Better Off Dead (1985)

It's finally here, and although it doesn't cost $2.00, it's better than nothing (if you caught that reference, you're a fan and will buy it now).

I won't go into plot and such you already know about the movie's merits (or can find them online easily). This review will concern the region 1 (USA) DVD release that came out 7/16/02 at long last! retail around $20-25 USD.

One note: I had trouble finding this on release day the local "big box" boys all told me they had "a copy on order or something"... I guess they didn't anticipate a big demand for this wildy funny 1985 cult comedy.

DVD Special Features: Widescreen enhanced for 16:9, English Subtitle Option, Dolby Digital & "English Stereo" (whatever that means). No foreign language tracks, outtakes or even a trailer. No stills of the cast or bios.... nada. Zip. Zero.

Initial Impressions: This DVD is truly a bare-bones production from start to finish. I actually thought the audio track was absent at first, due to the lack of any sound at all until the movie proper starts. And of course you can't skip over the annoying studio splash or the stern warning not to copy it. At least there's no ads or previews in front like some.

Menu Options: The menu page is a static photo with three options Play, Setup and Scene Selection. Setup lets you pick from "Subtitle: English or None". That's it. No other setup options... it looks like you could change Audio Indicator to other foreign languages, but that option does not highlight. Maybe they forgot to add foreign language tracks or the coder forgot to link up to the function.

Video: I played this on two different TV/DVD setups one highend and one old/low end. The Widescreen refused to work on my lowend set, but worked fine on the new DVD player. However, both sets showed the film to be overly bright and rather soft, especially in outdoor scenes. Even inside, there were no good strong blacks to be seen. The print itself seemed rather clean, with no spots or distortions immediately visible. Overall, it looked like a moderate home-transfer job of a videotape via a DVD burner... barely better than my vhs. Such a shame.

Audio: Nothing special, just good old Dolby. Not that surround would do much with this movie, but still.. blah.

Extras: none. I suspect if they could have had "less than none" they would have. Truly a poor showing for this classic comedy.

Summary: Although "gotta have it" fans like myself are happy to have a DVD at last, this shoddy transfer and lack of features makes me a bit ticked at whomever decided to jam it to us fans and charge "normal" dvd prices. It would have been much more accurately priced as a budget dvd in the 12.99 range after all this time... surely the production costs have been paid for many times over.

Other: The VHS (20th Cent.Fox) edition indicates 98 minutes, the DVD says 97 minutes... reason not apparent. Also, the keepcase coverart is truly dreadfulwhomever created this case cover needs some more photoshop lessons pronto!

5 stars for the original movie, 3 stars for this lackluster DVD edition.

As the years go by, I find myself growing more and more convinced that the '80s were the last true golden age for that often-maligned genre, the teen sex comedy. Whereas now Hollywood shells out a small fortune to finance a Britney Spears soundtrack for films starring young men who make Frankie Avalon look complex (and featuring actresses who seem to have copied Annette Funnicello's bust but none of her own admitedly simple charm), the '80s were usually made with low budgets, up-and-coming young actors who at least seemed to be having fun, scripts that were too joyfully crude to ever be considered truly offensive, and directors who seem to have vanished at the decade's in. My own personal favorite amongst these directors was "Savage" Steve Holland (Is that a perfect '80s name or what?) who defined the entire decade with just two films -One Crazy Summer and especially Better Off Dead. Both of these films display Holland's crazed, gloriously strange wit, his penchant for casting Curtis Armstrong as a high school students (despite the fact that Armstrong appeared to be in his 30s at the time), his fondness for the random nonsensical cartoon, and especially his early foresight to make John Cusack his favored star.

In Better Off Dead, Cusack plays a likeable but nerdy high school schlub. Of course, all teen films claim to be about likeable schlubs but Cusack was one of the few actors who was actually believable as being both likeable and socially unpopular. He's dumped by his girlfriend, decides to beat her new boyfriend in a ski competition, attempts suicide a few times -in a bit that everyone seems to hold as their personal favorite -has to deal with a homicidal paper boy who wants his two dollars. Its a crazed plot and Holland doesn't waste much time trying to make it all coherent. Instead, he uses the plot as an excuse to pile on more and more strange sight gags and bizarre characters. In short, rather than pretending his story is some sort of grand artistic statement (like the current crop of youth films), Holland creates his own demented world -a world where high school students are sent into almost religious ecstacy when their math teacer assigns them 200 pages of homework (their sincerely joyful reaction is my own personal favorite of the film's many out-there moments) and even a cartoon comes to life and asks permission to date Cusack's ex. Its a world where one of my favorite, unjustly unknown actresses of that era -the sweetly pretty Diana Franklin -shows up as a French exchange student who offers Cusack a chance at true romance if only he can survive a "fencing" match with an even more nerdy suitor. Its a world where a Japanese exchange student does a perfect imitation of Howard Cosell. In short, its a world that could only have been created in the freedom-loving days of the 1980s and John Cusack becomes the perfect everyman to lead us through that world. There are so many hilarious lines in Better off Dead and it seems everyone has their own personal favorite ("Its a shame people be throwing out a perfectly good white boy like that" comes up a lot though Armstrong shouting "Can you imagine the street value of this" as he snorts up a line of white snow is my own choice). What is truly amazing is that for a film that was dismissed when it originally opened, Better off Dead seems to have become the personal "cult" film of just about everyone who went to high school during the 1980s.

Cusack is one of the best actors working today but, for many of his long-time fans, his recent work has been a bit disappointing. Since renouncing the whole teen film thing, some of Cusack's performances have -on occasion -seemed to be a case of an actor taking himself too seriously. Even if the films did little for his career, Cusack seemed to, at least, be having fun in films like Better off Dead -a quality that sometimes appears to missing from his "mature" work. Of course, everyone in Better Off Dead seems to be having fun. Its a fun, genuinely goon natured film and this is why -despite being dismissed by snobs over the years -it retains such a strong following. Whenever I see a commercial for yet another film featuring Freddie Prinze, Jr. doing his "soulful" thing while the Backstreet Boys parade in the background, I think of Better Off Dead and its missing director. Come back, Savage Steve and -whatever you have to do -bring John Cusack with you. We all deserve to have a little fun again.

Buy Better Off Dead (1985) Now

I don't know what people were expecting to see or hear with Better Off Dead on blu-ray. High definition does not translate to a miraculous transformation. It simply allows you to experience more closely what the source elements have to offer. In the case of Better Off Dead, it had a very low budget and was made very quickly. The filmmakers weren't concerned with how great the shots could be artistically, since it's a screwball comedy for teenagers. The low quality 80's film stock that was used wasn't great with detail, depth, or color, and was quite unstable. The film's soundtrack, which was originally in mono, was created with basic sound effects and design, because that's all the budget allowed for. The film will never look amazing no matter how much restoration is done to it and it'll never sound amazing unless an entirely new sound mix with new sound effects is created. It is a product of its low budget source limitations and unless you accept that fact, you will be greatly disappointed.

On the positive side, the print is clean and full of natural film grain. It's the best I've ever seen it look. The sound is exactly as it has always been, thin, lifeless and limited in range, though dialogue is always intelligible. The downside of this release is there are no special features. No retrospective, or appreciation, or commentary. I'm not surprised considering how limited the fan base is for the film.

This is the best presentation of Better Off Dead to date and I'm sure it could never be much better than it is on blu-ray. Adjust your expectations accordingly.

Read Best Reviews of Better Off Dead (1985) Here

First off I have seen this movie quiet a few times, and it is a great flick, but when they made the DVD I had to have it. Well I am sorely disappointed in the quality of the sound. It doesn't have either Dolby Digital or DTS. I have movies that have both, ad sound great. This sounds like a muffled person.

Want Better Off Dead (1985) Discount?

First off, you have to see this movie. Although it would get awards for being extremely cheezy... it's quite humorous. If you want a movie review, read the excellent posts by Jeffrey Ellis or Joshua Lai.

Second, my low rating is based on the actual DVD. I waited, and waited, and waited for this movie to come out on DVD. Considering DVDs have been around more than 5 years already, I'm truly amazed that companies still put out VHS quality works in DVD format. I could have sworn I was watching a videotape (on my HD monitor with progressive scan player). Unless you are a Better Off Dead nut like myself, wait until the studio releases a Collector's edition or Special editor before spending your money on this DVD.

Save 22% Off

Weekend

Weekend is a film that can be blatantly described as a Gay/ lesbian film. But the irony of handing it that title is that Weekend itself is a terrific analyzation of the boundaries often placed between the gay community and the straight community. In this film we follow two gay men who have just met: Russell (Tom Cullen): A life Guard who is still a tad insecure about his sexuality, and Glen (Chris New) an outed artist who plans to go to America to flee the boundaries that hold him back in England. The film follows the two over the course of one weekend, the majority spent in Russell's small apartment, where the two men learn about each other, have sex, and have fascinating conversations pertaining to the stigmas placed on homosexuals in a "Straight" world. It is somewhat cliché now to describe a film as having a "documentary feel", but what other way is there to describe Weekend? Here is a film that is so intimate, so realistically acted and full of moments so private that it is impossible to look away. The performances are magnetic and unforgettable while the script is one of immense intelligence.

