Shall We Dance? (2004)

It was difficult, indeed, because Gere has a certain magnetism, both on and off screen, that transcends just his looks and certainly overwhelms his acting, which can be a bit stiff at times. In this movie, Gere is perfection. Of course, we make the comparison to his best role, in "Chicago", and we don't find him wanting here. As an ordinary man, in an unremarkable field of law (he writes wills for his clients), he has a daughter he loves, and a beautiful and accomplished wife (like many, too busy with mothering and career to see what he might be missing) in the incomparable Susan Sarandon.

Here she is just more than a bit player, but her appeal and her counterpoint to Gere is well cast. Gere is downcast because something is missing in his life, something that will help restore the joy. A subplot involves Sarandon hiring a detective to find out what her husband has been up to, and she has her best scenes as a sexy counterpoint to detective Devine (Richard Jenkins) that are reminiscent of her old role in the delightful "Compromising Positions"....Jenkin's assistant, Scottie, is a walking encyclopedia of literature and facts, and is ably played by Nick Cannon, who we saw last year in "Drumline"

It could have been anything that changed his life, but Gere chooses ballroom dancing. The draw is the beautiful and mysterious face he sees in the window of "Miss Mitzi's Dancing School". In that face, in that manner, the melancholy Paulina (Jennifer Lopez surprises with her elegant detachment), draws him because in her, he sees himself certainly he is attracted by her beauty, but it is clear from the beginning that there is little in the way of romance between them; just two souls that are overwhelmed by sadness, trying to recapture some of the joy in their lives by dancing.

Miss Mitzi's is a shabby little school where Gere finds himself in a beginners' class with Bobby Cannavale (Third Watch, Oz, The Station Agent) who shows some comic chops, and the loveable Omar Benson Miller (8 Mile, Sorority Boys) who is hard not to like as a clumsy giant. Both Chick and Vern blossom under the tutelage of Miss Mitzi (Anita Gillette), who is not above a little nip of gin from her flask from time to time as she tries to cope with her "dancers". The bonding of the people in the class is the most understated message in the movie sometimes you continue to do things because you have found a camaraderie with others who are unlikely friends.

Add some over the top comedy from one of my favorite actors, the marvelous Stanley Tucci (with a wig that needed to meet an untimely death) and Lisa Ann Walter (she's one of those actresses that always is cast comedically, and you swear you've seen her a hundred times; in reality, her best roles were rather minor, in "The Parent Trap", as the maid, and in "Bruce Almighty" as Jennifer Aniston's buddy) both of them are passionate about the dance, and Tucci, as Link Peterson, from Gere's law firm, is trying to hide his passion in plain sight.

Timing is everything, and Director Peter Chelsom, a Brit with little exposure in this country, succeeds in building up to the dance competition, with the inevitable crash and burn scene, followed by a heart-warming conclusion where we learn that Gere has not wasted his efforts, and has truly made a difference in his life with his unusual choice of hobby.

The soundtrack for "Shall We Dance?" is a delicious mix of new and old, and I was taken by Mya's rendition of David Bowie's old chestnut "Let's Dance". High time that was remade, and a highlight of an eclectic musical background that aids the film but doesn't overwhelm the script. The choreography is stunning, both in the school and at the competition.

Give La Lopez credit for her ability to dance; whether she is dancing to Latin rhythms, completing a perfect waltz, or, in my favorite scene teaching Gere to really feel the music in a perfect pairing that is all romance and virtually no sexual tension. Lopez is beautiful. Her costumes are perfect for her, and there is an amazing little black dress in the scene where she loses her cool and lectures Gere on what the emotions of the rhumba really are she's gorgeous in this incarnation. Funny, in some ways she has a catalyst role, and doesn't really get involved in the humor, which is subtle and makes you smile, rather than trying to be hysterically funny, which she could never pull off.

I loved my night with "Shall We Dance?". I'll definitely buy the DVD for more viewings! I didn't see the Japanese original, nor did I try to compare it to other dance movies and find it wanting. I just purely enjoyed the storyline, the filming and the romance. You will too.

I saw the Japanese original film "Shall We Dance?" few years ago and I was charmed by its subtlety and delicacy. I did not plan to see the remake because I am not crazy about the remakes in general and I did not look forward to see Lopez or Gere in the movie together. When I finally saw the movie (my mom who's seen both films highly recommended the American version to me), I was surprised how much I enjoyed it.

The cultural contrast of the Japanese film ceased to exist in the 2004 movie but there is still a lot to like in it. First of all, I love to watch good dancing and "Shall We Dance?" has plenty of it. Gere's and Lopez's dancing together has grace and passion, and it was a wonderful moment in the film.

Then, there are memorable and funny supporting characters that had screen time enough to become more than the lifeless shadows Stanley Tucci (Link) and Lisa Ann Walter (Bobbie) for whom the ballroom dancing is the road to freedom, and happiness.

And the last but not the least, the movie is asking the question, how to make a man happy if he's got everything the job he enjoys, the family he loves, his health, and good looks but something is missing? It would take more than any movie to answer the question but perhaps it would help one day just take a different road and open a new door?

3.5/5 or 7/10

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As far as remakes go, this one isn't too bad. It's hard to translate the cultural aspects, which play a major role in the original Japanese version, but they managed to recreate that part of the conflict quite nicely.

As a ballroom dancer, I was somewhat torn with this movie. There were some very obvious glaring errors in it, for anyone who knows ANYTHING about ballroom dancing. However, the story was enjoyable enough and the characters likable enough that it generally made up for it.

Richard Gere truly shines in this film. After the hit film "Chicago," it became obvious that Gere has quite a talent for dancing, and it was wonderful that he was able to further improve that particular gift in this show. Gere has an undeniable presence on the screen, which added so much to his role in "Shall We Dance." His character was charming and real, and I found myself really cheering for him. And heck, I wouldn't mind seeing him do more ballroom dancing, he really has a great feel for it! If I didn't know better, I'd say he'd been doing ballroom for much longer than it took to make this film.

Susan Sarandon was completely believable as his wife, and I liked her as much as I liked Gere. I wanted to see even more of her. I think my favorite scene with her was when she was trying to learn a little about ballroom dancing herself, secretly trying to gain understanding from a book and dancing in the bedroom just as her husband had done so covertly.

Stanley Tucci was, as always, brilliantly hilarious in his role as Gere's coworker. Playing a Latin dancer trying to hide his passion for the sport, Tucci provides a good amount of the comedy in this show. I wasn't quite expecting his role to be what it was, and he isn't the dancer that Gere is, but it's obvious he had fun with it, and that was great to watch. I thought he was perfect for that role.

While I did enjoy Jennifer Lopez's dancing, I must confess that I found her character a little too two-dimensional for my taste. She was actually one of my LEAST favorite characters in the piece, and I didn't quite buy her as a professional dancer in the flashbacks --especially since she was dancing with one of the best standard ballroom dancers in the world, Gary McDonald. However, I did thoroughly enjoy the scene in which she taught Gere how to feel the music, using an incredible tango I had never heard before.

The music in this show is quite good. You really need good music in a dance movie, and this has an excellent soundtrack, which I dance to all the time. The tango especially is quite unique --sort of a cross between a tango and a rumba.

The costumes are also quite impressive. Designs by Randall contributed the ballroom costumes, and in fact, I have seen a couple of those costumes in action before, at real competitions! That was a neat connection I was able to make.

The complaints I had about the movie were few, actually. My biggest problem was during the Latin competition. They spent all this time talking about the rumba --and Gere even MENTIONS that the Novice dances are rumba and cha-cha --and then at the actual competition, suddenly they're doing a paso doble?!? That was incredibly annoying, especially with all the build-up they had beforehand. And frankly, you will never EVER see a paso doble done at the Novice level at competition, it's always rumba and either cha-cha or samba. I was at a complete loss as to why they did that.

Other than that, there were just little things that a ballroom dancer would easily catch, and Tucci drops a competely unnecessary f-bomb.

But on the whole, this is a fun movie, and one I would recommend to most people. I would like to see Richard Gere do MORE dancing movies in future!

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I don't know how many times I've read reviews of this movie that slammed it because "the Japanese version is better." No, it isn't. The Japanese version "different" and different is good. Okay, the Japanese version deals with the social stigmatism of showing off in public and ballroom dancing is one target of their uptightness. That's a great angle to tell a story from.

In the U.S., obviously, we don't have that kind of social convention. We have a totally different outlook on such things, but they can run quite parallel to the Japanese way of life. In the American version, John Clark has pretty much everything he could ask for. A beautiful wife, two great kids, a nice home and much more. And he is bored out of his skull and has no idea why. When he finds that he loves ballroom dancing and then is found out by his wife, he doesn't have to deal with the social implications of public displays as in the Japanese version, but the embarrassment and heartache of having to admit that his "perfect life" was missing something.

