The Courier

The Courier is similar to "Transporter" with maybe a touch of "The Usual Suspects." The Courier(Jeffrey Dean Morgan) lives and works in New Orleans and appears to live well below his means. He does have a magic Hollywood watch that makes countdown noises only when a camera is on it.

The Courier is made an offer he can't refuse. He has 60 hours to deliver a case to Evil Sivle a notorious hit man people said had died and was brought back to life by voodoo so he can take back what was once his. His whereabouts is unknown. The Courier is aided by street smart Anna (Josie Ho) who is not his usual partner.

Mickey Rourke plays Maxwell a man connected to Evil Sivle, whose face is obscured for most of the film. Morgan comes across as scruffy Morton Downey jr.

As the plots develops and the body count increases, the Courier discovers this is not an easy task as Evil Sivle is "the last face that men see". Evil is just a state of mind we are told.

The ending is supposed to tie the mystery together. It does, but leaves you scratching your head like just watched the ending of "Smokin' Aces." The film had all the parts of a crime/action/mystery/thriller, but fails to bring it all together.

F-bombs, no sex, no nudity. Torture. 3 1/2 stars

Jeffrey Dean Morgan (`Comedian' of "Watchmen") is the Courier, a man with no name, who will deliver anything, anywhere, with no questions asked. One day a man in black suit (Til Schweiger) arrives and forces him to accept an impossible job: delivering within 60 hours a package to Evil Sivle, a mysterious man feared in the underworld. No one knows where he is, not even his face.

The Courier starts his investigation with Anna (Josie Ho), an adapted daughter of Stitch (Mark Margolis), a New Orleans boxing gym owner and friend of the Courier. But someone is not happy about this, sending out a professional assassin team, sadistic Mr. and Mrs. Capo (Miguel Ferrer and Lili Taylor). Mickey Rourke also briefly appears.

"The Courier" is a throwback to the 1970s-style action movies, with a lonely and vulnerable protagonist. You don't have a modern, upbeat, action-packed storyline here. "The Courier" literally means a transporter, but you don't see car chases or martial arts combats of Jason Statham movies. Jeffrey Dean Morgan's hero is more like a less charismatic version of Gene Hackman.

The moody photography by Antonio Calvache ("In the Bedroom" "Little Children") perfectly captures the atmosphere of New Orleans (where most of the story takes place). Also, acting is decent, but "The Courier" loses steam fast, heavily reliant on clichéd situations (hacking FBI database, etc.). Most supporting players are wasted, especially Miguel Ferrer and Lili Taylor, whose characters do not make much sense.

Finally, "The Courier" is directed by Hany Abu-Assad best known for Oscar-nominated "Paradise Now" (2005). Sometimes directors of critically acclaimed foreign language films are hired to direct English-speaking films, and the results are often far from satisfactory (Jean-Pierre Jeunet, for instance). This is exactly what happened to "The Courier," a bland and insipid action that wants to be a character-driven thriller, which it fails to be.

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We got to see this excellent film at the local art house cinema not too long ago. I found it enjoyable and action-packed from the very beginning until the end! Not for the kids, because of language and violence, but recommended for adult audiences that enjoy a great film with plenty of character!

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I adore the actor...a bit violent for my taste but I'd watch any movie with him or not, even though violent movies don't appeal to me, he sure does ....

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Interesting movie certainly worth purchasing. Excellent acting by Jeffrey Dean Morgan. The plot is an interesting one and also an interesting conclusion.

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Fate/Stay Night: Collection 1

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

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

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

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

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

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

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

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

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

Just waiting on Fate Zero !!

Saber is the Best :)

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

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

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

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

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

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

What is "Fate/stay night"?

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

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

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

VIDEO:

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

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

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

AUDIO & SUBTITLES:

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

Subtitles are in English.

SPECIAL FEATURES:

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

JUDGMENT CALL:

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

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

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

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

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

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

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

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

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

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

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

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Henri-Georges Clouzot's Inferno (Two-Disc Blu-ray/DVD Combo) (2011)

Strange how I've the feeling to have watched the completed version of Clouzot's L'Enfer now, as though the film doesn't exist at all. This documentary is another proof that an artist, without being bridled, causes his own destruction. Masterpiece.

A marvellous story about an anhappy director, a couple of stars, a strange lake and a picture that was never made.

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Control

Ever since Ian Curtis, lead singer of the British band Joy Division, died in 1980, he has achieved the iconic status of an emerging artist showing signs of brilliance before meeting an early, tragic end. In Curtis' case, he committed suicide on the eve of his band's first American tour. His brief life has already been depicted on film in Michael Winterbottom's fast `n' loose look at the Manchester music scene of the 1970s and 1980s, 24 Hour Party People, but it was only for the first half of that film. Control draws most of its content from Touching from a Distance: Ian Curtis and Joy Division, the memoirs of Ian's wife, Deborah, and is directed by music video maker Anton Corbijn. He not only directed the video for their song, "Atmosphere," but also shot some of the most memorable photographs of the band, making him the ideal choice to helm this film.

There is an audio commentary by director Anton Corbijn. With his thick accent, he's a little hard to follow at times but manages to cover the usual topics: casting choices, shooting on location, and so on. He praises the performances of Sam Riley and Samantha Morton while also pointing out technical details, like how the concert scenes where shot with hand-held cameras and everything else was done with steadicams. This track is a little on the dull side but Corbijn does impart interesting factoids and it was clearly a labour of love for him.

"The Making of Control" takes a look at how the film came together. Corbijn moved to England because of Joy Division and took iconic photos of the band. So, he had an emotional connection to the material. His black and white photos influenced his decision to shoot the film in a similar style. The actors who played the members of Joy Division talk about the challenge of playing people who are still alive, learning to play musical instruments, and the songs. This is an excellent featurette filled with loads of interesting information.

"In Control: A Conversation with Anton Corbijn" tends to repeat some of the information from the commentary track and the making of featurette. The director talks about how he discovered Joy Division's music and how he eventually met them. He touches upon how they shot in Ian's hometown for authenticity.

"Extended Live Concert Performances from the Film" allows you to see "Transmission", "Leaders of Men", and "Candidate" in their entirety.

In a nice touch, there are the videos for "Transmission," a powerful rendition done for live TV with a riveting performance by Ian, Corbijn's video for "Atmosphere" that is haunting as it was done after Ian's death, and The Killers' cover of "Shadowplay" which is surprisingly effective.

Also included is a "Still Gallery" with photographs from the film.

Finally, there are "Promotional Materials," trailers for the film, a blurb for Deborah's book about Ian, the soundtrack, and so on.

A lot of great films came out last year, 2007--No Country for Old Men, There Will Be Blood, The Lives of Others, and so on--but I honestly can't think of a better one than this: "Control."

This is a gorgeous and skillfully done film--all awash in silvery starkness, in luminous black and white--and all feeling so genuine and so far from anything fake or phony. I am not the suicidal singer of a New Wave band, I am not in love with a French journalist, and I do not think I married too early, but watching this, the movie really put me inside the man's skin.

"Control" tells the story of Ian Curtis, Joy Division's ill-fated lead singer--as well as his unfortunate wife, his band, his manager, his label, and his lover--and it does so without resorting to making it a slick biopic or a phony depiction of celebrity. It is one of the realest feeling films I have ever seen, and yet it doesn't sacrifice anything compelling or filmic to be so. The story plows ahead with amazing music and a formidable drive, with scenes that are artfully shot and gorgeous to behold.

The film's final scenes are indelible, cut forever into my mind, and the feeling the film invokes is powerful. I have never felt more genuinely punk than after seeing this--leaving the theater, I wanted to rip benches out of the ground and attack speeding cars head-on. More than that, I wanted to walk back into the theater, get another ticket, and watch it again. (I'm not really that into Joy Division either--at least I wasn't before seeing this.)

"Control": Best Movie of 2007. And Best Music Movie in Decades. So well-made and flawlessly executed that it couldn't ultimately depress me--it could only excite me. It's amazing.

