Jackie Brown (1997)

"Jackie Brown" was widely received as a disappointing follow-up to Quentin Tarantino's "Pulp Fiction," but I think it's actually a better movie, if less obviously so. It's hard not to be blown away by "Fiction" because of it's sheer audacity; "Jackie Brown" is a quieter film that shows Tarantino has the potential to become a mature and sophisticated director.

It's somewhat ironic that Tarantino, associated with the young hipster audience, made this film, because at the basic level "Jackie Brown" is about getting old. All of Jackie's motivations spring from the fact that starting over will soon become impossible for her. That the options available to a a middle-aged, lower income level, black woman in modern America are severely limited. Tarantino shows an amazing prowess for getting into the head of this woman. His sensitive direction coupled with Pam Grier's top-notch performance combine to make Jackie one of the most compelling and honest female characters to hit the movie screen in recent years.

The rest of the cast is uniformly excellent too. Robert Forster stands out as bail bondsman Max Cherry, who becomes Jackie's partner in crime, as it were. Samuel L. Jackson does well with the kind of part he seems born to play, but his character is not as interesting as the others and so makes less of an impression. Bridget Fonda is a scene stealer as a California beach bunny, and the contrast between her and Pam Grier is used quite effectively.

It's interesting to note that in the book this movie was based on, "Rum Punch" by Elmore Leonard, Jackie was white. Changing the race of the title character to black adds a whole other dimension to the film that the book lacks. This is one case where the movie greatly improves on its source material.

"Jackie Brown" will take some commitment on behalf of the viewer. It's leisurely paced and more reliant on character study than Tarantino's other films, but these aren't detriments. They merely illustrate that Tarantino has some range as a director, and I hope he continues to explore that range.

I waited a long time to see "Jackie Brown", because I heard it wasn't any good, and I didn't want to tarnish the memory of "Reservoir Dogs" or "Pulp Fiction". Both those films were kinetic, profane, daring, and truly visceral experiences. I loved every minute of them. "Jackie Brown" is a horse of a different colour, however. It is low-key, thoughtful, tender, and assured. And, I must say, just as good.

One of the main criticisms leveled against it, that I've heard, is that it's too long and too slow. Well, compared to "Pulp Fiction", which is about the same length, of course you'd think it was too slow. But that's the way this story needs to be told, for one simple reason. "Pulp Fiction" was about young, experienced criminals, always on the go, always in control. They could afford to move quickly. "Jackie Brown"s criminals are a touch older. Jackie Brown and Bail Bondsman Max Cherry even have a conversation about what it means for men to get older (they lose their hair) verses what it means for women to get holder (their behinds get bigger). It's actually kind of a touching, and very odd, moment to have in the middle of what should be a zippy little heist flick.

Another way it differs from "Pulp" or "Dogs" (which would lead people to believe that it's sluggish) is the lack of gunplay. Tarantino's earlier films were defined by the style and abundance of their shootouts. "Jackie Brown" has only six gunshots. And all are essentially off-camera, or off in the distance, producing little or no blood. Now I'm not offended by violence in movies. Not at all. But it is kind of refreshing to see a director, especially one who's made his name off it, not rely on the showy exploitation of shooting someone. When he does show it, however, the torment and suffering and guilt of the shooter is always apparent.

Which brings me to the most intriguing thing about this movie. Tarantino, who the rap on in recent years has been that he's tormented by his early success and hasn't the confidence to make his next picture, actually shows a very assured hand in making this movie. Besides the above conversation between two aging characters, there are other places where he shows supreme confidence in his decisions. For instance, he's cast Robert DeNiro in his movie. Okay, a no-brainer, right? Wrong. Because he's cast DeNiro in a tiny, stoical role. Simultaneously, he's cast Robert Forster (I know he got an Oscar nod, but before that wasn't everyone asking "Robert who?") in a role that's very meaty, the tortured love-interest. A less-assured director would have switched the two actors, but Tarantino knows what he wants, and boy does he get it. DeNiro doesn't do more than he has to in creating his understated character. And Forster steals the show with his laid-back, relaxed, but always conflicted Bail Bondsman.

And Forster's scenes with Jackie Brown are touching, chemistry-filled, and a joy to watch. Credit in this case should go to Pam Grier, as Jackie Brown, another Tarantino casting coup. Grier is asked to be maturely sexy, street-smart, tough, and vulnerable all at once. And she pulls it off without flaw. I suspect that Tarantino has fantasized most of his life about casting Pam Grier in a movie, and would have done so even if the role didn't suit her so. But it does. It truly does. She carries the picture as not only the title character but also its emotional centre.

The rest of the cast is good in their own rights. Sam Jackson was born to speak Tarantino's dialogue, and doesn't disappoint. He makes Ordell a genuine badass, even through his ponytail and silly little beard (and Jackson, bless his heart, even throws in a nod to my home town basketball team, the Toronto Raptors). Bridget Fonda is actually quite sexy as a layabout surfer chick, whose big mouth is bound to get her into trouble. And Michael Keaton, who I've always thought of as a very underrated and interesting actor, plays his ATF agent with just enough faux-cool and indifference that you're always wondering if he's playing Jackie or if Jackie's playing him.

While talking about character, I'd like to give kudos to Quentin for a neat little-shorthand trick he uses to define them. Each character essentially has his/her own soundtrack. A scene near the end, which cuts between several different characters driving in their cars, shows this very well. Cut from Melanie's (Bridget Fonda) van, where faux-eighties punk is blaring, to Max Cherry's (Robert Forster) car, which features the laid back grooves of the Delfonics, to other characters and their distinctive musical tastes. The music shifts so suddenly sometimes that it can be jarring, but it's an effective technique. Furthermore on the music front, Tarantino liberally uses the Meters' "Cissy Strut" near the beginning of the film, which quickly brought a smile to my face, and let me know that funky good times were ahead.

"Jackie Brown" is a fine addition to Tarantino's oeuvre. Sure, his fingerprints are all over it in some cases, such as his distinctive use of language, and his fondness for shifting time back and forth upon itself to show the same scene from several different perspectives. But it's much more of a grown up movie. True, it's a tad too long. But just a tad. I can take excessive verbosity from Tarantino easier than I can from any other writer/director, because he's always fascinating, always moving, always trying to surprise, and always trying to tell a good story. "Jackie Brown" succeeds on all counts.

Buy Jackie Brown (1997) Now

Doug Thomas, your writing style is as tight-a**ed as your personality must be. Were you in a rush to splatter your half-witted thoughts on this movie because you had better things to do? Wow, even though your review is a pile of garbage, because you're a professional film critic, your smelling heap of empty-thoughted bullsh*t takes the privileged spot of primary review. Congratulations, your mom says she's proud.

Perhaps tea time prevented you form checking out the extras DVD included in the package... oh wait, you reviewed the VHS edition. Well, if you had done a lick of research, you'd've discovered that, *GASP*, Quentin grew up in black culture. Yeah, he had black friends and even went to schools populated heavily by black kids. And get this... you ready?... his mother dated... black guys! Now sit back, breathe in a bit, and utilize that liberal arts education I'm assuming you were at least exposed to, if not got a degree in: Artists like Quentin draw on their personal experiences in an effort to create an authentic piece of work. Heap on those pile of words.

How can a director be a lustful, minstrel-show-seeking culture-exploiter if he uses Bobby Womack, The Delfonics, Randy Crawford, Brothers Johnson, and Minnie Riperton in the score? Quentin didn't get any help with the script. That scene between Ordell and Beaumont on the balcony outside the latter's apartment was written by a white guy. Not even the most overzealous white-guy-wanting-desperately-more-than-anything-else-but-to-be-black could create something so sonically deft and authentic. A scene like that shows how Quentin is a respectful student of black culture, not some hand-wringing, cigar-smoking WASP wanting to take rap and use it in a Fruity Pebbles commercial at the height of RUN-DMC's success in the late 80s so he can sell more cereal for General Mills.

Music and dialogue carry this movie and are the two ingredients that make it such a pleasure to take in. The film's been described as "slow-moving," but people who say that don't realize that the pace is purposefully done slow so one can enjoy each characters' interactions. Sam Jackson's character, for as messed up as he is, is a piece of art. Charismatic dialogue. That's why I've watched the movie 3 times already, having seen it for the first time about a month ago.

If you're anything like this stiff critic whose review is posted at the top of this page (or the first page), you won't like this movie. However, if you're receptive of artful dialogue, non-predominently-white culture, and some awesome 70s soul/R&B music, this flick was made for you.

Read Best Reviews of Jackie Brown (1997) Here

Tarrantino showed his maturity in this film, assembling a very fine cast in a wry transformation of Elmore Leonard's Rum Punch. Always one to have fun with 70's action films, Tarrantino's masterstroke was resurrecting Pam Grier in the title role. Grier, who made her career in such blaxploitation movies as Coffy and Foxy Brown, gives a star performance in this film. She is well balanced by Samuel L. Jackson as Ordell, a two-bit drug dealer, and Robert Forster, who turns in a remarkably understated performance as Max Cherry, a bail bondsman.

Tarrantino pretty much followed the 70's action film formula here, letting the movie build slowly and relying heavily on dialog to carry the action. Once again, he has underscored his film with a fine soundtrack, which even includes a track from the Brothers Johnson, Strawberry Letter 23, as Ordell does away with one of his runners. But those used to Tarrantino's high octane films may be disappointed with this one, but I found it to be a very enjoyable departure from his usual fare.

Want Jackie Brown (1997) Discount?

