Jackie Brown (1997)

"Jackie Brown" was widely received as a disappointing follow-up to Quentin Tarantino's "Pulp Fiction," but I think it's actually a better movie, if less obviously so. It's hard not to be blown away by "Fiction" because of it's sheer audacity; "Jackie Brown" is a quieter film that shows Tarantino has the potential to become a mature and sophisticated director.

It's somewhat ironic that Tarantino, associated with the young hipster audience, made this film, because at the basic level "Jackie Brown" is about getting old. All of Jackie's motivations spring from the fact that starting over will soon become impossible for her. That the options available to a a middle-aged, lower income level, black woman in modern America are severely limited. Tarantino shows an amazing prowess for getting into the head of this woman. His sensitive direction coupled with Pam Grier's top-notch performance combine to make Jackie one of the most compelling and honest female characters to hit the movie screen in recent years.

The rest of the cast is uniformly excellent too. Robert Forster stands out as bail bondsman Max Cherry, who becomes Jackie's partner in crime, as it were. Samuel L. Jackson does well with the kind of part he seems born to play, but his character is not as interesting as the others and so makes less of an impression. Bridget Fonda is a scene stealer as a California beach bunny, and the contrast between her and Pam Grier is used quite effectively.

It's interesting to note that in the book this movie was based on, "Rum Punch" by Elmore Leonard, Jackie was white. Changing the race of the title character to black adds a whole other dimension to the film that the book lacks. This is one case where the movie greatly improves on its source material.

"Jackie Brown" will take some commitment on behalf of the viewer. It's leisurely paced and more reliant on character study than Tarantino's other films, but these aren't detriments. They merely illustrate that Tarantino has some range as a director, and I hope he continues to explore that range.

I waited a long time to see "Jackie Brown", because I heard it wasn't any good, and I didn't want to tarnish the memory of "Reservoir Dogs" or "Pulp Fiction". Both those films were kinetic, profane, daring, and truly visceral experiences. I loved every minute of them. "Jackie Brown" is a horse of a different colour, however. It is low-key, thoughtful, tender, and assured. And, I must say, just as good.

One of the main criticisms leveled against it, that I've heard, is that it's too long and too slow. Well, compared to "Pulp Fiction", which is about the same length, of course you'd think it was too slow. But that's the way this story needs to be told, for one simple reason. "Pulp Fiction" was about young, experienced criminals, always on the go, always in control. They could afford to move quickly. "Jackie Brown"s criminals are a touch older. Jackie Brown and Bail Bondsman Max Cherry even have a conversation about what it means for men to get older (they lose their hair) verses what it means for women to get holder (their behinds get bigger). It's actually kind of a touching, and very odd, moment to have in the middle of what should be a zippy little heist flick.

Another way it differs from "Pulp" or "Dogs" (which would lead people to believe that it's sluggish) is the lack of gunplay. Tarantino's earlier films were defined by the style and abundance of their shootouts. "Jackie Brown" has only six gunshots. And all are essentially off-camera, or off in the distance, producing little or no blood. Now I'm not offended by violence in movies. Not at all. But it is kind of refreshing to see a director, especially one who's made his name off it, not rely on the showy exploitation of shooting someone. When he does show it, however, the torment and suffering and guilt of the shooter is always apparent.

Which brings me to the most intriguing thing about this movie. Tarantino, who the rap on in recent years has been that he's tormented by his early success and hasn't the confidence to make his next picture, actually shows a very assured hand in making this movie. Besides the above conversation between two aging characters, there are other places where he shows supreme confidence in his decisions. For instance, he's cast Robert DeNiro in his movie. Okay, a no-brainer, right? Wrong. Because he's cast DeNiro in a tiny, stoical role. Simultaneously, he's cast Robert Forster (I know he got an Oscar nod, but before that wasn't everyone asking "Robert who?") in a role that's very meaty, the tortured love-interest. A less-assured director would have switched the two actors, but Tarantino knows what he wants, and boy does he get it. DeNiro doesn't do more than he has to in creating his understated character. And Forster steals the show with his laid-back, relaxed, but always conflicted Bail Bondsman.

And Forster's scenes with Jackie Brown are touching, chemistry-filled, and a joy to watch. Credit in this case should go to Pam Grier, as Jackie Brown, another Tarantino casting coup. Grier is asked to be maturely sexy, street-smart, tough, and vulnerable all at once. And she pulls it off without flaw. I suspect that Tarantino has fantasized most of his life about casting Pam Grier in a movie, and would have done so even if the role didn't suit her so. But it does. It truly does. She carries the picture as not only the title character but also its emotional centre.

The rest of the cast is good in their own rights. Sam Jackson was born to speak Tarantino's dialogue, and doesn't disappoint. He makes Ordell a genuine badass, even through his ponytail and silly little beard (and Jackson, bless his heart, even throws in a nod to my home town basketball team, the Toronto Raptors). Bridget Fonda is actually quite sexy as a layabout surfer chick, whose big mouth is bound to get her into trouble. And Michael Keaton, who I've always thought of as a very underrated and interesting actor, plays his ATF agent with just enough faux-cool and indifference that you're always wondering if he's playing Jackie or if Jackie's playing him.

While talking about character, I'd like to give kudos to Quentin for a neat little-shorthand trick he uses to define them. Each character essentially has his/her own soundtrack. A scene near the end, which cuts between several different characters driving in their cars, shows this very well. Cut from Melanie's (Bridget Fonda) van, where faux-eighties punk is blaring, to Max Cherry's (Robert Forster) car, which features the laid back grooves of the Delfonics, to other characters and their distinctive musical tastes. The music shifts so suddenly sometimes that it can be jarring, but it's an effective technique. Furthermore on the music front, Tarantino liberally uses the Meters' "Cissy Strut" near the beginning of the film, which quickly brought a smile to my face, and let me know that funky good times were ahead.

"Jackie Brown" is a fine addition to Tarantino's oeuvre. Sure, his fingerprints are all over it in some cases, such as his distinctive use of language, and his fondness for shifting time back and forth upon itself to show the same scene from several different perspectives. But it's much more of a grown up movie. True, it's a tad too long. But just a tad. I can take excessive verbosity from Tarantino easier than I can from any other writer/director, because he's always fascinating, always moving, always trying to surprise, and always trying to tell a good story. "Jackie Brown" succeeds on all counts.

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Doug Thomas, your writing style is as tight-a**ed as your personality must be. Were you in a rush to splatter your half-witted thoughts on this movie because you had better things to do? Wow, even though your review is a pile of garbage, because you're a professional film critic, your smelling heap of empty-thoughted bullsh*t takes the privileged spot of primary review. Congratulations, your mom says she's proud.

Perhaps tea time prevented you form checking out the extras DVD included in the package... oh wait, you reviewed the VHS edition. Well, if you had done a lick of research, you'd've discovered that, *GASP*, Quentin grew up in black culture. Yeah, he had black friends and even went to schools populated heavily by black kids. And get this... you ready?... his mother dated... black guys! Now sit back, breathe in a bit, and utilize that liberal arts education I'm assuming you were at least exposed to, if not got a degree in: Artists like Quentin draw on their personal experiences in an effort to create an authentic piece of work. Heap on those pile of words.

How can a director be a lustful, minstrel-show-seeking culture-exploiter if he uses Bobby Womack, The Delfonics, Randy Crawford, Brothers Johnson, and Minnie Riperton in the score? Quentin didn't get any help with the script. That scene between Ordell and Beaumont on the balcony outside the latter's apartment was written by a white guy. Not even the most overzealous white-guy-wanting-desperately-more-than-anything-else-but-to-be-black could create something so sonically deft and authentic. A scene like that shows how Quentin is a respectful student of black culture, not some hand-wringing, cigar-smoking WASP wanting to take rap and use it in a Fruity Pebbles commercial at the height of RUN-DMC's success in the late 80s so he can sell more cereal for General Mills.

Music and dialogue carry this movie and are the two ingredients that make it such a pleasure to take in. The film's been described as "slow-moving," but people who say that don't realize that the pace is purposefully done slow so one can enjoy each characters' interactions. Sam Jackson's character, for as messed up as he is, is a piece of art. Charismatic dialogue. That's why I've watched the movie 3 times already, having seen it for the first time about a month ago.

If you're anything like this stiff critic whose review is posted at the top of this page (or the first page), you won't like this movie. However, if you're receptive of artful dialogue, non-predominently-white culture, and some awesome 70s soul/R&B music, this flick was made for you.

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Tarrantino showed his maturity in this film, assembling a very fine cast in a wry transformation of Elmore Leonard's Rum Punch. Always one to have fun with 70's action films, Tarrantino's masterstroke was resurrecting Pam Grier in the title role. Grier, who made her career in such blaxploitation movies as Coffy and Foxy Brown, gives a star performance in this film. She is well balanced by Samuel L. Jackson as Ordell, a two-bit drug dealer, and Robert Forster, who turns in a remarkably understated performance as Max Cherry, a bail bondsman.

Tarrantino pretty much followed the 70's action film formula here, letting the movie build slowly and relying heavily on dialog to carry the action. Once again, he has underscored his film with a fine soundtrack, which even includes a track from the Brothers Johnson, Strawberry Letter 23, as Ordell does away with one of his runners. But those used to Tarrantino's high octane films may be disappointed with this one, but I found it to be a very enjoyable departure from his usual fare.