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This film is based on Deborah Curtis' biography and so this "Ian Curtis" is the Ian Curtis that she knew and Control in most respects adheres to her interpretation of his life. But it should be noted that Deborah Curtis knew but one side of Ian Curtis' story, her side. And like any other point of view that might have been chosen to tell this story, this one is limited & distorted. The writer of the screenplay is fully aware of the fact that Deborah's perspective is a limited one (as all of our perspectives are) and the screenplay makes some attempt (though not enough) to find the Ian that Deborah did not know, and that maybe no one knew. To achieve this screenwriter Matt Greenhalgh balances Deborah's own remembrance with the remembrance of other key figures in Ian's life (parents, band mates, Belgian girlfriend Annik) to give us a more rounded look at what it might have been like to be Ian Curtis. Unfortunately, these additional perspectives do not amount to as much as one would have liked them to as Ian was apparently not particularly close or open with parents or band mates. (The film rarely shows Ian interacting with either.) And the girlfriend just seems like a very pretty, very fresh, very young smiling face. Most likely the band has their own story to tell, as does the girlfriend Annik. To Deborah, Ian Curtis was a husband and so her story is one largely dominated by domestic squables. After the fourth or fifth round of domestic argument the film begins to feel like a film about marriage and not about music. The over-reliance on Deborah's perspective/biography begins to feel like a liability before the second hour of this two hour biopic begins, and the second hour is almost entirely devoted to the last moments of marital woe that, according to Deborah, sparked the final act. But there is so much more to this story than the one that Deborah has to tell. In addition to Ian the husband, there is Ian the singer and performer. And, most importantly to fans, there is the Ian Curtis that wrote some of the most austere and hypnotic and compelling rock music ever recorded. This is what is really missing form the film: a sense of where the music was coming from. Certainly some lyrics can be explained as autobiographical confessions of self-loathing and regret but some are comments and critiques on modern life.

To listeners of Joy Division's postpunk sound what was immediately alluring was that it sounded nothing like punk. Punk was manic and Joy Division was subdued. The sound was hollow but hypnotic and the voice was full of romantic longings and yearnings for some kind of transcendence but the romantic longing was always accompanied by the feeling that there was nothing to be done with these feelings. If punk was about irreverence and having a rebellious larf in the face of authority, Joy Division was about looking for something to revere and finding that modern life gave man very little to revere. In the face of utter hopelessness, the only grace to be found was in the music itself because the music offered trance-like beauties unavailable in real life (Unknown Pleasures). To fans, Ian & the band were the rarest of things, the expression of a genuinely original sensibility/musical vision. Unfortunately, this is the part of Ian's story that Deborah has the least access to--the writer Ian and the stage Ian is someone she barely knew--, and so it is simply not dealt with. We get no sense of what music meant to Ian nor what he was looking for in it, and without some kind of understanding of the music it is very difficult to understand Ian. Instead we get a story about a relationship and a cliched one at that. Sympathetic as we are with Deborah, rock wives rarely lead happy lives, and in biopics they almost always look like obstacles to their more talented husbands artistic urges & drives. Thats true here as well. And sad as the relationship between Ian and Deborah was it is simply one part of a larger story.

The other perspective on display here is the directors. As one might suspect from that very romantic film poster, director Anton Corbijn knows Ian as a photographic object. And, as a visual object itself, the film is primarily a chance for Corbijn to display his own considerable gifts for grim yet starkly beautiful composition. From both the still photographs that he took of the actual band circa 1980 (which should have been included in the DVD extra gallery) and from the film itself, one can understand that Corbijn felt a deep connection to Ian & Ian's unique romantic/existential sensibility and vision. As compelling and convincing as the film sometimes is, it is a work of art made by an artist that has his own ideas about what made Ian what he was and what made the music what it was. But, like all great artists, Ian was more than just the sum of his many influences (William Wordsworth, Lou Reed, Brain Eno, David Bowie, Roxy Music, Sex Pistols, Iggy Pop, Apocalypse Now, Werner Herzog...) and so no mere visual record of these influences and sources from which he drew will ever fully explain the artists own vision. Artists recognize greatness in others but the good ones always transcend their sources. Ian Curtis' true sources of inspiration are & will remain mysterious, no film can really know or show what Ian was or knew or what he felt when listening to a favorite song or reading a favorite book; no one can know what Ian was to Ian. Biopics are intriguing and frustrating because they are, at best, speculative. Though the film faithfully represents Deborah's version of things, the key moments in this life are ones that no one had any access to but Ian (how does anyone really know what he watched, or listened to, or thought in those last moments?). Faced with unknowability, it is our nature to be curious and to speculate but one should not mistake speculation for truth. As a result, the most valuable part of this DVD to those fans of Ian the artist and his formidable band mates (given short shrift in this film) will be the actual footage (not included in the actual film but included as a DVD extra along with Corbijn's 1988 video for Atmosphere and the Killers video for Shadowplay) of the real Joy Division playing Transmission.

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I've now seen this story played out 3 times, twice at the movies in the last 2 days and once as a 15 year old from the North of England where the film is set. In the true spirit of the "Kitchen Sink" genre, it begins like a modern day "A kind of loving" and has a touch of " Room at the top" (the wedding car scene). Sam Riley plays Ian Curtis Lead singer of Joy Division, a band who influenced so many groups in the UK and internationally. Riley is outstanding, portraying Curtis in a way that does not show him as the icon he became posthumously but as a somewhat immature 20+ year old man. This of course is countered by a soundtrack that reminds us of his musical genius played by the actors in a very authentic "Garagey way". A portrait of a man torn between his old and new life complicated by the onset of an illness he was struggling to come to terms with.

If that wasn't enough the photography is glorious, every other shot could be hung on the wall, it never looked so good when I was a young! I understand that Corbijn was trying to shoot the film like a sequence of music videos and with his massive experience as a still photographer it all works beautifully. He sank a large amount of his own money into this project, and you can tell that making it was important to him as a fan and aquaintance of the band You can see his passion and committment to the film throughout. The sequence in the kitchen towards the end of the film was electric, an incredibly haunting dramatic shot. This movie demands the biggest screen that you can find.

I read a review that said you don't watch this movie you live it, the first time I saw Control I was angry at the futility of it all, the second I wept tears for lost youth, his and mine. My advice ? Go to a really big Movie screen and take a box of tissues and enjoy what must be considered the best music movie of all time. There's no getting away from the end, like Ian Curtis's all too short life it comes too soon in this movie, but enjoy the majesty of the photgraphy, the stunning performances, revel in the darkness and enjoy the music. Surely a candidate for Oscar(s)?

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A biopic of Joy Division's lead singer, Ian Curtis? Who besides a handful of people like me, (in 1980 we had their posters on our bedroom wall and sketched what Joy Divison's third album cover might have looked like), and the only other patron at the matinee theatrical showing that I viewed could possibly care? Indeed, why should I want to see actors performing a suicidal swan dive when all the sadness of Curtis' death lies imbedded in the gloomy, psyche-rich and beautiful music Joy Division left behind?

Because now Ian Curtis is really dead. Anton Corbijn's film, "Control" brings closure to the first time I heard Joy Division, raced to a record store, and was no sooner through a second listen when I heard the lead singer had committed suicide. I've been in denial ever since, and the sketchy details of Curtis' death, the same sketchy details offered in the film, suddenly ring true to me.

Filmed in the British working class black and white, like the Beatles' "A Hard Day's Night", with tones of muted and spacious greys, like The Who's "Quadrophenia", the film brings vitality to the bleak Manchester neighborhoods that were the haunts of the band. It has that wide screen black and white ordinariness that film geeks love. Very common images of modest Brit apartments, cheap recording studios and seedy clubs, are given an immaculate shine by the variable b&w cinematography which conjure not only the do-it-yourself Manchester music scene, but Joy Division's own bleak and surviving psyche. And the head bobbing teens digging the band in the clubs look like the honest to god post punks of yesterday.

You'd thing that was genuine Joy Division during the musical performances, but it is the actors uncannily recreating the music with Sam Riley as Curtis, not only looking the part while delivering a 'let's-let's not' demeanor, but sounding like a dead-on Ian Curtis, with all the brooding deep voiced restraint Curtis possessed. In a subtle performance in which the camera finds him, as opposed to a mugging for the camera, Riley as Curtis, (just another English bloke holding a day job), gives reason to believe in the seemingly petty causes of Curtis' self-destruction. He simply didn't want to live anymore, ("I give them everything 'on stage' and they want more"), and the overload of prescription drugs to combat epilepsy surely complicated matters. Samantha Morton as wife Deborah Curtis, (whose autobiography the film is based), is extraordinary as the plain and sexy love struck young woman who stands like a pillar against Curtis' doomed horizon. The big scene is taken like an arrow through the heart, even as you know it is the only destination the film aims.

My one and only gripe is the movie's insistance to incorporate Joy Division music at times of marital strife, which seemed a lessening of the music's depth.

But now Ian Curtis is really, really dead. He had sung his last song. Finito. Out of here. Love tore him apart.