Though our society doesn't condemn you for wanting to dance, or more specifically, ballroom dance, you will find out how many morons there are around you that will assume that if you are a guy and you love to dance, you must be gay. Link Peterson was absolutely correct in keeping his passion secret for as long as he did and he was dead right on about the reaction that would occur if the people in the office found out about it.

So I give this film five stars just because, as a dance movie, it has great dancing. As a romance, it shows what can happen when secrets are kept and how much better off our relationships would be if we didn't try so hard to hide them. Get this movie and enjoy a good story and quit worrying so much about how Japanese society is "this" and Japanese society is "that."

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Go ahead and give me unhelpful votes if you disagree with my opinion, but I enjoyed this movie. I left the movie theatre with a lump in my throat and a good feeling inside, and I was entertained, and isn't that what watching movies is about? At least I felt that way. Maybe the movie is different from the original, but not seeing the original and just seeing this one, I can say I liked this movie. A good cast, including Richard Gere, Jennifer Lopez and Susan Sarandon. I enjoy Lopez's movies but on this movie she plays more of a supporting role, and her acting style in this movie is much more restrained than in movies in the past. I won't give away plot but if you want a movie that will make you laugh, cry, and just feel good, then SHALL WE DANCE? is for you. The music in the movie is great as well!

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Pit And The Pendulum (1991)

After seen the remaster work done to Puppet Master and Subspecies, I was excited to see this and Castle Freak coming out on blu-ray. What I discovered instead were a couple new releases that had no work done to them. They're basically upconverted DVDs and if you already have the DVD, your blu-ray player will upconvert those and you'll get the same quality. There's nothing new on these releases that warrants a blu-ray purchase if you already have the DVDs.

How could this be "temporarily out of stock?"....this movie has never been released on bluray...Its available on dvd but not bluray...how about giving us a release date for the bluray?

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I really want to buy this movie on blu ray but it`s always out of stock.I love these full moon movies and I hope they get more in soon.

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Trailer Park Boys: Say Goodnight to the Bad Guys

While not the best storyline, I still loved this special. If you have never seen TPB before I would not recomend this as the first one to see, start with season one. If you are a TPB fan and love some drunk Lahey then you'll love this special.

I'm a huge fan of the TPB's and I purchased this video to complete my collection which would be my suggestion to anyone considering purchasing it. It's 47 minutes that feel twice as long and really drawn out. It just seems like the story never comes together on this video and everything is overshadowed by 45 minutes of drunk, loud and incomprehensible Jim Lahey. It's not a horrible video, just not one of their best.

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Very funny show. Ending was not what I thought it would be, but still enjoyed it. Bring back the Trailer Park Boys!! We need more comedy shows like them !!!

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I'm hearing a bit of negetivity here about Say Goodnight to the Bad Guys. I found it to simply be a continuation of a great series of TV shows and movies. It WAS just "more of the same".....but I think that's exactlly what TPB fans want. That's what I want. I'll keep watching whatever they come out with as long as they stick to the proven formula. Yeah, it would have been nice if it were twice as long. But I'll take anything I can get from Treblay and Wells. Leheay's last few lines in this movie definitly indicate that there will be more to come in the future.....damn, I hope so. And for *&%$ sake.....find a way to get Corey and Trevor back into the mix. Losing them was the ONLY mistake they made in this series.

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The first 5, maybe 6 seasons of TPB are hilarious. The movies are also really good. Season 6 and 7 started to go down a little I thought. This show takes place after season 7 and is even a little less funny than season 7 was. It's still pretty good, but just not as real-feeling as the first few seasons were. If you're a hardcore TPB fan like me, though, you will still need to get it.

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Step Brothers (2-Disc Unrated Edition) (2008)

I don't understand how people didn't like this movie.... I take that back. I expect that people didn't like this movie because they expected something smarter. For the record, don't expect this to be an intelligent comedy. It's not. At the same time, I think it's absolutely hilarious. I'm a firm believer in setting our own expectations. If you expected Twister to be some amazing, epic film, then you were probably disappointed. If you expected it to be a movie about a tornado, you were most likely entertained. The same applies to this film. Don't go in expecting an artistic masterpiece. It's crude, rudimentary comedy, and it's nice to be spoon-fed ridiculously "insipid" humor from time to time. I. Loved. This. Film. It's ridiculous, just don't expect too much.

This movie is a real sleeper. The first time I watched it I thought it was funny, but after watching a few more times I think it is great. These two portray the base element of every man. The "forever 13" humor that almost all men love, even if they don't like to admit it. Mary Steenburgen is also hilarious. Some people who are too uptight to laugh at juvenile humor will trash this movie, but it is funny. The casting throughout was perfect.

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This movie was one of the funniest movies I have ever seen in a long time. These two actors are great together, they pack a laughter punch like no other. I'm definitely buying this movie.

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OMG, this is soooo funny right from the get go. I hadn't heard of the movie and wasn't prepared. This is the kind of comedy that you just have to sit back and let it hit you full on. ;-)

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regardless of what some people might think...this movie was BRILLIANT...it was hilarious and cute and silly. not to mention when you get these two together , hilarity ensues....it has what i like to call OLD SCHOOL humor...because that was another gem by ferrel but this one is just so outlandish and witty...its worth watching over and over again..if u love to laugh...GO BUY IT! i am for sure :)

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PURE COUNTRY / PURE COUNTRY: THE GIFT

I love George Strait, he is the reason I bought these movies. I liked Pure Country the best, because George plays a bigger part in that movie than in #2. I love most of the songs from Pure Country. #2 has a good storyline and the main character has a wonderful voice, I just think that George should have sung one or two songs!!

Pure Country is an outstanding movie. Great soundtrack and story line. George is not a gifted actor, but plays the part well. I get misty at the ending each viewing which is not suppose to be cool for a guy. PC 2 is a nice storyline with good music, but the angel angle makes the story a little hokey.

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Movie is great so much talent we have but always forget where we got it from GOTTA SEE to believe..

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Pure Country is a great movie for those that love country music. Movie is a little cheesy but... Have not watched Pure Country 2 yet.

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I LOVE GEORGE STRAIT, COUNTRY MUSIC, AND COWBOYS. I LOVE HORSES AND I LOVE RODEOS. I AM ONE OF GEORGE STRAIT'S BIGGEST COUNTRY MUSIC FANS. I HAVE ATTENDED MANY 0F GEORGE STRAIT'S CONCERTS IN MINNEAPOLIS AND IN ST. PAUL, MINNESOTA. I HAVE COLLECTED GEORGE STRAIT MEMORABILIA FOR MANY YEARS. I HAVE ENJOYED EVERYTHING GEORGE STRAIT. I HAVE FILLED MY HOME WITH LOTS OF GEORGE STRAIT SOUVENIRS. GEORGE STRAIT IS THE KING OF COUNTRY MUSIC. I SHALL LISTEN TO GEORGE STRAIT'S COUNTRY MUSIC SONGS FOR THE REST OF MY LIFE ON GOD'S BEAUTIFUL EARTH. GOD BLESS GEORGE STRAIT AND FAMILY.

Special Forces (2011)

Good military thrillers are hard-to-find, and that's probably because the field of cinema has long cultivated lesser soldier pictures masquerading as something bigger or grander than what they truly are. For example, a reviewer for the Hollywood Reporter draws a light comparison to the Rambo films ("a body count that rivals any of the Rambo films"), and, to be honest, I think that does a disservice to SPECIAL FORCES as well as it does Rambo. Rambo is clearly a fictional creation; sure, he's entertaining and a crowd-pleaser, but the men who make up true-life Special Forces teams have very little in common with and how Rambo goes about his job. Rambo is bigger-than-life. He's over-the-top. Real soldiers lie low much of the time, and they only rush into combat when either ordered or find it absolutely necessary.

It's a fine-line distinction, but it's one that should be made when discussing competent military thrillers like SPECIAL FORCES.

(NOTE: The following review may contain minor spoilers necessary solely for the discussion of plot and character. If you're the kind of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

Elsa Casanova (played by the lovely Diane Kruger) is a war correspondent caught behind enemy lines in Afghanistan when she's taken hostage over some very unflattering pieces involving a local Taliban chieftain. Her captors take her deep into their Pakistan-stronghold, and the French call in a squad of Special Forces led by Kovax (Djimon Hounsou) to rescue her. A botched helicopter extraction leaves her and the soldiers with only one grim option: to brave this wild frontier on foot, trek across the mountains, and hope for friendly aide in Afghanistan!

To its credit, SPECIAL FORCES is a smartly made military thriller. There's a political undercurrent, as well, that for the most part supports the primary plot of good soldiers doing a dirty job, but the politics of the film put so much of the story in jeopardy. For example, the Taliban chieftain would appear to be exactly what the Taliban would want from a leader (he's ruthless, forcing Elsa to watch helplessly while they strangle a man to death in front of her), but we quickly learn that the man lacks the respect of the local Taliban elders. There's an interesting parallel running through the motion picture about how the press apparently doesn't respect the French government or its military, but, in the end, we pretty much find out that it's all been done for the sake of `character development.' Unfortunately, there's no way to make sense of what director Stephane Rybojad was trying to saw about the world and these people, but I've no doubt Stephane thought it was all pretty high-brow.