That is coming from someone who love anything this director makes, presents, or endorses. I think this is a very complex and satisfying film. Using the relatively unfilmed cities of LA, such as Hawthorne, Compton, the REAL Hollywood, it utilizes a more down to earth approach to real world crime. This isn't about a multimillion dollar heist, and the criminals are likeable and genuinely interesting even if one or two are full of themselves (Namely Ordell and Melanie.) The film opens with the classic Across 110th Street as sung by Bobby Womack and featuring a strong Pam Grier, walking that moving sidewalk at LAX. As the opening progresses she ends up possessing a look of worry on her face that shows a VERY strong woman's strength become vulnerablity. From then on we meet a handful of excentric baddies and law enforcers, that are all likeable, interesting and have at least one or two funny lines (with the exception of the cop who isn't Michael Keaton, who is just a plain jackass cowboy cop) My favorite part is the friendship/romance between Pam and the subtle and sensational Robert Forster. Starting with a very special ride home, which bleeds to a bar, and then to Griers Apartment. All involve rich dialogue and interest shown. They bond thru body language, their age, and eventually music("The Del----Fonics".) The fact that Forster rushes to the nearest record store for his first Delfonics Tape is just plain cute, and shows he is falling for her music and all. The Scenes between Grier and Sam Jackson also need recognition. They are at times funny, terrifying, and very well acted. There is also Robert DiNiro as an old friend/partner to Jackson, and a few girlfriends of ordell's such as Surfer Girl/PotHead Melanie, Old sex siren Simone, and Super Slow Country Girl Sheronda. There is just a bunch of rich characters here, and they all give great parts no matter how big or how small...especially Chris Tucker, who's performance as a snitch is equal parts brilliant and hilarious. This movie just hits a right note for anyone interested in a talky, rich picture. Tarantino says this is a movie for older people, well at 19, I'm definitely not younger, but this is my favorite of all tarantino films, be it because of the great soundtrack, storyline, performances, direction it makes no difference. It's my favorite period. Give it a chance and you'll see what I see...Great Movie!

Save 33% Off

The English Patient (1996)

This rare and beautiful film, based on a book that is felt as much as read, transcends the medium to become art. Painted on a vast desert canvas with deep rich oils, its beauty is felt as much as seen. This film will find your heart and remain there forever. If love had a face, it would look like this.

Director Anthony Minghella's screenplay shifts the center of Michael Ondaatje's story slightly in order to capture on film the essence of his beautiful prose. Ondaatje's novel is one of poetic beauty, a potrait of a rose beneath the water's surface. The film brings that beautiful rose out of the water and into the sunlight. The book and the film are so deeply intertwined you can not watch this film without wanting to read the book, nor can you read the book without wanting to see the film. The story itself centers around three people either in love with, or haunted by ghosts they have loved and lost to war.

Juliette Binoche gives an Oscar winning performance as Hana, a kind nurse with a gentle spirit but a damaged heart. She latches onto the burned and charred body of a man known only as the English patient, and ends up caring for him in a shell ravaged Italian villa in Tuscany where she feeds him plums and reads to him. When a man named Caravaggio with scars of his own arrives, the mystery of who the English patient really is begins to unfold via flashbacks. In the present, Hana begins to let her heart heal when she falls in love with a Sikh who disarms bombs left by the Germans.

It is the memories of the English patient, however, which are at the heart of this film. Ralph Fiennes gives a subtle performance as the introspective Almasy, part of an international expedition mapping an unending desert with both the romance, and the danger of the sea. Kristin Scott Thomas is wonderful as Katherine Clifton, the stunningly beautiful and enigmatic wife of a fellow mapper. An instant but unspoken attraction between she and Almasy finally becomes too unbearable to ignore and the affair that holds the key to the mystery surrounding the English patient begins.

This is one of the most romantic films ever made and is filled with the joy and anguish of love and war. It shows that while war may create logistical lines that can not be crossed, the heart has no boundaries. Anyone who has ever experienced a love of such emotional intensity and physical longing that love and need became one will understand the love affair of Katherine and Almasy.

Cinematographer John Seale has given this film a grace and beauty seldom seen on film. A haunting score full of mystery and romance from Gabriel Yard accompany scenes never to be forgotten, and will not be described here in case you have not yet seen them. Director Anthony Minghella explores the mystery of the desert, and the heart, which according to the "The Histories" by Herodotus, a book the English patient clings to, is an organ of fire.

If there is but one ounce of romance in your soul, you will love "The English Patient." It is a well charted and romantic map of the human heart, as wide and treacherous as the unending desert. This will be one of your favorite films once you see it. I promise.

After the publication of Michael Ondaatje's Booker-Prize-winning "English Patient," conventional wisdom soon held that the novel, while a masterpiece of fiction, was entirely untransferable to any other medium: too intricately layered seemed its narrative structure; too significant its protagonists' inner life; too rich its symbolism. Then along came Anthony Minghella, who reportedly read it in a single sitting and was so disoriented afterwards that he didn't even remember where he was but who called producer Paul Zaentz the very next morning and talked him into bringing the novel to the screen. Two major studios and several fights over the casting of key roles later, the result were an astonishing nine Oscars (Best Picture, Director Anthony Minghella -, Supporting Actress Juliette Binoche -, Cinematography, Editing, Art Direction, Costume Design, Original Score and Sound), as well as scores of other awards.

"The English Patient" is an epic tale of love and loss; of ownership, belonging and the bars erected thereto. It unites the stories of five people: Hungarian count Laszlo de Almasy (Ralph Fiennes), mistaken as English by a British Army medical unit in Italy after professing to have forgotten his identity; Hana (Juliette Binoche), Almasy's Canadian nurse; Katherine Clifton (Kristin Scott Thomas), his erstwhile lover; Kip (Naveen Andrews), a Sikh sapper and Caravaggio (Willem Dafoe), an ex-spy and thief. All outsiders, they are struggling to come to terms with their lives: Almasy, on his deathbed, reflects back to his life as a North African explorer and his affair with Katherine; Hana believes herself cursed because everybody she cares for dies (in the movie her fiance and her best friend; in the novel her fiance, her father and her unborn baby), Katherine is taken to an all-male company of explorers in Cairo by her husband Geoffrey (Colin Firth), Kip, like Hana, is far away from home (the only Indian in an otherwise British and Italian environment) and Caravaggio lost his livelihood after his thumbs were cut off in captivity by the Germans, on a sadistic officer (Juergen Prochnow)'s orders.

Like the novel, the movie's story largely unfolds in flashbacks: After Hana convinces her superiors to let her stay and nurse Almasy in an abandoned Tuscan villa, she and new arrival Caravaggio, who holds Almasy responsible for his fate, extract the details of his life in Africa and the truth about Katherine, Geoffrey and the events uniting him with the Cliftons and Caravaggio from Almasy in a series of conversations. But at the same time, the story is anchored in the present by Hana's growing attachment to Kip, which shines a different light on the themes also driving Almasy and his relationship with Katherine. The film's outstanding cast, which in key roles also includes Julian Wadham as Almasy's friend Madox and Kevin Whately as Kip's sergeant Hardy carries the story marvelously: Probably their biggest award loss(besides Fiennes's and Scott Thomas's Oscar and other "best lead" nominations and Minghella's screenplay Oscar nomination) was the 1997 SAG ensemble award, which instead went to "The Birdcage."

In his screenplay Minghella made several changes vis-a-vis the novel; the biggest of these doubtlessly a shift in focus from Hana, Caravaggio and Kip to Almasy and Katherine, and the fact that the film is much more explicit about Almasy's identity than the novel. Both were wise choices: Hana's inner demons in the novel are largely exactly that *inner* demons, moreover, substantially grounded in the past and thus even more difficult to portray than Almasy's and Katherine's. Similarly, once the focus had moved to the latter couple, Kip's back story would have extended the movie without significantly advancing it; and the same is true for the intersections between Caravaggio's path and that of Hana's father. Secondly, mistaken *national* identity is overall more central to Almasy's character than identity as such; so the novel's intricate mystery about his persona might well have proven unnecessarily distracting in the movie's context. Indeed, once Almasy had become the story's greatest focus, much of its symbolism virtually even required that there be no real doubt about his identity.

But in all core respects, Minghella remained faithful to Ondaatje's novel; particularly regarding its profoundly impressionistic imagery, as shown, for example, in the curves formed by the Northern African desert's endless sand dunes, which in John Seale's magnificent and justly awardwinning cinematography resemble those of a woman's body as much as they do in Ondaatje's language, thus uniting Almasy's two greatest loves in a single symbol.

Doubtlessly the most important image is that of maps: Guides to unknown places like those drawn by Almasy and his friends during their explorations, but also tools of ownership like the cartography of Northern Africa made possible by Geoffrey Clifton's photos, and ultimately symbols of betrayal, as Almasy surrenders his maps to the Germans in exchange for a plane after he feels deserted by the British. And while Kip, who spends all day searching for bombs but wants to be found at night, guides Hana to himself by a series of tiny signposts in the form of oil lamps but still never tries to expect her, in order not to get too much attached to her Almasy, the perpetual loner who declares that he hates ownership more than anything else, gets so attached to Katherine that he claims her suprasternal notch as his exclusive property and later refers to her as his wife, which due to her marriage to Geoffrey she couldn't truly be in life and could only symbolically become in death. The final word on maps, belonging and ownership, however, is part of Katherine's legacy to Almasy (and I still prefer the novel's language here):

"I believe in such cartography to be marked by nature, not just label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. ... All I desired was to walk upon such an earth that had no maps."

