The Long Good Friday (1980)

Talented English director John MacKenzie knew that the English gangster genre needed a good shot in the arm...and he delivered the goods with this tightly scripted and brilliantly acted crime drama.

Bob Hoskins is outstanding as London mob boss, Harold Shand...masterminding a major construction development along the river Thames that will nett him, and his American backers, millions of pounds. Shand has everyone on his payroll...politicians, police and enforcers...but then suddenly everything starts to unravel, and Harolds world turns upside down in the space of a day. MacKenzie's film moves with intent and purpose and Barrie O'Keeffe's screenplay keeps the suspense at a finely tuned pitch. A terrific support cast headed by the sulrty Helen Mirren as Harold's wife, Victoria....Derek Thompson as the cowardly, opportunist Jeff....P.H. Moriarty as the aptly named bodyguard "Razors"....and Bryan Marshall as the drunken councillor, Harris, further contribute to the success of this challenging film.

Clever use of authentic London locations and creative cinematography lend a further hand to enhance the claustraphobic atmoshpere closing in upon Harold Shand and his crew...the viewer really feels through Hoskins emotional range, the unnerving pressure that is causing him to come apart at the seams. Excellent transfer to DVD...sound and color both superb...it's a pity that Criterion didn't add a few extra goodies that they usually package with their fine presentations.

A solidly crafted, gripping film with A grade performances by a splendid English cast...and keep your eyes open for a very youthful Pierce Brosnan in a minor role.

FOOTNOTE : MacKenzie also made another powerful movie three years prior in 1979 called "A Sense of Freedom"...based on the true story of Glasgow gangster, Jimmy Boyle, and his life in jail and out. It's a harrowing, gritty prison film that doesn't pull it's punches...unfortunately it's not on video or DVD at present...but hopefully it will return. Another A class crime film !!

I don't know this for sure, but the Criterion edition of The Long Good Friday is probably the only halfway decent edition of the film available. The story itself is really good, but the DVD leaves a LOT to be desired. First, it is poor quality mono. Second, there are NO subtitles in ANY language. I had much difficulty understanding the mostly "cockney" English, doubly difficult due to significant audio distortion at most all audio levels! If it weren't for the fact that the story is so absorbing, and I am a big fan of Bob Hoskins, I probably would not have been able to sustain an interest to watch the DVD through to the end. But I did! However, I have to watch it at least one more time to catch all the dialogue I missed the first time!!! Also, although the picture quality was mostly decent, the DVD contained many white splotches (original film deterioration?) that most likely could and should have been cleaned up with more attention by Criterion, especially since Criterion provided NO extras (except for a couple of trailers) with this edition. Why are Criterion's prices so high for bare minimum and, in this case, average technical quality DVDs? Objections aside, this is an intriguing ganster flick!

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The second best ever Brit gangster movie is a brilliant energy-filled piece. Ritchie's "Lock, Stock..." is fine if you want a jokey gangster film bailed out by lucky coincidences, but this is the real thing, believable and intelligent.

What really raises this movie into the stratosphere is the bravura performance by Bob 'Oskins. The much-praised ending is riveting. Surely it's the most dazzling display of an actor's craft to hold in close facial shot for a prolonged time showing a variety of emotions cross the features? Hoskins does this to perfection, showing (at least) disbelief, anger, realization, fear, grim amusement and acceptance over a 90 second period, all the while set to pounding soundtrack and flickering lighting from passing streetlamps.

If you haven't seen this, do yourself a favor and buy the excellent DVD which also has some neat features.

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I have compared this with the UK release and there are several significant differences: This is 1.85:1 whereas the UK release is cropped to 1.66:1. The cover claims that is the original aspect ratio but I can find no evidence to support this. The American release also has subtitles God knows who did them, but not a London Cockney for sure and despite many errors they will be a great help to the hearing impaired. My UK copy had a prominent hum on the DTS-HD Master audio, (but not on the stereo track), but the US release seems fine. So far it is the US by a knock-out, but the UK has a decent range of extras including commentary and a really interesting "making of" doco. Why on earth they could not have done a decent job and got them all on the same disc baffles me but in the end I will watch this US release for the wider picture, the better audio and the subtitles. It has also recently been on sale for $5.99, a real Christmas gift!

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Here is a link to a review of the Image Entertainment Blu-Ray, with screen shots and comparisons to previous editions on DVD:If the above doesn't appear as a live link, then simply copy and past into the address bar of your browser. The news, however, is simple: the disc is single-layered, and the feature doesn't even occupy all the space it could (18gigs, where 25 was available). Screen shots demonstrate that the disc gives a marginally brighter image than the existing SD-DVDs, but is otherwise unremarkable, and has no supplements, not even the supplements on the old Anchor Bay "Special Edition" from a few years ago. Detail is mushy, with nothing particularly standing out, though the colours appear to be somewhat improved. It looks to me as if an existing master, of reasonable quality, has simply been turned into a quick blu-ray. What needs to be done is to remaster the film specifically with blu-ray in mind. Yes, it's cheap, but in this case, and based on the screen shots, I would say that you are truly getting what you pay for.

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Moribito: Guardian of the Spirit Part 2 (2007)

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

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

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

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

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Never Let Me Go (2010)

"The breakthrough in medical science came in 1952

Doctors could now cure the previous incurable

By 1967, life expectancy passed 100 years"

And so begins Never Let Me Go, a downbeat adaptation of a book I've never had the pleasure of reading by Kazuo Ishiguro. This film is an exercise in understatement; rarely have I seen a film that's so emotional and yet avoids bravado and manages to depict these emotions in such a gentle way. This is no straight-forward drama and there's an unconventional element to the story that I feel would be best to keep secret from the potential viewer. Unfortunately, it's difficult to discuss/critique the film without disclosing that element. With that said, the secret comes out very early into the movie so don't feel that I'm spoiling anything for you.

Besides a brief opening scene, the film opens in 1978 at a boarding school called Hailsham. While headmistress Miss Emily (Charlotte Rampling) gives her daily announcement to the students, it becomes clear that Hailsham is not the typical boarding school. The health of the students is greatly important and the students' existence is a sheltered one, completely cut off from the world outside the boundaries of the school. Students are at the age where romantic ideals begin to blossom and young Kathy H. takes a liking to a boy named Tommy. Those wondering what the purpose of Hailsham is don't have to wait very long as a disenchanted guardian named Miss Lucy (Sally Hawkins) soon enlightens them that their purpose is to grow up and donate their vital organs before their "short-life" will be completed. As this chapter of the film comes to a close, Kathy watches her friend Ruth and Tommy grow close. These childhood scenes are handled with great sentiment, but also with great austerity.

The next two segments take place in 1985 and then 1994, where Carey Mulligan, Keira Knightley, and Andrew Garfield take on the roles of Kathy, Ruth, and Tommy. This second part takes place at The Cottages, where the three Hailsham students have their first contact with the outside world and their sexual awareness comes to full fruition. It's here that we learn a bit more about the students' purpose, as well as watch some characters struggle with their already pre-determined fate. "Completion," the third part of the film is arguably the most tragic where hope and optimism leads to sad acceptance.

Despite being only 103 minutes, Never Let Me Go manages to tell a pretty full story and show characters completely evolve from naïve children to naïve, but optimistic adults. Watching these characters evolve is heartbreaking and the way the film burrows into your emotional center with such quiet nuance is astounding. Rarely do elements fall together so perfectly in a film that they completely immerse you in what you're watching and in it's own a soft, sad way this film absolutely casts a spell. This is not a film that will appeal to a wide audience, but I personally found it to be quite masterful.

The film's score by Rachel Portman is one of the most effective musical scores I've heard in 2010. The music evokes such sadness it becomes a key element to the success of the film as a whole. The picturesque photography by cinematographer Adam Kimmel is poetic and beautiful, static yet graceful and adds an additional level of poignancy that the screenwriter could not have foreseen.

As for acting, we get to watch three very promising young actors do some wonderful work. The most surprising is Keira Knightley who gives such an honest portrayal I forgot I was watching Knightley. Ditching any glamor or sharp-tongued wit, she plays the insecure, jealous, and frightened Ruth marvelously. Garfield continues to establish himself as one of the strongest up-and-coming actors at work today. He gets such pathos out of his mix of sadness and optimism; Watch Garfield's face as he learns the truth about deferrals and the way his expression quietly goes from hopefulness to helplessness. Contrast this with his acclaimed performance in The Social Network and you have an actor building an impressive body of work. Meanwhile, Carey Mulligan continues to prove that she is something special and refreshing in the film industry. What an elegant, immensely talented actress she is and her work here is brilliant. Mulligan is a true actress, something Hollywood is lacking these days and her performance here is so powerful, yet completely low-key.

There is something so brave and unexpected about taking a premise rooted in science-fiction and, in doing so, making a deeply moving human drama and a profound, meditative statement on life, death, and humanity. Again, I've never read the book but I wonder if the book is as much of an emotional journey as the film. I would never call this film "uplifting," but the tragic, beautiful ending is one of the most life-affirming endings of 2010.

Never Let Me Go had much more of an impact the second time I watched it. It seemed more heartbreaking, more poignant, more powerful, and more beautiful than it did the first time. It's a deeply emotional viewing experience that gripped my emotions in a way few films have. While highly praised by some critics, it's been largely overshadowed by other films of 2010. Never Let Me Go is as elegant, thought-provoking, and moving as films can get. It's undoubtedly one of the best films of 2010.