Those quibbles aside, a large portion of the rest of SPECIAL FORCES is extremely well shot, expertly choreographed, and quite thrilling. The rescue goes mostly textbook, but the extraction leaves these folks stranded behind enemy lines and needing to salvage a botched operation. As soldiers would, they comprise their own `game plan,' which leads to some solid action for fans of this genre. The last quarter (or so) of the film veers into some pretty dire circumstances for all involved, and, while I'd no doubt this is the story Rybojad wanted to tell, it's all pretty downright depressing for my tastes. Kudos for opting for realism, but, if it's realism you want, then I'd seriously question the logic of the skinny blonde waif with no body fat lasting as long as she did.

SPECIAL FORCES is produced by Easy Company, Studio Canal, Canal+, TPS Star, Banque Postale Image 4, A Plus Image 2, and Sofica Manon. DVD distribution is being handled through Entertainment One (E One). For those who might be wondering, this is `technically' listed as a French-language film which is a bit of a misnomer: yes, there's a wealth of French spoken in there, but there's an awful lot of English, as well. There is an English-dubbing track (2.0 only) available, if you don't want any French; I watched it in French with sub-titles, and I was surprised how much English there was. As for the technical specifications, it looks and sounds magnificent very clear and crisp images, excellent sound mix, and there's some wonderful John-Ford-esque vistas throughout the film. As for the special features, there's a handful of deleted scenes (nothing grand) and a blink-and-you'll-miss-it three minutes feature on a real-life Special Forces soldier who participated briefly as a character in the film. (My press materials indicates that the Blu-ray release includes an additional `making of' featurette.)

RECOMMENDED. Look, I love my patriotism just as much as the next patriot, but SPECIAL FORCES ain't no recruiting video for the French that's for sure. Also, it ain't any work any miracles for Pakistan's tourism business. It's a well-made, well-constructed military/political thriller for about 80% of the time, which ain't bad. However, its politics are all over the map (Are the Taliban bad guys? Are they good guys? Are they just misunderstood? Or is it the press who are our bad guys?), and the lack of a coherent message (not the story, which is all well and good) slows the picture down a bit. It's full of good performances and some very curious editing (way too many meaningless dissolves), but the script could've used a rescue mission itself in the last 30 minutes.

In the interests of fairness, I'm pleased to disclose that the fine folks at Entertainment One (E One) provided me with a DVD screener copy of SPECIAL FORCES for the expressed purposes of completing this review.

As I sat down to watch the French film "Special Forces," I was poised to enjoy a complex story of tactical operations and international politics. And in the opening scenes, that's just what the movie seemed on the precipice of serving up. However, as the primary story line came into focus, it was clear that "Special Forces" really wasn't about an elite military squad in anything other than title. We see a couple of missions, but nothing of any real strategy is presented. I would have enjoyed these scenes a lot more if the screenplay had delineated just what made this squad so spectacular from a technical, intelligence, or stealth point of view. But as I said, this action endeavor isn't really about a special forces team per se. It is rescue picture. If you remember the tag line for Spielberg's "Saving Private Ryan," it stated that "the mission was a man." Here, the only objective is the rescue of a woman who happens to be a French war correspondent. In other words, the mission was a woman.

The terrific Diane Kruger (generally underrated) seems a bit out of place as the central character. A seasoned news vet, she attracts the attention of local Taliban leaders in Afghanistan as she pursues a very personal story. Soon, she is abducted by the subject of her story (Raz Degan) and put in harm's way. This rallies the French government (we're not given too much detail behind her import) to enact a daring rescue attempt at any cost. That's when our group of heroes (led by Djimon Hounsou) arrive on scene and get her out within a couple of minutes. No big deal. The rest of the movie plays as an extended chase through the desolate country as the squad and Kruger try to evade capture and death. Along the way, we'll learn a bit about all of them, but the harrowing journey will surely promise a death toll. Who will make it out alive, if anyone? That is the central question as Degan's men are relentless.

Much of "Special Forces" works better on a visceral level than on an intellectual one. The film's screenplay makes some dubious choices to enhance your emotional commitment to the material. The Taliban are faceless enemies represented solely by Degan. It seems surprising how personally invested in the pursuit he is, but the filmmaker is convinced the audience needs a big final confrontation with the symbolic face of evil. The men form a grudging respect for Kruger as well, but she never plays an active role in her own survival. As people are being brutally annihilated, they think she's a trooper for walking on battered feet. She never takes up a weapon and ends up being carried. She never comes across as heroic to me. And let's not get started on an ill-advised romantic connection. "Special Forces" was designed to be an epic and devastating war story. And some of it works, it's hard not to be swept up into the nightmare. The cast is strong but, in the end, too many false moments hamper a story that should have been absolutely unforgettable. Not a bad movie, but had so much more potential. About 3 1/2 stars. KGHarris, 2/13.

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Talk about a surprise. Amazing movie!!! Cinematography and acting, all top notch. Ok, I admit...the storyline has sort of been done before but, how could anybody bash a movie that is ultimately meant to honor fallen soldiers? Bottom line you can't (or at the very least, show respect). Thank You.

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As I sat down to watch the French film "Special Forces," I was poised to enjoy a complex story of tactical operations and international politics. And in the opening scenes, that's just what the movie seemed on the precipice of serving up. However, as the primary story line came into focus, it was clear that "Special Forces" really wasn't about an elite military squad in anything other than title. We see a couple of missions, but nothing of any real strategy is presented. I would have enjoyed these scenes a lot more if the screenplay had delineated just what made this squad so spectacular from a technical, intelligence, or stealth point of view. But as I said, this action endeavor isn't really about a special forces team per se. It is rescue picture. If you remember the tag line for Spielberg's "Saving Private Ryan," it stated that "the mission was a man." Here, the only objective is the rescue of a woman who happens to be a French war correspondent. In other words, the mission was a woman.

The terrific Diane Kruger (generally underrated) seems a bit out of place as the central character. A seasoned news vet, she attracts the attention of local Taliban leaders in Afghanistan as she pursues a very personal story. Soon, she is abducted by the subject of her story (Raz Degan) and put in harm's way. This rallies the French government (we're not given too much detail behind her import) to enact a daring rescue attempt at any cost. That's when our group of heroes (led by Djimon Hounsou) arrive on scene and get her out within a couple of minutes. No big deal. The rest of the movie plays as an extended chase through the desolate country as the squad and Kruger try to evade capture and death. Along the way, we'll learn a bit about all of them, but the harrowing journey will surely promise a death toll. Who will make it out alive, if anyone? That is the central question as Degan's men are relentless.

Much of "Special Forces" works better on a visceral level than on an intellectual one. The film's screenplay makes some dubious choices to enhance your emotional commitment to the material. The Taliban are faceless enemies represented solely by Degan. It seems surprising how personally invested in the pursuit he is, but the filmmaker is convinced the audience needs a big final confrontation with the symbolic face of evil. The men form a grudging respect for Kruger as well, but she never plays an active role in her own survival. As people are being brutally annihilated, they think she's a trooper for walking on battered feet. She never takes up a weapon and ends up being carried. She never comes across as heroic to me. And let's not get started on an ill-advised romantic connection. "Special Forces" was designed to be an epic and devastating war story. And some of it works, it's hard not to be swept up into the nightmare. The cast is strong but, in the end, too many false moments hamper a story that should have been absolutely unforgettable. Not a bad movie, but had so much more potential. About 3 1/2 stars. KGHarris, 2/13.

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An article is written by a French journalist named Elsa (Diane Kruger) with the intention of exposing the Pakistani warlord named Zaief (Raz Degan) for what he really is. Seeking retribution for being called "the butcher of Kabul," Zaief captures Elsa and her friend Amen (Mehdi Nebbou) and holds them both hostage. A French Special Forces team lead by Kovax (Djimon Hounsou) is sent in to rescue them, but when a stray bullet severs their only means of communication they find themselves journeying back to Afghanistan on foot.

The French war adventure film opens with what is quite possibly the most ridiculous music to try and accompany soldiers or a war. There are helicopters flying in the air, soldiers scouting out the landscape, and this extremely serious tone but it doesn't feel sincere because Big Audio Dynamite is blaring in the background. It just doesn't seem to fit the tone of the film at all. In the meantime, the rest of the score is completely generic. There's this guitar heavy piece that's used literally every five minutes or so. If the inadequate music wasn't enough, the film is edited like a bad music video with constant quick cuts, flashes of light, and even slow motion.

The first half of the film is nearly unbearable; there's no character development and these really lame attempts at humor. "We need to be set up at the landing site in an hour and a half." "Oh, no time to go shopping then?" It seems like "Special Forces" is just going through the motions at first. It's a rescue mission with no depth, but things begin to turn around once they reach the village. The action picks up and suddenly everyone realizes that, "Oh crap, we should actually be trying to invest in people's emotions here!"