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The Cable Guy (15th Anniversary Edition) (1996)

Too, too bad that this marvelously wicked comedy didn't get the respect it deserves when it was originally released. Ben Stiller captured a unique modern nightmare: having the strained small talk we exchange with the cable guy, plumber or repairman inadvertantly turn into an invitation for a full-fledged friendship. Jim Carey's performance is a tour de force that works on multiple levels. Carey's notrious and spectacular over-the-top antics are beautifully combined with subtle emotional nuances. One moment it's so funny that you cry; the next it's so sad that you laugh. Carey conveys much more depth here than you've seen in his other roles without moderating his comic genius. Matthew Broderick plays the perfect straight man. Frequently the funniest moments are his horrified reactions to Carey's outrageousness. Look for hilarious cameos by Owen Wilson and the guy from "High Fidelity."

"The Cable Guy," as most know by now, was a major departure for Jim Carrey. The rubber-faced goofball of hits like "Dumb And Dumber" and "Ace Ventura: Pet Detective" was still present, but he was appearing in a radically different form. With Carrey playing a cable installer fixated on an unsuspecting customer, "The Cable Guy" is easily his darkest movie. However, I've got a soft spot for a good black comedy, and this one is about as black (and as good) as they come.

Although goofy behavior had been Carrey's trademark since his "In Living Color" days (remember Fire Marshal Bill?), "The Cable Guy" was the first movie in which his madcap antics hinted at something dark beneath the surface. Indeed, by playing such a twisted character, Carrey was finally able to let loose and reveal the full range of his comedic gifts (aren't bad guys always more fun?). In contrast to the likes of "Ace Ventura" and "Dumb And Dumber," which were basically just live-action cartoons (albeit amusing ones), "The Cable Guy" provides Carrey with a creepy, unsettling vehicle where he gets to show some real malevolence. When Carrey plays basketball prison-style while Filter's "Hey Man Nice Shot" plays in the background, it's both hilarious and disturbing at the same time. And even when Carrey hams it up, as when he does a vibrato-heavy rendition of Jefferson Airplane's "Somebody To Love" while a group of freaky friends dances around him, there's an undercurrent of the surreal.

In an equally dramatic departure from Carrey's norm, "The Cable Guy" even had a message mixed in with all its weirdness. It turns out Carrey's nameless cable installer, who gets his pseudonyms from old TV shows, was left by his mother to be raised by the TV, and has attachment issues stemming from his inability to relate to others. The plot is set against the backdrop of a former child star's trial for killing his twin brother, and director Ben Stiller (who also plays the murderous brother) takes several opportunities for pointed satire of our TV-addled culture. It's not until the end that the subject is addressed at length, but the pernicious effects of TV are a prominent theme of the movie. When the cable guy laments in his closing monologue that he learned about the facts of life from watching "The Facts Of Life," it's strangely poignant.

And how about a hand for Matthew Broderick as Steven Kovacs, the unfortunate object of Carrey's fixation? It's hard to believe this guy almost faded into obscurity in the five years or so after "Ferris Bueller's Day Off." If not for his classic turn in "Election," I'd say Steven was the role Broderick was born to play. At first Steven just regards the cable guy as a nuisance, but his annoyance over his new friend's increasingly creepy behavior grows as the film wears on until it turns to outright fear and desperation, and Broderick captures it perfectly. Few, if any actors, make a better hapless guy than Broderick, which is especially ironic given that he became a star playing the uber-cool Ferris Bueller.

Watching this movie, it's hard to believe it was such a letdown at the box office. I firmly believe entertainers should be rewarded for taking risks, but apparently Carrey's fans weren't quite ready for him to play such a troubled character in such a dark movie. That's too bad, because those who haven't seen this movie are really missing out. "The Cable Guy" doesn't go down as easy as Carrey's other comedies, but it's a lot more rewarding in the end.

Buy The Cable Guy (15th Anniversary Edition) (1996) Now

I'm with most other Amazon reviewers -I don't know why this movie got such a bum rap from most critics. I think it's because Carrey wasn't doing his usual Ace Ventura shtick which I personally don't care for (was not able to sit through either of the Ace Ventura movies). This movie was very funny, good dialogue, good characterization -the Stephen character was very real and so was the Cable Guy even though he was nutty. My least favorite scene was the one where he beats up Robin's date. Not because it was violent but because it was pretty pointless, didn't contribute anything to the plot, just not very funny IMO (though I see that some other people disagree). I also thought the karaoke scene dragged on a bit. But the whole Medieval Times episode was a scream! Ditto for the Porno Password scene and the basketball game and the scene where the Cable Guy visits Steve in jail, as well as the Menendez brothers-like trial subplot with Ben Stiller. The way the Cable Guy kept modeling everything in his life on TV shows and movies was an inspired touch -it may not be terribly profound or original social commentary but it was an interesting way of making the point. Finally, I thought the ending was just perfect. The Cable Guy is being airlifted to the hospital and the paramedic in the chopper says "Hang in there, buddy!." The Cable Guy asks, his eyes lighting up, "Hey! Am I really your buddy?" "Sure you are," replies the unsuspecting paramedic ... and we see the Cable Guy's face dissolve into a demented grin. Wow!

Read Best Reviews of The Cable Guy (15th Anniversary Edition) (1996) Here

Directed by Ben Stiller, "The Cable Guy" is an underrated film with many layers. Matthew Broderick's cable-challenged character Steven, and his crazy friend Rick, played by Jack Black, are trying solve his problematic relationship with his girlfriend. Jim Carrey stars as Chip the not so mentally stable Cable Guy, who puts in one of the most incredible, gut-wrenching performances of his entire career. His uncanny performance of "Somebody To Love" is like watching John Belushi's SNL duet with Joe Cocker.

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Jim Carrey is "The Cable Guy" in this dark comedy from director Ben Stiller. In one of his best (and underrated) performances, Carrey stars as a lonely, pathetic and very disturbed individual desperately in need of friendship and some very serious psychiatric care. Neglected by his mother as a child, and left in the care of the "babysitter" (the television) for nurturing, he has grown into adulthood as a man orbiting somewhere along the fringes of reality. Even his name is an enigma; using various aliases from the sitcoms he grew up with, he is "Chip Douglas" (My Three Sons) when he happens into the life of the unsuspecting Steven Kovacs (Matthew Broderick). Steven is coping with problems of his own; when he proposes to his girlfriend, Robin (Leslie Mann), she responds by kicking him out of their apartment. Steven rents a new place and, of course, has to get the cable hooked up. Enter the Cable Guy. Acting on the advice of his friend, Rick (Jack Black), Steven approaches Chip with the idea of setting him up with free movie channels for a fifty dollar gratuity. "Ever hear of anything like that?" he inquires. Chip responds with a feigned admonition about "Illegal cable," then readily agrees to "Juice him up." Unwittingly, Steven thereby forms a bond with Chip, who he later learns can be "His best friend, or his worst enemy." For comedy to work, it must be taken seriously; real laughs come from playing it straight, and Stiller is a master of this technic (As both actor and director). He is to be commended here for extracting a tempered performance from Carrey by reining in his natural tendency toward over exuberance (which has worked for him in other projects, but would have been detrimental here). There are some hilarious moments in this film: Chip throwing a Karaoke party for Steven; a scene that takes place at a Medieval Times restaurant (with a terrific cameo by Janeane Garofalo as their waitress); and a bit with ongoing news coverage of a murder trial in which Stiller plays twin brothers Stan and Sam Sweet. But there are just as many uncomfortable moments, which tend to leave the viewer somewhat uneasy, such as the scene in which Chip dupes Steven's family into playing "Porno Password." We feel Steven's discomfort as well as his frustration with his own inability to control what ultimately becomes an ugly situation. Or when Chip confronts Robin's date (Owen Wilson) in the restroom of a restaurant. There is an edgy humor to these scenes, but the underlying hostility has an unnerving effect. With a supporting cast that includes George Segal and Diane Baker (as Steven's parents), Andy Dick (as the Medieval Host), and Eric Roberts (as himself), "The Cable Guy" is a tense and entertaining film. Some Jim Carrey fans may be a bit put off by this one, though, for it is not the typical Carrey offering. This is a glimpse at the effects of a deranged mind. It is a dark and somewhat disturbing movie, and in the end, issues are left unresolved; but addressing Chip's psychoses was never intended here. This film was made, not to enlighten, but to entertain; and in that, it succeeds. If it is just laughs and light fare you're looking for, however, be advised: this is definitely not where you want to go.