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That is coming from someone who love anything this director makes, presents, or endorses. I think this is a very complex and satisfying film. Using the relatively unfilmed cities of LA, such as Hawthorne, Compton, the REAL Hollywood, it utilizes a more down to earth approach to real world crime. This isn't about a multimillion dollar heist, and the criminals are likeable and genuinely interesting even if one or two are full of themselves (Namely Ordell and Melanie.) The film opens with the classic Across 110th Street as sung by Bobby Womack and featuring a strong Pam Grier, walking that moving sidewalk at LAX. As the opening progresses she ends up possessing a look of worry on her face that shows a VERY strong woman's strength become vulnerablity. From then on we meet a handful of excentric baddies and law enforcers, that are all likeable, interesting and have at least one or two funny lines (with the exception of the cop who isn't Michael Keaton, who is just a plain jackass cowboy cop) My favorite part is the friendship/romance between Pam and the subtle and sensational Robert Forster. Starting with a very special ride home, which bleeds to a bar, and then to Griers Apartment. All involve rich dialogue and interest shown. They bond thru body language, their age, and eventually music("The Del----Fonics".) The fact that Forster rushes to the nearest record store for his first Delfonics Tape is just plain cute, and shows he is falling for her music and all. The Scenes between Grier and Sam Jackson also need recognition. They are at times funny, terrifying, and very well acted. There is also Robert DiNiro as an old friend/partner to Jackson, and a few girlfriends of ordell's such as Surfer Girl/PotHead Melanie, Old sex siren Simone, and Super Slow Country Girl Sheronda. There is just a bunch of rich characters here, and they all give great parts no matter how big or how small...especially Chris Tucker, who's performance as a snitch is equal parts brilliant and hilarious. This movie just hits a right note for anyone interested in a talky, rich picture. Tarantino says this is a movie for older people, well at 19, I'm definitely not younger, but this is my favorite of all tarantino films, be it because of the great soundtrack, storyline, performances, direction it makes no difference. It's my favorite period. Give it a chance and you'll see what I see...Great Movie!

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Easy A (2010)

It's easy to like a character, but it isn't often you come across one that you would want to actually be friends with, or maybe even wish you could be like. For me, such a character is Olive Penderghast (Emma Stone), a high-school student from Ojai, California. True, she may only be a fictional character, but she's also the embodiment of personality smart, witty, and affable, yet not so perfect or above it all that she fails to be human. Despite these magnetic qualities, she isn't noticed much by her peers, and she's all but upstaged by her best friend (Aly Michalka), who makes it a point to believe only what she wants to believe instead of actually listening to the truth. Things drastically change for Olive when she gains an infamous reputation as the school floozy, something she didn't start but certainly chose to perpetuate.

Her story is told in "Easy A," which is not only one of the funniest teen comedies of recent memory, but is also one of the most intelligent. Rather than go for obvious lowbrow sex and booze toilet humor, director Will Gluck and writer Bert V. Royal show the temerity to engage the audience with clever dialogue, strong characters, and a plot we can actually care about. It doesn't play down to the audience. If we laugh, it's not because of a vulgar throwaway gag but because of genuinely funny scenarios, many of which are relatable to varying degrees. Perhaps the film is founded on an extraordinary premise, but in my mind, it's a perfectly plausible premise, and the fact that the filmmakers could keep the story grounded while making it entertaining is quite an amazing achievement.

Olive's infamy begins when she lies about having lost her virginity over the weekend to a college student she made up. The lie is overheard by Marianne (Amanda Bynes), a judgmental and pious Little Miss Christian, who proceeds to tell everyone she knows about Olive's indiscretion. Rumors quickly spread. Other students begin to take notice of her, and although she never asked for her newfound reputation, she finds she's appreciating the attention. She's then approached by her gay friend, Brandon (Dan Byrd), who's so tired of being harassed by homophobic bullies that he begs her to pretend to have sex with him. Knowing that no one would believe her if she simply told people about it, Olive drags Brandon to a classmate's party, where they lock themselves in a bedroom and make all the necessary noises. Everyone is fooled.

This includes Marianne and her circle of Christian friends, one of whom boldly suggests that Olive follow the lead of Hester Prynne in "The Scarlett Letter" and mark herself. Not content with doing things half-heartedly, Olive arrives at school the next day wearing a bustier with a red A affixed to the right breast. In due time, she's approached by other boys who want Olive to do for them what she did for Brandon; she agrees to help them all, although she's well aware that the situation is getting out of hand. It's bad enough that they're using her to inflate their egos. Why must they also compensate her with gift certificates and coupons to affordable stores like The Home Depot and Bed Bath and Beyond?

The ads have prepared us to view Olive as a cliché a wisecracking teen who never shows her emotions and flaunts her superior intellect in the form of biting sarcasm and dry wit. But we end up seeing nothing of the sort. Olive is a young woman of considerable depth, jokey on the outside but within harboring needs, hopes, and deep insecurities. They emerge during scenes with the school mascot, Woodchuck Todd (Penn Badgley), the one guy who has known Olive most of her life and sees the person behind the reputation. Through him, she comes to believe that regaining her self-respect depends on tracking down each of the boys she helped and coercing them into telling the truth. This proves far more difficult than she expected. It's just as well; the root of "self-respect" is "self," which is to say no one other than her can turn the situation around.

Other characters, such as Olive's loveably liberal parents (Patricia Clarkson and Stanley Tucci) and her perpetually flustered school principal (Malcolm McDowell), add color to the story, even if they are a bit less three-dimensional and serve mostly as comedy relief. The English teacher, Mr. Griffith (Thomas Hayden Church), is not only as witty and charming as Olive but is also remarkably perceptive; the same cannot be said about Mr. Griffith's estranged wife (Lisa Kudrow), which is ironic since she's the school's guidance counselor. I don't want to reveal too much about this couple. Let it suffice to say that Olive's actions have consequences that extend beyond the limits of the student body.

The film is told as a retrospective, Olive opening the film with a webcam confessional that continuously weaves in and out of the story proper. This is far from an original narrative technique, but Stone's performance and Royal's dialogue elevates it to new heights. Right at the start, we're drawn to this character, and we want to stay near her even after the story has come to an end. Not too many roles have this kind of power. Not too many teen comedies are this well written. "Easy A" is a sweet, sassy, ingenious little movie, one that I hope will not be forgotten ten years from now.

Easy A is the story of Olive, a nobody in high school whose life suddenly goes from silent to scandalous thanks to a cycle of rumours. As her reputation goes from non-existent to total trollop, Olive begins to dress the part, wearing sexy outfits with a crimson "A" embroidered on them (yes, this is Scarlet Letter-status, only without Demi Moore's fake British accent). As she lies to help boost other people's confidence, she starts to learn that just because you're well-known, doesn't mean people like you.

Overall, the story is light and quirky, with enough John Hughes references to satisfy even the biggest Brat Pack lovers. The jokes are fresh, and the cast is excellent, keeping this fairly well-paced film entertaining from start to finish. The cast has excellent chemistry, and the characters all seem to be believable. This is even a film you can watch more than once, and it still hold the same charm and humour.

If you're looking for a fun comedy full of great performances and an ever-so-slightly nostalgic feel, Easy A belongs on your DVD shelf.

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Easy A (Will Gluck, 2010)

I usually see movies alone, but every once in a while we do the family-movie thing, which generally limits my choices. It usually takes forever to decide on something when we do this, but sometimes it all ends up working out well. This was one of those times. I had some ideas about Easy A going into it that were as wrong as could be; I saw the name (I'd never seen trailers for it) and assumed it was one of those "your classmate dies and everyone gets a good grade" kinds of things. No, and thank heaven for that. It is something much different, and a good deal better than any of those (with the arguable exception of The Curve).

Olive Penderghast (Zombieland's Emma Stone) is your typical invisible high schooler, noticed only by her best friend Rhiannon (Phil of the Future's Alyson Michalka). Things change when Olive, spinning a very tall tale for Rhiannon in the bathroom as an excuse to get out of a camping trip, is overheard by Marianne (Hairspray's Amanda Bynes), the head of the ultra-Christian contingent of the student body, who starts the rumor mill flying. Olive decides to adopt the "if you can't beat 'em" attitude and dressing the part (without ever actually doing anything actually, you know, salacious). All is well and good until she confesses the lie to Brandon (Cougar Town's Dan Byrd), the school's only gay teen, who hatches a plan; since Olive is not only straight, but now seen as a tramp, telling people he's been with her could give his image a makeover, too. She agrees to help, but the consequences are much father-reaching than she could ever have anticipated.

The synopsis doesn't get you anywhere close to the great cast this movie supports. Stanley Tucci and Patricia Clarkson play Olive's parents (Dill and Rosemary, no less), and are the best part about the movie every time they're on the screen. Thomas Haden Church and Lisa Kudrow play a husband-and-wife English teacher and guidance counselor at Olive's high school. Cam Gigandet takes a break from doing below-average horror flicks to take a turn as Marianne's boyfriend, a 22-year-old who's repeating senior year for the fourth time. This is good stuff indeed from a casting perspective, but how's the script? It's hard to believe this is Bert Royal's first feature; this is as sharp and as witty as the John Hughes movies Olive idolizes. (The Quizno's guy, and nice product placement there by the by, is as funny as the ball-waxer in Gutterballs, and that's saying something for a guy who has two lines; for the record it's Rawson Thurber, director of The Mysteries of Pittsburgh.)