Diane Kruger has the most draining performance. Elsa is put through hell and you can see the toll it takes on her both physically and emotionally. What's unfortunate about her is that she's so stubborn that it completely voids out rational thinking the majority of the time. She is given at least half a dozen signs and told just as often to leave the country, but decides to stay to try and protect her informer Maina (Morjana Alaoui) even though she never sees her after the opening scene. She's also given a gun by Lucas (Denis Menochet) and is told something along the lines of "just in case" and "you'll never know." Even when things go south, she's never seen using it. Instead she's given another gun later, which she also doesn't use. So Elsa can be a successful journalist and gain worldwide attention, but can't use basic logic even though her life in addition to eight others depends on it.

Djimon Hounsou has a really passionate performance, as well. He's so devoted to his mission and his men. Benoit Magimel as Tic-Tac is able to add some awkward charm. Raphael Personnaz is the biggest bad ass. The sniper exchange at the village is just insane. Raz Degan is fairly impressive as Zaief. While the character is pretty flat, it does seem like he does the best he can with what's in front of him. His cold eyes accompanied by his loathsome actions cause him to stand out in a sea of mediocrity.

"Special Forces" is incredibly similar to "Act of Valor" in story and tone. On the positive side, "Special Forces" doesn't feel as force fed as "Act of Valor" and has better, more emotionally charged performances in its second half. It could have been so much more though, especially if the first half of the film was written better and had more depth. You might actually care about the events that unfold in the process. "Special Forces" isn't very special at all. Predictable and run of the mill with terrible music and the most generic editing around, "Special Forces" feels like it lasts the 11 days it chronicles.

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All Things Fall Apart (2011)

"It's just a challenge, just another challenge that's all" Deon (50 cent) is a college football superstar. He is set to win the Heisman Trophy, play in the national championship football game and be one of the top picks in the NFL draft. Weeks before his big game he is rushed to the doctors and is diagnosed with a tumor. His days of football are over, and he is left to try and start a new life. Going in I was very worried...a movie written by and starring 50 cent...oh God...here we go. I was very very surprised at how good it was. I'm not saying this can compete with "Remember The Titans" or "Express", but I really enjoyed this movie. I have never been impressed by 50 Cent's acting, but he was actually really good in this. I may have been distracted by the physical change that he went through. Going from a ripped football player to a 160 pound cancer patient is actually pretty impressive and for someone to go to that length for a movie shows how important this was to him. Overall, a surprisingly good sports movie with a surprising performance by Curtis Jackson. I give it a B+.

Glad someone was finally realistic that sometimes there is no happy ending. You have to make the most of this life right here right now.

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50 Cent plays Deon, a college football star running back headed for the NFL and life on Easy Street. He has everything, fame, parties, girls etc. His kid brother, Sean rejects 50 cents lifestyle. He is the more studious type I gathered from the stereotypical glasses that he wears. Mom is Deon's main cheerleader, and dad, who has been there, wants Deon to be a more aggressive ball hog and less of a team player in order to attract the pro scouts. Even at home, Sean (Cedric Sanders) plays second fiddle to the football star. Deon can have any girl he wants, including the girl dating his brother.

However...Thing Fall Apart. Deon has the big "C" growing in his chest. Ray Liotta plays the doctor. While the family is in a waiting room, Ray comes in with an x-ray and shows the family the giant tumor in Deon's chest. Radiation and chemo. Dad, concerned about Deon's draft pick, wants to keep a lid on this in order to deceive the NFL. Mom is not crazy about the idea.

As Deon's life whittles away, he finds doors that were once opened to him have closed and life without being a football star is hard. Curtis' acting ability has improved since the last time I saw him, although it still leaves much to be desired. Strong performances by the supporting cast (not Ray Liotta of course.) There were some minor plot issues. Cedric Sanders made the movie more than 50 Cent.

F-bomb, sex, sex talk, no nudity

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I read an article last month about movies going straight to DVD and this one was mentioned. I remember there being controversy about 50 Cent losing a bunch of weight, but I thought the photos were fake for so long that I didn't bother following up to find out it really was for a movie. But that article made me curious about this film so I rented it.

And man, was this ever a movie! I really enjoyed it. I started off looking at the film kinda side-eyed when I saw that terribly fake dreadlock wig on 50 Cent's head (reminded me of Shemar Moore's wig in "Tyler Perry's Diary of a Mad Black Woman") but the movie got better. Originally I thought 50 Cent could only play the role of himself well (ex. "Get Rich Or Die Tryin' (Full Screen Edition)") but he was REALLY good in this film.

He plays a star college football player who is trying to make it to the majors when he finds out he has cancer. This isn't just a movie about sports though. It's actually quite political and gets into the problems with the health care system. While watching this film, I kept thinking of an excellent book I recently read called "Hot Cripple: An Incurable Smart-ass Takes on the Health Care System and Lives to Tell the Tale." There's a couple love stories. Friendships tested. And the dialogue amused me because it was so realistical, especially his motormouth, vulgar friend. This should've hit movie theaters, but it's worth buying either way.

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Maybe i am dating myself but this was like watching a 2 hour afterschool special from the 70's.it was not good or bad, the characters were not developed enough to sympathize with. it had potential to be a "Brian Song" with more character development but it seemed rushed and out of order.!! give a A plus for effort and a c for character developing.

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Where Do We Go Now? (2012)

"Where Do We Go Now?" (2011 release from Lebanon; 100 min.) brings the fictitious story of an isolated village in Lebanon where Christians and Muslims, tired of the endless and senseless killing of/by the Christian and Muslim men, are living together more or less in peace. The opening scenes show the village women, both Christian and Muslim, marching together towards the cemetery where they put down pictures of their fallen husbands, sons and other male family members.

But the peace is threatened at times, not just by petty local events such as the strange disappearance of shoes from the mosque, but more so by watching the news on the one working television in the village, showing increased tension between Muslims and Christians. The women in the village decide that they need to ease the tension by whatever means possible. To say much more of the plot would be to ruin the viewing experience of this movie, you'll just have to see for yourself how it all plays out.

This is a beautiful and touching movie. Props first of all to Nadine Labaki, the director/co-writer/star of the movie (she plays one of the key women roles). It wasn't until the movie's credits roled that I realized that Labaki was one of the main performers in the movie. While at times there is a light tone to the movie, we are quickly reminded of the absurd nature of the long-held mistrust between people from different religions. I enjoyed this movie from start to finish. If you are looking for a sophisticated yet entertaining foreign movie, by all means check this out. "Where Do We Go Now?" is highly recommended!

One of the best films describing the fundemental problem of the Lebanese society. Nadine Labki has a long standing passion in bringing up the issues and topics that are considered as a "hot potato" topics in Lebanon.

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A very imaginative way of treating the subject of religious differences in a war torn society. It is funny, entertaining, human, makes you cry and makes you laugh at the absurdity of separatism!

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Where Do We Go Now is several things at once: a drama; a comedy; a musical of sorts; a slice of life in a troubled village and a commentary on life in general, at least in Lebanon and other countries nearby. It succeeds very well! True, once or twice things changed too quickly from drama to comedy or music; but this is a minor quibble. The plot moves along at a good pace and I was glued to the screen to see how everything would play out. The acting is superlative; although the actors are not highly seasoned professionals they give nuanced, convincing and passionate performances. The choreography and the cinematography work well and the musical score enhances the film, too.

When the action starts, we meet quite a few people in a Lebanese village isolated because the only bridge to it is badly damaged and needs repair; traveling too far from the village is also dangerous because of land mines. The villagers are hemmed in. Fortunately, there is peace between the Christian and Muslim members of the community; their houses of worship are almost side by side--there's just one house between the mosque and the church. People are also very excited that a few teenagers found a way to hook up a television; now they can watch programs including the news.

It isn't long, however, before pent up tensions begin to surface. At first it's just a comment here and there; but things deteriorate. Once the villagers see on television is that there is fighting on the outside between Muslims and Christians, the Muslim and Christian men in the village begin to fight and the women oppose the violence. Things begin to spiral out of control after Muslims suspect that Christians put goats in their Mosque and stole their shoes while they were praying inside the mosque; and Christians are appalled and angered when a Muslim man smashes their statue of the Virgin Mary and they discover chicken blood in the font to mock their Communion.

The religious leaders want peace but it is the women who really struggle to make it happen. The women hire Ukrainian belly dancers to distract the men and put hashish in baked goods to make the men mellow! There's more, too, including a huge plot twist at the end of the film that left quite an impression on me.

Look for superb performances by director Nadine Labaki who plays Amale, a Christian woman in love with Muslim Rabih (Julian Farhat); Kevin Abboud as Nassim; Petra Saghbini as Rita; Caroline Labaki as Aïda; Yvonne Maalouf as Yvonne; Claude Baz Moussawbaa as Takla; Ali Haidar as Roukoz; Oxana Chihane as Katia and Leyla Hakim as Afaf. As I mentioned above, the others give wonderful performances, too.