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White Vengeance (2011)

A beautiful, violent Chinese historical film that features a loose adaptation of "The Feast at Hong Gate" written and directed by Daniel Lee ("14 Blades", "Three Kingdoms: Resurrection oft he Dragon", "Black Mask") and featuring an all-star cast with Leon Lai ("Fallen Angels", "Seven Swords", "Comrades: Almost a Love Story"), Feng Shaofeng, Liu Yifei ("Forbidden Kingdom"), Zhang Hanyu, Anthony Wong ("Infernal Affairs" films, "Exiled", "Hard Boiled"), Jordan Chan ("Help!!!", "Skyline Cruisers", "Spy Dad"), Andy On, Xiu Qing and Jia Qing.

The film was nominated for four Hong Kong Film Awards including "Best Art Direction" and "Best Costume & Make Up Design" and was released on Blu-ray and DVD courtesy of Well Go USA.

"White Vengance" is a film that is loosely based on the Feast at Hong Gate and the fall of the Qin Dynasty.

VIDEO:

"White Vengeance" is presented in 1080p High Definition (16:9 Widescreen). The film looks absolutely beautiful in HD. The use of CG to make a war look like thousands were taking part in the battle looked effective. The detail on closeups were amazing but it's the detail that comes with the costume and make-up including production design that is the winner of this film. Everything looks impressive, even the makeup, I would not have known that legendary HK star Leon Lai was playing the part of Liu Bang, until I read the front cover of the Blu-ray. But from a cool to warm presentation in HD, the film looks great, with some areas looking a bit soft at times. But considering that the film is primarily focused on close-ups and wide-angles, the film looks great, black levels are nice and deep and well-contrast.

AUDIO & SUBTITLES:

"White Vengeance" is presented in Mandarin DTS-HD Master Audio 5.1. As one can expect from a film with a lot of action, there are good use of directional sound effects coming from the surround channels. From spears and arrows being shot from one side to the other, the sound of horses galloping on the battlefield to the sounds of the clanging swords. The lossless soundtrack for "White Vengeance" features awesome dynamic range, crystal clear dialogue and also wonderful use of the surround for the music!

Subtitles are in English.

SPECIAL FEATURES

"White Vengeance" comes with the following special features:

Behind the Scenes (54:27) Behind-the-scenes of the rehearsals for the action sequences and the making of the film.

Cast and Crew Interviews (36:03) Featuring cast and crew interviews.

Trailer (1:40) The original theatrical trailer for "White Vengeance".

International Trailer (1:06) The international trailer for "White Vengeance".

EXTRAS:

"White Vengeance" comes with a slipcover case.

JUDGMENT CALL:

"White Vengeance" is a beautiful film and possibly the best film so far from writer/director Danny Lee. From the look of the film thanks to its beautiful cinematography, wonderful costume design and make-up and also the effective and believable production design, the film looks and sounds quite impressive on Blu-ray!

But with so many Chinese historical films, how does "White Vengeance" compare to other epic films? For one, it's an interesting take on the "Feast at Hong Gate" and the battle between Xiang Yu and Liu Bang. Two leaders, two sworn brothers in battle but yet, two of the most powerful men of insurgent groups, it was destined that these two would become rivals and enemies. As both men wanted to become Lord Qin.

There approach to competing for this title is what is fascinating. Xiang Yu is a warrior, while Liu Bang is the pacifist who wants no one to die, but he knows that to protect the people, he must become the leader by doing things he may not want to do. This includes going against the man who one called him brother, Xiang Yu.

While many fans of this of Asian cinema will come to expect the fighting on the battlefield, the amount of corruption between warring factions but the film's strength lies in its portrayal of strategy.

Xiang Yu's use of the legendary strategist Fan Zeng and Liu Bang's use of the #2 strategist Zhang Liang. Both men are wonderful advisers, but as much as the film is a battle between both Xiang Yu and Liu Beng, it's also a battle between two master strategists, Fan Zheng and Zhang Liang.

And it's the strategic ways of how each counter each other that to me, was the most captivating part of the storyline. Both leaders depend on their advisers/strategists and it adds to the storyline of loyalty and betrayal. Does one's thirst for power exceed the trust one has in their close advisor's and the people close to them? You'll have to see how things play out between this war between two leaders.

Once again, this film is loosely based on the actual story of Xiang Yu and Liu Beng. For one, the actual relatonship between Xiang Yu and Yu Ji has been romanticized quite a bit for this film, but it in it's overall effectiveness of trying to include a romantic aspect to the film, it does work for "White Vengeance".

There were other characters that tried to showcase the loyalty of the men of Xiang Yu and Liu Beng. In one scene, during the "Feast at Hong Gate", we see Fan Kuai (portrayed by Jordan Chan) biting off his finger as a sign of his loyalty to Liu Bang. Also, characters did not live or die as was seen in the film, although the depiction of loyalty to their leader during a certain time seems to be factual.

But for those looking for a film for historical accuracy, many directors pursue a loose adaptation in order to make the movie more appealing to audiences. So, for those expecting an exact depiction of what took place during this era in Chinese history, you're not going to get an authentic adaptation.

As for the Blu-ray release, "White Vengeance" looks and sounds amazing. The cinematography, costume and set design, make-up are well-done and the use of the lossless soundtrack to capture the sounds of war was amazingly done. And you also get a few special features as well.

Overall, "White Vengeance" is a good Chinese historical film but definitely not one of the best. While the action and the use of strategy was fascinating, the storyline is a bit difficult to showcase something so complex when it focuses on four individuals. Yes, the film's primary characters are Xiang Yu and Liu Bang, but by the second half, the story then switches to Zhang Liang and Fan Zeng, the strategist a bit more and all of a sudden, we see this change between both primary characters that leave you feeling as if you missed a bit of character development after what had taken place at the "Feast at Hong Gate".

But other than that, I did enjoy "White Vengeance" but compared to other Chinese historical films or war epics, "White Vengeance" featured wonderful costume and set design, but for its story, it was good...just not great. And because of it's complexity of the timeline and focus on various characters, I found myself having to rewind and rewatch certain scenes because I was getting confused. But for those who love Chinese historical films with plenty of action, you'll more than likely enjoy "White Vengeance"!

Great action and great acting! The scenes are eye-catching and the beautiful costumes are a grandeur. The story takes you on a trip a wonderous trip!

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This film requires a working knowledge of Chinese history , it is very complex and will require a second or even third viewing to understand the political manoeuvrings. Not a movie to pass the time with .It requires concentration ,not for the Fast & The Furious crowd. Exceptional transfer on BluRay

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Great action, great politics...what a game of wits! It is a masterpiece and would watch the film again and again

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Excellent reproduction of feudal Japan. The films demonstrated a unique story line and classic ending. I hope others will not be disappointed.

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Logan's Run (2009)

UPDATED FOR BLU-RAY VERSION 11/12/09

For those thinking of upgrading to the Blu-ray of "Logan's Run" there's good news and bad news. The bad news is that while this does improve on the original DVD, it's not a huge jump in quality. The film needs some restoration and it appears this is a new transfer (the same one that was used for the reissued DVD with the same cover). The image quality is soft throughout lacking the sharp image quality that you'd expect from a recent film or one that has been restored.

The other bit of bad news is that we get none of the extras that were included on the old three disc laserdisc instead getting only the original special features ported over from the DVD (which is good news in a way since this could have been bare bones).We also get the commentary track featuring director Michael Anderson, star Michael York and costume designer Bob Thomas discussing the making of the film.

Anderson points out in the commentary track WHY there are some plot holes (the film under went some heavy editing to allow more showings per day and move it from a potential "R" rating to "PG")but it's a pity that none of this footage has been found or and restored for a director's cut more than likely the footage is missing.

(The 2002 original soundtrack album CD by the way notes some of the sequences in the booklet that were cut including a longer sequence in the ice cave with box--cut to earn a PG rating and some other sequences which appear to be lost)

The flaws in the film are less of an issue for me 33 years later. Sure, the production design can be cheesy at times but "Logan's Run" is a product of its time. The themes examined by Anderson and screenwriter David Zelag Goodman still does a good job even if the last third of the film falls apart.

The 5.1 mix sounds pretty good overall which is more good news but it would have been nice to have Jerry Goldsmith's wonderful score available as an isolated track. The score is availabe here Logan's Run [Original Motion Picture Soundtrack]which 73 minutes of Jerry Goldsmith's praised score.

Many of the visual effects look dated with the miniature work in particular leaving a lot to be desired but the for time it was pretty good. The matte paintings by Matthew Yurichich are one of the few highlights of the visual effects in the film.

Logan's Run started off with a pretty amazing concept--(courtesy of science fiction writers William F. Nolan and George Clayton Johnson)what if our youth obsessed society put everyone over the age of 30 (21 in the novel)to death as a means of population control? This film version of a classic cautionary tale is intermittantly successful. David Zelag Goodman's screenplay condenses and changes around several key characters.