Sure, the movie has its problems. It's a teen comedy John Hughes-style, of course it has its problems. There are a number of times when the script could have gone in very interesting directions and instead chose to go the conventional route (especially where Marianne is concerned; she could have been an interesting character, but instead remains a one-dimensional object of audience ridicule), for example. And when did the clause in Patricia Clarkson's contract that required a nude scene in every movie run out? Someone's got to get that renewed. But for all that, it's smart, it's funny, and you should give it a look. *** ½

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Emma Stone rocks! There are not very many young actresses out there that have such a great style in comedy. Anybody who says that the acting is bad is stuck in the past. There are great teen movies from the 90's but come on its a new era people! Take a look around at the high schools around you! Yes those kids are the future!

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I could not have liked this movie more. Great writing, acting, directing, casting. Funny script, well told story. Jeez, I could go on and on. Just buy this movie, you will be very happy you did :)

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D.O.A. & Consenting Adults - Blu-ray Double Feature

solid suspense 2 pack! picture quality on both movies a couple notches above there respective DVD releases and at the price point this is a no brainer ..Dennis Quaid in rare form in the first feature and kevin spacey in one of his earlier roles that you see why he plays the sarcastic cocky yet swarmy types so well!

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Horton Hears a Who! (2008)

When I first read this book,

I was just a tot. So,

I decided to see the movie -

And I liked it quite a lot!

I'll try to keep this short,

but I can't make promises here.

The movie is too great,

your children should not fear.

I know this book;

I can tell you the tale,

and here is that story,

in some minor detail:

The mayor gathers everyone

in town square

But Horton can't tell them -

he's really there.

All of the Who's and Who-ville

are unlike you and me,

They are people whom

we cannot see.

Of course, no one believes Horton,

which is sad -

the Kangaroo is making sure

that it will all go bad,

the animals rally around the kangaroo,

and they would say,

"We don't want Horton in the forest,

at all, to stay."

Horton's an elephant,

living in what we call "our world".

In the jungle of Nool there are animals,

young and old.

Who-Ville is on a flower,

and in it are all the Who.

No one can hear them but Horton,

but still, could you?

A great story, of course,

and as bad it is to say,

such examples of Kangaroos

can be found today.

I love this quote,

when Horton is about to fall,

He shouts, "A person's a person,

no matter how small!".

You should go see this movie,

I'm not afraid to tell,

the acting is great, the animation

is flawless, as well.

I won't ruin the movie,

but let me quote you this now,

although it's not in the book,

it sums up my review; how?

"I meant what I said,

and I said what I meant.

An elephant's faithful,

one hundred percent!"

Update 9/11/2012: A few people have e-mailed me asking where I got this, why doesn't it rhyme properly sometimes, etc. I actually wrote this back in high school after we were required to imagine a Dr. Seuss book as a movie and write a review on it. The quote "I meant what I said and I said what I meant," is actually from the book "Horton Hatches an Egg" by Dr. Seuss. I wrote this. Sorry it doesn't rhyme sometimes! And, for those curious, I received an A on this project in high school, as my review was the only one that rhymed.

Dr. Seuss is like a childhood staple, and it is so wonderful to see the everlasting presence he has on literature, even today. With my unending love for the writer, I'm actually shocked it took me this long to actually see `Horton Hears a Who' but I finally did and I must say that I absolutely loved it.

The film follows the tale of an Elephant named Horton who is a beloved teacher in his jungle town. When he hears a high pitched cry for help on a tiny speck floating in mid-air, he risks his life and reputation to save it. His former friends and neighbors, spurred on by Kangaroo, turn on him and label him a risk to the values of their community. If you can't see it or hear it then it must not be real. Alas, Horton is an elephant, and elephants are faithful 100%, so he presses on in his determination to find that speck a safe home. It's a good thing too, since on that tiny little speck there is an entire world of Who's, tiny people living in a world where nothing bad ever happens. The Mayor of Whoville joins forces with Horton to save his people from destruction at the hands of the mean spirited Kangaroo.

Speaking volumes about acceptance, perseverance and the power of kindness, this wonderful film captures the heart and soul of Seuss and makes it perfectly accessible to your little ones. The films themes can be taken a few different ways (depending on your personal stance), which is quite possibly the point, but the obvious moral here is one that is universally understood.

I loved the animation choices; with rich, lush backdrops elaborating the worlds created here, and I really loved the inserts of Anime inspired segments and even classic Disney'ish moments that add splashes of color and excitement.

The narration is also splendid and adds a poetic essence to the film.

I really commend this film for `going there' without forgetting their key audience. This is an animated film FOR CHILDREN and it remembers that while crafting the sequences of peril. While there are moments of tension, nothing is so extreme that children will lose themselves in fear. As much as I love and adore `Toy Story 3' and many other animated films as of late, it seems all too common to forget that young kids are easily shaken. `Horton Hears a Who' understands the importance of maintaining a certain level of innocence; so when Kangaroo bows her head in shame and then, when prompted, returns a kind deed with another, you can sit back and feel content that this film not only entertained your kids, but it taught them a valuable lesson as well (without giving them nightmares).

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Great fun for Dr. Seuss fans. Animation is top notch. Talent is top notch. Digital Copy works great on my iPhone 3G now I can watch it again wherever I am. I think more movies should include a Digital Copy...great feature. I highly recommend picking this up...you will NOT be disappointed!!

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This is by far one of the best animations ever made. The colors vibrantly "jump out at you" and the cartoon is very entertaining. Horton the playful good-natured elephant protects the microsopic city of Who-ville in the jungle with amusing results. It teaches you that "a person is a person no matter how small." Don't miss this feel-good movie with many laughs for people of all ages.

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I haven't actually watched the movie with my son yet, but the other reviewers that claim no audio CD is included are wrongthe audio CD is in the DVD case. I ordered this as a Christmas present for my son, and everything listed in the item description was included. The stuffed animal is a little larger than a typical Beanie Baby, and the DVD case includes both the DVD and the audio CD.

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Extremely Loud & Incredibly Close (Movie Only Edition Blu-ray + Ultraviolet Digital Copy) (2012)

Extremely Loud and Incredibly Close is the fourth feature film by British director Stephen Daldry. Daldry emerged in 2000 with his beautifully written drama Billy Elliot. He followed with progressively less impressive efforts (The Hours and The Reader) but still gave a decent effort with every new try. This film is written by Eric Roth (the writer of Forrest Gump and The Curious Case of Benjamin Button) and produced by mega-producer Scott Rudin (No Country for Old Men). The film is based on the book of the same name (Extremely Loud and Incredibly Close (Movie Tie-In): A Novel) by Jonathan Safran Foer and stars Thomas Horn, Tom Hanks, Sandra Bullock, Max von Sydow, Viola Davis, John Goodman and Jeffrey Wright. The film centers around a young boy who lost his enigmatic father during the tragic events of 9/11 and his meticulous search for the lock a key found in a vase belonging to his father opens.

The film opens with a jumper off the twin towers referencing the tragic leaps to death made by people as they grasped a hopeless situation. Oskar Schell, the son of a jeweler (played by Tom Hanks), remarks throughout the film, his experience of "The Worst Day." Thomas Horn, the young actor who plays Oskar, does a more than admirable job with his performance. He gives emotional bursts of energy with each new scene, giving off the shattered hope and sky-rocketing guilt of his fruitless searches to become closer with the memory of his lost father. Sandra Bullock gives one of the most honest performances of her career as a wayward mother searching for her composure of an out of control situation. Max von Sydow, a seeming vestige of hope, breathes new life into the film halfway in with his muted dialogue disseminated by pen and pad. Tom Hanks, great as always, plays a dynamic and involved father.

The emotional depth of the film is immense with every heartache truly felt especially with just one image of the towers collapsing. Stephen Daldry weaves together his most compelling drama since 2000's Billy Elliot and in much more morose surroundings. Very few, if any, document that tragic day with such intensity and shows what it means to be affected by the day that will truly live in infamy. The criticism of the film demonstrates that some people may not be receptive to the material because it's too difficult to revisit or possibly too melodramatic to tolerate. Understanding that every filmgoer's experience is fundamentally different, I couldn't help but be affected by the film possibly in a way that the people next to me or the people who have watched the film had not been. At first I didn't not understand it especially as the elephant of the room seemed to be based on an unfair estimation.

The elephant in the room with this melodramatic rendition is that question of exploitation. Some critics and Amazon reviewers have voiced the opinion that the film exploits the events of 9/11 for financial gain and cheap dramatic effect. The problem with such logic is that several films have been made over the years depicting real life tragic events such as Titanic, Pearl Harbor and Black Hawk Down, and many of these films were not viewed as exploitive. Did depicting the tragedy of Pearl Harbor or the Titanic soil the memory of those who died? Were the sacrifices made by the servicemen in World Trade Center and members of flight United 93 trivialized by depicting them in World Trade Center and United 93 respectively? Absolutely not. What those films did as Extremely Loud and Incredibly Close does, is to put the viewer in the shoes of those experiencing the tragedy and giving a greater understanding of what that event was like not to mention what it meant to those involved.

Criticize the film if it's too melodramatic or if the young actor is too annoying. Maybe the tone is uneven or the premise is emotionally manipulative. However, calling the film exploitive applies a double standard not applied to films of the same nature making the whole argument flimsy at the least. If unable to understand that, realize that the film sets out to present 9/11 through the eyes of a young child and demonstrates the psychological, sociological and emotional confliction not to mention the guilt involved with the main character who is a de facto representative, emblem or figurative reference of surviving family members of 9/11 victims. It gives those who didn't truly experience the event for what it was a chance to understand it in both the short and long-term sense. And sometimes, cinema is a medium for emotion and can be as this film proves, as powerful as the human heart allows it to be. My understanding of the criticism of this film is that there are some hard hearts and closed minds on the issue of 9/11 and ability to express it in a cinematic setting, which is unfair.