Where Do We Go Now is a poignant look at life in a troubled Lebanese village and how it can be so hard to achieve peace between warring groups, in this case Christians and Muslims. I highly recommend this film for people who like drama with cultural, social and political themes with a side dish of comedy and even some music to lighten things up. Moreover, people who appreciate the work of Nadine Labaki will not be disappointed.

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This is one of my favorite movies. Nadine Labaki portrays a very interesting story about sectarianism and reconciliation and that is something almost the whole MENA region is going through, especially with the current developments aka Arab Spring. The actors in the movie were being themselves, hence, no over-acting which added up to the movie being awesome. I heard Nadine picked the amature actors based on their personality and that the real life personality is similar to the one in the story and in which the actors portrayed the characters beautifully.

The setting is great and so is the production. Oh, I should mention the music as well. Khaled's compositions are just so delightful to the ears. Just watch the goddamn movie, okay?

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Rio Bravo (1959)

Rio Bravo is one of a handful of movies (see also The Quiet Man) that belies the one-note, tough-guy stereotype that so many people associate with John Wayne. Here he is endearing (his scenes with Walter Brennan are hilarious and genuine) and, dare I say, even somewhat sensitive in his own way (his firm method of "treatment" for Dean Martin's alcoholic character is something a counselor friend of mine finds priceless). The rest of the cast is wonderful as well: Brennan is cranky, Martin is wounded but charismatic, Angie Dickinson is sly and assured and Ricky Nelson, surprisingly, does more than just hold his own and look pretty (*and* he sings a duet with Dean Martin). Everyone involved here obviously had a ton of fun making the movie, but more importantly the film exudes that sense of good cheer without undercutting the narrative tension. Director Howard Hawks certainly had a great deal to do with the quick pacing and the tightness of the ensemble, both of which assure that the film never seems to drag, even in quiet moments. In short, a western for people who don't like westerns and a John Wayne movie for people who don't like John Wayne.

"Rio Bravo" is a very entertaining and quality film suitable for the entire family.

The film boasts an all-star cast that boasts a wealth of talent. John Wayne is the tough sherrif John T. Chance, who has to hold a prisoner charged with murder in his small jail awaiting the arrival of the territory judge. Wayne gives one of his best performances. Dean Martin plays Wayne's troubled drunk deputy. Martin surprises everyone by showing just how wonderful an actor he is. In a difficult role, Martin excels. Angie Dickenson is Wayne's love interest. Dickenson's role is also an emotionally challenging bit of acting, but she pulls it off easily with room to spare. Walter Brennan is Wayne's crippled deputy and he also excels and provides comic relief. Brennan is so convincing as the crippled leg deputy that many fans of Brennan believed that he was actually crippled in real life. Brennan walked as good as anyone and it is a tribute to him that he convinced all of us that he had a bum leg! Rounding out the cast is the very young heartthrob Ricky Nelson, who plays "Colorado", a trailhand with a good gun. Nelson is in over his head here as an actor, but was probably included in the film for his ability to bring in the female audience. Ward Bond and Claude Akins round out the excellent cast.

Director Howard Hawks uses the cast to his advantage. His directorship keeps the film moving along at a steady pace. Interestingly, the first several minutes of the film has no dialogue at all! John Wayne speaks the first line about 4 minutes into the film after much action has already taken place.

This film represents Hawks' and Wayne's response to the movie "High Noon", which both men despised. Wayne and Hawks were disturbed by "High Noon" as no townspeople came to the help of the sherrif who had to face down a gang of thugs by himself. Both men believed that the good men and women of the community would rally to the side of good and face down evil. In 'Rio Bravo", Wayne's sherrif does not go it alone, but gets help from several sources.

Dimitri Tiomkin's score is a good one, originally made for the classic western, "Red River". Dean Martin and Ricky Nelson combine their vocal talents in the duet "My Rifle, My Pony, And Me". Believe it or not, Walter Brennan adds his vocal talents in a song that follows!

"Rio Bravo" is a very satisfying and entertaining film fit for the entire family. There is no profanity, love scenes are done discretely, and the expected violence is not graphic or gratuitous. As a kid, this was one of my favorite "John Wayne" movies. As an adult, it continues to be a favorite, and I believe it will be a favorite of yours too. Out of 10 stars, I'd give it a solid 9.

Jim Konedog Koenig

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Rio Bravo is one of John Wayne's more enjoyable movies and this movie is considered to be one of the greatest westerns ever made. Wayne is superbly supported by Dean Martin who also carried the movie as well as Ricky Nelson, Walter Brennan and Angie Dickinson. Great cast, superb script and excellent direction make this movie a viewing a pleasure many times over. It has everything anyone want in a John Wayne movie. Gunfights, fist fights, slow developing story to developed all the main characters and even pacing with a song or two thrown in. So successful was this movie that it was remade two more times as El Dorado and Rio Lobo. Amazingly, all three movies were directed by Howard Hawks and starred John Wayne. Even more amazing is that all three movies proves to be just as good and entertaining as ever.

This two disc Special Edition of Rio Bravo is a definite upgrade in both quality of image as well as sound over the previous release. I found the running commentary by John Carpenter and Richard Schickel to be somewhat enjoyable but the extra features proves to be a disappointment. There are three special features on the second disc. Two of them, Howard Hawk's Rio Bravo and Old Tucson: Where Legends Walked proves to be quite interesting. However, I was pretty disappointed by the main feature of this second disc, Men Who Made Movies: Howard Hawks. This feature I have seen already on Bringing Up Baby two disc edition (superb Katherine Hepburn/Cary Grant movie). I was very unhappy that a documentary already used in one DVD movie was reused for another. Warner Brothers made a cheap move here. (However, if you do not owned Bringing Up Baby, then you will get more out of the second disc then I did.)

I gave five stars for the movie, three stars for the special features, averaging out to four stars for this review. It should be noted that this two disc edition is exactly identical to the "ultimate edition" although that edition cost more and have a reproduction of Dell comic book based on the movie and promo booklet attached to it. (Much like the Ultimate Edition of the Searchers.)

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***THIS REVIEW IS FOR THE BLU-RAY VERSION of "RIO BRAVO"***

Apart from the fact that Ricky Nelson couldn't act to save his life (he plays the fast gun Colorado), the big revelation in Howard Hawks' High Noon rerun is Dean Martin who is just superb as the drink-obsessed Dutch sidekick to sheriff John Wayne and his trusty buddy Walter Brennnan.

The Blu Ray version is disappointing print wise for the opening credits there's blocking, speckles on the print etc, but thankfully it doesn't stay that way for long. Although there are other weak points in the transfer later on in the movie, for about 90 % of the time I'd say it looks really good not great but certainly better than any other version of it that I've ever seen.

There's a nighttime sequence where one of the bad guys hiding out in a barn near the prison tries to shoot John Wayne it cuts to Dutch outside worried about his friend inside the clarity of sweat and dirt on Dean Martin is wonderful to see and startling. When Angie Dickenson is stopped by John Wayne at her bedroom door suspected of card shark tricks in the saloon she's just left below, her face and clothing look sensational too (what a beauiful woman she was). But then in other places there's a disappointing feeling of the focus being slightly off or the print's vibrancy being washed out.

It might just be that in 1959 the colour process was not quite there yet, but you can't help but feel that if this negative had been given real care and effort the print would have been a genuine joy to look at rather than being something that just ellicits the word 'good' out of you every now and then.

"Rio Bravo" is a very good transfer to Blu Ray, but like so many oldies that aren't treated to proper restoration, you can't help but feel that an opportunity was missed here because it's a Western that's stood the test of time.

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I have the earlier DVD, but bought this one for the wonderful extras. However, I like the print from the first DVD better. I think it is a matter of taste, but I think this print is much darker than the first DVD. Faces seem more red, less fleshtone. I would simply exchange the older disc for the newer one, except that the newer, darker movie disc also has a very nice Commentary by John Carpenter and Richard Schickel. On the other hand, the documentary about Howard Hawks is worth the price of the 2-disc DVD itself. Some great extras more than make up for a weaker copy of the film -I guess I will keep both versions.

Snitch (2013)

In Snitch, Dwayne Johnson stars as John Matthews, a trucking distribution owner that agrees to work with the federal government to be an informant after his son, Jason (Rafi Garvron), is sent to prison for the intent to distribute narcotics. After striking a deal with the DEA, Matthews (undercover) partners with one of his employees, Daniel (Jon Bernthal), an ex-convict with connections to the drug world. Barry Pepper, Michael Kenneth Williams, Nadine Velazquez, Benjamin Bratt, and Susan Sarandon round out this star-filled cast.