Also recommended:

The English Patient

Secret Life of Laszlo Almasy

Wind, Sand and Stars

Night Flight

Anil's Ghost: A Novel

The End of the Affair

Up at the Villa

Chocolat (Miramax Collector's Series)

The Histories (Penguin Classics)

Buy The English Patient (1996) Now

I love this movie. In fact, it was the first movie I ever purchased (VHS) many moons ago. I first saw it in a theater with a hard-bitten financial-analyst friend of mine (male, straight). I'm an engineer (male, straight). We are not weepy types. We were both moved very much by this movie. I don't agree at all that this is a chick-flick.

This is a movie aimed at adults. If you want: constant action, simplistic plot, black-and-white relationships, car crashes, shoot outs (OK, it does have some crashes and shooting), then you probably want to look elsewhere. Casablanca, to which this movie has been contrasted, (though a good movie) could fall into the category of propaganda: produced during WWII, everyone conformed to the main line. Real people had real lives going on during WWII.

I find that the negative reviews of this movie fall into two categories: 1) those who are (terribly) morally offended by extra-marital affairs, and 2) those that can't follow a complex plot and set of characters. If you can see beyond those issues, and you like a good, complex tragedy, you should enjoy this movie.

This is a wonderful movie. The cinematography is gorgeous, music is fantastic, story is complex and compelling, the characters diverse and engaging. Everyone I know liked this movie a lot. Two love stories, plenty of tragedy and twists. Great actors and acting. The story is revealed slowly through flashbacks, it's a great dramatic device and works very well. I am a voracious reader and I have read the book as well: I prefer the movie (I can only say this about one other novel/movie: Dr. Zhivago). Like I said, everyone I know liked it very much. Enjoy.

Read Best Reviews of The English Patient (1996) Here

The movie is definitely one of the best movies ever made, I'd give 5 stars to it but what I'm rating here is the actual BluRay Disc.

I expected all BluRay Discs to come in the best available format to date which is 1080p/24fps, but this one comes in a lower quality format which is 1080i. Hence, I wonder, what's the purpose of buying this in BluRay Disc format? It really looks grainy, and it's unfair to a movie which won best cinematography.

The DTS sound is definitely very good.

The thing that annoys me most; is that it comes without any subtitles or any extra features at all, feels like playing a VHS.

Movies like "Coming to America" from 1988 (That's 8 years before The English Patient)has been restored in a much better glory than this one, which means it is possible to sell a better product they just didn't care to.

Want The English Patient (1996) Discount?

I'm one of the people who was completely taken with THE ENGLISH PATIENT when I saw it in theatres, but was also amused when Elaine Benis on "Seinfeld" goofed on it later. Or, should I say, goofed on everyone who loved it.

The non-linear story structure, the superb acting, the gorgeous photography, the unfolding mystery of what happened to the doomed couple--all of it hit me just right. While other people complained at the film's slow pace, I was soaking up the period details and authentic locations. I played the soundtrack CD for months afterward (and still do sometimes), finding myself lost in the distant and sometimes-haunting music.

There were so many terrible movies in the 1990s, just mere product crafted by committee and focus groups, that the intimate--though tragic--feel of this story felt very personal and real.

You know the couple played by Ralph Fiennes and Kristin Scott Thomas are in BIG trouble from the moment they meet. Just watch their eyes and expressions. Allowing a passion to spread like that has major implications on everyone around them and, in this case, also has major implicactions on a world on the brink of war.

(One footnote: the church I attend put out a list of Top Ten Reasons to Boycott Disney shortly after the film came out. Perhaps scraping for a reason to fill out the list, number 10 was "Boycott Disney because it funds Miramax, which produced THE ENGLISH PATIENT, a film that glorifies adultery." Huh? How anyone can watch this film and believe that these characters, tormented by guilt and confusion, indulging in a passion that not only kills them all but also contributes to Nazi victories in Africa, completely escapes me.)

Save 62% Off

Moribito: Guardian of the Spirit Part 2 (2007)

Bought both part 1 and part 2. Awesome anime with a great story line and characters. Absolutely recommend this anime. You won't be disappointed.

I already reviewed the first set so I'll just repeat what I said there. This is one of my favorite series of all time. It's based on a series of novels instead of the usual manga that inspire anime these days. You can definitely tell as there is a good deal more character development and story complexity than you'll find in standard fare. The fantasy world is well developed to the point where there are distinct cultures in the various countries explored throughout the series. I highly recommend this one.

Buy Moribito: Guardian of the Spirit Part 2 (2007) Now

With interesting character designs usually drawn to insinuate evil leanings, but never come to pass. I like the female protagonist who's background revealed in great detail too. Buy both for a solid story to the end.

Read Best Reviews of Moribito: Guardian of the Spirit Part 2 (2007) Here

Great anime to watch! The extras are almost non-existant. This Blu-ray was authored so that your player can remember where you left off automagically. I would rate the anime 5 stars and the disk 3 stars.

Want Moribito: Guardian of the Spirit Part 2 (2007) Discount?

The Brothers McMullen (Filmmaker Signature Series) (2012)

This is a pleasant film about problems concerning love. There are three brothers who run into difficulties that they have to solve. My favourite is the second oldest brother. Barry has seen how his mother had to struggle for years with a man that she did not love. After Barry's father is dead, Barry's mother is finally able to marry the man she has always loved.

Barry's reaction to his mother's fate and also to his own relationship with his father, makes Barry afraid to form a steady relationship with the woman of his dreams.

This film touches important issues like love, committment and religion. There were many funny scenes in this film too, so it was good to sit down and watch it.

The Brothers McMullen is supposed to be about what it's like having grown up Irish-Catholic in America, which, in the context of this movie, is supposed to be about being sexually repressed. It's an outstanding movie that everyone should see.

The movie is about the relationship of three brothers to the women in their lives and to each other. I must warn you, this is a serious romantic comedy-there's no severed limbs, exploding buildings, or sensational car wrecks. It's a quiet movie with no action. It's also a movie you can watch more than once and still be equally engrossed.

The oldest brother is a high school basketball coach, but, oddly, he's very non-jock like. He's somewhat sensitive and a little thoughtful for crying out loud! And he doesn't drink enough beer for a coach. He is friends with another woman who has the serious hots for him, but he keeps turning her down out of respect for his marriage.

Middle brother was engaged to a Jewish girl, but it broke up due to his own moral and emotional conflicts. Later on, he then picks up an old friendship with the Irish-American girl that grew up next door. She repairs cars in the backyard, drinks beer like the guys and has big hair to remind you she's a girl. I liked her better anyway.

The youngest brother is the most likable. He hasn't been a practicing Catholic since junior high; yet, he considers himself a believer. His charismatic crudeness and way of treating woman remind me of the characters Sean Penn plays, but this guy's got better personality and looks. Both older brothers tell him he drinks too much, but I'd say he drinks just the right amount for his age and station in life! He doesn't seem sexually repressed to me, but his slightly overplayed male bluster and beer drinking might suggest to a shrink that he's keeping his true feelings on ice.

At first glance I thought the McMullen family didn't typify mine--the brothers seem like libertines by comparison! But they call movies and plays drama because they're supposed to dramatize. I think the characters act out things that all of us have thought, felt, wished we'd done, experienced or observed, either consciously or unconsciously. The incongruity of values and lifestyle between the conventional straight-laced oldest brother and the carousing youngest brother was interesting. Unlike most men and unlike most Irish-Catholics, the brothers talk about all their conflicts with each other and their wives and girl friends (Otherwise, there wouldn't be a movie!).

There's some funny, typically Catholic hypocrisy. Middle brother is sleeping with his Jewish girlfriend. When they go looking for an apartment together, he decides they can't live together before marriage because he's Catholic. In another scene, they are in bed together having hank-panky and he tells her they shouldn't be using contraceptives because he's Catholic. Oops. I didn't use the word sex or intercourse. Does that make me sexually repressed?

Apparently, if a woman pursues a man and he's attracted to her, but he chooses to remain faithful to his wife, Hollywood considers that sexually repressed. And if a person is torn between what they've been taught is right and what their passions command, that is considered sexually repressed. I'd call it being a normal human being. I don't think the movie makers were trying to portray the youngest brother as liberated; rather, I think they were trying to portray him as another kind of emotional cripple, but I'm on shaky ground here.

I thought the brothers did O.K. in their relationships to others, but I was a little disappointed that none of the brothers lacked the intellectual depth and sophistication to sort out and resolve their inner conflicts. This is the real tragedy.

Unfortunately, the movie barely touches on the woman's point of view. It would make a great sequel.

Buy The Brothers McMullen (Filmmaker Signature Series) (2012) Now

I love Ed Burns and I thought this film was good (I do like "She's the One" better) It's about 3 brothers, their lives and the reprocussions of growing up in a Catholic Irish American household in New York city.

Read Best Reviews of The Brothers McMullen (Filmmaker Signature Series) (2012) Here

The people who criticise the film for not having a plot or storyline miss the point of this film. We watch the Brothers McMullen struggle with morality and love. It is nice to see a film that deals with love and sex on a deeper level than just love and sex. Edward Burns has a great ear for dialogue, keeping the dialogue real-sounding and never stilted. It's too bad that as a filmmaker, he has not reprised the artistic success he had with this film.

Want The Brothers McMullen (Filmmaker Signature Series) (2012) Discount?

Having worked in the entertainment industry for years I have found that the idea of "story" has become passe and "flash and glam" has replaced the craft of fine moviemaking. This film has resored my faith in the art. I would like to see what the result would be if we were to give the "great" film directors of the modern cinema a couple thousand bucks to shoot a film. Chances are they would fall far short of this first effort by a very talented writer/director/actor. Please sit down, enjoy, and laugh yourself to death.

If you're interested in the filming and scripting of this (and other) Ed Burns films... check out his book "Three Screenplays." It's well worth the read. Oh, and if there are any Irish-Americans out there looking for a film to relate to... this is the one!