GRADE: A

As a 35 year-old-male with stage-4 cancer, I was easily able to relate to the three main characters in this film. The thing that I got from the movie was that it was not the issue of death itself that affected the characters, it was the feeling that there was no time to make up for past mistakes. A great feeling of guilt and regret along with the knowledge that the friendship would soon be over gave the film an even more emotional element not seen in other films. I cannot think of any other movie that has had the emotional effect on me that this one has. The day I received the movie, I watched it twice and promptly put the DVD back into the mailbox so I would not watch it again. Later that night while I was lying in my bed, I started thinking about the movie. Then I started to cry, something I had not done in a very long time. No movie had ever given me the reaction that this one did. "Never Let Me Go" is a movie I would recommend to everyone.

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WARNING: This review, like 80 percent of the other reviews here, does contain spoilers. This is a shame but the nature of this film simply requires the insertion of these spoilers in order to discuss the work. If you want to experience the full impact of this work, DO NOT read any of these reviews, including this one, until you have finished the book.

After all of these reviews it would be difficult for me to add anything new other than my personal opinion (and you know what they say about opinions), and the impact this work had on me while I was watching it, and indeed, the impact which remains with me. This is not a movie which I will soon forget. I realize that tastes in reading differ widely and this is good. Some will love this work as I did; others will despise it. I personally feel it is one of the best works; one of the better movies, I have watched over the past few years. But that being said, the film version of the novel is simply my cuppa and I fully realize that not everyone will share my taste...again, this is good. If we all liked the same thing...boring!

Now here is the first spoiler and it is a big one: The thrust of this entire film concerns the ethics of human cloning. This of course came to the attention of us all when Dolly the Sheep was cloned and there was much speculation as to the ethics and wisdom of human cloning. Now it will not take the viewer very long to figure this "mystery" section of the film out even though the film has skillfully led the reader in a round about way with little hints here and there. The viewer will very quickly realize that something is "just not right" about the situation as described.

This story is told though the voice of Kathy H. who is currently a "Carer," and a graduate of a very exclusive school. Her job is to travel around England and give care to those who are in the final phase of acting their part as "donors." Kathy is finishing her time as a "Carer," and is about to begin the next phase of her life.

The story is told in a series of reminiscences as told by Kathy as she remembers her time at Hailsham, the exclusive school mentioned above. The story centers around three primary characters, Kathy, the teller, and her two best friends, Tommy and Ruth.

Of course the reader will eventually place all the pieces of these intricate and detailed reminiscences together and figure out that all of these children have been cloned for the express purpose of harvesting their organs...one at a time, until they die. This is done when they become older and of age.

Now some have classified this work as Science Fiction. That would be an unfair assessment and could be likened to classifying `1984.' or `Brave New World," as Science Fiction. No, this work falls more or less into the category of social observations...what if scenario...not really a futuristic society, but rather a society that simply is; in this day and time...speculative fiction I suppose you could call it.

It is interesting to note that one once has the film offered the opinion of the rightness or wrongness of the situation. It has merely laid out the story and lets the reader shudder and become rather ill when they realize what is happening and allows the viewer to come to their own conclusions. The filming style is extremely detailed, dealing with emotions, facts and speculation and is filled with instances of digression; a method of telling the story I find extremely appealing and fits my taste in reading perfectly. Some find this cumbersome and a bit boring...I do not. I think the author's prose is beautiful and it is extremely thought provoking.

I found myself becoming extremely emotional while watching this work and admit that it touched me. Much has been written as to the fact that many feel it is unbelievable that the characters in this work can accept their fate, not make any great attempts to "escape" and accept their lot in life (for the most part) as natural. I personally found this aspect of the work to be spot on and feel the author was making some very good points here. All of us, in one way or another, accept social norms and accept our particular lot in life. We like to tell ourselves differently, but for the most part it is true. History pretty well teachers us that the majority of mankind, down through the ages, has been pretty sheep like in their obedience to social norms. Think about it. It has happened in the past and is still happening to us today when we kid ourselves, believing that we are too smart and too sophisticated to fall into such a trap. No, for me, the premise of the story is all too believable...which sort of makes me scared and sad at the same time.

Please do not that there are not explosions, car chases, desperate and exciting scenes of escape efforts, no violence, no special effects. This is a thinking film and to be quite frank, one of the most horrifying films I have seen in years.

I also might suggest that you read the book on which this work was based. Like the movie, it is truly a haunting story.

Like this film or hate this film, I seriously doubt that any viewer will not remember this one long after it has been read.

Don Blankenship

The Ozarks

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This movie brings up many philosophical questions about life, death, love, and what it means to be human. It leaves itself open to many interpretations, and will leave you thinking about the larger meanings and messages long after the film is ended.

****ALERT MAY CONTAIN SPOILERS!!!****

First off, I think one main message of the film is about how certain forgotten classes of people are used and tossed aside by the rest of us, to make our lives more luxurious or comfortable. The only way we can manage to live with the knowledge that we are profiting off this exploitation, is to pretend these people don't exist. We know there is child labor, and sweatshops, and that many of our clothes/sneakers/electronics are made in 3rd-world factories in borderline slave conditions, often by children who have no hope for a better life. But we push this inconvenient truth out of our minds in order to enjoy the luxuries these forgotten people make possible. It was interesting that in the film, almost every "regular" person who came in contact with the schoolchildren (deliverymen, maintenance workers, etc.), seemed very uncomfortable around them and wanted to avoid interaction with them. They did not want to be reminded of the cost innocent people are paying for their longevity.

I also found it interesting that you almost never saw the beneficiaries of the Donor's sacrifice. They lived in an alternate universe where the organs they needed just appeared the messiness and horror of the process was hidden from them. One very brief but telling scene is when the children were all in a restaurant laughing loudly, and an older couple at a nearby table looks at them with disgust and annoyance. These are the very same people who will likely live a long life thanks to the ultimate sacrifice of the "annoying" young people.

I also found the issue of the "Deferrals" to be full of philosophical significance. In essence I think Ishiguro is making a comment about death, and how we all bargain for more time with the ones we love. Interestingly, in the film the deferrals turn out to be nothing but a false rumor, a children's fairytale. I think perhaps the author is making a comment on belief in the afterlife... we all want to believe that death is not the end, that we will see our loved ones in the afterlife. After all, if our love is true enough, justice MUST dictate that we get more time with them. Is there any basis in truth to this belief? Or, are we like the kids at Hailsham desperately believing a made-up story?

Of course, the film makes it clear from the very 1st scene that deferrals are false we see Tommy clearly about to reach "completion" even as the opening credits roll, so we know there will be no happy ending for he and Kathy. So the viewer is not surprised by the revelation late in the film that there are no deferrals. What is touching, however, is the childlike hope with which Tommy and Kathy cling to this dream of more time together. One of the most moving parts of the film is when we realize that Kathy, always the more grounded one, has just realized there are no deferrals even as Tommy still clings to his hope. Carey Mulligan does wonders with the smallest of expressions in this scene.

Also on the subject of the afterlife, in the final scene when Kathy looks across the field, she imagines seeing Tommy running across to her. This is clearly a reference to the standard Hollywood version of two lovers reuniting in the afterlife. We've seen this type of "happy ending" so often in movies, that we almost expect to see him come running over the horizon. But tellingly, he never does and Kathy never even allows the fantasy to progress to the point where they actually embrace. The thought of something that she knows will never happen is too painful. There is no more time. There is no deferral. All she will ever have is the brief time they had together.

So in the end I think this is a movie about life specifically, the blink-of-an-eye flash of time we all get on this earth. Anyone who has been truly in love will know that no amount of years will ever be enough. We all want a deferral, and would give almost anything for one. In fact, the people in this fictional society in effect bargain their humanity away in exchange for their own deferrals they allow innocent young people to suffer and die in exchange for their own "deferrals". But in the end, deferral or not, "completion" comes for us all, and too soon. All we can do is appreciate every moment, and respect all of our fellow humans, and never let each other go.

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I'm really gravitating to the less mainstream and not super popular movies and books these days. I had never heard of this as far as it being in theaters. I loved it. It haunted me for days after watching it. The weird thing was that I wondered for an hour or so after watching it if it was maybe a true story, if something like this could have really happened. Of course it couldn't, except way long ago and in secret. I got so caught up in the characters and the tiny details, like the people making deliveries to the schools and halfway houses making such an effort not to get to know or care for the kids, to protect themselves from the horror and saddness of the whole thing. This is a movie that has alot of saddness but I enjoyed watching it so much and it really made me think. I think there might be people out there who have philosophies that this kind of thing would be okay. So I think movies like this are terrific to keep us thinking and watching what we do to each other as human beings. I was so glad to see Carey Mulligan in something more than just a supporting role. I think she's very talented.

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From Up on Poppy Hill (Blu-ray / DVD Combo Pack)

(Note: this is a review of the movie, not of the DVD. Based on other reviews, I would advise potential buyers to be cautious about the quality of the specific DVD being sold.)

From Up on Poppy Hill (Kokuriko-zaka Kara) is nothing less than the best Studio Ghibli film since 2004's Howl's Moving Castle, possibly even since 2001's Spirited Away. Directed by Goro Miyazaki from a screenplay by Hayao Miyazaki and Keiko Niwa, From Up on Poppy Hill is based on a 1980 serialized Japanese graphic novel of the same name, illustrated by Chizuru Takahashi and written by Tetsuro Sayama. The animation is lush and lovingly detailed, and the story an engaging tale of two high school students dealing with first love and with the importance of the past, both on a cultural and institutional level, and, as it turns out, on an intimately personal level as well.

