The Egyptian (1954) (1954)

Not one of Michael Curtiz' best films, "The Egyptian" is seen here in a serviceable print (and in widescreen) but somehow this transfer doesn't ring any bells. The film itself is a static, sometimes involving historical epic, and the cast is good. Edmund Purdom is fine (despite bad reviews at the time) and he's capably supported by Gene Tierney, Victor Mature, Jean Simmons, and Michael Wilding. But Daryll Zanuck discovery (and mistress) Bella Darvi, as the evil temptress, is a liability. Zanuck wanted Marlene Dietrich to play the sensual siren who leads Purdom astray--and though she might have been too old at the time, she'd at least have delivered her lines with some conviction and style. The film is slow at times, but it picks up in the last act, and is often affecting, despite the limitations of the script and direction. Other reviewers have stated they couldn't turn off the Korean subtitles: I had the same trouble, and I found them distracting. Chances are this film will be released someday in a restored print. I'd suggest hardcore fans wait for that edition, when it arrives.

This is one of the great epics... though for Fox was not a great box-office success at the time. On the DVD itself it is sad that 20th Century Fox seemed to have forgotten about their own DVD release and it is long overdue to those that still enjoy these old movies.

This import DVD edition has lost some of its superb color and sound in its transfer that a movie like this requires but at least it is an opportunity to enjoy a marvellous film though not historically accurate in any way. It is a wonderful classic with a familiar stable of classic stars of that time. At a good price, worth having if you can't hold out for Fox themselves to release it on DVD.

Buy The Egyptian (1954) (1954) Now

I am not going to review the movie, that has already been done. This review is about the Blu-Ray disc. Anyone who is a fan of this movie and has a HDTV/Blu-Ray setup needs to get this disc. Yes, the price is higher than most Blu-Ray releases, but it is well worth it. That is if superior picture quality (1080p) and superior sound quality (DTS 5.1) is important. The transfer is also in the original CinemasScope aspect ratio of 2.55, before CinemaScope went to 2.35 to make room for the duel Mag/Optical soundtracks on the film.

I was a little concerned at first, especially since the video resolution of 1080p and the type of 5.1 sound (DTS), was not included in the product discription. But I am glad I went ahead with the order anyway. I have been waiting a long time for a blu-ray release of "The Egyptian" and it has been worth the wait and the price.

It looked great in my home theater which is equipped with a 92" diag. screen,(which gives me a wall to wall picture presentation) 1080p front projector and 7.1 surround sound system. From the Fox/Cinemascope logo to the ending credits, this movie was great entertainment. If you enjoy the Fox "Sword and Sandle" series (ie. "The Robe"), include "The Egyptian", you won't be disappointed.

Read Best Reviews of The Egyptian (1954) (1954) Here

This is a marvelous epic film, the acting is remarkable, and Victor Mature is simply enchanting in this film. The three main characters interact gracefully, and the plot about an ancient Monotheistic Religion in Egypt is remarkably well written. The movie is partly based on fact, and partly romanticized. The bluray version is far superior to all of the other versions out on the market, as I purchased all of them available, and this version is simply perfect.

Want The Egyptian (1954) (1954) Discount?

The Egyptian (1954) [Blu-ray]Firstly let me agree with most of the other reviewers of the blue ray edition of this film by stating that finally justice has been done in both sumptuous picture and sound quality for this incredibly courageous biblical widescreen epic spectacular of the middle 1950's that until recently has been mostly ignored.

Why courageous? Because it was a major commercial release from a leading Hollywood studio in the early to mid 1950's when most of America was christian and conservative. Then along comes this film with its criticisms of the prevailing religion in ancient Egypt, the vicious & politically ambitious priests and highlighting a pacifist pharaoh who is radically different to anyone who preceeded him, obsessed as he is with his monotheistic or "one god" theory of religion. This radical departure from religious tradition obviously brings him into conflict with the ruling elite of the priests and he is targeted for removal by this elite priesthood. The main character, Sinuhe the physician, later meets a grave robber who insists that there are no gods & that every dead pharaoh has had their graves broken into and haven't preserved any of their material possessions in this life for themselves as gods in the next life. Sinuhe tends to agree with this atheist philosophy. Later at the movie's end he is converted to the religious beliefs of his weak & effeminate half brother (pharaoh Akhenaten) to the absolute bewilderment of all concerned as he has given up the chance to be pharaoh himself due to these religious beliefs. I don't really think 1950's audiences appreciated such an attack on conventional religion and also emphasizing that the supposed early christianity portrayed is being championed by such a weak & effeminate character like Akhenaten. Or that this religious philosophy will be carried on by a courageous loser like Sinuhe.

The film also highlights the relationship between the main character Sinuhe & the pharaoh Akhenaten (it turns out that they are half brothers--from the same father but different mothers) that comes perilously close to a thinly disguised homosexual love situation. I cannot remember any other major Hollywood release before this or even 15 years after this featuring one man saying to another man "the others lied to me but I believe that you really love me". Of course the Sinuhe character and we the audience know that these two are half brothers so its just a case of brotherly love. But the disturbing thing for 1950's audiences was that the character of pharaoh (beautifully played by actor Michael Wilding who was best known as being one of Elizabeth Taylor's husbands) does not know this and comes across as a weak & effeminate ruler and, even though he's married to the famous Queen Nefertiti and has many children, could well have some sort of bisexual attraction to the Sinuhe character.

The other aspect is that there is repeated criticism by Sinuhe of just about every ruler & government that he has ever come across---especially in the elite priesthood's willingness to remove the pharaoh from power by poisoning him, replacing him with a strong & more traditional ruler & weeding out all of the pharaoh's supporters. This could be read as a veiled criticism of the American House of Representatives Unamerican Activities Committee that prevailed in USA from the late 1940's to the mid 1950's. In ancient Egypt not long after he was deposed Akhenaten's image and any reference to him were deleted from the public monuments & public records. It was as though he and his period in power had never existed.

Which probably makes it easier to understand why this film was not a great box office success even though it was championed as a Cinemascope successor to the enormously successful "The Robe" of a year earlier. Most reviewers have stated that Edmund Purdom who, whilst having an excellent speaking voice that suits the part, just doesn't have the necessary power and charisma to convince as the main character Sinuhe the Egyptian. It's even suggested that Marlon Brando (the first choice for the role who arrived for rehearsals on the first day & then left the production later that same day) would have made a better main character. I think that Marlon's first instincts about the story & the so called weakness of the main character he would play were correct as it didn't really suit his style & he was correct to leave the film before he got involved. Had he become involved it would have probably turned out something like the 1962 "Mutiny on the Bounty" which basically flopped at the box office due to Brando's characterization of Fletcher Christian & his off screen tantrums when he didn't get his own way on the film sending the film's cost way over budget. Whilst most Americans generally think the 1962 "Mutiny on the Bounty" is a good action adventure & Brando's performance is fair enough (the same opinion I hold) most British viewers hated his performance in that film & regarded his characterization of Fletcher Christian as ridiculous. Which basically ruined the whole film for them. And Brando was first choice as T.E. Lawrence in "Lawrence of Arabia" by producer Sam Spiegel but director David Lean soon over rode that decision by first casting Albert Finney and when he cancelled then casting Peter O'Toole in the lead role. Again Brando as T.E. Lawrence would have polarized opinion of the movie & probably alienated British audiences. Brando later appeared in producer Sam Speigel's "The Chase"(1966) which was a resounding flop. As far as I am concerned Edmund Purdom puts in a rather convincing performance as a thoughtful & sensitive man caught up in the vicious world of ancient politics. I don't see his character as weak so much as sensitive. Like Brando's role in "Mutiny on the Bounty" if you can accept his central performance then you'll probably like the movie. If you cannot then its an uphill climb to like this movie.

The same can be said about the role of the Babylonian lady of easy virtue Nefer as played by producer Darryl Zanuck's protege (and then secret mistress) Bella Darvi. Most reviewers think of her, like Purdom, as unconvincing & badly cast and even, unlike Purdom, hard to understand when she speaks. Again if you cannot accept her performance as convincing or even reasonable then the whole movie is usually ruined for you. Those who like this film usually accept the performances of Edmund Purdom & Bella Darvi as both convincing and acceptable. Those who don't like this movie usually quote the performances of these 2 actors as spoiling the whole movie for them.

The supporting cast is quite excellent with an incredibly beautiful and appealing Jean Simmons (then 22 years old), a surprisingly convincing & impressive Victor Mature, a suitably alluring & devious Gene Tierney, an appealing rascal role for Peter Ustinov (similar to his later Academy Award winning role as Batiatus in "Spartacus") and a surprisingly effective & moving role for Michael Wilding as the mystic pharaoh Akhenaten.

This film is not so much an historical epic as an historical costume drama as there is not all that much action apart from the lion hunting sequence at the film's beginning & the massacre of the Aton worshippers (or sun worshippers) at the end. And as for historical accuracy the studio spent 3 years in pre production on this film & made strenuous efforts to get everything as accurate as possible whilst still adapting the source material (Mika Waltari's 1945 best selling novel "The Egyptian"). Not long after this film had ceased production the costumes & props were sold to Cecile B. De Mille for his forthcoming production of the 1956 "The Ten Commandments" (probably sold to try and claw back some of the production costs). So obviously De Mille didn't think these costumes & props inaccurate. As far as the sets go, apart from the royal palace interiors (which are very convincing), most of the taverns & doctor's surgeries look like reused sets from "The Robe" and are not all that convincing. They all have that 20th Century Fox Cinemascope epic film indoor set look that attempted some accuracy but couldn't quite convince & that even "Cleopatra" with Elizabeth Taylor suffers from (they all tend to look like a mocked up room built in a movie studio). The same cannot be said for the outdoor sets which are quite magnificent and are totally convincing. Where the film (and the book it was based on) do go astray in historical accuracy is in the weaving of too many fictitious characters with actual historical figures & also imposing a conventional religious explanation onto these historical events.