Save 20% Off

Kick-Ass Blu-ray/DVD Combo Pack w/ Digital Copy (Bilingual) (2010)

What a wacky movie this is. When I first saw the previews, I thought this Kick-Ass was going to be aimed at kids and teens. Boy was I way off, because it earns it's R rating many times over. I really had no intention of seeing this film until I saw the very positive reviews flowing in from the critics. Not that I always agree with them, but in this case I would like to thank them for getting my butt down to the local theater today.

Parts of the movie reminded me of Watchmen. You have everyday people who are sick of bad things happening to good people, decide to put on costumes, have funny hero names, and then beat and cut apart the bad guys in a not so nice way. I actually thought it was rather tame in the gore department, compared to what I read about beforehand, but the violence and language is way too strong for kids.

The acting is good from everyone. I liked newcomer Aaron Johnson as Kick-Ass himself. Nicolas Cage turns in one of his better performaces in a long time, though I think he was great in an over-the-top kind of way in The Bad Lieutenant: Port of Call New Orleans. Christopher Mintz-Plasse is still doing his McLovin thing in every movie since Superbad, but it worked again. Mark Strong is kind of one note as the villain, like in Sherlock Holmes, but I think he's a little better in this role. The real star of the show is little 11-year-old, Chloe Moretz, as Hit-Girl. She is clearly the most memorable thing in a movie with a bunch of stuff worth remembering. As the daughter of Cage's Big Daddy hero, she spews out bad language, slices and shoots baddies by the dozens, and loves her daddy. I want one of my own.

Kick-Ass is serious in tone most of the time, but there are some killer comedy bits and lines that had the whole theater erupting with laughter. The music is well placed in key scenes and the director/writer, Matthew Vaughn, did a fine job in creating a comic book film that should please both fans and non-fans of the genre alike.

Even though it looks like Kick-Ass will come in #1 this weekend, it still feels more like a cult film to me. I can easily see this movie being talked about decades from now, much like Army of Darkness, but without the campiness factor. What a breath of fresh air in a genre that has just as many misses as it does hits.

Just like the rest of you, I went into the theater knowing not a whole lot about this movie. I thought it would be lame, cheesy, corny, *insert adjective here*. But, I was DEAD wrong to say the least. Kick-Ass combines action, comedy, and emotion, all at the right times. The movie flows well mainly because the cast jives so well together. I have yet to come out of a movie theater so pumped and wanting more than after I came out of Kick-ass

Aaron Johnson (Kick-Ass)I didn't realize he was a British actor until I heard a voice clip from an interview. You sure can't tell from the movie. He plays a great nerdy type kid. But what separates him from actors like Michael Cera is that he actually grew some balls and decided to stand up to crime. He does a great job as the lead actor in the first half of the movie, but quickly gets overshadowed by young dynamo, Chloe Moretz

Nicholas Cage (Big Daddy)In my eyes, he redeemed himself for movies like Ghost Rider and Knowing. He was amazing. His character was totally believable and I sure enjoyed his Adam West mannerisms. He also did his fair share of ass kicking. His relationship with his daughter, Hit-Girl, brought hilarity and the emotion that I mentioned earlier to this movie.

Lyndsey Fonseca (Katie Deauxma)Hadn't seen her in a movie before. She is very beautiful and will be looking forward to seeing her in the sequel.

Chris Mintz-Plasse (Red Mist)As much as I don't want to say it, Chris is out growing his McLovin' character. He, like Kick-Ass, plays a slightly awkward superhero with no powers. He fills his part well and has plenty of laugh out loud lines.

And, the best for last:

Chloe Moretz (Hit-Girl)I honestly don't even know where to start with this girl. I would say she gives the performance of her life, but she was only 11 at the time of filming. She underwent 6 months of combat, acrobatic, and weapons training for her role as Hit-Girl in this movie. It paid off big time. Chloe does all her own stunts (minus 2) in the movie, which is insane. She is foul mouthed and bloodthirsty, but also has her kid moments. I don't understand the controversy with her character. She is very mature and thus should be able to do more mature roles. If you're not planning on seeing this movie, rethink, mainly because of this girl right here. She is incredible and will no doubt be the new Angelina Jolie when her time comes.

Overall, great movie. Great cast, great fight choreography, great soundtrack, and a great setup for a sequel! (Which has been announced)

See this movie, and then tell all your friends! It's totally worth the 2 hours of your time.

Buy Kick-Ass Blu-ray/DVD Combo Pack w/ Digital Copy (Bilingual) (2010) Now

The film is based on a comic book by the same name. The rights to the story were sold before the book was even published (it debuted only eight weeks before the film):

A teenage boy decides to take a stand for justice. He dons a green scuba costume and names himself Kick-Ass. However, not having any actual superpowers, this hero's good intentions quickly land him in an ICU. Eventually though, Kick-Ass crosses paths with a couple of far more effective (a.k.a. deadly) heroes: Big Daddy, a former cop falsely convicted of drug trafficking, and Hit-Girl, his eleven year old daughter. Big Daddy has spent the past six years training his little girl in all forms of mortal combat, hoping she would help him revenge her mother's death and her father's fall from grace, orchestrated by a local Mafia Boss. Enter blood, gore, and plenty of belly laughs...

Let me get straight to the point: yes, the film was funny and highly entertaining. However, initially I felt uneasy laughing at an eleven year old girl determinedly slaughtering a roomful of men, even if they were rotten to the core and disserving of every bullet and of every knife wound. But then, I remembered what I was like at that age: it was the early 80's. My favourite toys were a silver colt revolver and a sword. Depending on my mood, I would pretend to be a cowboy taking on a bunch of wild Indians, or a Jedi disarming (literally) Darth Vader and his evil cohorts. So, if any of you want to believe that little girls' minds are all about sugar and spice, well... good luck with that (by the way, I managed to grow into adulthood WITHOUT slipping into drugs and/or alcohol, and no, I was not a teenage mother). And so, that quick recollection gave me the permission to look at the film as an absurd exercise in fantasy and allowed me to enjoy every minute of it. Yes, the film was well written, directed and edited, but the special mention must go to the actress who portrayed Hit-Girl. Chloe Moretz was indeed eleven at the time of filming, but had the presence of a seasoned performer. I am looking forward to watching her future projects. There is already talk of a sequel. I'd pay to see it!

Laugh and enjoy!

Read Best Reviews of Kick-Ass Blu-ray/DVD Combo Pack w/ Digital Copy (Bilingual) (2010) Here

To anyone who hasn't seen the movie but is considering it, you should realize up front that this movie is NOT for the kiddies, as evidenced by the "R" rating. That said, most of the bad reviews here seem to be from either people who had problems with the disc itself (i.e. people who don't understand the concept of a review), or people who let their kids watch the movie. These people made a stupid decision involving the mental well-being of their children based on the fact that they've seen "R-Rated" movies in the past that they don't mind their kids watching. This is not one of those movies!

Ranting aside, this was a pretty awesome movie. If you like action movies, check it out. It's a little darker, a little more violent, and a lot more vulgar than you might expect, but that's part of the movie's brilliance. Hit Girl is one of the coolest characters to grace the big screen in years, the MistMobile is the hottest Mustang manufactured post-70's, and the narrative draws you right into a feeling of camaraderie with the characters almost immediately.

Check it out, this movie rocks!

Want Kick-Ass Blu-ray/DVD Combo Pack w/ Digital Copy (Bilingual) (2010) Discount?

First, let me say this movie isn't for the weak hearted. If you don't like violence, this movie isn't for you. I never read the comics or knew anything about it, so when I first watched the movie I was a bit surprised by the violence and blood in it. However, this movie is great from start to finish. Tons of actions mixed in with some laugh out loud moments makes this one of the best movies of 2010.

As many other reviewers discussed, Hit Girl is the obvious star of the movie as she steals every scene she is in. Chloe Moretz (Hit Girl) gives one of the best "child" performances you will ever see. All other actors/actresses hold their own in this movie, especially Nic Cage. I'm not a Nic Cage hater, but I never thought I would say he was absolutely brilliant in any movie. He plays the role of Big Daddy perfectly and shows emotions that you usually don't see from him in other movies.

Possible spoiler...

One scene that I have to talk about is the "unmasking" scene with Kick Ass. The direction, action and emotion of this scene is unreal. The Director nailed this moment in the movie with impressive visual camera work and non-stop action. Really impressive, and is something that you have to see.

Definitely recommend this and you don't have to be a comic book fan to enjoy it.

Man Who Shot Liberty Valance

This review refers to the Paramount ("Widescreen Collection") DVD of "The Man Who Shot Liberty Valance"...

For over 40 years this western has stood the test of time. It's one that I could watch anytime,a great story,with a tremendous cast and a legendary director. I was thrilled to see it on DVD and even more so when I saw how good it looked.

Directed by John Ford, it stars, Jimmy Stewart, John Wayne, Lee Marvin and Vera Miles.Stewart plays "Ransom Stoddard", an Eastern type bookish lawyer, who arrives in "Shinbone" naive to the code of the west. After witnessing the terroristic ways of one bad hombre, Liberty Valance(Lee Marvin),and his group of thugs, Ransom plans to rid the town of this menace, but is gonna do it legal like. At the same time, he is in competition for the fairest lady in town, with another good but tough guy...John Wayne.

The story of Liberty Valance's demise is told by Stoddard after returning to town decades later.He is now an esteemed Senator, and has been a legend in his own time for freeing Shinbone from the hold Valance had on it. But what is the real story of what happened that fateful day? The story unfolds captivatingly.