At its core the film deals with homosexual issues yes, but does that mean it is only for gays and lesbians? Only if you're one of those people who also think Spike Lee films and Roots are only for black people. If anything this is a film that should be viewed more so by straight people. It is a superb document on the humanization of homosexuals. It shows us that we all are pining for the same existential things: Acceptance and love. Those two things might be wrapped in different looking packages between different people, but beneath the exterior the same kind of love is there. For that insightful revelation alone I would recommend Andrew Haigh's Weekend, but there is so much more to it. It is an exceptional film that follows in the footsteps of such great films as Before Sunrise. and like that film it haunts you for days afterward. One of the best films of 2011 no doubt.

Pros: Very well acted, Great script, Kudos to putting John Grant in the Soundtrack.

Cons: None

One of the most romantic gay films I have ever seen. The reviewer before me must be even more cynical than I am to have totally missed out on the chemistry that these two have. They are not your typical gay characters, in fact it just so happens they are gay. No "after school special" or "Lifetime" feel here. No tragic illness or event. Just good conversation and attraction.

The end practically left me in tears. The relationship that builds between the two is a joy to watch.

I am not easily entertained and especially critical of film. I usually prefer more cerebral fare like David Lynch or Woody Allen. But once in a great while a film comes along that surprises you and touches your heart (and not by manipulation ala New Years Day, etc.). Sit back and watch these two very different people in a realistic portrayal of discovering each other and themselves.

Buy Weekend Now

My partner and I saw this movie in NYC at the IFC Theatre a few months ago, and it really moved us. We're not young, not into drug culture, and weren't seeing it hoping for a glimpse of some eye candy. We had read a review in The New York Times, checked it on Rotten Tomatoes and seen what a high rating both critics AND audiences alike had given it, and that was the draw for us. What a raw and beautiful film...!!

The two lead characters in the movie have very little in common, at least in my estimation, except for the fact that they're both gay, young, attractive, and affected by the slings and arrows of surviving in a predominantly straight world. They're very opposite, and therein lies the attraction. Yes, they use recreational drugs like a lot of gay youth. I think the movie does a good job of exploring the demons that cause them to have the kind of low self-worth that drives many gay people to abuse substances. Yet, there is a beauty in the love that develops very quickly between them--despite their self-destructive tendencies. Much bubbles to the surface in their drug fueled time together that might otherwise lie dormant if substances weren't being used, and the crashing down of walls that is the result.

Seldom have I seen a film of such gritty honesty. It is uncomfortable seeing the story unfold. But somehow it manages to crawl under the skin with the precision of a microscope of acuity, revealing so much about what drives us gay humans to the extremes that a marginalized existence sometimes does. I thought it said more about how societal pressures, whether real or imagined, get in the way of gay people being able to just live and love. A must see!

Read Best Reviews of Weekend Here

I always appreciate when a big DVD label like Criterion (they picked up the North American DVD/Blu-ray release) courts smaller noteworthy offerings that might not ordinarily receive a big distribution. Taking on Andrew Haigh's "Weekend" is certainly one of their more interesting offerings. Some might consider it a niche choice with its homosexual themes and same sex coupling, but "Weekend" has a lot to say about how people (of any gender or orientation) connect or don't connect in the modern world. It is a small film, to be sure, that is graced with both a minimalism and a naturalism that might remind you of Mike Leigh's most organic projects. The narrative takes place over the course of one weekend largely within the confines of an apartment. It is a piece that is bolstered by a thoughtful screenplay and two great performances. If you're looking for a big story, this micro-budgeted indie is NOT the picture for you. But if you enjoy realistic dialogue about the human condition, about life, about love and relationships--there is plenty to be admired here.

Basically, "Weekend" is structured as a brief encounter, a fleeting moment. A relationship in microcosm is played out over a couple of days. The film is completely understated and its quiet effectiveness might sneak up on you. It's a typical enough story, I suppose. Russell (Tom Cullen) heads out to a club looking for some action and as the evening comes to a close, he ends up going home with Glen (Chris New). Neither is under the illusion that this is anything other than a hook-up. In fact, it doesn't appear that the two men share much common ground. What follows is an encounter fueled by drinking, drugs, and sex. But unexpectedly, they also let down their guards and really start to connect. In many ways, "Weekend" is about that moment where two people fall in love. It's not a big or dramatic moment, but a subtle shift of how you view someone else--how you seem to fit. While the film does touch on some issues specific to the homosexual community, its underlying themes are much more universal than you might imagine.

The film played very well on the festival circuit, even picking up two British Independent Film Awards, one for Best Achievement In Production and one for Most Promising Newcomer Tom Cullen. Cullen is quite exceptional. His Russell is more aloof, more introspective, but as he starts to share more of himself--the openness and vulnerability are etched across his face. Chris New is believable and outspoken, cynical and frank, but with a need to connect maybe he doesn't even fully understand. If the thought of two men having sex or sharing intimacy bothers you, this might not be your first choice. But both actors really make this work, giving of themselves both physically and emotionally. In the end, it's bittersweet, real, natural, and unassuming. What it achieves, it does so quietly, unexpectedly and with surprising subtlety. Perhaps this tiny little movie is not for everyone, but for those that appreciate realistic adult drama--this is a weekend trip worth taking. About 4 1/2 stars. KGHarris, 5/12.

Want Weekend Discount?

My partner and I saw this movie in NYC at the IFC Theatre a few months ago, and it really moved us. We're not young, not into drug culture, and weren't seeing it hoping for a glimpse of some eye candy. We had read a review in The New York Times, checked it on Rotten Tomatoes and seen what a high rating both critics AND audiences alike had given it, and that was the draw for us. What a raw and beautiful film...!!

The two lead characters in the movie have very little in common, at least in my estimation, except for the fact that they're both gay, young, attractive, and affected by the slings and arrows of surviving in a predominantly straight world. They're very opposite, and therein lies the attraction. Yes, they use recreational drugs like a lot of gay youth. I think the movie does a good job of exploring the demons that cause them to have the kind of low self-worth that drives many gay people to abuse substances. Yet, there is a beauty in the love that develops very quickly between them--despite their self-destructive tendencies. Much bubbles to the surface in their drug fueled time together that might otherwise lie dormant if substances weren't being used, and the crashing down of walls that is the result.

Seldom have I seen a film of such gritty honesty. It is uncomfortable seeing the story unfold. But somehow it manages to crawl under the skin with the precision of a microscope of acuity, revealing so much about what drives us gay humans to the extremes that a marginalized existence sometimes does. I thought it said more about how societal pressures, whether real or imagined, get in the way of gay people being able to just live and love. A must see!

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

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

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

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

You Did Wonderful Job!

I like This Anime!

You Did Execellent Job

Thanke You! Bye-Bye!

See-ya Later! Bye Angain! Adois!

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

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

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

The Wizard of Gore / The Gore Gore Girls (Blood-Drenched Double Feature) (1972)

I've been a fan of both these films for years and owened them on multiple formats and can honestly say both films have never looked better, as a matter of fact these films shouldn't look this good considering the time period and budget they were filmed for. both still have minimal print damage and cigaret burns, but does not detract from the enjoyment of the films, just gives it that grindhouse feel. both have great commentarys and a H.G. Lewis trailer gallery and poster gallery. getting both these films for under $10 is a steal, highestpossible recomendation. you can throw away your dvd's now.

I love these movies and the blu ray transfer is awesome The Wizard of Gore is my favorite of the two.

Buy The Wizard of Gore / The Gore Gore Girls (Blood-Drenched Double Feature) (1972) Now

For what it's worth, this is probably the absolute best these films will ever look. If you're searching for reference quality images, you probably don't know anything about Hershell Gordon Lewis or his films and you're better off looking elsewhere

Read Best Reviews of The Wizard of Gore / The Gore Gore Girls (Blood-Drenched Double Feature) (1972) Here

Fans of the classic drive in genre can rejoice knowing that Image has made the effort to release the films of Herschell Gordon Lewis on blu-ray. That's not to say the movies are spectacular in any way, but fans of H.G. and the films he made will be dancing in the street knowing they're now available in high format quality. Which seems odd since the movies were released on about as low a quality budget as was possible. In any event, the movies are a part of movie history, though at the bottom end.

The first film, WIZARD OF GORE, is the lesser of the two if that's possible. Montag it Magnificent is a magician who performs the standard tricks until the finale of his show. At that time he pulls out all stops and taunts the audience to decide if what they are about to see is real or merely an illusion. His first finale is to saw a woman in half. But this isn't the usual fare. Instead, he does so without placing her in a box but has her entire body in view. Pulling out a chainsaw, he proceeds to saw her open, guts and blood spewing forth in great profusion. Moments later the stunned audience watches on as the girl rises from the table, unharmed. The only problem is that later that night she goes to a restaurant and before she can order she's found on the floor saw in half.

A local talk show host having seen the show the night before with her boyfriend sportswriter sees the body being carted off and it accidentally touches her hand. The next day when she tries to get Montag on her show he declines until the bloodstain appears on her hand, a stain that only he can see. He invites her back that night and she goes this time to witness another grizzly scene, a woman with a spike driven into her skull. She too walks away unharmed only to be found later dead of the same injury seen onstage.