The pharaoh Akhenaten, despite what the book & film speculate, was probably not an early christian prophet long before his time & archeological history shows us that he was not that weak & powerless when it came to enforcing his monotheism theory on his subjects. And the inaccurate description of Thebes as the location where these events occurred instead of Akhenaten's especially chosen capital of Amarna situated in the desert beside the Nile hundreds of miles from Thebes. But the biggest inaccuracy is the complete avoidance of the next pharaoh--probably the most famous pharaoh ever--the boy king Tutankamun or King Tut (either Akhenaten's son or his nephew--archeological science has proven that they were definitely related). Horemheb became pharaoh a few years later. These historical facts do tend to grate against acceptance of the film's storyline however there is enough in the film to over ride these inaccuracies.

Lastly, and by no means least, are the technical details of the film. 20th Century Fox used its first class talent on this film to showcase it as a worthy Cinemascope successor to the enormously successful "The Robe of a year earlier. Which meant it had to be a biblical epic or at least a biblically-themed historical costume drama with exquisite costumes and inspiring sets. Which it was. The set designers and costume designers excelled themselves on this film (apart from my concerns over certain interior sets). Both films cost an unprecedented $5 million dollars to make (approximately $55 million in today's terms) but whereas "The Robe" made $17.5 million (or $193 million in today's terms) in USA alone "The Egyptian" made only $4.25 million (or $47 million in today's terms) in USA which did not even cover production costs. Leon Shamroy (the cinematographer from "The Robe") was Fox's premier cinematographer & did an excellent job on the visuals of this film. Even better was the contribution of composer Bernard Herrman & later in the production Fox's premier film music composer Alfred Newman to the classic musical score of this film. This musical score takes a very good to excellent film (with some flaws) and transforms it into a semi classic film. Even without the music certain sequences are hauntingly beautiful such as the Aton worshipper's (or sunworshipper's) sequences and the seduction of Sinuhe by Nefer the Babylonian courtesan. But with this classic musical score used to enhance these sequences they become absolutely unforgettable. And this blue ray version finally does full justice to the sound quality (the original 4 track stereo sound in DTS 5.1) AND picture quality (original 2.55:1 aspect ratio, ultra sharpness and glowing colour) so that you can assess these qualities and make an accurate judgement for yourself of this semi classic film in a version as close to (if not better) than the original release version. The film's score is also available as a separate track so you can listen to the score only if you wish and appreciate its merits.

Definitely recommended. If you cannot afford the steep price of the blue ray version then the dvd version (while not quite as good) is not half bad either. These reviews relate solely to the blue ray and dvd versions of "The Egyptian" produced by Twilight Time via Screen Archives Entertainment.

Big Jake (1971)

This film is one of the better later-day John Wayne films, though strangely violent for a Wayne film. The Duke stars Jacob MacCandles (maybe a reflection of his real life family situation) as a tough man, estranged from his wife and grown sons. Bobby Vinton gives a quickie performance as Wayne's eldest son, shot when (the great) Richard Boone and his band of cutthroats nearly slaughter all on Jacob's ranch in the kidnapping of his grandson (played by Wayne youngest son Ethan). Patrick Wayne, his real son, plays second eldest son and youngest son, Michael, is played by Christopher Mitchum (Robert Mitchum's son!).

In tow are Wayne regulars, Harry Carey (disgusting tobacco chewing baddie), Bruce Cabot as the Indian tracker showing age with Jacob, Glen Corbett as breed the fast gun that faces off against Patrick Wayne in a gun fight, the most natural actor to ever grace the screen, the late Richard Boone, and a lovely appearance by the eternally beautiful Maureen O'Hara, once again playing John's long suffering wife whot loves him, but cannot live with him.

It is super to watch Wayne with Cabot, Carey, Boone and O'Hara, and Jim Davis (later rose to fame once more as Jock Ewing of Dallas) and though the film is intensely violent, I don't see it was gratuitous. The violence came from the end of a very violent era, times were changing, but not fast enough. The violence of the kidnappers had to be there to show Wayne's to-the-wall rescue of his small grandson was called for. Wayne's character was a violent man when the times called for it, but it was just as willing to let things go if ONLY the other person walked away.

He worked well with his sons and Mitchum, and the interaction between Jacob and his two sons provides the Wayne brand humour in the film.

The times were changing for the code of the old west, and in the same way, times were changing for John Wayne....

I give Wayne credit for not pulling punches in a film that does him credit.

"Big Jake" is one of my favorite John Wayne movies, which is not to claim that it is a classic film. This film is directed by George Sherman, who first began doing Westerns back in the late 1930s, although Wayne is known to have directed some scenes as well. In retrospect I would argue that this 1971 film is the first of a trio of film that Wayne made at the end of his career reflecting the passing of the Western. The other two would be Wayne's next film, "The Cowboys," and obviously his final film, "The Shootist." Of that trio "Big Jake" is clearly the most fun and my biggest complaint about this film is that when it is shown on television they almost always have the first commercial break at the absolute worst moment.

The film begins with a raid on the McCandles Ranch where Little Jake McCandles (Ethan Wayne, the Duke's youngest son, named for the character he played in "The Searchers") is kidnapped by a gang of cutthroats led by John Fain (Richard Boone). Fain demands a ransom to be delivered across the border in Mexico. The Texas Rangers are willing to do it, but Martha McCandles (Maureen O'Hara), the boy's grandmother, announces that this is a disagreeable task and needs to be done by a disagreeable man. At this point we cut to an extreme close up of John Wayne peering down the barrel of a rifle. It is a great introduction to Wayne's character in the film and a fitting counterpart to the moment in "Stagecoach" when we first see the Ringo Kid and his Winchester. But television stations keep putting commercials before the cut because the film's opening sequence, in which narrator George Fenneman, who went from being Groucho Marx's announcer and straight man on "You Bet Your Life" to doing the narration for Jack Webb's "Dragnet," introduces us to all of the members of the Fain gang runs on a bit before we have the raid and the decision of what to do next. So Act I runs out for a bit and if there is a good reason to have this movie on DVD or VHS it is because that way you miss this horrendous commercial placement.

"Big Jake" is basically a chase story as the title character goes after his grandson, heading out with the ransom with only his trusted Native American friend Sam Sharpnose (Bruce Cabot) and a dog named "Dog." But there are several others things going on to make the proceedings more interesting. Big Jake did not even know that he had a grandson, and while the boy's father Jeff (Bobby Vinton, the singer) is wounded, his two brothers James (Patrick Wayne, another of the Duke's son) and Michael (Christopher Mitchum, son of Robert Mitchum who co-starred with the Duke in "El Dorado"). Clearly Big Jake has been separated from his family for a while and there are issues, particularly with James, who makes the mistake of calling his father "Daddy."

There is also a whole sub-text about relying on modern technology. While Big Jake heads off with horses the Texas Rangers take off in new fangled motorcars. Of course this is a mistake, but there is a recurring theme of the old ways being best. Michael has a motorcycle and James has a new fangled pistol, but they are able to overcome their reliance on modern technology. If the Old West is disappearing it is not disappearing until the Duke has his last fight.

Then there is the running gag that everybody seems to think Big Jake is dead. When we are treated to that great close up our hero is watching a group of cattlemen get ready to string up a sheep farmer. Big Jake does not want to get involved, not wanting to make a mistake of his youth that almost cost him his life. But then the leader of the lynch mob (Jim Davis) makes the mistake of kicking a boy ("Aw," says Big Jake, "why'd he want to go and do that for?"). There could be trouble but then it is discovered that the big man on the horse is Jacob McCandles, who apparently is not dead. This happens so often that Big Jake swears he will kill the next man who says that and, of course, he does.

Finally, this film has some great dialogue by Harry Julian Fink and Rita M. Fink. This was their first film together (he did "Major Dundee" and "Ice Station Zebra") and after this they created "Dirty Harry" for Clint Eastwood (no wonder the choice lines in this movie are so choice). When James calls Big Jake "Daddy," the Duke knocks his son on his can and announces: "You can call Dad, you can call me Father, you can call me Jacob and you can call me Jake. You can call me a dirty old son-of-a-b***h, but if you EVER call me Daddy again, I'll finish this fight." But my favorite is when Fain first encounters Big Jake (not knowing who he is, of course) and gives a very serious warning. At the climax of the film Big Jake repeats the warning word for word with a grim earnestness that is quite impressive. That is why this is not a great film, but a great movie.

Buy Big Jake (1971) Now

John Wayne rides high in the saddle once again in "Big Jake", which proves to be one of his better films from the 1970's.

Wayne plays Jacob McCandles, an aging rancher who goes after the group of men who attacked his ranch, killed some of his workers, and kidnapped his grandson. However, "Big Jake" doesn't plan on letting these no-goods get away lightly. He teams up with his sons James and Michael (played by Patrick Wayne and Chris Mitchum, respectively) and an old Indian friend named Sam Sharpnose (Bruce Cabot) to distribute some rugged Western justice. It has been many years since Jake has even seen his family; he doesn't even know about his grandson until his estranged wife (Maureen O'Hara) sends for him. A man also out of his time, Jake is surprised with inventions such as the motor-car that has made horse-riding obsolete, and the automatic pistol Michael carries for protection. Although it is 1909, he still prefers to use a horse and six-shooter, just like the old days. Whether they use "advanced" technology or not, Jake and his pals have a lot of trouble on their hands as they try to catch up with the men who have his grandson while fighting off local robbers who know about the alleged 1,000,000 dollars Jake possesses for his grandson's ransom.

The action scenes are surprising violent (compared to some of Wayne's older films), but they're not extreme to the point of earning "Big Jake" an R-rating. The dialogue, especially between Jake and his sons, is enjoyable and simple. A cast of familiar Western actors only adds to the fun, as familiar faces appear throughout the film. Some of the actors include Harry Carey Jr., John Agar, Jim Davis, and plenty more.

"Big Jake" is a film that John Wayne fans and action fans alike won't want to miss. Unfortunately, there are no special features on the DVD edition.