Now keep in mind, Dwayne Johnson has been one of my favorite athletes since the first time he won the Intercontinental championship so I'm pretty biased here. Regardless, to see The Rock come full circle from a young WWE superstar through this role in Snitch is an absolute accomplishment for him, and it's incredibly exciting for all of his millions and millions of fans. Without question, this is by far the best acting performance from Johnson to date. He's certainly no Kevin Costner, but he's getting better and better with each passing role. For once, it's nice to see Johnson go a whole movie without getting into a overpowering physical confrontation of any kind meaning it's nice to see a film where he isn't giving bad guys "the rock bottom." In this film, he's actually given a chance to show off his dramatic side, as opposed to the constant wave of brute force. There's never been any doubt that Johnson is filled with charisma, but if you add this less than disarming dramatic side to his resume, it creates even more possibilities for his future roles.

Part of what makes Dwayne Johnson so successful in this role is the cast he has around him. Most notably, Barry Pepper continues to excell in the majority of his roles with this role being no exception. He brings a seriousness to the reality of the situation in this role, a trait that is relatively lacking from Johnson's character. And, who doesn't want Susan Sarandon as a cast-mate? Her effortless intuitions take a seemingly boring character and turns her into one of the key components of the plot. It makes absolute sense for her to play a prosecutor running for Congress and though her character is a bit "catty," she'd still take in a boatload of votes.

This script essentially sends a watered-down message to viewers that if one of your family members does enough for the government, the government instantly let someone out of jail. Obviously, the "deal" wouldn't apply to all crimes, but the underlying principal is the same that being the government is somehow flexible just because your loved one is in prison. While that premise is indeed comical at times, it still makes for interesting entertainment. On paper, the premise of this film seems a bit tacky (even if it was a true story), but the acting execution is clearly the driving force behind the success of this picture. Drug cartels are no stranger to film storylines, but this one stands out not because of its story but because of the emotionally-driven devotion to family and thematic message regarding what one father will do for his son.

In the end, this movie had my attention simply because The Rock was in the staring role. It's a complete bonus to get a fast-paced, entertaining film with a well-rounded cast on top of him in the staring role. In any event, you will absolutely without question get your money's worth out of this film. Two hours will seem like 20 minutes. Enjoy.

Overall Film Grade: B+

FNDNreview.com

I don't think some of the reviewers of this movie watched the same version I did. I was on the edge of my seat, pushed back in my seat, adrenaline pumping like fresh water from a spring, even a few tears!! I thought this film was superb to say the least. I think all kids should be required to see it. I took my daughter and granddaughter to see it and we all loved it. I was even recommending it to strangers after I saw it. Cannot say enough good about this film or the acting. Totally loved it from beginning to end. The fact that it was based on a true story made it all the better. Do yourself a favor and watch this movie!!! I will definitely add this one to my collection as soon as it's available on DVD. Debbie M.

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Dwayne Johnsonian's new film Snitch is not nearly the generic action-thriller that I was expecting based on the generic trailers that seem so desperate to make you believe it is so. Snitch is surprising in a lot of ways, for one thing it is actually more thoughtful and has ideas and a point of view on current affairs regarding our legal system, it is more powerful than you might suspect and it is an exciting change of pace for a wrestler who wants to be an actor.

Not to make it sound so trivial, this is to be fair Johnson's best work, as of yet. Though he isn't a fully capable dramatic actor, as of now, he is a lot better than you probably have a right to expected and here he gets to flex a different set of muscle than he usually does.

Johnson plays John Matthews, a trucking company owner, who's estranged son, Jason (Rai Gavron) finds himself in trouble with the law, and I mean serious kind of trouble, like ten years behind bars kinda trouble. It seems that Jason foolishly agreed to intercept a package of Ecstasy for his best pal, under the mandatory sentencing laws he faces a decade behind bars just for doing so. Jason can't really turn snitch, he doesn't have the stomach for it and besides, he doesn't actually know any drug dealers.

So John strikes a deal with a hard ass federal prosecutor (Susan Sarandon), that if he helps to sneer a bigger fish drug dealer that his son's sentence will be greatly reduced. But as stated in the great film noir Detour, fate is just waiting to stick it's foot out and trip you. So, John finds himself in one bad situation to one worst situation eventually leading him into the trusted inner circle of a cartel boss called "El Topo" (Benjamin Bratt) .

Johnson may not be ascending to the first rank of acting talents, but he does manage an admirable job. Take Arnold Schwarzenegger for example, he has always had difficulty with playing ordinary-type guys, I always thought that was because he is so far from being an ordinary man that it lacks credibility, what it really was is that he lacked the skill to make it credible. Johnson isn't much more of an ordinary guy-type, but he manages to make us believe him because he succeeds in playing the role well.

Unexpectedly Johnson is never better than when he's sharing screen time with talented old pros like Oscar winner Susan Sarandan and the underappreciated character actor Barry Pepper. I suspect these fine thespians are able to bring out the best in the big lug, who actually doesn't seem like a big lug at all in this one.

The real acting high spot however is courtesy of the relatively unknown Jon Bernthal, who plays John's employee who he has help him with his introduction into the drug underworld. Bernthal is a strong and engaging actor, he is able to fully bring his character to empathetic life and I'm going to look forward to seeing him in future roles.

Directed by former movie stuntman Ric Roman Waugh who relies, perhaps a little too much on the largely unappealing shaky cam for his action scenes. However, he seems to know his way around a tight dramatic script, which he co-authored. Waugh has directed before, particularly a movie titled Felon starring Val Kilmer and Stephen Dorff, which I have not seen, but have heard good things regarding it and given his work here, I think he will be a director to keep an eye on.

We are told up front that Snitch was inspired by a true story, just how much of it resembles reality is very little, I suspect. The story is preposterous, but it works as a very entertaining thriller with a well-written script from director Waugh and co-writer Justin Haythe (Revaluation Road).

For an actioner, the violence is surprisingly and pleasantly kept to a minimum in most instances helping to give the story a tad more room to breathe and thus credibility. Of course, Snitch has the obligatory car chase and it all comes down to a high speed pursuit and shoot out. However, this movie is more interested in character and ideas than habitual violence, in action movie terms it is more Copland than Demolition Man.

Recently, a lot of action stars have appeared in tiresome and effete movies, but Johnson has found his way into one of the better ones. Efficiently made, well told with strong performances. As far as action flicks go, this is some thing special and of late, that's become all too rare.

see my reviews at moviezonemagazine.com

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In our culture we praise and encourage men who "act" tough and masculine. But in this real-life story we see a man who actually IS tough and masculine! A real man. Someone who is determined, decisive, relentless and brave! A man who could legitimately hide behind a thousand excuses but chooses not too! We can all learn a lot from Snitch: When the chips are down are we going to do the impossible for someone we love?

If you get weak at the knees, watch Snitch and do all you can do! As the great basketball coach, John Wooden, once said: "Do Not Let What You Cannot Do Interfere With What You Can Do."

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Throughout the years, many athletes have tried the motion picture crossover route. The legendary Joe Namath gave it a go. Arnold Schwarzenegger was a renowned body-builder before he started terminating. Heck, even Michael Jordan gave the silver screen a try, pairing his talents with Bugs Bunny and his friends in SPACE JAM. But Dwayne `The Rock' Johnson appears to have some staying power, as well as a willingness to try something different. He attached himself to THE MUMMY franchise in the beginning, and he's even dabbled in big screen comedy by way of Walt Disney. In SNITCH, he's an older, wiser father figure who'll stop at nothing to see that his son gets a fair shake.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you're the kind of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last three paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

John Matthews (played by the reliable Dwayne Johnson) is living the dream: he's managed to turn his former day job as a long-haul trucker into an impressive construction/shipping business. However, when his son gets caught up inadvertently in a DEA drug sting, he'll risk his family, his livelihood, and his life in order to set things right by cooperating with a powerful state's attorney (Susan Sarandon in a curious short role, almost a cameo) in order to take down a powerful drug cartel.

Unfortunately, the premise sounds more exciting that SNITCH ever adds up to, but that isn't for the `want' of trying. The script written by Justin Haythe (a relative newcomer) and director Ric Roman Waugh (a relative newcomer to directing, as his background on IMDB appears primarily to be stuntwork) never eclipsed a solid `After School Special' feel with Daddy Dearest willing to `go the distance' for his son rightly accused but perhaps wrongly prosecuted. It feels very much like it was all crafted to be a star vehicle for Johnson; if that's the case, they should've given it more teeth.

On the silver screen, Johnson has always been an admirable property. He's blessed with a `big guy' swagger that's equal parts machismo and lovable. It isn't hard to see him in this role. He plays the father figure with great ease no doubt his athletic background has given him ample exposure to kids and he even attacks much of the story's greater conflicts (grappling with the complexities of a flawed legal system, managing to juggle one failed marriage alongside his new wife and child, etc.); if so many secondary characters didn't appear to be `just showing up' for their paychecks, maybe this smart little film would've had a bigger pay-off. As it is, Susan Sarandon tries to chew screen in a legal role that mostly escapes her, and TV's stalwart Melinda Kanakarades glides from one distraught scene to the next.