Just who Montag really is and how he's completing these gruesome murders would be the normal movie one would expect to see. Instead we get all sorts of goofy speeches from Montag about illusion and reality and a twist ending that would have seemed half smart had the rest of the film not been so bad. Worst of all is Montag himself, played by . When the term ham actor comes to mind from here on out this is the actor I'll see in my mind's eye. Couple that with some tremendously bad make up that has his hair changing color from white to brown and eyebrows that look like they've had shoe polish brushed over them and you have one really bad movie.

THE GORE GORE GIRLS is the better of the two films. Had this story been done with a bigger budget, better actors and a better script it could have been an A picture. The idea is quite good, it's just the execution that's lacking.

The dancers at the local strip club are being killed off in gory fashion. Heads opened, eyes gouged and more should be a reason to chase people off from visiting the joint but they continue to come to watch the go go girls dance away. The local newspaper hires top private eye to investigate paying him top dollar to do so if he'll give them the scoop. He takes the job and the money and begins tracking down the killer.

Following a trail of clues and suspects he frequents the club where the girls work. This gives viewers plenty of time to see the main reason folks went to see this movie, semi-clad women shaking everything they had with the limited restrictions of the time. For those who don't understand that means pasties and panties are the wardrobe of choice.

Between sleuthing and dancing we witness the killer strike again and again in even more blood and guts scenes than Lewis has done in the past. It was the thing that brought people to see his movies and he delivers the goods.

As I said, this movie at least has a plot that you can follow and that makes sense. It was done, as were most of Lewis' films, on a budget set just below shoestring but the heart and soul that he put into his films is seen on display on screen.

H. G. Lewis may not be a familiar name to the majority of people. He probable will never be honored with an Oscar. But he was a pioneer of the times and did create a genre, the gore film, which has been copied and replicated over and over again. The biggest difference between his films and those being made today (other than budget) was that he was at least attempting to make something different, to offer a story that the gore became a part of rather than the center of.

Movie lovers who remember the days of the drive in will want to pick this one up. It may not be the best that was offered in that locale, but it is something memorable.

Want The Wizard of Gore / The Gore Gore Girls (Blood-Drenched Double Feature) (1972) Discount?

Highlander: The 25th Anniversary Collection (Highlander: Director's Cut / Highlander 2: Renegade Ve

Loved the highlanders movies and tv show,ever since they came out.first movie was awsome but the second was such a waste and confussing movie that made no sense.but after watching the second highlander on bluray I saw they really changed alot in the movie so it made more sense.still isnt as good as the first tho. Now with the pictures on both I dunno what to even say.the grain in the picture is so bad at times.it. looks like im watchingbit on a old tv with a vhs tape.for such a game changer of a movie you would think that the transfer would of been alot better

Was really excited to see these movies on blu-ray, couldnt wait to get them. They did a pretty good job on the transfer, the problem is that it was poor quality ro start with. The sound effects are just terrible, to me the video is way better than the original and the second disk is in 7.1 and sounds better than the first, but the second movie is dumber than I remember. All in all the first movie is hands down the best of the series, picture quality is pretty good considering. As always it was a pleasure doing buisness with Amazon.

Buy Highlander: The 25th Anniversary Collection (Highlander: Director's Cut / Highlander 2: Renegade Ve Now

Should be ALL FILMS. BUt i cant go below 5 on HIGHLANDER.

Nothing bad to say about it. All good here.

Read Best Reviews of Highlander: The 25th Anniversary Collection (Highlander: Director's Cut / Highlander 2: Renegade Ve Here

I will start by saying that I had never seen either of the highlander movies before ordering this.The first film is awesome and I was a little let down by the second. Either way for the price this is a nice two pack to add to your collection.

Want Highlander: The 25th Anniversary Collection (Highlander: Director's Cut / Highlander 2: Renegade Ve Discount?

What a great purchase opportunity for any movie buff. The viewing quality of the blu ray film is excellent. The packaging proves it is of 100% new manufacture. The price of the product was very fair and I am more than satisfied.

I can highly recommend this suppliers work.

Thank you

Superman II: The Richard Donner Cut (2006)

Having just watched the Richard Donner version of "Superman II" twice (once with his commentary with 'Creative Consultant' Tom Mankiewicz), I can say that I prefer the Donner version, over Richard Lester's...but with reservations.

Other reviewers point out redundancies, over-long scenes, and character development problems in the Donner version, but these aren't really fair arguments; what you see are the basic scenes, originally shot; Donner, himself, admitted that had he continued on the film, he would have had to do reshoots of several key scenes, and, of course, would have been involved in the editing process (which couldn't be accomplished to the same degree, in the 'restored' edition). The 'turning the world back' resolution was intended for "Superman II"; when the Salkinds chose not to end the first film with a cliffhanger ending, Donner shot the Lois 'death' scene, and Supes turns back time to save her...so repeating the same resolution in "Superman II" was simply a case of using the original film conclusion, which Donner would have changed, had he continued with the film.

There are plotholes, and leaps of logic; as the film stands, Luthor is apparently in the Fortress of Solitude when Superman destroys it(!); Clark's 'revenge' against the diner bully makes no sense, since, after winding back time, the original confrontation never took place; indeed, the Jor-El 'farewell' scene would have been unnecessary, as well, insomuch as Supes rewound time back to before he lost and regained his powers. And what ever became of Miss Teschmacher?

All this having been said, there are moments where I think Richard Lester's lack of understanding of Superman and his Universe makes me stand in Donner's corner; he introduced abilities Supes never had (Saran-wrap symbols...what exactly were they supposed to do?...the 'Kiss of Forgetfulness'...turning Metropolis citizens into comic buffoons, during the climactic brawl...the whole British-accented town sequence, when Zod 'introduces' himself to the world). Other critics have panned Brando's 'Jor-El' in the Donner sequel, praising the Salkinds for dropping him, and increasing Susannah York's involvement, but she seems totally out-of-place as the 'final authority' figure in the Lester version. Maybe he was overpriced, but I think Brando was essential, and the film certainly would have been big enough to offset his paycheck.

I think the Donner version has more 'heart', and reverence to Superman, than Lester's broader, more comic 'take'. Even with the abrupt transitions, logic lapses, rough edges, and redundant resolution, a vision of what "might have been" emerges, and it was a pretty terrific film!

I'm really begging with Amazon to not confuse The new Superman II: The Richard Donner Cut, with the original Superman II: Richard Lester version because both of these are completely different films & should be treated as such.

1st thing people who truely think that Richard Lester is a great director & did a great job on SII need a reality check. All he did was take an already great script done by SUPERMAN I creative consultant Tom Mankiewicz, and 70-80% shot by Richard Donner shift around some stuff & make the film (all the actors were there for him, a donkey could have done it).

Lester would also add some unneeded slap stick humor (e.g. Metropolis fight scene where the three super villains use their super breath to blow out the Metropolis civilians where after an unneeded and very cheesey moment of slap stick bad homage to Charlie Chaplin stances take place & the earlier scene of when the supervillains are introduced by duking it out in the American wild west???).

Lester would be found out as a director in the poor Superman III where his slap stick humour would basically ruin the film but not to say his version of Superman II is bad but it just doesn't compare to the brilliance of number 1, especially after repeated watchings II just seems like a poor boys substiute!!

Donner on the other hand had completely different thinking for II it was meant to be on the same epic scale & feeling a I & in quality terms match it if not even better it. Also around 30% of the Lester film uses Donner's footage whilst in the SII:DC it uses around 80% footage & will feel like a completely different film.

Having already seen some of the new scenes, e.g. Lois jumping out of the window of The Daily Planet to proove that Clark is Superman, The fight with The Super Villains over Metropolis, some of the new Brando scenes, & Lois's tearful farewell, it's obvious that this film will be entirely different from the original theatrical realise of SII & should be treated as an entirely different film not put as if it's just a normal directors cut of an already realised film!!!

Please Amazon originally the link was seperate so why change it???

Buy Superman II: The Richard Donner Cut (2006) Now

Don't believe the naysayers. 95% of people like myself who saw the first Superman II, loved it, but had problems with some of the stupid humor, will love this version. Obviously, you can't go back and fix everything. For those who complain about the screen test footage, it's been over 25 years people!!! I for one am absolutely stunned by what was saved and the quality of it. And where there is an opportunity to have an alternate take of the same scene, it's in here. I had heard over 50% of the film would be new. Well, with the alternative takes, it seems like more like 80% of the film is new! And I have gone back and looked at Lester's Superman II again, and there is no comparison. Practically every single dumb humor moment that was in Lester's Superman II has been cut and has been replaced with Brando footage as the film was originally intended. It's like cutting out the Jerry Lewis humor and replacing it with Lawrence Olivier. If you liked the opening ten minute credit sequence of Lester's Superman III, then I guess you might like Lester's version better. But I think for 95% of Superman fans it's not even a debatable subject.