Read Best Reviews of Big Jake (1971) Here

This is one of the last traditional John Wayne Westerns. He's a little older but he's still tall in the saddle and commands the screen. Estranged legendary patriarch, Big Jake (John Wayne) reunites with his family to recover his grandson, Little Jake. Richard Boone, the leader of the kidnappers turns in a good performance as the personable but menacing villain. Boone and Wayne exchange some of the best cliched dialogue ever put on film. It's pure good old-fashioned Saturday matinee stuff. The film is also highlighted by Elmer Bernstein's best score for a Wayne Western since his "The Comancheros" and "The Sons of Katie Elder." This film also features Maureen O'Hara, Patrick Wayne, Chris Mitchum, Bruce Cabot and Bobby Vinton. This was director George Sherman's last film. There are some great scenes in this film. This is one of my favorite John Wayne Westerns.

Want Big Jake (1971) Discount?

One of John Wayne's better late-career vehicles, "Big Jake" (1971) is an enjoyable turn-of-the-century Western that mixes humor and gunplay in equal measure. The cinematic icon remains tall in the saddle as Texas rancher Jacob McCandles taking on villainous Richard Boone and anyone else responsible for the kidnapping of his grandson. Veteran director George Sherman keeps the action moving at a relaxed pace. However, the climactic shootout is bloodier than expected for a Wayne Western. In a disappointingly small role, Maureen O'Hara appears with the Duke for the last time as McCandles' estranged wife.

Save 32% Off

The Forgiveness of Blood (The Criterion Collection) (2011)

From the first lingering shot of the idyllic Albanian landscape, with majestic mountains in the background and windswept fields in the foreground, director Joshua Marston immerses the viewer in a powerful fictional tale about a very real issue -the impact on the families who end up inheriting the "sins of the fathers" from violent blood feuds in one of the poorest European countries.

The beginning of the story quickly sets up the jarring contradictions faced by contemporary Albanians -horse-drawn carriages alongside motorized vehicles, livestock on the soccer fields, adults and elders clinging to ancient oral traditions while the younger generation is wrapped up in videogames, television, Internet-enabled computers, and handheld mobile devices.

The greatest service Marston does is to shed light on this paradox as the Old clashes with the New, placing the seemingly unfathomable tradition of regulated blood feuds in human context. We see it played out to dramatic effect as a rivalry over land and access to a previously open road turns deadly. The key moment takes place off-camera, leaving it to our imaginations to determine whether it was truly an act of criminal murder or one of justifiable self defense. Emotions run high on both sides, so who is to blame and who is to be believed? The story is told through the eyes of young Nik, who must endure prolonged house arrest for what his father and uncle are accused of doing, and younger Rudina, who must become a primary income provider for her family, all of whom suddenly are tormented by an incident they neither participated in nor witnessed.

The performances of the entire cast are amazing, especially Refet Abazi as Mark, the father, whose every moment of screen time is like lightning trapped in a bottle, waiting to explode. He is at once sympathetic, noble, full of righteous fury, and boiling danger right beneath the surface.

The most amazing performances are by Tristan Halilaj as Nik and Sindi Lacej as Rudina, because this is the first acting job for both young stars, yet they manage to bring a genuine believability to their characters. Nik is transformed from a flirtatious youth dreaming of starting a cyber-cafe to a stir-crazy man yearning for freedom, trapped within the walls of his house and the prison of his own adolescent body. Rudina's journey is even more endearing and heartbreaking as she starts out as a bubbly girl happily sharing what she learned in school with her father and quickly has to grow up and become street-smart to save her family. Watching Rudina's brave actions in the face of crisis and all of her endearing moments of growth were, for me, some of the best moments of the film. Marston does a spectacular job of directing them and building on their natural instincts -he even manages to give the family's beloved horse, Klinsmann, a personality.

It is not hard to imagine how an archaic legal code (the "Kanun" as Albanians call it) by Leke Dukagjini in the fifteenth century is still adhered to today by some. We have seen it in the frontier towns of America's mythologized Wild West, and in the true life American blood feud sensationalized by the Hatfields and the McCoys. What might seem a repulsive, amoral practice of "eye for an eye" vigilantism is actually a much more complex, regulated system in search of justice, which is often elusive in the power vacuum of post-Communist Albania, still facing economic hardships, low employment, and poor infrastructure. As people in authority and on the fringes take advantage of the systems for their own gain, the victims who seem to suffer most are the innocent masses -the hardworking families struggling to make ends meet while holding on to their pride and ethics, and most tragically the children facing an unsure future.

The Forgiveness of Blood is an important portait of an Albanian culture in transition told as an engaging drama that will keep filmgoers on the edge of their seats, wondering what will happen next. It is a movie that deserves to be seen and discussed.

I ordered this film to try to understand more about the cultural background of a story from my own family lore. My grandmother told the story of "Zio Francesco" who was a shepherd in Calabria in the previous century. The local bandits (now they would be called organized crime) would come periodically to take one or two of his flock, but he was a poor man and the result was real hardship. Finally he informed the carabinieri (local police) where they could find the bandits. They escaped, and the man knew that he could no longer leave the house without being killed. So, each day, he would send his small son out with the sheep. One day there was a thick fog, and the boy was afraid, so the man went out hoping to be veiled by the fog. But the bandits caught him and burned him alive.

Albania is the only country that codified in writing the ancient vendetta law, called the Kanon, but it held the force of custom through wide swaths of the Mediterranean. Before Albania was Communist, before it was Muslim, before it was Christian, the vendetta law ruled. When Albania fell to the Turks, many Albanians fled to Italy and settled in their own villages in Calabria. (My grandmother callled them the "Grecchi.") It was about that time or a little later that the Kanon was written down, back in Albania. I don't know whether the Italo-Albanians ever adopted the written Kanon, or if their customs have changed over the years. Under Communism, the Kanon was suppressed, but since the fall of Communism it has been brought back, though many question whether a custom that was suppressed that long can ever return exactly as it was. The movie belongs to this period, and that helps to explain why there are so many opinions expressed in the film about how the Kanon should be enforced.

The story is told from the point of view of the boy who has to stay inside, because he is just old enough to be under the ban. The end of the film is magnificent, a perfect resolution to what could easily have been a downer movie. One sees that the Kanon contains within itself some mechanisms for reconciliation. After watching the film, I feel like I have spent a couple of hours in today's Albania, and maybe in Calabria of two hundred years ago as well. This one is a keeper.

Buy The Forgiveness of Blood (The Criterion Collection) (2011) Now

I learned more from this film than I did with Maria Full of Grace, Marston's first film, because I have traveled and worked in Columbia and other Latin American countries.

To me, Albania was an unknown world unlike any place I had seen. The one horsepower vehicle saved the family money by feeding it hay instead of gasoline. The family members looked like they could be living in any European country, but their culture and attitudes were unique. I would be unwilling to negotiate with any of the family members, especially the two teen-agers.

It is unlikely that I would be able to visit Albania, which makes this film especially valuable.

Don't forget to watch the special features, which explain why there is such a huge gap between the generations. The older family members lived in a country that was entirely isolated from the rest of the world and was just beginning to open up. Think North Korea as an example of what Albania was like for the older generation.

Read Best Reviews of The Forgiveness of Blood (The Criterion Collection) (2011) Here

Director Joshua Marsten may be known for directing many American drama series, but his 2004 Oscar-nominated film "Maria Full of Grace", caught the attention of many film critics for its natural, deep and surprising storyline of a young pregnant woman in Colombia working as a drug mule in order to raise money for her family.

This time around, Marsten takes his film to Albania where he focuses on Gjakmarrja (Albania feud). In Albania, a person can kill another person to save one's honor questioned by an earlier murder or moral obligation.

VIDEO:

"The Forgiveness of Blood The Criterion Collection #628″ is a film presented in 1080p High Definition (1:85:1 aspect ratio). "The Forgiveness of Blood" is a film that looks very good on Blu-ray, while low-light, night scenes do showcase a bit of noise, the picture quality of the film looks natural with a good amount of grain throughout the film.

I didn't see any major use of DNR throughout the film, nor did I notice any artifacts or any problematic situations while watching the film. If anything, picture quality for this film is very good.

According to the Criterion Collection, the transfer was approved by director of photography Rob Hardy and the new high-definition digital transfer was created on an ARRISCAN film scanner from the Super 16 mm negative.

AUDIO & SUBTITLES:

"The Forgiveness of Blood The Criterion Collection #628″ is presented in Albanian 5.1 DTS-HD Master Audio. Dialogue is crystal clear, as this is a film that primarily is dialogue-driven but while the families do live out in the country, there is good use in showcasing the ambiance of living in the country and hearing the sounds of dogs barking or insects as part of that ambiance.

According to the Criterion Collection, the soundtrack was remastered at 24-bit from the original digital audio master files using Pro Tools HD.

SPECIAL FEATURES:

"The Forgiveness of Blood The Criterion Collection #628" comes with the following special features:

Audio Commentary Featuring audio commentary by director and co-writer Joshua Marston recorded in 2012.

Truth on the Ground (17:39) Producer Paul Mezey talks about the challenges and beauty of filming "The Forgiveness of Blood" in Albania. Featuring interviews with a few of the cast members.

Acting Close to Home (23:28) Refet Abazi, Tristan Halilaj and Sindi LAcej discuss blood feauds in Albania and connecting with thier characters.

Auditions and Rehearsals Tristan Halilay and Sindi Lacej's auditions (9:25) and primary cast rehearsal of one scene with director Joshua Marston (10:07). Spoken in Albanian and English.

Trailer (2:24) The original theatrical trailer for "The Forgiveness of Blood".

EXTRAS:

"The Forgiveness of Blood The Criterion Collection #628" comes with a 20-page booklet with the following essay "How Things Work" by Oscar Moralde.

JUDGMENT CALL:

"The Forgiveness of Blood" will probably be a film that will help people understand Albanian culture and eventually learning about how blood feuds take place and how it can affect an entire family.

Featuring a believable performance by young actors Tristan Halilaj (who plays Nik) and Sindi Lacej (who plays Rudina), "The Forgiveness of Blood" is a film that features honest portrayals of a family that must adhere to Albania law but also giving people a chance to see life and laws that people many not really understand.

The whole blood feud, I have heard before. But the concept of kanun or besa, I was not familiar with.

