Milk (2008)

Gus Van Sant has always been an excellent if somewhat eclectic director. Although I have enjoyed his previous efforts, I was somewhat apprehensive when I heard he was undertaking a film biography of Harvey Milk. A gay figure of this importance, I thought, should be handled by someone a little more mainstream. Like many gay people, I am weary of gay-themed films that reach no one beyond a gay audience, and the message I would want to emerge from a film about Harvey Milk should be heard by everyone.

As if reading my mind, Mr. Van Sant has fashioned a film that is accessible to all, while approaching his subject with sharp focus and a singleness of purpose that is at once definitive and topical. A stunning achievement, MILK manages to make its point without ever being preachy or trite, while remaining as true to the facts as any film bio could ever hope to be.

The film opens with snippets of gay history that many young gay people, let alone a straight audience, may be shocked to discover. During the opening credits, a barrage of vintage film clips remind us that a scant 50 years ago, gay men, lesbians and transsexuals were subjected to violence, harassment, physical abuse, arrest and humiliation by the very people that most citizens look to for protection; i.e. the police and judicial authorities. The newsreel images of gay bar raids that open MILK project a surreal yet somehow eerily familiar atmosphere that seems to alternate between the bizarre and the barbaric. Many people today are not aware that, in the 1940's and 1950's, right here in the USA, gay people were arrested for simply patronizing a gay bar (newspaper headline: "Den of Perverts Busted"). Many of those arrested had their names and employers published in the morning paper (!), and often found themselves unemployed and unemployable, branded with the label of "deviate". It is this chilling fact of social injustice that clears the way for the film's swing into a very important piece of gay history.

Skillfully telling us the story of Milk's rise as a leader in the Castro Gay Community of San Francisco, Harvey Milk is seen throughout the film as a living, breathing flesh and blood person. Van Sant adroitly propels Sean Penn through a warts-and-all portrayal of a frail human being with an idealistic bent and a politician's savvy. As with any good film, it is difficult, if not impossible, to discern which is more impressive the balance of a perfect cast and lovingly detailed direction weave their way through a seamless portrait of an important historical figure, yet we are somberly reminded that many people remember Harvey Milk solely for the "Twinkie" defense of his star-crossed killer. The end result is that gay audiences emerge from seeing this film with a sense of pride and purpose, while straight audiences leave with a better knowledge of who we (gay people) are, what we want, and what we are struggling for. By word of mouth I expected a thrilling cinematic experience; what I got was a surprisingly near-perfect motion picture and some of the best acting I've ever seen. I heartily recommend MILK to any straight person who wants to get a grasp on what the last 30 years of gay history were really all about, and any gay person who wants to feel good about themselves. MILK is a triumph. See it.

There's not much I can really add to the reviews that have already been given to this movie, so I'll simply echo its brilliance and importance and the way it grabs onto your attention, and your emotions, and never lets go. There is some amazing acting to be found here and no one over-acts or under-acts. Sean Penn was extremely deserving of his Oscar; I can't tell you how happy I was when his name was called, as when as when best original screenplay one the Oscar.

I really hope more people will give this movie a chance now that it's out on DVD. There are no more excuses to be made!

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I have noticed that the "1" and "2" starred reviews for "Milk" have been deleted and that disturbs me. Even if some ignorant pinhead writes something predictable such as "Sean Penn is a traitor" or "Hollywood is shoving the gay lifestyle down our throats" or "this goes against American values" there is such a thing as freedom of speech and even the simple minded have a right to be heard.

That being said "Milk", the latest movie by gifted director Gus Van Sant, is a success in every way. The movie tells the story of Harvey Milk, a man who ran for San Fransisco city supervisor several times, and lost, but eventually won an election in 1978. The reason why this was such a controversial election, of course was that Harvey Milk was a gay man who made no apologies for his sexual orientation. Although Milk is by no means a perfect human being he fights of challenges from the religious and conservative right who believed homosexuals were deviants and should not be allowed to be school teachers or belong in a 'civilized' society.

Harvey Milk is presented not as a man who is trying to shove anything in anyone's face, but as a man who is sick of being told there is something wrong with him and who wants the freedom to live without being told he is sick or he has some disease.

They key to the movie's greatness is, of course, Sean Penn's performance as Milk. Never once did I think I was watching Sean Penn pretend to be Harvey Milk. I was watching Harvey Milk the entire time. The key to a great performance is when you can forget this is an actor playing a character, the rest of the cast, including James Franco and Josh Brolin, also do an outstanding job.

"Milk" is not gay cinema. It's just great cinema.

Peace

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Milk is an excellent movie. Sean Penn gives a moving performance as city supervisor and gay rights activist Harvey Milk. I love Gus Van Sant's direction. The shots of San Francisco's Castro district in the seventies. look very authentic. I love the candlelit vigil shot at the end of the movie. The performances by everyone in this movie are so good. I love James Franco in his role as Harvey Milk's boyfriend. Josh Brolin plays rival Dan White perfectly. I love Danny Elfman's score and the songs "Everyday People" and "Rock The Boat". Everything about the film is flawless. I can't wait for the DVD.

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"Milk" stars Sean Penn in the title role of Harvey Milk, a closeted gay man who moved from New York to San Francisco in 1972. There he came out of the closet and opened a camera shop in the Castro District, an area experiencing a huge influx of gays and lesbians. He ran for political office unsuccessfully several times on a platform that included workers' issues and education as well as the rights of gays and other minorities, and finally won an election for city supervisor. He led several battles against anti-gay initiatives in California.

Penn presents Milk primarily as outspoken activist, community organizer, and champion of civil rights for gay Americans. Director Van Sant combines actual news and archival footage with footage of his actors to illustrate seamlessly the 1970's era that saw the birth of the gay rights movement in the United States.

"Milk," however, is more than just the tale of a firebrand working up the populace into action. It's a movie about one person spearheading a movement to give voice to a minority that had been forced into hiding. By fighting for the right to live without persecution, the gay community became a visible, political force that voted its mind at the polls. Milk worked to organize and inspire his constituency out of complacency and acceptance of intimidation to active protest and demands. It started in California, but quickly spread across the country.

Mr. Penn does some of his finest work in "Milk." From his slicked down hair to his softly Brooklyn-tinged voice to his self-assured swagger, Penn provides an amazing characterization of a man who, in his 40's, finally found a purpose and the wherewithal to achieve it.

There is a self-deprecating facet to Penn's performance. His Harvey can make jokes at his own expense while taking his cause seriously. Mr. Penn captures the folk-hero quality of Milk while never losing sight of Harvey the man. We see him as a flawed individual, not happy in his previous pursuits and as terrified of discovery as most gay people of the time, but ultimately inspired by injustice to be the voice of protest and change.

The movie shows how that change comes in stages. What starts as periodic clashes with the police leads to grass-roots organization for the purpose of declaring themselves to the larger society and persuade the world that they are entitled to the same rights as anybody else. Milk recruits average folks -mostly gay -who can summon a crowd of 1,000 protesters on a moment's notice or get endorsements from local newspapers.

Among these associates are Cleve Jones (Emile Hirsch), Anne Kronenberg (Alison Pill), and photographer Danny Nicoletta (Lucas Grabeel). We're also introduced to two of Milk's boyfriends, Scott Smith (James Franco) and Jack Lira (Diego Luna).

Scott seems to be the inspiration for Harvey to embark on a more meaningful course. Franco is entirely believable in some intimate scenes with Penn. It's in the early scenes, in his conversations with Scott, that we see Harvey's frustration at approaching his 40th birthday and not really having done anything significant. He's ready for a change. They leave New York together to resettle in San Francisco only to find a not-too-welcoming introduction to the Castro District's businessmen.

Josh Brolin plays Dan White, a fellow city supervisor, who shares an unusual collegial relationship with Milk. Staunchly in favor of preserving "family values" and blocking any pro-gay legislation, White is an enigma. As portrayed in the movie, he doesn't have many friends, appears uncomfortable at the inroads the gay community is making in California, is dissatisfied with his job as city supervisor because of its low pay, and ultimately is jealous of the media attention Milk is getting while he remains anonymous. Brolin continues to associate himself with top-quality motion pictures. Excellent in "No Country for Old Men," "American Gangster," and "W.," he continues his winning streak in "Milk."

Rated R, "Milk" won the Best Actor Academy Award for Penn, and was nominated for Best Picture. The script by Dustin Lance Black moves quickly and presents the events of Milk's life in dramatic, fascinating fashion. The film is extremely timely in light of California's passage of Proposition 8, which bars same-sex marriages. Though Harvey Milk fought vigorously thirty years ago for gays to receive the same rights as all other Americans, it seems the fight isn't over.

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Margaret: Theatrical and Extended Cut (Blu-ray/ DVD Combo) (2011)

I can't remember the last time I've been so moved by a film -maybe never. What's it about? Everything. It's hard to think of a major theme of human existence that is not explored in this movie. What it's mostly about is a teenage girl's confrontation with mortality. The title comes from a beautiful poem by Gerard Manley Hopkins called "Spring and Fall," which is read in the film by Matthew Broderick, playing Anna Paquin's high school English teacher:

To a young child

Margaret, are you grieving

Over Goldengrove unleaving?