POSSIBLE SPOILER ALERT:

I will not mention what new Richard Donner footage there is, (you should enjoy that for the first time yourself) but for those of you who want to know exactly what "dumb humor" or illogical stuff that has been cut from Lester's version that IS NOT in Richard Donner's version, read on below...

Lois' chain-smoking orange juice squeezing scene. Gone!

Zod raising farmer with silver beam from his finger. Gone!

Ursa beating farmer at arm wrestling. Gone!

Almost all jokes relating to Non's dumbness including his inability to use heat vision like the others. Gone!

Lame wise-cracking bell hop at Niagara Falls "have a happy.... whatever" Gone!

Superman steps into molecule chamber with Superman suit on, and exits wearing street clothes? Gone! (Now he enters and exits with street clothes. Some scenes appear to have been reshot with a body double for Reeve.)

During super fight, long extended scene with earthquake going on while Superman and Non fight underground and humans on surface bounce around like bowling pins had been drastically reduced.

During super fight, all jokes relating to villains blowing at humans are gone, (ice cream cone in face, toupee falling off, laughing man falling over in phone booth and continues to talk all gone. The rollerskating backward guy is seen only briefly if you look for him, but he's not at all obvious like before.

Ursa hits Non accidentally with flag pole and kid on street says, "Wow, home run....." Gone!

Three villains each using their silver beams against Superman at the Fortress of Solitude. Gone!

Superman throwing a red "S" at Non at the Fortress of Solitude.. Gone!

Superman playing stupid Krypton "hide and seek" superpower game at Fortress of Solitude with villains. Gone!

There are a few jokes that were cut that could have remained, but after looking at Lester's Superman's II again back-to-back with this new version, like I said, there's no comparison. Buy it now.

Read Best Reviews of Superman II: The Richard Donner Cut (2006) Here

Widely regarded as one of the best superhero sequels ever, director Richard Lester's 'Superman II' had the daunting task of living up to the legacy of the original film, despite having major restrictions placed on it. For instance, Marlon Brando and Gene Hackman were not available for additional scenes, thus much of the film had to be re-cut and Brando had to be removed entirely for legal reasons. Lester had to incorporate footage shot by original director Richard Donner with newly shot scenes, while keeping the tone of the sequel consistent. The end result is a sequel that's almost every bit as good as the film that spawned it. Christopher Reeve even said that this was his favorite of the Superman movies.

In recent years, the revelation of all the behind-the-scenes drama of Donner's dismissal from the franchise has unfairly placed Lester's version in a negative light. Some fans even went as far as to state that the new Superman II-The Richard Donner Cut was the definitive sequel before even having seen it! While which 'Superman II' is superior remains subjective, the simple fact is that the Donner Cut is a close approximation of his original vision rather than a fully realized film, since he had only shot around 70% of the footage. The rest was spliced together from screen tests, new shots using body and voice doubles, and footage from Lester's version. This is not unlike what Richard Lester had to do to finish his sequel. Thus, both films can and must co-exist since there are shared footage and scenes unique to each version that simply work better. For instance, terrorists hijacking the Eiffel Tower is simply more of a job for Superman than Lois jumping out a window. Consequently, Donner's Brando footage better illustrates the father/son motif established in the first film than Lester's re-shoots with Superman's mother.

As for the extras in this re-release, WB has compiled an impressive array of rarely seen material. There is a commentary by the producers, a 1981 'making of' special hosted by Chris Reeve, 8 Fleischer Studios Superman cartoons plus a retrospective, deleted scenes, and perhaps the most eclectic...the 'Superman 50th Anniversary' TV Special. Produced in 1988 by the 'Saturday Night Live' crew, this special was widely panned originally but had since become a hot commodity on the bootlegging scene. With appearances by classic Superman and SNL alumni, this special can be better appreciated now in hindsight for its quirky blend of comedy and nostalgia.

In closing, despite its shortcomings, 'Superman II' set forth a benchmark in the superhero film genre by showing how a sequel can take off the "kid gloves" and come out swinging once the exposition is firmly established in the original. Knowledge of the off-set controversy should only enhance our appreciation of the final film the cast and crew put together because it really is a classic sequel.

Want Superman II: The Richard Donner Cut (2006) Discount?

attended last week's world premiere screening of the much anticipated Superman II: The Richard Donner Cut. Like many Supe fans, I'd been looking forward to this for a LONG time. However, I'm here to tell you to lower your expectations on this one. It's simply not as good as the released version finished by Richard Lester.

After seeing the Donner version, I watched the Lester version again to make sure I could coherently compare the two versions. I concluded there are several very serious problems with the Donner version, and I'll lay these out, alerting you to spoilers.

First, a few comments about the original Superman 1, so you understand where I'm coming from. IMO, the first film had several major tone shifts. The Krypton section was very serious, bordering on pretentious. Brando played Jor-El not like a man, but as a demi-god, cold, aloof and superior. The Smallville section (my favorite portion) evoked Frank Capra-John Ford Americana, human and emotional. And the Metropolis section started as an enjoyable comic book, but then degenerated into goofy camp as Lex Luthor's ridiculous plan unfolded, and Gene Hackman mugged and played Superman's arch-enemy for laughs. For me, the Luthor characterization and earthquake plot ruined what I thought what could have been a fine film. And I totally didn't buy Superman turning back time, which I thought was a complete cop-out. All real Superman fans know that Supes can't do that (and even if he could, he wouldn't)! So that's the "baggage" I bring to this review.

On to Superman II. As most fans of the series know, Brando filmed scenes for the Fortress of Solitude sequences, but they were dropped when he demanded more money, and redone with Susannah York as Lara. Donner's version restores the Brando scenes. I found these restored scenes too long and not very good. The truth is, Brando did these films for the money, and basically walked through his role. I doubt that there is any survey of Brando's work that mentions Jor-El as one of his memorable performances. It seemed that Donner wanted to include every frame of Brando, so there's a lot of repetition. For example, Superman II now opens as Part 1 did, with Jor-El sentencing the 3 villains to the Phantom Zone, reciting the litany of their crimes. When Luthor plays back the recording crystals in the Fortress of Solitude, he gets the exact same explanation by Jor-El, about the villains. Hearing this information twice is boring and unnecessary. Later, Jor-El interacts with his son. But the tonal shifts of the first film come back to undermine the second one. Brando's pompous interpretation of Jor-El simply doesn't mesh well with Reeve's everyman version of Supes. These actors are in two different movies. Lester got around this by using Lara instead, in a performance that we can now see had more humanity than Brando's, but was light enough to maintain the comic book tone. Lara is sympathetic and basically supportive regarding her son's conflict about love vs duty, and this serves the story well, providing the emotion the story needs at this point.

SPOILER. In Donner's version, Jor-El is judgmental and dismissive to his son which, although is true to his characterization, does not make Superman's ultimate decision to give up his powers believable. But Donner's worst choice is in the placement of this scene. In Lester's version, Superman talks to his mom about his conflict, then gives up his powers BEFORE he sleeps with Lois. The implication is that Superman can't have sex with a human unless he surrenders his super powers (no doubt, his super orgasm, going faster than a speeding bullet, would be fatal!). But Donner has the sex scene first, and then has Superman talk to Jor-El and give up his powers.

This begs the question, if Superman can have sex with a human, why give up his powers? It makes no sense! Changing the order of these scenes completely undermines the human story and conflict at the core of the film. Later, when Clark returns to the Arctic in hopes of restoring his powers, there's yet another scene with Jor-El, who says "I knew this was going to happen," followed by some ridiculous mumbo jumbo in which Jor-El somehow transfers his spirit into his son to restore his powers. It's supposed to be moving and emotional, but it's not because there's no human relationship between Jor-El and Kal-El to begin with. Richard Lester simply showed us Clark finding the green power crystal and left the rest to our imagination, keeping the tone of the entire film light, like a comic book. Donner, however, adds in elements of pretension, and even said in the panel discussion afterward that he was trying to make a movie about the father-son relationship. But it doesn't work, and it doesn't belong because Superman II isn't a movie about father and son, it's about a man who has to decide between what he wants for himself and his responsibility to the world.

Almost every scene in Donner's version goes on too long. There's usually an extra unnecessary beat at the end of scenes. There's more Luthor and Otis, more Luthor and Miss Teschmacher, more Luthor with the villains, all which slow down the pace for the sake of marginal gags. If you like Hackman's Luthor, you may enjoy this. But I didn't.

There is a nice alternate version of the scene in which Lois throws herself into the river in an attempt to prove Clark is Superman. Donner's version takes place at the Daily Planet, where Lois jumps out the window same gimmick, different execution. And the screen tests on the Superman 1 DVD are turned into the revelation scene at Niagara Falls, which works pretty well.

SPOILER. Finally, we have a major cop-out with the ending. After the villains have been vanquished and we're back at the Daily Planet, Lois tells Clark that his secret is safe with her. But rather than giving Lois the "magic kiss of forgetfulness" to erase her memory, Superman once again turns back time, using the same footage from Part 1. He turns back time so far that the villains end up back in the Phantom Zone, meaning that the entire movie never happened! This is followed by the final denouement from the released version, in which Clark Kent returns to the diner and takes down the bully who beat him up. However, because time has been turned back, Clark had never been here before, so this makes no sense either! There's also another serious lapse of logic regarding the time reversal which requires too much explanation, but it will be obvious to most viewers.