The basic plot--In the future our society is enclosed in domes. As a means to control the population, everyone has a life clock crystal on their hand. When you reach 30 you have the option to become "renewed" in a ceremony attended by the citizens. Logan (Michael York) and Francis (Richard Jordan) are Sandmen who hunt, capture/or kill runners (people who choose to not go through renewal and try to escape).

Logan is sent undercover by the computer that runs the city to find the location of Sanctuary and uses Jessica (Jenny Agutter "Walk About")who helps runners escape. He and Jessica discover more than they could possibly imagine.

The film is quite good despite some gaping plot holes. Michael York gives a impassioned performance as Logan 5. Jenny Agutter is enchanting as Jessica. Richard Jordan shines as Logan's former partner Francis who feels betrayed and hunts Logan down. Roscoe Lee Brown is exceptional in his cameo as the demented cyborg Box.

Logan's Run attempted to tell an adult cautionary tale in a world of light weight escapist movies. It's a commendable film and the film makers frequently bite off more than they can chew. I'd rather have a film that's too ambitious than not at all.

Still, I appreciate the ambitions if not the execution. 3 1/2 stars.

Ah, 70s science fiction... ridiculous costumes, campy visual effects, social commentary... and an underlying weirdness you just can't ignore. Logan's Run is something like THX 1138, only to Aldous Huxley's Brave New World instead of Orwell's 1984. And in the words of the character Logan himself, "It all made sense until Box..." In the future, mankind survives in a mall-like bubble of society that entirely subsists off of pleasure and materialism. Everyone is forced to die at the age of 30, basically to prevent the knowledge of suffering from getting into their minds. Those who do not want to die at 30 are "runners" that get tracked down by "sandmen" who blast them with what essentially amounts to flare guns. Despite this, the walls are not TOO scorched with spent rounds, and most people go on happily. Unfortunately for the status quo, this world is a lie and not everyone is happy, resulting in one particular sandman, the eponymous Logan 5, to have to become a runner himself.

There are some pretty bizarre scenes in the lieu. The whole rite of the carousel is actually quite disturbing if you think about it. An entire quadrant of the city is filled with derelicts and gangmembers, and of course this part is the one called "The Cathedral". On the other hand, there's visual candy as well, with superb modeling for the cityscapes and, yes, Jenny Agutter in a miniskirt that only gets more revealing as it slowly falls apart over the course of the movie.

Unlike THX 1138, Logan's Run doesn't end upon successful exit of the city; that's only the first half. Afterward the audience is treated to a gorgeous vision of the empty and abandoned Washington D.C. The movie kind of drags at this point, but is made up for mostly by the disturbing visions of American landmarks in various states of decay. When all else fails, science fiction's greatest asset is the ability to displace the audience with what they feel are familiar landscapes--just look at Planet of the Apes or 28 Days Later...

This is a very enjoyable movie, nonetheless. People who like the fact that Star Wars is a Campbellian construction of the Hero's Journey should definitely check this movie out--it might as well have been the primary source for George Lucas' later work. And for science fiction fans as a whole, it's a classic example of the form.

But MAN, was that robot and the ice cave WEIRD.

--PolarisDiB

Buy Logan's Run (2009) Now

My comments pertain only to the Blu-Ray version. The technical quality is very disappointing for me. The sharpness and detail does not compare to most of the other Blu-Ray titles I have watched. It is much improved over the DVD version, but that isn't saying much, because the DVD release of this title looked like a bad dub of a bad VHS tape. This Blu-Ray release is comparable to what the earlier DVD release should have looked like. The back indicates that it is released through the Turner and Warner Bros operations, so I suppose that says a lot. I wish that companies such as these would throw in the towel and turn this stuff over to companies that care at least a little bit about the quality of the product, as opposed to how much revenue it generates. They care only about how much revenue it generates, and for the most part could care less whether the technical quality is up to the standard for the media.

Read Best Reviews of Logan's Run (2009) Here

I remember that Logan's Run is the first science fiction movie that I ever watched, which probably has some bearing on how I've rated it.

This movie is based upon the best selling book Logan's Run by William Nolan. The movie does take some artistic license but nothing too drastic as to completely disown it from the book, such as that horrid movie, Starship Troopers. The effect is that more people are better able to relate to the characters...also probably because they couldn't find actors young enough to match the book.

Another unfortunate is that after the movie had been edited, the cut tape littering the floor was disposed of rather than saved for posterity purposes. One of the cut scenes that I wished could have been saved is where Box creates the ice statue of Logan and Jessica.

Many people like to disregard this movie as too cheesy and/or campy; however, you have to put the movie into context as to when it was filmed and released. The advancement of special effects as seen in Star Wars (released the year after Logan's Run) wasn't available to other studios at the time. Using miniatures was still considered cutting edge in addition to some of the 3D holograms that were used in the computer room.

I'd highly recommend watching this movie as it's a wonderful return to the mid-70's world of science fiction.

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I have fond memories of seeing "Logan's Run" in the theaters many years ago, and am delighted to see this film getting a fine presentation on DVD. Directed by Michael Anderson, the film takes place in a post-apocalyptic future where humans live a hedonistic life in the shelter of a domed city. There's just one catch to this pleasure-oriented utopia: nobody is permitted to live past the age of 30. The title character, played by Michael York, is a Sandman: an elite policeman assigned to kill those who flee the birthday death sentence. But a surprising assignment takes Logan on a voyage that will change him profoundly.

"Logan's Run" is an adventure tale, a love story, a crime drama, a social satire, and a sumptuous visual spectacle all in one. The whole package is superbly enhanced by Jerry Goldsmith's inventive and varied score. This is one of the most visually stylish science fiction films ever made; it's full of scenes that are truly unforgettable.

The film is really grounded by the performances by the superb cast. Michael York and Jenny Agutter make an absolutely enchanting screen couple; the evolution of their characters' relationship is one of the key pleasures of the film. Richard Jordan brings complexity and intensity to his role as a fellow Sandman. And Peter Ustinov is delightfully warm, funny, and loveable in a critical supporting role.

The DVD includes a vintage "making of" featurette, as well as a full-length audio commentary by actor York, director Anderson, and costume designer Bill Thomas. The three discuss casting, stunts, special effects, Peter Ustinov's ad-libbing, and other aspects of making the film. They reveal some fascinating and delightful bits of trivia along the way. This is one of those great commentary tracks that makes you appreciate the film even more.

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Body Heat / La Confidential / Player (2012)

I checked out all three transfers and supplements. Everything that's available on the single disc editions is included here. Except for the CD Soundtrack for L.A. Confidential, which is included on that individual release. Three solid films for film enthusiasts, fans, makers. And the average movie lover will no doubt be thrilled at having these three discs (and they are 3 separate discs in the case) in their collection. How can one not recommend this. One can't not recommend this.

While the blu-ray film quality is not jaw-dropping, they are a big improvement over the regular DVD's. All three are excellent film noir style movies.

Buy Body Heat / La Confidential / Player (2012) Now

I really bought this because I wanted a copy of "L.A. Confidential". The other two movies are a bonus, and I like all the films.

Read Best Reviews of Body Heat / La Confidential / Player (2012) Here

Jab Tak Hai Jaan (Blu-Ray) (2012)

A beautiful last love story created by the great Yash Chopra. The story portrays the wonderfulness of being in love along with the difficulties that are caused by it. In the first half of the story, Samar (Shahrukh Khan), is shown as a happy-go-lucky kind of guy, who has a lot of energy, and says what he thinks. Then he meets Meera (the Yash Chopra heroine), a daddy's girl who is about to marry a man she doesn't truely love. Meera is a woman who is refined and has a lot of self-control and makes baragins with God in order to get what she wants, along with this she also has walls built around her (why?... you'll have to watch). We only see these walls come down and the true Meera emerge when she is with Samar. But she has made a promise to God to marry the man her father wants her too, and when an accident happens to Samar, she believes it is her fault for going against her promise to God. Therefore, she promises that if he lives she will never meet him again. Samar lives and she tells him that she will no longer see him and will marry her fiance. In that instant we see Samar change to a cold man as his love walks out the door, he then tells God that he will put himself in danger every day in order to prove to Meera her baragin won't suffice to keep him alive. It is truely painful to see Samar walk out of the church with a stone cold look on his face, knowing that his love broke his heart and he will spend his life without her.