Leaves, like the things of man, you

With your fresh thoughts care for, can you?

Ah! as the heart grows older

It will come to such sights colder

By and by, nor spare a sigh

Though worlds of wanwood leafmeal lie;

And yet you will weep and know why.

Now no matter, child, the name:

Sorrow's springs are the same.

Nor mouth had, no nor mind, expressed

What heart heard of, ghost guessed:

It is the blight man was born for,

It is Margaret you mourn for.

Even now as I read that poem and recall the powerful closing moments of the movie -where Paquin weeps and knows why -a tear comes to my eye.

The film has an effortless realism. The classroom scenes and the lawyers are pitch-perfect. I mention them in particular, because movies usually get them wrong. The depiction of smart teenagers (and teachers) -what they say and how they say it -is dead-on. Every character is fully drawn. You know them all, and empathize. Some think the movie is too cluttered. I suppose the Matt Damon subplot is the least successful -at least in the theatrical cut -but I did not find the movie overstuffed. You need it all to appreciate the girl's coming of age as she deals with so many of the usual adolescent challenges, plus the outrageous fact of death.

This is a brilliant, spellbinding movie from start to finish.

Be aware that while this set does contain both versions of the film, it includes them IN ONLY ONE FORMAT EACH. The theatrical release is here ONLY in Blu-ray, and the extended version is here ONLY as a DVD. If like me you don't have Blu-ray, you won't be able to watch the theatrical release. And if on the other hand you wanted to watch the highly-regarded extended version in Blu-ray quality, this set won't give you that option.

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I was fortunate enough to see this film recently at the West End Cinema in DC. Having read some of the mixed reviews, I wasn't quite sure what to expect. I found myself pleasantly taken with the movie. Yes, there are one or two digressions that could have been better integrated with the story (or, possibly, cut). Yes, the climactic scene could've stood some tweaks. And yes, between this and You Can Count on Me, I do prefer the latter. But this was still one of the best films I've seen in years! It is a mature work, and honest, and considered. The emotions and psychologies of the characters feel real and authentic. If you're looking for a light, generic popcorn movie, this film is not for you. But if you appreciate true to life drama with weightier themes that will challenge your preconceptions and stimulate your higher cognitive functions, Margaret is definitely worth watching.

An early scene, of the story's tragic inciting incident, was so brutal, so powerful, and so upsetting that I almost had to leave the theater. The main character's involvement in this scene means that she is forever changed, and it's to be expected that she will begin to "act out" as she struggles to recalibrate her life in tragedy's wake. You might not like, or agree with, everything she does, but she is fascinating to watch. Peter Travers of Rolling Stone sums it up best: "Margaret, for all its flaws, is a film of rare beauty and shocking gravity."

As a product note, the disc release includes both the theatrical version (on Blu-ray) and an extended cut (on DVD). From what I've read, it sounded like the director was pressured to cut the film down to less than 2 and a half hours for the theatrical release, so it will be particularly interesting to watch the extended version. Perhaps some of the film's loose threads will prove to be more interwoven after all.

Read Best Reviews of Margaret: Theatrical and Extended Cut (Blu-ray/ DVD Combo) (2011) Here

The 411 by Maria:

This is an absolute must see movie. A+ cast! Stellar performances by Anna Paquin and J Smith Cameron. Paquin plays Lisa a 17 year old girl high school student and lives in Manhattan with her mother (Cameron) and brother. Smart script and dialogue about how life chews us up and spits us out.

When Lisa sets out to find a cowboy hat, she inadvertently causes the death of a woman crossing the street.

Guilt and frustration alters her already "too smart for her own good" youthful view of the world. The movie takes its time and centers around complex day to day issues; death, hatred, real world events like 9/11, racial differences, teen pregnancy, drugs and divorce. Sounds like a devastating film? It isn't it is a centered, deep, thought provoking movie of the realities of the world our children are growing up in and how it affects them.

So well done, I will be thinking about it for days.

Anna Paquin and J. Smith Cameron along with the rest are incredible. Brilliantly acted! The scene of the bus accident is a harsh reality and Paquin will never be just Sookie to me again!

FYI: Not a child friendly film. Nudity, harsh language and a bloody accident add to the movie and are not there for dramatic visuals.

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I watched the longer director's cut after watching the theatrical release on streaming because I didn't want to miss a masterpiece. It turns out an extra half hour doesn't make or break this film, but I was glad for the exercise because I wanted more clues to the film's intentions. It has a naturalistic sprawl to it that challenges one to tie everything together neatly.

Anna Paquin plays Lisa, a high-school student who inadvertently causes an accident and for her own redemption seeks some form of accountability for the victim's death. For all her noble intentions, she's not an entirely likable character. As a private school student in NYC, she reflexively knows she's entitled, but there's a fine line between being self-aware and self-absorbed. The victim's best friend warns her not to make the tragedy her own story. Adolescents don't feel more because they haven't experienced anything yet, they just feel more easily, she says.

Yet we're thrown into sympathy with how and what she sees. She's in a period of life where she's figuring out what's important to her. There's a cacophony of voices out there and what happens to seep in is partly what will define you forever. She seethes with teenage contempt for her mother while speaking with affable deference on the phone to her father, who lives on the other coast. She makes her first forays into sexual experience with both frankness and diffidence. She's the most openly guarded young woman on the Upper West Side. Paquin plays her part with electrifying and unpredictable verve. Matt Damon, as her math teacher, eyes her warily like she's a bomb waiting to go off, which is both amusing and well warranted.

Differences between the director's cut and the theatrical release: The main action is the same, but Lonergan flushes out her relationships with the various boys/men in her life, so later scenes don't seem so sudden. In the first half, it's helpful and in the second half, I actually prefer the more abrupt and ambiguous nature of the released cut. Lisa's mom has more scenes with her suitor and there are more school scenes, showing Lisa is involved in a play, effectively a therapy session for the kids and dividing the kids who are wrapped up in their earnest feelings from the ones who've chosen to take the view of ironic detachment. I could take it or leave it. But the reason I would recommend the longer cut are the shots of New York. The briefer shots of the city in the shorter version seem more perfunctory or maybe pretentious--yes, that is slow-mo walking. But in the longer version, they feel more organic. These aren't Woody Allen shots of the golden skyline and gleaming bridges. Rather they are views from buildings of other taller buildings. A cocoon of humanity.

And what I loved most in both versions are all the small things that are finely observed. The universal furious hand-waving signifying the person in the room to shut up as ONE IS ON A VERY IMPORTANT PHONE CALL; Lisa walking on the street through a pack of boys, vibrating with self-consciousness and defiance. I know if I had seen this in a theater, we would have all laughed at the teen boy crying after an unsuccessful phone call. It may be a failure of this ambitious work that was so exalted that I remember all the small, domestic details more, but everyone will probably take something different from this movie.

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Kite Runner, The (2013)

Khaled Hosseini's THE KITE RUNNER was one of those first novels that captured both public interest and the hearts of the many who read this story of childhood unconditional love and redemption set against three stormy decades in Afghanistan. Though Hosseini was approached about the story's adaptation to the screen soon after the novel was published, there seems to have been a rush to get the visual form of the poetic novel before the audience, a journey besieged by unsuspected political intervention and criticism by the Afghan government. But after seeing the film, this intrigue heightens the intent of those involved in translating the book to film writer David Benioff and director Marc Forster.

People may argue both sides of whether or not the dialog be in Afghan languages (Dari, Pashtu,Urdu) with English subtitles or be in English throughout: the choice of using both languages is severely hampered by the decision to place the Afghan translations in an overlay on the screen while the English subtitles are place off the viewing field. A small point, perhaps, but one that makes the first viewing of the film difficult to follow visually. As far as the actors are concerned, the two young lads who were chosen to portray Amir (Zekeria Ebrahimi) and Hassan (Ahmad Khan Mahmidzada) are perfect: closest of friends living in a household where one (Amir) is the son of the master of the house and the other (Hassan) is the son of the grounds and house keeper a factor that serves to underline class differences that will later become increasingly poignant. The boys are inseparable, reading stories together and flying kites in competitions each lad specializing in one of those pastimes. But disaster crumbles the boys' victory in the kite flying contest when Hassan is beaten and raped by the town bullies while Amir cowardly runs for safety, deserting his friend. Suddenly the Russians invade and that change factors into the need for Amir and his father to move to America where Amir is educated and becomes a writer. Twenty years pass. After the fall of Afghanistan to the Russians and subsequently to the Taliban, Amir (now actor Khalid Abdalla) receives a telephone plea from Hassan's father to return to Kabul. Amir, now married and a successful writer, feels the need to return to amend for his past omission as well as to assuage Amir's fears. When he arrives in Kabul he encounters a war torn country he no longer recognizes, discovers past secrets as to his and Hassan's true identities, and sets out on a journey to bring closure to a childhood love and promise. It is a touching tale of redemption and the strongest echo of the magic of the novel.