I'm a born and bred New Yorker. I was five months past my 13th birthday on September 11, 2001 and the event went completely over my head. I was too young to understand the magnitude of the event and what it meant for the country or even the world for that matter. It was something I was unaffected by. I knew no one who was in the tragedy, affected by the tragedy or killed in the tragedy. I even knew of no one who knew of someone who was remotely related to the tragedy. In many ways, I did not feel it because I was a kid who could not relate to death as a concept or tragedy as a reality. Ten years later, Extremely Loud and Incredibly Close brought me to the tragedy and allowed me to the first time relive the event and process it emotionally, something I couldn't do ten years ago. Despite the unpleasantness of it, I truly appreciate the film for allowing me to relate to the tragedy in a way I never could have under any other circumstance. If this film can do that for one person, then it's less exploitive than you think.

A Boy's Quest in EXTREMELY LOUD & INCREDIBLY CLOSE

Ambitious in concept, Extremely Loud & Incredibly Close is the love story of a troubled boy whose bond with his father transcends death and events beyond his understanding. Director Stephen Daldry (Billy Elliott, The Hours) has put together an interesting study in post trauma and rediscovery. It doesn't always work, but it still registers on an emotional level.

A funeral signals the death of a family member and a boy's alienation to the world. In flashbacks, Oskar (Thomas Horn), who has trouble communicating and may have Asperger Syndrome, adores his father (Tom Hanks) who challenges him with riddles and treasure hunts to meet people outside his apartment. Both father and mother (Sandra Bullock) are loving parents, and the world becomes an interesting laboratory for exploration and discovery. Life is idyllic until 9/11 when everything changes and Oskar is witness to his father's last moments trapped in one of the Twin Towers. A year later, looking in his father's closet, he discovers a key in an envelope with the letters `black'. Who or what does the key belong to? Oskar sets out to find out by systematically tracking down every `Black' in the phone book and visiting each person for a clue. This big scavenger hunt is at best a daunting task.

His grandmother who lives across the street has a mysterious renter (Max Von Sydow) who does not speak and can only communicate by jotting on a note pad or displaying `yes' and `no' written on each hand. The renter takes a liking to Oskar and accompanies him on his quest. This is a search that proves overwhelming as each person they find has a story too. When all hope seems lost, the road leads back to that fateful September morning and opens Oskar to the truth about his parents and himself.

At first you wonder if this hunt will be meaningful and be rewarded or if it is a waste of time. Oskar's obsession keeps him connected to his father; to fail is to lose whatever he has left of that relationship. In a way, it is about trying to make sense of his father's death and coming to terms with it. It is also about the forgiveness of guilt that nearly consumes Oskar.

You kind of think that at some point a miracle may occur or that something profound may happen, but what does reveal itself does not quite answer all the questions, and maybe that's just the point to the film, that life is part mystery and we never truly understand its riddle.

When you take stock of all the people that Oskar encounters, you realize that every one of them can sympathize or has suffered some kind of loss, and how they react to that in relation to Oskar shows how the trauma of loss can be a common bond. You wish you could learn more about some of these people.

Von Sydow gives a memorable performance without uttering a word as the renter who has a personal, family secret. Why does he remain mute? Was he a survivor of something so traumatic like the concentration camps of Europe that he does not speak? In a supporting role, Viola Davis is effective playing a character who figures prominently at the beginning and the end.

In the end, Oskar has learned something about himself and his family, and through his journeys, he has matured in a new post-9/11 world. Ultimately, the revelation at the end is bittersweet and that without the power of forgiveness, closure is incomplete. It also speaks to a part of humanity that we all share.

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Oskar Schell (Thomas Horn) shares an incredibly close relationship with his father, Thomas Schell (Tom Hanks). Oskar is an extraordinary child who has some very particular social quirks. His list is rather extensive and it's revealed that he was once tested for Asperger's Syndrome. However, Thomas Schell spends a great amount of time with his son and does everything he can to help him overcome his fears. However, on September 11, 2001 as the world changes forever, tragically so does the life of Oskar and his mother, Linda (Sandra Bullock), as Thomas was in the second tower of the World Trade Center when it fell. Linda attempts to move on with life, but Oskar refuses to move forward. A year later, he accidently destroys a blue vase while rummaging through his father's closet and discovers a key in an envelope simply marked "Black". Thomas constantly played games with Oskar and led him on journeys around the city, hiding clues and prizes in the most unexpected places. Oskar is convinced the key is a gift left behind by his father to send him on one last adventure. Determined to find the door the key unlocks, Oskar begins a systematic search of the city, trying to locate the person with the last name "Black" who will be able to help him solve the mystery. Along the way, Oskar becomes acquainted with a man his grandmother has been renting a room to. The man seems to have no name and is simply known as "The Renter" (Max Von Sydow). The Renter is a survivor of WWII and reminds Oskar of his father. The two become unlikely companions and friends as they search the city to unravel the mystery of the key.

EXTREMELY LOUD AND INCREDIBLY CLOSE is based upon a 2005 novel by Jonathan Foer. I've not read the novel, so I can't compare the movie to the book.

The movie is an extremely moving piece of cinema. It goes to places that the audience might not suspect. The movie has a satisfying ending, but it's not necessarily a happy one. Like life, Oskar's journey doesn't turn out exactly as he had hoped. However, like all journeys, it changes his life forever.

The acting in EXTREMELY LOUD AND INCREDIBLY CLOSE is amazing. Tom Hanks plays a small, but important role. Newcomer Thomas Horn is so powerful that it's difficult to believe this is the first time he's ever acted on film before. Sandra Bullock has a strong supporting role that is worthy of a Best Supporting Actress nomination. Max Von Sydow speaks no lines, but his eyes speak more and convey more emotion than the most well trained politician. John Goodman has what is basically a cameo as Stan the Doorman, but it's always a joy to watch Goodman perform, even in a role such as this. There are numerous smaller roles in the various Blacks that Oskar meets. Most of these characters are only on screen for a few brief moments but each of them ground their scenes in realism. EXTREMELY LOUD AND INCREDIBLY CLOSE is a good movie that is made great by the acting performances. If for no other reason, it's worth watching for the acting alone.

EXTREMELY LOUD AND INCREDIBLY CLOSE is a very emotional movie. For Americans, particularly those who lived and worked in New York on September 11, 2001, it will probably have a different kind of reaction. However, though the story is told through the lens of September 11th, the film is really a story about a young man coming to grips with the unexpected death of his father. It's a film that will probably resonate with anyone who has lost a parent they were close to. I cried several times and the film really made me think about my own Dad and his untimely death. I left the theatre thinking about many of the memories I have of my Dad. It made me a little sad, but very grateful. In the future, I'm sure that EXTREMELY LOUD AND INCREDIBLY CLOSE is a movie I'll watch whenever I'm sad and thinking about my Dad because I know that though it might cause a few tears, it'll cheer me up in the end and, like Thomas Schell and my own father, encourage me to not stop looking for whatever adventure life holds.

Read Best Reviews of Extremely Loud & Incredibly Close (Movie Only Edition Blu-ray + Ultraviolet Digital Copy) (2012) Here

Most of us in this country, indeed most of those in the civilized world, has a memory of where they were and how they felt on September 11, 2001. Many, of course, have painful and permanent losses to deal with. For myself, we were far from home on that day, and I truly felt that something of our world had ended. Which, in fact it had. So when it was announced that there would be a movie, Extremely Loud and Incredibly Close, which would touch on those tragic events, our first response was, "No, we don't think so." Then we learned who was to be in this movie, and the cast included so many of our favorite actors: Tom Hanks, Sandra Bullock, Viola Davis, Jeffrey Wright, Max von Sydow, John Goodman, people we felt we could trust to do such a subject justice, and we said, "Well...." Then we learned more about the story of the film (and story is everything, to us) and we asked ourselves, "How could we not see it?"

And I'm so very glad we did. Everyone is predictably excellent. The story is beautifully done, and at the same time simple and deeply layered. The child actor makes you believe he is dealing with the personal problems of the child character. These problems would be unique and difficult enough, if they did not also include the loss of an incredible father under horrific circumstances, and you share the pain of this family of grandmother, mother and son, while the story is told from so many different directions. Being one of those who cry at Hallmark commercials, I am always loathe to see any movie or play or read any book that wants to make me cry. But this movie is not like that. I did just fine throughout the entire story, experiencing it intensely but dry-eyed. Until the end. Until I got to the point where I could fully appreciate the efforts this family made to move forward, the grace with which they and the families they represented dealt with what they were given. Until I could see the wonder of the story.

It was terrible in the parts that invoked the events that we already knew had happened; it became wonderful beyond my power of description because of a boy on a swing. And then I wept.

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I rented this movie with some trepidation. I read the book several years ago and it was one of my all-time favorites. I was afraid (especially with the negative reviews here on Amazon) that it would not only fall below my expectations but it would ruin the beautiful story I remember from the book. I was so wrong. This was a great movie!

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X-Men: The Complete Collection (X-Men / X2: X-Men United / X-Men: The Last Stand / X-Men Origins: W

This is a bundle of five X-Men movies. Please note that this is not a box set, it is just the five movies sold together each movie comes in its own separate blu-ray case. Video/audio quality varies by disc, but is generally excellent; these discs also include a variety of special features that take you behind the scenes of the making of the movies.