Still, I'll give props here to Johnson. With his track record at the box office, it'd be easy for him to coast in one flick after another that simply applied the same formula, then rinsed, then spun, then repeated. Instead, he continues to search out one property after another that's a bit different than the last; it'll no doubt make him a better thespian in the long run.

SNITCH is produced by Summit Entertainment, Exclusive Media Group, Participant Media, Imagenation Abu Dhabi FZ, Front Street Productions, and Spitfire Pictures. DVD distribution is being handled through Summit Entertainment. As for the technical specifications, the picture looks and sounds remarkable; director Waugh's stunt background clearly adds much to the action finish, but much of the rest of the picture feels a bit routine. As for the special features, there's a respectable handful on the disc: an audio commentary from the writer(s)/director, a making-of short, some deleted scenes, and the theatrical trailer.

RECOMMENDED. SNITCH doesn't really keep any secrets. It ain't awful; it's an admirable attempt to give the always charismatic Dwayne `The Rock' Johnson something a bit different to do, which means it may not please his established fans nor woo many new ones to his career. Unfortunately, SNITCH never rises much above the `After School Special' quality of the storytelling with some predictable developments and performances. `The Rock' deserved better, but he brought his A game to this B script.

In the interests of fairness, I'm pleased to disclose that the fine folks at Summit Entertainment provided me with an advance DVD copy of SNITCH by request for the expressed purposes of completing this review.

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Five Element Ninjas (1982)

One of my all time favorite martial arts/ kung fu movies gets a proper American release. The film quality is excellent! There has always been a lacking quality in all subsequent region 1 releases (poor picture quality /full screen/ no sub titles). The English dub is still the same and while I'm not one to harp on translation and voice acting, the American dub is pretty lame. I can always look past such things as it is not part of the true film itself. I will not go into plot details to extremes because you can read many other reviews on why people love this movie, but here are a few reasons why it tops my list. The plot is fairly simple, the costumes are lavish and super hero like, the blood flows, the variety of cool weapons is unmatched, there are ninjas (duh!) whose weapons and costumes match their element style, there is gore (fighter steps on his own guts/man gets drawn and quartered, etc.), the fight choreography is imaginative, wild and well executed, there are slow motion sequences, Meng Lo is a bad ass, jeez this list could keep going! I still get excited seeing the very beginning open were blood flows to reveal the title (how cool is that?). I absolutely love the first battle scene between the two clans. The top fighters are going one on one to see who is best. Each fighter has a different weapon style. It's just killer! If you own any other version of this film or if you just love over the top wild martial arts films, you need to own this! It is the best version out there. As I've said before if you are a martial arts realist nerd stay away! And while the film is based on actual ninja techniques and weaponry, it is a fantasy, it is a comic book, and it is a lot of fun!

Bonus: Subtitles. During certain scenes Chinese characters pop up in the upper parts of the screen. The subtitles reveal what element style is being preformed (something I have always wondered, never being able to read Chinese).

In 1982, Chang Cheh's Venom team was no more. His 1982 classic, "Five Elements Ninjas" (Super Ninjas), saw the return of Lo Mang, with Ricky Cheng in the lead. Kuo Chui went to Taiwan with Lu Feng & Chiang Sheng to choreograph, direct and star in his own Ninja film, "Ninja in the Deadly Trap", which wasn't half-bad. "Five Elements Ninjas" not only had Lo Mang & Ricky Cheng, but it also starred Chu Ko (who did the choreography with Ricky), Wang Li, Yu Tai-Ping, Lung Tien-Sheng & real-life former Triad gang member, Chan Wai-Man, as the Ninja leader. Despite the fact that I thought some of the sets looked a little on the cheap side, it had all of the Chang Cheh elements.

There seemed to be quite a bit of research done on Ninjitsu & Japanese martial arts to make it seem more authentic. That part was based on historical literature and literary references from noted Japanese martial artists; it doesn't state that the story is based on historical fact. The literature is about martial arts, not Japanese culture. The 22 minute climatic showdown is worth the price of admission alone. Tokyo Shock did a great job with this transfer; remastered, widescreen, behind-the-scenes photos & an awesome segment on "Golden Arm Kid" Lo Mang. You can watch it in either Mandarin (with remastered subs) or the English dub; which unfortunately is kinda lame this time. Either way it's a classic though.

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If you are a fan and a collector of quality gems such as Shaw Brother Martial Arts movies then what are you waiting for my friend? Aren't you sick of watching that full screen 3rd generation dub? Well then..buy this copy!!

I watch all of my dvd's on a Blu Ray player at 1080p 24fps so let me tell you

this copy at that rate is outstanding. Therefore, on a standard progressive scan dvd player it will look terrific!!

This copy is crisp with great color and clarity. One of the best and bloodiest of all of Chang Cheh's movies.

Only gripe...the mono mix is good to great for the english dub. When there is no music in the background the dialogue seems to dip a bit every now and then however, this is very minor. Overall it is a 5 star pick up for your catologue. Get it now!

Read Best Reviews of Five Element Ninjas (1982) Here

Super Ninjas, Five Element Ninjas, Chinese Super Ninjas, call it what you will, but if you know this title, than you know it is pretty much the greatest, classic kung-fu film ever! Not only is it the best kung-fu film, it is arguably the greatest ninja flick as well. This movie is action packed from the start, and chock full of glorious weapons in action, flowing glue-on facial hair and side burns, and copious amounts of fake gore. And the story is actually pretty damn good as well, not difficult to follow or lost in the translation like so many other films from the Far East. But enough about the movie, this is a review of the Blu-Ray DVD. As a fan of this film, I have collected nearly every release on VHS and DVD to come out, including all the European import versions, bootlegs, and most recently a Mandarin standard DVD release that included a restored wide-screen version with the original Chinese dialog. This was a treat, because for the past 30 years I have only been able to watch this film in 4:3 TV mode with the English dubbing. So to see the film in its original scope with the original audio was a real treat for a long time fan. I figured this version would be the best I would ever see, and that was until this Blu-Ray version came out, which is not only in its original wide-screen format, but it includes both the original dialog audio as well as the hilarious, nostalgic English language track. The picture is excellent, and appears fully restored. And perhaps the most important part of any good release, is that the film is devoid of cuts and edits. In many previous releases, this film had much of the excessive violence removed and the film cut for length. But this Blu-Ray release is pretty much perfection on plastic! This is the ultimate version to own, and I suppose the only additional comments I can make about this release, is regarding the special features, which are not all that exciting, but worth a watch once.

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One of director Chang Cheh's last efforts for Shaw Brothers, "Five Element Ninjas" is full of surprises and is one of his most enjoyable. Lo Meng ("Gallants") is the only member present from Cheh's usual Venom Mob but he is joined by the likes of the very acrobatic and talented Ricky Cheng (Chan's "Fearless Hyena"). It's hard to say whether or not this would appeal to fans of the '80's Ninja sub-genre (the ones starring Sho Kosugi) as it's very different. Probably not. This is more like a typical old-school fu-flick that uses Ninjutsu instead of a Shaolin animal style, even adding Chinese aspects to the Japanese discipline.

Our heroes are in a good-guy clan and win a tournament against some samurai-types. When the last jerk is defeated he kills himself. Prior to his seppuku, he writes a letter to some dude who looks just like him, pertaining to sending out the 5-Element Ninjas for a challenge against the good-guy clan. When the challenge arrives, the heroes' leader dispatches small groups to deal with the ninjas, leaving Lo Meng & Ricky Cheng behind to look after the group's headquarters, where a young woman is preparing to demonstrate the director's misogyny.

I prefer straight kung fu (fists & feet) to ninja (weapons) movies but this is definitely an exception. The fights in this are pretty creative and gory. Full of cool weapons and guerrilla tactics. The ninjas all dress in rather colorful uniforms to coincide with whatever element they specialize in. Add those outfits to the painted backdrops and fake trees of the Shaws studio and the picture-quality is almost strikingly vibrant, yet totally silly. Man, I love flicks like these!

The DVD from Tokyo Shock can finally replace the crappy Red Sun bootleg that fans have had to endure for the last decade. Celestial's remastered picture is splendid and really brings out the aforementioned kaleidoscopic hue. Language-wise, we are offered the choice between the old English dub or original Mandarin with English subs. The only features are an interview with Lo Meng (who finds himself on the verge of re-popularity after one crappy fight scene in "Ip Man 2") and some cool trailers. Very violent, entertaining, and, for fans of bloody martial arts weapons battles, recommended.

1982. aka: Chinese Super Ninjas; Super Ninjas

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Walkabout (The Criterion Collection) (1971)

A very unusual film for its time, Walkabout combines many themes in what is ostensibly a tale of survival in the Australian outback. I suppose it was a bit too racy for American audiences as Roeg focuses lovingly on a young nubile Jenny Augutter but that would be missing the point of this movie which contrasts the sterile life of a young British girl and boy with an Aborigine man-child.