The story is set in 1963 in the port town of Yokahama in Japan in 1963 against the backdrop of the country getting ready to host the 1964 Olympic Games. Umi Matsuzaki is a sixteen-year-old high school girl living with her family and a couple of boarders in a house on top of a hill that overlooks the harbor. Her mother Ryoko, a medical professor, is currently away, studying abroad in the United States. In her mother's absence, Umi runs the house and looks after her younger siblings, Sora and Riku, and her grandmother, Hana. The boarders, both women, are an artistic college student named Sachiko Hirokouji and a doctor-in-training named Miki Hokuto. Umi's father, we learn, died many years ago when Umi was quite young, killed when his cargo ship hit a mine during the Korean War. As a kind of ritual to his memory, each morning Umi raises a set of naval signal flags up a flagpole outside the house with the message "Safe Voyage" to the ships out in the harbor.

One day, an anonymous poem about the flags appears in the school newspaper. Curious, Umi decides to visit the school newspaper to ask who wrote the poem. The school paper is published out of an office located in a delapidated old building on the school grounds nick-named "the Latin Quarter" which houses all of the school clubs and has done so for as long as anyone can remember. But the Latin Quarter is now endangered by a plan to tear it down and replace it with a brand new building as part of Japan's modernization program to put on its best face for the upcoming Olympics, a move that has the students divided between those who want everything to be new and those who have an emotional attachment to the old and traditional, which they see embodied by their beloved Latin Quarter.

On the way to visit the paper's office, Umi, accompanied by Sora, witness another student, Shun Kazama, performing a daredevil stunt to get publicity for the paper's "Save the Latin Quarter" drive. Umi is somewhat less than impressed by Shun's feat, but when she reaches the school paper office, she discovers that Shun, along with his friend Shiro Mizunuma who is the student government president, is the publisher of the school paper (and also, as she learns later, the author of the poem about her flags). Before she knows it, Umi is volunteering to help, first with the paper, preparing stencils, and then soon with their drive to save the Latin Quarter. She suggests that the best way to start would be to give the building a complete facelift, first with a thorough cleaning and then with much needed repairs and a fresh paint job. In this cause, Umi enlists the school's female student population, which in turn gets the male students guickly and enthusiastically on board.

As they work together, Umi and Shun start feeling a growing attraction to each other. But the path of young love is rarely smooth, and theirs is thrown for a bigger curve than most when Umi shows Shun a photograph of three young naval men, one of whom is her deceased father. But Shun has seen this photograph before, and suddenly a past neither of them were previously aware of begins to assert itself, complicating their budding relationship before it's properly begun. From that point on, the twin plot threads of Umi and Shun and their pasts and of the students' crusade to save the Latin Quarter are subtly intertwined. To say more would be to spoil the story.

The animation in From Up on Poppy Hill is wonderfully detailed and executed in so many ways it would take a long time to properly describe them. The Latin Quarter clubhouse is a marvel of clutter, completely believable as the sort of old place whose every corner would be filled with incredibly varied bric-a-brac due to the myriad kind of clubs it houses (and going for years without a proper cleaning because that's not typically a high priority with most boys).

Another thing I particularly liked were the subtle changes in the backgrounds as evening approached in some scenes; you could feel the sun slowly beginning to set with the ever-so-slight lengthening of shadows and changes in the hue of the sky. Equal detail was given to the way the characters moved and the things they did. In one scene, when Umi is preparing dinner, she pours the rice into a square box, then carefully runs a flat edge over the top to level it so that the amount measured out is exact. It's a minor detail not dwelled upon, but one of many similar ones that give the film a depth of reality rarely found in most animated films.

Highly, highly recommended for anyone who loves beautiful animation, engaging characters and truly first-class story-telling that never condescends to its audience.

This movie is very well done. Although it is not a Hayao Miyazaki movie, it is made by his son. You can feel how it is similar to Miyazaki's films. It just doesn't have the fantasy elements that most Miyazaki films have. Instead its more of a slice of life, laid back movie like Whisper of the Heart. Which I really enjoyed. So even though its not like watching something like Spirited away or Howl's moving castle, it is sweet and very well done. if you are a fan of Studio Ghibli's work, this is a great movie to watch. I highly suggest you check it out! It will surprise you in a good way!

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Another amazing studio ghibli movie. The story is fairly simple but still interesting and the characters are easy to care about and make the movie a great watch. Could easily watch this again and again.

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Let me start this by saying I'm a major Studio Ghibli fan as their films are all superbly done and have stories with characters that matter to the viewer. This one is no exception. I particularly like that it is set in the early 1960s, a period before Japan had become the economic powerhouse that it is today. As usual, the characters are delightful and the ending is equally a treat. It looks at how things used to be and if you have every lived in or visited Japan during this period of time, you will recognize a great deal of the surroundings. Enough from me. Buy this one. You will be so glad that you did. I've viewed it at least a half dozen times in the last few weeks and it is just as delightful the last time as it was the first.

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I saw this movie in my local theater last week. It is dubbed by Disney voices. I really liked the movie. It felt like a 50's movie to me. I will plan to purchase it when it is for sale. It is hand drawn and sometimes when the camera panned shots, it went out of focus and hurt my eyes.

Overall, I really enjoyed this movie and plan to rate the Dvd when it becomes available.

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Tess of the D'Urbervilles

That haunting song has been stuck in my head ever since I saw this four-part BBC miniseries. It was a stroke of genius to incorporate this folk tune into the soundtrack (composed by Rob Lane), which sums up the mood and aura of this tragic tale of a young woman wronged so unjustly by two men. Gemma Arterton is wonderful as Tess Durbeyfield, probably Thomas Hardy's most well-loved heroine, exploited by her ignorant parents into claiming noble heritage and discarded by 19th century society. Hans Matheson is Alec Stoke-d'Urberville, the wealthy cad who violates her, unknowingly impregnates her with a child who doesn't survive babyhood and later comes back into her life as a supposedly reformed preacher. Eddie Redmayne is Angel Clare, the seemingly kind-hearted and tolerant parson's son who wins Tess's love but proves to be just as hypocritical as his religious family and his actions bring Tess to despair. As in most Hardy tales, tragedy looms a large shadow over the lives of his characters.

Arterton's Tess is matched perfectly by Matheson's Alec, who is given more depth than any of the earlier film adaptations. The dark and tormented essence gives you the sense how doomed these two characters really are their actions and words toward each other leads to their downfall. Unfortunately, the same cannot be applied to Redmayne's Angel, who looks befuddled and lost more than half the time. There is a rushed directorial pace in the second installment that hurts the romantic appeal between Tess and Angel, and the love story element seems a bit forced as a result. Because of that, I didn't get the appeal of Angel in this one, or why Tess and her fellow dairymaids were in love with him, or why Tess takes the desperate course of action in order to get him back. Some of the modern dialogue used did take away from the affect of the story, and Redmayne seemed to have a hard time keeping up with Arterton performance-wise. Redmayne redeemed himself somewhat in the final episode but for the most part I was unimpressed with him. However, director David Blair must take some of the criticism, as the hurried scenes to establish the "romance" seemed to skim over the parts of the novel that gave the lovers the attachment to one another that eventually leads Angel to see the error of his ways and beg his wife's forgiveness. I was anticipating Alec's return so much that I found myself not really caring if Angel came back for Tess or not. In sharp contrast, the 1998 A&E/London Weekend Television production had me rooting for Tess and Angel's reunion even though I was aware of the outcome. I was so taken by Angel in that one, whereas here I found nothing in him to be slightly attractive or romantic. I sympathized with Tess completely and neither man deserved her, but at least in the other version and the novel I could see why she loved Angel and longed for him to return to her. I found myself almost rooting for Alec (I never thought I'd say that), because Matheson was so compelling and magnetic and he and Arterton generated such electricity, I couldn't take my eyes off them. Alec's fleeting conversion to Christianity and his sermon in the tent that Tess stumbles upon is foreshadowing of the path these two ill-fated characters will end up on. The moment he lays eyes on her again, his fatal attraction and twisted love for her resurfaces and consumes him, and Tess finds herself increasingly helpless to refuse his help after her father dies and her family is left destitute. Alec's wealth is the only way he can possess her and he is aware of that, but he is willing to get her the only way he can, only to discover that fate does indeed play a vengeful hand. It was also nice to see Tess revisiting her child's grave and placing fresh flowers upon it; her deeply felt sense of loss and rejection by both the church and her village is searingly devastating because it becomes all the more clear that she is victim of both society (in which women had few advantages) and fate. Having said that, Tess and Angel's reunion did not have the emotional impact it should have had, the sex scene was unnecessary, but the Stonehedge sequence was an emotional powerhouse for Arterton, as was the climax of her walking off to her fate with her signature tune heard wistfully in the background. The supporting cast was in top form, and while the cinematography was lovely, it could have emphasized far more considering how important landscape is in Hardy's work, as both the 1998 two part program and Roman Polanski's 1979 film have demonstrated. As a four-part miniseries, it had the opportunity to include more scenes from the novel and insight into character, particularly Angel, which would have helped the plot a great deal. However, it was good to see the mausoleum scene and the ending was heartbreaking and moving, although my tears were for Tess, her sister Liza-Lu, and, dare I say it, even Alec, but I felt nothing for Angel (although Redmayne's tearful breakdown was by far his best moment).

On the whole, this was a very good presentation, my second favorite version and very much worth seeing. Arterton and Matheson give tour-de-force portrayals; it would be great if they would co-star again, some have suggested as Cathy and Heathcliff in "Wuthering Heights" I could definitely see that. And that song will linger on in your memory long after the final credits have rolled, as will the rest of the score.