Most of the music is recycled from the first film. This didn't bother me, but someone else who was there said that the cues kept reminding him of the scenes from Part 1 in which they originally occurred.

All in all, the Donner Version is an interesting curiosity, with some good moments among a lot of misfires. But personally, I'm glad we have the Richard Lester version, which is more coherent tonally, makes more sense, and is more entertaining. Superman completists will no doubt want this DVD for the collection. For everyone else, I suggest you rent it before you buy it.

Save 20% Off

Everlasting Moments (The Criterion Collection)

EVERLASTING MOMENTS ('Maria Larssons eviga ögonblick') is a quiet, gentle masterpiece of filmmaking. The screenplay by Niklas Rådström, based on a story by Agneta Ulfsäter-Troell and director Jan Troell, is so free of the expected extended dialogues that accompany films of this nature that it allows the magic of the period piece set in early 20th century Sweden to rely on the beauty of the cinematography by Mischa Gavrjusjov and Jan Troell and the subtle and simple film score by Matti Bye (with a little help from Massenet!). Filmed in the color scheme suggestive of the distinguished Danish painter Vilhelm Hammershøi, never straying far from sepia tones that ignite the solitude and light of the Nordic countries, this film could probably be successful as a silent movie that is how powerful the production is.

We are told in the voice over introduction that Maria Larsson (the exceptional Finnish actress Maria Heiskanen) won a camera in a lottery and the only way she would share the strange prize would be if her boyfriend Sigfrid (Mikael Persbrandt) would marry her. The couple marries and begins a large family: Maria takes in sewing and Sigfrid works at the docks and drinks to excess. Maria's world becomes progressively unhappy and though she continues to have children she longs for a life free of the influence of Sigfrid's alcoholism and womanizing. She finds her hidden camera and thinking to pawn it for money to support her children she seeks the advice of an older photographer Sebastian Pedersen (Jesper Christensen) who convinces her to discover the magic of photography as a means of expression and makes it possible for Maria to keep her camera and learn the art of photography. In Maria's oppressive life there is now a light as seen through the lens of her camera that allows her to sustain herself through times of social change, war (WW I), Sigfrid's imprisonment, and a clandestine love affair with the kind and caring Sebastian. The story moves slowly, like a stroll in the wintry woods, and introduces many characters whose significance grow through the film. The ending of the story is as gentle as a dream, or as an everlasting moment. It is sheer magic. For this viewer this is one of the finest films to come along in years. In Swedish and Finnish with subtitles. Highly recommended. Grady Harp, September 09

***This review contains spoilers***

I have an old photograph of my mother when she was five years old walking down the Boardwalk in Atlantic City in 1930 with my grandparents and I often wonder what their lives were like at that moment in time. Jan Troell's "Everlasting Moments" attempts to do just that as he brings old family photographs to life in his sweeping family saga set in Sweden at the turn of the century.

Everlasting Moments begins in the Swedish port city of Malmo in 1907. It's a true story based on the reminiscences of Maja Larrson who is the film's narrator. She takes us back to when she was a child and we're introduced to her parents Maria and Sigfrid (Siggie) Larrson. Siggie is a dock worker who also happens to be an alcoholic. Maria (wonderfully played by Maria Heiskanen) is his long-suffering wife. Although Siggie belongs to the Temperance Society he is continually relapsing and most of the tension in the film's first half revolves around the harrowing scenes of domestic violence in which Siggie uses his wife as a veritable punching bag.

Maria is under tremendous pressure, not only from the heartache of having to deal with her often drunk and philandering husband but also raising a brood of precocious children. One day Maria rediscovers an expensive camera that she and her husband had won in a lottery at the time they got married. She decides to take a picture of her children without her husband knowing about it and brings it to a local photography shop and meets the kindly shop owner, Sebastian Pedersen. Pederson is a bit older than Maria but they soon form a lasting friendship. Pedersen eventually shows Maria how to use the camera and develop pictures.

Meanwhile, we get a real feel for the history of the times as we see what happens to Siggie as he becomes involved with Socialist and Communist agitators who seek to unionize dockworkers in their fight against the shipowners. At one point British scabs are brought in and one of the strike breakers is murdered. Siggie is a suspect for a short while but is cleared after a local floozy who he's been having an affair with provides an alibi.

To Siggie's chagrin, Maria presses forward with her fascination with photography. Eventually she starts earning extra money taking photos of people in the community. In one sad and sensitive scene, Maria declines to charge a woman who asks her if she could take a picture of her daughter who has just died after falling through the ice wandering too far out on to a not so frozen pond. The image of the deceased girl is one of the many striking images of still photography seen in this film.

Things come to a head when Siggie suspects that Maria has been having an affair with Pedersen and brutally rapes her. As a result, Marie is pregnant with another child who ends up with polio. Finally, Siggie takes things too far and drags Maria outside and almost slits her throat with a knife. As a result, he's arrested and thrown in jail (presumably there were neighbors who were witnesses to this horrible act but we never see them nor are there any scenes of Siggie being arrested and brought before a magistrate).

While I expected Maria to leave her husband and go off on her own running her own photography business, that's not what happens in the film's denouement. Instead, Maria stops taking photos for quite awhile and loses contact with Pedersen after the family moves to a different part of town. After Siggie gets out of jail, Maria decides to stick it out with him. Some say it was Maria's memories of her father exhorting her never to leave her husband since it was "God's will" or perhaps it was simply Maria's conservative nature. More likely it was Siggie eventually becoming more mature. He gives up the bottle, starts running a successful moving company and becomes a decent family man. It should be pointed out that Siggie is only a monster when he's drunk. Other times he's shown to be a sensitive man (in one scene, he prevents a man from abusing a horse in the street).

Maria's farewell to Pedersen is a poignant and bittersweet moment in the film. The two part knowing that their relationship was never meant to go further than it did. Pederson's shop is like an oasis for Maria while she's trying to cope with her husband in the early years. Although Pedersen is not a very 'exciting' character, and there's little conflict between the two, he's a soothing and supporting presence, contrasting nicely with the brutal and oppressive Siggie.

Some of the other characters in the film are not sufficiently developed. Siggie's 'anarchist' buddy who commits suicide due to an fulfilled life is one such character. Maja, the film's narrator, has a brief scene where she's almost molested by an employer while working as a housekeeper and then there's the youngest son who's briefly seen trying to cope with the ravages of polio--these characters and scenes seem almost like afterthoughts.

Nonetheless, 'Everlasting Moments' is still filled with indelible, everlasting moments and images (especially check out the effect that Charlie Chaplin had on the Larrson family--that's a scene you won't forget!). Jan Troell's look into the past is not sentimental but more wistful. And even more important, he teaches us about the trials, tribulations and the sacrifices made by the older generation as they stumbled into a firm and rewarding maturity.

Buy Everlasting Moments (The Criterion Collection) Now

As a photography teacher I found the film outstanding for college level students or anyone who loves photography. It has a quiet yet powerful way it moves through a story about a woman and how essentially she is saved because of her ability with the camera and to take pictures. The film itself is packed full of powerful images and moments of realization. Wonderful dialogue and moments all real photographers can relate to that floats in and out of the story about photography and the position of the photographer such as quotes that went something like this "when I am photographing I forget I am a mother" or "not everyone can see". I would watch it again and again. If you are not a photographer but have a heart at all its an enduring story that anyone can appreciate and enjoy. Amazing film I was carried away.

Read Best Reviews of Everlasting Moments (The Criterion Collection) Here

This review contains "spoilers", so for those to which this causes distress I offer fair warning.

There's a singular moment anyone who has ever held a camera recognizes, a moment of absolute clarity, a recognition that somehow seeing the world through those lens invites a different view than what our eyes initially present. A professional photographer can probably wax poetic about the virtues of image capture far better than I, but even a casual photographer can recognize the key to great photography is how the image is lit and framed. It's an innate talent some appear to be blessed with: the protagonist Maria Larsson of "Everlasting Moments" certainly was, along with this cinematographer of this beautifully shot 2008 Swedish film.

First, a word about the quality of the transfer. Considering this is a Criterion release, I expected the best, but on very rare occasions I've been a bit disappointed with their work. "Everlasting Moments" is filmed in something of a degraded color scheme which is closer to sepia tone than sharp color, no doubt an artistic decision on the part of the director. That said, the image on this Blu-Ray is extremely sharp and full of detail and texture, which is accompanied by a heavy sheen of grain. I was often impressed with the quality of this transfer, a transfer that highlights the beauty of the cinematography and remains faithful to the director's original intentions. I've not a single complaint in this department.

The essay booklet and supplementary material are notably quite substantial, a factor which makes the steep Criterion price tag worth it. The centerpiece of the four included special features is an hour long career retrospective on the work of director Jan Troell titled "Troell's Magic Mirror". The presentation is a bit pretentious at times, but can be easily overlooked with the abundance of information and interviews concerning a fascinating life and career. Were I forced to estimate, there's roughly forty five to fifty minutes of excellent viewing and about ten minutes of extraneous filler. The second feature is a half hour piece titled "Troell Behind the Camera". This functions as more of a "making of" special focusing on "Everlasting Moments". The third feature is a nine minute piece called "The True Story of Maria Larsson" featuring a voiceover by Troell's wife discussing the reality behind the drama along with some of Maria's photographs. The fourth and final feature is a two minute theatrical trailer.