The film depicts the initial bleakness of the Australian desert which the two children find themselves thrust into after the father mysteriously chooses to commit suicide, but eventually shows the immense diversity of the outback as the young Aborigine leads the lost children back to civilization. Roeg uses a variety of cinematic techniques to paste together his poetic vision, ultimately developing the sexual tension between Agutter and the Aborigine, culminating in a fateful courting ritual which Agutter appears oblivious too. However, the star of the movie is the little boy, Luc Roeg, who forms a very special bond with the Aborigine.

The film may be too much to handle for small children, but it is ideal for teenagers, as it will give them a very different experience from the run-of-the-mill teen movies that proliferate in the video stores. Don't fret over the R rating, as the nudity is fleeting and treated in a very respectful way. In Britain, the rating is 12 for young teenagers.

In Gus Van Sant's Elephant, we follow several teenagers around for half a day, with little or no dialogue, and with nothing to connect us to the characters. We watch a father drive his kid to school, drunk. We watch three girls vomit in the bathroom after eating lunch. We watch two teenagers shoot up the school, ala Columbine, all without any given reason. That film won the Golden Palm and Best Director awards at the Cannes Film Festival. Although I was not a fan of the film at all, in fact I was disgusted by it, I have learned to understand why Van Sant chose to shoot his film the way he did; little or not plot, and no back story for the characters, and little audience interaction with the characters.

Walkabout is somewhat similar to the style that Van Sant used in Elephant, and reportadley also in his films Gerry and Last Days, but it was done over 30 years prior. Its a beautiful film, told quite simply, over the course of an unkwown number of days. We get to know the characters, but not through back story, or by seeing them in their daily lives. The only thing we know about either one of them (the 14 year old girl and her six or seven year old brother) is that they are English living in Australia, and both attend prep-school...and even this is an assumption based on their language and uniforms, not on anything the film really tells us.

The story, as told in every review, is about how the two are mystreriously brought to the outback by their father, who then tries to kill them, and then kills himself. They are close to death as they wander through the desert, until a young Aborigine boy of 16 sees them and essentially rescues them.

One reviewer complains that nothing happens. I disagree, plenty happens. Its random, as is nature, and nature is where these characters exist in this film. Not alot is explained to us, nor do I think we are supposed to figure alot out. We are supposed to watch, and see things as the characters see them. I loved the way the film juxtapozed the Aborigine with the civilized world. There is a harsh, yet amazing scene, where the Aborigine has killed a kangaroo and is cutting it up. The scene is intercut with scenes of a butcher hacking up meat in his butcher shop. Although it seems random at first, when viewed in the rest of the film, it fits in perfectly in the movie's method of comparing the similarites, despite the obvious differences, between the two cultures.

As Roger Ebert pointed out in his The Great Movies II, communication is also a major subject of study in this film--meaning, there hardly is any. The boy is somehow able to get through to the Aborigine, but the girl maintains her distance, probably by choice. She was brought up upper-class, and no doubt that is the lifestyle she enjoys. The Aborigine is no better. He speaks his language throughout the film, as if the two English could understand him. It doens't matter to him that they can't. Neither side is innocent of close-mindedness in this respect.

There is also a certain sexual under-tone in this film. Some reviewers regarded the nudity as non-sexual. For the most part, I'd agree. However, the scene that was orignally cut from this film and restored in the lated 90s, is highly sexual. While the Aborigine boy is out hunting, displaying his brutish masculinity, the girl is swimming naked in an oasis. The scene is not sexual as most American audiences know it. There is never a loving embrace between the two, and it hardly seems that she is at all attracted to him. Also, she does not watch him hunt. Yet to deny the sexual urges of either character throughout the film, displayed mostly in this scene (there is some evidence of it scattered througout, also) would mean that you've put up blinders. True, no sex occurs, but the girls beautiful body is fully displayed at the same time as the young-man's raw masculitnity. This is contrast to the nudity at the films very end, which is playful, but not in the least bit sexual. Its a fine line, and the film's director has walked in well, without losing his balance.

This was a beautiful film, and I'd love to see it again. I urge the viewer not to expect much on story. There is a plot--the white kids want to get home and the Aborigine helps them find it--but that is not the key focus. The plot is the means to an end. That end being a study of cultural differences, done in a very intellegent, patient, and much more interesting way than I've ever seen.

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I saw this soon after it came out, and as an adolescent was utterly mesmerized by the story. With very little dialogue and virtually nothing explained, it was a profound experience of shocking loss, disorientation in a deadly yet beautiful environment, and finding one's way back. Accustomed to the pat formats of hollywood, I had never seen anything like it: little resolution, reflection, or overt lessons. Yet it stimulated a great dialogue with my father, who had insisted that I accompany him to it in the face of my adolescent unwillingness. Though I have not seen it since 1972, its images stuck with me as if in a dream.

Now, nearly 40 years later, I bought it for my daughter, to nurture her interest in anthropology. I am happy to say that she was swept into it in the same way, wondering what it meant and wanting to learn more. What better success could there be for a film experience than that?

The story begins in a normal city in AUstralia. A father takes his children to the outback for a picnic, and without explanation completely loses it, leaving them to fend for themselves in a land so alien that they have no idea how to survive. Trapped in an oasis that dries up without food, they are lucky to be found by a young aborigine, on his "walkabout" a stay alone in the veldt to test his survival skills and he brings them to a road. Apparently, in helping them, he violates the conditions of his walkabout, with terrible consequences.

As a visual poem, the film has many sequences of silence or trivial dialogue, a cover for deeper meanings that the viewer must reflect upon later. The girl, Agutter, is shielding her brother from frightening realities, but it is the young brother who is the real focus of the story. He has sudden flashes of insight, at times far more perceptive than his more conventional sister, though at his age he often must act them out rather than articulate them. She keeps him going, but it is his mind and spirit that keep them together and then achieve some communication with the aborigine man child. There is also a youthful sexual tension that appears shocking, like the innumerable brutal contrasts in the film. The tragic outcome, after so much has been experienced, is the most shocking of all, and the most un-hollywood: ironic, muted, and mysterious, as much a feeling as a story. I have never seen a clash and meeting of cultures portrayed with such artistry and intelligence.

Recommended as one of the greatest film experiences I have known. It is a classic. Agutter is luminously beautiful and became a major star from this film. Note: I bought this in Europe, where it cost only $7.

Read Best Reviews of Walkabout (The Criterion Collection) (1971) Here

I had the DVD, and was more then happy to get the Blu-Ray version. If you already have the regular DVD released years earlier, with using an upconversion DVD player, the Criterion Edition adds little in the way of probable added film quality.

The insert material indicates a new high-definition digital transfer, made from the original negative, with dirt, debris, etc. removed. And the soundtrack was remastered. The audio commentary with the film is the same as in the original DVD. The digital transfer was approved by Nicholas Roeg.

But this is a Criterion Edition, so one expects some nice extras, and one is not disappointed. There is an interesting interview with Jenny Agutter, and a separate one with Luc Roeg. But one of the nice added features is an almost hour long feature on the life and career of David Gulpilil. The feature with David Gulpilil is both fascinating and worthwhile. The supplemental material is rather recent.

So for those who love this film, this is the DVD to get. The DVD includes a booklet with some very interesting background information.

Technical note: I did get some freezing and stuttering (audio only) on the Blu-Ray version about half way through the film, but playing the same with the commentary on, no freezing at the same point. I haven't gone back to see if I could duplicate the original glitch.

Want Walkabout (The Criterion Collection) (1971) Discount?

Walkabout is a surreal film that walks the line between art house film and nature documentary. It's worth picking up the Blu-ray for the 1080P resolution nature photography of the 1970s Australian Outback, but there's so much more to the film than that. Adapted from James Vance Marshall's novel, the film departs from the source material at several crucial points. The first is the children's method of becoming stranded in the outback; instead of a relatively straight forward plane crash, the film presents a bizarre scenario of a family picnic gone terribly wrong. Fathers committing murder-suicides upon their families was virtually unheard of in 1971, but is unfortunately all too common today. The teenage girl and her barely school-age brother venture out into the wilderness as symbols of the British ruling class, their starched school uniforms a stark contrasts with the wilderness all around them. Jenny Agutter carries the film, since it is from the teenage girl's perspective that we experience the journey. The relationship between her and the aborigine boy is timeless and universal yet fraught with the social divisions and cultural confusion of their experiences. The British schoolgirl in her patronizes the aborigine even as he ensures their survival. The pubescent teenage girl in her finds herself in close corners with a pubescent teenage boy. The sexual undercurrent is understated but obvious. It is beautifully rendered, and ultimately tragic. The tentative, uneasy relationship between the white school girl and the aborigine boy is a metaphor for the relationship between the white colonists and the natives as a whole. And it is the story of childhood's last gasp, and the longing we hold for the freedom we once had when all of our serious choices were ahead of us.

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