A great DVD. This 1962 Black and White looks crisp and clear,it is presented in widescreen, and is enhanced with Dolby Digital 5.1 or may be viewed in the restored mono. Other than a theatrical trailer, you wont find any special features, although this is a film you can just kick back and enjoy for itself. There are English subtitles for hearing impaired.

As I said it has a tremendous cast and you can never go wrong with a John Ford Western. But the cast doesn't end with the major stars. Here are some other notables to look for. Edmond O'Brien, Andy Devine, Lee Van Cleef, Ken Murray, John Carradine, Jeanette Nolan, Woody Strode, Denver Pyle and Strother Martin.....WOW!

Westerns are my favorite genre, I probably have more Westerns in my collection then anything else.This one is a more subdued storyline than most shoot em ups, but is one of my personal favorites. I consider it right up there with "Shane" and "High Noon". If you love Westerns, this is a great addition to your collection.

Happy Trails.....Laurie

also recommended:

The Searchers / Stagecoach

Great Hollywood Westerns: Man Without A Star

Great American Western V.10, The

"The Man Who Shot Liberty Valance" is without a doubt, one of John Wayne's best western films. If you don't own this film, I highly recommend it. It is fun watching over and over again as the script is solid and engaging, and the acting performances among the three principle stars is more than superb!

"Vallance" is Oscar winning Director John Ford's last best effort in western film making. He put together an all-star cast and the cast put out for Ford as well, with stunning performances from John Wayne, Jimmy Stewart, and Lee Marvin. Wayne's acting is Academy Award material. He brings a depth of character to the Tom Doniphon role that will have you remembering his performance long after the film ends. In one scene, a drunken and despondent Wayne returns to the home he has built for his future wife Hallie. In a rage, he lights a lantern and sets fire to the new structure, with the intention of burning it, and himself, to the ground. The scene is riveting, and the expressions and movements of Wayne are some of the greatest ever filmed.

Although John Wayne is the "star" of this film, the film in reality has three stars, Wayne, James Stewart, and Lee Marvin. Jimmy Stewart plays Ransom Stoddard, an idealistic lawyer who comes to bring legal law to the west. Stoddard is introducted to the west by none other than the terorist outlaw Liberty Valance, who robs the stage Stoddard is on. When Stoddard tries to resist the robbery of an elderly fellow passenger, Valance, played by Lee Marvin savagely beats him with a whip, leaving him to die. Wayne's character, Tom Doniphon, happens upon Stoddard and brings him to town. This sets the stage for the rest of the movie, as Stoddard tries to bring Liberty Valance to justice.

Lee Marvin's "Valance" is yet another superb acting performance. Whenever Marvin is on screen, there is tension and conflict, as Marvin plays the out of control Valance to the hilt. Marvin's acting rivals and matches those of Wayne and Stewart, making this a film that you will want to watch over and over again, for the acting performances alone.

The film hosts a fine supporting cast. Vera Miles very adequately plays Hallie, a young girl who has to decide upon the man she will spend the rest of her life with Wayne or Stewart. Andy Devine provides comic relief as the bumbling overweight sheriff who avoids conflict any way he can.

Although a bit old in real life for the roles they play, both Stewart and Wayne excel in their parts to such an extent that the ages of the actors are forgotten. The plot is satisfying and in the end we finally learn who REALLY shot Liberty Valence, and what the death of Valance has on the lives of the characters.

In my list of the best westerns of all-time, "Liberty Valance" is certainly in the top 10. An added bonus is that this film can be viewed by the entire family; my boys especially have enjoyed the film. You will not regret buying this DVD.

Jim Konedog Koenig

Buy Man Who Shot Liberty Valance Now

Critics of John Wayne have often said that he only ever played one kind of Western character: a crude, tough-as-nails, trigger-happy, and irrational man who mistreated women but got their love anyway. Well, this movie should silence those critics. Wayne plays a gunslinger all right, but the character here (Tom Doniphan) is a unique one, to be sure.

Also starring in this movie is James Stewart, who plays a young lawyer coming to bring 'law and order' to the West. He manages to get tangled up with a notorious villain, Liberty Vallance (Lee Marvin), and from there he and Doniphan's paths cross until SOMEBODY shoots Liberty.

This is a great film by a great Director (John Ford). It leaves you with something to think about, and will definitely not allow you to think of the Duke's character (Doniphan) as a flat, one-sided gunman. In fact, this is Ford's idea of a sort of Western tragedy, and it is a good one. For storyline and plot, there are few John Wayne movies that top the Man Who Shot Liberty Vallance.

Read Best Reviews of Man Who Shot Liberty Valance Here

Undoubtedly, one of the finest westerns ever made...this exquisite example of film making is proof positive that not every western is a simplistic plot about "cowboys and indians".

John Ford's stylish film is a brilliant psychological story about very different personalities and their violent meeting in the town of Shinbone. James Stewart plays the young, idealistic lawyer Ransom Stoddard...heading west in the hope of bringing law and justice to an untamed land. Enter Lee Marvin as the cold blooded and ruthless outlaw, Liberty Valance, ruling Shinbone and the surrounding territories by his own laws. And finally, John Wayne as the strong, iron-willed and well meaning Tom Doniphon....the only man with the courage to stand up to Liberty Valance.

Ford's movie is additionally supported by several dynamic character actors...Andy Devine as the cowardly sheriff Link Appleyard, Edmond O'Brien is simply brilliant as habitually drunk news paper editor Dutton Peabody, Woody Strode as Doniphon's loyal ranch-hand Pompy, plus the villainous duo of Lee van Cleef & Strother Martin.

What makes this movie so outstanding is that it appeals on so many levels....as an adventure, as a love story, as a tragedy, and ultimately as a tale well told. It moves with such eloquence and style, and the viewer is carried through each layer of this complex story with precision and feeling.

This is easily one of my most watched and most enjoyed films, and a moving reminder of a talented film maker and some very fine actors excelling in their craft.

I'm eagerly awaiting the DVD release of this one !!

Want Man Who Shot Liberty Valance Discount?

My favorite Western. An endlessly fascinating and tragic look at the American West, the evolution of legends, the nature of courage, the nature of love plus John Wayne and Jimmy Stewart too. Not to mention a snarling Lee Marvin as the villian Libery Valance

When this movie came out, some critics complained that Wayne and Stewart were too old for their roles. Critics also complained that the film looked studio bound. Later critics made much of the cynical newspaper publisher at the end of the movie who says "This is the west, sir. When the legend becomes fact, print the legend." Through the lens of 60's anti-heroism, these critics saw Ford's film as being about the debunking of all heroic American legends.

Director John Ford knew exactly what he was doing. He eschewed the grand expanses of Monument Valley for the cramped back lot. He chose Wayne and Stewart because they were icons of the brave action hero and the law abiding community leader. He made these choices because he was making a stylized dirge to a frontier west where the code of facing your rival directly with a Colt .45 had given way to the complications of lawyers and lawbooks.

After countless viewings of this movie, I am not so sure Ford was being all that cynical, either. At least not in the way the debunkers want to make him out to be.

To me, the heart of this movie is an ultimate act of tragic romantic heroism and not cold political cynicism. The critics who focus on lawyer Stewart's physical confrontation with the villian, Libery Valance, and Stewart's later rise to political fame shortchange the second major conflict in the film.

Can a cowardly act ever be courageous? For Liberty Valance also tells the story of a man of honor who loves a woman very, very much. And then, one day, she asks him to do that one thing that goes against his own moral code. He thought he was strong enough to live with it.

Save 22% Off

Space Buddies (BD Live) (2009)

An unlikely story of 5 dogs who stow aboard a space shuttle, take a trip to a space station to pick up a Russian dog, land on the moon, then pilot the ship safely back to earth and their loving masters. It's what you would expect in a movie like this: action enough for older kids, comedy and cheese enough for younger ones. Clean fun.

The highest praise I can give it is that my children loved it and I wasn't bored (the first time.) Recommended for children of all ages.

These "Buddie" films are just so cute and enjoyable, family fun films with cute puppies that you can't get enough of.

Since the 1997 debut of the film "Air Bud", from that film of a talking canine has launched several "Buddie" films featuring the golden retriever puppies in "Air Buddies" and "Snow Buddies" and this time with "Space Buddies".

What happens when the puppies become stowaways in an experimental spacecraft? Expect a lot of fun and giggles for the family.

VIDEO & AUDIO:

The film is presented in 1080p high definition (1:78:1). The film looks great on Blu-ray and the majority of the film is done using green screen and CGI and wirework. The CG work was done quite well for this family film.. From the space station to the aircraft and its digital screens, the film looks pretty good. Also, there is quite a bit of wirework done to emulate the puppies floating due to gravity and you don't see the wires, again, it looks pretty good.

Audio is presented in English 5.1 DTS-HD Master Audio and I did notice the rear channels being used quite a bit for several action-based sequences and sound effects rather effectively. I was very impressed to hear the all channels being utilized during the film because for a children's film, I really wasn't expecting it. So, needless to say I was pleased by it. Although "SPACE BUDDIES" is primarily a dialogue-based film, the film does take advantage of your system's surround sound, so that was definitely cool!

SPECIAL FEATURES:

There are a few special features on this Blu-ray edition of "Space Buddies". The video quality ranges from 1080p, 1080i and 480i and are featured in Dolby Digital 2.0. The special features are:

* Buddy Facts: You can watch the film with pop up tidbits about the making of "Space Buddies" and about space.