In the second half, ten years later, we see Samar has become a bomb defuser for the Indian Army. This is where Akira enters. A spirited girl, and very modern in her thinking of how relationships should work. She is a tom-boy who loves to have fun and is very intrigued by Samar, who she is following for a documentary that could make her career. She is interested in this hardened man who puts his life in danger. While with him she falls in love with him, I think it's because he is a broken man and she wants to put him together again, which is nothing she has felt with a man before, and she seems determined to make him forget about Meera.

And then comes the dilemma, Samar meets with another accident and loses his memory. The only thing he remembers is being with Meera, and does not recognize Akira, and continues to ask for Meera. I admire Akira for taking it upon herself to unite the two even though she loves him. She finds Meera and brings her to the hospital to see Samar, which the doctors believe will help him remember the past ten years. My favorite scene is when Samar and Meera meet after such a long time, it is so beautiful and sweet how they hug each other and you can see Meera allow herself a bit of happieness of being with him again. Samar is told that he is suffering from amnesia and what he remembers is from ten years ago. Because of this he believes that he and Meera have been together the entire time, and Meera plays along. The doctor tells her it will help him adjust and maybe remember but I think she truely does it because her love for him never ended, and this is a chance to be with him. Even though we can she her restrain herself when it comes to truely letting herself be with him there are moments in their time together that we see her allow herself the luxury of being with him. Eventually, Samar gets his memory back, in an unlikely event that I could have done without but it's a movie and reality should be left at the door anyways. He confronts Meera for making a mockery of his love for her by leading him on, and he leaves her crying in the same church where her baragins were made, and where the war began between Samar and God. I won't tell the ending but if you know Yash Chopra you can assume how the movie ends.

I think it is interesting that God is believed to be the obstacle in the way of Samar and Meera being together, but in reality Meera is the obstacle to their happily ever after. Her utter belif that she keeps her promises to God is both admirable and stupid as we become frustrated with her inability to realize God never intended for them to be apart. The story of Samar and Meera becomes a testament to Akira that true love exists, and modern views on relationships may be incorrect.

Now onto performances. Of course Shahrukh did wonderful as the happy guy bouncing from job to job, but he also did a wonderful job as the hardened man wary of letting people in. He is an actor who can really portray love, and does so in little nuances, such as a hand on a cheek, or a kiss on the forhead, he has it down. His chemistry with Katrina Kaif is very nice, and helps make the story believable. For this being Katrina Kaif's first serious romantic film I think she did great. She did a believable job portraying a self-restrained, and strong woman, who allows a man to come a sweep her off her feet. Some critics panned her performance for being to cold and ridged in spots, but I think this is how Yashji wanted it to be. She is loose and goofy only with Samar and restrained the other times, when she is reunited with Samar, I think she is supposed to show some coldness so that she can protect herself. The character Meera belongs to Kaif and she did a wonderful job portraying her. Anuskha Sharma does a great job playing Akira. Sharma very easily embodies this tom-boy hyper girl. But the moments in the movie where she is serious she also does very well, and she is able to cry on screen which is always a plus in portraying emotions! Other critics said that her character was too much and over the top, but if Sharma is representing modernism, which is overwhelming and all encompassing, then that is what the character needs to be as well, which is what she did. Some said her character has no dimension to her, but in the serious scenes we can see that is not true. Overall, all three did a wonderful job portraying their characters.

In the end, this is a beautiful love story that sweeps you off your feet. And it's extra special because it is the last great work we will see of Yash Chopra. Enjoy the movie because it is spectacular.

I love SRK and generally speaking love Yash Chopra's romantic comedies. This one just didn't quite deliver which saddened me really because I really wanted to love it. First off, I had trouble believing anyone of any faith was that superstitious that they would let some "deal" made with god keep them from someone they loved so deeply. That's a small god that can be bargained with so easily, makes you wonder why anyone would serve such a god. So that's my first gripe. Second, I just never connected with Katrina Kaif. She's pretty enough but her character, or maybe her acting, was flat and left me disbelieving this "amazing" connection that sent a man off to try and die to prove her and her "god" wrong. Thirdly, hard to say this because I adore SRK, and he did a great job but Anushka Sharma stole the show! I was rooting for her! I wanted HER to get the man. Akira was so vibrant and effervescent while Meera was so colorless, flat, and silly with her superstitious deals with god, seemed an obvious choice to me! Who wants a colorless mouse when you can have a beautiful butterfly? I was also able to look at my husband and predict several plot twists but that isn't uncommon so I won't harp on that one too much. It's an okay movie, I still enjoyed SRK, always do, I'm a huge fan, and especially Anushka, it was nice to see them on screen together again. It just left me feeling almost as flat as Meera came across on screen.

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i am a Bollywood Fanatic. I love SRK and Anushka. This is a great movie that you have no idea where it is going until the last 60 seconds. I have already watched it more than once and will be twice more over this Holiday weekend.

It is a shame that Yash uncle died. It is the passing of an era.

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This movie has 1 good song "sans". Just another romantic story, that's all. One would expect more from a yash chopra film !

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this movie was very good, held my attention the whole time..No really bad language or sex, could let anyone watch this very romantic movie,great acting, reading the lines was not hard because they spoke English so well and so much,It was not really necessary,but I picked up a few Hindi words myself. I have brought 4 more of this actors movies,he's that good and my being 100% American and never been to India, found this so intriguing..you won't regret your purchase...

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Big Business (1988)

I am SOOO HAPPY this is finally being released on DVD (my VHS copy has been watched so many times, it's not that good anymore!).

This is a great story about TWO sets of twins that are born in this rinky dink hospital in Jupiter Hollow, only to have one twin from each set mixed with the other. It's a hilarious romp and definitely a feel good movie. I think far too many critics these days miss that point. If a movie makes you feel good and makes you want to watch it over and over again, that's a 5 star movie.

Big Business will keep you coming back for a great does of monkey business!! Viva Tomlin and Midler!!

So there's nothing on TV except reruns? Your husband wants to watch football and you hate football, so you go to the video rental to pick out a movie to watch on the spare TV in the bedroom? Hey, I've been there, done that. Now it's time, if you haven't already, to rent a blockbuster funny movie: Big Business with Bette Midler and Lily Tomlin.

When a rich couple have to have their twin girls in a small town, all kinds of madcap comedy starts to happen. First, the kids get mixed up. The rich couple is supposed to have two Bette Midlers, if you can believe it. And the poor folks are suppose to have two Lily Tomlins. But each couple gets one of each. And to make matters even funnier, both Lily's are named Rose and both Bette's are named Sadie. Each Sadie has a different personality. Each Rose has a different personality. Where do I begin?

The poor folks Sadie is a cow milkin', sweet singin' kind of gal who yodels and has lots of fun.

The rich folks Sadie is head of the family business now that her mom and dad are dead, and she thinks she's hot stuff. She's all stuck up and full of herself.

But, when poor Sadie visits New York, she has a lot in common with rich Sadie. They both like the same kinds of clothes, and like to eat the same things.

Poor Rose is Lily Tomlin at her best as a brash, life ain't gonna stop her kind of gal. Rich Rose is Lily Tomlin as an accident getting ready to happen. Poor Rose lets all her attitude hang out, and says just what she's thinking. Rich Rose cowers behind rich sister Sadie.

But when they all get together, the fun really begins, as ex-spouses and boyfriends find out they are attracted to Sadie, but it's the other Sadie they're really interested in. Same way with Rose. Country hick Fred Ward finds out he's really crazy about rich Rose.

This is a really cool movie, and I'm sure it's better than that old footbal game your husband is watching. So get hop, hop, hoppin' to your nearest video store and rent it. I'd say to buy it, but it's currently not available.

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My best friend and I owe about half of our vocabulary to this great film. I can't believe it's not even made on VHS any longer, let alone DVD. ROSE IS ME! I know how you love to mix & match your syrups. This film is a classic, and the laughs won't end when the movie ends.

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This blu-ray looks much better than the dvd for the exception of the first few minutes in the scene where the mothers are delivering their children. After that you clearly see the rich video and the difference between this blu-ray and the regular dvd.

This movie is so happy, uplifting and entertaining from begining to end that I've bought it yet again; first vhs many years ago, then dvd, now blu-ray. Buying blu-ray will make you feel that you're watching the movie for the 1st time again and a very big difference from dvd. The title menu is also cool with the black and white screen split in 4 and background music.

I gave it 5 stars because I don't consider that 2 or 3 minutes in the begining of the movie of some graininess is enough to take a star away from this great movie and wonderful video quality after those few minutes. Also other reviewers have removed more than one star just because of those 2 or 3 minutes. Maybe they didn't keep watching after that?

There are many wonderful old movies that I would love to see come out in blu-ray even if the quality is not perfect but is at least widescreen and better than dvd.