The X-Men movies hold and important place in film history; the first film in the series is often credited as the film that launched the golden age of comic book superheroes on film. Both the original X-Men and it's sequel, X2: X-Men United, are well regarded among audiences. The final film in the trilogy, X-Men: The Last Stand, is not nearly as good as its predecessors but it's still a fun movie with great action sequences.

Also included in the bundle is the spin-off titled X-Men Origins: Wolverine, which looks at the early days of Logan (perhaps the most popular character in the franchise). And finally, X-Men: First Class is a prequel which examines the history between Professor Charles Xavier and his friend (turned adversary) Magneto.

My own opinion is that the X-Men films are not quite on the level of Nolan's Batman trilogy or Sam Raimi's Spider-Man trilogy. However, these movies are very entertaining, and there are interesting themes related to society's acceptance/rejection of the mutants that parallel our own problems. In terms of technical achievement, I would single out the costume design and the makeup work as top-notch.

If you've never seen the X-Men films, or if you're a fan but have yet to buy them, then this Complete Collection on blu-ray is the perfect set for you and comes highly recommended.

Here are the links to the individual releases:

X-Men [Blu-ray]

X2: X-Men United [Blu-ray]

X-Men The Last Stand [Blu-ray]

X-Men Origins: Wolverine (Two-Disc Ultimate Edition) [Blu-ray]

X-Men: First Class (+ Digital Copy) [Blu-ray]

(Amazon's prices constantly change, and in some cases it may actually be cheaper to buy the titles individually)

Note: I have two Blue-ray/ DVD players. One is "Region A or 1" (the norm in the US) and the other is "Region Free" so that I can play anything I want in it (including Region A's or 1's). My Panasonic "Region Free" is only about a year old.

These Blue-ray disks has great a picture & sound. How good the movie is I leave up to each person. However, I do have a WARNING for everyone.

I just discovered that some of the "Region A or 1" Blue-ray disks that I bought on "Amazon" will not play in my "Region Free" player. But they play just fine in "Region A or 1" player.

Most of the disks that will not play in my "Region Free" player will display a "Fox" back ground with a message that reads [This disc has been coded for Region A only and will not play in this machine. Please eject this disc and play on a Region A player.] on the screen after you insert the disk. The others that will not play in "Region Free" player have different backgrounds with a similar massage.

*****Four of these five Blue-ray disks happen to have this problem!

Only "X-Men Origins: Wolverine would play in both players.

Since I have one of each this is not a problem for me, but I thought it would be useful to know for those who might only have a "Region Free" player.

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I just bought the X-Men Trilogy boxed set, X-Men First Class, and X-Men Origins Wolverine on Blu Ray individually and it only cost $55.47. You're paying $12 extra for this set, and it doesn't even come with a nice box for the main trilogy.

Read Best Reviews of X-Men: The Complete Collection (X-Men / X2: X-Men United / X-Men: The Last Stand / X-Men Origins: W Here

These movies are very very good. I got them a very good price. So much better in HD. I have watched them several times. I highly recommend buying this on Blu-ray you can't go wrong.

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Love the Blueray disks for HD quality and clarity. Could there be any more X-Men/Women in the near future? Hope so.......

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Grumpy Old Men (2009)

This review refers to the Warner Bros VHS of "Grumpy Old Men"..

One "Putz", one "Moron", and an eternal Sex Kitten, melt the Minnesota snows as well as your heart in this too fun flick that reunites the late great comedy team of, Jack Lemmon(the"Putz") and Walter Matthau(the "Moron").

They are neighbors John Gustafson and Max Goldman who have been taking swipes and snipes at each other for over 50 years. The gags and gaglines will have you rolling with laughter, as the curmudgeons' feud heats up snowed-in Minnesota, when the beautiful, free-spirited widowed Ariel(Ann Margret) moves in across the street.They'll do whatever it takes to outdo the other for her affections, but when near tragedy strikes, there is no question of their affection for each other.

Joining in the fun is Burgess Meredith, as the hysterically lecherous father of Lemmon(cover the kids ears when he's in the scene), Darryl Hannah and Kevin Pollack, their kids, who may also realize the feelings they've had for each other since the third grade, the wonderful Ozzie Davis, and the always brillant Buck Henry. It was directed by Donald Petrie, with music by Alan Silvestri.

The laughs don't end here though..as there is an equally funny sequel "Grumpier Old Men", with much of the same cast and the addition of the legendary and gorgeous Sophia Loren.

The VHS has a nice clear picture and is recorded in hi-fi. There's a great soundtrack including a wonderful rendition of "We're Having A Heat Wave" by Ella Fitzgerald. It is in a standard format. I did not see it avaiable with the choice of the theatrical release form, which would have been nice with all that snowy scenery(My only reason for four stars). This a memorable Lemmon/Matthau film and you'll love it in any format though.

We'll always have their wonderful films to make us laugh..have fun with this one....Laurie....P.S. Don't miss the laugh out loud outakes during the credits, stay till the very end!

more fun stuff recommended:

Northern Exposure Seasons 1 4 DVD Bundle

Goin' South

Captain Jack

Being a thirty-something woman, I thought, how could I possibly find a movie about two grumpy old men funny? Turns out, VERY EASILY! If I could give this movie TEN STARS, I would! This has to be my all-time, favorite comedy. Jack Lemmon and Walter Matthau are at it again; creating that perfect "odd-couple" chemistry. This time, the story is set in snowy Minnesota, with Lemmon and Matthau, (two old-time rivals), competing for the attentions of the refreshingly eccentric, yet extremely attractive widow, who has just moved into their neighborhood. The writing in this film is excellent; the actor's comedic timing is pure genius, and the zingers never seem to stop! This movie is a classic! Don't be a putz buy it today!

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Just picked it up today and couldn't wait to view...

The bad news first..

no bonus features...just a trailer. The good news? It is FINALLY in widescreen!! Now...the picture quality is what I was really wondering about. Its tough to judge because I don't know the source material but I think this is as good as they could do and frankly given the age of the actors , too sharp much of the time! I should say that its mostly available light looking and mostly drab and overcast so I think its pretty good as blu-rays go. I paid a bit over $10 and I'm delighted...sure I'd have been happy for some PR interviews the actors did as bonus items but for a crisp and finally Widescreen version of this movie I'm happy. Oh..I didn't bother to review the movie its been done enough....with Lemmon, Matthau, Meredith, Davis and Buck Henry ,not to mention nice support from Hannah and Pollak...at least a minor classic.

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In 1993 Jack Lemmon and Walter Matthau played their best roles in this movie together. This movie, "Grumpy Old Men" is a MASTERPIECE! It's funny, joyfull, and heartwarming. These two were the perfect match for an EXCELLENT movie like this. The plot of the movie is great. The setting of cold and snowy Wabasha, MN was a the perfect setting.

The movie starts out on a snowy morning with two rivaling neighbors John Gustufson (Lemmon) and Max Goldman (Matthau). These two have been at each other's throats since they were kids. They always insult each other like calling each other a putz, a moron, or even a schmuck and other rude names. Whatever the two do they compete against each other to be better. One of those things they compete against is they both ice fish everyday and Max always ends up with more fish than John. So one day after they finish fishing, Max has half a dozen fish and John only has two. So Max of course picks on him and John throws one of his dead fishes into Max's car which causes a terrible stench.

That night John is watching the lottery and Max has the same T.V. remote so while John's watching the numbers Max over in the next window switches the channel. Then John switches it back then Max does it again and again. Finally John finds out it's Max and Max's son Jake (Pollak) opens the window to make him apologize and when Max goes to the window, John sprays his garden hose at him. Will these two ever stop fighting?

Then the rivalry takes another step up when a beautiful new neighbor Ariel (Ann-Margret) moves in and catches the attention of Max and John. Ariel is a lovely, warm-hearted, spirited woman who Max and John start fighting over. Max takes her ice fishing where she catches a 3-foot fish that she actually THROWS BACK before Max can take a picture of it. Then John and Ariel have dinner together and then go snowmobiling together and eventually sleep together. MAX IS FURIOUS!!!

Now Max and John are out fishing and Max is thinking of how to seek revenge. So John is in his shanty when it starts moving. He looks out the window and Max is moving it with his car heading straight for THIN ICE. John jumps out and his shanty is sunk. Of course Max is in his car chanting, "Yeah!" The two finally have a brawl and John is convinced that Max deserves Ariel more than he does because John can't support her because his house is about to be taken away from the IRS.

Will John get her or will Max? This movie is a great comedy everyone can enjoy. It's very touching and loving and is full of laughs. Your comedy collection is not complete without "Grumpy Old Men." This is a 5-Star MASTERPIECE!

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Jack Lemmon and Walter Matthau rank among the greatest on-screen duos of all time, and this movie is a great example of their brilliant chemistry. They're both very capable dramatic actors, and each has an Academy Award as proof, but their signature trademark will always be their comedic ability.

In this movie, Lemmon and Matthau play the roles of John and Max, respectively. John and Max have been next-door neighbors their whole lives, and though they have an extremely hostile love/hate relationship, they remain each other's best friend. Their hostility stems from decades before when John wound up marrying the girl they both loved. Both are now widowers who live alone in their separate houses, and a woman named Ariel (Ann-Margret) moves into the house across the street. Both men are immediately smitten by Ariel, and it leads to a rehashing of the same hostile feelings they once held for each other in their youth.