We know the boredom and the difficulty that Nik faces as a teenager who is supposed to live his youth with freedom and have fun with his friends. But because his family caused the murder to another family, in order to stop a war between the families, Albanian law dictates that the men of the family must stay home in their house. Call it home incarceration, but as a teenager and having only contact with your family and no freedom to leave is too difficult for Nik as he is a young man that should grow up to find love, to have friends and enjoy that part of his life.

For Rudina, her life is severely altered as well. A straight A student with a life ahead of her, because her father is now stuck at home and is not allowed to leave his property, she and her mother must now be the breadwinners. She must bare the burden of having to work long hours, trying to make money for the family and feed them. And for a young teenage girl, similar to Nik, she is being deprived of her family, her friends and as a person who enjoyed her education and excelled at it, her life will be altered forever.

But how long can these children be forced to live this way of life? How long can a family live a life of being confined to their home.

Suffice to say, director Joshua Marston gives people a chance to see how the "gjakmarrja" affects families and also a rarity to see in today's modern cinema.

And once again, another film for Joshua Marston of taking on challenging storylines and showcasing a side of society or culture that people are not familiar with and covering it with efficacy. At first, the Albanian actors were unsure what an American director was planning on doing, but Marston who did thorough research before working on the film, was able to convince the talent that he was creating a film not about the history of Albanian blood wars but showing how blood feud's can still affect today's generation. A generation, no matter how much technology is used by today's young generation, laws are laws and they must followed. And everyone is affected by a blood feud.

As for the Blu-ray release, the film looks very good. Shot in Albania, the use of scenery and Albanian talent help create the believability of this film. Because the viewer is restricted to a certain location, you can understand and easily sympathize with Nik and Rudina. Picture quality is very good, featuring a good amount of grain, the lossless soundtrack also showcases the ambiance heard out in the country from dogs to insects, once again, adds to the believability of the film.

And the film also has an insightful audio commentary, interviews and a thorough essay included as well!

Overall, "The Forgiveness of Blood" is another outstanding film from Joshua Marston. A gripping storyline which immerses the viewer of Albanian culture and its blood feuds that remain relevant in modern society. "The Forgiveness of Blood" is recommended!

Want The Forgiveness of Blood (The Criterion Collection) (2011) Discount?

The film plays like a documentary-drama. The screenplay is devoid of dramatic devices or drama wherein mundane life is condensed to some degree to make a point or tell a better story. The director is the same who made Maria Full Of Grace which I liked a lot. That was realism too and yet without the docu-drama of this film. I wouldn't praise the actors for acting because I honest to god believe they are playing themselves. The director told them to behave how they would in a given situation and so they did.As such it is of interest to be able to observe Albanian life in the country

It is not a dull film; it has a good pace and a plot. What it lacks is the addition of dramatic salt to give it some taste.

That said I cannot empathise with anyone in the film except the young innocent girl doing the bread-round..The Kanun or practise of the vendetta or the blood feud belongs to medaevil times or the eye-for-an-eye of Biblical times. In the West people strived and came up with The Age of Enlightenment. In Islam the Koran is full of rules for conduct in life; in fact the Koran is quite specific. People honour them or punished according to a sense of civil law.( that doesn't mean sharia law in practise ) However these grudges muddled through and perpetuated by simple people is a lack of culture. And this by a people who adopted Islam/ the Koran that is too black and white for the grey quagmires of grudgeland in people's inner landscapes. The kanun reminds me of the old Scotsmen, the Ethiopian or the Chechen tribes who are ruthlessly selfish to anyone not related as far as a second cousin. The disputes may be legitimate but they are caused by a petty mind-set in the first place in conjunction with an us-and-them out-look.

I see some hope in the film because the youth are becoming Internet saavy. Good for themthey can educate their elders to have a wider view of the world.; clean up this backwater of Europe by connecting to the modern world. As I hope happens elsewhere in the 3rd world dealing with worse old world things like female circumcision and genocide. Meanwhile I don't have patience for the content of this film and no sympathy for lack of culture clinging to barbaric customs. Not to stigmatise Albanians but the kanun may have been the spring-board for gangsters that send a shiver up the spine in other European countries where they operate. Their bad boys are famous for being a breed apart.

The film has value in that it sheds light on out-dated customs. The modern world is no shining example of culture but at least tries to uphold the 10 commandments in theory anyway than squabble over them

Save 52% Off

Waterworld (Blu-ray + DVD) (1995)

A few years after Waterworld was released on video ABC aired an extended cut on public television. I have been waiting for a long time for the extended edition to be released and now it finally has been. While watching it I relied something that shocked me that is the ABC version, the cussing is gone, the violence is soften and some scenes have been cut out, and no Helen bare back shot. Even some of the sound effects and music has been changed. After doing more research I found this to be true. Instead of revising a 'true' extended edition Universal just put the ABC version on here (without commercials of course) and just added a 5.1 soundtrack to it. What a waste of money this was/is. I guess that's why it is only 15 bucks, I would have gladly spent 50 bucks for an unedited extended cut.

First off, I love the premise of the film and the musical score by James Newton Howard. It took me about two complete watches until I finally began to enjoy it. I liked how they used very little special effects and actually built everything you see on the water. The lack of CGI sets, vehicles and explosions are what caused Waterworld to be one the most expensive films ever made. Almost everything on screen was built by man, which is great in a world full of digital effects taking over the story in most flicks. This is one that I watch at least twice a year and it is worthy of any DVD collection.

Buy Waterworld (Blu-ray + DVD) (1995) Now

With so much other crap being released these days for a quick buck, can we PLEASE get this re-released as a decent DVD version complete with the Extended Edition that's shown on cable and television from time to time. I would love to spend my money on it. Who is with me?

Read Best Reviews of Waterworld (Blu-ray + DVD) (1995) Here

"Waterworld" has become a classic of sorts, although some may say for all the wrong reasons. It received a beating in the year leading up to its release for its bloated budget, a then staggering $200 million. Much of these costs were incurred due to the shoot being closed down after tropical storms devastated the outdoor sets, and then again when Costner's wife left him during filming, as it was rumored he was caught with some local women and extras. It was assumed this was going to be a bomb of "Cleopatra" proportions, complete with a bankrupted production company and an embarrassment to Universal Studios. The film was nicknamed "Fishtar." However, much to the surprise of everyone, the movie opened to decent reviews and ended up recouping its production costs and turned in a tidy profit with its worldwide gross. Its various home video releases have also sold very well. The movie inspired a wildly popular ride/attraction at Universal Studios Florida. The movie is not exceptional, as it is essentially "Mad Max" on the water, but it features a strong performance from Costner and a very fun and entertaining turn by Dennis Hopper as "The Deacon", the film's villain. The action as directed by Kevin Reynolds(The Count of Monte Cristo, Robin Hood: Prince of Thieves) is no short of spectacular and the dazzling special effects hold up nicely. For me, the scenes which resonate are those between Costner's Mariner and Helen (Big Love's Jeanne Tripplehorn), and Enola (Napoleon Dynamite's Tina Majorino) on the boat as they become a makeshift nuclear family. This is where the film should have concentrated more energy as it emerges as the most compelling element of the story.

The blu-ray presentation of "Waterworld" is quite excellent. It has seen many incarnations over the years from VHS and several DVD releases, but this hi-def master is the one to own. The VC-1 encode is razor sharp, with excellent contrast, and a nice veneer of film grain, giving it a nice theatrical presentation. There are so many details to catch in the set design and I was able to see many I had not noticed before on the Mariner's boat, the Atoll, and the Valdeez, all of which are exceptionally rendered. The breathtaking cinematography pops off the screen, the colors having never seen such vibrant imaging. No evidence of DNR (used abusively in past home video releases), aliasing, or edge enhancement. The film does have some ringing in some scenes, especially aerial shots of the Mariner's sailboat, as the netting gives off too much shimmer, but it's hardly a distraction. Even better is the DTS-HD MA 5.1 lossless soundtrack which beautifully detailed, as we can hear every ripple and wave in the surrounds, and the action, special effects, and explosions rock the listening area with powerful rumbles from the subwoofer. James Newton Howard's brilliant score is rendered with gorgeous clarity and dialogue is crisp, clear and well-prioritized in the center channel. For fans of the movie, this upgrade is a no-brainer.

The special features are nonexistent, only a SD theatrical trailer and BD Live functionality which has nothing to offer. Most disappointingly, the extended cut of the film is not made available in this set. Both versions are included in the SD DVD set, but for some reason, Universal did not take advantage of BD's overarching feature...superior capacity and include both versions. Granted the extended cut is also censored for content as it has been shown on television, but a director-approved cut would have made this release a bit more of an event.

Given the bargain price on this one, I say grab it, as fans will love this presentation, but even if you are revisiting the film, it is a different experience away from the hype and bad press, and it is, in the end, a very entertaining and fun action adventure film with terrific special effects, and serves as a nice piece of escapist entertainment. This blu-ray presentation gives a nice excuse to have another look.

Want Waterworld (Blu-ray + DVD) (1995) Discount?

This is the second movie that I have purchased produced by Universal Studios, which included a extended/director's cut that was simply a production of an edited version that was shown on broadcast television. It differs in some significant respects to the actual theatrical version with regard to the deletion or altercation of some dialogue and other scenes considered too explicit for television networks. This is a lazy and sad attempt by Universal Studios to produce a extended/director's cut. Most studios, when releasing an extended/director's cut, include ALL the material included in the theatrical release with the additional scenes cut seamlessly into the movie. Moreover, the sound and picture quality on this extended edition is also noticeably worse than on the theatrical version disc. If I wanted the version that was broadcast on television in that form, I would have videotaped it when it was on. I will seriously consider whether I will purchase another extended edition from universal studios given the little effort they seem to put forth and the little care they seem to demonstrate in pleasing their consumers and fan base.