THE KITE RUNNER as both novel and film will appeal to all audiences sensitive to scars that wars leave on children and adults alike. For this viewer the film lacks the intensity of the book in that the time spent with the childhood of the two boys feels secondary to the personal journey of the adult Amir. But that is not to say the film is less powerful in the end: the story is one that leaves an imprint on the audience that last long past the ending credits. Grady Harp, March 08

I read this book a few years ago and loved it. And, frankly, I was worried that the filmmakers might ruin the movie. That silly worry of mine sure was wrong though. I know it doesn't seem possible, but the movie was even better than the book. I think that it was because the act of reading allowed me to put the book down and pick it up at a later time. The movie, however, is right there, in your face, and doesn't give the viewer any reprieve from the compelling plot or the constant tension. I knew the story of course, and during one of the crucial scenes I found myself crying real tears even before one particular awful scene happened. And then I watched it in horror in full living color, knowing what would happen next and understanding that there were no easy answers.

This is the story of a friendship between two boys in Afghanistan. It starts in the 1970's before the Communists and before the Taliban. Life was complex enough then even without the awful politics which came later. Amir was the only son of a wealthy businessman and rather shy. Hassan was the son of a servant and of a lower class social group. Amir and Hassan shared a deep friendship despite the social differences between them and were a team in one of the big events in their town a kite flying contest. At the very moment of victory though, there is a tragic act of aggression against Hassan which changes the relationship between the two boys forever. Each of the boys suffers in his own way. For Amir, it affects his life forever. All of this is set against an historical background of Afghanistan when it was secular and modern, especially for the upper classes. Women were free to go around unveiled. Books of all kind were available, although, shamefully, boys like Hassan were not taught to read.

Then the world turned topsy turvy. Amir and his father had to flee for their lives and wound up in California. Amir marries, becomes a writer. And then, now, twenty years later, he receives a call from his father's friend who has fled to Pakistan. "You must come back" is the message. This is the time of the Taliban. Life is horrible in Afghanistan. But Amir, now a man, is given the opportunity to do an heroic act. How this all plays out is scary and uplifting and real. I was sitting at the edge of my seat in the movie theater even though I knew how it would all turn out.

I loved this film. The casting was excellent. Filmed in California and China, all of the actors seemed to be Afghanistani and the dialog was in Dari, Pashtu, Urdu and Russian as well as English. I particularly liked the performance of Homayoun Ershadi who played the father with wisdom and strength even when his fortune was reversed and he worked at a convenience store in California and sold merchandise at a flea market on weekends. There is a sense of authenticity throughout. Mostly, though, it was the theme that drove the film, a universal theme of sin and redemption and how a person can have a second chance to go from cowardice to courage.

I live in New York City and the film opened in one of the art theaters. This might mean that it may never go mainstream. If this is true, it is a shame. The film was a winner all the way. Yes, it is disturbing and might just haunt your dreams. Clearly, it is for adults only too. In spite of all the horror though, it ends with an inspiring and uplifting note. Don't miss this very important film. I give it my very highest recommendation.

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Quite simply, "The Kite Runner" is magnificent. Based on the acclaimed bestselling novel by Khaled Hosseini, the film is epic in scope, spanning a number of decades, continents, and cultures, and yet it remains intimate and personal in terms of its characters and their stories. It is spectacularly photographed, sensitively directed, hauntingly scored, and impeccably acted by a brilliant cast whose performances are meticulously nuanced. Even the opening credit sequence is fascinating, foreshadowing through calligraphy the differences in Western and Middle Eastern culture that will be a subtheme of the movie.

The story opens in 21st century San Francisco, where a young man from Afghanistan (the charismatic Khalid Abdalla as Amir) has just published his first novel. In flashbacks, he recalls his childhood in Afghanistan, and particularly his relationship with his best friend Hassan, the child of his father's oldest friend and live-in servant. The two boys (played by Zekeria Ebrahemi and Ahmad Khan Mahmidzada, both of whom turn in performances of amazing depth) are eventually driven apart by an act of childish cowardice by the young Amir. They lose contact all together after the Soviet invasion of Afghanistan, at which time Amir and his father (Homayon Ashadi in a wonderfully understated performance) flee to Pakistan and then eventually to America. Years pass, and then, finally, the adult Amir is provided with an opportunity to redeem himself. The decision that he makes, and the consequences that unfold, bring the story full circle to its powerful conclusion.

I was fortunate enough to see this film as part of a single screening that played to a sold-out audience (dozens and dozens of disappointed cinemagoers ended up being turned away after demand exceeded supply), and expectations were almost impossibly high. Happily, Marc Forster (who also directed "Finding Neverland", "Monster's Ball", and is currently set to direct the 22nd James Bond film) and company satisfied even the most demanding members of the audience, as ripples of gentle laughter gave way to surpised gasps and finally to unsentimental tears as the story unfolded. Here is a film destined to win over audiences and critics alike, one that will undoubtedly end up being one of the year's short list of bona fide masterpieces.

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Khaled Hosseini's novel The Kite Runner is one of the most moving books of the modern era, a story that has touched the lives of countless millions across the world. Published in over 30 countries, The Kite Runner is at the same time one of the most touching and heartbreaking stories ever written and an educational read which will open your eyes to the history and culture of a country few can even find on a map. It is, needless to say, a fascinating read which opens the reader's eyes to the beauty and devastation which is Afghanistan.

When I heard that there was a film adaptation coming out based on this magnificent novel I had my doubts on whether or not it could actually be done. The book isn't heavy on action or suspense; instead most of the depth and the meat of the story is told though exposition, in the mind of the main character and would be extremely difficult, if not down right impossible, to film. The strength of the story lay in its rich three-dimensional characters which are very hard to transfer from the pages of a book to the big screen.

For what it is the movie adaptation of The Kite Runner really isn't that bad a film. I'm not sure how someone who has never read the book would react to this film because quite frankly I am in love with Hosseini's writing. The film may actually be quite entertaining for one who isn't familiar with the book, and if that is the case by all means to not allow this review to damper your desire to pick up a copy of this movie, but for someone who has invested time and energy (both very well spent) on reading the book and getting to know the characters the film adaptation will seen bland, unemotional, and lacking the depth and heart which made the book such an epic masterpiece. Although for the most part the dialogue stays true to the book, it cuts parts out which should have stayed in. for instance when Baba is confronting the Russian soldier in the book he cries out "war doesn't negate decency" but that is only half of what he said, the whole quote goes, "war doesn't negate decency, it demands it." It's a very subtle difference but it does change the meaning of the scene.

There is also a lot left out of the film which, in my opinion, should have made their way in one way or another. If you haven't read the book you have no idea that Assefs mother is from Germany and that his hero is Adolph Hitler, even his famous brass knuckles which are such terrifying symbol in the book are left out completely. Hassan's cleft lip is gone, Ali's crippled right leg left on the cutting room floor. The film moves so fast though the flashbacks in the beginning, where the emotional impact is felt the most in the novel, that all depth is sucked right out of it. The characters aren't fully developed, their motivations left unexplored and unexplained.

The film simply goes too fast to be able to explore the depth of the characters in a way they deserved. Too many details about the characters are left out, too many important events skimmed over, too little detail poured into explaining everyone's motivations. The friction between the different ethnic groups, the Pashtuns and the Hazara's, so vital to the message of the book, is used as nothing more then a plot device and no attempt is made to educate the public on just what these groups are. Honestly how many people know what the difference is? And yet without knowing the history of these groups and their backgrounds the story looses a lot of its driving force.

Not to say this film doesn't have its high points. No matter how much time and effort a writer pours into his or her story they can never match the detail that a simple picture can bring. Seeing Afghanistan in ruins, the burnt out tanks, the men hanging from trees as warnings, the berka clad women being stoned to death in the most brutal of ways, brought a new light to Hosseini's novel, and for that I thank this film. Being able to see the nation of Afghanistan outside of news footage of the war and one bad Rambo movie brought new light to that nation's peril. But the most fascination aspect of this movie are, of all things, the kits from which the novel and film get their names. the scenes with the boys and later with Amir as an adult flying kites were moving, spectacular, and haunting all at the same time. Who knew seeing a kite flying majestically in the sky could be so moving?

If you haven't read the book, you may like, nay maybe even love this film, but for those of you who have, like me, this movie will feel watered down, rushed, and lacking the same depth and emotion as the brilliant novel. Its still a good movie, don't get me wrong, but there is simply too much left out. I've always thought The Kite Runner was an un-filmable book, it simply is too deep to recreate in a satisfactory way on the big screen. If you haven't read the book, go for it, if you have then get ready for a disappointment.

Replay value; moderate.

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Whether you've read the best-selling first novel by Khaled Hosseini or not, this is a haunting movie that will drain your emotions, moisten your eyes and bring out your goose bumps. Mostly faithful to the book, the film tries its best to capture the gut wrenching emotional drama of the story and its unforgettable characters, and it succeeds in doing so to a large extent.