While the plot may seem like heavy material, it really isn't. The story is presented in a extremely touching yet light-hearted way. Both John and Max are extremely loveable, and the audience is made to feel sorry for them because both are lonely in their old age. The only flaw in this movie is in the plausability of Ariel actually having romantic feelings for either of these two men. She's a relatively young woman and energetic woman, and the fact that she has these two old men fighting for her attention doesn't seem quite believable.

Regardless, this is an excellent movie that I definitely recommend.

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Superman: Brainiac Attacks (2013)

If you grew up watching the superman animated series, DO NOT WATCH THIS. It's a shame that it looks like the animated series and it's even worse that Tim Daly And Dana Delany voiced their iconic roles. They should have stayed away from this abomination.

The casting for Lex Luthor is so bad that I was actively putting the volume lower every time he was on screen. It's so bad. Why DC? WHY!?!?

This is one of the worst animated films of all time. Tim Daly gives the worst performance of his career. It's almost as though he knew how bad it really was and just showed up for paycheck.

So what should you do instead of watching this movie? Find the nearest wall and run into it face first.

There isn't a single good thing I can possibly say. Don't buy and don't watch. I couldn't save myself, but I can help others and if I can stop a single person from watching this movie, I'll have died a happy man.

everything about it was great the only thing is its one of the so so stories from the superman universe ... its almost the same story as superman unbound.... other then that I got what I paid for

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I love the old DC Comics movies because it shows you how far the writers have grown as people. With every new movie, the plot thickens and you get deep within the characters.

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Im so glad I got this. Now i can watch this and then superman Unbound. I just wish that DC animated dept made more of good shows like this.

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one again lex luthor come up with his unsuccessful scheme to get rid the man of steel. this time he call in brainiac. so they both team up to try to kill superman. but it didnt work.

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Annie Hall (1977)

I have a confession to make.



Until now, I've never seen a Woody Allen movie.



Boy, I sure was a "miss out".



Annie Hall, made in 1977, is a classic. Why, oh why, did I wait so long?



First of all it's a story, and a very funny story at that, about a New York Jewish comedian, played by Woody Allen and his WASP girlfriend, played by Diane Keaton. It pokes fun at many social mores that we take for granted and I found myself laughing throughout. There's the New Yorker who never learns to drive, the mid-westerner who orders a pastrami sandwich on white bread with mayonnaise (which seems almost grotesque to a New Yorker like me), the pretentious movie critic, the neuroses of modern romances, and the differences between the New York and Los Angeles way of life.



The film runs along at such a fast pace that there is almost no time at all between funny moments. And, to make it even better, there are some wonderful film techniques. For example, while Diane Keaton and Woody Allen are talking about photography, there are subtitles on the screen about the physical relationship that they are really thinking about.



If the film were made today the phone calls would have been made on cell phones. But surprisingly, that is the only detail that might be changed. Annie Hall has really truly stood the test of time. And I loved it.

`Annie Hall', directed by Woody Allen and written by Allen and Marshall Brickman is eminently rewatchable, which is the one quality that makes it an excellent DVD purchase. I have seen this movie at least a half dozen times, and I am still discovering interesting things in the film. What makes this so odd to me is that the first time I saw it, after having seen `Manhattan', I really did not think it was as good as the later film.

My initially low opinion of the movie was primarily due to the numerous cinematic gimmicks harking back to his earlier, plainly less thoughtful movies. These include flashbacks to dopey teachers and classmates, almost as a parody of Jean Shepherd; subtitles showing what the characters are really thinking of one another during a conversation; a cartoon segment where Allen and the Tony Roberts character appear with the wicked witch from Snow White; speeches to the audience; and the most famous, a surprise appearance by Marshall McCluhan in a movie theatre lobby to refute a college instructor pontificating about McCluhan's ideas.

The single most famous scene from the movie is the encounter between Allen's character, Alvy Singer and Annie Hall, played brilliantly by Diane Keaton, after their tennis match with Annie dressed in her classic layered look with vest, men's tie, and balloonish trousers. The great sound bite from this encounter is the Annie Hall exclamation `La Di Dah, La Di Dah, Dah Dah...' and Singer's reaction wondering how he could be interested in anyone making such silly exclamations. From this one scene came a whole late 1970's fashion trend, the `Annie Hall' look of layered, mannish clothes. This scene also sets the stage for my latest insight into the movie, which is the progression of Annie, with a lot of help from Alvy, from an unserious girl with a decent singing voice to a serious woman with a few good ideas and a connection to a serious Hollywood music personality, played convincingly by Paul Simon with an eye to having her performances commercially recorded.

While so much can be said of the loves, frustrations, and disappointments of Alvy Singer, the movie is, after all, named `Annie Hall', not `Alvy Singer'. Not to say that this incarnation of the Woody Allen fictional persona is not central to the story. In the story of Alvy Singer that frames our encounter with Annie, there are encounters with two early marriages to characters played by Carol Kane and Janet Margolin, plus less than exciting romantic encounters with Shelley Duvall. The Allen talent for pulling in major actors and future major actors for brief appearances is in full bloom. There are excellent little parts for Colleen Dewhurst and Christopher Walken. There are even smaller parts for surprise appearances by Jeff Goldblum, Sigourney Weaver, and Beverly De'Angelis. Just as Allen is playing his usual, highly autobiographical character, male costar Tony Roberts plays the typically untroubled successful male who is constantly on the make for something or other, whether it be a business deal of a romantic laision. (It just occurred to me that it is logical that Roberts did not play the male costar in `Manhattan', as the Michael Murphy character simply did not fit the typical Tony Roberts character as it appears in `Play It Again, Sam', `A Midsummer's Night Sex Comedy', and `Annie Hall'.

While I have not reviewed all of Allen's later movies, I will venture the opinion that not only is `Annie Hall' better than all the films which precede it, it is as good or better than his best later movies (such as `Hannah and Her Sisters', `Crimes and Misdemeanors', and `Husbands and Wives'), if only because it is so effective a mix of both character study and humor. Some of Allen's jokes from this movie are some of his best known. In fact, I get the same sense watching this movie as I do when I see `Hamlet'. So many lines sound like clichés because they have been so widely quoted.

There are a lot of things which could be said about this movie which are really about themes which run through almost all of Allen's films such as doting on sexuality, phony intellectuality, love of Manhattan, and death. One clever riff on death is when Annie is moving into Alvy's apartment, Alvy discovers a book of Sylvia Plath's poems, which contradicts Hall's later statement when she is moving out that all the books about death were given to her by Singer. (Plath was a famously depressive poet who committed suicide in mid-career).

Allen's movie DVDs are uniformly free of fancy extras such as commentary tracks and `Making of' documentaries, and this is no exception. At the risk of repeating myself, I will say that the singular attraction of Allen's body of work in general and `Annie Hall' in particular is its rewatchability. As unrealistic as the many cinematic gimmicks are, the characters are intensely real. They are people with which we can sincerely associate. Try that with your usual Ben Stiller character.

Highly recommended classic among both Allen movies and all movies in general.

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Ok, let me get this one thing out of the way: when I was 12, Annie Hall beat Star Wars for the Best Picture Academy Award, and I was not a happy kid. However, time can do funny things...

I first saw this picture a few years later, with my first real girlfriend (hi, Lisa!) on the revival circuit. I found it witty and intelligent, as I have with most of Woody Allen's films. I have to say that, to my 16-year-old mind, it still didn't make a huge impression. Twenty years and a failed marriage later, however, I think I can honestly say that I now get it.

Annie Hall is, to me, Woody Allen's greatest triumph as a filmmaker and a storyteller. It's a bittersweet, often hilarious recounting of a relationship from its start to its inevitable end. We see Allen at his most honest, at times brutal examination of himself and his destructive approach to relationships as he plays Alvy Singer, a funny, neurotic comedian (not a great stretch for Woody, granted). All the angst, the neuroses, and manic phobias that at first seem so idiosyncratic and charming, eventually become tiring and sad. Here is a man who is so attached to his psychoses that he would be an empty shell without them, and we see the painful fact of this in his reflections of previous relationships and marriages throughout the course of his adult life. Ultimately, this is a character so galvanized by his fears and phobias that he is simply incapable of managing a complex adult relationship, one free of paranoia and anxiety and this is his tragic downfall. In short, he is a small child trapped in the body of a small man.

This is not, however, one of Allen's Bergmanesque forays into introspection. The knee-slapping hilarity of many of the scenes help draw us into his world and the relationship he has with Annie (Diane Keaton, marvelous as always), his friends, his family, and the world around him. A particular favorite is when, on their first meeting, Alvy and Annie exchange basic getting-to-know-you small talk, and their hidden meanings and anxieties are shown to us in subtitles. Other scenes involving a movie-line blowhard, a lost mantra, and Annie's decidedly white-bread family are the stuff of legend, and they never fail to bring a smile to my face.

Though this film is nearing thirty-years old, it shows no sign of aging. The themes are familiar and universal; who hasn't fallen desperately in love, only to feel the painful tentacles of fear come creeping in the moment they've opened their heart for all the world to see? This film will never lose its place in my heart as one of the best films I've ever seen.

Read Best Reviews of Annie Hall (1977) Here

'Annie Hall' has been called the first modern romantic comedy, but it is actually the ultimate anti-romantic comedy. Where the movement of the classic rom-com is the union of two mismatched lovers, the kiss, marriage a forward movement which is' in effect' sexual sublimation 'Annie Hall' begins with its romance's break-up, and proceeds with a vignette narrative structure, in which time and space are fragmented: far from gathering any momentum, the film, with is modest highs and lows, kind of peters out, just like romance in real-life.