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This movie is one of my favorites from growing up. I probably watched it at least 100 times as a child. I'm so glad to see it on DVD. Bette Midler(who plays Sadie and Sadie) and Lily Tomlin (who plays Rose and Rose)are so funny!

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Eve of Destruction (2013)

This was originally a "made for TV" movie. While I watched it for Aleks Paunovic (who was awesome!), I was very impressed with the entire cast. I'm not a physicist so I can't vouch for the validity of the "science" but the plot was good and the movie kept up a good pace to keep my attention.

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The Wrestler (Combo Blu-ray + DVD Steelbook Case) (Blu-ray)

I've been a wrestling fan since the '70s and it's one of those things that I have to hide from most people because they think it's a joke or they just don't understand what it's appeal is. Then came along "The Wrestler" and now my friends are asking me questions and taking interest in "the business". I saw the movie with some friends and family and we had some very spirited discussions afterward. They couldn't believe that these guys would, for example, mutilate themselves to have blood in matches (a practice called "blading" that's performed with a small piece of a razor blade), or that years spent in the ring will leave most wrestlers battered and even disabled thanks to the legit wear and tear that wrestling has on the body. Most people assume a wrestling ring is a trampoline, but it's actually like landing on concrete and over time there's a price to pay for taking bumps on such a hard surface for so many years. "The Wrestler" reveals all of these issues wrapped up in an enthralling and emotional motion picture you wont soon forget.

Life imitates art on several levels in "The Wrestler". For example, the movie shows the dark side of steroid abuse that has caused a laundry list of wrestler deaths in just the past 10 years (the pressures of the Monday Night War era claimed the lives of countless wrestlers). Well, during the first backstage wrestling scene, Mickey Rourke's character shakes hands with a wrestler that is huge and jacked to the gills. That wrestler died from heart failure a few weeks before the movie's release. Also, there is a scene where another huge and overly muscular wrestler sells several illegal muscle enhancers to Rourke's character. That wrestler was recently arrested for selling drugs. But the real story here, is how Mickey Rourke's character of Randy the Ram mirrors Mickey's life in many ways. Both are former stars, both have pushed their bodies to the limit in sports (Mickey revealed on the Charlie Rose show that he was forced to quit boxing because one more serious blow could've been it for him) and both want to get back in the spotlight. Thankfully, Mickey has achieved his goal of regaining the spotlight. As for Randy, that's a different story.

Randy the Ram, seems to be based on a combination of former wrestlers Lex Luger and Jake the Snake Roberts. Lex Luger's ailing body and rock bottom financial situation plus Jake's volatile relationship with his daughter were definite inspirations for screenwriter Robert Siegel. Mickey takes the experiences of Lex and Jake, along with his own and shapes a character that he was born to play. The part was originally written for Nicholas Cage, but I can't imagine anyone but Mickey Rourke playing this part. Mickey plays Randy with such heart and soul that he truly makes the audience feel for him. We feel his pain, we relate to his shortcomings and we cheer him on to find love and rebuild the relationship with his daughter. When Randy apologizes to his daughter for being on the road wrestling and not being there for her when she needed him, you feel it.

As a wrestling fan, one of the most powerful scenes takes place at the end when Marisa Tomei's character begs Randy not to wrestle just moments before the start of a match due to his heart condition and Randy tells her that he belongs out there. It's the only place he fits in, it's the only place he feels successful and loved. Randy's music then hits and a man who looked broken down and beaten just a second ago, busts thru that curtain and walks out as a superstar with the crowd eating out of his hand. It's a powerful scene that sums up why so many wrestlers find it so difficult to walk away from the business.

Don't let the fact that "The Wrestler" takes place in the world of professional wrestling keep you from seeing it. You don't need to be a fan to enjoy this movie. Wrestling is merely the backdrop for the drama taking place on the screen. Everyone puts in amazing performances. Rourke and Tomei deserve their Oscar nominations and Evan Rachel Wood nearly steals the movie. Just keep this in mind while watching it. Don't get too wrapped up in the drama, because after all, it is just a movie. And movies are just fake, scripted entertainment with predetermined outcomes.

Impressed by Mickey Rourke's Golden Globe winning speech, I decided to go see this movie.

Randy 'The Ram' Robinson fought the Ayatollah in Madison Square Garden back in the 80s, and still battles today. Ill met by fate, bruised and battered, his sinewy muscles scarred, his bones creaking in protest he still has the fight, and like a One Trick Pony he sticks to what he knows. It's a desperate life.

As you may recall in Raging Bull, Robert De Niro put on about 40 pounds to play fighter Jake La Motta as he got older, and he won an Oscar for his dedication to the role.

Mickey Rourke does something no less astounding here, putting on huge bulk to assume the persona and convincing physique of a professional wrestler. It's the most amazing acting performance of the year. The lines between actor and character blur and disappear. The kind of pain you see on Randy's face cannot be pretended. It can only be relived from the actor's parallel experience, which is what makes Rourke's performance so compelling.

For female companionship, he goes to a local bar, where a fetching stripper played by Marisa Tomei, Academy Award winner for My Cousin Vinny, gives him a lap dance for a fee. He can barely make rent, yet he has priorities.

Marisa gives an incredibly authentic performance, and it's a welcome surprise see her take it off in the name of art. I applaud her courage in doing so. Her physique is simply amazing, and her body art is very intriguing.

Evan Rachel Wood plays his estranged daughter. Previously, she played the female lead part in Across The Universe, and already has a quite impressive filmography under her belt. Here she sports a different look, and gives a perfect performance.

Some of the wrestling sequences are truly outrageous, and not a little disturbing. Having cut my finger on a ham slicer early in life, seeing people operating ham slicers gives me the heebie jeebies. If you have a problem with the sight of blood, I caution you that there are some disturbing sequences in the movie.

The Academy's actor awards tend to go to actors in two types of role:

1.PsychopathNo Country for Old Men, The Usual Suspects, There Will Be Blood, Training Day, Silence of the Lambs.

2.Mentally Disabled, Social or Physical Handicap, overcomes great adversity or discriminationShine, As Good as It Gets, A Beautiful Mind, Ray, Scent of a Woman, Capote, Philadelphia, The Pianist, A Beautiful Life.

Randy definitely has a handicap, and last year was the year of the psychopath, with both Daniel Day Lewis, and Javier Bardem winning Oscar.

I hope you find this helpful.

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Growing up in the 80s, Mickey Rourke was James Dean to me. His part was too small for me to notice him in BODY HEAT. The critics had caught a glimpse of him and his potential in that film. I knew that I was on to something watching him as the fast talking womanizing Baltimore con-artist Boogie, in Levinson's DINER. His honesty as an actor pierced my emotions, even though he was playing a character that was lying throughout the entire film. When I witnessed his serene and suicidally introspective portrayal of The Motorcycle Boy in Coppola's urban dreamscape of S.E. Hinton's teenage angst novel RUMBLE FISH, I knew that I had just witnessed The Rebirth of James Dean. When I saw his cool slowburning streetwise Italian dreamer, Charlie in THE POPE OF GREENWICH VILLIAGE, I knew I had found a film actor I could idolize. I wore my hair like him. I tried to dress like him. I wanted to be him. Man, this was the COOLEST actor taking the coolest parts in Hollywood! Mickey was IT!

But, like Dean, it seemed that Mickey would metaphorically and almost literally crash and leave us with only three truly GREAT films. After a few briefly compelling performances in the 80s as the hardboiled Kowalski in Cimino's YEAR OF THE DRAGON, the lascivious John in 9 1/2 WEEKS, Harry Angel in ANGEL HEART, and the hilarious Henry Chinaski in BARFLY, Mickey's career dwindled into lesser leads, bit parts, and cameo roles. Mickey became "difficult" to work with. Mickey wanted to give up the studio politics and the collaborative involvement with a craft that he was, quite literally, born to do. And become what? A boxer? The owner of a hair salon? A biker? A thug? Then, Mickey lost himself for 14 years. In a reply to a ten year hiatus question backstage at The Golden Globes, Rourke said, "Let's get it right. Ten years sounds easy." Ultimately, he was alone. Mickey Rourke was forced to do some soul searching.

Into the 21st Century, no one noticed Mickey's hilarious turn as The Cook in SPUN. A wild and sardonically dark comedy about methamphetamine users. (The Cook watches and adores wrestling on TV while cooking up his dope. One wonders if this gave Aronofsky the idea to cast Rourke in THE WRESTLER?) His sad and tender moment at the end of that film was a revelation of things to come. The final monologue is a wonderful precursor to his character in THE WRESTLER. It broke my heart. Then, a new generation of fans and critics were talking about him again, after grabbing everyone's attention as disfigured Marv in Robert Rodriguez' comic book pastiche, SIN CITY. Sort of a throwback to Rourke's JOHNNY HANDSOME. The best thing about SIN CITY was Rourke's performance. It stood out like a sore thumb. Even over the special look of that film.

