVD tells that there is additional 6 min in Unrated version, but there is no any list of what exactly was added.

Here is the list of these additions made by comparing of two versions. Feel free to correct it.

Only significant changes:

1. Scene at the steel mill where the cops come features Jensen egging them on as they attack his fellow coworkers.

2. Cafeteria scene shows the spit actually hitting Jensen's food. Small scene afterward of Ulrich leading Jensen to the Warden's office, telling him that the Warden punishes prisoners "who mess with her drivers."

3. The fate of Jensen's cell mates. (You don't actually see anything happen, just sound effects)

4. Small 15 second scene of Case giving details on how the buttons work during the race: "All four wheels must hit the button at the same time."

5. The machine guns stop working on the front of the Mustang and Case hangs out the window, hitting them with a wrench as the other cars shoot at her. (Probably the longest scene removed from the theatrical release)

6. A few cuts of Grimm's car interior logrolling before it gets launched into the air.

7. Quick cuts of the napalm flames engulfing Travis Colt before his car blows.

8. When Jensen initially attacks Pachenko, he admits that Hennessey and Ulrich did it, and we see a sort of flashback to him and Ulrich sitting in a car watching Jensen step out of the bus.

9. Case make small talk and asks Jensen what his real name is as the two modified Death Race cars speed across the Terminal Prison bridge.

Nothing really significantly different. A little more extended, but not by much, and nothing really improved upon as far as being more-violent and showing more gore than the theatrical release.

I hate just about every Paul W.S. Anderson film, but he actually pulled this one off. The action scenes are intense, helped by the use of practical effects, rather than CGI overkill. Just wait until you see the tanker truck getting flipped in slow motion. Almost as cool as the semi truck flip in The Dark Knight. Jason Statham is the action star of this decade. The man has muscles everywhere and does the most with his limited acting range. Ian McShane of HBO's Deadwood is given some good lines and is one of the more memorable characters in the movie. I hope he gets more big screen parts in the future. Joan Allen turns in performance I could have never pictured her doing before today, and it worked.

Death race will likely give you a headache with it's shaky camera movements and some of the dialogue could have used some work, but I had a great time. If your of the male gender, the cars, guns, explosions and babes will keep you entertained.

3 and 1/2 out of 5 stars

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Short Attention Span Summary (SASS):

1. By 2012 the US Economy is completely ruined (guess it doesn't matter who you vote for)

2. Prisons are packed thanks to spiraling unemployment and crime

3. Private corporations run the prisons for profit (Serious business, as there's no money left for a bail-out)

4. Terminal Island Prison runs pay-per-view death races as a fund raiser, using inmates to drive cars tricked out with weapons and armor plating

5. There are no rules except if Warden Hennessey (Joan Allen) says there are

6. Jensen Ames (Jason Statham) is framed for the death of his wife

7. Hennessey makes him an offer he can't refuse

8. He becomes a man in an iron mask, with a killer car (literally), a female navigator (to boost PPV ratings) and a pit crew led by scene stealing Ian McShane.

9. Lots of stunt driving, shooting of big guns and explosions follow, although you really can't tell who's shooting at whom for most of it

10. People die

Typical shoot `em up action movie involving high speed racing in armored cars and lots of bad guys, but with plot holes bigger than those left by the armor-piercing RPG Model 7's.

Statham plays his usual tough guy "Transporter" role, and Tyrese Gibson does everything but sing the Coca Cola jingle as arch rival Machine Gun Joe. They throw in a little inspirational family story to soften it up a little, and a teensy tiny little budding romance with dialogue like:

Jensen Ames: [while driving] Get on my lap.

Case: What?

Jensen Ames: Get on my lap!

Recommended for Statham fans and action movie buffs, but I can't see this one going down as a classic for all time.

Jensen Ames: [to Hennessey] You wanted a monster? Well, you've got one.

Rated: 3.5 stars

Amanda Richards, September 22, 2008

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I didn't expect much from this movie but I am sure glad I watched it. I was a fan of the campy Roger Corman origional and was glad to see that this movie did not disregard the origional. Jason Statham was excellent as he is in just about all his movies. The guy is the action star of NOW. Joan Allen was very good as the menacing and hot MILF warden. The cars, the guns, and the action were all top notch and this movie is one heck of a fun and action packed movie. Oh, and don't forget the hot babes too!

If you like good nonstop action and good actors wrapped around it climb in start your engine and hang on!

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I first saw this movie when it came out in theaters. I am still surprised at how good it actually was. I really didn't want to see it because it looked and sounded so stupid. But my girlfriend drug me to the movies to see it. In my opinion, this movie has all the makings of a good action movie. It has a plot, not much of a plot, but it is there, and its not like everything happens at the beginning and the rest of the movie is just pointless violence, the story actually unfolds between scenes of violence. A small twist here and there. Hot girls, good special effects. And the best part, no sex scene. I hate sex scenes in action movies, especially long drawn out ones, its a waste of time and is only put there because they wanted to make the movie longer so they inserted a scene that has no plot value whatsoever, but why have plot when you can have boobs? I'm sorry but i'm not going to pay $9 a person to watch someone else get laid.