'Annie Hall' is, as everyone knows, the first truly great Woody Allen movie. All the cherishable elements from his previous films are here the nervy wisecracks (which, far from containing life's anguish, seem to helplessly acknowledge the impossibility of ever doing so); the visual and narrative trickery; the flippant allusions etc. but are given depth and feeling by the focus on character. The opening monologue sets the tone Alvy's stand-up routine (an address to the public) as confession (private): this is a relationship constantly being pushed into social situations (family, parties, night classes etc.).

The movements through time and space, the documentary feel for real locations, the recognition of the emotional import of seemingly trivial events, all combine to create a complex picture of people alive and in love in a particular place and time. In the case of Alvy especially, these elements serve to reveal the character his joking is at pains to deflect.

The film is the closest American film every came to the spontaneity of the French New Wave, without being cripplingly self-conscious about it the inventive chopping between visual registers and narrative moods; the romanticising of city life; the seemingly casual, but crucial and resonant, allusions to films, books, music etc.; the satire of cultural pretensions; above all, the very modern, elusive relationship at its centre all creating a film as fresh, funny and poignant as the day it was made, one done a great disservice by its sappy imitators. Diane Keaton has rarely been more enchanting, the fluidity between herself and her character so evident, she seems to be laughing with us at the film she's in.

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Just to add my voice to the choir: Quite simply one of the best films

about romantic relationships ever made. Brilliantly written.

Brilliantly acted -Diane Keaton is tremendous, the supporting cast is

full of gems and Allen himself takes the leap to present himself as a

real (if funny) human being and not a walking joke. And brilliantly

photographed by the great Gordon Willis of 'The Godfather' and many of

most important films of the 70s and 80s.

Wildly funny and ultimately heartbreaking. It's hard to imagine anyone

who has ever been in love, or struggled through grown-up relationships

NOT identifying with a lot of this film. I loved it in my late teens

when it first came out, and I love it even more 32 years later. Every

time I see it I notice different details, depending on my own current

life experiences. A film of enormous wit, humor, invention, and

understanding of the human heart. Its completely unique, playful and

idiosyncratic in style and approach, but that experimentation somehow

only makes it more accessible and universal. If you haven't seen it,

you owe yourself a try, even if you're not a Woody Allen 'fan'. And if

you saw it long ago, it may be time for another look.

For some insane reason, the US DVD is not enhanced for 16x9 TVs,

whereas the UK disc is, so if you have a region free player, and don't

want the blu-ray for some reason I recommend getting a copy of that.

But the blu-ray is a very nicely done step up (especially over the

non anamorphic US DVD). Is this a reference quality disc that

will blow you away? No. But the gains in depth, clarity, richness

give the film more immediacy, and certainly make the blu-ray

worthwhile if you love the film. (Of course, as always with Woody

there are no extras. Sigh...)

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Brave New World (1998)

Update classics as Shakespeare and you distort the feel along with the message. It was written for a period and the more you deviate the more you lose the point let alone the ambiance. Update "Brave New World" and you threaten to do the same. However the use of today's technology and making the primitives just unruly people (shades of Logan's Run) did not actually distract that much and may even have been the original intention.

The movie uses well know actors that fit the characters (Peter Gallagher as Bernard Marx and Leonard Nimoy as Mustapha Mond). The scenery is and sci-fi technology is well done and believable.

With all of this there is a great letdown when the story line is not followed and the sting and impact is missing from the book as the story was changed into just a contemporary social commentary. The book by Aldous Huxley is based on the day's example of genetic engineering or a least a little alcohol to create people that were happy in their station. The character John hangs him self in exasperation. In this teleplay rewritten by Dan Mazur and David Tausik the Brave new World is just a society of sex-crazed drudges and John just trips and accidentally falls to his death. There are several other watered down differences.

Purists are bound to hate this and ask why the effort. Others may find this teleplay interesting enough as entertainment.

Animal Farm

A made for TV film that boasts wonderful acting and a script that both visualizes and honors the thought provoking work (of great depth), which provides the title.

Leaving the plot description for others a thought:

It is evident that the team responsible for this film treated the content very seriously, this is a work of love.

This film had somehow found itself buried under years of lesser films, and seen by too few but it is a gem.

A recommended choice for viewing and a buy if ever it appears on DVD.

Buy Brave New World (1998) Now

I agree that this was a very nice adaptation of Brave New World. Nimoy is fabulous, perfectly cast, if not quite true to the book, and the story of John the Savage and the depiction of the culture was spot-on. It is VERY useful for classroom work on the book.

Highly recommended and wondering why it isn't available on DVD?

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I first saw this movie on TV and was moved by its great adaptation of a great book which I have already read. Now Im seriously wondering why in the heck its not on DVD. My TV will not play VHS and my VHS player is out in my garage, gathering dust. It really needs to be on DVD. So I cannot even buy it on VHS for the above reasons, but really loved the movie as shown on TV. Anyone know how to request it be released in at least a DVD format? If so I will be the first to sign up. This book is hard to adapt to TV so I think it was well done. Now lets get it out on DVD.

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synopsis: humanity divided from alphas to deltas. a higher up("alpha") in the futureistic aryan-like subculture, or superculture, and his hotish accomplice(also an "alpha") find redeeming qualities in a man from the part of society this superculture chooses to ignore. put to very good music(which i continue to search for), this was and continues to be my most prized recording from the sci fi channel. it was a tired 2am gamble which paid off. i only wish i could get it on dvd. i have come to hate sci fi channel programing, but this was a true find, with great redeeming qualities, such as leonard nemoy, good music and a confidant plot. and best of allLEONARD NEMOY!!!!!!

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ESPN 30 for 30 Collector's Set Blu Ray (2011)

I purchased this box set after catching a few of these films on TV on ESPN and was taken back by how great these documentaries were. It tells 30 of the most compelling, controversial and tragic stories in all of sports. I've seen about 4 on TV and I'm excited to catch the other 26. This is a perfect gift to give any and all sports fans and for more than 30 hours of great sports history the price is great. A must have.

Alright, just a quick bit of background as to why I purchased this. Long story short: I was seeking the perfect Father's Day gift. This was it! Actually, I had been eyeing this set for quite some time, but then when I discovered it came packaged with a hat, it was a "no brainer." For those of you wondering, yes, the hat is of nice quality and it is comprised of a rich black color, with the "ESPN" logo in vibrant red color. It is excellent to wear around at sporting events, bars, or anywhere to be quite honest.

As for the documentaries offered in the set, both volumes are included here (films 1-30) and packaged quite nicely I might add. Naturally I haven't been able to watch them all yet, but my father and I have sat down and looked at a good deal of them, and all I have to say is that each-and-every film is extremely well done. Now, I might add, I hadn't seen any of these when they aired on television before purchasing this, but I knew of them, and many of my friends swore they were amazing. Well they were absolutely right, because these videos are filled to the brim with both entertainment and informative learning. There were many times where I found myself stunned at just how much unseen and/or rare footage was used within a great deal of the films (and I still have plenty more to look through). Also, for the older generation, a sense of nostalgia or "I remember when that happened," can definitely be felt when viewing these. It's nice to know that one can easily tell some form of "thought" was put into the production, research, and presentation of these documentaries, and because of that, they truly stand out.

Let's say you were on the fence about purchasing this set though due to consideration of the Blu-Ray set (like I was). Now in case you don't know, these films (all 30) are bundled up in a single volume in Blu-Ray format at Best Buy, and at a cheaper price I might add (which actually shocked me somewhat). I put in quite some thought as to whether to purchase that over this, but two key components led me to this DVD set. First off, the fact that not everyone has a Blu-Ray player these days, and if I wanted to show one of these films at a friend's house or something of that nature, I would be better off not taking the gamble and simply sticking with the DVD format. Also, my laptop doesn't have a Blu-Ray drive (though if yours does, as many do these days, feel free to reconsider), and so I wouldn't be able to watch these films "on the go" on my laptop. The other reason was the hat! I couldn't resist the wonders of the hat! Well in all honesty, while the hat is very nice, in my particular case my father needed a hat, so the inclusion of this was like "two birds with one stone."

Anyway, if you haven't seen these films (like I had not) prior to purchasing, and just don't know if it's worth the cash to invest in this set, I would strongly urge that you just "cave in" and buy this! Any person who considers themselves to be a sports fan will truly appreciate this, and I guarantee you will not be disappointed! :)

Buy ESPN 30 for 30 Collector's Set Blu Ray (2011) Now

This was a birthday gift from my girlfriend. I have watched most of the movies but missed a couple. I am excited to sit down and watch the ones I missed. So far my favorite is probably "The Two Escobars". I am still amazed with some of the footage and interviews ESPN was able to get for some of these films. Looks like I have about 30 things to do this summer.

Read Best Reviews of ESPN 30 for 30 Collector's Set Blu Ray (2011) Here

I've caught a couple of these when they aired and just purchased the full set. These in-depth stories are "required reading" for big sports buffs and I can't wait to catch the ones I missed. A perfect gift for the sports lover in your family or for yourself, you can't go wrong with these.

Update: Now that I've watched more of the series, it's amazing how far in-depth some of the stories go. As a Baltimore Ravens fan I knew the story of the Colts leaving in the middle of the night and the band, but exactly how the band was able to keep their uniforms and the details of the story are amazing. Also seeing some of the raw emotion that still lingers is just amazing. Hands down, these are the best documentaries I've ever watched.