I've never read the book before, and this was my first time watching a film adaptation of this story. Its funny because I accidentally started watching it, but within a few minutes I found myself captivated by this movie. By the end of the first two hours I found myself hating Alec for what he did to Tess. However, near the end I almost started liking him, which really surprised me. Even though he was a bad person his character was a tortured soul. He cared for Tess as much as he could care for anyone. He even tried to make things right by marrying her. I actually felt sorry for him as she kept rejecting him. I knew that he had never changed, but I felt that he really did care for her. Perhaps it was more so lust than true love that he had for her. I also felt sorry for Tess. I felt sorry for both of them if that is possible. I didn't quite understand the whole mistress thing though. I came to the conclusion that he wanted to marry her, but he couldn't because she was legally still married to Angel. She was his only lover though, so in theory they were married, but just not legally. Perhaps Alec didn't deserve death either. He told her that her husband wouldn't come back, but even Tess thought he wouldn't come back. I didn't think he was coming back either. I understand that she was exacting revenge upon the man who had essentially ruined her life. However, she also played a part in her own destruction. I felt her biggest downfall was telling Angel about her past. I suppose that was part of her characteristic purity. Angel was not as effective of a character as Tess, or Alec. I didn't hate him, or like him much. He was a wet mop of a character. His weakness was interesting though because it almost made it seem that Alec was more in love with Tess, or at least more passionate. Fate played a large part in everything else that happened to Tess. It seemed as though the murder of Alec was her way of finally taking fate into her own hands. Anyway, this movie had me crying for quite a while. The ending where she recreates the May Dance scene was also tragic. The only way for her to have had a happy ending would have been if Angel had fallen in love with her before she fell from grace. I took peace in the fact that at least she was set free in the end. In any case, this is a haunting story that lingers in the mind.

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"Tess of the d'Urbervilles" is one of my favorite books, and Tess is I dare say my favorite literary character. I loved the 1998 adaptation of "Tess" as soon as I saw it, and I was really excited to see if this newer, longer, (hopefully) fresher adaptation could possibly improve on an already beautiful version. At the same time, I was preparing myself to try not to dislike it. Happily, I can say: though it's still not a definitive adaptation, this version definitely holds its own.

Things "Tess '08" got right:

1. A great Tess

Gemma Arterton makes this character her own. While Justine Waddell's Tess was delicate and sensual, Arterton plays Tess with more bite. Both are valid interpretations of the character. Both, however, also excel at the highly emotional scenes. Tess is a sympathetic and brilliant character and Arterton definitely does the role justice

2. Very strong supporting cast

Though I still like the supporting cast of the '98 version more, I loved this version's portrayal of Tess's friends Marion and Izz. Tess's family members were also well chosen, and everyone at Talbothy's diary was great! Hans Matheson's portrayal of the morally ambiguous Alec d'Urberville is particularly noteworthy.

3. An extremely strong last half

While it has its rough spots, the whole movie is worth it for the last hour. It's an emotional rollercoaster. I challenge you not to get an ache in your heart.

A few things that did not please me:

1. A disappointing Angel Clare

Eddie Redmayne just did not do it for me. I was never convinced by Tess and Angel's romance, and the actor who played him was just...dull, and seemed slightly dim-witted.

2. Extremely changed scenes and awkwardly filmed scenes

Hello, "it's too late" scene, anyone? It was almost unrecognizable.

Sometimes, throughout the movie, the dialog got a little strange, or the pacing seemed a little off. Either too abrupt, or too drawn out.

Some final words:

This 2008 version had many good things going for it, particularly Gemma Arterton as Tess, and it had some great scenes in there, most notably the mausoleum scene and Stongehenge scene. But a weak Angel (Waddell and Milburne were sizzling together) and some awkwardly filmed scenes prevented this from being a terrific adaptation. Basically, the last episode redeemed the entire series; I can't gush enough over how good it was. BUT, overall, this was a weaker adaptation compared to the '98 (my personal opinion of course!) because of the pacing issues, added/changed lines, and imperfect casting choices. The fourth episode was by far the strongest, with Part 1 and Part 3 following.

I really enjoyed watching this mini-series, though, and I appreciate the effort to stick to the story and stay true to the characters. Now, if only one of the adaptations would include the pheasant scene!

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This adaptation is simply not up to the same standards of acting as most other BBC classics. The filming is lush but the acting, particularly by Tess and Angel is wooden and fails to capture the intensity of the tragedy. The series is not particularly innovative in its approach to the novel. It's not a patch on the BBC adaptations of Vanity Fair, North and South or Middlemarch.

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An outstanding performance by Tess and Alec, gorgeous scenery and costumes, stunning BBC classic. Loved it! Already have it pre-ordered for the release date. AlecHans Mathesonfabulous evil & tortured soul has been seen in some of his other works (The Virgin Queen & Mists of Avalon), I think he truly soars in this production. Tess is wonder, sweet and tragic, proud and practical all in one. Gemma really captures this. I did not like Angel, there was just too little chemistry, and often thought, why was this actor cast in this role?. Either way, this DVD is well worth every minute. Excellent production!

Maverick (2011)

As of this writing (May 28, 2011), Best Buy exclusively sells the Blu-ray release of the 1994 western/comedy/action movie "Maverick"--and the BD is definitely a huge improvement over the DVD video and audio. If you own the DVD of this movie (and have watched it on a large-screen, HD TV), you know that the DVD transfer was simply awful--almost unwatchable due to the heavy grain and other video defects.

The upgrade to Blu-ray is definitely worth the additional purchase price (less than thirteen dollars at Best Buy). It's like watching a totally different movie. The BD video is sharp, skin tones are perfect, and the color saturation is rich (but still looks natural). I rate the video transfer as 8/10--a solid transfer, especially for an "older" film. The audio is equally impressive--almost like watching a new release.

The film itself is, of course, quite entertaining--wonderful cast (Mel Gibson, Jodie Foster, James Colburn, James Garner, Graham Greene, and Alfred Molina), breath taking cinematography (filming took place at a number of scenic locations in the American West including Yosemite National Park, the Columbia River in Oregon, and the Arizona desert), a crazy plot (it's basically a comedy involving a big poker game aboard a fancy river boat--but there is plently of action), cameos by a number of country western singers (who perform a fantastic rendition of "Amazing Grace" as the ending credits roll) and a PG-13 rating, so the whole family can watch it.

This upgrade to Blu-ray is highly recommended!

Maverick is a hilarious, enjoyable and fun film to watch and bears well over several viewings. Of course, how could this film have missed given its cast; Mel Gibson, James Garner, Jodie Foster, James Coburn and a whole slew of other stars to include an outrageously funny cameo by Danny Glover. The more interesting thing here is that James Garner played Brett Maverick when it was a television series many moons ago and he had turned down many film scripts for this one where he didn't even play the lead. Maverick is a big hit and all involved in making this fine western/comedy deserve all of the accolades they received for it!

The premise:

Bert, oops I mean Brett Maverick (Mel Gibson) is a card playing and fast drawing hustler who is on his way to good old St. Louis for a huge poker tournament. His main problem is that he's three thousand dollars short of the entry fee so he decides to stop in another town and play another round of poker in the hopes of picking up some of the three thousand he needs. This is where he meets Annabelle Branford played by the ever beautiful Jodie Foster. Mrs. Branford's beauty is matched only by her desire to pick up the money to enter the big poker game as well. Not too long afterwards we meet Zane Cooper (James Garner) who is a lawman of some fame and he just happens to be going the same way as Maverick and Mrs. Branford. What follows is most definitely one of the most hilarious westerns ever made. I would highly recommend this film to any and all fans of the stars and this genre.

Special Features:

Production notes: This particular DVD is "all" about the film itself as there is very little in the way of special features. The production notes are of course in text and somewhat interesting. {ssintrepid}

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Mel Gibson's Maverick is somewhat goofy but charming, sly, and fairly humorous.

A number of excellent cameos provide some comic relief, especially Danny Glover near the beginning of the movie. The biggest surprise for me was Jodie Foster, who, in an impressively rare comedic role, thankfully discards her repetoire of facial tics for a much more natural performance here.

The plot is kept pretty simple until near the end -and the end has a great twist, which I won't divulge. Suffice it to say that your time will be well spent.

Recommended rental for sure, but also consider buying this excellent DVD because this comedy does well with repeat viewing.

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Maverick DVD

Mel Gibson stars as a bumbling gambler who is trying to join a poker game. The movie is based on a TV series. Jodie Foster co-stars as does James Gardner who was in the original TV series, as Bret, I believe. Bart was his Brother. Highly recommended for fans of Mel Gibson and Jodie Foster and fans of the original TV series.

Gunner April, 2008

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'Maverick' is by far the best western movie ever! Fast paced, action packed, suspenseful, and funny (very funny), Maverick keeps you on your toes and leaves you screaming for more!

Mel Gibson kicks butt (literally) as Bret Maverick, a handsome, slick and roguish card player trying to win enough money to enter the biggest card game of the year. While trying to win some dough, he meets the scheming thief, Annabelle Bransworth (played by Jodie Foster). I love Jodie Foster in this movie, I never knew she was such a comedian!

'Maverick' is a witty, charming, and hilarous western comedy. A must-see.