SLASS (Slightly Longer Attention Span Summary)

1. Amir is a boy who lives in Kabul (prior to the Soviet invasion) with his wealthy widowed father. He has a vivid imagination, and is working on writing a story

2. He is an introverted child who is bullied by other boys, and never defends himself. He wants desperately to be accepted by his father, who sees him as a weakling. In simple language, Amir is a wuss.

3. His loyal companion and friend is a servant boy named Hassan

4. Hassan wields a mean slingshot and isn't afraid to use it. He is devoted to Amir. Not having had the opportunity to go to school, he can't read or write, but makes up for it with his courage and commitment.

5. Both boys are good at the sport of kite fighting. Hassan is especially good at retrieving kites that have been cut away during the competition, having a sixth sense where they are going to land.

6. An incident occurs where Amir wusses out yet again. This changes the boys' relationship forever.

7. When the Soviets come calling, Amir and his father have to leave rather quickly, eventually ending up in California. A family friend named Rahim Khan keeps an eye on the house.

8. Amir grows up and lives his life (partly shown)

9. Hassan grows up and lives his life (not shown)

10. Rahim Khan calls from Pakistan, giving Amir a chance to prove whether he does, in fact, have a backbone.

11. Amir digs deep

12. His return to kite flying brings new hope

For the parts of the movie where the actors speak Dari Persian, there are subtitles in English. Otherwise, it's in English, and I didn't find this to be a problem. It would have been impossible for the film to bring out some of the trauma and inner turmoil that make the novel so memorable, and some of the more brutal and tragic scenes have been trimmed, so for the full experience you really need to read the book, if you haven't already.

With excellent acting by the two young men playing Amir and Hassan, this is a movie you won't forget in a hurry. Highly recommended but walk with your hankie or a pack of tissues.

Amanda Richards, April 15, 2008

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Revelation Road (2012)

Revelation Road: The Beginning of the End is just that, a beginning of at the very least a two-part movie series from Pure Flix Entertainment. The viewer gets the opportunity to meet Josh, a traveling salesman with a secret but obviously destructive past. You can see early on that Josh has the capability to go a little unhinged when necessary but you can also see that this is not a side of himself that he entertains. We also meet a pretty rough biker gang who have a charismatic leader named Hawg. The gang has no problem with messing with people, stealing and eliminating witnesses, but they do have a problem with Joshua when he gets in their way.

You can tell Joshua has a past, but it changed dramatically when he met his wife. Or at least that is what Josh thought until he sees how easy it really is to slip back into his old skill set. Can a person really change? If tackling that question isn't enough for Josh, it seems there are a lot of energy spikes, thunder storms and other natural phenomenon taking place to keep him on his toes and at the very least distracted. As the description implies, there is an end coming.

Revelation Road: The Beginning of the End is a great start. I found myself wishing for more which is a good thing since there is a sequel on the way (yay!). I have found myself enjoying most of the films that Pure Flix Entertainment has put out, and look forward to seeing where this will go. I hope I don't have to wait too long.

For the most part the film was well acted and I felt a connection with several of the characters. I even got emotional at some points too. I love when a film can accomplish that.

This video is of an excellent quality and it was such an inspiration to me and my family. I highly recommend this video to everyone and the seller.

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This is a great movie and will keep you entertained as well as speak some spiritual truth. I liked it and can't wait for part 2 to come out.

Read Best Reviews of Revelation Road (2012) Here

Cant Wait For Revelation Road 2: The Beginning of the End Love it !!!!!!!! Love it !!!!!!!! Love it !!!!!!!!

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This feature opens with a fire, hell, and damnation type of interpretation of Revelation and then drops the ball as the rest of the film has absolutely nothing to do with the Book of Revelation. This is rather a pop Christian version designed to sell a film to those who never read and studied the book.

Josh (=Jesus) sells vests (=armor of God). He saves a family from a group of evil bikers known as either Outlaws or Barbarians. They have their own heavy metal swagger music, kill people, but never swear. Oh yes, they have something that looks like Thor's hammer. Eric Roberts has a small role in this film. Bruce Marchiano who always plays Jesus in these productions plays a stranger who saves a girl from said bikers. Please Scooby-Doo, tell me who this guy is?

This is just the first part of what will surely be a butchered series designed to soak churches for the rights to showing this film. PLOT SPOILER...if there is such a thing...the rapture happens at the end of the film. While the rapture has statements to support it in the Bible, it really isn't part of Revelation. Technically this is a movie about the end times that doesn't follow Revelation in any shape or form, but simply uses it in the title to sell the feature. Dishonest if you ask me.

Outside of that, the movie was poorly acted and the dialouge was jerky, like the sign reads, "Guns, Jerky, and More."

Parental Guide: No F-bombs, sex, or nudity. Fighting and some killing.

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French Connection 2 (1975)

Entertaining, gritty and taking the character of "Popeye" Doyle to new lows. Excellent performance by Gene Hackman, it may not have the shocking action and the famous chase scene but on its own, "FRENCH CONNECTION II" is a good film and very entertaining.

Four years since the original "THE FRENCH CONNECTION", in 1975, the sequel would be released. Where the first film was based on real events on the lives of Eddie Egan and Sonny Grosso, the sequel is more fictional.

This time around, Doyle goes to France to go after Charnier. Being in a new country, Doyle is a fish out of water and knows that what he was used to New York, it's not going to fly in France, especially with the gendarmes.

But unbeknownst to him, after he's spotted by Charnier, Doyle is kidnapped and the hard-nosed cop that we saw in the first film will be fighting for his life and be broken down severely.

A riveting film, it may not be at the same caliber as the first but it's still a very entertaining film.

If there was one thing that "FRENCH CONNECTION II" was very fortunate to have and that was the return of Gene Hackman reprising his role as Doyle and most importantly having a talented director, John Frankenheimer known for his work in "The Manchurian Candidate" and many other films (a side note: Car chase scenes have a "FRENCH CONNECTION" tie-in with the producer of that film also producing "BULLIT" and Frankenheimer who worked on "FRENCH CONNECTION II" creating one of more popular modern car chase scenes in his film "RONIN" in 1998).

VIDEO & AUDIO:

The picture quality for "FRENCH CONNECTION II" is actually pretty good. Where "THE FRENCH CONNECTION" focused more on the grittiness of New York City with its shades of blues and use of blacks and director William Friedkin making sure that the Blu-ray disc showcases the film as he wanted, "FRENCH CONNECTION II" was filmed in France and featured the beauty of France with good sunlight and vibrant colors during the outdoor scenes. But also managing to capture the gritty and grimy areas of France.

Similar to the first film, there is a good amount of grain but with the film shot in Marseilles, France and a lot of sunshine and really interesting locations in France, considering how old this film is, overall it looked pretty good.

As for the audio, the audio is featured in 5.1 DTS-HD Master Audio. Similar to the first film, the film is dialogue-driven and also showcases the music of Don Ellis. Dialogue and music is quite clear and the film does feature more gunshots. But overall, the film is mainly dialogue and music driven.

SPECIAL FEATURES:

"FRENCH CONNECTION II" comes with a good number of special features.

* A Conversation with Gene Hackman Gene Hackman expresses his feelings of working on a sequel and also knowing that perhaps director Frankenheimer may not be so happy doing a sequel but nevertheless did a good job but also felt the film was underappreciated because of the success of the first film.

* Commentary by Gene Hackman and Producer Robert Rosen This commentary features both men (not at the same time). You mostly hear Robert Rosen talk and his commentary is more on the challenges. Especially working with Frankenheimer who was not so thrilled of working on the sequel and Rosen reveals a lot. From the difficulty of getting Mickey Mantle to give permission to use the "Mickey Mantle sucks" line to how the scene in France with Doyle running around looking for Charnier. An informative commentary but quite a few dead air. Hackman chimes in at certain key parts of the commentary but it seems the two were together but I think that Hackman was recorded at a separate time.

* Commentary by Director John Frankenheimer The original DVD release was back in 2001, Frankenheimer passed away in 2002. So, this commentary is actually quite treasured as its one of the few DVD's to feature commentary by Frankenheimer. For filmmakers, Frankenheimer's commentary was technical and thus you learn quite a bit about certain takes. Of course, he credits Gene Hackman making it easy for him. Overall, a well done commentary!

* Frankenheimer: In Focus This lengthy featurette is actually pretty awesome. A celebration of Frankenheimer's career as a filmmaker and television director. You get to learn a lot about him through his wife, his daughter and those who have worked with him.

* Isolated Score Track (DTS MA) For those who love Don Ellis's music in the film, you can strictly isolate the score if needed.

* Enhances for D-Box Motion Control Systems For those who have D-Box Motion Control capability.

JUDGMENT CALL:

"FRENCH CONNECTION II" was a tough sequel for everyone involved to make and I can understand why director John Frankenheimer felt "intimidated" of taking on the role as director for the sequel (since he was a big fan of the first film) must have been on taking on the directorial responsibility.