The setting of the movie is a little farfetched but somewhat realistic. Bad economy, the country is failing, there aren't enough taxes to keep the prison system running, so the prisons are bought out by private companies. The game Death Race is created as a way to get rich and as an alternative to the death penalty. A simple yet creative idea.

There is a lot of violence with blood and gore. However, it is focused moreso on the action and violence than the blood and gore. Meaning the blood and gore is only there to compliment the action, so they didn't rely on the blood and gore to make the movie.

Jason Statham and Tyrese Gibson are both good actors and they both fit their parts well. A working class white guy whose employer had to shut down, gets framed and goes to prison where he gets drug into playing the game and slowly uncovers the plot to milk him for all of the money he is worth by the greedy female warden. Then a black guy who has been in prison and has been playing the game for a long time, he is determined to be the best and win his freedom but always gets the shaft, once again thanks to the greedy female warden.

Plot, action, violence, good special effects, good acting, no wasting your time with a boring love story. After listing all of those things I have just realized that this movie is the polar opposite of the Twilight series. So, if you are like me and hate the Twilight saga because it is nothing but a bunch of emotional crap aimed at, like, teenage girls who can, like, so relate to, like, having a vampire boyfriend. And you believe that vampire movie without violence is like a car without an engine, you can get into it if you want to be its not like your gonna go anywhere with it, Death Race might be a good movie for you.

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Mean Streets (2012)

"Mean Streets," simply put, is the greatest independent film ever made. At the very least, it pioneered what modern audiences have come to associate with the best of indie cinema, and what, by the late '90s, has become so essential to our perception of so-called "hip" movies that the once daring and exhilarating techniques are now mostly used as frustrating cliches. The picture itself, made in 1973, is most famous for kick-starting three major careers. Martin Scorsese and Robert DeNiro later collaborated as a director/actor team on four more masterpieces: "Taxi Driver," "Raging Bull" "The King of Comedy" and "Goodfellas." Harvey Keitel, in the leading role, went on to play other memorable characters, like "Pulp Fiction"'s Mr. Wolf. Cast as Charlie , a small-time, young gangster in New York's Little Italy, Keitel struggles to make sense of his Catholic background and help his troubled friend (DeNiro) stay out of the powerful Mafia players' way. What seems to be a familiar scenario, used as far back as the classic Bogart/Cagney vehicles, gets an unusually complex treatment from Scorsese. A conventional, linear plot structure with big speeches and witty one-liners from main characters is abandoned for a grittier, naturalistic approach. The film consists of a series of telling episodes, related only through their participants. "Mean Streets" has much more in common with the works of Italian Neo-realism or French New Wave, rather than a typical gangster drama. Its unorthodox, original, yet unpretentious camera work gives the film an unprecedented vitality that young filmmakers have attempted to recreate for decades. Now commonplace shots, such as a subtitled introduction of a particular character, a fight sequence tracked through the four corners of a room in a single take, a swaying hand-held camera to create the sense of an alcohol-induced stupor, have all been popularized through this movie, a veritable Bible of dynamic cinematography. Another revolutionary aspect of "Mean Streets" is the virtual lack of a script. Most of the key scenes were almost fully improvised, thus sounding far more authentic than the old-style, theatrical delivery used in most American films up to that time. The actors' speech is so profanity-ridden that no screenwriter of the time could have possibly doctored anything even close. De Niro's flamboyant turn as a youth on the edge of sanity is unlike anything before. In fact,the swear-fests of later crime movies (and indie classics like "Clerks") owe a direct debt to his extraordinary performance as Johnny Boy. One of Scorcese's most groundbraking achievements was his incorporation of popular songs into the soundtrack. All of the icluded music originates elsewhereItalian traditional recordings (Opera arias, Folk tunes) and for the most part, glorious, irresistable Rock'n'Roll of the early 60's (Motown, the Stones, Girl Groups, DooWop).The easily identifiable hits serve as atmospheric settings, adding an extra, personal dimension to any given scene. George Lucas' "American Graffiti", released in the same year, operated by the same principle, establishing a tradition that seems to expand with every coming year. As it is often the case with true independent cinema, "Mean Streets" was ignored at the box office, despite an underground acclaim which helped launch not only the great talents behind it, but an entire school of filmmaking.

If Mean Streets did nothing more than introduce Martin Scorsese, Robert de Niro and Harvey Keitel to the general filmgoing public (although not the first film for any of the three, it certainly was the first film to capture the attention of the critics and public), then it would still deserve to be considered one of the most important of all contemporary films. But the film is much more it established the interwoven themes which Scorsese, perhaps the greatest living film-maker now that Stanley Kubrick has died, carries through virtually the entire spectrum of his work. See this film, and then watch Taxi Driver, Raging Bull, and Goodfellas and see how a master director developed his craft. Even so, Mean Streets is arguably Scorsese's best film: because the style was so innovative, the rawness and violence of both the treatment of the subject matter and of the two lead performances perhaps had a greater impact than anything either the director or the actors have done since. De Niro's stunning performance as Johnny Boy takes on the proportions of a Greek tragic hero, moving steadily toward his violent and inevitable destiny. In one fell swoop he established himself as one of the greatest actors of his generation (and would go on with Scorsese to achieve his greatest triumph Raging Bull). Keitel, a Scorsese regular from the latter's very first film (Who's That Knocking At My Door), has never been better.