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First, let me say that I'm a guy that doesn't really like sports. I mean I almost never sit down and watch any kind of game on TV, or go to a sporting event, or know what other guys are talking about when the subject of baseball, football, or basketball comes up. I could name a couple of players in every sport, the ones that everyone else knows, but that is it. So that said, I think this set is nothing short of great. I love documentaries that are well made and take you into a world that you don't know about in a way that makes it fascinating. I've watched documentaries on scrabble, spelling bees, or competitive crossword puzzles and loved them. Most stories have taken an aspect of some sport and told a story that has drawn me in almost immediately. Usually it is an interesting part of a much larger picture. For instance, I know who Wayne Gretzky, the hockey player, is and I have a vague recollection of him coming to the US, but I never knew the story of how it affected the people of Edmonton and all of the drama behind it. Also very interesting to hear him talk about it now. So in summary, I would recommend this set to anyone, man or woman, in the knowledge that they would enjoy it as much as me once they got started. If you are any kind of a real sports fan, you should already have this.

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Wonderland (2003)

This film gives you two points of view of the Wonderland murders. One from Dylan McDermott and one from Val Kilmer (as John Holmes). I think the sheer brutality of these murders are enough to captivate, but the film basically goes nowhere. You don't learn anything about Holmes other than the fact that's he's a major drug addict. The film has nothing to do with porn or sex. It's a true crime movie that just never really gets off the ground. The second disc is a documentary on Holmes himself. That is the better disc. It gives you an in-depth look at the life of a guy with a practical-joke sized piece of anatomy. This documentary is far more interesting than the film Wonderland.

There is a 25 minute crime scene police video included as well. It is as graphic as graphic gets. The bodies are still there as the police carefully document the bloody scene. I assume it's there for shock value. Don't let your kids anywhere near this.

There are two different releases of this out there. One is the movie (with, I think, a few extras) on one disc; the other is a two-disc set which includes the documentary "Wadd: The Life & Times of John C. Holmes". Watch the documentary FIRST, as "Wonderland" will make a lot more sense and be ten times more enjoyable if you do. That said, "Wonderland" is a fantastic, gritty film that I can count as one of my all-time favorites! Val Kilmer is so good as porn star John Holmes, you won't believe it. Lisa Kudrow, Kate Bosworth, Dylan McDermott, and EVERYONE in the cast is outstanding! Watch for a cameo by Paris Hilton as well. Everyone chews the scenery in this realistic film that went unnoticed in theatres but is becoming a cult classic thanks to the magic of DVD! I can't recommend it any more highly!

Buy Wonderland (2003) Now

I felt that this movie was unfairly bashed by newspaper critics. I got the impression that none dared venture anything positive once a consensus had been established.

I was so curious about this affair after reading the Rolling Stone article years ago that I saw this movie when it was first released in theaters; I wanted to see if it corroborated the article. So did it? That's the movie: two different versions of the heist are presented --John Holmes' and David Lind's. It's one thing to hear a story, but something else to see it enacted. John Holmes' version was amusing to see enacted because it made his lies obvious; some things could not have happened as he told them (ridiculous) and the audience laughed on those. Toward the end is a chilling Roman holiday of a murder scene that I believe, all things considered, is as close to the truth as we will come. For example, I believe it was Deverell who answered the door, and I am convinced that Holmes was there and probably coerced into participating in order to implicate him and thus prevent him from turning against Eddie again by testifying.

This two-disc set also includes omitted scenes, a Crime TV segment, and telling interviews with Sharon Holmes, Dawn Schiller, and people who knew Holmes from "the industry." There are photos taken of the victims when they were alive which I found very interesting, just to see what they looked like. The LAPD crime scene video was not as hard to take as I had expected, mostly due to the then-poor quality of video tape (it has come a long way since 1981 and this will jog your memory); three of the four just look like they're sleeping except that their hair is caked with blood. There are also interviews with some of the actors. I didn't know who Josh Lucas was before seeing this; his performance was outstanding.

Read Best Reviews of Wonderland (2003) Here

In the 1970s, when pornographic movies became increasingly available to mainstream consumers, John Holmes (1944-1988) parlayed his supersized endowment into stardom. Those who knew him well describe him as likeable but somewhat dim; when his stardom began to fade he had nothing on which to fall back, and he became just another drug-addicted has been, trading on what was left of his dubious celebrity for a line of cocaine here and a line of cocaine there. In 1981 Holmes tended to bounce between big-time drug dealer Eddie Nash and a group of smaller-time dealers who lived on Wonderland Avenue in Los Angeles--and found himself greatly over his head.

Police described the Wonderland murder case as the most gruesome murder scene since the 1969 Manson family killing spree. Although theories differ in details, they are consistent in outline: Holmes set up Nash for robbery by the Wonderland dealers; Nash responded by having Holmes set up the Wonderland dealers for a mass hit, carried off by people weilding pipes. Four people died, one survived with serious injuries and without memory of the attack. The 2003 film WONDERLAND attempts to portray both the crimes and the conflicting stories that Holmes, Nash, a Wonderland insider, and others gave during the course of the investigation.

Val Kilmer is unexpectedly convincing as the whining John Holmes, unable to focus beyond the next score, coming up with one silly idea after another. Lisa Kudrow is particularly memorable in the role of Holmes' estranged wife, Sharon; Kate Bosworth equals her as Holmes' current girl, Dawn Schiller. Although the movie is littered with cameos that actually tend to distract--Paris Hilton and Carrie Fisher, among others--the supporting cast is also quite fine. But the script, editing, and overall concept lets them down: it begins well and finishes well, but the middle portion of the film is weak and the overall movie lacks emotional or psychological depth.

WONDERLAND's characters are not likeable, and director and co-writer James Cox doesn't even attempt to find a means of bringing us inside their heads and lives in a way that makes them understandable, much less sympathetic. The film instead attempts to jump from character to character and idea to idea while also sliding back and forth in time--and in the process never quite stays in one place long enough for you get a firm grip. Everything does eventually link up, but all the same you'd better not blink too often as the movie plays out: if you do, you'll be lost when the final credits role.

The film is also plagued by a lot of hand-held-camera cinematography, presumably in order to convey the drug-laden atmosphere through which the characters move; there are also quite a few graphics, split screens, and so on. I find that a little of this goes quite a long way, and between the camera tricks and the constant shifts WONDERLAND looses focus and at times becomes a little wearing.

Even so, WONDERLAND still manages to be an interesting film, the sort of film that you wish had been undertaken by a great artist instead of director and co-writer James Cox, who would be most gracefully described as somewhat unpolished. There are at least two DVD issues of the film, one that is the film alone, another which also includes a documentary on John Holmes that is actually more interesting than the movie itself; if you have to pick between the two, go with the latter. Recommended, just don't expect too much.

GFT, Amazon Reviewer

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I appreciate the guts of the producers of WONDERLAND to bankroll this movie, since it is not the kind of mainstream stuff Hollywood usually finances these days. Almost all of the characters are sleazy scumbags, drug addicts and criminals. The main character is porn's first superstar John C. HOLMES (convincingly played by Val KILMER)at the end of his career, a pathetic loser, manipulative, pimping his young girlfriend and due to his drug habits hanging out with the wrong guys.

It is a bit tricky to give a brief plot synopsis for this one without giving too much away, but I'll try it anyway.

WONDERLAND is a true crime story about the horrifying murders that occured on July 1st, 1981 in a house on Wonderland avenue in LA and left four people dead and one woman seriously injured. The victims were beaten to death with lead pipes. One of the residents, who was not present at the time the killings occurred, turns himself in to the police and tells the cops a story involving drugs, the robbery of a nightclub owner named Eddie NASH (terrific performance by Eric BOGOSIAN) and XXX movie star John C. HOLMES. Questioned by the cops, HOLMES gives his version of the story. Needless to say it is very different...

I won't tell more about the plot, just add that it is terrific.

All actors deliver powerhouse performances. Aside from KILMER and BOGOSIAN, I particularly liked Josh LUCAS as criminal Ron LAUNIUS. The movie is also exceptionally well shot. I also like to give kudos to the scriptwriters for their efforts.

The DVD also has great extra features. There are some brief interviews with actors Val KILMER, Josh LUCAS, Eric BOGOSIAN and Tim BLAKE-NELSON. There are seven brief deleted scenes, but none would have added much to the film had they been included. Another extra is a photo gallery, but it is nothing to write home about. Then there is a short documentary about the Wonderland-murders called COURT TV: HOLLYWOOD AT LARGE. As a true crime fan my favorite among the extras is the 20 minute original crime scene video from the LAPD. We see the horrifying crime scene, while a homicide detective comments ("We are now in the residence, the first level living room area, wherein the first victim was found. Apparent bloodsplatterings are evident on the walls and on the sofa located on the west wall of the living room.") Not for the squeamish!

The second DVD contains a feature-length documentary about John C. HOLMES, titled WADD. THE LIFE AND TIMES OF JOHN C. HOLMES. There are lots of interviews with XXX stars (Annette HAVEN, Kitten NATIVIDAD,...) and snippets from HOLMES films. (Note that it is the R-rated cut of the documentary, so the included scenes from HOLMES films are softcore.) Suffice to say, the documentary (as well as the WONDERLAND main feature) are not for the easily offended.

Two thumps up for this DVD!

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