Frankenheimer was a big fan of the first and what Friedkin was able to accomplish, so he tried his best to keep that in mind but most of all, because of his familiarity with France and the whole film taking place in France, the them of Doyle as a fish out of the water in a city where he can't be the way he wants and live the way he wants, definitely made the hard-nosed character vulnerable.

But you have to give a lot of credit to Gene Hackman. In the first film, "Popeye" Doyle was easily despicable but yet you rooted for him as he was going to take down the criminals his way and his style. But with this second film, there is a good amount of time dedicated on the breakdown of Doyle and making him a junkie and then having to go through major withdrawals as they try to make him well. Hackman did a wonderful job!

As for the Blu-ray disc release, it's great to have one of the final commentaries of one of the most talented director's of all time and it was a well-done commentary. The tribute to Frankenheimer with a special featurette on his career was another major plus that I was proud of.

Overall, "FRENCH CONNECTION II" was an enjoyable film. Although not following the lives of Egan and Grosso like the first film, I feel that a story on Doyle and seeing how he's broken down by the criminals but then seeing him re-emerge to exact revenge right back at them was great.

If there was one thing that I wished was done, that is subtitling on the French. Sure, it's not really needed but with a good ample of French being spoken, it would have been nice to see subtitles for that.

But overall, it was an enjoyable film and a pretty cool Blu-ray disc transfer with a good amount of special features .

Hopefully we may see the return of "Popeye" Doyle or a passing of a torch for a third film over three decades later.

Considering the enigmatic ending of the Oscar-winning "The French Connection," a sequel seemed obligatory. But four years later, it's likely that no one was expecting the harrowing twist that came with the follow-up's plot.

This time directed by John Frankenheimer, gruff, foul-mouthed, brute narcotics officer Jimmy "Popeye" Doyle (Gene Hackman) travels to Marseilles, determined to stop the elusive drug kingpin Alain "Frog One" Charnier (Fernando Rey), whom he failed to stop in New York City. Once in France, Popeye is met by Inspector Henri Barthelemi (Bernard Fresson), who resents the former's rude and crude crimefighting demeanor. Doyle finds himself as a fish out of water in France, where he is matched with a language he can't understand, eliminating one of his most useful weapons--his mouth. Determined to find Frog One on his own (and unaware he is being used by Barthelemi to lure Charnier into the open), Popeye escapes his French escorts. Now here comes the unexpected; in an ironic twist of fate, Doyle is kidnapped by Frog One's henchmen and forced to take heroin in an attempt to steal information from the narcotics agent. Left abused and humiliated by Charnier, Doyle is forced to go through a long, agonizing cold-turkey withdrawal from the heroin forced upon him. Now determined more than ever to stop his nemesis, we follow Popeye as "French Connection II" unfolds in a satisfying manner, like a crime drama should.

Filmed with a grainy cinematography, matching the mood of the story, this sequel is just as engaging as the original, while Hackman's performance--especially during the grizzly-to-view withdrawal sequences--is uncompromising and breathtaking, though no Oscar nomination went his way (though a Golden Globe nod did suffice). The script allows for surprisingly deep insight to the seeminly two-dimensional character of Popeye Doyle, while Frankenheimer's directing is tight and effectual. "French Connection II" is just as great as the original (though not as well-received), if not more intriguing, and in some aspects, much more harrowing and down-right gritty...a word always associated with the "French Connection" films.

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That the sequel was made at all was no certainty although the original left an obvious opportunity to chart the conclusion to Doyles mission in bringing Frog One (Fernando Rey) to justice.

Hackman gives an even better acting performance in this effort if that were possible but lost out in the Oscar accolades probably due to his earlier success. This time he is on his own with no Cloudy to back him up and stuck with the sometimes dubious support of the French Police.The french acting in this movie is par excellance and perfectly cast which is saying something since this was essentially an American production. We see Fernando Rey carry on his good work from the original movie this time in a more familiar setting namely his home town Marseille. The casting of Rey in both part 1 and part 2 is almost as inspired as that of Hackman himself and also worthy of acting plaudits which sadly did not materialise.Connection part 2 is a worthy sequel to the earlier offering and although not factually correct it does give a believable ending to Doyles mission. Sequels, sadly, often do not stand up to the original production for a variety of reasons. This one is an exception for many reasons, the brilliant acting of Hackman and Rey coupled with casting and cinematography seldom equalled in a production of this type. The film going public were not disappointed in their wait for this effort. What they finally got to see will live long in the collective memories of dedicated filmlovers who cheris great acting along with a liberal dose of classic directing and casting. One cannot ask for much more.

Read Best Reviews of French Connection 2 (1975) Here

I had to get this because I have the 1st. Its a good movie but its not the 1st one. The transfer is good and the price was great plus the fact that I have never seen this in a store it was a no brainer for me. Worth the money.

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After the thoroughly depressing print on the Blu Ray reissue of "French Connection 1" (see separate review) it's a pleasure to say that FC2 is an entirely different kettle of fish.

From the moment Gene Hackman steps out of the taxi by the closed gates of the beleaguered French cop shop in Marseilles you notice the clarity his dapper white shirt the fish stalls the painted railings.... Then he pops on his trademark Popeye Doyle porkpie hat and again the colour is gorgeous and it stays that way even in the dark night scenes fully restored from start to finish. There's little or no scratches, although there is some wobbling of the camera hand-held scenes deliberately filmed that way I imagine (like the 1st movie).

And as everyone also knows, this is one of those sequels that equals if not tops the original. A fantastic stand alone film although you do miss the presence of Roy Schreider as a sidekick. And that addiction scene is as harrowing now as it was back then...

The extras are the same as the DVD I bought a few years ago, but the colour on this 1080 print is just so sweet to look at fans will have to own it.

Recommended especially after the depressing experience of seeing the masterful first instalment more Blur Ray than Blu Ray.

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Black Dynamite (2009)

Wow. All i can say is Wow. This movie was so damn funny that I started crying in the theater. I had to wipe my eyes of the tears of laughter because I was missing the next scene. If you like the Naked Gun film series, or "I'm gonna git U sucka!" Then Black Dynamite should be right up your alley. So impeccably made to resemble the 1970's Blacksploitation films while incredibly tongue-in-cheek, Black Dynamite is just a non-stop laugh fest of obscure sight gags & goofy dialogue. When the boom mic hits Black in the afro in the 1st 10 minutes I knew we were in for a good time!

It's really a damn shame that this movie fell on deaf ears, after 1 week in the theaters you couldn't even find local showtimes b/c it was bumped out but it is more than worth the little attention it received nationally. I'll be buying copies of this movie on DVD for all my friends for Christmas without a doubt. I predict that Black Dynamite will go down in film history as a great cult classic. Ten years from now every college kid will have Black Dynamite in their Blu-Ray collection. From the opening scene with Black Dynamite's brother Jimmy being found out as a rat, Black Dynamite hits the ground running & the audience hits the floor laughing.

I really can't say enough about Black Dynamite. It is undeniably the most fun I've had in theaters in the last 5 years! "Main Man Black Dynamite!" "But Black Dynamite, I SELL DRUGS IN THE COMMUNITY!" Classic comedy gold!

Buy Black Dynamite on DVD without a doubt that you will be entertained. Fans of the Simpsons, Mr. Show, Always Sunny in Philadelphia will all enjoy Black Dynamite.

This is the FUNNIEST MOVIE I'VE SEEN IN MY LIFE. (And I've been around since the ACTUAL 1970's. And, I'm a MOVIE COLLECTOR.) There are a LOT of funny movies out there, and a lot of different kinds of comedy that I like, dating back to classics from the 1930's; but for ME, this is THE BEST OF THE BEST.

Simply put, watch the trailer, which you can find either on youtube, or right here on Amazon, on the main Black Dynamite DVD product page. Just below the product image of the DVD product, is a small video window with a trailer. The movie is JUST LIKE THE TRAILER. If you love the trailer, you'll love the movie. I don't know HOW they made the ENTIRE MOVIE every bit as good as the trailer, but they did! (usually the trailer is always "the best parts of the movie" not here!).

Most importantly, BOTH the main actor, AND the guy who did the soundtrack, have an obvious un-deniable LOVE for what they were doing. It REALLY COMES THROUGH. You can tell they THOROUGHLY UNDERSTAND, and LOVE, this style of movie, and the classic 1960s-70s style of vintage soul music. This entire movie was actually the brainchild of the lead actor, Michael Jai White, who himself is an avid Blaxploitation movie collector, who would invite friends over for parties where they'd watch old Blaxploitation films then he started Dressing The Part in '70s suits & the afro wig and it grew from there.

Black Dynamite is a real LABOR OF LOVE, and it's FROM THE HEART... and it's DY-NO-MITE!! (Once you see the movie, you'll want to pick up the soundtrack album by multi-instrumentalist Adrian Younge, too!)