Now, things have changed for Mr. Rourke. With the critical acclaim (for once they got it right) for this film, he is all over the talk show circuit recalling his loneliness, his mistakes, and episodes from his former life. Like a 12 stepper, Mickey now seems humble and apologetic. Thanking everyone for giving him the chance to once again become the serious actor he once was. (We should all thank them too.) He is no longer taking anything for granted. Everyone loves a humble winner. And God Bless him, Mickey Rourke is BACK! And his performance in THE WRESTLER is a WINNER!

The generous Mr. Darren Aronofsky has given Mickey Rourke the role of a lifetime with this film. Knowing Rourke's reputation for being next to impossible to work with, Aronofsky could not get the financing for this film when he first attached Mickey's name to the project, but promised Mickey an Oscar nomination if he would only listen to his direction and do everything he was told to do. Mickey kept his promise, and it appears that the masterly and prescient Aronofsky has kept his. THE WRESTLER was not written for Mickey Rourke, but was later tailored to fit him personally. The themes are semi-autobiographical.

The story is not complicated. Although, changed and improvised due to Rourke's involvement, the script, written by Robert Siegel, is reminiscent of a 20's or 30's bloody pulp fiction boxing story that could have been penned by the creator of Conan The Barbarian, the late Robert E. Howard. It is a simple pulp character study about a lonely beaten man who has been to the top of the mountain only to be brought back down again by the repercussions of his actions, and a savage career choice that has taken a brutal toll on his body from staged battles, steroid juice abuse, and a lot of 80's Hair Metal. (The biggest laugh in the film, comes from Rourke's line about Kurt Cobain and what he did to 80's Metal.) Filmed in a grainy Indy style with long loose tracking shots and circular handheld camera movements, it is a sad, gritty, brutal, and COMIC semi-documentary narrative told mostly from Randy "The Ram" Robinson's POV. Not every movie goer will appreciate the raw look of this film, the patchwork sequences, or the triumphantly open ending. True film lovers will.

The performances here are very brave indeed. Marisa Tomei is essential as Cassidy. She bares it all as a sweet, conflicted, past her prime stripper mom, unwilling to succumb to The Ram and his half desperate attention for her affections. Most 40 something actresses wished they looked this good, but might never agree to pole dance almost completely nude in a film about an aging wrestler. You will fall in love with her all over again in this film. Her Nomination for a Golden Boy is well deserved.

Unlike De Niro who donned 40 lbs of fat for his role as Jake LaMotta, Rourke bulked up approximately 40 lbs of muscle on top of his already commanding girth. Rourke is scarred, pimpled, pumped, and battered. His body and visage are roadmaps of world weariness and pain. One grim shot shows Rourke shooting steroids into his veiny, mottled, and scarred rearend. A selfless dedication and adherence to character. A fearless commitment by a great actor to shamelessly open himself up to his audience. Baring his wounded nakedness, as well as the internal wounds to his lonely psyche. And isn't this what we love about our greatest actors? This film IS Mickey Rourke. Body and Soul. This is an extremely giving performance. It is symbolic, commanding, sad, demanding, honest, demure, comic, tender, uplifting, and most of all, heartbreaking.

A broken man searches for acceptance, dignity, and redemption, but finds himself instead.

The same can be said about The Second Coming of Mickey Rourke. THIS IS A GREAT FILM! Just give this man his Oscar. I can only hope Mick gets his Harley back!

This is The Best Film of 2008.

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The Wrestler marks Darren Aronofsky's growth as a film-maker from strange, science-fiction tinged films to films with emotional resonance in a real setting. I am a huge Aronofsky fan, loving Requiem for a Dream nearly as much as Pi, but I was underwhelmed by his last effort, The Fountain. His films are almost unbearably intense, most prominently shown in Requiem, but The Fountain abandoned his first two films' grittiness for a sleeker, polished story-line, exploring ambitious philosophical themes while failing to deliver on the emotional level. For a while, I was worried where Aronofsky's career would go, especially after seeing that he was helming a project called The Wrestler, which seemed to deviate from the subjects of his previous works.

The Wrestler gets everything right. Aronofsky trades high-minded philosophical themes for a more grounded, concrete narrative. He also reestablishes the inventive camera-work that made Pi and Requiem so aesthetically stunning, shooting almost the entire film on a hand-held camera. And, lastly and most refreshingly, he reinstates the violence and shock-value of his first films, escalating the wrestling scenes to cringe-inducing bouts of brutality and decadence. However, such violence is in aid of characterization--to show the hearts behind these men in the ring, to demonstrate the toll such entertainment may take on one's body, all in the service of a loyal, loving audience.

"The only place I get hurt is out there," says "The Ram" as he enters the ring towards the end of the film. Rourke, giving a breathtaking performance that should have EASILY triumphed at the Oscars (it's a travesty that he didn't win), provides us a window into the tortured soul of a man who's thrown his life away for the sake of his profession. No matter how much Ram deviates from our idealized vision of a hero, the audience never feels any animosity towards him; he screwed up, and he knows it, but he can't help it.

The mirrors to Rourke's life are easily seen, making the film into some manner of Greek tragedy rather than mere drama. It is Aronofsky's presence, and a wonderfully crafted script, that sets The Wrestler above other comback portraits like Rocky; the brutality is reminiscent of Raging Bull, and the style behind the film is a marvel in itself. The Ram is equated to Christian iconography, pointed out by Marisa Tomei's stripper, in that he suffers for humanity--not only is it an effective comparison, but it gives the film more depth than the average comeback piece. The buildup of sounds is used frequently as well, to great effect, to further the window in the life of the Ram.

The film is not for everyone; my sister refused to watch the wrestling scenes, because they are quite shocking. Some scenes are rather melodramatic, but effectively so, making the film a draining emotional experience (I went teary-eyed at least twice). But, it is a rewarding film if you have any interest in the craft, or wish to see the performance of a lifetime by Mickey Rourke.

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Synopsis: Robin Randzinski, though better known by his ring name Randy "The Ram" Robinson (played by Mickey Rourke), is an aging wrestler who went from selling out the Madison Square Garden in the late '80s to splitting time between wrestling at a semi-professional level and working as a butcher's assistant just to make a living. Living alone and close to poverty, he befriends a stripper named Pam, who herself is better known by her stage name Cassidy (Marisa Tomei.) After wrestling in a particularly brutal hardcore match, Randy suffers a heart attack and learns his body can no longer take the strain of competing as a wrestler, thanks in a large part due to years of drug abuse. With a new outlook on life, Randy realizes his biggest regret: Losing contract with his estranged daughter Stephanie (Evan Rachel Wood). He does what he can to adjust to normal life, but can Randy escape the self-destructive behaviors that got him to where he's at in the first place?

Mickey Rourke's portrayal of a faded wrestler was the largest reason why I was floored after I saw this film. I've met people who've wrestled semi-professionally and have seen wrestling documentaries such as Beyond The Mat, so I use my experiences with both as a yard stick in saying this. Rourke's performance was beyond remarkable in regards to authentic it felt. He put himself through what many others put themselves through on a regular basis to demonstrate the suffering these performers go through to maintain the sport and entertain it's fans. Rourke didn't just play the role in the film; he became Randy "The Ram" Robinson and you couldn't help but give your empathy toward his character, no matter how much of a screw up he was.

I also enjoyed Marisa Tomei's role in the film (and no, not just because of the nude scenes.) I've met women who, like wrestlers, have had to sell their body just so they can get by. She demonstrates the balance of having to use your sexuality to make a living while having to protect herself from both abuse and emotional attachment. Much like Rourke's character, she can't escape her stage persona simply because she isn't working; it's ingrained into who she is because of what she does.

In the end there were no fireworks, no glory, no spectacular situations for anyone to claim champions of. There's no Hulk Hogans or Stone Cold Steve Austins to excite thousands in attendance and millions watching at home. There are the gutsy up-and-coming semi-pro wrestlers trying to be the next star, over-the-hill semi-pro wrestlers trying to recapture who they used to be, and small venues jam packed with the hundreds of fanatic fans who'll keep coming as long as the door's open for them. The wrestling can be hard to watch but it's nothing that's overexaggerated; it's only what many do to themselves for the love of what they do and the entertainment of those who cheer for them.

This has managed to become one of my personal favorite movies. I recommend it to all.