Save 25% Off

Blood (2009)

A police detective finds himself running with creatures of the night while investigating a gruesome murder. Detective Hoshino questions the former employer of a slain maid's unsolved murder, an ethereal seductress named Miyako Rozmberk (Aya Sugimoto), in hopes of landing a solid lead before the statute of limitations runs out. Miyako takes an interest in the detective, this due to a unique quality present in his blood which only a few possess, so she feeds him clues as to who the murderer is. When Miyako's tip leads Detective Hoshino to Ukyo Kuronuma, a ruthless yakuza overlord, the fact that Ukyo is found attempting to feast on a terrified, bound, naked young girl would indicate that he was indeed the killer. But shortly after learning that Ukyo is in fact the famed shogunate-era swordsman Okita, who has been transformed into a vampire by the powerful and ageless Miyako, Detective Hoshino, too becomes born-again (and not in a Christian sense) as a deathless bloodsucker, again thanks to Miyako. As history would have it, she and Ukyo are former lovers,but his propensity for violence and cruelty were too much for her refined elegance. Later, when Miyako's loyal female servant wages a vicious fight to remain her one and only companion, Detective Hoshino realizes that even in death, the struggle for survival never ceases. And sometimes, depending on the individual, isn't even worth the effort...

A cross between 'Versus', 'Shinobi' and 'Countess Dracula', this little flick has much going for it action, blood, vamps, yakuzas, swordplay, nudity, a seductive yet visceral style, and the gorgeous Aya Sugimoto ('Flower and Snake', 'Flower and Snake 2') who gets more beautiful as she ages, much like her character here. Though nothing complex, it's an enjoyable ride and worth investigating if you're into any of the items mentioned above. Hell, its head and shoulders better than any of that 'Twilight' tripe, I assure you. It's in Japanese with English subtitles, which will avert a segment of potential viewers like a crucifix would a vampire, but it's not too wordy so those challenged by a basic requisite like reading shouldn't be put off, it's worth the effort. (I'm not railing against anybody here when I say this, but all too often, people ask me if a movie's dubbed or not, and won't consider watching if it's subtitled. You tend to cut yourself off from things you'd otherwise enjoy by doing this, IMHO.). Sink your teeth into this one and you just might draw some 'Blood'.

Most people are familiar with the Anne Rice version of what a vampire is, or more recently, "Underworld." This is not that kind of vampire movie. While it does rely heavily on very seductive qualities, the story itself keeps you into the movie for the duration. That being said, this is a very adult movie...at times, seeming like a Japanese Vampire Softcore. The lead actress, Aya Sugimoto, is (pardon the phrase) drop-dead gorgeous! And she plays her role extremely convincingly. The male leads are shared by two equally handsome men that look as if they could have been plucked straight from an anime series.

The story and pace of "Blood" is very even throughout. But there were times when I was hoping for some more history and details that link the Edo period to present day, and regarding where Miyako (Sugimoto) came from, or how she came to be the vampire/temptress that consumes her existence (as far as the film is concerned, she just "is"). Treating this as a comparison to any other vampire film would be a mistake. This movie takes on a fairly emotional love story more than horror or thriller. I say that kind of tongue-in-cheek the way that "House of Flying Daggers" is a love story. You do FEEL for all the characters, but when the action scenes take place, the emotions feel slightly jarred and put on pause. All things considered though, it is an exceptional love triangle that one can assume will only end in despair. I would have given this movie 4.5 stars but the blood used in the movie looked more like water with red food coloring in it. Half-star deduction on a technicality :-/.

Overall, this is a good movie that puts a different spin on an old folklore. There are plenty of tales regarding the supernatural side of Japanese culture, but few make it to film. The sheer beauty and passion alone would make it a love story worth watching. But the action and vampire element make it that much more appealing.

Buy Blood (2009) Now

I remember watching Ten Shimoyama's "Otogiriso" a few years back during the height of America's fascination with the long black hair of Japanese horror. It was a decent effort for the genre but not as memorable as "Kairo," "Dark Water," or even the many sequels and squeakquels of "Ringu." After that, Shimoyama pushed out "Shinobi," a tale of two love struck ninjas from warring clans. "Shinobi" was a stylized step away from horror and a film that would make me wonder why the hell he chose to take a literal step back for "Blood," a flat entry into a sputtering sub-genre whose current fans are scarier than the digital footage they're engrossed by.

During the investigation of a maid that disappeared more than a decade ago, Cold Case Detective Hoshino encounters Miyako, the maid's former employer and local centuries old vampire. Through a game of seduction and bloodletting, Hoshino is lead to Ukyo, who reveals himself as the jilted corner of the sanguinary love triangle.

For a vampire film that promises a dramatic love story, nothing new was brought to the table. "Blood" delivers a tired tale that resembles nothing more than that of the straight-to-video, popular American affection to vampires. Have you ever watched a werewolf flick where a guy walks into a forest on a sunny day and just turns into a wolf? "Yeah, doesn't Jacob do that in `Twilight?'" *If you're a true horror fan and you did see that, did you still think that you were watching a werewolf even though he didn't transform with the aid of a full moon? That's one of the problems with "Blood." With a film like "Near Dark" you have an exception to the rule because it wasn't common practice to strip away the monster's mythology until you basically had: guy/girl that lives forever but has to drink blood and avoid sunlight. With "Blood," the vampires may not sparkle but they do walk around in the sunlight. To me, a vampire that walks around in the sunlight is a big no-no. These vamps have become: guy/girl that drinks blood and lives forever. I find it a little less interesting and not too original to peel away all of the layers of the vampire mythos until you just have a blood drinking human that has a long lifespan and a constant boner. I don't expect these jerks to not be able to cross running water, turn into bats, or shriek at the sight of garlic, but vampires can be very interesting and there's a lot to work with from the get-go. If you aren't going to have a vampire in your vampire film, pick some other creature and don't call it a vampire film.

Like "Shinobi," Shimoyama bumps up his blues when color correcting the nighttime or certain indoor shots of "Blood," giving it a particular cool feeling. The outdoor shots of the film are probably the best scenes in the movie because the location and the acting seems natural. All of the indoor scenery, with the exception of Hoshino's office, seems artificial and are given a bad DIY cheapness. Speaking of cheapness, there are a number of soft-core sex scenes that happen at random intervals that really detract from the film-they just happen whenever. With the exception of Hoshino's superior, played by Guts Ishimatsu, the acting is nothing to speak of. Actually, after seeing Aya Sugimoto (who plays Miyako) constantly follow her lines with a dramatic slow-turn, watching Ishimatsu as a hard-ass jaded detective was one of the most uplifting aspects of "Blood."

There are no special features whatsoever on the regular DVD of "Blood." The film is presented in a 16:9 full screen aspect ratio with a 5.1 Dolby Surround soundtrack. Dialogue and audio are clear and the picture quality is nice for being viewed on a system set up for Blu-ray. There is minor artifacting throughout the film (most obviously the title sequence) but it seems like that`s from the source material rather than a bad disc.

Even if you are a heavy Asian cinema fan, I would say that "Blood" isn't a film you'd want in your arsenal of DVDs. If you just have to watch "Blood," go back and start by watching Shimoyama's "Shinobi" or "St. John's Wort" so you can be witness to full potential not being realized. There are plenty of badass Asian films hitting the streets every week-go find `em.

Read Best Reviews of Blood (2009) Here

I like vampire movies. Great to Awful, I endure them all. 'Blood' doesn't make the 'Great' category, or even the 'Good' category, however it's not to bad to sneak downstairs and purloin the disc and pop it in to watch in darkness of the den/family room/wherever . . . what is that? A shadow in the corner of the room . . . yep . . . 'Blood' just might make you a bit jittery. BOO!

Want Blood (2009) Discount?

wonderful for movie and it's additive to watch!!! thank you for having this wonderful movie on line and thank you sooooo much!!!!

Save 56% Off

Panic in the Streets (1950)

Love him or hate him (many in Hollywood still do, hate him, that is, based on his cooperating with the HUAC House Un-American Activities Committee back in the early 50s), Elia Kazan knew how to make damn good films, including such features as A Streetcar Named Desire (1951), On the Waterfront (1954), which won eight Academy Awards, including one for best direction and one for best actor in leading role for Marlon Brando, Splendor in the Grass (1961), and this earlier effort titled Panic in the Streets (1950), which also won an Academy Award in the best writing motion picture story category for Edward and Edna Anhalt. Starring in the film is Richard Widmark, whom I last saw in the one of the unfunniest comedies I've ever seen in National Lampoon's Movie Madness (1983), so I really relished this opportunity to put that experience in the past as I knew Widmark capable of much better things having seen Pickup on South Street (1953), which I think is one of his best films (I have yet to see them all). Also appearing is Paul Douglas (It Happens Every Spring), Barbara Bel Geddes (Vertigo), Zero Mostel (The Producers), Guy Thomajan (The Pink Panther), and Jack `Believe it...or not!' Palance (The Professionals, Torture Garden) in what appears to be his first silver screen role, credited as Walter Jack Palance.

The story, which takes place in New Orleans, or New Awlins', if you prefer, begins as a seedy poker game breaks up early due to one of the players feeling all sick like...the others are annoyed, especially Blackie (Palance), as the man was winning, and they believe he's using the old `I'm leaving early because I'm sick, not because I'm winning' ploy to get out of giving them the chance to win back their money, so they follow him because the aforementioned Blackie is an especially poor loser and wants his dough back...to which they end up killing the man and dumping his corpse in the harbor...only thing is, the now deceased was truly sick, suffering a pulmonary form of the bubonic plague aka the black death (you know, that bug that spread across Europe and killed millions?), diagnosed by Lieutenant Commander Dr. Clinton Reed (Widmark) of the U.S. Public Health Service. He tries to impress upon the local authorities the importance of finding everyone who had contact with the relatively unknown man due to the extremely communicable nature of the pathogen, but police captain Tom Warren (Douglas), whose been assigned to work with Reed, has little faith in finding the killer as there are virtually no clues (the dead man has no ID as he recently arrived by steam shipper and entered the country illegally). Now Reed and Warren have 48 hours to crack the case, lest the disease take a foothold and spread across the country.

My favorite exchange in the film was between the characters of Reed and Warren, the two civil servants stuck with each other, Reed feeling Warren isn't taking things serious enough, while Warren thinks Reed is over-reacting.

Reed: You know, my mother always told me if you looked deep enough in anybody, you always find some good, but I don't know.

Warren: With apologies to your mother, that's the second mistake she made.