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If you have even a smidgen of Blaxploitation film viewing under your belt you will LOVE Black Dynamite. I had the pleasure of seeing this in NYC a month ago with my friends. We were constantly bowled over laughing ourselves silly. From the opening moment to the "sex" scene to the climax, Black Dynamite lovingly parodies the genre while making a film that clearly looked and sounded like it was from the Grindhouse era.

Michael Jai White is absolutely the MAN and his performance is perfect. Purposely stilted (as is everyone else around him), White unleashes Kung Fu and Jive-talking-Fu to his many enemies and friends. The film's payoff is one of the funniest I've seen in years.

I appreciate all the love and stupendous silliness put into the making of Black Dynamite and I, for, one would love to see Mr. White return as the title character.

I hope the dvd has all the Fight Smack in the Orphanage site clips, that "Ding Dong Roar" rip on Sesame Street was almost as funny as the film.

Read Best Reviews of Black Dynamite (2009) Here

It all began when actor Michael Jai White ("Spawn", "The Dark Knight", "The Underground Bounty Hunter") was listening to "Superbad" by James Brown on his iPod and suddenly he came up with an idea to have a film spoofing '70s blaxpoitation films (1970's exploitation films targeting urban Black audiences). White got together with a few friends and began taking photos of himself in '70s outfits and hooked up with director Scott Sanders ("Thick as Thieves") and their friend and fellow actor Byron Minns ("Undisputed", "South Central") to help craft "Black Dynamite".

The low budget independent film was screened at the 2009 Sundance Film Festival and was picked up by Sony Worldwide Acquisitions for distribution and now is being released on Blu-ray and DVD.

VIDEO & AUDIO:

"Black Dynamite" is presented in 1080p High Definition (1:85:1). What the film does well is capturing the look of a 70's film by shooting via 16mm color reversal which brought in more grain and contrast. Blacks are deep and gave the film an older look. Thus when combining 70's classic footage (such as scenes from "Charlies Angels", "Swat", etc.) from the Sony Library, it works with this film. The grain is intentional and so the colors are definitely not natural but it works for this film as yellows and brown colors definitely stick out and blacks are much deeper. Also, the Blu-ray manages to capture the detail of the clothing, the hair, the hardware, the walls and surfaces. It's a very cool looking film on Blu-ray.

As for the lossless audio presented in English 5.1 DTS-HD MA, again...I was very surprised and impressed by the audio. It helps when they brought in Adrian Younge, a musician who still plays 70's music and brought in that 70's style of feel for the film. Dialogue is clear through the center channels, music and action come on strong as well. There are many action scenes from fighting to car chases, car explosions, gun shots, especially near the end of the film that takes advantage of the surround channels.

I suppose for a low budget independent film, I was not expecting too much from the audio. So, to hear the lossless audio being utilized with crystal clear dialogue, music and special effects, I was very pleased with the film's soundtrack!

Subtitles are in English, English SDH and French.

SPECIAL FEATURES:

"Black Dynamite" comes with the following special features in standard and high definition with English stereo. Included are:

*

* Commentary with Director/Co-Writer Scott Sanders, Actor/Co-Writer Michael Jai White and Actor/Co-Writer Byron Minns A fun and hilarious commentary as the three creators of the film talk about certain scenes and how it came about, what they were trying to achieve and more.

* Deleted and Alternate Scenes (25:15) Featuring 17 deleted and alternate scenes.

* Lighting the Fuse (22:48) The making of "Black Dynamite". How the film came to be, the music, the costumes, the look on film and more.

* The 70's Back in Action (14:13) Michael Jai White, Scott Sanders, cast and crew talk about utilizing styles and lingo from '70s blaxpoitation films in "Black Dynamite" and what they enjoyed about the films and the talents back then.

* The Comic-Con Experience (18:03) The "Black Dynamite" panel at San Diego Comic Con with Scott Sanders, Byron Minns, Michael Jai White and Salli Richardson Whitifeld.

* Trailers Trailers for upcoming releases from Sony Pictures Home Entertainment.

* BDLive enabled with movieIQ This BD-Live feature can connect you to real-time information on the cast, music, trivia and more while watching the movie! Also includes an interactive playlist where you can bookmark your favorite songs featured in the film and email yourself a customized playlist! NOTE: You need a profile 2.0 Blu-ray player (that connect online) to access movieIQ.

JUDGMENT CALL:

At first, I was a bit skeptical about "Black Dynamite" but after watching the film, I can tell you that I absolutely enjoyed this film.

The storyline spoofs '70s blaxpoitation and Kung-Fu films but where a lot of those films back then were cheesy and were being pumped out like crazy because they were what was making money for the film companies during that time, "Black Dynamite" manages to capture the good from those films and make it a hilarious, action/comedy film. What makes this film work is the costume design, the afro's, the slang, the jive talk, utilizing '70s footage, along with finding homes that still have maintained the '70s look (yes, shag carpets and all) and of course, the use of '70s style funk and soul music. For characters, you got the jive-talking pimps, the militants, the crooked cops and politicians, the whores, the drug dealers...all integral to the film with dialogue filled with'70s expletives and ethnic slurs. An obvious nod to "Shaft", "Superfly", "The Mack", "Return of the Dragon" and "Foxy Brown" and other films and the talents of that era.

Just a tremendous job by the filmmakers and performances that worked for this film. The fact that it was done for under $3 million is quite impressive!

From the naked women, to the militant and his men armed with machine guns, the talent made this film quite believable as if it was a '70s film. The choice by director Scott Sanders to use the Super 16 Color Reversal film stock was a perfect choice as the film literally looks and feels like like a '70s film. For a low budget independent film, the Blu-ray manages to enhance the look and feel of this film as you can see a good amount of grain and the colors are just vibrant. Audio quality from the dialogue, music and the special effects are well-done and also a good amount of special features are included as well.

If there was one thing that I felt wasn't impressive was the studio's handling of the distribution for the film for its theatrical release. There have been a lot of small, absolutely dumb comedy films that have received decent screenings across America and for once, we have a creative and enjoyable African American comedy film written and directed by African-Americans with a multi-ethnic cast and a film that has received positive reviews from film critics but yet it received a very limited screening nationwide. Definitely not cool. But fortunately we get a solid Blu-ray release for "Black Dynamite" and if you have any interest in this film, I can easily recommend this film to be included in your collection.

"Black Dynamite" is a film that just makes you laugh from beginning to end. For those with familiarity with blaxpoitation and even old Kung-Fu films, you can't help but be amused and impressed by what the filmmakers were able to accomplish. Even for those who aren't familiar with the films back then, there are enough jokes that viewers can still enjoy. It's a well-crafted, very creative film that is worth checking out and worth owning, especially if you enjoy comedy films. And yes, I am hoping that there is a sequel.

"Black Dynamite" is a solid Blu-ray release and definitely recommended!

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The first time I watched this movie I laughed my butt off. The second time I watched this movie I laughed my butt off. The third time I watched this movie... well you get it! This is a must own movie for anyones movie library. This movie will take you back to the 70's is other blaxploitation films. Love it!

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Zazie dans le metro (The Criterion Collection) (1960)

A girl is left with her uncle for the weekend (or a day, I think) while Mom runs off with her new boyfriend. She has one wish while she's there...to ride the Metro train...which, naturally, is on strike.

Wackiness ensues.

Shot largely as if it were a slapstick silent film, this is one wacky, odd romp around Paris. The Eiffel tower scenes are surely one-of-a-kind and worth the price of admission alone.

You won't really find yourself laughing a lot so much as just marveling at the spectacle of the thing.

First saw Zazie years ago and remembered I'd loved it. So I was thrilled to see that it was coming out in a Criterion release. The film was as crazy and colorful as I remember it. All potty-mouthed Zazie wants to do while visiting her uncle in Paris is to ride the metro. Unfortunately it's closed due to a worker's strike. Still there are plenty of other adventures to be had and lots of colorful characters to have them with. Zazie is a real gem and I highly recommend it. The Criterion DVD is what one expects: outstanding and with great extras.

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You often hear about novels that are not possible for a film adaptation. And for author Raymond Queneau's successful 1959 novel "Zazie dans le métro", who can portray a novel about a young girl who knows way too much for her age and is so inquisitive, but yet her perspective of the absurdity of adult Parisians?

Never to back down from a challenge, French filmmaker Louise Malle known for his popular films "The Lovers" and "Elevators to the Gallows" took on a film adaptation of "Zazie dans le métro". A film which Malle would say it was a tribute to Charlie Chaplin and also a film that would lead to film experimentation with special effects and colorization.

And as for the film, the film would receive critical acclaim but also controversy as many parents thought the film was targeted towards children, and took their children to the film to find out quickly when the young 10-year-old Zazie speaks that the film is not for children.

For Louis Malle fans, many have wanted more of his films to be released by the Criterion Collection and sure enough, "Zazie dans le métro" and "Black Moon" will be released on Blu-ray and DVD in June 2011.