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Monster (2003)

I watched Monster without any expectations, save knowing that it was a movie about two women. At the end of the screening, i was totally blown away. One, Charlize Theron gives a spectacular performance as 'serial killer' Aileen Wuornos. Her facial expressions and bodily movements strongly resemble that of the actual person (based on what i read). Secondly, the 'human' aspect of Aileen was brought out in the film, and despite her brutal killings, one can symphatise with aspects of her life which brought her to this point of no return when she started killing her johns. Thirdly, although Monster is primarily about Aileen the killer, yet the viewer is treated to a love story between Aileen and her lesbian lover. This is in many aspects, the driving force of the film and which makes the film memorable. Some prison psychologists had diagnosed Aileen as having Borderline personality disorder, which explains her behaviour of wanting to keep Selby Wall, her girlfriend (in real life, the girl's name is Tyria Moore) at all costs, despite the fact that Selby was at times a selfish, immature person who ultimately betrayed Aileen. The final scene of the 'confession' phone call (which basically nailed it for Aileen) is heartbreaking. Aileen basically took the fall for everything and absolved Selby of any blame. Even though the audience may sense a taste of Hollywood drama here, one must remember that in real life, Aileen did take the blame for everything, and even went to the extent of sending Tyria money while she was on death row. Perhaps this is a glimpse into a rare aspect of her life (which traditional documentaries on her never cover), which shows us that at the end of the day, she is a human being like the rest of us and despite her heinous crimes, she too longed to be loved and feel love. The betrayal scene will stick in my mind for a long time to come. I welcome emails on this film as i am interested to know more about the film as well as Aileen and her lover.

Charlize Theron gives a five star+ performance as the executed serial killer Aileen Wuornos, the monster in "Monster." I would have rated the movie the same, except it is just too filled with pain, desperation and hopelessness for me to rank it that high. The script is not particularly strong. We only get a glimpse into the life and mind of this woman, and we never discover what made her kill. Many abused women hate men, but they don't become serial killers. There is also a lot of repetition, as Wuornos goes through her pattern of solicitation, violence and anguish over and over again. Without Ms. Theron's magnificent acting the film would be rather mediocre.

Director Patty Jenkins begins Wuornos' story in 1989-90, just before she was caught and imprisoned. She portrays Aileen more as a victim than as a victimizer. Through an initial monologue and various dialogues the viewer learns of Aileen's very troubled childhood in Michican. Her father, a convicted child-molester, committed suicide. Aileen was raped repeatedly by a family friend, and she began prostituting herself when she was thirteen. Her only job had been as a hooker. I think Ms. Theron portrays Aileen as a woman suffering from serious mental illness. Her moods swing from suicidal depression to euphoric overconfidence. She had delusional periods where she believed that all her dreams would come true and that she was invincible. She is a tough talking lady who drinks too much and barely holds her rage beneath the surface.

It is during this period that she meets Selby (Christina Ricci is superb in this role.), a shy, naive teen, in a bar. Selby is a lesbian who wants to come out of the closet against her family's wishes. She is a misfit, without friends. So is Aileen. At first the two are so thrilled that they like each other that they are not alone anymore. Their desperate, mutual quest for affection culminates in this doomed relationship. To me the relationship is more about loneliness and emotional dependency than physical attraction. The honeymoon is short-lived, however. Selby had never been on her own before and for some reason, doesn't think to get a job. She expects Aileen to provide for them. She manipulates Aileen into continuing to work as a prostitute, even though she is aware of at least one murder. Jenkins suggests that as long as the money keeps coming in she will ask no questions. Wuornos tries to get work and go straight but has no job skills or experience. She winds up going back on the road as a prostitute again, and then, after a violent episode with a john, her rage takes over and the murders begin.

Charlize Theron does give an extraordinarily powerful performance as the serial killer. It is amazing how she was able to literally transform herself into a woman who looks exactly like the actual Aileen Wuornos, mannerisms and all. This transformation is not just make-up. She speaks like Wuornos, walks like her, with a masculine swagger, captures her intensity, and her eyes often hold a glint of madness.

The film is shot in a gritty style on the highway, streets, bars and motel rooms. The ambiance is pure sleaze, reflecting the true crime drama. Overall, the story is fascinating, as is the point of view. And, as I have said, the performances are simply excellent. Highly recommended!

JANA

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I really wish I could give this movie more then 5 stars because it truly deserves 100,"Monster" is possibly the best films ever made. Charlize Theron's performance has the highly interesting Aileen Wuornos is phenomenal! Christina Rucci performance has the native Selby works so well in contrast with Theron's strong and independent character that two have incredibly chemistry. The directing, the story line, acting, and everything else in the movie is remarkable and it all helps to show the pain in Alieen Wournos' lonely life. After trying to leave their horrific pasts behind new friends Alieen and Shelby move away together, but when money gets low, Alieen is forced to go back to prostitute lifestyle. But one night after Alieen is rapped, she kills the man and knows she just can't go on hooking again. But being the only way she can make money, she decides instead of having sexual relations, she'll murder the men and take their money. This sad and true story left me amazed and even forgiving. Please watch this movie, I promise you won't regret it.

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Though this film is brutally honest about Aileen 'Lee' Wuornos' crimes it does provoke some sympathy for her. Yes, she does kill many people (all men) but when you consider how many men battered her and raped her all through her life, even as a child, it's no surprise she became so psychotic.

And I don't think it's exactly fair that she got the death penalty. Surely it would have been best to help a woman who lived her entire existence in the dregs of society (which is surely to blame for sending her mad) than executing her.

Focusing entirely on Lee instead of the police investigations following her (there is a TV movie from the mid-90s that does exactly this if you're more interested), we see her straggle from thinking about suicide, hooking up with lonely, naive Selby (Christina Ricci), killing in self-defense and finally killing for revenge/money.

Charlize Theron completely vanishes as she brings her take on Lee (her full name is never mentioned in the film) to the screen. She sure deserved her Academy Award and Christina Ricca (who is very cute here) is also very good. However, for a lesbian couple I just didn't see any real feeling between them. It annoyed me how fast the film moved and there are not really many quiet moments for these two characters to bond in any way. Yes, they proclaim their love for each other but I just didn't see it. There was too much shouting and screaming.

There are no surprises in the film, as we all know how it ends anyway. But some of Lee's killings are harsh, compelling and even ironic. The overall effect of the film isn't so long-lasting on me though.

It's shot and lit like a TV movie and Lee's heavy judgment at the end of the film is played down. For a film that is slightly biased to her point of view it's annoying that her unfair trial and life are not exploited just a little bit more for us to gain a little extra insight into the making of a 'monster'.

Keep a lookout for Kane Hodder as an undercover cop near the end.

The DVD is in 1.85:1 anamorphic widescreen with Dolby/DTS 5.1 sound and some slight extras.

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"Monster" delves into the mind of the first female serial killer, Aileen Wuornos (Charlize Theron.) But it does not condone what she did or take sides. Instead, the film describes her life over the nine months after she found love with Selby (Christina Ricci); from 1989 to 1990. I really liked the narration/voiceover that Charlize did (as Aileen.) It lent a little credence to the movie and some humanity to Aileen, as well.

Charlize Theron very rightfully won the Academy Award for her portrayal of Aileen Wuornos. Charlize completely metamorphosed her entire look which was so eerie and uncanny because it was impossible to tell that she was acting in a movie. She also changed the sound of her voice, sounding exactly like the women she played. Charlize is a true actress and very deserving of the Best Actress nod from the Academy. Christina Ricci was also excellent playing the shy and introverted Selby, and has proven herself to be a very accomplished cinema actress.

The movie follows the tale of harried and hopeless Aileen Wuornos as she tries to pick up the pieces of her shattered and tattered life. When Aileen meets Selby it was almost love at first sight. Selby practically saved her life and for that Aileen was forever in her debt. I think my favorite scene was when they were together in the bed (that first night they met) and Selby asks Aileen if she could touch her face. Aileen seemed so sensitive and gentle.

Besides that horrible rape scene and other depictions of degradation (I really hated that scene with that scumbag cop that picked her up after her job interview), I also found the scenes when Aileen tried to look for work very bitter. No one would give her a chance or listen to her. She had no money, no education, no family; absolutely nothing. All the doors were loudly slammed in her face. Society gladly threw Aileen Wuornos away. She was just another hooker, why did it matter that she wanted to clean up her act? Charlize was especially perfect during these parts. Her look of rage, and total desperation was purely obvious.

Another aspect of this story that I found terribly sad was when Selby turned her back on Aileen. Aileen loved her more than her own life and she finally thought that she had a chance of happiness. Maybe Aileen also thought that she finally found a person that she could honestly trust. Maybe if Aileen never met Selby she would still be alive today?

I really liked the way the movie ended. It wasn't too deep or sad, instead I found it very surreal because it wasn't too weighty. The movie ended the way it started, with Aileen narrating to the viewers in her own sarcastic and comical way.

"Monster" did make me feel sorry for Aileen because she was obviously an incredibly broken person that was never given a fighting chance. Someone please tell me why is Aileen vilified while these horrible men that raped her and sexually abused her aren't? Whoever said it's a man's world sure wasn't kidding.

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Ichi the Killer

After watching Takashi Miike's powerful "Audition," I thought following up with "Ichi the Killer" an excellent idea. I don't see much of a comparison between the two films unless you wish to look at the disturbing scenes of gory violence and the fact that "Audition" has more of a social message than this gore extravaganza. I have come away with the impression that Miike is a brilliant filmmaker capable of forcing extreme reactions from his viewers. Hollywood should take note of this guy and bring him over here for a project or two. But doing so probably wouldn't work out; Miike's warped visions would send American censors scrambling for a sedative, and most mainstream viewers would recoil from the graphic nature of this director's films. A word of warning for those thinking of indulging in "Ichi the Killer": the movie is loaded with sadism, gore, black comedy, and all around unpleasantness. It's as though this movie turns upside down everything we associate with cleanness and decency. It's a tough watch, even for a gore fan like me, so prepare thoroughly--how, I cannot really tell you because I do not know--before diving in. Good luck.