This is a really strong film, although I'm not sure if it did too well the time it was released. The most striking aspect about the movie, in my opinion, is the dark haired Palance who played the role of the lead antagonist Blackie. He's a truly scary individual, not only because of his lean, almost gaunt, towering physique, but also because quiet nature of his character, sort of a calm exterior barely containing seething cauldron of violence ready to spill over on anyone who goes against him (check out the scene where Blackie dumps the sickly Poldi, mattress and all, over the stairwell)...one really interesting thing, and something I think often tends to screw films up in less capable hands, is the inclusion of so many different facets of a story...the disease, the killer(s), the relationship between Reed and Warren, the relationship between Reed and his wife (played by Bel Geddes), the withholding of information from the public, risking the possibility of full blown outbreak vs. the fear of causing a panic that drives the killer, who may be infected, out of town, etc. Yes, there was a whole lot going on (perhaps too much), but it handled well, and with little or no confusion. One aspect that I really liked was the perception by Blackie that police were putting so much heat out there because he thought they thought the man had smuggled something valuable into the country, something he would be interested in...is it me, or did Zero Mostel play the role of flounder lap dog to Blackie just a little too well? I mean yeah, I wouldn't want to get on Blackie's bad side being the man's a gorilla that trusts no one, but Mostel seemed a little too comfortable in the role. All in all I enjoyed this film, and I thought it provided a somewhat different and unique spin on a well-established genre...plus I've always been a fan of Richard Widmark and would strongly recommend two of his other films from the same period in Night and the City (1950), directed by Jules Dassin, and the one I mentioned earlier Pickup on South Street (1953), directed by Samuel Fuller.

The picture on this DVD is presented in original full frame aspect ratio (1.33:1), and looks very sharp and clean. The audio is available in both Dolby Digital stereo and mono, and comes across very well. In terms of special features, there's a commentary track by authors and film historians James Ursini and Alain Silver, along with a theatrical trailer and liner notes for the film. There are also trailer for other 20th Century Fox noir films like Call Northside 777 (1948), House of Bamboo (1955), Laura (1944), and The Street with No Name (1948).

Cookieman108

If I learned anything from this film its not to play cards with Jack Palance...he doesn't like to lose...

This excellent documentary-style noir was superbly directed by the great Elia Kazan, who made great use of actual locations in New Orleans to create a very realistic and believable atmosphere. The cast is nearly flawless, with great performances from Richard Widmark (in a rare good guy role!), Paul Douglas, Barbara Bel Geddes, Zero Mostel, and Jack Palance, in his stunning film debut.

Richard Widmark plays Dr. Clint Reed, a public health doctor who must work with New Orleans Police Captain Tom Warren (played by Paul Douglas) to find the killer(s) of a man who was already dying of the deadly bubonic plague (he was carrying a virulent strain of it). They have only 48 hours to find the killers before they can escape the port area and unknowingly spread the plague throughout the country.

Jack Palance plays the ruthless killer who's on the run from the police, not knowing that he's already infected with the plague. Barbara Bel Geddes plays the patient wife of Dr. Reed (Widmark), and Zero Mostel plays the cowardly sidekick of Jack Palance. The memorable music by Alfred Newman only adds to the mood of this entertaining film noir. The dvd has a virtually perfect picture and sound quality, and includes several film noir trailers and an outstanding commentary by film noir authors/historians Alain Silver and James Ursini. Highly recommended for any film noir buff!

Buy Panic in the Streets (1950) Now

Dr. Clint Reed (Richard Widmark) and New Orleans Police Captain Tom Warren (Paul Douglas) frantically search for a pair of criminals involved with the murder of a card player who may have been infected with plague by the victim. Reed and Warren have 48 hours to find the criminals before they become infectious and spread plague through the population like a wildfire. Although it doesn't compare to the gorefests that pass for suspense thrillers today. Kazan's eighth film as a director is filled with long takes influenced by Welles (although far more naturalistic looking without the unusual angles that Gregg Toland used on Welles' masterpiece "Citizen Kane") creating as much suspense by letting the action play out as the quick cutting style of Hitchcock and other directors working at the time. Featuring the lovely and underrated Barbara Bel Geddes as Widmark's wife, "Panic in the Streets" continues to astound with its suspenseful direction and brutal violence. A young Jack Palance steals the film with his role as "Blackie" one of the infected criminals and Zero Mostel appears as the other criminal a year or two before Kazan ratted him out to the House of Un-American Acitivies. A believable, powerful drama that still resonates today because of Kazan's on location shooting and powerful down-to-earth performances. Writer Murphy and Kazan would frequently allow the actors to improvise some of their scenes changing dialogue around to bring a sense of spontaneity. Kazan's film, unlike many of the time, shows interdepartmental conflicts slowing down the hunt for the infected men.

"Panic in the Streets" looks good in its first presentation on DVD. There's a predictable amount of grain and dirt but, on the whole, there's nothing to panic about. The sound is presented in the original mono mix and an augmented artifical stereo mix as well. The former sounds the best of the two. The sound occasionally comes across as harsh but there's little hiss or other analog problems. Image qualtiy is exceptionally good for the movie and this is a must have for fans of film noir featuring one of Palance's best early performances.

Unfortunately, we don't have any featurettes or documentaries on any of the stars from the film. I seem to recall A&E Biographies on both Jack Palance and Richard Widmark and am a bit puzzled as to why they weren't licensed for this project. Perhaps it's because this is a lower profile classic film that doesn't have the built in audience of, say, "Laura" or "Letter to Three Wives". We do get the theatrical trailer for the film as well as four trailers for four other Fox Noir Classics available on DVD.

A great, involving commentary track authors and film historians James Ursini and Alain Silver is a highlight of this release. The authors point out Kazan's more straight forward style relying much more on lighting the actors to maintain the mood of the film. There's also scenes here that are echoed in later Kazan films such as "On the Waterfront" and "A Streetcar Named Desire".

A sharp, vivid looking transfer for this classic noir is a highlight of "Panic in the Streets". It's a pity that there's no background on the production of the movie provided in the form of a featurette or documentary. As it is, though, we get plenty of information from the two film historians and authors on the commentary tracks and their efforts aren't as dry as some commentators. We also get the original theatrical trailer as well as four original trailers for other Fox Noir DVDs.

Read Best Reviews of Panic in the Streets (1950) Here

I remember catching this movie on TV about 15 years ago, and I immediately fell in love with it, despite the fact that I wasn't particularly crazy about any of the stars, or even 'film noir'.

This amazing gritty documentary-style film just jells perfectly; the setup of the plague, Richard Widmark and Paul Douglas' dilemma, the sleazy New Orleans waterfront dives and characters.

Director Elia Kazan used real locations and often real local people; some of the cops were New Orleans cops, etc.

I'm so glad that this has finally been released....and hopefully most of you will discover one of the most distinctive films of the late 1940's...right up with there with "White Heat".

And....to top it off, the opening theme music by Alfred Newman is, in my mind, one of the amazingly spirited and exiting themes in the history of motion pictures.....

Want Panic in the Streets (1950) Discount?

The Timeless Classics DVD is a low-quality bootleg. The picture is all messed up and looks like a VCD. It even scrolls text across the screen when you start it up telling you who is responsible for "ripping" the film. Unfortunately the Timeless Classics bootleg has all the reviews copied from the Panic in the Streets (Fox Film Noir) page, which is the version to get. Not looking quickly I just thought that the so-called "Remastered" version was a new release. Avoid this hunk of junk and make sure to get the Fox Film Noir release of this amazing movie.

Save 20% Off

Wizards (Ralph Bakshi) (1977)

Wizards (1977) aka War Wizards (the name was changed at the behest of George Lucas as he thought two movies released at the same time by the same studio with war in the title, his being Star Wars, would have been off-putting to movie goers) written and directed by Ralph Bakshi, was certainly a departure from some of his previous adult animation works, Fritz the Cat (1972) and Heavy Traffic (1973), but provided Bakshi the opportunity to show he could create a animated feature for all viewers, young and old, that spoke to the viewer on intelligent terms. Were all viewers ready to hear what he had to say? No, and given the subsequent release of Star Wars (like two weeks later) Wizards, which had been enjoying a great amount of success, got pushed out of theaters to allow for space for George Lucas' epic space opera. With this release of Wizards on DVD, maybe now his film will garner the recognition it deserved so long ago.

The story goes that the Earth gets consumed in apocalyptic fire as man unleashes his most terrible achievement upon himself, and many years after his destruction, various forms of life begin to come forth, including fairies, elves, pixies along with mutants, beings once humans but changed over thousands of years of exposure to radiation. Almost all technology is gone, wiped from the face of the Earth, and, in its' place, magic has prospered. Born of the same mother are two brothers who become powerful wizards, one good, Avatar, and the other evil, Blackwolf. After a tremendous battle, Avatar vanquishes Blackwolf, but not before Blackwolf issues a statement that indicates he will not go quietly into that good night.

Blackwolf, now residing in the poisoned lands with the mutants and nasty things, puts together a massive army, but one lacking proper motivation, and, subsequently, they are easily defeated any time they are sent forth into battle. Tired of his inability to advance proper on his enemies and gain ground, Blackwolf commands that his followers dig up once forgotten technology, hoping to find aid within the scattered remnants of the powerful technology of old. His salvation comes in the form of propaganda films created by the Germans during WWII. Likening himself to the leader of the German forces during this past conflict, Blackwolf uses the films to not only motivate his troops, but to instill fear and dread among his enemies, showing the films in the sky during the battles.

This prompts Avatar, his female fairy charge Elinore, the leader of the Elves named Weehawk, and Blackwolf's captured/converted assassin robot re-named peace, to embark on an adventure to discover the source of Blackwolf's new power, and destroy it. Can this heroic group effectively end Blackwolf's reign of terror and end his powerful war machine before all is lost? There's a nice bit of irony at the end, one that really suited the feature.