"Everlasting Moments" focuses primarily on the rocky marriage between Maria and her husband, along with the struggles such a contentious relationship has on their numerous children. Sigfrid Larsson is a strong, handsome, talented man who doesn't shy away from a hard day's work. Unfortunately he's also a bitter, violent alcoholic and habitual womanizer. Maria Larsson, for her part, is reserved and demure but not submissive. Upon discovering a long forgotten camera among her possessions, Maria takes it to the local photography studio to see if it needs repair and possibly sell it. The proprietor of the shop, Sebastian Pederson, immediately takes a liking to Maria and offers to eventually purchase the camera.

In the meantime, he allows her to keep it and use it, with the intention of deducting the cost of the supplies from the purchase price. Maria is a natural photographer, capable of capturing hauntingly beautiful images under the most austere circumstances. With the encouragement of Mr. Pederson her hobby becomes her escape mechanism from the struggles of everyday life, much as husband chooses to escape via excessive drinking. It's an interesting contrast.

Aside from the excellent premise, I must give special mention to the outstanding production values of the film, which enabled the general feel of an early twentieth century village to be captured in glorious detail. Anyone who has enjoyed the production design of films such as "My Left Foot", "Pelle the Conqueror", or the more recent "The White Ribbon" will surely marvel at the exemplary work of "Everlasting Moments".

Prior to viewing this film, one should know that the film remains almost entirely focused on Maria's family for the two hour duration. I've read a certain element of reviews, both professional and amateur, that complain that the film is too slowly paced and borderline uninteresting. I never found the film to be either, but I can understand some viewers may be put off by the great detail paid to the Brief Encounter-esque relationship between Maria and Mr. Pederson or the quite normal machinations of the family in general.

Indeed, I found the film to be rife with interesting diversions such as the detail paid to the odd jobs Sigfrid received over the years, including the harsh nature of the work and the apparently futile labor strikes. More than that, the film is so perfectly cast that it's quite easy to find oneself swept away by the interactions of the characters. Watching Maria's unbridled joy at noticing her photograph was printed in the newspaper is one of many moments very nearly guaranteed to make the viewer smile. By contrast, it's nearly unbearably sad when Sigfrid's friend Englund meets his end. None of which would be possible, of course, unless the characters engaged the viewer on an emotional level.

It's been suggested that "Everlasting Moments" makes some sort of feminist statement or carries a message of female empowerment. I found the tale rather contrary to that interpretation. If the film is explored by those terms I find it more of a love story than anything else, albeit a thoroughly unconventional one. Perhaps a "fractured fairy tale" for adults. We know Maria deeply loves Sigfrid, primarily because she remains with him despite his numerous and troublesome faults. This is particularly highlighted by her choice not to sell his prized horse while he was imprisoned, despite the desperately needed financial benefits of doing so, despite the fact that he often displayed a general indifference towards her feelings, and despite the fact that he often acted as a hindrance to her designs of being a photographer.

Some have misinterpreted the ending as too saccharine and therefore unrealistic, due to a perceived impression that Sigfrid suddenly alters his behavior from a bitter, violent alcoholic to a more stable, loving man. The ending, though, is what the viewer wishes to make of it. The family's fortunes may have changed, and there's that gloriously shot scene of Maria and Sigfrid joyously dancing, but Sigfrid may never have changed. The only certain element is that Maria stood by him. On that note, suffice it to say that while it's true "Everlasting Moments" is based on a true story, it's not a biopic in the strictest sense, and is closer to a fictional drama based on real events.

The lingering question most seem to be left with is why exactly did Maria stand by her husband? It could be a myriad of reasons. Perhaps it was due to her fear for her spiritual well-being, as her father had warned that no one should put asunder what God brought together. Perhaps it was because he was a hard worker, a good provider and he did, at least, care very much for his children. Perhaps on some level Maria was attracted to his mischievous nature, that for all the compassion and tenderness the Mr. Pedersons of the world have to offer, they cannot match the roguish charm of her husband. Or maybe, just maybe, it truly was love.

Want Everlasting Moments (The Criterion Collection) Discount?

There's something almost too clean and perfect about Jan Troell's depiction of life in Sweden in the early 1900s. The film depicts the poverty and the troubles of one ordinary working class family, a family whose struggle to get by isn't helped by a violent father, a dock worker and labourer, whose drinking binges gradually come to terrorise the family, while his carrying-on with barmaids bring down the family name. Seen through the eyes of their daughter Maja Larsson, it's almost as if the worst horrors are kept private, the film's tasteful lighting, sepia tints and sensitive piano score from Matti Bye only adding to the impression of a somewhat idealised depiction of events that really aren't that pleasant at all.

In the end however, and even throughout, the strength of the film is indeed in its subtlety, in its refusal to appeal to the viewer's sentiments in regard to poverty and brutality of an underprivileged upbringing, and instead focus on the positive aspects of family togetherness and their attempts to rise above their troubles. In narrative terms, it's done with great sensitivity and subtlety through the device of the mother Maria Larsson's discovery of the miracle and beauty of photography and a deep friendship that she strikes up with the owner of a photography shop two events that help her create for herself a life of her own.

The real strength however is in the performances that get to the heart of the characters and the times they live in. All of them are exceptional, but particularly from Maria Heiskanen, who delicately captures the nuances of a remarkable range of emotions that her character must undergo, all of them suppressed by the need for propriety, for her inability to understand the emotions that arise within her, and simply from a strict upbringing that doesn't allow their expression but woe betide the person who takes that surface impassivity for weakness.

The gorgeous cinematography, the film's wonderful lighting and colour tints come across exceptionally well on the UK DVD release. Only fixed subtitles which are very small indeed spoil the overall impression. Dolby Digital 2.0 and 5.1 audio mixes are available. Extra include a Photo Gallery and a half-hour making of feature Troell Behind The Camera, which looks at the original true story that the film is based on with some of Maria Larsson's original photographs.

Save 50% Off

Lady and the Tramp (Diamond Edition Two-Disc Blu-ray/DVD Combo in DVD Packaging) (1955)

Simply speaking, Lady and the Tramp is my favorite Disney film of all time! In my opinion, it is a 5 star masterpiece, and I would give it more if I could! I remember when I was just 4 years old, watching the characters Lady, Tramp, Jock, Trusty, and the Siamese Cats light up my eyes, as well as my TV screen, as no other movie (except maybe Pete's Dragon or Superman) has done for me before or since. The music and songs are especially enjoyable, especially "Bella Notte." And the thrilling climax (which I won't spoil for the peope who have yet to see it) ranks with the "Beauty and the Beast" and "The Lion King" climaxes! I remember having to wait almost a decade for Disney to re-release this classic on video so that I could replace my worn-out taped version. Now that I have it on both VHS and DVD, and both editions are in widescreen, I can enjoy it for years to come as I never thought I'd be able to! Your kids will love it, and so will anyone who's still young at heart! Buy it on DVD today! Don't make the same mistake I did over 10 years ago! (And don't let the lack of special features stop you, either!)

It was LADY & THE TRAMP that first brought Disney to my attention as a child; it remains one of the most supremely delightful animated films of all time. The dog characters are so richly compelling that they become real to you; anyone who ever loved a dog will recognize with what sheer brilliance the artisans have captured canine traits and physical pecularities. The romance between Lady and her Tramp ranks right up there with some of the most perfectly realized romances ever seen in the movies -he is played with a breezy bravado; she with a fluffed up snootiness - that their romantic dinner in the back of the Italian restaurant actually has you swooning. And the Peggy Lee-infused musical score gives this movie its most enduring, valuable gift -it creatively and succinctly develops and elaborates each and every character, and imbues the look and feeling of the movie with an enchantment that transports you to that indesribably wondrous early-Disney place. Looking out over the banks of the park, the stars beginning to show -and they call it Bella Notte...

Buy Lady and the Tramp (Diamond Edition Two-Disc Blu-ray/DVD Combo in DVD Packaging) (1955) Now

Charming to a fault "Lady and the Tramp" continues to be an enjoyable movie fifty years on. "Lady and the Tramp" tends not to be as valued as other Disney animated classics and that's because the story isn't larger than life like the whimsical fantasy of "Peter Pan" and lacks the fairytale charm of "Sleep Beauty" the two films released before and after "Tramp". Featuring a number of marvelous songs and vocal performances "Lady and the Tramp" continues to be a fun film that merely wants to entertain and it does that in spades.

We get a full screen presentation of the film and a widescreen version of the film. Why? Because Disney realizes that the kids will probably watch this on the second TV in the house on occasion. The colors are rich, bright and alive. This puppy is flea free as there aren't any analog or digital blemishes in this marvelous presentation. The film was originally presented in 3.0 "stereo" with a center channel for dialogue for theatrical presentation and that mix has been maintained on one track while Disney has offered an equally impressive 5.1 remix that sounds quite nice.