"Ichi the Killer" is based on a "manga," a Japanese comic strip of a type often embodying grotesque images and disturbing themes. The film follows several Yakuza gangs as they do what they do best: murder, torture, plot, and generally cause lots of unpleasantness. I am unfamiliar with the structure of the Yakuza, but I gathered from the film that there are numerous gangs (or families, as the mafia would say) each headed up by a boss. These bosses then report to a committee composed of other gang leaders and a sort of "boss of bosses"--played here by a wheezy little runt who pops up to mediate disputes every now and again--designed to keep everything from getting out of hand. When an anonymous killer named Ichi takes down a yakuza leader, the boss's underlings, including a bleach blond thug by the name of Kakihara, seek revenge. At first, Kakihara thinks rival groups had something to do with the disappearance, so he kidnaps some thugs and tortures them in an effort to get information. These gruesome antics go so far beyond the pale that the yakuza overlords send Kakihara and his fellow gang members into exile. Instead of putting an end to the out of control violence, this judgment only encourages Kakihara to even more extreme acts of nastiness. It turns out that this blond goon worshipped his boss because the leader possessed the ability to fulfill Kakihara's S&M cravings. This is sick stuff, to be sure, but it only gets worse as the movie progresses.

Kakihara seeks out Ichi to avenge the boss but also to challenge the enigmatic assassin to a showdown. We soon learn Ichi is far from the icy killer we have come to expect. He's actually a meek sort who witnessed a brutal incident as a child and has since become a victim to his own guilt. A guy named Jiji expertly manipulates Ichi's psychological problems in order to carry out assassinations. All Jiji needs to do is tell his friend that certain people were involved in Ichi's childhood trauma and mayhem rapidly ensues. Clad in a black suit bristling with razor sharp blades, Ichi can turn a room full of people into sushi in about thirty seconds. After the murders take place, he often sinks into a weeping, cringing depression over what he has wrought. Jiji, completely indifferent to his friend's remorse, always has a few more targets lined up for the slaughter. Women, children, and men: all are fair game when Ichi goes on a rampage. As the movie progresses, and as Kakihara comes closer to his final showdown with the hyper violent Ichi, Miike throws in enough plot twists and turns to keep the viewer constantly guessing as to character motivations and the very nature of the reality these people move in.

I am guessing I missed out on a ton of inside jokes and cultural references, probably because I do not speak the language, am not Japanese, and do not live in that country. I have never even seen, let alone read, a manga comic strip. Fortunately, Miike's film boasts plenty of black humor and gory violence to the point that being non-Japanese makes little difference in understanding the picture. You don't have to be an expert on Japanese cinema to laugh at Jiji's "muscular" transformation or the scenes where Kakihara expresses his disappointment at Ichi's subservience when the two finally meet (Kakihara actually attempts to pick his foe up in order to get him to fight! Funny!). And you definitely don't need any inside knowledge to gape at the violence. This is an insanely sick film packed to the rafters with bloodshed and carnage. My mouth dropped open, and stayed that way, when Kakihara administered a hot oil "bath" to a particularly close-mouthed gangster.

Gorehounds the world over will flock to "Ichi the Killer." While you will need an iron stomach to get through this one, the film goes to great lengths to prove this is all cartoonish fantasy. I quit taking the whole thing seriously after the tongue scene, when Kakihara said, "It will get better if I keep talking," and then spoke normally in the following scene. I took this as a wink-wink, nudge-nudge from Miike, a message to the viewer that one should not take the film to heart. As far as the DVD goes, I think it should go without saying that watching the unrated edition is the way to go. If you really want to watch a movie like this one, why waste time and money fiddling around with a cut version?

Live Action Anime...yes it is an oxymoron, but it's one way to describe what Director Takashi Miike has done with Ichi the Killer. It's like a live action version of Akira or Ninja Scroll.

The film's plot is secondary so I won't dwell on it here, but if you have never seen Miike's films, get ready for a ride through the imagination of a complete mad man. The best part about the film is that Miike and his team are actually outstanding technically, and his sense of humor is both original and in my opinion hilarious.

Ichi the Killer is as glossed over and stylized as it is sadistic and violent, and believe me when I say that this film is violent. It's sexually violent content is out of whack as well and alone might earn Ichi an NC-17 stamp but it's violence is so fantastic it almost seems cartoon-like. If you didn't find humor in films like Dead Alive, Robocop, Evil Dead 2 or Kill Bill pass on Ichi, but if you like those films like I do, give Miike a chance, you won't regret it.

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(2008 HOLIDAY TEAM)"Ichi the Killer" ("Koroshiya 1") is a stylistic, well-made film representing a Japanese idea that seems strange to most non-Japanese, the idea that violence, even extreme violence, can be beautiful. As seen in films such as Kenka Ereji's "Elegy to Fighting," violence is an art form and a genre of Japanese movies.

This film is about killing for the sake of killing, by those who love doing it with a sexual passion. Kakihara, the masochistic Yakuza killer featured on the box cover, complains while receiving a beating that "There's no love in your violence." To commit violence without love is like having sex without emotion, and empty physical act. Director Miike Takashi has put love in his violence, and style and art.

Kakihara is the star of the film, being both brash and beautiful, but it is Ichi the Killer who is the true protagonist. Mentally unstable and boyish to the extreme, Ichi is a deranged assassin who wears a superhero costume with a bold Number 1 ("Ichi" means "Number 1" in Japanese) emblazoned on the back. Ichi is an almost-controllable tool of Jijii, who plays the gangs against each other for a mysterious motive. Jijii aims Ichi like a gun, then pulls the trigger. Kakihara deepest fantasy is to be slain by Ichi, the ultimate killer, but not before the time is right.

As you can see from this description, "Ichi the Killer" is a trip into a dark underworld of sado-masochism, lustful violence and other avenues of human nature that most people would not willfully venture into. It is without a doubt the finest film in the genre.

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The actual film gets 4 out of 4 from me (amazon and most sites only let you rate 5 out of 5), but after close to a year of waiting after this disc got pushed back and back, the end result is a completely unacceptable Bluray disc. The image quality, I'm sorry to say, is no different than the DVD and looks to be derived from the DVD with marginally increased sharpness. The sound quality is what made me return the disc. The Japanese Dolby Digital 5.1 track sounds AWFUL! Worse than the DVD, which had a great 5.1 mix. Also, it looks as if the only Dolby True-HD tracks on the disc are both English and Japanese Dolby TrueHD 2.0! Why would you include an HD 2.0 mix on an HD disc that most definitely has 5.1 audio. I've seen 'Ichi the Killer' theatrically and know all too well that it looks and sounds better than this. Sorry I had to burst the bubbles of many eager 'Ichi' fans (myself included), but I sent this back almost immediately after buying it. A shame.

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This movie is the true definition of a car wreck. From the opening credits to the ambiguous ending, you cannot turn away from the shock and horror director Takashi Miike serves up.

Sadism is the true star of this flick as we travel a road filled with unrepentant pain and suffering. Unless you have seen the movie, then you have no idea how confrontational a film can be to your very senses. Rape, torture, murder, gore and general brutality are relentless traits of this movie. Sometimes cartoonish (its Manga roots showing), sometimes jet black in its humor, the savage pace of Ichi never slows even with a 2+ hour run time.

This is not a film for the squeamish. It makes no apologies for what it is and dares you to eject it from your DVD player. But, you simply can't. This movie can only be described as beautiful revulsion.

Just a quick comment about the packaging (which is the only downside to this release). The "Blood Pack Edition" contains 2 discs of excellent material including a commentary with Takashi Miike and Ichi's Manga artist/writer Hideo Yamamoto and an intensive "making of" documentary. However, the plastic blood bag housing the discs is a sadistic joke. The suction cup like plastic sleeve makes it incredibly difficult to actually get the damn discs out of the bag to watch them! Great gimmick, poor execution.

If you are a true horror and gore enthusiast, your collection is incomplete with this brutal slice of Japanese genius.

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Cameraman: The Life & Work of Jack Cardiff (2011)

I learned much from this documentary, especially the info concerning the application of the original IB Technicolor. Cardiff's explanation of techniques involved in the making of his many films, including Black Narcissus and The Red Shoes is fascinating!

This is a great documentary on a brilliant man who consistently delivered stunning visuals in a variety of movie genres.

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Varsity Blues (Deluxe Edition) (1999)

The movie is based on a "piece" of everyone's life, in some small way, who have ever played football. Does it matter that HS kids get in a strip club and drink till 6:00am ? "NO" Does it matter that Hoss is sitting on a tailgate, drinking Jack like its water ... and shooting a shotgun, with the HS Football Field lights on ? "NOOOOO" !!!!

It is "Rocky" + "Friday Night Lights" + "Rudy" + "Stand By Me" = Varisty Blues.

If you played football, or ever hung out with the guys after a game, or ever LAUGHED at the guys who couldn't leave HS even after they graduated 9 years ago ... Then buy the movie, its worth it, and the soundtrack ROCKS !!!!

Ok, so James Van Der Beek's Texas accent isn't all that great. So what if no football coach in their right mind would run a hook-and-ladder play to a 350 pound lineman. What does it matter that very few of us ever have a teacher as hot as Miss Davis...much less one that works in a strip club? It's still a great movie.