"Zazie dans le métro" is a film that is not easy to describe, because it is a film that has to be experienced visually. Words to describe the film would not serve the film any justice because the enjoyment goes bar beyond the written words but what takes place on screen.

VIDEO:

"Zazie dans le métro The Criterion Collection #570' is presented in 1:33:1 aspect ratio. It's important to note that the film was a big experimentation with color and filmmaking, especially special effects at that time. The film uses quite a bit of experimentation of color, unusual cuts, sped up film, etc. But for the most part, considering the film is 50-years-old, it looks great on Blu-ray!

I was actually pleased with the amount of detail, especially since this film has a vast color palette and a lot of outdoor scenes, colors are vibrant, skin tones are natural and brighter colors, especially the reds, really pop! I didn't notice any banding or edge enhancement. Nor did I see any artifacts. I did notice at some points of film damage but they were quite brief and limited to a certain area for a few seconds. But "Zazie dans le métro" looks great on Blu-ray!

According to the Criterion Collection, this new HD digital transfer was created on a Spirit Datacine from a 35 mm interpositive, thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system, while Digital Vision's DVNR system was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

"Zazie dans le métro The Criterion Collection #570' is presented in monaural French with English subtitles. Dialogue is clear and I detected no hissing, clicks or any audio problems at all.

According to the Criterion Collection, the monaural soundtrack was remastered at 24-bit from the positive print soundtrack. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.

SPECIAL FEATURES:

"Zazie dans le métro The Criterion Collection #570' on Blu-ray comes with the following special features:

Louis Malle (4:54) Featuring an excerpt from JT 19h15 from October 26, 1960. Malle is interviewed by Mario Beunat and talks about taking the challenge of making the film, how the film was dedicated to Charlie Chaplilna nd screened for him and his perspective of the movie.

Catherine Demongeot (7:35) An excerpt from "Cinq Colonnes Ala", journalists Jean-Noel Ray and Pierre Dumaget interview Catherine and her parents (March 4, 1960).

Raymond Queneau Featuring two interviews with the original author of Raymone Queneau for "Zazie dans le métro". "Lectures Por Tous" (Feb. 4, 1959; 9:20) and "En Francais Dans Le Texte" (March 24, 1961; 5:52).

Le Paris de Zazie (14:57) A short documentary shot in 2000 by "Zazie dans le métro" assistant director Philipe Collin who revisits the locations of where the film was shot and talks about various scenes and how they were shot, the artistic look of the film, the characters and more.

Jean-Paul Rappeneau (10:00) Writer/collaborator Jean-Paul Rappeneau talks about working with Louis Malle on"Zazie dans le métro".

William Klein (13:06) An audio interview featuring Louis Malle's artistic consultant William Klein talks about working on "Zazie dans le métro".

Original Theatrical Trailer (2:15)

EXTRAS:

"Zazie dans le métro The Criterion Collection #570' comes with a 20-page booklet featuring the following essay "Girl Trouble" by Ginette Vincendeau.

JUDGMENT CALL:

"Zazie dans le métro" is one of those films that one can't describe because it was meant to be seen visually.

One can be described is that this 1960 film was surprising in many levels because it featured a young girl with a mouth that would surprise people because she talks about sexuality, dirty men, homosexuality so openly and doesn't relent. Like many children who are inquisitive and keep asking questions, in "Zazie dans le métro", the questions are blunt. "Are you a homosexual?", "Are you sexually repressed?", "Are you a dirty man that goes after young girls?", etc.

Zazie is a product of her upbringing and its a statement of Paris culture back then that filmmaker Louis Malle wanted to tackle, that is a comedy that showcases the absurdity and chaotic nature of Parisians at the time.

And while Zazie and the absurdity of the adult characters is a big part of the story that can be described, its what takes place in the film that can not.

In one scene, when Zazie is trying to hide and escape from a man who spends his money buying her mussels, fries and blue jeans, the chase scene resembles one of those quick-paced hilarious Benny Hill skits. Characters looking like they are running quickly while the camera focuses on their face, but then the camera goes through several jump cuts, speeds up quickly, reverts back to normal.

In some scenes, there is a little trickery as one conversation between two men, Malle quickly changes one scene with the man in black face for a quick second and very few frames.

And while this style is funny at first, it does become a little tiring but it's all about how Malle manages to make things darker as the film progresses, that becomes quite intriguing.

Also, the look and feel of the film is rather interesting as well. In the special features, you learn that advertising screens were utilized to block out things that Malle didn't want to be shown in the film and so while Zazie is running or walking, you will notice these artistic walls behind her.

Possibly one of the most jarring shots and something that you will never ever see in a film again, is the shot of actor Philippe Noiret (Uncle Gabriel) doing these close to the edge, about to fall off high above the Eiffel Tower. In fact, one scene shows Noiret on top of an elevator rising up on the tower. It's amazing how these shots were done, especially the freedom that was given to the filmmakers to shoot those scenes but anyone who is acrophobic, even for me, those shots made feel a bit uneasy because those playful shots made you feel that he could fall off the Eiffel Tower any minute.

But the efficacy of "Zazie dans le métro" lies within its structure and how different it was from the Nouvelle Vague films at that time. Speaking of the French New Wave, even Zazie has some words to say about it during the film.

While I have not read the novel "Zazie dans le métro", I do know that author Raymond Queneau was quite appreciative of the film adaptation and even Charlie Chaplin who Malle has dedicated the film to, watched the film in French no subtitles and enjoyed it.

The Blu-ray release of "Zazie dans le métro" features a good number of special features but probably the one that I found to be quite intriguing was Phillipe Collin revisiting the locations in 2005 and talking about how the shots were done. But also to see the interview with young Catherine Demongeut from 1960 as the journalists wonder if she is anything like her character and grilling her parents on playing such a part. I found it pretty cool to see the parents calm and collected, especially Catherine while the journalists were really trying to make them frustrated or angry.

While watching "Zazie dans le métro", I often wondered how both Louis Malle even Raymond Queneau would feel about how society is today, especially for Malle who wanted to take on the absurdity of adults in Paris at the time. And as for Zazie, it made me wonder how much worse children are today as the words coming out of Zazie's mouth was considered dirty, once again, if only Malle, Queneau and society then would see how children, a product of the way they were raised, are learning some things a bit too quickly than they should have at a younger age.

But put yourself in the viewers shoes back in 1960 and you can see how this film could be seen as artistic, controversial, hilarious, enjoyable, absurd, chaotic, you name it... there are many words to describe this film and for me, I found it to be entertaining, fun and one of those films where a filmmaker does something different and unique and comedic but yet is able to make a statement on society.

"Zazie dans le métro" is a film that many Louis Malle fans have been waiting for and now it's here! This Blu-ray release is recommended!

Read Best Reviews of Zazie dans le metro (The Criterion Collection) (1960) Here

I'm not quite sure whether I like this film or not. I either loved it or I hated it ... it says something about the power of the film that I'm not quite sure how I feel about it.

What starts as a very realistic look at Paris through the eyes of a 10-year-old girl gradually slips into impressionism and finally into surrealism (the final fight in the restaurant). The more I think about it, I think Malle's absurdities work very well during the various chase sequences, but go a bit over the top during the restaurant fight.

What also struck me was the sexual ambiguity of the characters. Zazie's uncle is, of course, a professional female impersonator. But watch her aunt, a beautiful woman who starts out as a very domesticed housewife and gradually becomes more and more masculine, until at the end, she looks like one of the motorcycle thugs pursuing Orpheus. And Zazie herself begins as a charming young girl, but shocks you when she accuses a man trying to prevent her from running away of being a sexual preditor. Later, as she descends the Eiffel Tower, the makes sexual overtures to a much older man.

As I say, a strange film. Funny. Thought provoking and disorienting. But entertaining ...

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This was sent to a friend whom I assume enjoyed it. I know nothing about this movie myself, but the friend was happy with it, I believe, since i hadn't heard anything to the contrary.

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A Bug's Life Combo Pack includes DVD BLU-RAY (1998)

For some reason, this early Pixar movie was released for sale multiple times, the first being DVD only, the second time being this DVD/Blu-Ray combo in the standard DVD packaging, and all subsequent times in Blu-Ray packaging. The 2nd release is the best deal by far; both Blu-Ray and DVD formats at an affordable price. Having watched it, the package comes with all the same features as the subsequent 2-disc Blu-Ray packaging release. There is the movie itself, the standard Pixar short, outtakes, interviews with cast members, and as a bonus, an old Disney cartoon upon which A Bug's Life was based. Sound and visual quality was great, and the movie itself is a wonder, entertaining people of all ages.

Love the blu ray version of this movie and glad I now own it! When I have my own kids they'll love it as much as I did im sure!

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Another great job from Disney/Pixar. My one and three year old boys love this movie. It's age appropriate for toddlers, while still being enjoyable for older children and adults. The combo pack was great, as we keep the blu-ray for our family room TV, and the DVD can be taken with us for the car or a trip to grandma's. (It's definitely worth the extra few dollars not to have to worry about misplacing or forgetting the movie somewhere.)