* Buddy Bloopers: Outtakes and blunders (granted these were purposely done)

* "Dancing in the Moonlight" Music Video with Disney Channel's Alyson Stoner

* Disneypedia: The Buddies Guide to Space Travel: This was a 10+ minute featurette about the behind-the-scenes making of the film. Also, a insight on comparisons of how real astronauts train for space and what the pippies had to do to look like they were in space. A fun featurette that the kids will definitely enjoy!

* Buddy Finder: Exclusive to Blu-ray is a scavenger hunt game using your remote control and while watching the film, you need to find 100 items.

* Disney BD-Live Network: A US only feature which people with BD-Live equipped players can access special features from Disney's BD-Live Network.

I watched this film with the family and each of us enjoyed the film. I suppose it's really hard not to dislike a film about puppies and fortunately the technology of how they make the puppies talk on film definitely works well when they mouth the words and overall, the talking portion doesn't look cheesy at all.

This is a safe family film. For my 6-year-old, there was only one sequence in which he was a little scared but that was the Cosmonaut Yuri (because he has lived in the space station and is a bit unkept, so his hair is a bit wacky) but all in all, from his perspective, he had a lot of fun and of course, when you have a puppy who likes to eat a lot and when his paw is pulled, he lets out gas. So, I guess you can say that the "fart jokes" really goes well with the kids.

As for the puppies safety, I know that there are a few dog lovers who cringe when they see animals in a film because they worry about their well-being and if they are going to be put into any dangerous situations . The puppies were more or less kept indoors most of the time and in small and what looks like safe areas in the films, so I believe that the puppies were quite safe during filming.

As for adults who are watching this film, may you be a dog lover or a parent, the film of course is a bit farfetched especially how the puppies were always so successful into sneaking into a building or vehicle with human's nearby but with these type of films, you can't get too serious, after all it's a film made for children. But these are the types of film that are wonderful to watch with the whole family especially if your child enjoys reading about the planets, the moon and outer space, the film and the special features will definitely be entertaining. Heck, even if you are captivated by the charm of these puppies, you'll definitely find this film fun and entertaining.

The Blu-ray version of "Space Buddies" looks very good in high-definition and the audio is pretty good as well! This is the best looking "Buddies" release yet!

Overall a solid, family film for the children and worthy of purchasing on Blu-ray!

Buy Space Buddies (BD Live) (2009) Now

I love the "buddy" movies but this would have to be my least favorite. Although they all stretch reality, this one really does. I know its all in good kid fun but this one just isn't as fun for the adults to watch and my 2 year old and 4 year old must know its not realistic either because its their least favorite too. They constantly ask for Snow Buddies or Santa Buddies but never this one. I maybe should have returned it. Again, the buddies are great but I wouldn't recommend this particular movie.

Read Best Reviews of Space Buddies (BD Live) (2009) Here

I love the buddies movies

Then again it all started with the original "Air Bud" and still get teary eyed thinking "bud" isn't with us

The movies are cute, sweet and this aunt of 2 is not ashamed to enjoy some of the stuff her nieces do

The costumes, the trainers do such a good job with these dogs

I love the franchise

Thanks disney

Want Space Buddies (BD Live) (2009) Discount?

the big explosion and the fire almost burning up the Russian man kept my son up till midnight. Good for an older child, though. Nothing really crude, that I can remember, and they didn't speak as fast as in many of the Disney movies. My son hated it and I hated the nightmares he had because of it.

Save 63% Off

Michael Clayton (2008)

'The truth can be adjusted' is the official tag line for this brilliant film MICHAEL CLAYTON, a film that deserves and demands audience attention to appreciate all of the layers of complexities of thought and message while delivering a slick, brooding, polished piece of cinematic art. First time director is highly regarded writer Tony Gilroy (The Bourne Ultimatum, The Cutting Edge, The Bourne Supremacy, The Bourne Identity, The Devil's Advocate, Proof of Life, Dolores Claiborne, etc) who understands the tension of suspense films and here adds to that entertainment element the key ingredients of social and philosophical statements. It is a film that works on many levels.

Michael Clayton (George Clooney, in one of his finest moments) is a lawyer with a major firm headed by tough yet compassionate CEO Marty Bach (Sydney Pollack, finally in top form as an actor), but Michael's position in the firm has been reduced to a 'fixer/janitor', a man who cleans up messes that are always part of legal cases. Michael is cool, brilliant, but is struggling with his own demons of gambling addiction, inherited debt from covering for his wasted alcoholic/druggie brother's failure as a restaurateur, and a divorced man trying to relate to his son. When a long term law suit against a major chemical corporation comes to a head, the chief lawyer for the case Arthur Edens (Tom Wilkinson) falls victim to the pressure of the case, and while he holds the key to the truths involved, he disintegrates into a manic depressive state. The chemical company's lawyer Karen Crowder (a brilliant Tilda Swinton) struggles to please her Board of Directors in a plea bargain that is backed by all manner of lies and crimes. It is Michael Clayton that persists in 'fixing' and cleaning up the case, uncovering a massive tragedy the company has been shielding. To say more (and there is SO much more to tell!) would spoil the development of this nail-biting plot.

Every actor involved in this film is superb, thanks in large part to the sensitive direction of Tony Gilroy. Clooney proves he is one of our more well rounded actors on the screen today, Wilkinson continues to prove his mettle as a character actor par excellence, and Swinton is so fine in this tough role that she leaves the audience staggering. Watching MICHAEL CLAYTON restores faith in just how fine Hollywood movies can be. It is sure to be on the list in many categories come Awards time. Grady Harp, October 07

George Clooney once again shows us the Hollywood powerhouse he is as lead actor and producer of this engaging film.

While the film is essentially well-written and extremely well-acted, it offers nothing new to the corporate thriller genre and most of Amazon's comments in their review are dead on accurate. The film is essentially a mystery that involves corporate baddies trying to screw over the little guy by covering up a danger to the public. We've seen this plot before in film's like Erin Brockovich. In addition, we have a conscience driven lawyer who is tired of defending criminals he knows are guilty and another lawyer who is burnt out from playing the firm's "Janitor" and now wants to find some moral ground to land upon. Both lawyers are seeking some kind of redemption. The first has a nervous breakdown finding it and the second is forced to find it as his life spirals out of control. This is very much like Paul Newman's Oscar nominated role in the fabulous film The Verdict.

The script is clever, but all too predictable by the final third of the film. In fact, as generally satisfying as the finale is, it is something of a letdown too. Things are wrapped up far too neatly for what was a complex film with deep round central characters. Clooney's character has his nature revealed to us slowly as if peeling a rotten onion. Each layer is ultimately unsatisfying until we get to the core which seems damaged, but salvageable. I certainly expect another Oscar nomination for him and it's well-earned here. Tom Wilkinson as the manic depressive attorney who has an epiphany that his corporate clients should not get away with what they are doing is a bit over-the-top and even stereotypical, but still convincing in the end. A supporting Oscar nod is not out of the question, but I think he would be undeserving of it. Contrary to a majority of the reviews here, even Tilda (The Chronicles of Narnia) Swinton's controlling corporate bigwig who lies to herself to justify her actions is a deeper character than most give credit for her being. Her avoidance of actually saying, "Kill (fill in the blank)" coupled with her sweating fit scene clearly demonstrates a believably conflicted individual. I would not be surprised to see an Oscar nod for supporting actress come her way. Even Sydney Pollack, sometimes director (but better actor), is very convincing here and he also serves as co-producer with Clooney. These generally terrific performances nearly make up for a somewhat flat ending.

Credit must be given to first time director James Gilroy who adapted the "Bourne" books to film and wrote the screenplay for this film. He handles his actors well in that he knows what he wants, but also trusts their instincts to deliver what they believe are their character's true emotions. His directing style in unobtrusive and that greatly benefits this particular kind of film. His lack of coming up with a more complex, less tidy ending is his only major flaw in this otherwise outstanding film that is certainly worth your trip to your local theater or Blockbuster when it becomes available on DVD.

Buy Michael Clayton (2008) Now

Tony Gilroy has already proven that he can weave/write a great story via his writing for the "Bourne" franchise. And the striking thing about "Michael Clayton" is how Gilroy has written ironic, conflicted, complicated characters that are at once "good" (and in the world that Gilroy has created here...this is in itself a term that is up for interpretation) yet are often bad as in unethical, mean, misanthropic. These characters can and do betray themselves and others: There's no one to truly love or hate, from Sydney Pollack's quietly devious law firm CEO, to Tom Wilkinson's holy madman of an ace courtroom defense attorney, to Tilda Swinton as a tricky senior partner in nice suits that peel off to reveal sweaty armpits and a gift for rationalization. Even our hero, Michael Clayton as portrayed by George Clooney is a loser: a 12 year veteran at his law firm who is utilized as a bag man, a fixer usually dispatched to do what amounts to private eye work.: cleaning up the firm's client messes. Clayton is a failure both professionally and personally: a failure as a father, brother, husband and Clooney strikes just the right notes here as Clayton struggles, fights to regain his dignity both as an officer of the court and more importantly as a father and a human being.

The central plot revolves around a large chemical firm's responsibility for sickness and deaths in a farm community and because Gilroy weaves and bobs among the big ensemble cast and among the various plot points, I was hard pressed to figure out just exactly what was going on for the first half hour. But this is to Gilroy's credit: he refuses to foreshadow or explain thus adding texture and ambiguity to the film.

Moral and social dilemmas multiply as "Michael Clayton" races to its exciting denouement: a denouement that satisfies both emotionally and morally. Yet all is not as it seems here as Gilroy manages to leave a small festering wound of deceit and decay not quite healed: ready to re-open and re-infect itself.