The previous edition of this film looked terrific but was bare bones. This edition finally gives the movie its due. We get a second disc of marvelous extras including "Lady's Pedigree: The Making of Lady and the Tramp" which clocks in at nearly an hour going into everything from the casting to the design of the film and its evolution over time. "Storyboarding Featurette" gives animation fans a glimpse into the process and its importance to a finished feature. We also get to see storyboards produced for the film along with vintage audio discussing the story. Three excerpts from the "Disneyland" TV show that aired in the 50's highlighting the production of the film are included as well. We get to see performances by Peggy Lee performing a couple of songs from the film. Rounding things out we get deleted scenes some incomplete, an all new music video "Bella Notte" still galleries, games including a "Virtual Puppy" DVD-ROM feature not to dissimilar to the Nintendo game (none of which I've played of course and usually interest my children for about 10 minutes before they're off doing something else). Finally you can assess your own personality profile in "Your Inner Bark" and learn about real life breeds that inspired the characters in "Puppypedia".

A terrific reissue from Disney "Lamp and the Tramp" is a worthwhile double dip. The original release didn't have anything in the way of extras and the audio and video receive flawless transfers.

Read Best Reviews of Lady and the Tramp (Diamond Edition Two-Disc Blu-ray/DVD Combo in DVD Packaging) (1955) Here

Lady and the tramp happens to be one of the most charming and feel good disney films ever. Limited issue barebone dvd of the film was available at a high price for quite sometime which is in moratorium now. Everyone was sure about disney's double dipping here. The platinum edition was expected for quite sometime and finally it will be here on feb28. As usual, the film will wear a never-seen-before look as it has been digitally remastered in hi definition. Also, there will be loads of extras on the second disc to fulfill every fan's need.

Here's all that one can expect in this release:

1. Main feature with high definition digital transfer

2. Aspect ratios 2.35:1 16:9, 1.33:1

3. DD 5.1 EHT and DD mono tracks

4. Two deleted sequences

5. 1943 storyboard version of the film

6. "Lady's Pedigree: The Making of Lady and the Tramp"

7. "Finding Lady: The Art of the Storyboard"

8. Disney Virtual Puppy DVD-ROM

9. music video

10. "PuppyPedia", "Disney Dog Trivia" virtual board game

11. Screencaps from first DVD....and more!!!

Platinum editions go off the shelves in no time so preorder one now or grab one as soon as its available to avoid disappointment. Films like these are to cherish forever on platinum edition dvds.

Want Lady and the Tramp (Diamond Edition Two-Disc Blu-ray/DVD Combo in DVD Packaging) (1955) Discount?

For True Film Collectors Of Classic Disney Animation, you can put your mind to rest. I have seen a review from someone on the internet that assures us that the Video Is In It's OAR of 2:35:1 cinemascope, not 1:85:1 like the the specs say at the top of this page. I had to search hard to find this information. I had to know. It had to be in its OAR of 2:35:1 cinamascope for me to consider perchasing it at all. The way I knew it was in Cinemascope was the fact the person mentioned that the aspect ratio had black bars on top and bottom of the picture even when it filled the screen due to being enhanced for 16:9 TV. I even saw previews of still frames from the Cinemascope version from the blu-ray showing proof that the film is indeed in its OAR version of 2:35:1 cinemascope. This is indeed great to find out because I am a movie purest. I want the best quality and I want the OAR shown in theaters or I wouldn't consider buying it all.

Save 28% Off

Atonement (Blu-ray + DVD + Digital Copy) (2007)

For those who have had the immense pleasure of reading Ian McEwan's ATONEMENT not once but several times, basking in not only the brilliant story/mystery but also in the inordinately beautiful language, rest assured that the film not only does the book justice in the transference to the screen, but in the hands of screenplay writer Christopher Hampton (we know that McEwan approved of the modifications as McEwan is one of the producers of the film) becomes even more clear in its realization of the complex plot and finds the visual beauty inherent in McEwan's prose. Joe Wright as director steers this story well, finding just the right amount of back and forth nonlinear development that formed the magic of McEwan's initial weaving.

The cast is uniformly superb. From the initial self-centered liar Briony Tallis (an impressive Saoirse Ronan) to the years' later sorrowfully guilty young nurse Briony (Romola Garai) to the 'epilogue' Briony of Vanessa Redgrave, the entire story is adroitly centered on this perpetrator of tragedy. But without the power of James McAvoy's falsely accused Robby Turner and Keira Knightley's tragic Cecilia Tallis the triad would not work. Even the smaller yet important roles assigned to Gina McGee, Brenda Blethyn, Jérémie Renier and countless others are played to perfection.

The cinematography by Seamus McGarvey captures not only the misty tranquility of 1935 pre-war England complete with creative use of luminous light sources as well as the raw brutality of the battlefields as England enters WW II. Dario Marianelli's music score (much of it played by pianist Jean-Yves Thibaudet!) incorporates the superb Sir Thomas Beecham recording of 'La Boheme' with de los Angeles and Björling as incidental music to the typing of Robby's fateful note and then proceeds to incorporate the typewriter as if it were an instrument in his orchestrations.

Rarely has this viewer been so moved by a film (and perhaps that may have been related to just having heard a performance of Britten's WAR REQUIEM at the Los Angeles Philharmonic the previous night!): it is the perfect marriage of novel, cinematic realization and commitment on the part of all concerned in the creation of this superlative film. Highly Recommended on every level. Grady Harp, January 08

"Atonement" is a great example of an excellent book that was seamlessly adapted for the big screen.

Based on the novel by Ian McEwan, "Atonement" is the story of Briony Tallis (Saoirse Ronan), a 13-year-old girl growing up in England in the year 1935. Briony is a very intense girl who is obsessed with storytelling. She witnesses a series of events between her older sister, Cecilia (Keira Knightley), and Robbie (James McAvoy), the son of the Tallis family's housekeeper. Briony things she understands what she sees, but she really doesn't. When a terrible crime is committed, Briony points the finger at the wrong man, sending an innocent person to prison and leaving Cecilia absolutely devastated.

This is an amazing story about love, truth, and justice. I have read McEwan's novel, and I was blown away by how well this story transferred to the screen. Everything in the film looked just the way I'd envisioned it when I read the book, which is a great testament to the filmmakers. I was very impressed by many of the performances in the film, especially those of the actors portraying young Briony, Cecilia, and Robbie. Ronan is a superb young actress whose portrayal of Briony is absolutely brilliant. Knightley seems to get better and better with every film she makes, and "Atonement" is no exception. She brings Cecilia to life on screen and makes her evolve from a selfish girl with a high-and-mighty attitude to a passionate woman who will do anything to be with the man she loves. The on-screen chemistry between Knightley and McAvoy is unbelievably intense (that library scene...wow!). I think Cecilia and Robbie will become one of cinema's most treasured couples, right up there with Scarlett O'Hara and Rhett Butler.

I also need to mention the amazing cinematography in the film, as well as the music. There are many spectacular camera shots in the film, and dramatic uses of light to enhance certain scenes. The film's score integrates Briony's pounding typewriter keys into the music of the entire movie, which is seamless and incredible.

I only have two small gripes about this film. First of all, the ending of the movie slightly differed from the ending of the book, and I don't understand why it was changed. Secondly, I wasn't thrilled with Romola Garai's portrayal of Briony at age 18. She just wasn't as creepy and intense as Ronan, which was disappointing. However, it's possible that I'm being overly critical of Garai just because Ronan was so utterly fantastic in her role. It would be a lot for anyone to live up to.

Overall, "Atonement" absolutely dazzled me. I appreciate that the film is so true to the book in every way, and it was wonderful to see this amazing story come to life. This is a must-see that has "Academy Award winner" written all over it.

Buy Atonement (Blu-ray + DVD + Digital Copy) (2007) Now

You will appreciate the movie more if you have read the novel. It is not a straightforward love story and definitely not a war epic. It is also not an English society story from the 30s, though it starts as such. A young girl with writing ambitions has her share of frustrations with family and with a failed crush. She sees things and misunderstands them involving her elder sister and her crush. This leads to false accusations, a wrong arrest, a life badly damaged, a love unfulfilled. The script handles the misperceptions of the girl perfectly, we get to see things in different versions. It is like time moving in loops.

The middle part shows us the struggles of the two separated lovers towards getting back to each other in the middle of war. Dunkerk for him, London hospitals' nursing wards during the bombing of London for her. The younger sister repents and tries to make up, but is rejected.

The final and shortest part is set in the recent past and has the former young girl explain what happened. You will find that the story makes perfect sense and is well constructed.

The book was one of McEwan's better ones. The movie is on par with the novel: I have rarely seen a better adaptation of such a novel. The script deserves an Oscar, as does the cinematography. Some of the images are outstanding, e.g. the 3 soldiers walking dejectedly and lost through France or Flanders towards uncertainty and Dunkerk, and the we see a bomber fly over them, but we see it only as its reflection in the small canal. Look at the pictures!

The cast is excellent and I disagree with those who think that KK is miscast, though her performance in Pride and Prejudice was more impressive.