So, is the film any good? I have read many opinions that will tell you it's not, and I can understand why this film would put some off, but I really enjoyed the movie. Bakshi's goal, as I understood it, was to create an animated feature with heart, one that didn't talk down to its' audience, as do other animated features released by other companies, i.e. Disney, do at times. His animation style definitely unconventional, is certainly distinctive, and swims with realism, despite the surface superficialities. I really loved how he incorporated live action footage into the film, enveloping it with animation, creating an eerie superimposed background to various scenes within the movie. The film was rated PG at the time of it's release, so I would be wary of showing it to younger viewers, but I think it's a really wonderful alternative full of heart to the shiny, happy, uber-clean, product tie-in animation put out by the larger profit-driven studios. There's nothing wrong with wanting to make a profit, certainly, but sometimes it seems like these films tend to cater to the lowest common denominator, and be more contrived to make money rather than entertain. The animation may seem crude, disturbing, and misogynistic at times, but this is animation with the sugar coating peeled away, mirroring elements within our society. Do people want to see this in an animated feature? Maybe not, but I enjoyed it, but may find myself hard presses to recommend it to all but the more discriminating viewer.

The picture looks really good here in wide screen anamorphic, and there are some wonderful special features including a commentary track by writer/director Ralph Bakshi, theatrical trailers and TV spots for the film, a still gallery with conceptual drawings, and a featurette titled `Ralph Bakshi: The Wizard of Animation'. This provides a wonderful look into the making of Wizards, and Bakshi also provides tons of background on himself, how he got started, his difficulties and successes within the animation business, his motivations for his films, his contempt for animation that talks down to audiences, and his experiences with various individuals during his career. This is the only featuette he's doing for any of his releases, mainly due to his affinity for the project. Some of his comments, especially the ones hinting towards various conspiracies leveled at him, make him sound a little nutty, but make for entertaining viewing. All in all, an excellent release of a great little animated film that went against the conventional grain. Also, keep an ear out for a voice appearance by Mark Hamill as Sean, king of the fairies.

Cookieman108

While it is certainly not for young children, older teens and adults will get a real kick out of "Wizards". Set in a post-apocalyptic world wrought by radiation due to a nuclear holocaust, most humans have died, and the population consists mainly of elves, fairies, dwarves, and then the mutants. The world is in danger from the threat of technology, brought upon by the evil wizard, Blackwolf. It is up to his brother, the comical, yet good hearted wizard, Avatar, to stop him. Joining Avatar in his quest are Weehawk, chief of a tribe of warrior elves, Elenor, fairy princess of the land of Montagar, and Peace, a former assassin of Blackwolf's (formerly known as Necron 99) who changes his ways and fights against the threat of technology. The WWII references abound, and there are many more adult-oriented references throughout. It dares to go where cartoons usually do not, making allusions to sex, prostitution, religion, and there's even a rather racist Vietnam reference if you can catch it. However, I still highly recommend "Wizards", because in all it's brashness, it deserves to be seen. What the animation lacks in quality, it more than makes up for in imagination. It's quite funny, and it also delivers some unexpected twists. I personally really like the way it was done. The music really seems to fit the overall style of it, and the wonderful character designs and voice acting really pulls it all together. I definetely recommend it to anyone searching for something creative and different, and I'm sure any fan of cult classics will definetely want to check it out. However, I stress the importance of having an open mind. I think those who are more open to controversial subject matter will be able to better enjoy it, with all it's dark humor and it's alternative-type feel. I think it is something that everyone should see at least once. It deserves more credit than it has been given, and I think that it will really make people stop and think about our world, and about themselves.

Buy Wizards (Ralph Bakshi) (1977) Now

Unless my memory has failed me utterly this film came out just as I was finishing up graduate school. Bakshi was already something of a god to the revolutionarily inclined of my generation, and there was no question but that a group of us were going to see it. We were wowed, enthralled, and heartened by Bakshi's brilliant combination of a strong story and inventive animation back then. And today, years later, I found myself thinking feeling the same way while watching it again.

For three weeks the film was a smash hit, when one of those weird accidents of fate happen and Wizards was pushed of the stage by the arrival of Star Wars. Suddenly Bakshi's fable was relegated to fond memorys, only to reappear in retrospectives and campus theaters. As you will find out when you listen to the excellent Bakshi interview (more of a monologue), Wizards was the film dearest to the artists heart, the one he felt was his best accomplishment.

Despite its rough language, partial nudity, and high level of violence, Bakshi though of this as a children's tale, albeit one that hewed closer to the true than the sugar coated fantasies that were coming out of Disney's studios. Set in far post apocalyptic times, two brothers are born to a queen of the fairies. One at distorted mutant (Blackwolf) and the other normal (Avatar), both potent wizards. The inevitable clash between then happened, and this is the story of the end of a 3,000 year struggle between the two over the fate of the world.

The story shifts between the two wizards. First the machinations and plots of Blackwolf, as he unearths archaic Nazi technology and turns it into an weapon designed to erase the magical from the world. Then the journey of Avatar and two elvish friends, Elinore and the warrior Weehawk, who are seeking the source of Blackwolf's power.

The story is told with a deft hand as both the narrator and the characters use humor more than dramatic horror to bring the lessons of the film home. The horror, especially that of the battlefield and the aftermath of war is never far behind. In fact it is the these grim scenes that Bakshi displays some of his greatest genius in illustration, using stock footage, illustration, and collage to build an unnerving context.

Even years later, jaded by many hours watching anime, this film still works artistically, and works well. In addition, its messages about the risks of over-dependence on technology and the inevitable losses of war ae just as fresh now, if not fresher. Bakshi was right, Wizards is his best work.

Read Best Reviews of Wizards (Ralph Bakshi) (1977) Here

This is one of the most original and creative films of the fantasy genre. It takes place after a global nuclear war. Two brothers, each a wizard in his own right, go toe to toe in their final confrontation. The film uses a lot of slapstick for comic relief mainly because some of the subject matter is so serious. Bakshi juxtaposes magic against technology and sixties style love against Nazi style hate. The overlying message is that somtimes when it comes down to it, the ends may very well justify the means, and that those who hate cause their own destruction.

Bakshi's use of stock footage is masterful, and his animation is top notch. The characters are very archetypal, but each has a quirk or flaw that makes them unique. Also the voice acting is quite good.

This is probably one of the most misunderstood fantasy films ever made. But once you get past the presentation and look at it on a deeper level, you realise that it is a stroke of genius.

Want Wizards (Ralph Bakshi) (1977) Discount?

A movie lost between others, this feature used to be a staple "Midnight Show" along with Clockwork Orange & Rocky Horror. Its a simple tale that is easy to follow and exemplifies one of the oldest lessons learnable. Those who choose to forget the past are doomed to repeat it. As the evil wizard comes across ancient film of the 3rd Reich, he sees the discipline & motivation as a way to train his own (formerly inept) army. But the world (post apocolypse) has become a better, quieter, more beautiful place & most folks don't want to change. Enter the younger, seemingly simple wizard brother to "fix" the problem once and for all.

Simple to follow, an easy movie to enjoy with friends/family or even alone. There are scores of KeyNotes throughout the movie to base a college level thesis on... but as a linear story, the less you attempt to "make something mean something else" the more you'll enjoy the ride. PEACE BABY!!

The Girl Next Door (Unrated Edition) (2004)

There is a point in "The Girl Next Door Unrated Edition' (which I received and promptly devoured, extra's and all, in one sitting) where the movie is in danger of changing in tone and focus from American Pie to Showgirls, but luckily for the movie and viewers it recovers itself and ends in a definite teen comedy spirit.

I never saw this movie in the theater so I cannot comment on what has been added to this "unrated edition" but there is certainly quite a lot of nudity, but nothing involving the main actors. There are some graphic scenes at a strip club (including lap dancing) and we get shots of one of the main actors watching a porn video at home. There are some nude scenes from behind of both principal actors Emile Hirsch and Elisha Cuthbert, but as Hirsch points out on Side B of the disc (where most of the extras are located) the movie used a stand-in for those shots.

I have a word of caution regarding the list of extra's on the Amazon page. One is titled a scene specific commentary by Hirsch and Cuthbert. What we have here though is not a commentary for the whole movie from the two stars, but rather several scenes on the flip side of the disc in which the two actors both give separate commentary.

Largely (and unjustly) ignored at the box office this teen comedy starts of really well and within the first few moments had me rolling with laughter. The movie starts with a montage of sorts, we see the jocks, brains and cheerleader-types all stating, for their entry in the yearbook, what they "will always remember."

Then there is Matt (played by Hirsch) who is pondering this question. Sure, he has had a successful academic career as illustrated by his acceptance to Georgetown but he really hasn't done anything memorable in his senior year of high school.

That's about to change for Matt though with the arrival next door of Danielle (played by Cuthbert), who plays a breathtaking beauty house-sitting for his neighbors.

Entranced by her Matt is unable to stop himself from watching Danielle undress in the window opposite his bedroom but he is spotted. From that moment he is on a rollercoaster ride. Danielle, amused and evidently attracted to Matt, shows him the excitement of living on the edge, from running naked through the streets to moonlight skinny dipping in his school principal's pool.

Just as everything seems to be going so well between Matt and Danielle, Matt is shocked when one of his best friends Eli (who is a connoisseur of porn movies and full of in-experienced sex advice) shows one of his porn movies in which Danielle is the main star.

Foolishly following some of his friends advice, the two part company and moments later the movie changes tack and takes on a decidedly darker and more serious tone as Matt becomes sucked into the shadowy world of the pornographic movie industry.

What follows is both inventive and highly amusing. How will Matt afford to get into Georgetown? What will become of Danielle? These are just some of the questions in this entertaining movie that borrows heavily and liberally from a number of the John Hughes movies of the 1980s and the AMERICAN PIE movies of more recent years. The movie ends on a high note in a conclusion that is both satisfying and enjoyable.

Now onto the part that most readers of this review are more interested in the extra's. On Side A of the disc we have an OK director's commentary from director Luke Greenfield and an at times amusing and at other times fascinating trivia track.

Then on Side B of the disc we have the aforementioned seven to eight scene specific commentaries from Hirsch and Cuthbert (Hirsch curiously has one more) and deleted and extended scenes with optional directors commentary. None of these scenes are of any particular value to anyone but completists or fans of the movie. They add nothing to the feature, but do have a curiosity factor to them. They also chose the better of the two endings also.