Read Best Reviews of Michael Clayton (2008) Here

"Michael Clayton" is a magnetic, engaging film, with a plot so intriguing that you find yourself absorbed within the first five minutes. Here's a story that can't be defined by a single genre; while it is above all a drama, so much more is being presented. Parts of it work like a thriller while other parts work like a social commentary, and these in turn make for a pseudo-morality play that requires a little extra observance on the audience's part. And that's a good thing, simply because not all stories should make everything clear. This film is intelligent, not only because the plot relies on strategic obscurity, but also because logical thinking is needed in order to understand it. This is not an escapist film--absolutely nothing will be hand delivered to us.

George Clooney plays the title character, and he gives Clayton a restrained yet powerful presence that was truly fascinating. This is no small task, considering the direction his life is going in: Clayton was once a highly respected trail lawyer, but his talent for negotiating has reduced him to take an unrecognized, poorly paid position. He basically does the dirty work for one of New York's most prestigious law firms, co-owned by Marty Bach (Sidney Pollack). Clayton cleans up legal messes by talking directly to plaintiffs and defendants and striking up deals. Clayton considers himself a janitor, a Mr. Fix-It, a miracle worker; he bends the rules in exactly the right ways to avoid exactly the right people. When it comes to other people's problems, he's the one everyone turns to.

But when it comes to his own problems, he needs a lot of help. A gambling addiction is established, as are financial problems--he owes quite a bit of money on a failing bar, which is co-owned by his drug-addicted brother, Timmy (David Lansbury). For obvious reasons, Clayton was forced to finance the business by himself, which required him to hock virtually every item he owned. On the bright side, he has a fairly good relationship with his son, Henry (Austin Williams), who greatly enjoys reading fantasy novels. Clayton drives Henry to school one morning, and on the way, Henry raves about the book he's reading, explaining each character's significance with childish zeal; Clayton listens, realizing that his son is actually giving an insightful description of life in general. It was a brief but wonderful scene proving how casual profound statements can seem.

The film's main focus is a legal dispute between Clayton's law firm and a chemical company (which happens to be Bach's most important client). Coming to its defense is Karen Crowder (Tilda Swinton), a litigator whose career depends on negotiating a multimillion-dollar settlement. But this will not be so easy to accomplish; attorney Arthur Edens (Tom Wilkinson) complicates matters by interfering with the case. He believes that the chemical company is responsible for poisoning the population, and he claims to have the evidence to prove it. Because his conscience is guilt-ridden over keeping his mouth shut, he loses his rational state of mind, becoming a manic, paranoid, and seemingly incomprehensible wreck. A severe emotional spasm was caught on tape--while at work in Milwaukee, he stripped completely naked, after which he ran through the parking lot.

Thus begins a taut, suspenseful, and compelling quest for the truth. Part of the quest leads to the discovery of Anna (Merritt Wever), a young woman who lost some of her family to the chemical poisoning. For some bizarre reason, Edens feels responsible for her, and he shows this through incessant phone calls and cryptic messages. Clayton is initially unwilling to believe anything Edens has to say, simply because he's acting erratically. But as the film progresses, he begins to question himself. Could Edens have been on to something? Is it possible that his odd conversations were more than mere ramblings? Was he sane, after all? Unbeknownst to Clayton, getting the answers to these questions will mean endangering Edens' life.

Crowder, meanwhile, is busy on her own quest, which turns out to be more stressful than she anticipated. There are key shots in this film showing her in panic mode: she hyperventilates in a hotel bathroom, her hands shaking, her armpits soaked with sweat. There are also moments of her standing in front of a mirror, practicing her speeches; most of these shots are inter-cut with actual meetings, in which a subtle yet significant lack of confidence undermines her delivery. Swinton made this character her own, turning Crowder into one of the film's most fascinating characters. A quiet desperation is visible on her face, and it's obvious that she's trying to hide it. She wants to be a professional: shrewd, capable, and strong-willed, unwilling to back down from a challenge.

The fact that I can gather this much from so few characters is a good sign. A clear, specific level of character development is vital for a film like "Michael Clayton," especially since the genre spectrum is broad. Well-defined characters make for a much more engrossing story; thank goodness this film includes a number of them. And despite what some people say, a complicated plot is not necessarily a deterrent. This film proves that some stories need to be richly detailed, if not for clarity, then for establishing the climactic finish. The ending of "Michael Clayton" is one of the year's most satisfying, a perfect blend of deception and emotional resolution. That alone makes the film worth recommending.

Want Michael Clayton (2008) Discount?

***1/2

If "Michael Clayton" didn't seem like quite so obvious a rehash of Sidney Lumet`s "The Verdict," I might be inclined to recommend it more highly. The basic premise of both films revolves around a dissolute legal type who achieves personal redemption when he lands on the "right" side of a class action lawsuit. Since imitation is the sincerest form of flattery, the best thing to be said for the makers of "Michael Clayton" is that, if they had to find a movie to emulate, they at least chose one worth emulating.

Michael Clayton is no longer a practicing attorney himself but rather a "fixer" or "bagman" for a powerful legal firm, a man whose job it is to troubleshoot or run interference for any potential problems that might arise in one of its many cases. As with most such protagonists, Clayton spends so much time at his job that he doesn't have much of a personal life going for him: he's a divorced father with a serious gambling problem, a drug-addicted brother, and a failed business that has him in hock to the tune of $80,000. One of the firm's biggest clients is a chemical company whose powerful weed killing formula has allegedly resulted in serious medical conditions and even death for some of the farmers and their families who've come in contact with it. Clayton is called into action when the lead attorney for the defense suddenly goes berserk at a taped hearing, stripping off his clothes and launching into a Howard Beale-like rant for the other side. As he delves further into the case, Clayton undergoes a metamorphosis from cynical corporate water-carrier to enlightened populist do-gooder, finding personal redemption and fulfillment by helping the common man in his fight for justice.

"Michael Clayton" is, for the most part, a solid legal thriller, serious, intelligent and extremely well-served in the acting department. The "little man vs. vile corporation" theme has been pretty much played out by this time, but there are enough twists and turns in the plot and enough decent red herrings to keep us interested at least on a superficial level. The story goes through periods of murkiness when it isn't always clear what exactly is going on, but writer/director Tony Gilroy manages to straighten out most of the confusion in time for the finale. The moody score, bleak winter settings and dank cinematography all contribute to the chilly atmosphere that permeates the film.

In a role tailor-made for his acting style stoic yet heartfelt, rugged yet vulnerable George Clooney carries the weight of the film on his sturdy shoulders. The gifted Tilda Swinton doesn't fare quite so well with her character a ruthless, emotionally unstable career woman with no personal life and no romantic prospects, a character, quite frankly, that feels just a trifle out-of-date in the year 2007. Tom Wilkinson, Sydney Pollack and Michael O'Keefe excel in minor roles.

"Michael Clayton" is a proficient, professional legal drama that never cuts as deeply or touches the heart as profoundly as one would like for it to do. Still, compared to most other cinematic offerings around at the moment, this is substantial, if not exactly sumptuous, movie going fare.

Save 33% Off

Wayne's World (1992)

Wayne's World is directed by Penelope Spheeris (The Decline of Western Civilization.) The film stars Mike Myers (Austin Powers), Dana Carvey (This Is Spinal Tap), Tia Carrere (Jury Duty), Rob Lowe (St. Elmo's Fire), Brian Doyle-Murray (National Lampoon's Christmas Vacation), Ed O'Neill (Married With Children), and Donna Dixon. The film is based on the classic series of Saturday Night Live sketches of the same name, also starring Myers.

Wayne Campbell (Myers) and Garth Elgar (Carvey) are hold-over would-be rockers from the eighties. Wayne still lives in his parents' basement, and hosts his public access television show, Wayne's World, from there a strange show that isn't afraid to poke fun at its guests. A television executive (Lowe) intends to acquire the rights to the show, so that he can exploi t it and make big bucks from the production. Along the way, Garth will pursue his dream woman (Dixon), Wayne will meet a rock star girlfriend (Carrere), and the twosome will hear plenty of bizarre theories and experiences from a psychotic donut shop owner (O'Neill.)

Wayne's World is a classic because it succeeds on so many levels. In addition to giving us interesting, funny characters, the movie throws comical scenes at us at lightning speed and they succeed more often than they fall flat. Additionally, the film manages to make fun of just about every angle of the movie industry without ever losing its heart. Despite some harsh language here and there, it manages to succeed as a film without being explicit. Yes, it's a little bit dated almost two decades later. But when so many catchphrases from one movie become part of everyday American culture, you know the film has succeeded and cemented its own place as a classic piece of cinema (even if it goes against everything I usually call classics.)

There aren't enough good things to say about this movie. There is no shortage of stuff that will make you laugh here. In just over an hour-and-a-half, the movie pokes fun at the entertainment industry, product placement, alternate endings, public access television, and other films and genres yet at the same time manages to tell an effective, comical story that, unlike so many other comedies, actually has a heart. Wayne's World may not have the impact it did during its initial release two decades ago, but there is no denying that this is a great little piece of cinema. You'll laugh until it hurts and then you'll laugh some more.

Image and Sound:

You'll laugh! You'll cry! You'll Hurl! And this time around, you'll be doing all three in 1080p and TrueHD! The transfer here is a bit underwhelming, but this was never really much of a "visual" movie. This transfer is a slight step up in detail from earlier DVD incarnations of the movie, but it's not a massive improvement over them. Where the disc really shines, though, is its TrueHD audio track, which really gets a chance to shine in loud scenes, and features improved clarity over earlier DVD counterparts. However, if you own the older DVD, there's really not much of a reason to upgrade. This is a good-looking and sounding disc, but it's not that much of an improvement over an upconverted DVD.