Look people, this isn't supposed to be a drama. This is a comedy-drama. Some dramatic parts, but it's supposed to be funny overall. That's why the movie has Tweeder! There are a few dramatic parts to the film, but it's mostly comedy. The intended audience is obviously the high school and college age, but can be enjoyed by nearly everyone...especially football fans.

Who knew that MTV Films was capable of making a movie like this? It did very well at the box office, and the DVD has sold well too...for good reason. Come on....everyone has to laugh when Tweeder steals the police car.

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When I first saw this film, I hated it. I could not find a single likeable character in the movie: the backup quarterback who couldn't seem to make up his mind whether to be ambivalent or committed to football; an obsessed, fanatical head coach; shallow, self-absorbed, hedonistic jocks; a whipped cream cheerleader; a little brother with an identity crisis; and moronic football dads wanting to do nothing more than live vicariously through their sons. Outside of a headbanging soundtrack and sensational football action, I was anything but impressed with VARSITY BLUES.

Then I caught the film on cable recently, and watched it. Then I rented it, and watched it again. Perhaps I had been too judgmental my first viewing: VARSITY BLUES was slowly but surely revealing itself to me as a very entertaining movie. I came to appreciate Jonathan "Mox" Moxon (James Van Der Beek), a second string quarterback with aspirations to go to an Ivy League college suddenly thrust into the spotlight of his west Texas town as the new starting signal caller. I came to loathe Bud Kilmer (Jon Voight), the epitome of the abusive, cruel, vindictive, win-at-all-costs head football coach. I came to enjoy the small town "feel" of this film, where high school football players are placed on a pedestal and allowed to run wild. And what can you say about Billy Bob (Ron Lester) and Tweeder (Scott Caan), other than these two raunchy characters flavor this movie whenever they appear like onions in Texas chili?

Setting aside a hopelessly unrealistic player revolt (Where were the other coaches to take over when Kilmer left?), director Brian Robbins furnishes fast-moving, high-octane football scenes guaranteed to make those of us who have played the game (and still love it) want to strap on the pads again. VARSITY BLUES is less than perfect, like a six-pack of warm beer, but still satisfying to the last drop.

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This movie is not only a great achievement, but touches the heart of teenagers everywhere. Being a teenager in a high-school where football is a way of life, I can relate to this movie on several levels. I have recently graduated myself, and during my senior year, our football team went to state for the first time in 20 years. Just as we were getting ready for the state game, Varsity Blues was released. This is an amazing "roller coaster" ride through the life of a group of American high-school students who only want to do what is right. Varisty Blues is, and probably always will be, my favorite movie of all-time.

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There are two fundamental reasons why the Paramount Pictures film directed by Brian Robbins, Varsity Blues is one of the greatest movies made in this time. First of all it is the best depiction of high school life in a small town I have ever seen in a movie. Secondly, not only is the film frank and outspoken when dealing with the truths of growing up in a small town, but Varsity Blues is 105 minutes of film packed with diligently planned dramatic photography. The fact that each scene is pumped so full of emotion only amplifies the possible reality of the script. The story told by the movie Varsity Blues appeals to me for more reasons than one. First of all, the film is humorous, thrilling and full of emotion. Secondly, I grew up in a small town like West Canaan, Texas, where the story takes place, so much of the story is very real to me. For example, in my town, football games on Friday nights were more like religious ceremonials or rituals than simply high school athletics. This excerpt from the movie portrays this image perfectly: "In America we have laws; laws against killing, laws against stealing and it is just accepted that as a member of American society you will live by those laws. In West Canaan, Texas there is another society, which has its own laws. Football is a way of life. As a boy growing up in West Canaan, Texas, you never questioned the sanctity of football; you just listened to what the coaches said and tried as best as you could to win; win at all costs." After each game, the football team would have a party to celebrate whether the final score represented victory or defeat. These parties included alcohol, drugs, sex and probably much more that I was unaware of at the time. Nearly the entire school would attend these parties. It would have been unusual for the cops to not show up a couple of times a night to order everyone to keep it down even if the closest neighbors were miles away. Even if the cops had caught someone underage who had been drinking they couldn't really arrest them because then they wouldn't be welcome at Saturday's barbeque. Another similarity between West Canaan and my hometown was that the football coach had the most power in the town with players as close seconds. This meant that if a player was falling behind in class, the coach would have a talk with the teacher and soon the player would have one of the highest grades in the class. As in Varsity Blues, there was an abundance of racism in my town. Confederate flags were a common sight and racial slurs could be heard frequently. The truth is that although many people think that Varsity Blues is far fetched and unrealistic it is just the opposite. People do not want to admit that this type of community, with these problems still exists, but it does and Varsity Blues does an excellent job of illustrating what it is like to grow up in this sort of environment. Lastly, Varsity Blues is exponentially enhanced by the incredible photography portrayed throughout. This film includes scenes that I would go as far as to deem them the best I've seen. The extraordinary photography takes the film to a whole new level, where it becomes not only a movie, but art captured on film. Each scene was thoughtfully constructed and designed ahead of time so that it could display as much energy as possible making each picture worth much more than merely a thousand words. One of my favorite parts of the movie is during the game against Elway, after the team had spent the night at the strip club. This is because each fleeting incident, each motion, each flicker of film is bursting with power and vigor that it feels more real than if you had been a part of it. All of these aspects are what make Varsity Blues such an outstanding film. I am glad that someone was brave enough to confront facts that exist that most people do not want to believe are true, such as racism, premarital sex, underage drinking, cheating, etcetera. Varsity Blues does all this and more by presenting it in a way that appeals to people and causes them to feel as if they are in West Canaan, Texas as all of this is taking place.

Zodiac (2013)

As the beginning of any new year rolls around, after awards season, there tends to be a significant drop off in quality or what you might call serious drama. Usually we're left with crowd pleasing, if not critically acclaimed comedy, or low budget horror until the kickoff of the summer season. There are a few gems that sneak in once in a while (perhaps the most notorious was "Silence of the Lambs" with its oddly timed Valentine's opening), but as a generalization--this is true more often than not. So David Fincher's "Zodiac," which make no mistake is a drama and not a thriller, is a welcome respite from traditional fare released at this time of the year. Fincher, who made an artistic splash with "Se7en," "The Game," and "Fight Club," had been noticeably absent since hitting it big with the more routine "Panic Room" in 2002. Eschewing the sensationalistic approaches a film of this type might employ, Fincher has crafted a sprawling and ambitious investigative drama about the men whose lives were changed in the obsessive hunt for a serial killer known only as Zodiac.

For those unfamiliar with the story, I will borrow an excerpt from my review on "The Zodiac" (a lesser film that covers some of the same ground, but concentrating more on Zodiac's earlier murders in Vallejo). "Over a period of years during the sixties and seventies, the San Francisco area was plagued by a series of seemingly random murders perpetuated by a man known only as the Zodiac killer. Using the press and taunting the police, Zodiac became one of the more prominent "celebrity" serial killers with his need to be in the spotlight." Fincher's film focuses primarily on three major characters, although a huge cast contributes to this complex tale. There is David Toschi (Mark Ruffalo) who is the lead police investigator when the Zodiac moved to San Francisco, Paul Avery (Robert Downey, Jr.) who is the star reporter covering the case for the San Francisco Chronicle, and Robert Graysmith (Jake Gyllenhaal) who is a cartoonist at the Chronicle who becomes obsessed with the case. In fact, Graysmith's obsession turned into the book which serves as source material for this film.

Clearly, the strongpoint of the film is in the performances. Downey is impeccable in self destructive mode, recapturing some of the energy and unpredictability that made him a star in the first place. Ruffalo is great, persistence turning into frustration. But it is Gyllenhaal who makes the greatest transformation from an awkward youth to someone willing to sacrifice everything to pursue an obsession. The immense cast of supporting characters are, also, well written and beautifully performed. It is in the details of the script that characters, even with limited screen time, leave a lasting and believable impression. The film, which spans decades, recreates the time frame accurately. The art direction, in particular, is spectacular when viewing this city of the recent past.

The story, itself, is a procedural recounting years of work trying to locate Zodiac. Again, the script is so detailed that you really feel as if you are following the action in the same step by step fashion that the real participants must have. "Zodiac," ultimately, is a smart film. It trusts that you will follow its logic, and perhaps even draw some conclusions of your own. It paints a picture of who Toschi and Graysmith believed to be Zodiac (despite evidence to the contrary), but the film is open-ended enough for you to accept this position or discount it entirely. There is plenty of intrigue as the investigation leads to unlikely places, some chilling recreations of Zodiac's killings, but most of all--real drama about real people. A great adult picture. At over 2 1/2 hours, it's a commitment--but one well worth it. KGHarris, 03/07.

loved every bit of this the time flew by, and the quality of the BD is awesome looks and sounds beautiful

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very informative wonderful actors, kept intrest, some was scary but it was for real hope he is dead now for sure

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"Zodiac" is brilliant! One of the best films of the year, thus far. The performances led by Jake Gyllenhaal (as Robert Graysmith, who also wrote the book that inspired the movie), Mark Ruffalo (as Inspector David Toschi, who also served as an inspiration behind the film "Bullitt" (1968) with Steve McQueen) and an impressive Robert Downey Jr. (as Paul Avery) are excellent. The directing by David Fincher (who has also directed "Seven" (1995) & "Panic Room" (2002) is excellent. The screenplay by James Vanderbilt (based on Graysmith's book) is excellent. The music by David Shire (who did the score to "All The President's Men" (1976) is excellent and the use of 70's songs are excellent. The cinematography by Harris Savides (who also did the cinematography to Fincher's "The Game" (1997) is excellent. The film editing by Angus Wall (who also film edited Fincher's "Panic Room" & Fincher's upcoming "The Curious Case Of Benjamin Button" (2008) is excellent. The casting by Laray Mayfield (who also film edited Fincher's "Fight Club" (1999), "Panic Room", & the upcoming "The Curious Case Of Benjamin Button" is excellent. The production design by Donald Graham Burt (who also did the upcoming "The Curious Case Of Benjamin Button") is excellent. The art direction by Keith P. Cunningham is excellent. The set decoration by Victor J. Zolfo (who also did the upcoming "The Curious Case Of Benjamin Button") is excellent. The costume design by Casey Storm is excellent. This is Fincher's best film since "Seven", and yes, it is overlong, but it is interesting and it makes you think and keeps you intrigued.