Of more interest is an amusing featurette in which actor Chris Marquette (who plays Eli in the movie) poses as a porn producer and lures in all too interested men (there'e a cute blonde on the bed afterall) who get decidedly less interested (for the most part) when the girl is replaced by a big burly guy.

We are also offered a stills gallery and a VERY short gag reel as well as trailers for a couple of other like-minded movies in addition to one promotional trailer for several other Fox titles. There is also a trailer for THE GIRL NEXT DOOR with the subtitle `Dirrrty,' which in reality isn't really that much of a big deal.

All in all, this is a good and entertaining movie, it seems to lose its footing half way through but successfully and engagingly returns to top form before the final credits roll. This is a definite must-buy for fans of the movie and the genre and certainly great entertainment

The honest answer is no.

And that is extensive to the unrated version of the movie.

Why? Ok let me se...

For a movie that is only 5 or 6 years old, the transfer shouldn't look older than it does. The transfer is just a modest upgrade of the less-than-reference quality picture included on the original DVD.

Too much noise/grain and inconsistent color levels are the main offenders here, with the occasional edge enhancement creeping in as well. Night time and indoor scenes have the most issues, but our first reveal of Cuthbert in a wet, white shirt looks near-perfect, picture-wise. Colors are mostly set to a permanent dull hue, and in some instances are muddy, which is surprising given the quality of most Fox offerings. Trust me, this isn't blu-ray quality.

So if you have the DVD version of it, stick to it and don't change it for the Blu-ray version, you can even find a DVD unrated adaptation of it, plus you won't loose money on it!

As for the extras and unrated part:

The 16 Deleted or Extended Scenes are definitely worth watching. You have a play all option with commentary from director Greenfield. One scene featured actress Amanda Swinton losing it when she had to put a condom on Klitz, who wore a fencing mask to do the scene. She struggles to keep a straight face and loses it at the end. Most were cut for pacing purposes, which is a shame, because a lot of these scenes had moments of genuine emotion that really humanized the movie. We also get the original ending that get this Greenfield cut because people at the test screenings thought Matthew was in the White House when he's standing in front of the Capitol Building...anyways...

The movie's first trip on Blu comes with most of the bonus content present on the unrated SD release.

* Audio Commentary by Luke Greenfield

* Scene Specific Commentary by Emile Hirsch

* Scene Specific Commentary by Elisha Cuthbert

* "The Eli Experience" Featurette

* "A Look Next Door" Making-Of Featurette

* Gag Reel

* Deleted and Extended Scenes (Including the Original Ending)

* Theatrical Trailer, "Dirty" Edition

The only extra missing from the previous SD release is the Pop-Up trivia track, but viewers aren't missing much. The stand-outs here are the director's commentary and "The Eli Experience" featurette. The unrated version is nine minutes longer, but they are nine minutes that do nothing for the movie but increase its running time, and pad it out with an extra few seconds of nudity. So for you people, that means the disc gets the DVD equivalent to a Cable Ace award.

"The Eli Experience" is a riot. Chris Marquette, who plays Eli, goes to the Adult Industry Expo, held during CES, and mingles with the porn stars. In a Howard Stern moment, hulking ex-pro wrestler Matt 'Horshu' Wiese walks up to men at the expo asking them if they want to make out with him. Man this has to be seen!

As for "A Look Next Door" is a standard making-of EPK, and the Gag Reel runs three minutes long as features many on-set screw ups. It's funnier than most gag reels, but it's not worth a repeat viewing.

The movie isn't awful, but you would think the Blu-ray version is better than it really is. The direction is component, but unremarkable, the performances are fun but not unified, and the Blu is one of the weakest catalog titles Fox has released on the format so far. Watch the movie; it's acceptable rainy day entertainment. But don't trade in your DVD for the supreme BD experience, because it is not there. Ironically, most of us wouldn't have seen the movie in the first place if they didn't agree to casting Elisha Cuthbert.

Buy The Girl Next Door (Unrated Edition) (2004) Now

Teen comedies always turn up big business at the box office, this is generally due to the fact that the creative forces behind these movies include plenty of crude humor, sex, and nudity as can be allowed under the MPAA ratings system. Most of the time these teen comedies are a dime-a-dozen, opening big and fading shortly thereafter, with little lasting appeal with audiences. However, there have been some successes in the genre that have had more staying power than others, examples would be "Animal House", the `Scary Movie' franchise, and the `American Pie' series. With those examples of successful teen comedies, they all have some common traits in which they share, basically they are packed full of sex, nudity, and crude humor and language. However, one thing these examples of successful teen comedies, and even the unsuccessful ones lack is any amount of heart or soul in the story. In 2004, Fox Studios produced yet another teen comedy to appease the masses for a short while, "The Girl Next Door". Starring Elisha Cuthbert (TV's "24") and an unknown lead actor named Emile Hirsch, "The Girl Next Door" would stand out from the other teen comedies that have come before it or even after it, for this movie contained the one thing that I said was lacking in those others, that is heart and soul.

"The Girl Next Door" is the story of 18-year-old Matthew Kidman (Emile Hirsch), a straight-laced, overachieving, good boy who has never really lived life to the fullest. That is, until he spies his incredibly sexy neighbor (Elisha Cuthbert) changing in the window, and finds that through his desire to be with her, he will do anything and everything to be with her. But, Matthew gets thrown for somewhat of a loop when he discovers that his perfect `girl next door' is actually a former porn star, who is trying to forget about the life she used to lead. Now, Matthew's sheltered life quickly begins to spin out of control as he attempts to help his new girlfriend leave the life she knew to embrace the life she longs for.

The reason I feel this movie is far and above those other teen comedies I listed, some of which I enjoyed by the way, is like I said earlier "The Girl Next Door" contains plenty of heart and soul in its story. This movie isn't simply about having sex, yes there is that obligatory teen comedy element in this movie, but this movie is actually about the discovery that sex isn't the only thing to look for in a relationship with someone. To prove that point the main character in the story, Matthew, who by the way is played perfectly by Emile Hirsch, is forced to learn that to have a true meaningful relationship with a woman, he must get past his lustful desire to only want the physical body, with no regard for the emotional side of the woman. A lesson he has to learn the hard way, and it forces his character to mature throughout the story, until finally he is able to have a committed relationship with this `girl next door', as he discovers that she is more than just a beautiful woman, and former porn star, and in fact that she is a person with real feelings. And all she asks of Matthew is that he move past her former life and see her for who she truly is.

The writing in this story is better than most contained in this type of movie, generally the story is fairly thin, and is pretty much there to link each crude joke to the next or to bridge the gap between sex scenes; however, in this movie the story is the main focus, yes there are the crude jokes and a couple of sex scenes, but the story isn't simply a minor plot device to get the audience to these obligatory teen comedy sequences. The actors all do a very good job of bringing their characters to life, and appear to be enjoying themselves immensely with the roles they've been given. Elisha Cuthbert and Emile Hirsch share a great chemistry that helps to elevate this movie to almost a romantic comedy level, instead of just teen comedy. Timothy Olyphant ("A Man Apart" and "Scream 2") makes several appearances throughout the film as a shady porn producer, and he manages to steal almost every scene that he's in, and actually provides Matthew with some rather sage advice, though inadvertently I might add.

If you are a fan of teen comedies, but are perhaps tired of the same old thing, then check out "The Girl Next Door", I promise you it is more than your average teen, gross-out sex comedy.

"The Girl Next Door" is available in both rated R and Unrated editions, both contain language and sexuality/nudity.

Read Best Reviews of The Girl Next Door (Unrated Edition) (2004) Here

this movie is the perfect blend of teenage immaturity and perversion we have all come to love thanks to movies like american pie and likes. it has your average high school student makes good grades, president of the student council, etc. who falls in love with the lady who is housesitting his neighbors house...he falls in love with her only to find she is a porn star, and things go downhill for him from there. this is a movie to be watched not as a teenie bopper flick but seriously, it has a perfect blend also of comedy and drama. fans of the american pie type of movies, and fans of porno both should love this one, it will go down in history.

Want The Girl Next Door (Unrated Edition) (2004) Discount?

Before I saw The Girl Next Door, I expected it to be a typical raunchy teen sex movie. After watching it, it has become one of my favorite movies, if not my favorite. It is a love story and a comedy rolled into one.

Emile Hirsch plays Matthew Kidman, a high school senior who is an excellent student and all-around nice kid, but he's kind of nerdy and hasn't really done anything memorable all throughout high school. This changes when he meets his new next-door neighbor Danielle, played by Elisha Cuthbert. Danielle is gorgeous and Matthew instantly falls for her. Soon after spotting her, he sees her undressing through his window and can't help but watch. Danielle catches him watching her and becomes angry at first, but soon it seems as though she has fallen for him too.

Danielle is a former porn star, which Matthew does not find out until his friend Eli (played by Chris Marquette) shows him a video with her in it. To further complicate things, Danielle's former producer/ex-boyfriend Kelly (played by Timothy Olyphant) shows up one day and wants Danielle to return to the adult film business. Kelly and Matthew get along well at first, but this changes when Matthew tries to get Danielle to leave the porn industry, which Kelly does not like one bit.

Eli and Kelly are two characters that really steal the show in this movie. Eli is Matthew's nerdy high school friend who is horny all the time and obsessed with sex and hot women. He had some of the funniest lines in the whole movie. Kelly (the porn director who used to work with Danielle and also used to date her) is the cool, wise-ass guy who cracked me up in just about every scene he was in. I couldn't decide whether to love him or hate him-he is a cool, funny guy when him and Matthew are friends, but when Matthew makes him angry, he becomes psycho and violent.

I do not want to give too much away in this movie, but Danielle gets Matthew to do things that he never imagined he would do. It really is a case of opposites attracting: Matthew falls for Danielle's wild adventurous side, and Danielle falls for Matthew's innocence and purity. In several scenes, you can tell deep down that Danielle really is a good person, she doesn't really want to be in the porn business, and she really cares about Matthew. Matthew feels the same way about Danielle and puts himself in many risky situations for her. This movie was so touching that I cried in a couple parts, and I don't cry easily. Yet there were also parts so funny I couldn't stop laughing (mainly the scenes with Eli and Kelly.) Definitely worth watching and way under-rated.

Save 24% Off