Special Features:

There are no new special features here, just stuff ported over from the previous DVD release. First up is a Penelope Spheeris commentary track. No fan of the movie will be disappointed in this commentary it goes into quite a bit of detail on the movie, and she has no shortage of info to share. Still, you'll wish Myers and Carvey had been on board. The other major feature is Extreme Close-Up, your standard obligatory "making of" featurette. Like the commentary, there's a lot of interesting information here, and fans won't want to pass it up. Closing out the features is the original theatrical trailer. All in all, these are nice little bonuses, I only wish they had included some new stuff here instead of just porting over (what few) bonus features were on the DVD.

Final Words:

It's Wayne's World! Wayne's World! It's party time! It's excellent! And it's on Blu-Ray at long last! The film is an undeniable classic, even if it breaks all the rules for what I usually call a classic. If you already own the old DVD, this isn't worth the double dip since the upconverted DVD comes close to the quality of this disc anyhow. But if you don't already own the movie, this disc is a good bet. Get out of your parents' basement, get in the Mirthmobile, and head down to the store and pick up this disc. No fan should be disappointed, though only die-hards (who surely already own the film) need apply for this double dip.

Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey) have a television show on a public access station that they film in thier basement. A producer (Rob Lowe) buys the show and puts it on his network. But little do Wayne and Garth know that he plans to exploit the show and takes Wayne's girlfriend Casandra (Tia Carrere).

This is the best SNL movie ever and is filled with lots of memorable lines and scenes. This was filmed on a small budget but was a major sucess. There are plenty of famous people in small roles like Chris Farley, Laura Flynn Boyle, Alice Cooper and Ed O'neil to name a few.

The DVD is presented in widescreen and in DD 5.1 surround. It also contains a featurete filled with interviews and clips from the movie and the theatrical trailer.

Buy Wayne's World (1992) Now

We all know that Austin Powers was a funny movie, but the way the press prattles on and on about it, you'd never know that there was life before Austin. Let me take you back to 1992 B.A.P (Before Austin Powers): Mike Myers takes a "Saturday Night Live" sketch to the big screen. The sketch was called "Wayne's World", and the movie version was greeted with major box office and critical praise (Excellent!). This movie kicks serious a--! The jokes are funny, even after you've seen it 50 times! The performaces are wonderful! The lines are classic! It's just such a great movie! It'll bring you up when you feel down! So, in conclusion, this movie sucks...NOT!

Read Best Reviews of Wayne's World (1992) Here

1992. "Saturday Night Live" was on fire with its current comedy lineup and one of the show's more popular sketch was "WAYNE'S WORLD" which featured Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey), two rock n' roll fans who host a cable access show in Aurora, Illinois.

The film featured an all-star cast with Rob Lowe, Tia Carrere, Lara Flynn Boyle, Robert Patrick, Alice Cooper, Ione Skye and a several more notable talent and was commercially successful as it made $121.5 million in the US and on various online polls, has been selected in their top 100 comedy films of all time.

Because of the film's tight schedule as both Mike Myers and Dana Carvey had to film during the summer vacation and then head back to New York City for rehearsals for "Saturday Night Live", Producer Lorn Michaels tapped producer and director Penelope Spheeris ("The Little Rascals", "The Decline of Western Civilization Part II: The Metal Years", "Dudes", etc.) who knew how to shoot an entire film in slightly over a month's time but most importantly, her background with working on music videos and the top rock bands.

"Wayne's World" is a hilarious film with many jokes, multiple endings and various film parodies and overall, trying to find out if both Wayne and Garth's relationship as friends can last and how they can take back their show.

VIDEO & AUDIO:

"WAYNE'S WORLD" is featured in 1080p High Definition and overall, it's an OK but not a vibrant looking transfer. At times it seems a bit soft but it definitely looks cleaner and better than the original DVD which I did comparisons with.

After watching "WAYNE'S WORLD 2' and seeing the disappointing picture quality of the sequel, I wasn't sure how the first film would turn out on Blu-ray. Fortunately, the picture quality of the original is much better than the sequel. Where the sequel had plenty or dust particles and the white speckles, there are very few on this transfer.

As for audio, "WAYNE'S WORLD" features a Dolby TrueHD 5.1 lossless soundtrack (as well as French 2.0 Dolby Surround and Spanish Mono).

The film is primarily dialogue but it happens to be a film also strong when it comes to the utilization of music. There is a lot of music being utilized throughout the film. And I can tell you that the audio is quite clear but if I had one disappointment, the soundtrack of the overall film is primarily front channel usage. In fact, I don't think I've even heard my subwoofer being utilized during the whole film. If any bass was coming out, it was coming out through my two fronts.

Even during certain sequences that would utilize low frequency sounds, no subwoofer usage. I did hear my rear surround at work a few times, especially during the airplane sequence but overall, the soundtrack is also OK. Was hoping for better directional usage of audio throughout the whole 5.1.

But overall, picture and audio quality were average at best.

As for subtitles, subtitles are presented in English, English SDH, Spanish and Portuguese.

SPECIAL FEATURES:

"Wayne's World" comes with the same features from the original DVD release. Primarily the one commentary and one featurette.

* Audio Commentary by Director Penelope SpheerisActually, a very cool commentary by Director Spheeris. She comes off as a rock n' roll, free and anything goes kind of director. Laughing and just having fun as she talks about working with the guys, making sure she was strict to the schedule but allowing various scenes that she wanted, what Mike and Dana wanted and then working with the best footage during post-production. A lot of behind-the-scenes information from how Mike Myers was initially against the headbanging scene for "Bohemian Rhapsody" because he felt it wasn't funny to why she was happy that Tia Carrere was cast for the role and how her rock n' roll and SNL experience helped her for this film. I also found it interesting as Spheeris talked about how Lorne Michaels promotes this competitive nature for the comedians on "Saturday Night Live" and thus, this film that did feature a lot of improvisation, was about the characters utilizing their surroundings and what they would do on the scene when the camera was on them.

* "Wayne's World Extreme Close-Up: Exclusive Cast & Crew Interviews" (23:14) This featurette features interviews with Director Penelope Spheeris, Producer Lorne Michaels and the cast of "WAYNE'S WORLD". You also get interesting tidbits of information about the screen testing of the film from the "Cream of Some Young Guy" scene, the headbanging scene and how Mike Myers neck hurt from reshooting that scene over and over, Dana Carvey forgetting the words to "Bohemian Rhapsody", the laughing scene of Wayne and Garth under the airplane, the friendship of Mike Myers and Rob Lowe began with this film, how Dana Carvey based Garth's way of talking from his brother and much more. (In Standard Definition)

* Theatrical Trailer (2:03) The original theatrical trailer in HD.

JUDGMENT CALL:

I absolutely enjoyed "WAYNE'S WORLD" when it came out on film. The way it was cut and the overall wackiness and improvised scenes, the parodying of other films and TV shows and of course, the multiple endings. Everything seemed to work perfectly.

Mike Myers and Dana Carvey do a great job with their characters. The guys were in their element and of course Mike Myers improvising especially the Wayne and Cassandra bedroom scene was hilarious! Both men did a great job in making the audience feel these characters and just laugh with them (or at them).

I also believe that part of the benefit of this film's success is due to Director Penelope Spheeris's extensive music and rock n' roll background. She knew what she wanted to capture on film, she knew she wanted the rock music to be integral to the film and even learning from the Director's commentary of how the talent didn't feel certain scenes would be funny, but she insisted for the talent to do what she instructed (unfortunately, it's been reported that because of this, she was not tapped to direct the sequel which was a shame). But you have to give Spheeris some major credit, to cut a film in 32-34 days is just unheard of these days and even at that time but because some of the cast and crew were used to the quick schedule workaround from their years at "Saturday Night Live", everything came together.

But there were so many memorable moments from the film that will always stand out, most importantly the "Bohemian Rhapsody" scene with the guys singing the QUEEN song which probably, many people not familiar with QUEEN may have never heard of until it was shown over and over on MTV. If anything, music played a major role for this film and it was fun watching how it was utilized.

As for the Blu-ray transfer, definitely much better than the sequel but picture and audio quality was average at best. Special features were quite slim and it would have been awesome to see some sort of gag reel or deleted scenes.

For those who own the DVD and wonder if it's worth double dipping and repurchasing it on Blu-ray, it's up to you. If the 1080p High Definition transfer is important to you. The audio quality is not exactly reference quality and for special features, there really is nothing added to the Blu-ray version of this release. So, in comparing both the DVD and the Blu-ray, it all comes down to if you want the film on High Definition.

From a sketch on `Saturday Night Live' and becoming a full-feature film, 16 years later, `Wayne's World' is definitely a unique, hilarious and crazy classic comedy film worth watching!

Want Wayne's World (1992) Discount?

The ultimate hang out and rock comedy, Wayne's World! This ia one of the really good SNL spinoffs that I personally was very glad that it hit the screen. Mike Myers (Wayne) and Dana Cravey (Garth), are hilarious in this and it shows that this sketch was easily one of the best on SNL ever!

It's a non stop rib shattering comedy from start to finish! Myers and Carvey are totally awesome and let's face it, Tia Carrera is hot! PLus with a little bit of parody (T2) and making fund of themselves a little (the sponsor scene).

WAYNE'S WORLD is totally excellent and of course having a pretty good soundtrack doesn't hurt either. This is really funny. You'll be laughing the whole way though! Pick this up and also heck out WAYNE'S WORLD 2 nad from Myers, check out the AUSTIN POWERS series. Enough said, it's Austin Powers! And if you're looking for any other good SNL spinoffs, check out NIGHT AT THE ROXBURY, CONEHEADS and BLUES BROTHERS.