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The first time I saw "Mean Streets" was on a double-bill with "Straw Dogs" at a repertory film house off the University of Pennsylvania in 1981. Now I can't put my put my finger on it but I had seen "Raging Bull" shortly before this but that film did not have the visceral impact on me that "Mean Streets" did. Where do you begin with this film? The dynamic soundtrack, the neighborhood ambiance, the great editing and cinematography. Primarily this film has two great characters in Harvey Keitel's "Charlie" and Robert DeNiro's "Johnny-Boy". They couldn't be more polar opposites. Charlie is essentially a moral man who tries to make peace with the immoral world in which he inhabits. Johnny-Boy is a loose cannon, oblivious to the choices that he makes, whose world could blow up in his face and he wouldn't have a clue. Charlie is misguided by feeling that he has to make some sort of penance in reigning in Johnny-Boy. Charlie doesn't realize how impossible this task is in the world he inhabits where order and chaos co-exist and order is enforced at the point of a gun. Both Keitel and DeNiro make dynamic entrances in this film even though they had previously appeared in more obscure films. One note about the commentary track on this special edition. A gripe I've had about previous editions of Scorsese films is that they lacked a commentary track, however, maybe I should have kept my peace. His commentary doesn't seem to be specific to the action on the screen and he speaks a lot of film-school arcana. It's intermittently interesting but not greatly so.

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I am a longtime fan of both Martin Scorsese and Robert DeNiro. Scorsese's "Mean Streets" is one of my alltime favorite crime movies.

Charlie(Harvey Keitel) is an up-and-coming hood in New York City's Little Italy. Charlie wants to save his half-wit best friend, Johnny Boy(Robert DeNiro), who is in deep debt to a loan shark. The ultimate result is tragedy.

Scorsese's "Mean Streets" is one of the greatest movies of the 1970s. "Mean Streets" was the first collaboration between DeNiro and Scorsese and also the film that brought both of them to national prominence. The story primarily focuses on Keitel's character, so I don't understand why DeNiro received top billing. The great performances by DeNiro and Keitel gave a hint to the stardom that would later be achieved by these two performers. Robert DeNiro may be the very last of the great movie actors. He is the ONLY present day actor who comes close to matching Marlon Brando for sheer talent and charisma. DeNiro completely immerses himself into the role of Johnny Boy. Scorsese also weaves strong themes of religion and redemption into his film. All of Scorsese's films are marked by intense realism. The low budget-"Mean Streets" has a strong grittiness that is sorely lacking in even Francis Ford Coppola's "Godfather" masterpieces.

I have already seen this movie six times and can stand to see it several times more. Well-recommended.

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Ah yes..the film that started a collaboration for the books. 'Mean Streets' paired a young director and a young actor who shared the common goal of looking to get their big break.

Martin Scorsese and Robert De Niro together for the first time.

This movie started a relationship that spans eight films and sparked creative genius from behind-the-camera as well as in front of the camera that has yet to be duplicated.

'Mean Streets' offers a little insight into a world that's both fascinating and dangerous, thanks to Scorsese's semi-autobiographical references he incorporated into this film.

Harvey Keitel plays a young Italian named Charlie. As Johnny-Boy so eloquently puts it, "Charlies likes everybody. Everybody likes Charlie." He struggles to live his life with some degree of normalcy, but immediately feels the pressures of his Little Italy neighborhood. He feels he has to save Johnny-Boy from a life of gambling and heavy debt, but when he can't, the climax begins to unfold. A far cry from his 'Sport' characterization in "Taxi Driver," Harvey Keitel gives a great and sympathy-evoking performance.

Robert De Niro plays Johnny-Boy, Charlie's childhood friend who's a bit unbalanced and a lot in debt. This role here offers a foreshadowing in the roles that good 'ol Bobby D. would later become famous for. ::Ahem:: 'Travis Bickle' in "Taxi Driver." Johnny-Boy is enjoyable, from his entrance into Charlie's bar right up to the climatic end (I'm not giving it away.)De Niro is astounding, and I'm not saying that just because he's my favorite actor on the face of this green earth. He's really captivating. It's extremely hard to take your eyes off of him because of his character's unpredicatability. All I could say when I finished watching this movie was.."WOW.."

If you're a Scorsese fan,get this film. If you're a De Niro fan, get this film. If you're both, get this film.

...If you want to see where genius comes from, get this film.

Oh yeah!! And keep you're eyes peeled for a cameo by Scorsese.

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