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Thanks for the fast service. the Product as described and my daughter loves the movie.nice doing business with your company.

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Awesome movie. I've been holding out on buying it for a few years because it is so expensive but it was worth it. Now that I have a baby, I've got an excuse to have movies like this but really, it's for me.

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The Clowns (1970)

I first saw this film in college in the early 70s; it was about the time of SATYRICON and after JULIET OF THE SPIRITS, thusly, around the time that Fellini was moving away from narrative cinema and into the "metacinema" that would be more and more prevalent in his later films. I CLOWNS was by far his most successful foray into films reflexive onto themselves as "film". Surely, none of his other pseudodocumenataries ever approached the emotional tug that I CLOWNS produces. The lovingly recreated clown acts that Fellini films, accompanied by the haunting trumpet theme that winds through one of them, has never left me. I am gratified that I CLOWNS will be available on DVD, finally; I only hope it is struck from a clean master and not just a rebooting of the inferior VHS copy that is still out there somewhere. I CLOWNS is a film that, if viewed with a sympathetic imagination, can bring anyone back to the wonderment felt at the world when one was young. Now that I CLOWNS is available, by my reckoning it is only LA VOCE DELLA LUNA, Fellini's last film, that is not available on DVD. C'mon, guys, someone's gotta release this one too!

I'd like to defend this against some of the negative reviews here. Just my opinion. I don't work for the company. I haven't seen the French release but then that's not widely available, and not everybody has a multi-region player. I Clowns was just not available for so long. This is a full-featured disc with a 40 min. video essay about the film, a 50 pg. booklet filled with Fellini's color drawings, reproduced beautifully, and his long essay of reflections on clowns "A Journey Into The Shadow," the most important bits from the coffee table hardback "I Clowns" published by Rienzi in 1970 (also pretty hard to get). And Fellini's 16 min. short from the omnibus film "L'Amore in Cittá," which has also been unavailable in the US. That's not all, sound in DTS HD Master Audio 5.1, and meticulous listing of cast, crew, and credits, identifying every person appearing in both films explaining where they appear, and even where scenes were shot and when.

The Product Description is misleading. It's not one of Fellini's "final masterpieces." It was done 20 years before his final film and is not a masterpiece, as Fellini himself describes in his essay, recounting the "carefree and laid-back attitude with which (he) approached it," "without thinking about it too much," approaching it with his "left hand." And it doesn't "feature" Anita Ekberg, she has a short cameo appearance in it.

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For Fellini fans, this is a treat the director's lengthiest and most elaborate examination of one of the mainstays of his films clowns and circuses. It's part biography (what an wonderful opening, with a small boy watching a circus tent going up outside his bedroom window, as if it's an extension of his dreams), part history and part circus extravanganza. Rota's score is a gem circus versions of themes from practically all Fellini's films to that point. Shot for television but released soon after in theaters, the movie is not one of Fellini's best-photographed films, and I recall finding the color odd and grainy in the original 35mm prints. But this edition is about as good a transfer as you could hope for. Also, for Fellini completists, the disc includes Fellini's "Matrimonial Agency" from the early 50s compilation movie, "Love in the City." That film has yet to be released on DVD in the US. It's rather minor Fellini, but contains the seed from which Marcello, the central character in "La Dolce Vita," grew.

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Gordon Sullivan, DVD Verdict --When The Clowns first arrived on DVD, fans were ecstatic that this little-seen Fellini film was getting an American release. However, most reviewers noted that the release wasn't as stunningly remastered as they would like. Many of those problems--though not quite all--have been addressed with this Blu-ray disc. The AVC-encoded transfer has an impressive amount of detail, and the print from which it was made is surprisingly free of damage. Color saturation is spot on, but there's something about the image that can look a little over-processed. It's nothing in particular (like edge-enhancement or excessive DNR) that I can point my finger to, but the transfer gives the impression that it could be better. For audio we get a pair of Italian DTS-HD tracks. One is mono, the other 5.1. The 5.1 track is a total waste, with no real surround use and little in the way of directionality or atmosphere. In either case, we're dealing with forty-year-old location sound on a television documentary. The audio doesn't have the body or clarity we expect from contemporary sources, though it's still very listenable.

The disc itself houses a pair of extras. The first is a short film that Fellini made for an anthology; it's a fictional take on marriage and comedy. The second is the more substantial of the two, a 42-minute "visual essay" on The Clowns that discusses its style and history while comparing it to other artifacts from the period (like archival photos of clowns). Finally, this release includes a long booklet with information from Fellini himself about the genesis of the project and how he envisioned it. In many ways fans of Fellini will appreciate this booklet and the "visual essay" more than the film itself.

The Clowns is a very minor entry into the director's canon, and it's hard to trust a "documentary" from a filmmaker as interested as Fellini is in blurring the line between fact and fiction. A rental is probably best for the curious before deciding to plunk down the cash for this release.

The Clowns is a fascinating peek into the mind of an internationally beloved filmmaker and his passion for clowns. Yes, that sounds a bit odd, and Fellini must have known he was making an oddity. Fans of the director should give the film (and especially the extras) at least a rental. Those who bought the previous DVD should seriously consider an upgrade for the improved audiovisual presentation of this disc.

-Full review at dvdverdict.com

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It's hard to believe only 4 other people have reviewed this film, and that it seems to have passed under the radar. This is another Fellini film I hadn't seen in years. I remember that it depressed me the first time I saw it, but then I was much younger, and now my life experience has caught up to that of Fellini's age when he made this picture for television. This time, I was inspired. And I learned a lot. Fellini's non-commercial pictures are often better than his more mainstream, commercial hits! Granted, this film is not entirely consistent in terms of quality; but when it's good, it's really good! One of the important themes of "The Clowns" is that of the White Clown versus the Augusto; the White Clown representing authority, discipline, respectability, moral superiority, parents, what one should do or is supposed to do: the Augusto representing the rebel, the enfant terrible, the spoiled brat, the practical joker, the delinquent, the one who screams, jeers and disrespects. This picture was done in a faux-documentary-style that at first seems to be authentic; gradually it becomes evident that Fellini is satirizing the documentary process. The working lives of several famous 20th century European clowns are explored in this film, many of them being of Italian and French origin, but Spanish, Cuban and English as well. A diverse array of clown makeup, costumes and styles are presented in this film. The clown costumes especially are stunning; they could even be described as Dada-influenced. Selections from Nino Rota's various compositions are appropriately and effectively utilized as a soundtrack.

The most compelling sequences in this picture are those in which Fellini re-creates his conception of the world of the clown in a circus environment, particularly the amazing, extravagant final scene, the "Clown Funeral", which vacillates between faux documentary and outright spectacle. There are a few sad visits to clowns in the twilight of their lives, but other than that atmosphere is quite upbeat. Fellini also examines characters from his hometown, "grotesques", who reminded him of the clowns he saw at the circus in his youth; the maestro reveals that as a boy, he found the clowns to be disturbing, as opposed to funny. Fellini compares the clown to man's "shadow side" (IE in one sequence where high-profile individuals are being qualified by Fellini as clowns, Sigmund Freud is classified as a "White Clown"; Carl Jung is qualified as an "Augusto"). At the end of the picture, perhaps to illustrate a symbolic reconciliation of opposites, the White Clown and the Augusto, both playing horns, leave the circus theatre together. A 42-minute documentary, included as supplemental material, deconstructs "The Clowns" from various technical perspectives; much of the supplemental documentary contains repeats of chapters from the main feature. A booklet is included with the DVD containing Fellini's essays about clowns and his drawings of various colleagues and concepts. Fellini is a great writer as well as a filmmaker, and thus I found this booklet to be educational, entertaining and informative.

Stephen C. Bird, author of "Hideous Exuberance: A Satire"

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The Devil's Rejects / House of 1000 Corpses (Horror Two-Pack) (2011)

I decided to upgrade these two films from DVD to Blu-ray. My suggestion is to not follow me. House of 1000 Corpses loses its awesome character driven menus (on the DVD) and gives you a spinning wheel. The picture quality of the Blu is improved however. The Devil's Rejects loses almost all of the Special Features including the 2.5 hour documentary. I don't get how this happened at all. And Reject's picture quality on the Blu doesn't look any better than the DVD. I think the DVD actually looks better. Highly disappointed in this one as it's one of my favorite films. Stick with the DVDs if you have 'em.

good story line in both movies, rob zombie is awesome at making horror movies. the price is right too. yay

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both of these movies are amazingly gruesome. Rob Zombie is a great musician as well as a great movie creator/director.. if you like horror movies these are definitely movies you need to see.. i really dont want to ruin them , so just watch them. they are both great

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Great combo of movies to watch continued. High quality picture and sound. Very good and varied extras. Highly recommended blu ray edition. Ideal stop those just beginning to see Rob Zombie movies.

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Loved both of these movies. I am a big fan of Rob Zombie's films. When I ordered these, it was the first time I had seen either movie. I wasn't dissapointed.

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