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This movie is well made, and I think this film was definitely oscar worthy, but was mistakenly passed over when Awards considerations were being done. David Fincher did a great job telling this true story based on the book by Robert Graysmith. Although the Graysmith book has some holes and question marks, and focuses in on his suspect, the movie is divided up equally between the crimes, the investigation, and various suspects. If you are planning to watch a 'slasher flick', this is NOT the movie for you, in fact, the first 30 minutes or so of the movie shows the murders, and the remaining two hours focuses on the hunt for the killer, and the obsession that overtakes those involved in trying to identify the Zodiac Killer. It may be a bit slow for some, but if you are heavily interested in the case, then it moves along quickly from one storyline to the next.

The bonus footage is fantastic,and features interviews with those who were directly involved in the case, as well as a complete breakdown of the crimes and a segment devoted to Graysmith's suspect.

The Blu ray quality is pretty good as well, and I was happy to finally buy it at a reasonable price considering it has been out of print for quite a while.

All in all, this is one of my Favorite movies, and although I do not agree with some of the conclusions reached at the end of the movie (as far as a suspect),I am happy to refer anybody to this movie!

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Strictly Ballroom (IMPORT - Region B)

Baz Luhrmann at his finest. This terrific film is really three movies in one. First, there's the tremendous dance movie whcih centers on Scott Hastings (Paul Mecurio) and his struggles to introduce 'new steps' to the sheltered world of Austrailian ballroom dancing. For dance afficiandos, despite the broad comedy that infuses the movie, the dancing is the real thing. Mecurio is a formally trained dancer and you simply can't fake, edit, or body-double the moves he pulls off in this film. Even if you're not a dancer, Mecurio's athletiscism alone is worth seeing.

The second movie is a Dirty Dancing-style, boy-meets-ugly-duckling tale. The story allows you to peek behind the covers of a first generation Australian and her awkward attempts to fit into a new culture while maintaining her European ties at home.

The third movie is what sets Strictly Ballroom apart from the field tremendously funny, broad caricatures squabbling around the periphery of Scott and his struggle to bring his 'new steps' to the Pan-Pacific Championships. Pat Thompson is hysterical as Doug's mother Shirley, and Bill Hunter is wonderfully over-the-top as dancing kingmaker Barry Fife ('There are no new steps!'). But attention first-time viewers keep your eyes on Barry Otto as Scott's father, Doug Hastings. This odd, seemingly shell of a man is actually the emotional core of the film. He provides the movies funniest moments (particularly as other reviewers have alluded to a flashback sequence so over-the-top hilarious that it defies description) and its most relevatory ones.

Play this film over and over again and you will never be disappointed.

This Australian gem is one of those rare films that entertains, thrills and pokes fun at an established activiity (in this case, a ballroom dance federation).

To take this film seriously is to miss out on one of the great moviegoing/ moviewatching experiences of the 1990s.

In a nutshell, an up-and-coming champion ballroom dancer gets bored dancing the same tired steps that everyone has danced in competition the past 50 years and wants to break out and do things his way. Of course, his way is the better way, but that causes all the angst, high drama, dashed hopes and utter hilarity that ensues as forces clash to prevent the young man from taking the ballroom dancing world by storm and up to a new level.

Of course, it's what we've all, always, expected: Things don't change in such events because those who judge and teach can only judge/teach that with which they are familiar.

The cast is perfect, from the dashing young lead embodied by Australian ballet principal Paul Mercurio to the shy, at-first clumsy female lead played by Tara Morice (who also lends her vocals to Cyndi Lauper's "Time After Time" in a stunning rooftop pas de deux as she starts learning how to dance with him).

Paul's mother -beautifully and hysterically portrayed by Pat Thomson -and his seemingly introverted, odd father -a wonderfully giddy Barry Otto -are perfectly realized, as are all the other roles, including Bill Hunter's terrifically change-resistant Barry Fife, president of the dance federation.

This is probably Baz Luhrmann's most mainstream movie, since it's more firmly grounded in the now than anything else he's done.

Be on the lookout for a stunning cinematic moment during an outdoor sequence at the girl's house with the lead learning from her father how to correctly dance the Paso Dobles. When it's clear he's gotten the hang of it, the camera does a closeup on him turning and then cuts to an oncoming train, that parallels the house, sweeping down the lower right of the screen. It's one of those Luhrmann touches that set him apart from most other working directors.

"Strictly Ballroom" is a wonderful entertainment that flows along so quickly..and has dramatic highs...and even more thrilling dancing highs...that most of you will be very sorry when it's over.

But never fear...it holds up very well on repeat viewings. It's one of my most-played videos.

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Okay, maybe that's an overstatement, but the first time I watched this movie, I checked it out of the library. I was a recently divorced single parent of two, struggling with a house note and bills I couldn't pay. On this particular day, I was fighting a bad cold, and feeling generally tired and unhappy. I took this movie out based only on the "Two Thumbs Up" recommendation of Siskel & Ebert at the bottom of the case. After viewing this film, I felt energized and full of good humor. I eventually bought it and have shared it with my mom, sister, kids, friends, and new husband. They all loved it! Where do I start? 1. The performances. Everyone in this movie is wonderful. They are believable and credible even though the material is completely over the top so much of the time. I love these people. 2. Then there's the romance. The main love story is very sweet, but all throughout the film, you feel like romance is literally in the air. It's also amazing how much sensuality is conveyed without any overt sexuality. 3. The dancing. I never gave ballroom dancing a thought until I saw this movie. Now, I love watching it. 4. The family relationships. They may seem unbelievable, but that mother is all too familiar to me. 5. Paul Mercurio--he's hot! Enough said.

This movie is funny, touching, and like nothing I've ever seen before or since. I can't even compare it to anything else. I'm happy to see how favorably other people have reviewed it.

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I skimmed through several reviews and kept seeing comparisons to Dirty Dancing. This movie can't even be compared to that!!! First of all, the dancing in SB moves the plot along, while in DD, it could be edited out and no one would know it was ever there. Secondly, this movie is the MASTERPIECE that DD is not and will never, ever be. Every thing about this movie is perfect--I especially love the chemistry between Paul Mercurio and Tara Morice. They really make Scott and Fran credible and believable characters. Being that this is a small movie, it really works--and that is probably why it is better than anything Hollywood has produced in some time. And charming extras to the movie-Tara Morice sings the TIME AFTER TIME song that runs throughout some of the movie. Paul Mercurio did his own dancing--including adding additional choreography. (He was a former ballet dancer before making this movie as his acting debut.) There are many others, but I'll leave you to discover them.

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The story is pretty conventional : since childhood Scott Hastings' parents have pointed him towards the Pan-Pacific Grand Prix Amateur

Championships. But in direct contravention of the rules and traditions of ballroom dancing (which have as much to do with the teaching of dance to

willing customers as with dance itself), Scott has recently developed a dangerous desire to dance his own "crowd-pleasing steps". When Scott's

partner leaves him, he's forced to audition new ones, none of whom are very satisfactory, until, improbably, the homely and awkward Fran, who

usually has to dance with another girl, demonstrates that she understands what he's aiming at. As Scott's mother and teacher try to find a more

acceptable alternative, Scott and Fran practice in secret, eventually receiving assistance from Fran's aforementioned father and her loving

grandmother, who does a mean rumba herself.

What follows is largely predictable but still endearingly romantic and exciting. Baz Luhrmann, who had directed a stage version of the story for some

ten years before turning it into a movie, brings a pulsing energy (which mixes soundtrack, color, and motion in fascinating ways) and an off-kilter

sense of humor to the film that make it quite distinctive. If you liked Mr. Luhrmann's Moulin Rouge but thought it was a bit over-the-top, you'll like

this one much better.

The best aspect of the film though is the way in which Scott, who when we meet him is totally self-absorbed, has to learn that for all his desire to

express himself in dance, he must do so together with his partner. He and Fran must communicate with one another, share themselves, and be able to

yield something of the personal in order to be true to their art. They must respect the conventions of ballroom dance, with its basis in the couple,

even as they expand its possibilities and violate the self-serving diktats of the corrupt elders who run the competitions. So much of modern art and

literature celebrates egotistical individualism unfettered by any restraint; it's unusual to find such a compelling story about the requirement of

submerging purely selfish concerns in order to achieve higher purposes.

One of the leitmotifs of the film is that "A life lived in fear is a life half-lived". Much of the atomization of modern life is a function of fear, a fear of

being hurt by those we open up to. Scott begins the film as only half of a couple, unable to share anything, even a dance, with his partner. He is

living only a half-life. But he becomes wholly human, begins to live a whole life, when he becomes a true partner with Fran. It's rare enough to see

such profound truth portrayed in film, but that it's done here such a joyous and exuberant fashion makes this a remarkable movie.

GRADE : A+

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