Read Best Reviews of Atonement (Blu-ray + DVD + Digital Copy) (2007) Here

I have never read ATONEMENT (although I own the book, it has somehow never made it to my nightstand), so I brought no preconceived expectations, except that the story was emotionally shattering and the ending is supposed to be a mindblower.

Based on the movie, neither expectation was even close to being met. This is the story of the Tallis family, whom we meet in 1935, at their country estate in England. Oldest daughter Cecilia (Keira Knightley) is secretly but chastely in love with young Robbie (James McAvoy), the son of the housekeeper, who apparently received a scholarship to a good school as a young man, and actually is anticipating going to medical school. These two have obviously known each other for years, and the heat between them is just starting to really get cranked up. This is unfortunate, because on this particular day, Cecilia's 13 year-old sister Briony seems to be making a habit of being in the wrong place at the wrong time. She is an aspiring writer, and clearly thinks very highly of herself. While both sisters clearly are children of privilege and have a somewhat haughty attitude, young Briony is also a smart child whose self-esteem has probably been inflated to an inappropriate level.

So the heat turns up on the two young lovers, and Briony is there to not only read a note from Robbie to Cecilia, but to catch them in a couple of intimate acts. She misunderstands what she is reading and seeing, and this leads to disaster for Cecilia, and particularly for Robbie, who is accused of a horrible crime and sent to prison.

This covers nearly the first half of the film, and this part of the film is quite compelling. It's well-written, very well acted and oozes with atmosphere. We feel everyone simply languishing...bored and open to getting into trouble. It's dramatic stuff, and when the "act" ends with Robbie arrest, we anticipate an escalation of events and emotions that will take this film to the "shattering" levels.

And here's where the film falls nearly completely apart. Robbie is allowed into the army after 4 years in prison, and we see him at Dunkirk, the site of the historic evacuation of British troops from the mainland back to England. This daring and costly evacuation of hundreds of thousands of troops was a turning point in the early days of the war...if the evacuation had failed, Britain would have been routed, and Germany could have invaded the island. As a viewer, we are told none of this...we had just better know it. However, we are instead allowed to follow Robbie as he wanders through some fields, sees some horrific sights and generally looks like a guy who has been through hell. There is a scene on the beach that shows us the immensity of what the troops face. It is about 5 minutes long and is done in one long take. Technically, it is truly impressive...dramatically, it serves almost no purpose. It shows off for no reason.

Back in England, we see that Cecilia has become a head nurse and is estranged from her family. Briony, a nurse-in-training, continues to write and apparently is still eaten up by guilt at what she has caused...because now, of course, she believes that what she saw was mis-interpreted.

So we see some scenes of these three characters grappling with the ware. So is this a war movie? Why so much emphasis on the war when what we've been led to be interested in is these three characters...who play second fiddle to the war for nearly an hour. War scenes are certainly inherently interesting, but in ATONEMENT they should be supplementing our understanding of the characters not overwhelming them. By the time the brief third act starts, and all the surprises are revealed, we have pretty much stopped caring about the characters. And the surprises really aren't that surprising. The whole tone of the movie, and the way it has played around with time makes it a bit unsurprising when the truth is revealed. I won't say I saw it coming...but I also didn't really feel surprised. My wife felt the same.

Another problem is the character Briony. She is unlikeable throughout the film, at all ages. We aren't given a reason to sympathize with her, as she goes from arrogance to cowardice to regret. Big deal...none of those feelings compare to the damage she has wrought.

Everyone does a decent acting job, and technically the film is accomplished. But director Joe Wright doesn't handle the tone of the film well enough for us to accept all the shifts and leaps. And without knowing the book, I have to say that the script, particularly later in the game, is pedestrian and truly fails its characters. It's almost like the first half of the movie and the second half were written and directed by different people.

I can't say I cared much for the film. It's been nominated for a lot of awards, so clearly others will react to it with more affection. But it left me cold.

Want Atonement (Blu-ray + DVD + Digital Copy) (2007) Discount?

This film opens in 1935 at a spectacular estate in the English countryside, takes us to the bloody beaches of Dunkirk, and then ends in a television studio sixty years later. The well-to-do Cecilia falls in love with Robbie, the son of the housekeeper. Thanks to Cecilia's father, Robbie attended Cambridge and has plans for medical school. Cecilia's younger sister, Briony, also had a crush on Robbie, so when she watches a scene at the estate fountain, reads a love note never meant for anyone's eyes, and interrupts an embrace in the library that would shock any thirteen-year-old, she reacts in fear. Briony tells a lie about a family tragedy, the consequences of which are catastrophic for everyone, especially for her own mind and soul. Briony spends her entire life seeking atonement, and at the end of the film we're not sure that she has convinced herself, much less the audience. Atonement earned seven Academy Award nominations.

Save 25% Off

The Stepfather (1987)

i couldn't be happier that this movie has finally found it's way to dvd. one of my all time favorites and what was becoming the "holy grail" of movies to find on dvd. the transfer looked good without any obvious "cleaning up" of the scenes for dvd. i wish there were a few more special features but i am happy they included "the stepfather cronicles" because i love hearing the behind the scenes workings of my favorites. terry o'quinn does an acting tour de force as jerry blake, the stepfather. he so completely inhabits the role that i am suprised and thankful that he was not type cast after this role.i read somewhere one time that his role as the stepfather was a cross between mr. rogers and mark harmon. i can see that. it may not be hamlet or macbeth but it is damn fine acting. jill shoelen is great as the daughter. i am so happy to hear that the dvd release may have brought her back to the conscience of producers and casting directors. this is a great movie that possibly gets a bad rap as "horror" or "slasher" neither of which it is. it is a great movie about one mans struggle to make his world the way he believes it should be and treating it, and everyone around him, like an "etch o sketch" when they inevitably disappoint him. he simply reinvents himself elsewhere and then cleans up the mess at home before embarking on to his new existence. do yourself a favor and watch this movie.

I'm pretty sure I'm with everyone else, on this page, when I say it's about time!

I'm a huge scarry movie fan, and I must admit, I'm a bit partial to the older films, than most of what comes out today.

That being said, If your seeking a real tale of fright, this is your movie. It's funny, everytime you get together with people & talk about scarry movies, "The Stepfather" is either always the last one mentioned, or not mentioned at all; and I can't, for the life of me, understand why.

It's an original story, not like other scarry movies where the storyline is being used for the 100th time. This movie has everything you could want in a horror film. It has the right elements of atmosphere, music,suspense, character development, and just the right amount of the red stuff . . . without going overboard! I haven't seen many films that actually bring these key elements together just right, and this one does it right. There are a couple of comical moments, as is usual, but for the most part, this film is dark, serious, and means business.

Maybe that's it, maybe it's to real for people to accept.

I promise,when watching this one, you will not be leaving in the middle of the film for extra soda & popcorn!

Buy The Stepfather (1987) Now

I Saw The Remake Trailer And Smiled

Why? Because I knew because of this we were finally gonna get the original Stepfather on DVD. This movie for me was one of those rare times I came home late put on cable an caught the opening scene without knowing what this movie was called or what it was about. Isn't that great when that happens? Your thinking what is this? Then he walked down those stairs passed the bodies and blood and out the door, I was glued to my TV from that moment on. This has been one of my favorites ever since. You know what else is wonderful about this movie, the cinematography,the look and feel of this picture. The neighborhood,the fall,the leaves,trees, the homes the street the lighting. I wish this were coming out on Blu Ray, hey maybe.

Till this day no matter how many times I've seen it I still get soooo humorously annoyed with JIM OGILVIE. He does this incredible job of tracking Jerry down. He knows the damn house he lives in now, walks in the door with his gun in his pocket lol and then is shocked to see him with blood on him.

What a boob! That and the sound of the phone hitting Shelly Hacks face still makes me cringe. Great writing, great directing, and wonderful acting,this film is scary yet so warm and inviting. You actually feel sorry for this lunatic. Must Have!

Read Best Reviews of The Stepfather (1987) Here

Jerry Blake (Terry O'Quinn) is a new man since murdering his entire family and acquiring a new identity. No one knows who he really is, including his new wife (Shelley Hack) or his stepdaughter (Jill Schoelen from POPCORN and WHEN A STRANGER CALLS BACK). Don't worry, this isn't a spoiler, we know all of this information from the very beginning. Jerry sets up his latest "family" right away, leaving his past behind, as if it never happened. You see, Jerry just wants the perfect family, without fuss or problems. As long as everyone co-operates, everything is dandy. It's when people start disappointing him that Jerry has to respond. He must have order and perfection, or else! THE STEPFATHER is a fantastic 80s thriller, in the same league as FATAL ATTRACTION and future films like THE HAND THAT ROCKS THE CRADLE and SINGLE WHITE FEMALE. O'Quinn is masterful as Blake, a man torn between pretentious calm and homicidal violence. Ms. Hack is excellent as the oblivious mum, while Schoelen plays the pesky fly in Jerry's ointment! A great story w/ a finale that rivals the afore-mentioned classics of the genre! Buy immediately!...

Want The Stepfather (1987) Discount?

I love the stepfather one of my favorite movie, i was so glad to see it made it on dvd it was so hard to find...

Save 26% Off